American Musical Theatre: No Business Like It
On page 152 of Celebrate Theory: ARCT History there is a short list of recommended books to prepare for the Independent Study Essay on musical theatre, jazz, or technology in music. The first book on the list is A History of the American Musical Theatre by Nathan Hurwitz (published in 2014). I was able to borrow a copy of this book from the Toronto Public Library. It's interesting to compare it to the other book about musical theatre on the list, Musical Theatre: A History by John Kenrick (second edition published in 2017).
Photo by Sudan Ouyang on Unsplash
Hurwitz's book is shorter, but it's packed with information. I appreciated the chapter summary, notes, and suggestions for further reading at the end of each chapter. The bibliography at the end of the book is also organized by chapter, which is helpful.
In some ways, Hurwitz's writing is more impartial than Kenrick's – fewer snarky comments – but he frequently provides quotes from critics' reviews (especially from The New York Times), and these are entertaining reading. For example, he quotes Ben Brantley's New York Times review of Mamma Mia! (which opened in New York a little over a month after the horrific events of 9/11/2001):
“When the going gets tough, the tough want cupcakes...As long as what's consumed is smooth, sticky, and slightly synthetic-tasting, it should have the right calming effect, transporting the eater to a safe, happy yesterday that probably never existed. Those in need of such solace – and who doesn't that include in New York these days? – will be glad to learn that a giant singing Hostess cupcake opened at the Winter Garden Theatre last night.”*
The subtitle of the book is “No business like it”. He does indeed focus on the business aspect of musical theatre, placing it in the context of the social and economic realities of the times. On page 11, he writes, “The evolution of the American musical theatre is market-driven. No matter how world events shift, or the demands of the marketplace change, the musical theatre always adapts to provide something relevant, something salable.”
This book, as its title tells us, is specifically about American musical theatre, so there is much less information about English and European operettas and musicals, aside from those that came to Broadway and were successful on this side of the Atlantic (such as HMS Pinafore and The Merry Widow).
I was interested to read about three sub-genres of musicals that emerged in the early 20th century:
“Cinderella” musicals: a rags-to-riches story in which the poor immigrant girl succeeds and marries a rich man (e.g. Irene, 1919)
“Leisure-time” musicals: plots set in the world of sports and leisure-time activities, such as the race track (Honey Girl, 1920), golf course (Kid Boots, 1923), boxing arena (Hold Everything, 1928), bicycle race (The Girl Friend, 1926), college football (Good News, 1927)
“Backstage” musicals: stories of chorus girls who step in for ailing stars and become stars themselves (e.g. The Girl in the Spotlight, 1920)
Which book should you use to prepare for the essay question on the history of musical theatre?
Well, ideally, you could read both. Both books cover a lot of the same material and provide the same definitions of various types of musicals. But they focus on different aspects, and often discuss different musicals. Both books give a good overview of musical theatre, its history, and its creators.
Kenrick's book provides more information about the evolution of musical theatre, especially its roots in European operetta. He also provides clear definitions of musical theatre and its principal components; Hurwitz gives us these definitions, too, but they are more embedded in the text.
Both books give some information about the musical theatre composers listed on page 150 of Celebrate Theory: ARCT History. Both books have a fair description of Oklahoma! and Show Boat. Kenrick's book devotes an entire chapter to My Fair Lady. But, really, for the part of the essay in which you need to give a detailed description of two musicals, you're better off researching them online and in books dedicated to the specific composers and musicals. A textbook on musical theatre in general is going to discuss all aspects of the genre, including lyrics/libretto, choreography, direction, and production; for the purposes of a music history examination, you need to focus a bit more on the music, including the composer's style and a detailed discussion of at least one specific musical number from the show. Try to watch a production of the musical, if you can. You can find all sorts of things online, and many libraries have DVDs of musical productions; you might even be able to borrow a score.
Unfortunately, attending a live performance isn't possible during the Covid-19 pandemic. I found it somewhat reassuring to read the following:
“In 1593 the playhouses were closed because of the bubonic plague. They were closed for a year again in 1596 and again in 1603.” (Hurwitz, page 7)
“As World War I entered its final months, a deadly influenza pandemic swept the world. An early outbreak in Spain led Americans to label it the 'Spanish Flu.'...Local leaders did what they could. Church services were cancelled, schools shut down...Theatres were either urged or ordered to close. New York City allowed Broadway theatres to stay open, but few people were willing to risk their lives for an evening's entertainment.” (Kenrick, page 136)
Why reassuring? Because these pandemics ended, and life went on. We will get through this pandemic; musical theatre will survive in one form or another. Let's all hang in there and do whatever we can to stay safe.
Here are links to the songs which are recommended listening for the independent study essay on musical theatre:
“My Favorite Things” from The Sound of Music
“Bring Him Home” from Les Misérables
And just for fun: “Give My Regards to Broadway” by George M. Cohan (Little Johnny Jones, 1904; sung by Billy Murray, 1905)
*Ben Brantley, “Theatre Review: Mom Had a Trio (and a Band, Too),” The New York Times, October 19, 2001; quoted on page 237 of A History of the American Musical Theatre.