Popular Music Styles Influence On Musical Theatre Film Studies Essay

touristy Music Styles Influence On tuneful Theatre Film Studies actThe term Contemporary when applied to Musical Theatre is slightly misleading, visual perception as the term stinker be applied to any art- found, when some(a)thing immature and different, something that pushes the boundaries of whats familiar, becomes the flow vogue. The desire to create something sore and to explore fresh pastures inwardly a particular art-form is not a upstart development, and base frequently be achieved society. In fact modern font- sidereal day could cover the last 50 geezerhood in melodic bailiwick as de exquisited by its creation influenced by popular unison styles (and the number of revivals), ranging from Mot admit, quiver unsophisticated (The Wiz, Hair, Tommy) to Pop, Bollywood Jazz (Rent, Aida, Bombay Dreams). The successes of hit movie inspired musical comedy comedies such as The liberal Monty, The Producers, Thoroughly Modern Millie and Hairspray, take up beside s seen consultations re-embrace a music genre which towards the break of the last century was critically observed as cosmos in decline. Whilst not specifically pathing away from the made, epic musical styles of Les Miserables, get off Saigon and Phantom of the Opera, not the conceptual styles of, for example, Cats or Jerry Springer The Opera, at that place was a breath of fresh air with returns such as Jesus christ Superstar, Evita and Chess, while in the U.S.A, Sondheim inhabitd to meld book, textual matter and birdsong in the various guises of Sweeney Todd, A Funny Thing Happened On The Way To The Forum, Assassins and DickTracy. Lets alike not forget that Disney has been happyly transferred to the stage, e.g. The Lion King Beauty and the Beast. on that point be four briny constituents of Musical Theatre, videlicet, Narrative, Dialogue, Songs Physicality, and in the last decennium or so, in that respect have been umpteen examples, where experimentation at bottom to each virtuoso of these four elements has led to unusually themed, bolder and some cadences more extreme storylines. Musically, you lead find todays influences stray from accepted standards by do use of a more complex variety of instruments and melodies to back up the actors dialogue. Look to recent successes such as roadway Q Billy Elliot Dirty rotten Scoundrels Hairspray The Full Monty Parade Spamalot We willing brandish You and funky, to squall scarcely a a couple of(prenominal).However, neuter has not been restricted to what depends on stage in the performance, scarce has besides occurred pre- takings, in the concept, the strategy and planning stages of bringing an idea to fruition. Production teams, tortuous in major projects, and aiming for a Broadway or westerly End run, result look for substantial alliances through investment and corporate sponsorship, oft requiring thousands and in some cases millions of dollars pounds-worth of funding. High-net wor th investors ( real often those with a passion for the genre), frequently referred to as business angels, have too been a significant formulateth means so far this century. Many seas stard investors look for diversity in their portfolio, and without question there has been raw(a) investment in the Arts, with the UKs City investors having invested in a broad range of theatrical productions of which, musical theatre has been one major benefactor. It wasnt too long ago that encouraged y a strong rise in West End audiences, theatrical investment appe bed less high risk than ever before. Figures in recent years had shown a rise this century, in attendances of 2-3% whilst box office receipts were up 3-4%. Even at present, while its undoubtedly a more difficult epoch for the Arts, with the recession biting operose everywhere and the diversion business seen as an easy target for expenditure cuts, it also holds true that good and enriching entertainment is for most people a satisfact ory diversion from the problems of everyday life, and possibly for that reason alone it is worth the investment. Of course, its not quite that simple, with U.S. reports of only when 20% of the shows spend a pennyd on Broadway recouping their investment. That really is no more risky than investing in any in advance(p) start-up company, and there is the upside potential of course, with a very real possibility of absolutely huge rewards. Just consider those calculative investors who funded such rewarding shows (performance finance wise) as Cats, Les Miserables, Mamma Mia, pass Q, We Will Rock You, Thoroughly Modern Millie, Billy Elliot and Wicked.Originally capitalized at $3.5 million, Avenue Q (2003) opened on Broadway to positive critical and audience response, before transferring uptown following a successful run at Off-Broadways Vineyard Theatre. What peculiarly pleased the production team was that despite the time of year, it being the essence of the summer, they were ab le to introduce something quite unique to a new audience and not only please them only if actively build and grow a much bigger fan-base than had been thought possible with such an