mkmtheatre

"Using as source material the videos linked to the wiki schedule page illustrating musical theatre, the dvd seen in class covering the development and making of Taboo, Caroline, or Change, Wicked, and Avenue Q, as well as The Fantasticks, speculate on aspects of the shows presented that appear to have led to their success and/or failure in the periods in which they were developed. In other words, why have some shows succeeded while others have failed, during the period when they were created?"

Music provides inspiration for a vast variety of emotions, actions, and events. It has been used throughout history to convey feeling and express tone to a specific audience or people group. Running alongside music comes dance, similarly using movement for self-expression. Combine the two with a dramatic plot and characters and musical theatre has been born. As musicals have grown in popularity over the years, the entertainment industry has skyrocketed with a competitive spirit, bringing forth the greatest of productions for audience consumption and praise. It leads to producers, directors, actors, and writers to consider what makes a musical more grandiose than all others. In my opinion, without great music, fluidity, and detail there is no great musical.

One of the many things that makes a musical different from all other pieces of theatre is the incorporation of music and oftentimes dance or choreographed movement. Nicolas Coster, a television and stage actor, recommended the overture to "Candide" as an example of great theatrical music. After researching the overture on YouTube, one cannot deny that the composition and performance of the piece is powerfully beautiful. The technicality of the timing amongst each player in the orchestra is superb and expresses important emotions that will be felt throughout the rest of the show. More examples of spectacular music can be drawn from the film we watched in class. Each musical in the documentary had to have possessed great compositions and movement in order to make it on Broadway in New York City, but each musical's music is very different. The composition and timing of Caroline, or Change is incredibly moving and significant. The music director notes that she intended for the music to not be just a song that the characters sing, but for it to truly be as if they are having a conversation and cannot help but sing out every thought and every emotion. In the scenes we saw from Caroline, or Change, I believe they accomplished this, however, the show was not considered as successful as other shows, such as Wicked or Avenue Q. The music of these shows is also magnificent, but for highly different reasons. The music in both shows is very catchy and relatable to audiences, however, Avenue Q as a show is intended for more mature audiences, while Wicked became most popular amongst younger audiences. Emotions portrayed in the songs, in both touching and humorous ways, allow the audience to relate their own life experiences, whether joyous, embarrassing, or saddening. However, perhaps since Avenue Q is more relatable for adult audiences, it won the Tony for Best Musical.

In order to be successful, a musical must have an impeccable level of fluidity. Actors must be able to relate to one another as an ensemble and be able to fluidly transition from spoken word to song in dialogue or monologue on stage. Similarly, directors and choreographers must be able to collaborate on blocking techniques in order make the set and actors appear visually pleasing to the audience, while being supportive of any movement or dance that may occur after or during the scene. The tone that the scene is trying to convey, whether comedic or dramatic, may also be represented in body language and blocking of the actors, as well as the types of dance. Taboo, for example, incorporates very colorful and striking colors in costuming to compliment the colorful personalities present in the production. While music, lyrics, and movement have been praised in this show, the show polarized certain audiences based on material and stances supported in the show. Some audiences loved the show and continued to return again and again, while others refused to pay money to watch the production, either based on content or personal preference. Some of the fluidity of the show was compromised however, due to conflict amongst cast members, the producer (Rose O'Donnell), and writer (Boy George). A successful musical may find it wise to ensure that the flow and cooperation of the show is maintained and visible both on stage and back stage. Avenue Q's writers did not all three get along at first, but were able to get past all differences and collaborate based on their shared passions for the production, in the end making it widely successful. Actors in Wicked also reflected what it means to have a dedicated cast and crew, all making an effort for a successful ensemble and great show overall.

Lastly, Nicolas Coster also brought to our attention the necessity of having all details straightened out. Lyrics and lines must be impeccable and everyone involved in the show must be unified, but all would be for naught if the proper measures are not taken to do background research about the show. Actors must take it upon themselves to research their part and view it from every angle. An actor may ask how best to say a line or what the motivation behind saying the line is. Having a realistic and genuine inner monologue can make all of the difference in how a scene is viewed by the audience. A sensitivity to the social and political culture is also crucial in making these judgements. Depending on the time period, audience, and geographic location of where the show is being produced, directors may find that portraying a scene in a certain light may be more powerful than if the actors said a line with a slightly different fluctuation or body language. Everyone involved in the show must question what the overall message and question is that the show is presenting or asking, and then work in order to make that message flow into audience in exactly the point of life they are in. Avenue Q does this splendidly by ensuring that the puppeteers be trained to know all of the workings of their puppets. While being able to sing, dance, and act, the puppeteers are simultaneously being sensitive to minor details that are crucial in expressing the show's main points and themes.

Caroline, or Change, Taboo, and Wicked all had major messages and powerful points, however, none were seen to have been quite as successful in ensuring fluidity amongst cast and crew, and there were some details of the shows that may be not been accepted by audiences. Caroline, or Change was degraded by critics for being too sullen in tone and for not being very marketable to audiences. While plot, music, period, and fluidity were all seen as being well-done, the message of the show perhaps was not one that was well-received by audiences at the time and place. Taboo's themes were not accepted by a large number of audience members and had major pitfalls in its backstage relationships between cast, crew, and supporters. Wicked was loved by many audience members and had great relationships amongst the ensemble, however, it was not quite up to par in numbers of the people who viewed Avenue Q as a success.

The entertainment business is a dangerous place to work, but perhaps the mystery and risk is what makes it such a drawing environment for many people. One can never quite tell if a musical or any theatrical production will be incredibly successful, depending on what other musicals or plays the show may be running against for Tonys. However, by looking historically at shows that have been largely successful, future writers, directors, actors, and producers can learn what to do and what to avoid when beginning the rehearsal processes.