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Contenido proporcionado por ProfGregJackson and Prof. Greg Jackson. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente ProfGregJackson and Prof. Greg Jackson o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.
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163: The Show (Boat) Must Go On: Broadway and the American Musical

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Contenido proporcionado por ProfGregJackson and Prof. Greg Jackson. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente ProfGregJackson and Prof. Greg Jackson o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.

“Miller, Lyles, and I were standing near the exit door . . . Blake stuck out there in front, leading the orchestra—his bald head would get the brunt of the tomatoes and rotten eggs.”

This is the story of American musical theater and the dawn of modern Broadway.

Popular entertainment is evolving fast in the early twentieth century. Minstrel shows just aren’t drawing the same numbers anymore (for good reason), and burlesque and variety shows abound. The earliest “official” musical, The Black Crook takes several notes from these sometimes scandalous shows, as do Flo Ziegfeld’s new “revues.” By the 1920s, composers, writers, and choreographers are experimenting with what a musical production can do: using songs to advance the plot (thanks Hammerstein!), and incorporating new music genres like jazz.

Big players including George Gershwin, Noble Sissle, and Irving Berlin all play a role in crafting the perfect environment for the American musical to emerge, but the production Show Boat really gives a glimpse of the future of musical theater. It entertains even as it tackles heavy topics, and the score is seriously moving. It’s difficult to anticipate how audiences will receive this new form—less pompous than a European operetta, but definitely more substantial than one of Ziegfeld’s musical revues. So, without further ado . . . take your seat, the show’s about to begin.

____

Connect with us on HTDSpodcast.com and

HTDS is part of the Airwave Media Network.

Interested in advertising on the History That Doesn't Suck? Email us at advertising@airwavemedia.com.

Learn more about your ad choices. Visit megaphone.fm/adchoices

  continue reading

207 episodios

Artwork
iconCompartir
 
Manage episode 436224705 series 2438173
Contenido proporcionado por ProfGregJackson and Prof. Greg Jackson. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente ProfGregJackson and Prof. Greg Jackson o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.

“Miller, Lyles, and I were standing near the exit door . . . Blake stuck out there in front, leading the orchestra—his bald head would get the brunt of the tomatoes and rotten eggs.”

This is the story of American musical theater and the dawn of modern Broadway.

Popular entertainment is evolving fast in the early twentieth century. Minstrel shows just aren’t drawing the same numbers anymore (for good reason), and burlesque and variety shows abound. The earliest “official” musical, The Black Crook takes several notes from these sometimes scandalous shows, as do Flo Ziegfeld’s new “revues.” By the 1920s, composers, writers, and choreographers are experimenting with what a musical production can do: using songs to advance the plot (thanks Hammerstein!), and incorporating new music genres like jazz.

Big players including George Gershwin, Noble Sissle, and Irving Berlin all play a role in crafting the perfect environment for the American musical to emerge, but the production Show Boat really gives a glimpse of the future of musical theater. It entertains even as it tackles heavy topics, and the score is seriously moving. It’s difficult to anticipate how audiences will receive this new form—less pompous than a European operetta, but definitely more substantial than one of Ziegfeld’s musical revues. So, without further ado . . . take your seat, the show’s about to begin.

____

Connect with us on HTDSpodcast.com and

HTDS is part of the Airwave Media Network.

Interested in advertising on the History That Doesn't Suck? Email us at advertising@airwavemedia.com.

Learn more about your ad choices. Visit megaphone.fm/adchoices

  continue reading

207 episodios

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