innovative product. Not only that, but the show managed to recoup its outlay within a sensational 10 months according to producer Jeffrey Seller. Inspired by the well-known American TV animate being series of Se identical Street, Avenue Q brought an entirely new concept of acting, dancing and singing through puppet characters, to the modern stage.It has been described as a coming-of-age story, which highlights the issues weve all had to suit when incoming adulthood. Whereas Sesame Street retains that more simplistic and happy-go-lucky view of a childs world through childlike eyes, Avenue Q characters atomic number 18 young adults, hard-hitting for their purpose in life and facing all the anxieties and problems of growing up in a modern society whose values have perceptibly budged over the prece ding decade. Another crucial factor in this production is the use of puppet characters (worked by humans) interacting alongside human characters as if they were of human-like intelligence. each(prenominal) the characters face real adult-themed problems which most of us will recognize, but plausibly consider much more relevant to todays stressful lifestyle as opposed to that of ours, 10-20 years ago they all swear and curse there is puppet nudity and puppet sex with sub-plots of racism, pornography and homosexuality obtrusive throughout the entire play. Adding to the dissident theme, Avenue Qs musicality is an unexpected mish quell of foot-tapping, bouncy, cheerful songs that have a childlike quality to them, but are in fact, a little near-the-knuckle, quite vulgar, but ever-so-clever comical small talk contained within a tuneful setting. Such tongue-in-cheek, but obviously uproarious grown-ups songs like Everyones a little bit racist, The net income is for porn and You can be as loud as the hell you want when youre making love introduce the audience to the unhallowedly, warped world of Avenue Q. Its hip, current and very, very funny, meshing 70s style pop lyrics to the modern day characterization, and in doing so gives added depth to Qs funnier moment. Take the song The more you ruv someone, which on the face of it sounds more like a Sesame Street style song, but with the penning of more upbeat and modern lyrics by Joe Raposo, fits snugly into the more present-day(a) style of Q.At the other end of the scale, but of able importance, is that off the main drag, the tendency has been to produce smaller, less expensive musicals, with few cast members or where sometimes the players take on more than one role, keeping costs efficient and all the more likely to produce a small profit, which in some areas of theatre, is a success in itself. Fundamental changes, both artistically and commercially, have occurred in public test and the arts must adapt to these changes but also follow the money, and by doing so, survive and thrive. Yet despite all the current fiscal gloom, musical theatre continues to play a major role in the financial economics of theatrical cities, given what theatregoers spend at hotels, restaurants and stores, before tied(p) sitting down in their expensive seats to watch the show. It has actually been estimated that musicals may account for as much as 90% of theatre revenues.Although some critics have argued that this has tended to make mainstream Musical Theatre more of a tourist attraction, alternatively than an outlet for creative talent, another pronounced trend of the past few years has seen past success stories revisited and updated for the modern audience. believe to previous success underpinning the market, together with the inherent promise of built-in audiences, there have been several revivals of well-trodden and recognisable fare, such as Grease (last revive in 2007) or other proven material, particul arly from successful carrys, such as Billy Elliot (stage version 2005) or from acknowledged literature such as Wicked The Life and Times of the Wicked enchant of the West by Gregory Maguire. Wicked the Musical (2003), thought of as the prequel t the necromancer of Oz, is loosely based on Maguires novel (it also references several events form the 1939 film), and tells the story of Elphaba, the Wicked Witch of the West, and her troubled relationship with Glinda, the Good Witch of the North. Their knowledge/enmity is brought into focus through their very different icon and opinions (Elphaba, born green and later a political rebel, has to contend with being an outsider in society, while Glinda, being blonde, receives all the accolades and benefits befitting her status) and as a theme, is continued throughout, especially via their competition over the same love-interest, namely Fiyero. The story examines the undercurrent of political intrigue, for example, How did Oz becomes such a confused and truehearted state?, It also examines the main characters reactions to the Wizards corrupt government, before finally highlight Elphabas very public fall from grace. As previously indicated, many contemporary musicals attempt to tell a story through the musicality, making the song choice and lyrical content, highly important to the plot and to the attention of the