The History Of Musicals

Musicals have definitely evolved over time.

From stage to screen, with more effects possible than ever, a musical’s basic definition would be “a play or film in which singing and dancing play an essential part. Musicals developed from light opera in the early 20th century” (Oxford University Press, 2010, Definition of Musicals section).

Kenrick (2003, What is A Musical?) believed that there are 3 essential qualities for a musical  to be successful:

1. Brains – intelligence and style

2. Heart – genuine and believable emotion

3.Courage – the guts to do something creative and exciting

Ancient greeks have been using music and dance in their story telling since the 5th century in open air amphitheatres. In the third century BC, Plautus used music with orchestra in his Roman comedies (Place, 2002-2010, The history of Musical Theatre).

In fact, Roman actors were made to wear “sabilia” which are metal chips attached to their sandals to make the dance routines more audible. This invented the first ever tap shoes (Place, 2002-2010, The history of Musical Theatre).

The topics included “sexual humour, politics, social satire and juggles to further entertain the audience” (Kenrick , 2003, What is A Musical?). Songs were often used to comment on the actions which indicate that showtunes have been around for twenty five hundred years.

Later, it was adapted by the Romans right into the Middle ages and the Renaissance age. But by the 1700s, 2 kinds of musicals evolved: Comic Opera and Ballad Opera e.g. The Beggar’s Opera  (Kenrick , 2003, What is A Musical).

But have musicals decended from opera?

 Kenrick (2003, What is A Musical) believes that contempory music and film are not direct decendants of grand opera. In the 1800s, musicals have done spoofs of opera but traces its roots to other sources like Vauderville and Burlesque but not opera.

In 1857, Broadway hit it first long run musical – The Elves (Place, 2002-2010, The history of Musical Theatre). By then, broadway musicals were widespread bringing many successful shows to the silver screen.

  

  

The Success Of Glee

When we think of popular musicals in our modern times, the first impression most youths will have would be the Glee series.

Glee was one of the first television series to use cinematic form of musicals, making it a hybrid. Its success was so evident that fans coined the term “Gleeks” to show their support.

Even celebrities like Lady Gaga, Madonna and Britney Spears licensed their songs to the show, taking US pop culture by storm (Sergeant, 2010).

“Every convention is embraced and then later thrown back to the audience with a twist. The refreshing aspect of Glee is that the stereotypical high school set is embraced shamelessly but the plot carried out with such character and charm that the clichés are overshadowed” Liu (2010).

Most fans of Glee would agree that it is a show relatable to everyone with its vast array of characters and issues addressed e.g. gay- bullying and other adult themes like sexuality. 

Liu (2010) believes that “..glee makes musicals hip again” and its “witty screenplay and undeniable talent justify its popularity. In the grand scheme of things, Glee overturns many societal standards and forces us to scrutinize for both flaws and admirable traits in humans”.

Despite the success of Glee, the Washington Post’s Celebritology blog said the GQ shoot was “the latest evidence that the ‘Glee’ hype machine might be starting to spiral out of control” (Sergeant, 2010).

This, however, hasnt dipped the popularity of Glee amongst youths as it still remains an Emmy award-winning show of all time that has “put musicals back on the map” Liu (2010).

Musical Theatre – Who Are The Audiences Really?

In The Past

Before musicals became mainstream, the stereotypical impression of musicals was that it was for those of higher class. The more cultured segment of people to be exact who would know how to appreciate it.

“The Survey of the Public Participation of in the Arts (1982, 1992, and 2002) indicates that of the performing arts, musical plays have had the most number of people attending at least once in the last 12 months” (Park, 2006).

But does social class really affect the interest in musicals? According to Jung Park (2006), the socially structural model derives its premise from Marx in that “high culture”and “low culture” are constructions which represent economic classes. The structural model of culture does have empirical evidence that shows a refraction of interests and participation in the arts.

 

The audience who appreciated musicals in the past could be associated with the social codes of both genders, came from higher income families, are usually Caucasians and are adults.

 

In The Present

With globalization, it formed transformations in social relations which allowed the mass audience to be able to appreciate musicals and isnt deemed as exclusive like in the past anymore.

Jung Park (2006) also believes that Bourdieu’s model depicts cultural acceptance to narrow, appreciating more abstract forms of art, as social status increases. Members of lower status are seen as mass consumers of

base culture whereas the upper class looks to consume with greater discretion.