The document discusses the history and development of musical theatre from the 1800s to modern times. It analyzes how the integration of dance, music, and drama has changed over time and whether the "perfect formula" of fully integrating all three art forms is necessary for a musical's success. While some hugely successful musicals like Oklahoma fully integrated the three, others like West Side Story were also successful through strong elements of some but not all three art forms. Overall, the document suggests that the perfect formula is not always necessary for a musical's success.
The document discusses the history and evolution of musical theatre from its origins in the 19th century to modern Broadway musicals. It explores early genres like operetta, burlesque, vaudeville and revue which incorporated music, dance and comedy performances. Key early musicals discussed include The Black Crook (1866), The Beggar's Opera (1728) and blackface minstrel shows. The document examines how these genres influenced each other and led to the creation of the modern American musical. Elements that contribute to a successful musical formula are also outlined.
This document discusses elements that contribute to successful musicals, including integration of music, dance, and drama, as well as other conventions like overtures, chorus numbers, solos, duets, and comedy songs. It provides examples from musicals like West Side Story, Les Miserables, The Lion King, and Chicago to illustrate how different conventions can be implemented effectively or ineffectively to advance the plot or entertain audiences. Overall, the document examines various components of musical theatre but concludes that there is no single formula for success and not all elements need be present to make a musical successful.
Prior to his visit to the Dubai for his first concert, an interview with one of the famed "Three Tenors," Placido Domingo that appeared in the Gulf News' Entertainment magazine.
History of Classical Music Eras (thanks, Naxos)Chris Kozak
This document provides a history of classical music from the Medieval period to the present day. It describes the major periods including the Medieval, Renaissance, Baroque, Classical, Early Romantic, Late Romantic, and post-1920 eras. For each period, it highlights important developments in musical styles, genres, instrumentation, and influential composers that helped define the characteristics of that time. The document traces how classical music evolved from religious chant and early polyphony to the structured forms and ensembles of the Classical period to the national styles and increased emotional expression of Romanticism.
The San Francisco Ballet was founded in 1933 and helped establish ballet in America through its early performances of works like Coppélia and Swan Lake. It struggled financially in the 1970s but survived through community support. Under its current artistic director Helgi Tomasson since 1985, the company has gained international acclaim for its interpretations of classics and commitment to both classical and contemporary works.
The document provides information on Impressionism in art and music. It discusses Impressionism as an art movement starting in 1860s France characterized by capturing visual impressions with bold colors and without details. In music, Impressionism adapted this style using sound and focused on structure over traditional harmony. The two major musical Impressionists were Claude Debussy and Maurice Ravel, both French composers in the early 20th century. Debussy changed musical conventions with innovative works like La Mer, while Ravel crafted meticulous pieces inspired by dance and using modes instead of major/minor scales.
The standard heartbeat is 60 beats per minute, which the second hand on a watch was modeled after. Music plays a central role in the author's life, without which would feel like losing their heartbeat. A local production of the musical Spring Awakening will debut in the Rio Grande Valley, showcasing talented young performers exploring controversial coming-of-age themes through compelling music.
The document discusses the history and evolution of musical theatre from its origins in the 19th century to modern Broadway musicals. It explores early genres like operetta, burlesque, vaudeville and revue which incorporated music, dance and comedy performances. Key early musicals discussed include The Black Crook (1866), The Beggar's Opera (1728) and blackface minstrel shows. The document examines how these genres influenced each other and led to the creation of the modern American musical. Elements that contribute to a successful musical formula are also outlined.
This document discusses elements that contribute to successful musicals, including integration of music, dance, and drama, as well as other conventions like overtures, chorus numbers, solos, duets, and comedy songs. It provides examples from musicals like West Side Story, Les Miserables, The Lion King, and Chicago to illustrate how different conventions can be implemented effectively or ineffectively to advance the plot or entertain audiences. Overall, the document examines various components of musical theatre but concludes that there is no single formula for success and not all elements need be present to make a musical successful.
Prior to his visit to the Dubai for his first concert, an interview with one of the famed "Three Tenors," Placido Domingo that appeared in the Gulf News' Entertainment magazine.
History of Classical Music Eras (thanks, Naxos)Chris Kozak
This document provides a history of classical music from the Medieval period to the present day. It describes the major periods including the Medieval, Renaissance, Baroque, Classical, Early Romantic, Late Romantic, and post-1920 eras. For each period, it highlights important developments in musical styles, genres, instrumentation, and influential composers that helped define the characteristics of that time. The document traces how classical music evolved from religious chant and early polyphony to the structured forms and ensembles of the Classical period to the national styles and increased emotional expression of Romanticism.
The San Francisco Ballet was founded in 1933 and helped establish ballet in America through its early performances of works like Coppélia and Swan Lake. It struggled financially in the 1970s but survived through community support. Under its current artistic director Helgi Tomasson since 1985, the company has gained international acclaim for its interpretations of classics and commitment to both classical and contemporary works.
The document provides information on Impressionism in art and music. It discusses Impressionism as an art movement starting in 1860s France characterized by capturing visual impressions with bold colors and without details. In music, Impressionism adapted this style using sound and focused on structure over traditional harmony. The two major musical Impressionists were Claude Debussy and Maurice Ravel, both French composers in the early 20th century. Debussy changed musical conventions with innovative works like La Mer, while Ravel crafted meticulous pieces inspired by dance and using modes instead of major/minor scales.
The standard heartbeat is 60 beats per minute, which the second hand on a watch was modeled after. Music plays a central role in the author's life, without which would feel like losing their heartbeat. A local production of the musical Spring Awakening will debut in the Rio Grande Valley, showcasing talented young performers exploring controversial coming-of-age themes through compelling music.
The Joffrey Ballet concludes Jacob's Pillow's 80th anniversary season with a program featuring works by Edwaard Liang, Yuri Possokhov, and a world premiere by Stanton Welch. The performance marks a rare East Coast appearance by the Joffrey Ballet, which last performed at Jacob's Pillow in the 1950s and 60s. The program includes Liang's Age of Innocence, Possokhov's Bells, and Welch's world premiere Son of Chamber Symphony. Additional performances and events are also scheduled during the week of August 22-26.
The document discusses the evolution of music over time from classical to 20th century styles. It describes the transition from Baroque to Classical eras in the 18th century where forms like the symphony and concerto developed. Major Classical composers included Mozart, Beethoven, and Haydn. The 20th century saw the rise of new genres like jazz, pop, rock, and electronic music. Key periods included the jazz era, rock 'n' roll, and disco. Iconic groups like The Beatles had massive influence and led the British Invasion in the US. The conclusion is that music brings soul, imagination and life.
This presentation contains information on the evolution of Musical Romanticism, including Late Romanticism and Impressionism. The presentation also includes a list of 52 important Romantic and Impressionist composers.
During the Classical era from 1750-1825, art and music embraced order, balance, and classical ideals inspired by ancient Greece and Rome. This era saw the rise of the symphony, string quartet, and sonata forms, as well as major composers like Haydn, Mozart, and the early Beethoven. Their instrumental works featured memorable melodies, homophonic textures, and an emphasis on form and structure over improvisation. Opera and chamber music were also popular genres during this period.
The Classical Period occurred between 1700-1820 and was characterized by clarity, harmony, and symmetry in music, literature, architecture and other arts. This contrasted with the overcomplex style of the preceding Baroque period. Major composers of the Classical era included Mozart, who wrote over 600 pieces and refined classical music to perfection, Haydn whose music was lighter in tone than Mozart's, and Beethoven who bridged classical and romantic styles by introducing passion and fire while retaining classical structures.
The Baroque artistic period spanned the 17th century and emphasized expression of feelings through movement, contrasts, and ornamentation. Notable Baroque composers included Bach, Handel, Vivaldi, and Telemann. Vocal music of the period included madrigals, masses, cantatas, operas, oratorios, passions, and zarzuelas. Instrumental music featured fugues, sonatas, suites, and concerts. Religious music included oratorios and passions.
This document provides an overview of different musical styles and periods discussed in Music 10 class including Impressionism, Expressionism, Primitivism, Neo-Classicism, Avant-Garde music, Modern Nationalism, Electronic music, and Chance music. It describes key characteristics of each style such as Impressionism's focus on atmosphere over detailed images and Expressionism's subjective perspective. The document also mentions groups will give 5-minute presentations on these topics and styles in their upcoming reports.
Classical music began around the 4th century CE and has evolved over time. It was created using the highest musical skill and sophistication in Europe primarily. The document then discusses the major periods of classical music including Baroque, Classical, Romantic, and Modernist periods. It provides details on the music, art, and technology of each period. Classical music is still being created today with composers mixing various styles.