audience. Indeed, Wicked uses its musicality as a means to communicate some of the deeper issues it brings up. The opening move song, No one mourns the wicked, is absolutely integral to the plot, dramatically celebrating the death of Elphaba, and underdeveloped the ongoing theme of the play, that Things are not always what they seem, which the audience earn and appreciate come the final curtain.It is also here that the story unfolds, heartbeat back to when Glinda recounts the circumstances of Elphabas birth and their time together at Shiz University. primeval on there is a moment when Elphaba appears for the first time, when glinda and her white friends are all together, and Elphaba enters, green-skinned and obviously different. They all stop and stare at her for what seems ages, and on the spur of the moment we have that Black person in the South moment. Its a swelled moment, and although unexpected, it sets the tone of the show with its profound statement of a divisive order where race, colour social standing differences, despite our technical advancements, unfortunately heretofore pervade society.When Elphabas power is pointed out as a potential tatter to see the Wizard himself, she sings The Wizard and I, hinting at her desire to be accepted, and be viewed as girl who wants to be seen for her soul, not for her colour. If the Wizard believes in her, indeed so must everyone else. Another big number, Something Bad (is happening in Oz) provides a political vehicle hinting at the nature of the Animal oppression, play up the interacting between the goat and Elphaba, both of who m are at the fringe of Oz society. The songs continue to relate to the story, and we see the Wizard falsely trying to gain Elphabas friendship with A sentimental man and Wonderful. Elphabas path is a difficult one, undeservedly ostracized by the citizens of Oz through March of the Witch Hunters, she finally gets to reflect on her relationship and mutual love of Glinda with For Good, before the mournful tones of the finale and a return to present day show us that all things are not what they seem. Ultimately it comes down to the choices of the two lead characters, but with their destinies fulfilled, also reveals that almost nothing in Oz is what it seems, with those considered to be good, having but possibly wicked tendencies, and perhaps more than a hint of some good in those deemed wicked.Yet another trend has been that of creating a storyline with the bare minimal of a plot, to fit a collection of songs that have already been hits. avocation the success of Buddy The Buddy Holl y Story, from 1989, there have been several successful Jukebox Musicals, as theyve come to be called, particularly We Will Rock You, which has enjoyed considerable success since it opened in 2002. Somewhat more plot-driven than its predecessors, a science fiction tale part inspired by the film The Matrix and in part a tribute to the band, rock convocation Queen. It is not in fact a biography of the bands register, but a cleverly conceived story, drawing on the content of some of Queens chaste hits to provide the characters and plot to a futuristic landscape that to some stop has been shaped by modern society. The story begins 300 years in the future, with Earth renamed Planet Mall and with worldwide corporations controlling and influencing the thoughts and opinions of the populace. The children and youth of this time have no effective minds of their own, for example, wearing the same clothes, listening to the same music and having the same thoughts and feelings. Rock music is u nknown, but the hero and main protagonist Galileo, who hears odd words and rhythms in his head, refuses to conform, and sets about trying to change the World and being back real music. Galileo aided by Scaramouch (both are central characters of arguably Queens most successful song, Bohemian Rhapsody) bear on against the machine that is conformity. They rally against oppression and along the way meet up with the Bohemians, a group of like-minded young people trying to introduce the art of playing musical instruments previously banned by the authorities. In their joint quests, they come up against the Killer Queen (a character derived from to that degree another great Queen song of the same name), the ruler of the Globalsoft fraternity under whose dominance the planet has been for many years. Both groups of youngsters are finally able to celebrate the reason rock bands first came together, which was for love apparently, by singing yet another great Queen hit, Crazy elfin Thing C alled Love. The writers weave many of the bands hit songs into the storyline, and also reference many other popular songs of that time through an ever evolving dialogue. For example, several Beatles, Bowie and rolling Stones hits have been included at different times, in different productions and in different locations to maintain freshness to each show.Quite a few musicals have also looked to the more epic or extravagant production as seen pree-2000 (for example, the 1980s success of Phantom of the Opera), by introducing stage musical adaptations such as The Lord of the Rings in 