{"title":"Introduction to the Special Section","authors":"B. Herrera","doi":"10.1386/smt_00078_2","DOIUrl":"https://doi.org/10.1386/smt_00078_2","url":null,"abstract":"","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42920805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Bernstein and Robbins: The Early Ballets, Sophie Redfern (2021)Rochester, NY: The University of Rochester Press, 293 pp.,ISBN 978-1-64825-005-7, h/bk, USD $99.00
{"title":"Bernstein and Robbins: The Early Ballets, Sophie Redfern (2021)","authors":"K. Gardner","doi":"10.1386/smt_00067_5","DOIUrl":"https://doi.org/10.1386/smt_00067_5","url":null,"abstract":"Review of: Bernstein and Robbins: The Early Ballets, Sophie Redfern (2021)Rochester, NY: The University of Rochester Press, 293 pp.,ISBN 978-1-64825-005-7, h/bk, USD $99.00","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43747328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Inspired by New York City Center’s Encores! programme, we came together as a music director and stage director to develop a new college programme focused on producing rarely heard musicals. As faculty members, we select a little-known musical and research basic production history to provide a launchpad for hands-on learning for students. Our process involves examining a show’s production history, exploring the story and score in their original historical milieu, and mounting a workshop production. Given the many forgotten musical theatre pieces, this act of excavation is possible for any college musical theatre programme, including those with limited resources. In this article, we share our approach and process, connecting strategies and tactics to experiential learning, and reflect on challenges encountered and opportunities discovered during our workshop production of Richard Maltby, Jr and David Shire’s The Sap of Life, a show that spent several months Off-Broadway in 1961 and then disappeared into the composer’s closet for the next 54 years. For The Sap of Life, we seized the opportunity to offer our students the experience of working and learning directly from Maltby and Shire, who visited campus as guest artists. Our excavation process provides the opportunity for students and professors alike to learn more about how a musical is developed, written, honed and ultimately produced on the stage.
灵感来自纽约市中心的安可！节目中，我们作为音乐总监和舞台总监共同开发了一个新的大学节目，专注于制作很少听到的音乐剧。作为教员，我们选择了一个鲜为人知的音乐和研究基础制作史，为学生提供动手学习的跳板。我们的过程包括检查一部剧的制作历史，在其原始历史环境中探索故事和配乐，以及进行车间制作。考虑到许多被遗忘的音乐剧作品，这种挖掘行为对于任何大学音乐剧项目来说都是可能的，包括那些资源有限的项目。在这篇文章中，我们分享了我们的方法和过程，将策略和策略与体验式学习联系起来，并反思了在我们的工作室制作小理查德·马尔比和大卫·夏尔的《生命的源泉》期间遇到的挑战和发现的机会，这部剧于1961年在百老汇外度过了几个月，然后在接下来的54年里消失在作曲家的壁橱里。对于The Sap of Life，我们抓住机会，直接向Maltby和Shire为学生提供工作和学习的体验，他们作为客座艺术家访问了校园。我们的发掘过程为学生和教授提供了机会，让他们更多地了解音乐剧是如何在舞台上发展、创作、磨练和最终制作的。
{"title":"Voices from the past: Reviving a rarely heard musical on a college campus","authors":"Amanda J. Nelson, Richard Masters","doi":"10.1386/smt_00061_1","DOIUrl":"https://doi.org/10.1386/smt_00061_1","url":null,"abstract":"Inspired by New York City Center’s Encores! programme, we came together as a music director and stage director to develop a new college programme focused on producing rarely heard musicals. As faculty members, we select a little-known musical and research basic production history\u0000 to provide a launchpad for hands-on learning for students. Our process involves examining a show’s production history, exploring the story and score in their original historical milieu, and mounting a workshop production. Given the many forgotten musical theatre pieces, this act of excavation\u0000 is possible for any college musical theatre programme, including those with limited resources. In this article, we share our approach and process, connecting strategies and tactics to experiential learning, and reflect on challenges encountered and opportunities discovered during our workshop\u0000 production of Richard Maltby, Jr and David Shire’s The Sap of Life, a show that spent several months Off-Broadway in 1961 and then disappeared into the composer’s closet for the next 54 years. For The Sap of Life, we seized the opportunity to offer our students the\u0000 experience of working and learning directly from Maltby and Shire, who visited campus as guest artists. Our excavation process provides the opportunity for students and professors alike to learn more about how a musical is developed, written, honed and ultimately produced on the stage.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42788425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Victorians on Broadway: Literature, Adaptation, and the Modern American Musical, Sharon Aronofsky Weltman (2020)Charlottesville and London: University of Virginia Press, 338 pp.,ISBN 978-0-81394-431-9, h/bk, USD $75.00
{"title":"Victorians on Broadway: Literature, Adaptation, and the Modern American Musical, Sharon Aronofsky Weltman (2020)","authors":"Peter C. Kunze","doi":"10.1386/smt_00068_5","DOIUrl":"https://doi.org/10.1386/smt_00068_5","url":null,"abstract":"Review of: Victorians on Broadway: Literature, Adaptation, and the Modern American Musical, Sharon Aronofsky Weltman (2020)Charlottesville and London: University of Virginia Press, 338 pp.,ISBN 978-0-81394-431-9, h/bk, USD $75.00","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44995594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editorial","authors":"Elizabeth Wollman, J. Sternfeld","doi":"10.1386/smt_00059_2","DOIUrl":"https://doi.org/10.1386/smt_00059_2","url":null,"abstract":"","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44877531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Drawing on studies of fan participation, labour and parasociality, this article explores the continuing diversification of musical theatre fandom via social media and the interactive ways in which productions harness fan engagement. The analysis focuses on Dear Evan Hansen (2016) as a musical that depicts emotionally vulnerable teenagers and exploitative online communication, notions that are also often reflected in how fans interact with the show. Fan-generated content is regularly recycled as marketing material, and even as merchandise, that is used to sell the production. Similarly, the musical’s producers and marketing team frequently invite interaction around the musical’s core mantra, ‘You Will Be Found’. These interactions can benefit fans by potentially eliciting feelings of social inclusion that may be experienced as empowering. However, this practice can also be interpreted as equally as ethically dubious as some of the musical’s narrative content, given that fans are ultimately providing free advertising for a commercial musical.