This presentation contains all about Contemporary Music such as:
-Theatre Music
-Musical Theatre
-Modern Musicals
-American Musical Theatres
Could be useful for high school students like me :D useful for reporting. Be sure to give me a credit on this one, I made this overnight, lol.
NO CREDITS = PLAGIARISM
God bless :D
This document discusses the history and development of opera and musical plays in the Philippines. It begins by defining opera as a drama that is mainly sung and accompanied by instruments. It then outlines the various roles involved in an opera production such as librettists, composers, conductors, dancers, and designers. The document proceeds to discuss notable Filipino operas from the 19th and 20th centuries based on works by Rizal and the genre of musical plays which became more popular than opera in the Philippines. In the latter part, several famous Philippine musicals are outlined such as Katy, Atang, Daragang Magayon, and Florante at Laura.
The document provides an overview of Romanticism in music from the 1820s to 1900. It discusses key composers of the era like Beethoven, Chopin, Liszt, and Wagner. It also describes characteristics of Romantic music like an emphasis on emotion, nationalism by incorporating folk tunes, and programmatic music that tells a story. The document argues that the true height of Romanticism in music was from 1815 to 1848, before giving way to musical romantics.
This document provides an overview of music in the 20th century, outlining key historical developments and innovations. It discusses how composers broke from traditional structures and incorporated new elements like folk tunes, jazz influences, and tone colors. Several pioneering composers are profiled, including Debussy, Stravinsky, Schoenberg, Bartok, and Filipino composers like Abelardo, Molina, Kasilag, Maceda, and Santos. It explains how 20th century composers experimented with new forms of composition while also drawing from traditional styles.
This document provides an overview of various musical styles that emerged in the 20th century, including Impressionism, Expressionism, Primitivism, Neo-Classicism, and Avant Garde music. It discusses influential composers such as Debussy, Ravel, Schoenberg, Stravinsky, Bartok, Prokofiev, and Gershwin. Impressionism aimed to suggest reality through the use of color, effects, and dissonance, while Expressionism expressed strong emotions through atonality. Primitivism and Neo-Classicism drew from folk elements and classical forms. Avant Garde music emphasized improvisation and unconventional performance.
The document provides an overview of the major periods of music history from ancient times to the modern era. It discusses characteristics of music from each period including dominant genres, major composers, developments in music theory and notation. Key periods mentioned include the Medieval era, Renaissance, Baroque, Classical, Romantic, and Modern times. The document also notes how classical music has evolved and still exists today alongside popular music genres.
Music of the Romantic Period (Brief History) (1820-1910) For Grade 9 Class MA...Jewel Jem
A Brief Lesson on the Music of the Romantic Period (1820-1910)
For Grade 9 Music (Mapeh) Class
Content:
> Nationalism (meaning)
> Ludwig Van Beethoven
> Program Music
> Piano Music
> Concert Halls
Music History based on the Music Education, http://musiced.about.com
This slide is not made to present only music history on purpose. Just made for other purposes. So, some of the info are left out. Pls, find detail more by clicking the link from reference slide to get more resources.
This document summarizes music in Europe during the Middle Ages. It discusses the development of monophonic religious music like Gregorian chant, and the rise of polyphonic music including organum and later styles like Ars Antiqua and Ars Nova. It also describes secular monophonic music by troubadours, minstrels, and others and the introduction of instruments. The document then briefly outlines Spanish music including Cantigas de Santa Maria, a collection of songs praising the Virgin Mary.
The document discusses key aspects of Romanticism in music from the Romantic era, including a focus on nature, the supernatural, and nationalism. It provides examples of works by composers like Beethoven, Berlioz, Chopin, and Wagner that demonstrate these Romantic ideals through their dramatic, emotionally expressive music exploring love, death, dreams, and the human condition.
This document discusses several musicals from different eras to analyze the use of drama, music, and dance in musical theatre. It summarizes that early musicals began integrating music into dramas in the 18th century. Dance was later added accidentally but enjoyed. Over time, musicals evolved to fully integrate all three art forms to varying degrees of success. Oklahoma! was particularly revolutionary in using dance to drive the narrative. The document analyzes several musicals to determine if they support the statement that equal integration of all three art forms leads to success.
History of musicals unit 27 full presentationRamyBenFredj
This document provides an overview of several landmark musicals from the late 19th century to present day. It discusses how musicals evolved over time to integrate dance, music, and drama more fully. Early musicals emphasized one art form more than others, such as dance in The Black Crook. Over the 20th century, musicals pioneered combining the art forms through innovations like dream ballets in Oklahoma and dramatic integration of song in Show Boat. While some argue all three art forms must be perfectly balanced, many successful musicals emphasize one form, such as dance-heavy Chicago. Overall, the document traces the development of musicals and considers what elements contribute to their success.
The Joffrey Ballet concludes Jacob's Pillow's 80th anniversary season with a program featuring works by Edwaard Liang, Yuri Possokhov, and a world premiere by Stanton Welch. The performance marks a rare East Coast appearance by the Joffrey Ballet, which last performed at Jacob's Pillow in the 1950s and 60s. The program includes Liang's Age of Innocence, Possokhov's Bells, and Welch's world premiere Son of Chamber Symphony. Additional performances and events are also scheduled during the week of August 22-26.
The document discusses the evolution of music over time from classical to 20th century styles. It describes the transition from Baroque to Classical eras in the 18th century where forms like the symphony and concerto developed. Major Classical composers included Mozart, Beethoven, and Haydn. The 20th century saw the rise of new genres like jazz, pop, rock, and electronic music. Key periods included the jazz era, rock 'n' roll, and disco. Iconic groups like The Beatles had massive influence and led the British Invasion in the US. The conclusion is that music brings soul, imagination and life.
This presentation contains information on the evolution of Musical Romanticism, including Late Romanticism and Impressionism. The presentation also includes a list of 52 important Romantic and Impressionist composers.
During the Classical era from 1750-1825, art and music embraced order, balance, and classical ideals inspired by ancient Greece and Rome. This era saw the rise of the symphony, string quartet, and sonata forms, as well as major composers like Haydn, Mozart, and the early Beethoven. Their instrumental works featured memorable melodies, homophonic textures, and an emphasis on form and structure over improvisation. Opera and chamber music were also popular genres during this period.
The Classical Period occurred between 1700-1820 and was characterized by clarity, harmony, and symmetry in music, literature, architecture and other arts. This contrasted with the overcomplex style of the preceding Baroque period. Major composers of the Classical era included Mozart, who wrote over 600 pieces and refined classical music to perfection, Haydn whose music was lighter in tone than Mozart's, and Beethoven who bridged classical and romantic styles by introducing passion and fire while retaining classical structures.
The Baroque artistic period spanned the 17th century and emphasized expression of feelings through movement, contrasts, and ornamentation. Notable Baroque composers included Bach, Handel, Vivaldi, and Telemann. Vocal music of the period included madrigals, masses, cantatas, operas, oratorios, passions, and zarzuelas. Instrumental music featured fugues, sonatas, suites, and concerts. Religious music included oratorios and passions.
This document provides an overview of different musical styles and periods discussed in Music 10 class including Impressionism, Expressionism, Primitivism, Neo-Classicism, Avant-Garde music, Modern Nationalism, Electronic music, and Chance music. It describes key characteristics of each style such as Impressionism's focus on atmosphere over detailed images and Expressionism's subjective perspective. The document also mentions groups will give 5-minute presentations on these topics and styles in their upcoming reports.
Classical music began around the 4th century CE and has evolved over time. It was created using the highest musical skill and sophistication in Europe primarily. The document then discusses the major periods of classical music including Baroque, Classical, Romantic, and Modernist periods. It provides details on the music, art, and technology of each period. Classical music is still being created today with composers mixing various styles.
This presentation contains all about Contemporary Music such as:
-Theatre Music
-Musical Theatre
-Modern Musicals
-American Musical Theatres
Could be useful for high school students like me :D useful for reporting. Be sure to give me a credit on this one, I made this overnight, lol.
NO CREDITS = PLAGIARISM
God bless :D
This document discusses the history and development of opera and musical plays in the Philippines. It begins by defining opera as a drama that is mainly sung and accompanied by instruments. It then outlines the various roles involved in an opera production such as librettists, composers, conductors, dancers, and designers. The document proceeds to discuss notable Filipino operas from the 19th and 20th centuries based on works by Rizal and the genre of musical plays which became more popular than opera in the Philippines. In the latter part, several famous Philippine musicals are outlined such as Katy, Atang, Daragang Magayon, and Florante at Laura.
The document provides an overview of Romanticism in music from the 1820s to 1900. It discusses key composers of the era like Beethoven, Chopin, Liszt, and Wagner. It also describes characteristics of Romantic music like an emphasis on emotion, nationalism by incorporating folk tunes, and programmatic music that tells a story. The document argues that the true height of Romanticism in music was from 1815 to 1848, before giving way to musical romantics.
