Beautiful mornin' : the Broadway musical in the 1940s
著者
書誌事項
Beautiful mornin' : the Broadway musical in the 1940s
Oxford University Press, 1999
大学図書館所蔵 全2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
'Music and girls are the soul of musical comedy,' one critic wrote, early in the 1940s. But this was the age that wanted more than melody and kickline form its musical shows. The form had been running on empty for too long, as a formula for the assembly of spare parts-star comics, generic loves songs, rumba dancers, Ethel Merman. If Rodgers and Hammerstein hadn't existed, Broadway would have had to invent them; and Oklahoma! and Carousel came along
just in time to announce the New Formula for Writing Musicals: Don't have a formula.
Instead, start with strong characters and atmosphere: Oklahoma!'s murderous romantic triangle set against a frontier society that has to learn what democracy is in order to deserve it; or Carousel's dysfunctional family seen in the context of class and gender war.
With the vitality and occasionally outrageous humour that Ethan Mordden's readers take for granted, the author ranges through the decade's classics-Pal Joey, Lady in the Dark, On the Town, Annie Get Your Gun, Finian's Rainbow, Brigadoon, Kiss Me, Kate, South Pacific. He also covers illuminating trivia-the spy thriller The Lady Comes Across, whose star got so into her role that she suffered paranoid hallucinations and had to be hospitalized; the smutty Follow the
Girls, damned as 'burlesque with a playbill' yet closing as the longest-run musical in Broadway history; Lute Song, in which Mary Martin and Nancy Reagan were Chinese; and the first 'concept' musicals, Allegro and Love Life. Amid the fun, something revolutionary occurs. The 1920s created the musical and the 1930s gave it
politics. In the 1940s, it found its soul.
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