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Representation of women in musical theatre
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After the great success of Hamilton it seems the era of musicals has swarmed back again. Right from the performance to the music and even the costumes everything was fantastic. Well here you can expect a new one which is surely speculated to be as good as Hamilton because guess what who has just announced his cast for his new musical. That’s right Bruce Vilanch has finally broken his silence and revealed the casting for his new musical - A Sign of the Times.
Story of Cindy and set against the backdrop of New York City in 1960’d the musical is going to be about this girl’s quest to reach her goal amidst all the women’s liberation, civil rights movement and protest. In all the hullabaloo she finds friendship, love and herself too.Sponsored by
Carmen: A Hip Hopera; a musical film starring Beyoncé as an inspiring actress. However, Carmen Brown was once Carmen Jones; starring Dorothy Dandridge and Harry Belafonte in the 1954 version. However, the 1954 version of Carmen is not the original playwright, as there have been many adaptations to create relevance of the production. The first production of Carmen was written as a novel that was published in 1845, which there is a four-part compromise. However, the novel Carmen was later turned into an urban film. The history of Carmen will be identified through analyzing and critiques the history of the playwrights. Therefore, the adaptations and along with the history of Carmen, will be examined to further establish the importance of the film.
This movie is based on a true story, about four extraordinary Aboriginal women. Sisters Laurel Robinson, Lois Peeler and their cousins Beverley Briggs and Naomi Mayers. They were part of an extended family of brothers and sisters who regularly sang together during the 1960s and 70’s. Laurel and Lois toured Vietnam in the late 1960s singing to the American troops which was an amazing feat, considering that Aboriginal people had only just gained the right to vote. All four of these women still live in Australia and all have important roles within the community.
The story begins in “Catfish Row” a small coastal town based on the real town of Cabbage Row in Charleston, South Carolina during the 1920’s. The main protagonist of the story and leading man is Porgy, a disabled beggar man who is known for riding his goat cart around Charleston. Bess is the leading lady of the opera and is in an unhealthy relationship with Crown, a powerful, violent, alcoholic, short-tempered stevedore (dockworker). Act I starts with a lullaby being sang to a small baby by a young mother named Clara, as she sings the men of Catfish Row prepare for a crap game, prior to the game, Crown purchases whisky and Cocaine from the Sportin’ Life, the local drug dealer of the town, during the crap game, Crown who is very drunk kills a local man named Robbins, Crown flees Catfish Row and leaves Bess to fend for herself. Sportin’ Life who is attracted to Bess, he gives her cocaine and asks her to join him in New York, Bess refuses and is now alone, she has no where to go, she is rejected by all of the Catfish Row resident, all except for Porgy who takes her in. A funeral takes place for Robbins, Serena, Robbins’ wife acts very coldly towards Bess when she offers her donation to help pay for Robbins’s funeral cost until Bess explains that she is no longer with Crown, and now lives with Porgy. Soon after, a detective enters and tells Serena that if...
Hairspray, a John Waters’ musical, demonstrates progressive messages about the expansion of race-based civil rights in the 1960s . Although this is typically the lens through which Hairspray is viewed, this is not the only significant societal shift portrayed in the film. The stories of Edna Turnblad and Velma Von Tussle illustrate the progressive shift of women from “old” gender roles such as being excluded from the workplace to “new” gender roles where women begin taking managerial positions.
This powerful film takes us on a journey through the eyes and hearts of four young girls from the Yorta Yorta community. Cynthia, Julie, Gail and Kay shared a love of singing, before Kay was taken away by the government and placed in an institution to learn the ‘the white ways’. The four girls reunited as adults to embark on their own journey through Vietnam, singing as an all Aboriginal girl group
The plot, Jackie navigates the life of a preteen in New York during the 1960s. This plot begins late in Jackie’s life since her story begins 12 years prior which is when she was born but begins at the most present moment in the play which is the now. Although all of the characters are being depicted through one phenomenal actress, the characters are limited to her parents, Perespone and her family, and the friends she makes along the way. As well as the scenes and locales are fairly limited all of the scenes take place on a geographic scale in New York, and on Erickson Street or Manhattan at her private school. This shown the privileges of a small set reaffirms the focus and tightness of the
Kenrick, John. Musical Theatre A History. New York: The Continuum International Publishing Group, 2008. Print.