This document provides an overview of music in the 20th century, outlining key historical developments and innovations. It discusses how composers broke from traditional structures and incorporated new elements like folk tunes, jazz influences, and tone colors. Several pioneering composers are profiled, including Debussy, Stravinsky, Schoenberg, Bartok, and Filipino composers like Abelardo, Molina, Kasilag, Maceda, and Santos. It explains how 20th century composers experimented with new forms of composition while also drawing from traditional styles.
This document provides an overview of various musical styles that emerged in the 20th century, including Impressionism, Expressionism, Primitivism, Neo-Classicism, and Avant Garde music. It discusses influential composers such as Debussy, Ravel, Schoenberg, Stravinsky, Bartok, Prokofiev, and Gershwin. Impressionism aimed to suggest reality through the use of color, effects, and dissonance, while Expressionism expressed strong emotions through atonality. Primitivism and Neo-Classicism drew from folk elements and classical forms. Avant Garde music emphasized improvisation and unconventional performance.
The document provides an overview of the major periods of music history from ancient times to the modern era. It discusses characteristics of music from each period including dominant genres, major composers, developments in music theory and notation. Key periods mentioned include the Medieval era, Renaissance, Baroque, Classical, Romantic, and Modern times. The document also notes how classical music has evolved and still exists today alongside popular music genres.
Music of the Romantic Period (Brief History) (1820-1910) For Grade 9 Class MA...Jewel Jem
A Brief Lesson on the Music of the Romantic Period (1820-1910)
For Grade 9 Music (Mapeh) Class
Content:
> Nationalism (meaning)
> Ludwig Van Beethoven
> Program Music
> Piano Music
> Concert Halls
Music History based on the Music Education, http://musiced.about.com
This slide is not made to present only music history on purpose. Just made for other purposes. So, some of the info are left out. Pls, find detail more by clicking the link from reference slide to get more resources.
This document summarizes music in Europe during the Middle Ages. It discusses the development of monophonic religious music like Gregorian chant, and the rise of polyphonic music including organum and later styles like Ars Antiqua and Ars Nova. It also describes secular monophonic music by troubadours, minstrels, and others and the introduction of instruments. The document then briefly outlines Spanish music including Cantigas de Santa Maria, a collection of songs praising the Virgin Mary.
The document discusses key aspects of Romanticism in music from the Romantic era, including a focus on nature, the supernatural, and nationalism. It provides examples of works by composers like Beethoven, Berlioz, Chopin, and Wagner that demonstrate these Romantic ideals through their dramatic, emotionally expressive music exploring love, death, dreams, and the human condition.
This document discusses several musicals from different eras to analyze the use of drama, music, and dance in musical theatre. It summarizes that early musicals began integrating music into dramas in the 18th century. Dance was later added accidentally but enjoyed. Over time, musicals evolved to fully integrate all three art forms to varying degrees of success. Oklahoma! was particularly revolutionary in using dance to drive the narrative. The document analyzes several musicals to determine if they support the statement that equal integration of all three art forms leads to success.
History of musicals unit 27 full presentationRamyBenFredj
This document provides an overview of several landmark musicals from the late 19th century to present day. It discusses how musicals evolved over time to integrate dance, music, and drama more fully. Early musicals emphasized one art form more than others, such as dance in The Black Crook. Over the 20th century, musicals pioneered combining the art forms through innovations like dream ballets in Oklahoma and dramatic integration of song in Show Boat. While some argue all three art forms must be perfectly balanced, many successful musicals emphasize one form, such as dance-heavy Chicago. Overall, the document traces the development of musicals and considers what elements contribute to their success.
This document discusses the history and development of various performance genres that contributed to the emergence of modern musical theatre. It analyzes how different genres integrated or did not integrate the art forms of dance, music, and drama. While early genres like opera, operetta, and minstrel shows incorporated some combination of the arts, it was not until later developments like Oklahoma that all three were fully integrated throughout a musical. The document also examines how individual musicals have varied in their formulas and use of the art forms, suggesting there is no single "perfect formula" needed for success.
How Musicals Have Changed In Different Periods Of TimeParnyan
The document discusses how musicals have changed across different time periods from Ancient Greek theatre to modern rock musicals. In Ancient Greece between 550-220 BC, musical plays were performed in open-air theatres for religious festivals and focused on myths and the gods. By the 18th century, Ballad Operas emerged in England and used songs within sentimental plays, targeting both upper and middle classes. Musical halls became popular in the 1830s as variety entertainment for all classes. Vaudeville shows in the late 19th to early 20th century featured many unrelated acts to entertain audiences of all statuses. Rock musicals originated in the 1960s and used rock music to differentiate from traditional musical plays.
This document provides background information on the musical theater piece "Civilization and Its Discontents" by Michael Sahl and Eric Salzman. It summarizes that the piece is a musical satire written in 1977 that uses the form of a radio drama to critique the "me generation" through dance music, confrontations, and hijinks. It explores themes of emptiness and how people attempt to fill it. The document also provides biographies of the creators and original cast members.
The document discusses the musical style of Impressionism that emerged in late 19th century France. It was focused on suggesting moods and impressions rather than depicting reality directly. Claude Debussy and Maurice Ravel were the two primary exponents of the style. Debussy's works like Clair de Lune from Suite Bergamasque are cited as examples. The document also provides biographical details and major works of Debussy and Ravel.
The document discusses various art forms during the modern period from the 1850s through the 20th century. It describes how visual arts, drama, dance, and music evolved and changed significantly during this time with the spread of new styles and values associated with changing culture. Modern dance emerged in the late 1800s and incorporated new ways of moving the body beyond traditional styles. Modern drama utilized symbolism and expressionism to spread new ideas. Music became more experimental with unconventional sounds and influences from genres like jazz, blues, and rock. The modern period was defined by innovation and pushing creative boundaries across the arts.
This document discusses the relationship between theatre and dance. It notes that while dance is often considered a form of theatre, some dance theorists have argued it should be considered independently. The document traces this debate historically, from Noverre in the 18th century arguing dance should adopt theatrical techniques, to later theorists like Gautier advocating for dance as an art of movement alone. It analyzes how the debate has played out cyclically, with periods favoring theatrical or non-theatrical approaches. The document argues the current resurgence of theatrical dance represents a significant shift beyond this cycle, reflecting broader changes in dance aesthetics.
Historical and social context of jazz dancezthomps17
Jazz dance originated from African slave cultures brought to America in the 1600s. Slaves were forced to blend their diverse African traditions, creating a new culture with both African and European influences. In the 19th century, minstrel shows popularized the slaves' music and dance styles among white audiences. Over time, jazz dance developed influences from various genres like ballet, modern, and social dances that emerged in the early 20th century. Jazz dance continued evolving through the decades, influenced by new musical styles like rock and roll, Motown, and hip hop, and was popularized through movies and music videos. It remains a dynamic genre that both honors its roots and innovates new styles.
Classical music originated from wealthy patrons who funded composers to write music for their private entertainment. Joseph Haydn worked for the Esterhazy family, composing pieces inspired by daily events to amuse them. Though Wolfgang Mozart also wrote to delight audiences, he hoped his music would reach more people; he produced operas and religious works but struggled financially. The essay discusses how classical music evolved from simple styles in the Middle Ages to the more complex forms of the Baroque era in the 1600-1750 period, including concertos, fugues, suites, cantatas, oratorios, and operas.
Ellie Greatorex was observed during a Grease character analysis workshop. The observer, Rebecca Sellors, provided positive feedback on Ellie's professional attitude, including her punctuality, readiness to work, communication skills, focus during rehearsals, and ability to incorporate feedback. Specifically, Rebecca commented that Ellie portrays her two contrasting characters of Sandy and Rizzo with different body language, facial expressions, and accents. In response, Ellie plans to continue improving her character portrayal skills through attending more character workshops in order to show an even bigger contrast between her two roles.
Ellie Greatorex was observed during a rehearsal for Grease where she was working with the director on blocking. According to the observer, Ellie displayed a professional attitude by always being punctual, ready to work, communicating ideas to others, and having a positive focus during rehearsals. The observer noted that Ellie took feedback well and worked to improve. In her response, Ellie acknowledged that while she is passionate, she needs to allow others to contribute more ideas to foster a collaborative team approach.
Within the showcase, the student performed a 20 minute section from the musical 'Grease' showcasing their singing, acting, and dancing skills. Many workshops helped develop these skills, including character workshops that helped the student portray the roles of Sandy and Rizzo, dance workshops that improved their jive and hand jive skills, and vocal workshops that helped them successfully sing solo pieces and harmonies. Throughout the rehearsal process, the student gained confidence in their performance abilities and improved their skills in dancing, character portrayal, vocal projection, and collaborating with others.
