Make believe : the Broadway musical in the 1920s
著者
書誌事項
Make believe : the Broadway musical in the 1920s
Oxford University Press, 1997
大学図書館所蔵 全9件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes index
内容説明・目次
内容説明
The 1920s represented a turning point in the history of the Broadway musical, breaking with the vaudeville traditions of the early twentieth century to anticipate the more complex, sophisticated musicals of today. Composers Jerome Kern, George Gershwin, Cole Porter, Richard Rodgers, and their contemporaries revitalized the musical with the sound of jazz and other new influences. Productions became more elaborate, with dazzling sets, tumultuous choreography, and
staging tricks, all woven into tightly constructed story lines. These dramatic changes of the 1920s ushered in the "golden age" of the American musical theater.
Ethan Mordden captures the excitement and the atmosphere of Broadway during the 1920s in Make Believe. In captivating, lively prose, Mordden describes in superb detail the stars, the songs, the jokes-the sheer fun of this era. Here are shows great, interesting, or even bizarre- Sally , The Student Prince, Rose-Marie, Lady, Be Good!, No, No, Nannette, Rainbow, Good News!, Ziegfeld Follies, The "Coconuts", The 5 Oclock Girl, Blossom Time, Whoopee. Early on, the
charisma of entertainers such as the bragging Al Jolson ("You ain't heard nothin' yet!"), the bewitching Marilyn Miller, the madly prancing Eddie Cantor, the unpredictable Gertrude Lawrence, and the indescribable Marx Brothers were the essential element in a hit musical. But, as Mordden demonstrates, the stars lost power and
the authors took control, as shows like Desert Song , Peggy-Ann, Strike Up the Band, and Sweet Adeline reinvented the old forms. The musical became more "adult," too, baiting the censor in the lyrics of Lorenz Hart, Cole Porter, and B. G. DeSylva. And Broadway became more racially integrated, with "blackface" acts dying out while all-black musicals such as Shuffle Along and the Blackbirds shows enjoyed mainstream success.
Make Believe reaches its climax with Morddens' deep look at Jerome Kern and Oscar Hammerstein's 1927 masterpiece, Show Boat. With its intricate story line spanning four decades, its gala interracial cast, its stunning physical production, its powerful score including "Ol' Man River," "Bill," "Mis'ry's Comin' Aroun'," "Can't Help Lovin' Dat Man," "Life on the Wicked Stage," and "Why Do I Love You?," Show Boat was the first American musical universally hailed as
a classic. Fusing the decade's developments into one epic show, Kern and Hammerstein created something at once timeless and contemporary, the ultimate twenties show but, as producer Florenz Ziegfeld called it on the posters, "the all American musical comedy."
「Nielsen BookData」 より