{"title":"#YouWillBeFound: Participatory fandom, social media marketing and Dear Evan Hansen","authors":"Adam Rush","doi":"10.1386/smt_00063_1","DOIUrl":"https://doi.org/10.1386/smt_00063_1","url":null,"abstract":"Drawing on studies of fan participation, labour and parasociality, this article explores the continuing diversification of musical theatre fandom via social media and the interactive ways in which productions harness fan engagement. The analysis focuses on Dear Evan Hansen (2016)\u0000 as a musical that depicts emotionally vulnerable teenagers and exploitative online communication, notions that are also often reflected in how fans interact with the show. Fan-generated content is regularly recycled as marketing material, and even as merchandise, that is used to sell the production.\u0000 Similarly, the musical’s producers and marketing team frequently invite interaction around the musical’s core mantra, ‘You Will Be Found’. These interactions can benefit fans by potentially eliciting feelings of social inclusion that may be experienced as empowering.\u0000 However, this practice can also be interpreted as equally as ethically dubious as some of the musical’s narrative content, given that fans are ultimately providing free advertising for a commercial musical.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47247088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article reconsiders the importance of Sidney Lumet’s film adaption of The Wiz, which was panned on release and deemed a commercial failure. Despite this, the film has always been cherished by the African American community. I examine why this is, by analysing the film's relationship to blaxploitation, its production and reception history, and some of the film’s scenes. Finally, I consider its legacy and its meaning for later generations.
{"title":"‘Doomed as cartoons forever’: Subjection and liberation in Sidney Lumet’s The Wiz","authors":"Destiny Salter","doi":"10.1386/smt_00064_1","DOIUrl":"https://doi.org/10.1386/smt_00064_1","url":null,"abstract":"This article reconsiders the importance of Sidney Lumet’s film adaption of The Wiz, which was panned on release and deemed a commercial failure. Despite this, the film has always been cherished by the African American community. I examine why this is, by analysing the film's\u0000 relationship to blaxploitation, its production and reception history, and some of the film’s scenes. Finally, I consider its legacy and its meaning for later generations.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47869809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Ratatouille: The TikTok Musical, TikTok Creators, directed by Lucy Moss (2020)Benefit Concert for the Actor’s Fund, TodayTix, 1 January 2021
{"title":"Ratatouille: The TikTok Musical, TikTok Creators, directed by Lucy Moss (2020)","authors":"Trevor Boffone","doi":"10.1386/smt_00066_5","DOIUrl":"https://doi.org/10.1386/smt_00066_5","url":null,"abstract":"Review of: Ratatouille: The TikTok Musical, TikTok Creators, directed by Lucy Moss (2020)Benefit Concert for the Actor’s Fund, TodayTix, 1 January 2021","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43477658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores how Stephen Sondheim and James Lapine’s Sunday in the Park with George conveys Seurat’s scientific influences, how the show’s Chromolume engages with Seurat and his modernist legacy, and how the 1984 and 2017 Chromolume designs reflect Seurat’s work and legacy. Using original oral history interviews, this article compares the 1984 and 2017 Broadway Chromolume designs to explore how production decisions inform the show’s engagement with pointillism, Seurat and colour theory. By analysing Sunday, this article sets out to provide a case study highlighting how science and technology inform and influence the book, music and theatrical design of a major American musical.
本文探讨了斯蒂芬·桑德海姆(Stephen Sondheim)和詹姆斯·拉平(James Lapine)的《星期日与乔治在公园》(Sunday in the Park with George)如何传达修拉的科学影响，展览的Chromolume如何与修拉及其现代主义遗产相结合，以及1984年和2017年的Chromolume设计如何反映修拉的工作和遗产。本文利用原始的口述历史访谈，比较了1984年和2017年百老汇《色彩集》的设计，以探索制作决策如何影响该剧与点彩主义、修拉和色彩理论的结合。通过对《星期日》的分析，本文旨在提供一个案例研究，突出科学技术如何影响和影响一部美国主要音乐剧的剧本、音乐和戏剧设计。
{"title":"Colour and light: Colour theory and mechanization in Sunday in the Park with George’s Chromolume","authors":"Jeffrey Rubel","doi":"10.1386/smt_00062_1","DOIUrl":"https://doi.org/10.1386/smt_00062_1","url":null,"abstract":"This article explores how Stephen Sondheim and James Lapine’s Sunday in the Park with George conveys Seurat’s scientific influences, how the show’s Chromolume engages with Seurat and his modernist legacy, and how the 1984 and 2017 Chromolume designs reflect\u0000 Seurat’s work and legacy. Using original oral history interviews, this article compares the 1984 and 2017 Broadway Chromolume designs to explore how production decisions inform the show’s engagement with pointillism, Seurat and colour theory. By analysing Sunday, this article\u0000 sets out to provide a case study highlighting how science and technology inform and influence the book, music and theatrical design of a major American musical.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43051659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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