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Essay on Broadway
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“I’m the end of the line; absurd and appalling as it may seem, serious New York theater has died in my lifetime.” This quote was said by the famous playwright, Arthur Miller. He was not the only person thinking that Broadway’s end is near. Theater industry members, scholars and journalists believe that Broadway is going extinct. “Many belief that American theater is suffering an artistic death” (Wollman). Many people think that Broadway is dying. I strongly disagree with that opinion. Broadway is alive and well and appearing nightly in the Time Square area of New York City.
First of all, Broadway is the heart of the American theater. The only other theatre district in the world that compares to Broadway is the theater district in West End of London, England. Just how big is Broadway? “Located in and around Times Square, the roughly thirty-five legitimate Broadway theaters form the backbone of one of the most highly concentrated entertainment districts in the world along with London’s West End” (Simonoff). The city of New York has had a professional theatre district since the eighteenth century. As time went on, the district slowly moved uptown to Broadway. In the early 1900s, the Time Square theatre district had a total of seventy theaters. These theaters were “scattered roughly in the area between Thirty-ninth Street, Fifty-ninth Street, Sixth Avenue, and Eighth Avenue” (McNamara). Today, there are approximately thirty-five theaters in the Time Square area. It’s true that today, the number of present day Broadway theaters has been cut in half from the number of theaters there once were. However, this decrease in the number of theaters does not mean that Broadway is extinct.
Broadway productions are big business...
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..., Scott. Strike Up The Band: A New History of Musical Theatre. Portsmouth, NH: Heinemann, 2007. Print.
Rudy, Carol-Ann. "Post-election Broadway Ticket Sales Show Decline." Ticket News. 5 Nov. 2008. Web. 10 May 2010. .
Simonoff, Jeffrey S., and Lan Ma. "An Empirical Study of Factors Relating to the Success of Broadway Shows." The Journal of Business 76.1 (2003): 135-50. JSTOR. Web. 7 May 2010. .
Tucker, Martin. "The Arrival of Revivals." Confrontation 105 (2009): 281-86. Web. 9 May 2010.
Wollman, Elizabeth L. "The Economic Development of the "New" Times Square and Its Impact on the Broadway Musical." Journal of American Music 20.4 (2002): 445-65. JSTOR. Web. 10 May 2010. .
Cullen, Frank, Florence Hackman, and Donald McNeilly. Vaudeville, Old & New: An Encyclopedia of Variety Performers in America. New York: Routledge, 2007. Print.
Motion pictures from Hollywood had taken Broadway’s place as the king of entertainment. The main reason behind this was that because it was culturally relevant and coming out with new flashy techniques such as Todd-AO and Cinerama.
The Concert Band. New York: Rinehart and Company, Inc., 1946. Print. The. Rhodes, Stephen.
In Dialogue: Theatre of America, Harold Clurman said, “we make theatre out of life” (27), and it was precisely this view that motivated him to help create a uniquely American theatre. Clurman, considered one of the most influential directors of the modern American theatre, had a unique vision of what the American theatre could become. One of the founders of the quintessentially American troupe, the Group Theatre, Clurman was a contemporary of Elia Kazan and Lee Strasberg, and even married to Stella Adler for twenty years. At a ceremony honoring Clurman, Elia Kazan stated that Clurman’s “greatest achievement [was] himself” (Harold Clurman: A Life of Theatre). An important figure in our theatrical past, Clurman’s theories on theatre and directing require close attention. In this paper, I will first provide a brief biography of Clurman, second, examine his theories of theatre and directing, and lastly, I will explore his criticisms of the then-contemporary theatre, and draw conclusions to the current state of the Broadway theatre.
Kenrick, John. Musical Theatre A History. New York: The Continuum International Publishing Group, 2008. Print.
... John, Fred Ebb, and Greg Lawrence. "Chicago on Broadway." Colored Lights: Forty Years of Words and Music, Show Biz, Collaboration, and All That Jazz. New York: Faber and Faber, 2003. 119-40. Google Books. Web. 1 May 2014.
On a cold, brisk Tuesday night, I attended the musical called Urinetown by Mark Hollmann and Greg Kotis. Urinetown was held in Rowand-Johnson Hall, at the Marian Gallaway Theatre. As I quickly walked in the entrance, I noticed that people were wearing casual attire. I gave the usher my ticket and walked to my seat. This time my seat was located up at the front so I had a great view of the stage. This particular theatre is my favorite, it is very open and you can see from every seat. This musical is known to be a musical comedy which deals with different themes, unique text, and extraordinary technical elements.
On a Wednesday night I saw Texas State Theatre and Dance Department's performance of A Chorus Line. The main plot of the musical entails the audition of 17 dancers for several Broadway roles on the chorus line. However, during their auditions the director Zach asks for personal stories of each dancer's life. Though the plot of this musical is seemingly simple in its twist on the traditional audition, it explores themes that reveal the human experience, the search for individuality, and the sense of self.
This fearlessness was something that Broadway idealized, ultimately opening the doors for playwrights and composers to speak their mind by means of the shows they produced. A few leading shows in this field were the musicals Chicago, Pacific Overtures, and A Chorus Line. Each of the three plays tackled their own social injustices all while also embedding individualized views of the glorified American Dream inside their works. Chicago and A Chorus Line take you behind the scenes in the world of Broadway, one tackling the injustices of the media and glorification of crime, and the other puts a light on the “small people” often forgotten in
Sater, Steven and Duncan Sheik. Spring Awakening: A New Musical. New York: Theatre Communications Group, Inc. , 2007. Print.
There are few similarities between Kabuki Theater in the 14th century and present day kabuki. The Broadway productions of it do not stray too far from its traditions. Although, Broadway shows do not have the same wide appeal or influence. On Broadway, the lighting was atmospheric and almost gloomy like in the 14th century (Hornby 519).
Theatre has heavily evolved over the past 100 years, particularly Musical Theatre- a subgenre of theatre in which the storyline is conveyed relying on songs and lyrics rather than dialogue. From its origination in Athens, musical theatre has spread across the world and is a popular form of entertainment today. This essay will discuss the evolution and change of musical theatre from 1980-2016, primarily focusing on Broadway (New York) and the West End (London). It will consider in depth, the time periods of: The 1980s: “Brit Hits”- the influence of European mega musicals, the 1990s: “The downfall of musicals”- what failed and what redeemed, and the 2000s/2010s: “The Resurgence of musicals”- including the rise of pop and movie musicals. Concluding
Wells, E A. (2011) West Side Story Cultural Perspectives on an American musical. Maryland: Scarecrow Press, Inc.
The 19th century was a time of change for Americans. The civil war took place in the 19th century which divided our country into two sides. Theater plays helped the people get through the war and hard times throughout all of history. The 19th century was a time of great change for American theater (19th century).
Theatre is something that brings people together; it needs and audience to exist unlike movies and television. For a performance to happen, anywhere from a hundred to a thousand or more people need to gather in one place for a few hours, and share together in witnessing a live event that may be beautiful, funny, moving, or thought-provoking. Each type can fade in and out of popularity but it is not foreseeable that live performance will ever really "die out". Even in a world where all narrative performances have migrated to video, some musician at some point may introduce a new element of theatricality into their show, or some standup comic will act out something for their routine, people will respond to it, and suddenly we 'll see Shakespeare, Tennessee Williams, and Rogers and Hammerstein popping up all over the