Changes in Musical Theatre
What would you say if I told you that musical theatre is a dying art? I'm sure you would agree, and say "yeah, but I don't really watch musicals anyways, so whatever." Contrary wise, you could also respond with "No, it's not! I'm going to watch that Les Miz movie, or whatever in December!" And however educated or uneducated you are on the subject, it can be debated both ways. I pray that it is not a dying art, and fortunately, I have reason to believe that it is not. This is because as the culture aroundus changes, so does "musical theatre." If it as an industry is a living, breathing organism, much like the U.S. Constitution, then it is molded to fit out wants today as far as entertainment is concerned.
First, I have observed that the music itself involved in musical theatre, which is a crucial part -- as it is musical theatre, has greatly changed since the art first began.The first musical, Show Boat is compromised wholly of classical music, with "legit" vocals. Today, more people would rather pluck their own eyes out that sit through a four act musical, listening to some soprano sing high notes that would make puppies bark. Although, I adore Show Boat, I would rather sit through the musical, American Idiot, which is comptised of rock music by Green Day. As the music has changed, so has the vocal technique. Studies in the 1980s concluded that "belting," a technique where one's voice resonates through the "mask," is safe and does not strain the vocal folds as preciously believed. Since then, belting has become a more celebrated vocal technique than classical. If one can belt, they are praised more than any classical singer because belting is more difficult, and more pleasing to the modern ear. Pop singers employ belt technique, (Incorrectly, I might add...) so the general public has grown accustomed to that sound.
As the general public has grown used to hearing pop technique, they have also grown comfortable with huge spectacles. Back when the first of Ziiegfeld's Follies would be viewed as mundane as any other musical. This is not incorrect, as they did not have the lights, set capabilities, and sound equipment we are blessed with today. However, if we lose sight of the story and music behind the "razzle dazzle effect", then we have lost all hope in keeping tue musical theatre alive.
With all blessings, come curses. As we have grown familiar with modern technology glittering the stage, so have we become familiarized with profanity adding grotesqueness to the stage as well. I can tolerate profanity and sexuality when necessary to tell a story. But how much is too much? It must be okay to add songs to musicals such as "Everyone's a Little Bit Racist," or "The Internet is for Porn," from the Tony Award winning musical, Avenue Q? And certainly it cannot be wrong to display intercourse between two teenagers blatantly in the middle of the stage, like in Spring Awakening which also contains songs entitled, "The Bitch of Living," and "Totally Fucked,". Back in the 1950s, when West Side Story first began, it was the first musical ever to employ any type of profanity. Some examples are "Frigga Tigga" and "Fugging," which is saying something compared to the modern musical, Next to Normal, where the true F-word, along with countless other curse words are used every other sentence, including the first line of the play, which is recitative. When musical theatre was a beginning art, composers would have scorned modern musicals for their use of profanity and sexuality today.
I do not believe that musical theatre is a dying art. How can it be, when it is constantly molded into new forms under the pressure of modern culture? However, if we lose sight of the art itself, the music, and the story, than we have lost all hope in keeping the true art alive. It is not about the spectacle, or how far we can push the envelope. Musical theatre is about telling life stories to make audiences feel. Modern society's influence upon musical theatre today is both crushing and uplifting at the same time. It is necessary for us to find the balance between the two forces constantly pressing upon the art, so that the art may flourish under the new circumstances of our thoughts and feelings about entertainment today, while not losing itself among various entertainment forms. Musical theatre is relevant today, yesterday, and tomorrow, and must be, no matter how much our culture continues to evolve.
First, I have observed that the music itself involved in musical theatre, which is a crucial part -- as it is musical theatre, has greatly changed since the art first began.The first musical, Show Boat is compromised wholly of classical music, with "legit" vocals. Today, more people would rather pluck their own eyes out that sit through a four act musical, listening to some soprano sing high notes that would make puppies bark. Although, I adore Show Boat, I would rather sit through the musical, American Idiot, which is comptised of rock music by Green Day. As the music has changed, so has the vocal technique. Studies in the 1980s concluded that "belting," a technique where one's voice resonates through the "mask," is safe and does not strain the vocal folds as preciously believed. Since then, belting has become a more celebrated vocal technique than classical. If one can belt, they are praised more than any classical singer because belting is more difficult, and more pleasing to the modern ear. Pop singers employ belt technique, (Incorrectly, I might add...) so the general public has grown accustomed to that sound.
As the general public has grown used to hearing pop technique, they have also grown comfortable with huge spectacles. Back when the first of Ziiegfeld's Follies would be viewed as mundane as any other musical. This is not incorrect, as they did not have the lights, set capabilities, and sound equipment we are blessed with today. However, if we lose sight of the story and music behind the "razzle dazzle effect", then we have lost all hope in keeping tue musical theatre alive.
With all blessings, come curses. As we have grown familiar with modern technology glittering the stage, so have we become familiarized with profanity adding grotesqueness to the stage as well. I can tolerate profanity and sexuality when necessary to tell a story. But how much is too much? It must be okay to add songs to musicals such as "Everyone's a Little Bit Racist," or "The Internet is for Porn," from the Tony Award winning musical, Avenue Q? And certainly it cannot be wrong to display intercourse between two teenagers blatantly in the middle of the stage, like in Spring Awakening which also contains songs entitled, "The Bitch of Living," and "Totally Fucked,". Back in the 1950s, when West Side Story first began, it was the first musical ever to employ any type of profanity. Some examples are "Frigga Tigga" and "Fugging," which is saying something compared to the modern musical, Next to Normal, where the true F-word, along with countless other curse words are used every other sentence, including the first line of the play, which is recitative. When musical theatre was a beginning art, composers would have scorned modern musicals for their use of profanity and sexuality today.
I do not believe that musical theatre is a dying art. How can it be, when it is constantly molded into new forms under the pressure of modern culture? However, if we lose sight of the art itself, the music, and the story, than we have lost all hope in keeping the true art alive. It is not about the spectacle, or how far we can push the envelope. Musical theatre is about telling life stories to make audiences feel. Modern society's influence upon musical theatre today is both crushing and uplifting at the same time. It is necessary for us to find the balance between the two forces constantly pressing upon the art, so that the art may flourish under the new circumstances of our thoughts and feelings about entertainment today, while not losing itself among various entertainment forms. Musical theatre is relevant today, yesterday, and tomorrow, and must be, no matter how much our culture continues to evolve.