Ellie always arrives on time and ready to participate in rehearsals with enthusiasm. She maintains a focused, positive attitude and is willing to improve. Ellie communicates well with others, discussing ideas, yet also listens to feedback. She oozes confidence and takes criticism constructively to better her performance. In the workshop, Ellie focused on her song "Summer Nights", demonstrating strong singing ability and characterisation through her voice. She helped another performer with advice. To further improve, Ellie will maintain her positive attitude and watch recordings of rehearsals to strengthen her characterisation outside of songs.
This document contains a personal management file for Ellie Greatorex that includes attendance records and self-assessments for classes. For each class attended between December 6th and February 12th, Ellie rated herself on preparedness, participation, effort, and receiving feedback from her tutor, who also signed off on her assessments.
The rehearsal focused on choreographing and fully learning the dance moves for "You're the One That I Want" from Grease. The choreography started out easy with sharp repetitive clicking movements done in unison. However, the dancer struggled with some of the partner work, doing the opposite foot and arm movements. Through multiple rehearsals, the timing and rhythm was improved but alignment issues meant the dancer was often blocked from the audience's view. The next target is to clean up the formation so all dancers are seen equally.
The rehearsal focused on learning the jive and hand jive dances for the musical Grease. The dancer first practiced the basic jive steps individually and with a partner to understand the energetic style. They then began learning the choreography for the "Hand Jive" number, picking up the simple steps quickly but struggling to jump while performing them. Overall, the target of accurately applying dance styles and being in time with the music was achieved, though practicing the partner sections was difficult without a real partner present.
This document summarizes a rehearsal for choreographing and practicing the song "Summer Nights" from the musical Grease. The rehearsal focused on incorporating accurate choreography, facial expressions, and characterization of the innocent character Sandy. While the rehearsal helped improve memorizing the choreography and linking it to lyrics, it was identified that more focus is needed on maintaining characterization and energy throughout the performance.
The rehearsal focused on learning the lyrics and melodies of "Summer Nights" and "You're the One That I Want" and adding harmonies. The singer worked on singing "Summer Nights" with strong high notes and learning backing vocals for "You're the One That I Want" with effective alto harmony. Feedback identified issues with posture, articulation, and final harmonies. Adjusting posture improved articulation and the singer came up with a solution for the high notes. By the end of rehearsal, the singer felt targets were achieved through practicing techniques like memorizing lyrics and considering harmony, articulation, and posture.
Grease Narrative and Introduction to CharacterEllie Greatorex
This document summarizes a rehearsal for abridging and performing an extract of the musical "Grease". The author's targets were to analyze the narrative, create an abridged version, and identify key character traits. Through workshops, the author embodied different characters, presented opening scenes, and helped reorder songs for the performance. Strengths included enthusiasm and work ethic, though being more sensitive to others could improve. The rehearsal helped the author learn skills like character projection that will be useful in their career.
The document outlines long term SMART targets for the individual in acting, dancing, singing, and professionalism. For acting, the targets are to improve characterization, facial expressions, and energy level. For dancing, the targets are to improve posture, movement style, alignment, and maintaining characterization while dancing. For singing, the targets are to improve sustaining higher notes and accuracy of backing vocals. For professionalism, the target is to improve empathy and allowing others to contribute ideas. The targets are meant to be achieved by February for a showcase performance.
This document contains a skills audit that assesses an individual's understanding and ability across various skills for musical theatre. It evaluates movement skills, vocal skills, musical theatre interpretive skills, character interpretation, physical skills, dance physical skills, musical theatre and singing skills, personal management skills, and any specialist skills. For each skill, the individual is rated on their level of understanding and ability as having no understanding/skill, some understanding/skill, good understanding/skill, or excellent understanding/skill.
Ellie was observed during a Grease character analysis workshop. The observer noted that Ellie always arrives on time and is ready to work, contributing positively during rehearsals. She focuses well and brings a positive attitude. Ellie takes feedback well and clearly improves from one rehearsal to the next. During this workshop, Ellie responded well to instructions and gave her full effort to developing the characters of Sandy and Rizzo from Grease. The observer commented that Ellie portrays these very different characters convincingly through her American accents, facial expressions, and ability to embody the innocence of Sandy and confidence of Rizzo. Ellie said she will continue her strong work ethic and receptiveness to feedback in
Ellie Greatorex contributed positively during rehearsals for the weekend performance. She displayed good stylized moments and great energy in certain scenes. However, the observer noted she could improve on enunciating breathy lines clearly and avoiding blocking others during dance formations. Overall her characterization as Rizzo showed brilliant facial expressions, though more ensemble energy could strengthen the final section of "You're the One That I Want."
The document summarizes a dance rehearsal for the musical number "Summer Nights" from Grease. The rehearsal focused on incorporating characterization and accurately performing the choreography while singing. The dancer worked to portray the innocent and energetic characteristics of the character Sandy. Though characterization was sometimes dropped to focus on dance moves and singing, linking lyrics and choreography helped improve both skills. While the dancer succeeded in memorizing the choreography, facial expressions and energy levels need more work in future rehearsals to fully achieve the rehearsal targets.
While the success of musicals does not always rely on a perfect integration of dance, music, and drama, many successful musicals throughout history have strengthened the blending of these three art forms. The development of musical theatre from the 1800s to today shows an increasing fusion of dance, music, and storytelling. Early musicals like operettas and minstrel shows incorporated some combination of these elements but did not fully integrate them. Later innovations like those in Show Boat and Oklahoma! created fully integrated musicals where dance, music, and drama work together to advance the narrative.
The document discusses rehearsing an abridged 20-minute version of the musical "Grease" and developing characters. It summarizes participating in a workshop to analyze character traits like Sandy's shy personality versus Rizzo's confident leadership. Scenes were blocked and songs like "Summer Nights" and "You're the One That I Want" were selected. The rehearsal demonstrated the author's enthusiasm and work ethic, though they could improve listening to others' ideas.
The rehearsal focused on learning the lyrics, melodies, harmonies and backing vocals for the songs "Summer Nights" and "You're the One that I Want" from the musical Grease. Feedback was provided on the singer's posture, articulation, and accuracy of harmonies when singing "Summer Nights". Changes were made to improve articulation and hitting high notes. For "You're the One that I Want", confidence with backing vocal entries was emphasized. The target of learning both songs thoroughly was met through applying techniques learned.
The document discusses a rehearsal for learning choreography for the Hand Jive dance number in Grease. It describes warming up and then learning the basic jive steps individually and with a partner. It details learning the choreography for the Hand Jive itself, which involves hand movements in time to the music. While the document summarizes picking up the choreography quickly, it notes struggling to perform jumps simultaneously with hand movements, as well as challenges practicing partner work without a partner present. The rehearsal helped further choreograph the Hand Jive, and applying the proper energetic jive style was identified as a strength.
The document summarizes a drama student's rehearsal for playing Sandy in a production of Grease. In the rehearsal, the student blocked the first scene, analyzed Sandy's character as a sweet Australian girl, and worked on portraying her American accent and relationships with other characters through proximity and body language. A strength was memorizing lines quickly, but weaknesses included the inability to do an Australian accent and clearly showing character relationships. The student's target of developing characterization and relationships was partially met, and they will focus on those areas more in the next rehearsal.
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Level 3 NCEA - NZ: A Nation In the Making 1872 - 1900 SML.pptHenry Hollis
The History of NZ 1870-1900.
Making of a Nation.
From the NZ Wars to Liberals,
Richard Seddon, George Grey,
Social Laboratory, New Zealand,
Confiscations, Kotahitanga, Kingitanga, Parliament, Suffrage, Repudiation, Economic Change, Agriculture, Gold Mining, Timber, Flax, Sheep, Dairying,
1. Unit 27 Musical Theatre - The success of a musical
relies upon the perfect formula and integration of
dance, music and drama. To what extent do you
agree with this statement?
WithinthisessayIwill be consideringif the successof a musical reliesupon the perfectformulaand
integrationof dance,musicanddrama.I will researchmanymusicalsandanalyse certainscenesthat
suggestforand againstthe statement.
The developmentof musical theatre hasseenthe integrationof dance,musicanddramastrengthen
overthe last century. Althoughthere appearstobe awinningformula,the genre hasproven that
anythinggoes! Theatre withinthe 1800s wascompletelydifferentfromtoday.Audienceswere
interestedinromanticballetasa dance formand dramas such as ‘The BlackCrook’and ‘BlackFace
Minstrel’shows.Evidentinthe 1800s Americawentthroughthe civil war,makingthese dramas
relevanttosocietyandthe pressures.
