Blog Posts by Subject: Theatre

The Great American Revue is coming to the end of its run at the Vincent Astor Gallery, LPA. Don't worry —  all of the artifacts will be returned to the Billy Rose Theatre Division, Jerome Robbins Dance Division, or Music Division, and the blog channel will continue. But, since the show itself is closing, I am dedicating this week's blogs to finales.

A guest post by Elizabeth Titrington Craft.

"I'm a Yankee Doodle Dandy / A Yankee Doodle do or die / A real live nephew of my Uncle Sam / Born on the Fourth of July." If these lines conjure up a familiar patriotic ditty, perhaps learned in school or heard at Independence Day celebrations, then you already know one of the hit songs from George M. Cohan's 1904 musical Little Johnny Jones. This landmark show tapped into the nationalism of the day and fashioned Cohan's public persona, earning him his reputation as the "Yankee Doodle Dandy" himself. Cohan's theatrical "flag-waving" and his vision of nationhood both delighted 

OK quick, what Broadway show are these words from, and who sings them? You can probably figure out from a Google search that the show is Applause, the 1970 musical version of the movie All About Eve, with music by Charles Strouse and lyrics (including the above) by Lee Adams. And a visit to YouTube will give you a taste of Lauren Bacall huskily embodying diva Margo Channing in a Tony Awards clip. But suppose you want more — suppose you want to read the complete Applause libretto, for example, or look at earlier versions of the script in the Comden and Green Papers? Or see a recording of a recent Encores! production?

Pretty blonde British lass Jill Haworth sadly passed away last year on January 3, 2011. But the actress lives on as the original Sally Bowles in the hit Broadway musical Cabaret with many photos by Friedman-Abeles of her in this monumental show at The New York Public Library.

A quiz for musical theater fans: Name a musical, set at the close of the 19th century, in which two young men deceive a crotchety old man in order to escape his oversight and seek love and adventure in the big city. The young men, together with their female romantic partners and a romantically available widow, go to a fancy restaurant where, through a somewhat improbable chain of events, the old man is also present and expecting to meet a potential romantic partner himself. A scuffle breaks out at the restaurant, and at the conclusion of the scene the old man is left with a bill for the whole party — which he cannot pay because he has lost his wallet. The musical was extremely 

Impresario Andre Charlot brought London stars and songwriters to Broadway in January 1924. That show forms a neat connection between Noel Coward and the American revue scene, so we developed a small exhibition about it for LPA's 3rd floor reading room.

"That Bacchanal Rag"

Layers on layers of references that could not fit into a caption:

The Passing Show of 1912 established the topical nature of Broadway revues. The authors, George Bronson-Howard and Harold Atteridge, combined references to contemporary politics, New York's cultural life, and both Broadway personalities and their fictional characters (in this case, producer/playwright David Belasco and Peter Grimm, a character that he wrote for David Warfield. Ned Wayburn, who served as both director and Dance Director codified his experiments with interpolation: staging cohesive sequences that allowed performers to present their specialties.  

I think I know why Joel Grey's 1975 star vehicle Goodtime Charley flopped, but I'm less clear about The Grand Tour. The story is powerful and charming. The star performance, was by all accounts one of the most special anyone had ever seen. And Herman's score is terrific — maybe not fully up to his standard of Hello, Dolly, Mame and Mack and Mabel (ok, that one was also a flop, but emphatically not because the score wasn't great) — but it's certainly as good as the score of his next show, La Cage Aux Folles, which was a huge hit.

Drama, comedy, dance, music and romance! I found them all on 42nd Street and you can too!

If you love Broadway musicals old and new, along with drama, romance and some comedic repertoire, then the Great White Way is where you know you can enjoy a day or night out in New York City. It may become an adventure navigating and obtaining those coveted Broadway tickets. There are many websites that offer discount codes, but there are other ways to see a show at a reasonable price.

A Guest Blog By Project Co-Director, Professor William Everett

In 1910 impresario Oscar Hammerstein sold his interests in his Manhattan Opera Company to his chief rival, the Metropolitan Opera, and agreed not to produce any opera in New York City for a decade. Instead, he turned his attention toward the related genre of operetta and commissioned the noted composer-conductor Victor Herbert to write a new work that would feature two of his Manhattan Opera Company stars, Emma Trentini and Orville Harrold. Hammerstein wanted a highly operatic operetta, and Herbert more than accommodated his producer's wishes.

Lorraine Hansberry lived at 337 Bleecker Street. Her birthday is May 19.

A Raisin in the Sun was the first play written by an African American woman to be produced on Broadway. Here are some quotes:

The exhibition, The Great American Revue, focuses on Broadway revue series, 1907–1938. But they were not the only shows on Broadway. During those three decades, dozens of musical comedies by African American songwriters, featuring African American casts were presented successfully in Broadway theaters. They were musical comedies, not revues. They were written for (and, frequently by) the African American character comedians and had complicated plots setting them in comic situations.

A guest blog by project co-director, Professor William Everett

The Pink Lady (1911) is one of those delightful gems from a century ago with a title that suggests something eminently enjoyable. This is indeed the case for the English-language musical version of the French farce Le Satyre by Georges Berr and Marcel Guillemaud. The Pink Lady's creative team included several significant names of the era, as did the original cast. The music and plot were closely intertwined, with musical numbers advancing the storyline and dramaturgical aspects being emphasized through musical style.

I recently processed the papers of one of the musical theater's greatest stars, Joel Grey. His Tony and Oscar winning performances as the bizarre, androgynous master of ceremonies of a nightclub in Hitler's Berlin in Kander and Ebb's Cabaret (1966) and its 1972 film adaptation made him a star; and Grey has had a long, successful career, highlighted by hits like George M! (1968) and  Wicked (2003) ; and the revivals of Cabaret (1987), Chicago (1996) and Anything Goes (2011).

The topical revues of 1907 – 1938 satirized performance, society and politics. Everything happening in and around New York was fair game. So, it should not be surprising that Noël Coward came in for his share of parodies. Since LPA's current exhibition in the Donald & Mary Oenslager Gallery is Star Quality: The World of Noël Coward and our neighbors, Film Society of Lincoln Center, will dedicate next weekend to Coward's films, this week's blog focuses on one of those parodies.

When I asked Miles Kreuger, founder of the Institute of the American Musical in Hollywood, if there were any pre-1923 (out-of-copyright) titles he would especially like to see online, he replied, "Ohhh, the Pink Lady" with the sort of fond recollection usually reserved for a dear, departed loved one. I was embarrassed that I had never heard of it. Asking around amongst my friends and fellow musical theater scholars, I found, somewhat salving my pride, that I was not alone. No one had read the script or knew much of the score.

St. John Ervine was an English theatre critic in 1920s, '30s, writing often for Time and Tide, that remarkably sensible middle-class magazine which first featured the dry and sly E. M. Delafield's Diary of a Provincial Lady (reserve this book right away!). But I digress.

Thinking a great deal just now about the Great One, I thought of last years venture, April 11-15 2011.  It was a great deal of fun, and inspiration, and I felt great admiration for the Allen Room and Wertheim Study scholars who presented such fine work.  The week was audio-taped if you would like to listen to them, before you come to this year's lectures.

Since in less than a week you will have heard a terrific lecture incorporating and marmorializing [sic] Romeo and Juliet, I thought to prime the pump with a reprint of an earlier post: The Juliet Club by Suzanne Harper.  It is still one of my favorite, for joyous, books.