'The Curse'; by Andre Dubus is about Mitchell Hayes, a forty-nine year old bartender who is witness to a rape. The rape occurs right before closing when five bikers rape a young woman while holding Mitchell at bay. After the rape, Mitchell is distraught over his decision of not making a stronger attempt to help the girl. Police, family and friends try to comfort Mitchell by telling him he made the right decision. However, he continues to feel guilt and self-doubt over whether or not he could have done more in order to prevent the rape from occurring.
This project/presentation was intended to educate on a musical that, despite its importance to the American musical, may be easily glanced over because it doesn’t fit the criteria for what makes a musical in the twenty first century. Shuffle Along adds another layer of history to the New Negro Movement and the civil rights movement. Negro theatre is very much responsible for the creation of the modern musical and it’s important to know where things come from. This topic was interesting because I had previously taken a class in African American Music and now seeing Shuffle Along and understanding how that ties in to something that I love helps put the world into a different perspective for me.
thesis of how the musical brought our inner child out to realize our true struggles in life.
When I first watched Chicago at the movie theater, I was not fully satisfied. I wanted more, so I went back to get some and watched it six more times with different friends and family members! Last summer during a visit to my native Mexico City, I had the opportunity to watch drag queens perform several numbers from the movie-musical. They did an amazing job, without surpassing the outstanding performances of the actors in the film. Last year, I visited NYC for the first time and indulged in the rows of the Ambassador theatre experiencing Chicago, the Broadway musical, and because I had seen the movie many times before, I knew all the songs and dances by heart. I loved it, but it was actually the movie that influenced me to become a “Chicago fan.” The movie is based on the 1996 Chicago revival of the original musical version of 1975. It was thrilling knowing that the making of the musical into a mainstream production would increase its accessibility and widen its distribution into all the corners of the world; now there is no excuse for people not to experience Chicago, and though not everyone can go to Broadway to see it, just about anyone can indulge themselves in this dazzling movie in the comfort of their homes. In addition to a fantasy world of singing, dancing and Vaudeville, the film also provides a narrative that is explicitly presented through Roxie’s point of view, creating a counter human side to Roxie’s fantasy world so that the audience can easily identify and engage. Chicago is a must see film for anyone who likes to spoil themselves with an outstanding award-winning musical composed of a catchy plot, truly superb acting, commendable direction, and a clever soundtrack.
The 2000s/ 2010s brought in a wave of movie musicals- adapted from the stage shows. These brought new audiences into the theatre world, and for the first time in 20 years, brought a love to some of the timeless musicals. With slightly altered songs to appeal to a newer audience, these films brought in much needed money into the industry, with films including: Les Misérables, Phantom of the Opera, Rent, Hairspray, Mamma Mia, Fame- and many more. Together with this, musicals began to push the concept of the songs in them, with a wave of new styles being written. Rap musicals such as ‘Hamilton’ and ‘In The Heights’, Pop musicals including ‘Waitress’ and ‘Dear Evan Hansen’ and Rock musicals of ‘American Idiot’ and ‘Spring Awakening’. Together they pushed boundaries of a ‘traditional’ musical theatre sound, and brought in something never before seen. Due to the influence of ‘Rent’, controversial issues and themes began to be explored more, such as Teen suicide, Murder, Ethnic barriers and everything else, which brought with them, a world of opportunities. It was clear that musical theatre was once again showing for a promising
In the novel Maybe A Miracle by Brian Strause, Monroe Anderson is as quiet on the outside as he is on the inside. Monroe has spent most of his life trying to keep himself beneath the radar and if possible, invisible. If he becomes invisible he believes his older brother, a rising golf star, might not torment him, his workaholic father might not notice him to be disappointed, or his mother might not have to struggle to find a hopeful word. The only people who see the real Monroe are his girlfriend, Emily and his eleven-year-old sister, Annika.
The Oriental Theatre brought the streets of Hollywood Boulevard to Chicago in its Production of Pretty Woman. This Musical was a Nerlander presentation and was written by Gary Marshal and J.F. Lawton, directed and choreographed by Jerry Mitchell, and music by Will Van Dyke. I enjoyed this musical rendition of the story, which is originally based on the original film Pretty Woman from 1990, a “Cinderella-like” story about a businessman who falls in love with a prostitute.
Wells, E A. (2011) West Side Story Cultural Perspectives on an American musical. Maryland: Scarecrow Press, Inc.