Theatre wasmore popularinbigcitieslike New Yorkdue totransport.However,theatre wasvery
provincial andonlyfewmembersof societywere exposedtoit.New Yorkrepeatedproductionsover
several weekswhichwasdone nowhereelse.Acrossthe Atlantictoanother popularcity,London
preferredMelodramas, Shakespeare,romanticballet andoperetta.These productionsweremainly
accessible tothe upperclassas there wasa huge social divisionwithinGreatBritain.
Drama was consideredtobe one of the most importantart formswithinthe 19th
century.One of the
firstlastingdramasof 1728 wasthe ‘Beggar’sOpera’.Thiswasverypopularas the writer,JohnGay,
changedthe lyricsto popularsongs to create a satirical performance;thiswastoreflectsocietyat
the time and mockedthe upperclass.Itwas one of the firstproductionsto have musicnumbersand
drama togetheralthoughtheydidnotnecessarilyintegrate.The ‘Beggar’sOpera’hashelped
influenceotherproductionstylessuchaspantomimes,andwaspopularinNew YorkandLondon.
‘Black-facedMinstrel shows’were verypopular inthe 1840s, ‘BlackFace Minstrel shows’were white
actors whoappliedblackface make upand performedtoaudiencesmockingAfricanAmericans, this
issignificantwithinsociety asitwasbefore the Civil War. The mockingof AfricanAmericanscould
have influencedwhythe splitof the statesoccurredandwhyblackslaverywasabolishedinsome
parts of the states. Withinthe performance the actorswoulduse singing,dancingandactingasa
varietyact.‘Black Face Minstrel Acts’survivedintothe 20th
centuryand developedNegro
performers,thiswasaway that theycouldgainacceptance intheirownright.Finally‘The Black
Crook’in1866 wasa melodramathatincludeddramaanddance.Howeverthiswasnot intended.A
balletgrouphadto join‘The Black Crook’as theirbuildinghadburntdowntherefore the fusionof a
melodramaanda balletperformance wasinevitable.‘The BlackCrook’castsaw itas an opportunity
to include balletdancersintheirinterval whentheysaw the audience gettingbored.Fromall the
productionsof the ‘Beggar’sOpera’,‘Minstrel shows’and‘The BlackCrook’createda basicformat in
whichstylessuchas: Burlesque,whichwasmainlytargetedatmenand broadcasta lot of sex,
2. Vaudevillewhichwasavarietyact for familyviewing andRevue knownasa multi-acttheatrical
entertainmentinwhichfemaleswouldwearelaboratecostumeswithsome female nudity. Asa
result,manyof these showswere successful withoutall three artforms,thereforedidnotrelyupon
a perfectformula.
The use of dance has changeddramaticallythroughoutthe yearsthroughmusical theatre. These
styleswere mainlyseenfirstin‘Minstrelshows’inthe 1840s. Hardshoe,the Shuffle andthe
Cakewalkare all stylesof dance thatbeganin the minstrel showsand were laterseenintapdancing.
These stylesmovedfrom‘MinstrelShows’todance halls.Althoughtapwasverypopularthere was
alsoanotherformof dance that was beginningtostart inmusicals.Thiswasfrom‘The Black Crook’
and the ballettroupe in1866. Thisbecame verypopularwithaudienceshoweverwasseenas
controversial asdancerswere wearingskincolouredcostumesandexposingtheirlegs.Thisisastyle
that influencedBurlesque.Atthe time of BurlesqueotherstylessuchasVaudeville were also
becomingpopularastheycreatedcertaindance moves.Forexample,the Foxtrot,the Tangoandthe
Waltz.These stylesrequireddance pairstherefore gave menthe opportunitytodance. George M
Cohanwas a Broadwayperformerwhoprovedmenwere able tocarry choreographyina
performance,andagaininfluencedmentobe performers.Asmenwere joiningtheatre another
dance style wasbeingcreated.The ‘Castle Walk’these styleswere mostlypolishedversionsof
AfricanAmericandances.A dance director, NedWayburn,whoworkedforthe biggestproducerof
Revue,Ziegfeld,introducedhisFrenchinfluences.Dancerswere putingeometricformationsand
kicklines.By1907 dance had come alongway andwas progressingbyFlorenzZiegfeld’s‘Follies’.The
‘Follies’representedthe Americandream, Ziegfeldalsostartedtoaddpolitical viewsinto
performances.Duringthe latteryearsof the ‘Follies’AlbertinaRaschbroughtinclassicallytrained
balleticaspectsintoherchoreography.She needed‘dancer’swithbrains’asshe believedthatdance
shouldbe takenseriously.Manyreferredtoheras a ‘choreographer’ratherthanthe usual ‘dance
director’.Raschhad made dance far more sophisticatedandtherefore developeddance inthe
industry.RaschinfluencedmanyotherchoreographerssuchasGeorge Balanchine;he wantedhis
dance movesto be pedestrianmovements,thisbegantoaddto the narrative of a show.By doing
thishe influencedmanyfuture choreographers.One of the choreographersthathe inspiredwas
AgnesDeMille.Herworkin‘Oklahoma!’provedthata narrative canbe toldthroughchoreography.
As a resultdance wouldneverbe the same withinamusical.She hadprovedthatdance wasjust as
importantinthe narrative as the otherart forms. Furthermore,realisingthatall three artforms
possiblycouldbe the keyelementtoamusical to make itsuccessful.
Operettawasa popularstyle thatstill contributestomusicalstoday.Operettaincludesbothart
formsmusicand drama. Operettaisdifferenttooperaasit isa lightheartedversionof operawitha
hintof comedyincluded;additionallythe emotionsare lessdramaticwithinanoperetta.One wayin
whichtheyare similaristhe vocal style.Bothoperettaandoperahave a vibratostyle sothat the
singersare able to singandact at the same time.Furthermore one of the mostfamousoperettasis
Gilbertand Sullivan’s Piratesof Penzance in1879. It isabout a youngpirate Frederic,who,having
completedhis21styear,is releasedonhisbirthdayfromhisshipof pirates.He meetsMabel,the
daughterof Major-General Stanley,andthe twoyoungpeople fallinstantlyinlove. The operettais
mostlyknownforitscomedysong‘Major General’ asit isverysuccessful andpopularbecause
includescertainelements thataudiencesfindentertaining.SimilarlytoJohnGay’s‘BeggarsOpera’
manycomedysongscreate a satirical atmosphere.There are manywaysinwhichit createsa
satirical atmosphere whichare:It isa patter songwhichmeanseachsyllable of textscorrespondsto
3. one note,itis entertainingasthe musicforthe songhas a fast tempo,thisappealstoaudience
memberssince the performer’sdeliveryof the songisextremelycomical asthe lyricsrhyme and
theyhave to keepupwiththe tempomeaningtheyspeedupthe deliveryof the song. Additionally,
the lyricsare mimickedbythe instrumentsthroughoutthe songadding tothe satirical atmosphere.
Furthermore,itclearlysatirises the ‘modern’ideaof the Britisharmyinthe 19th
century.Thisshifts
the moodfor the audience asthe musical becomeslighterandenjoyable.Thiscomedysongcontains
twoart formsmusicand drama.Referringbackto JohnGay’s ‘Beggarsopera’the songis well known
by audience membersasitisveryrepetitive,the same barsof musicand the chorus are repeated.
Comedysongsare effectivewithinamusical since itkeepsthe audience entertainedandlightensthe
mood. Piratesof Penzance doesnotrelyuponall three artformsas itis an operetta.However,itis
still successful due tothe twoart formsand the love storythroughout.
Showboatin1927 wasthe firsteverbookmusical,musicbyJerome Kernandbookandlyricsby
Oscar Hammerstein.The musical followsstagehandsanddockworkersonthe Cotton Blossomfor
over40 years.The premiere of ShowboatonBroadwaywasa phenomenal momentinthe historyof
musicals.Comparedtothe unrealisticoperettas,musical comediesandFolliesRevuesthatdefined
Broadwayinthe 1890s ShowboatchangedBroadwayin1927. Showboatwasknownto be the
greatestrevolutioninanAmericanmusical.Thiswasbecause itsuccessfullyintegrateddramaand
music.It wasdifferentasthe musical neededseriousdramaticskillstoevoke audience emotionand
spreada political message acrosstosociety.The characterswere three dimensional meaningthe
audience connectedwiththe performersforthe firsttime.Itissaidthat the firstperformance of
Showboat,the audience didnotclapastheywere speechlesstowhattheyhadjust watched.
HoweverShowboatisstill successfulinthe musical industrywhichshowsthe perfectformulaand
integrationof music,dance anddrama doesnotalwaysmake a successful musical.
OklahomaopenedonBroadwayasa musical in1943 and isknownto be the mostperfectly
integratedmusical of all time withall the three artforms.Oklahomatellsthe storyof twopairsof
lovers. LaureyandCurlyare inlove butJuddlikesLaurey.Tomake CurlyjealousLaureygoeswith
Judd(whoisa villain) butcurly winsherback.There isalsoa subplotabouta farmgirl namedAdo
Annie whoisengagedtoa cowboy(Will) butalsohasa crush on a peddlerman.AuntEllerisLaurey's
wise Auntwhohelpsherthroughthe way. Oklahomawascreated16 yearsafterShowboat andbuilt
on the innovationsof Showboatsuchasthe developmentof the ‘bookmusical’.Hammersteinwrote
the script andlyricsbefore Rogerswrote the musicmeaningthatthe narrative fora ‘formula
musical’wasevident,italsorepresentsthe Americandream. Oklahomawasextremelysuccessful
due to the fact it waswithinthe start of the goldenage for musicals,itwasa box-office smashand
ran for an unprecedented2,212 performances.Ithasa beginning,middle andend,andwasmost
successful due to AgnesDemile’s choreographyof the revolutionary‘dreamballet’. AgnesDemile
was inspiredbychoreographerGeorge Balanchinewhoaddedpedestrianmovementtohis
choreography. DemileencouragedthisandeventuallychoreographedOklahomatobe the first
musical thatdance advancedthe narrative. The ‘dreamballet’showsLaurey’sdreamof Judtaking
heraway fromCurly.The dream balletsequence existsmainlyforclarificationof Laurey’smind.It
foreshadowswhatJudwill do,andsymbolisesthatCurlyisthe one for her.Thisoccurs outside the
continuityof the production.Italsoprovidesthe opportunitytoimpressthe audience withadvanced
dancingtechniquesandelaborate stagingthatwouldotherwise be impossible ordramatically
inappropriate fordialogue.The sequence showninadreamlike fashion thatrepresents Laurey
cannot choose betweenthe twomencreatingatensionthatisshownthroughoutthe musical.As
4. statedbefore Oklahomawasknownasthe mostperfectlyintegratedmusical of all time withall the
three art forms.Dance is very importantwithinthe musical asitprogressesthe narrative andshows
distinctrelationshipsbetweencharacters.The musiccreatesthe atmosphere throughoutthe dream
balletdistinctlyseparatingJudwithharshminorkeysandcurlywithflowingmajorkeys. Oklahomais
verysuccessful asall the three art formsare equal andit followsthe perfectformula.Audiences
immediatelylovedthe musical andfell inlove withcharacters.Consequentlythismusical reliesupon
all three art formsand the perfectformula,whichmakesOklahomasuccessful.
Howevernotall musicalsthatfollowthisformulaandcontainall three artformsare successful,this
isevidentwiththe 1966 musical SweetCharity. SweetCharitywasdirectedandchoreographedby
Bob Fosse,thiswashisfirstmusical thathe took onthese tworoles. It’sabouta girl called Charity
whoworksas a taxi dancerin a sleazydance hall alongsidehertwobestfriends.Charitywantsmore
than anythingtobe loved.Aftereightyearsinthe business,Charitycomestothe realization thatshe
cannot meetdecentmeninherjob. SweetCharitywasunsuccessful andfinanciallyflopped because
it didnotfollowthe formulaof alove story.AudiencesbelievedthatSweetCharitywasfalling
behindasothermusicalsbegantotell a narrative andwas notshowcasedforpure entertainment.
Similarly toOklahoma,SweetCharityhasadance interlude that the audience didenjoy.However,
thisdance interlude isincludedforentertainmentpurposesnottoprogressthe narrative.Audiences
still enjoythe ‘RichMan’sFrug’ as the dance movementsreflecteachotherandthere are
improvisationoutbreaksthroughout.Richman’sFrugissplitintothree sections.The Aloof,The
HeavyweightandThe bigfinish. The Aloofistocreate humorand innovative movement.The
characters/dancerson stage are supposedtobe rich and show that theyare incapable of expressing
any emotionontheirfacesandreveal theirboredomthroughstylizedlegandarmmovements.The
Heavyweightistorepresentthe competitivenessinrichpeople’slifestyle. The final crouchingline
dance that leadsto a knockoutisa displayof coordination,strengthandendurance.The BigFinish
allowsthe charactersto letloose undergroupexpression.These sectionswithinthe Richman’sFrug
showcase Fosse’sstrengthinoriginal dance styles. Eventhoughthisincludesall three artforms,it
was still seenasafailure. Forthat reasonmusicalsdonothave to relyon all three art formsand the
perfectformulaastheycan still be a failure withinthe industry.
A bookmusical thatis verypopularandsuccessful isWestSide Storywhichwasfirstperformedin
1957. WestSide Storyisbasedon the Shakespeareantragedy‘RomeoandJuliette’.Itincludestwo
streetgangsthe Jets(Americans) andthe Sharks(PuertoRicans) thatfightforcontrol.The situation
becomescomplicatedwhenaJetfallsinlove withaPuertoRican.WestSide Storywas notonlya
financial successin1957 but italsochangedBroadwayfor manyyears after itran fora good 732
performances.JeromeRobbinschoreographedWestSide Story,Robbinswasinspiredbywatching
hissisterdance whenhe wasyoung.Robbinsusesdance stylessuchasSpanish,latin,jazzand
modernto portrayhisnarrative. Robbinsusedhisnarrative asa tool to focuson cultural problems
at the time;mainlyracismandgangfightingwithinAmerica. Thisappealedtoaudiencesasit
addressedproblemswithinsocietythatneededchanging.One aspectof the musical thatmany
audience membersappreciatedwasthe overture.Overturesare usuallyatthe start of a musical
performance andithas multiple purposes.Theyare tointroduce charactersand setthe scene or era
of the musical.The biggestpurpose of anoverture istoplay a seriesof tunesandmelodiesthatare
furtherdevelopedwithinthe musical.Thisismusicthatiscontinuouslyplayedbuthasrepeated
elements,presentingthe audience snippetsof musicthatwill be playedwithinthe musical.This
makesthe audience feelconfidentastheyfeel theyknowthe songastheyhave alreadyheardit
before.The overture isalsoaway forthe orchestra/bandtoshow theirmusical talentwithoutany
5. performersdistractingthe audience withaperformance. StephenSondheimwrote the lyricsand
LeonardBernsteinwrote the musictowestside story,withinthe overtureBernsteinexplores
differentstylesof musictorepresentbothstreetgangs.He fusestogetherJazz,Salsaandclassical.
As a resultthe instrumentsneededforWestSide Storyisa full orchestrawithstring,woodwind,
brass andpercussion.Thisintroducesthe charactersrelationshipsandtheirethnicbackgrounds.For
example,thereisarelationshipbetweenthe musicandchoreographythroughouttoportraythe
gang’sanimosityandsocial status.The Jetsdance to a major keywhereasthe Sharksdancedtoa
minorkeyshowingthe distinct separationbetweenbothgangs. Consequentlythe purpose of West
Side Story’soverture istogive the audience little snippetsof musicthattheywill encounter
throughoutthe musical andalsosetsthe musical withinNew Yorkasthe jazzelementsare played.
The overture justfocusesonmusic and yetisverypopularto an audience astheyenjoy hearingthe
little snippets.Asaresultamusical doesnothave to have all three art forms within anumberto
make it successful.
Grease was writtenin1971 and isa well-knownmusical throughitsmusical numbers.It’sa musical
aboutteensinlove inthe 50's! Dannyand Sandyare in love.Danny'sthe leaderof the T-Birds,while
Sandyhangs withthe PinkLadies.WhentheyclashatRydell'sfirstpeprally,Dannyisn'tthe same
Dannyfrom the beach.Theytry to be like eachotherso theycan be together. Grease isextremely
successful andranfor an amazing 3,388-performances onBroadway.Grease isverypopulardue to
itshighlyenergeticsongsanddancesbutalso itportraysthe rebelliouslife withinthe 1950s that
many people were attractedtoo. Thisisespeciallyshowninthe finale. The finale withinamusical is
one of the mostimportantaspectsof a musical.Thisisbecause itisthe lastthingthe audience will
see,therefore hastobe memorable,italsounitesthe casttogetherbringingeverythingtoa close.
Thisis evidentwithinGrease with‘We GoTogether’asitshowsthe characters have acceptedeach
otherand will alwaysbe friends.The musicisveryupbeatandhasa repetitive rhythmhence the
audience getup and dance. The finale withinGrease doesinclude all three artformswhichmakesit
effectiveaseachcast memberisable totake part.The dance withinafinale isusuallydone inunison
whichrepresentsthe unity of the charactersonstage.I thinkthe use of all the art formsare needed
withinthisnumberinorderforitto be successful.
Chicago1975 is renownedforitsbrilliantsonganddance numbersfromthe brilliantchoreographer
and directorBobFosse.Chicagoisabout nightclubsensationVelmamurdershersisterandhusband,
and Chicago'sslickestlawyer,BillyFlynn,issettodefendher.ButwhenRoxiealsowindsupin
prison,Billytakesonhercase as well turningherintoa star. Neitherwomanwill be outdoneintheir
fightagainsteachotherfor fame. SimilarlytoFosse’sfirstattemptatSweetCharityasdirectorand
choreographer, Chicagowasnota box office successwithinthe 1970s due to Fosse’sdarkand
cynical approach. The audience feltthiswastoohard hittingandwasconsideredtohave toomuch
sexual exploitationatthe time.Itwasn’tuntil 1987 whenpeople realisedthatChicagowasrelevant
to society,asfame wasmore attractive toAmericanpeople andsexual acts became more
acceptable.Chicagowastremendouslysuccessfulbeingone of the longestrunningrevival musicals
inBroadwayand havingplayedits7,486th performance onNovember23,2014 is still verypopular
today. A duetthat audiencesenjoywithinChicagois‘HotHoneyRag’. The duet‘Hot HoneyRag’ isa
significantduetasitshowshowthe relationshipof the womenhasdevelopedthroughoutthe
musical. More or lessthroughoutthe duet‘HotHoneyRag’VelmaandRoxie dance inunison,
demonstratingthe relationshipbetweenthemisunitedastheyhave achievedthe fame andfortune
theybothrequired.Toaudiencesthisisentertainingastheyare performingtheirfinal performance
withthe dreamtheyboth achieved.Againall threeartformsare includedwithinthisduet.However,
6. thisisbecause the twowomenwantedtoperformconsequentlyitisessential forthisduettohave
all three art formsinvolved. Duetscanbe successful inmanyways,neverthelesstheydon’talways
have to include all three artforms as it can ruinthe message behind the duetatcertaintimes.For
example all three artformswouldnotbe includedin‘Iknow himsowell’fromChess(1986) as ithas
an importantmessage toanothercharacter.Generallyduetsworkwellwhethertheyinclude all
three art formsor not.
SweenyToddamusical thrillerwasfirstpremieredin1979. Knownas one of the darkestmusicals
everwritten, Sweeney Todd isanunsettlingtrue storyof a Victorian-erabarberwhoreturnshome to
Londonafterfifteenyears of exile totake revenge onthe corruptjudge whoruinedhislife.When
revenge eludeshim, Sweeneyswearsvengeance onthe entire humanrace,murderingasmany
people ashe can, while hisbusinessassociateMrs.Lovettbakesthe bodiesintomeatpiesand sells
themto the unsuspectingpublic.It’sbeensuccessfulwithmanycrowdsstanding 557 performances
on Broadway. SweeneyTodd’sovertureservesadifferentpurpose tothe audience incontrastto
WestSide Story’s. StephenSondheimwrote the musicforSweenyTodd(wrote lyricsforWestSide
Story) and washeavyinfluencedbyancientmusicthatexistedthousandsof yearsago.Sondheim
thoughtthat he wouldinclude somethingveryoldmusictomake somethingnew tothe modernear.
The purpose of SweeneyTodd’sovertureistosetthe scene,itdoesnot playmusicthat will be
playedthroughoutthe musical.The overture isverypeculiarandincludesalotof dissonance to
create a shrillingatmosphere forthe audience members.The differencesbetweenbothof these
chosenoverturesiswhatmakesthemsosuccessful.WestSide Story’soverture hassnippetsof
musicthat playsthroughoutthe musical andhasa veryupbeatedge tothe music,resultinginthe
audience enjoyingthe music.Whereas,SweeneyToddusesmusicfromthousandsof yearsago
whichissomethingnewtomoderndaymusicmeaningthe audience relishsomethingnew andgeta
thrill fromthe effectthe musicbringscreatingthe darkatmosphere.Overall,overturesare very
successful withinamusical astheygive an audience confidencethattheyknow the musicwithinthe
musical andalsosetsthe atmosphere forthe musical.AnothernumberSweeneyToddisknownfor
isthe chorusnumber‘SweeneyTodd’.ThischorusnumberintroducesSweeneyToddandinforms
the audience thathe is a serial killerinFleetStreet.‘SweeneyTodd’createsadisturbingatmosphere
that iskeptthroughoutthe musical,asthe musicadds tension.The songdoescontainall three art
forms,there issimple choreographytorepresenthow FleetStreetisterrifiedof SweenyTodd,the
musicand the harmoniessome performerssingcreate dissonance causingnotestoclashresultingin
a shrillingeffect. Chorusnumbersare effective asthe atmosphereisset,audiencesgainvaluable
information aboutcharactersandcast membersare able to show theirvocal ability.
Les Miserablesisknowntobe the longestrunningmusical inthe historyof musicals.The musical is
sungthrough andopenedin1985. Les Miserablesis basedonthe novel byVictorHugo,'Les
Miserables'travelswithaprisoner-on-parole,JeanValjean,ashe runsfromInspectorJaverton a
journeybeyondthe barricades.Meanwhile,the life of aworkingclassgirl withachildis at turning
pointas she turnsto prostitutiontopaymoney to the innkeeperandhiswife wholookafterher
child,Cosette. LesMiserablesisaworldwide success The Londonproductionof LesMiserablesisthe
world’slongestrunningmusical whereitplayed7,602 performances,ithasbeenperformedin44
countriesandover349 cities.Itisalsoknownin22 languages.LesMiserablesisrenownedforits
brilliantsolosandshowstoppers.Solosare includedtoevoke audience’smember’semotionsand
give informationaboutacharacter,eithertheirpastor how theyare feelinginthat moment.‘I
Dreameda Dream’isthe solowithinLesMiserablesthatmostaudience membersfindoutstanding.
7. It issuch a powerful solowhichcausesmanyaudiencememberstocry.The role of thissolois to
portray the characters emotions,thoughtsandintentions,ittellsthe audience whatacharacter
wants. The performer’sdeliveryof the songis importantas theyhave to connectwiththe audience
and evoke emotions. Inadditionthe soloshowsthe audience the performer’stechnical abilityto
singand create a memorable songforthe audience toremember.Thissoloismainlysungstanding
inone spot, thisiswhatmakesit successful.The mainreasonFantine wouldbe stoodstill istoshow
the audience thatshe isreflectingoverher life andwantsthe bestforherchild.Thisplaysonheart
stringsforthe audience whoare focussedpurelyonheras there are no otherdistractions.‘I
Dreameda Dream’isthat successful itisknownworldwide.Anadditional songinLesMiserablesisa
comedysong‘Master of the House’.The purpose of thiscomedysongis to lightenthe moodfrom
the fatal incidentsthathave previouslyhappenedwithinthe musical.The songincludes twoart
forms,musicand drama,whichhelpsshow thatthe comedysongsatirises the lowerclass,criminals
and alcoholicswithinthe FrenchRevolution.Itisperfectlyblocked withmovementsothatcuesand
effectshappenatcertaintimes.Thismakescomedysongseffective asthe audience don’texpect
some thingstohappen. Comedysongsare effective withinamusical since itkeepsthe audience
entertainedandlightensthe mood. Finally,asongthat bringsaudience totheirfeetwithastanding
ovationisthe showstopper‘One DayMore’. A showstopperisastand outnumberwhich can often
'stop a show'because the audience applaudsomuch. ‘One dayMore’ includeselementsfromthe
showthat have alreadybeenperformed.ItreflectsJohnGay’s‘Beggarsopera’ideaof repetitive
music,whichimmediatelyinterestsanaudience. ‘One dayMore’ startswithsolosfromperformers
givingita softdynamic,the dynamicslightlyincreaseswhenduetsare introducedaddingharmony
for effect.Thisappliestothe musical instrumentsaswell andare gentlyintroducedasthe song
progresses.The songismade of layersand eachlayerisaddeduntil eventuallyeverychorusmember
and everyinstrumentisbeingplayedorare singingtocreate a strongdramatic ending and
crescendo.‘One daymore’isperformedatthe endof act one leavingaudience membersspeechless
for the interval.Withinthisshowstopperonlymusicanddrama isused,howeverisstill extremely
successful withoutdance asthe musicand lyricsare sopowerful. Overall,LesMisisextremely
successful butdoesnotcontainall three art forms,yetisone of the world’sfamousmusical.Thisis
due to the talentof the songsandthe emotionthe actorsportray.As a resultnotall musicalsneed
to followthe perfectformulainordertobe successful.
AnotherBritishMusical,PhantomOf The opera,1986, isa musical thattellsthe storyof a phantom
in hishideoutbeneatha19th centuryoperahouse,whoschemestogetcloserto vocalistChristine
The Phantom,wearingamask to hide a congenital disfigurement,strong-armsmanagementinto
givingthe buddingstarletkeyroles,butChristineinstead fallsforartsbenefactorRaoul, atthe
notionof herabsence,the Phantomenactsa planto keepChristine byhisside,whileRaoul triesto
foil the scheme. Phantomwas,andstill is successfulandcelebratedits 10,000th performance on
23rd October2010. WithinPhantomof the operathere are variousnumbersthataudience members
come to see,one of these isthe solo‘Music of the Night’. ‘Musicof the Night’showsthe performers
technical abilityto singandcreatesa memorable song. The blockingcorrespondstothe lyricsasthe
PhantomisshowingChristinewhere everythingis. The performerdeliversstrongemotionsduring
the song and needsgreatvocal abilitytocarry the solothrough. Solosare successful due tothe
simple facttheyfocusonone character, bringingthe audience andthe characterto connectas solos
are usuallypersonal.Theyare the mainsongswithinamusical whichcomposerswishtoexist
outside the musical asstandalone hits,whichhashappenedtobothof these solos. The other
numberisthe showstopper‘Phantomof the opera’ thisisdifferentto‘One DayMore’ as it doesnot
include achorus,the main reasonthisisa show stopperisthe musicisbuiltupthroughoutthe song
and the performersconstantlysingwithkeychangesmakingitoverwhelmingtothe audience.One
8. aspectof thissongthat audience memberslove isthe endnote of the song,the performerisable to
showtheirvocal range.‘Phantomof the opera’doesnot include all three artformsandis viewedas
one the most successful showstoppersdue tothe music.Therefore withinamusical ashowstopper
doesnotneedto include all three artformsto be successful asLesMiserables‘One daymore’isone
of the greatestshowstoppersof all time. AsaresultPhantomOf The Operais a good musical that
showsthat notall musicalsneedall three artformsto become verysuccessful.
Rentis a rock musical thatopenedonBroadwayin1996. It tellsthe storyof a groupof impoverished
youngartistsstrugglingtosurvive andcreate a life in New YorkCity.The musical dealswithavariety
of themessuchashomelessness,drugaddiction,love,sexuality,disease,anddeath.Itsuccesswas
shownthrougha 12-year run of 5,123 performancesonBroadway.The mostknownsongfromrent
is‘Seasonsof Love’whichisa chorus number. Chorusnumbersare importantwithinamusical asitis
to entertainandinformthe audience.The role of a chorusnumbercan vary as itcan introduce new
characters,it can setthe moodor emotionandcan give the audience information.Mostmusicals
include achorus numberasan introductiontothe musical or as a finale. Chorusnumbers are
exceptionallylikedbyaudiencesasthe bandplaya more complex pieceof music,harmonyis
includedwithinthe songandthere isa buildupof voicesthatcreate a climax withinthe chorus
number.Inaddition,performersare giventhe chance toshow the audience theirvocal abilityto
perform.‘Seasonsof Love’isperformedsothataudience memberscanconnectwiththe characters
and sympathise.The entire castof fifteenstandacrossadarkenedstage ina row throughoutthe
song.Thischorus numberdoesnotinclude all three artformsand does notprogressthe narrative.
The cast membersdonotdance withinthispiece atall.Howeverthischorusnumberisstill
successful withinthe musical asthe performersaddressthe audience outsideof the storyline,
asking,"Howdo youmeasure a year?"In otherwords,whatisimportant inyour life thatyouuse to
count the days?The answertheygive isto'measure yourlife inlove.'Itisa directmessage of the
play,remindingthe audience tokeepthe thoughtinmindtolive eachmomenttothe fullest.Asa
resultthe audience connectswiththe charactersandappreciate the lyricscreatingasuccessful
chorus numberwithoutall three artforms.
A smashhitmusical is1999 The LionKingbasedon the 1994 animatedDisneyfilm. Thismusical
changedBroadwayas it was completelynew andoriginal,the use of puppetrywasextremely
excitingandappealedtothe public.Itfollowsthe adventuresof the younglionSimba,the heirof his
father,Mufasa.Simba'swickeduncle,Scar,plotstousurpMufasa's throne by luringfatherandson
intoa stampede of wildebeests.ButSimbaescapes,andonlyMufasaiskilled.Simbareturnsasan
adultto take back hishomelandfromScar withthe help of hisfriendsTimonandPumbaa.The Lion
kingisconsideredone of the mostsuccessful musicalsonBroadwayas itis still runningaftermore
than 6,700 performancesanditis Broadway'sthirdlongest-runningshow inhistoryandthe highest
grossingBroadwayproductionof all time,havinggrossedmore than$1 billion. A scene withinLion
Kingthat audience members fall inlove withisSimbaandNala’slove scene shownthroughaduet
‘Can you feel the Love Tonight’.A duetisa songor dance fortwo performersinwhichtheyhave
equal importance tothe piece.Itdiffersfromharmonyasthe performerstake turnsperforminga
solosectionratherthanperformingsimultaneously. Duetsare usedformanyreasonswithina
musical,some are to showhowtwocharacters feel abouteachother,othersare sharingadvice on
whatother charactersshoulddoin theirlivesorsome duetsare includedpurelyforentertainment.
Audiencesimmediatelyloved The LionKingasitstandsfor Africanrhythms,tribal rhythmsandwas
completelyauthentic.Manycriticslovedthe plotandembracedthatNala servesahighpurpose of
puttingeverythingrightwithinthe musical,the factitwasa womanand nota manmeantit spoke
for womenaroundthe world.Anothergroupof people whoembracedthe musical wasAfricans.The
LionKingwas a productionthatwas purelybasedonthe importance of Africa.Therefore African
9. performerswere able tohave spotlightinperforming andfeel proud.The importance of the duet
withinLionKingistoexpresshowNalaandSimbafeel abouteachother,ithas plentyof significance
as it isseenas a betterwayto express feelingswithoutdialogue andalsoprogressesthe narrative.
The duetshowstheirinnerthoughtsina dreamlike waygivingthe duetaromanticeffect.Thisis
reflectedinthe parallelmotionthe twocharactersmove intogethertorepresenttheirlove.The
duetwouldnotworkif it didnot have all three art formsequal.The dancingwithinthisduetnotonly
representsNalaandSimba’slove buttheiranimal characteristics,andthe lyricsshow theirthoughts
on howtheyfeel foreachother.Thiscreatesa lightheartedatmosphere forthe audiencewhoenjoy
to watch the love of Nalaand Simbaflourish.
Hairspraycame to Broadwayin2003 and issuccessful asit raisesissuesthatneededtobe raised
withinsociety.In 1960s Baltimore,dance-lovingteenTracy Turnbladauditionsforaspoton "The
CornyCollinsShow"andwins.She becomesanovernightcelebrity,atrendsetterindance,funand
fashion.Hernewstatusas a teensensationisenoughtotopple Corny'sreigningdance queenand
bringracial integrationtothe show.Hairsprayranfor 2,642 performances.Audience memberslove
the storyline behindHairsprayandlove tosee the finale asitdenouementsthe musical.The finaleis
‘You Can’tStopThe Beat’ thisfinale showshow racismisnota probleminBaltimore atthe endof
the musical.Itincludesall three artforms,isupbeatand createsa happyatmosphere forthe
audience toleave with.Thisiswhatappealstoanaudience withintoday’ssociety,audience’slove a
happyunitedending. The composer’s/director’sideaof afinale istobe one of the biggestnumbers
withinanymusical asit isthe last thingthe audience memberswill see,therefore itiseffectiveforall
three art formsto be includedtosignifyeveryonegetsalongatthe end. Thisfinale showshow
everyone isacceptedandgetsthe moral message outtopublicthat everyone isequal and
important. A finale ismainlysuccessful withinamusical if itusesall three artforms
Overall,there isno winningformulaforamusical and the integrationof all three artformsdo not
have to be equal.Each musical reliesuponthe contentshowntothe audience andthe waythe
audience respond.Manyaudiencesgoforthe entertainmentpurpose of amusical and thoroughly
enjoytheirexperience.
In myopinion,amusical doesnothave to have all three art formsequal to be successful.Ipersonally
enjoymusicalsthatare sungthrough.This isbecause Iam a singerandprefertoembrace vocal
elementswithin amusical.Myfavourite musical isHamilton.Thisappealstome because Iam
immersedinLinManuel’sabilitytowrite,directandperformsuchanincredible musical.Itisa
conceptmusical thatdelvesintothe life of AlexanderHamiltonwhohashighand low points
throughouthislife,thisbringssomanyemotionssuchaslaughter,sadnessandlove tothe audience.
It isrevolutionaryinthe fact that itincorporatesrapand hiphop intothe musicand choreography.
Thisis a new,inventive musical thatkeepsthe youngergenerationsinterestedinmusical theatre
and history. Eventhoughthe choreographyisphenomenal,Ipersonallybelieve thatif itwasto be
removeditwouldstill sustainthe successithastoday,due to the musical anddrama aspects
immersingaudience members.