2007, billed as the biggest stage production in musical theatre history but despite its grandeur, yet to reap reasonable profits. Another less noticeable trend, particularly on Broadway, has been to present musicals uninterrupted by an intermission, with short cartroad times of less than two hours.Although not strictly Musical Theatre, its arouse to note that another popular trend has been towards TV an d Film musicals of a more diverse nature than the offerings of the Hollywood Musicals of the mid-20th century. Since the success of Evita in 1996, this new genre of musical has become an industry standard with further leading light contributions such as, Moulin Rouge (2001), Chicago (2002), Phantom of the Opera (2004), Sweeney Todd (2007) and possibly the crush of all, Mamma Mia (2008). Made for TV musical shows (particularly in the U.S.) have also proved extremely popular, as noted by recent successful transitions to the small screen for adaptations of South Pacific (2001), and The Music Man (2003) to name but a couple. Some TV shows have even gone(a) so far as to having set episodes produced as a musical, e.g. affiliate McBeal and Buffy the Vampire Slayer. There are even musicals being made for the internet nowIts probably fair to say, that the biggest trend of the last ten years, is that our a la mode(p) generation of youngsters have developed an extreme fascination with Music al theatre. The accessibility of smaller, more provincial stages throughout the UK, the larger number of successful graduates in the general performing arts arena, and certainly for those prepared to work hard enough, the joy of performance, is encouraging a revival of dramatic song and, more interesting perhaps, its being performed with unbelievable quality.Its probably also true that the climax of Lloyd-Webber-driven reality television shows, which have thrown scores of potential Marias and Josephs into our livelihood rooms has meant that people no longer need to remortgage their house, to sample what to some is still a once-a-year special trip to the theatre for their entertainment. There are already websites dedicated to 21st century Musical theatre, and we are only just finishing the first decade. The list of shows is surprisingly long.Despite the end of Cats, a major player in the triumphant story that is Musical theatre, a string of new, successful musicals has emerged, wi th Avenue Q, Wicked and We Will Rock You, to the forefront of them. They are every bit as popular as Lloyd Webbers classics and show that the future of Musical Theatre is in accomplished hands. each(prenominal) three storylines have veered away from the traditional, pre 21st century conception of family based, popcorn style musicals that everyone can sing along to, but may have no substantial plot. Todays writers look for more absorbing and controversial undefended matter, as well as designing new works, will often look to contemporise significant event. Young performers are writing their own musicals, living and breathing the experience. Musical Theatre never went away, maybe just hibernated for a short time at the end of the last century, and is now being taken seriously as never before, becoming more and more more popular, having thrown off the mantle of uncultured chart music as a preferred entertainment, and quite possibly the jewel in the crown of the entertainment industry .Modernist writers and producers have successfully drawn on the history of Musical theatre as a spectacle, and created stunning new attractions for larger contemporary audiences brought up on the traditions of jazz, funk, blues, swing, country and rock, producing such memorable global phenomenons, several as previously mentioned, including Les Miserables, Phantom of the Opera, Rent, The Lion King, Mamma Mia and The Producers. taking elements of literature, opera, film and theatre and fusing this variety of styles and genres, compliments the current vogue of contemporary audiences wishing to embrace several types of culture. These plays are fine examples of what modern day audiences want to experience, covering the social and economic diversity of everyday life, but mingled with history, politics and war.In summary, contemporary musical theatre this decade is much broader in musical and vocal styles, and overall carries a stronger plot-line. The production can cover any genre from c omedy to tragedy, and include real life, modern and often argumentative issues. The harmonies tend to mirror whats current in the musical world but not totally to the avoidance of previous styles. With the new breed of musical actors, emphasis has been placed on development of text and characters with the singing style more about understanding the context rather that the tone. Songs are readily influenced by new vogues, especially rap, fusion and rock, as well as classical. Investment and making a profit are now more essential to the core than ever, and the shows creators will consider some(prenominal) ways there are to increase the revenue, from writing songs that can be released as singles or albums, to endorsing the shows credibility by getting celebrities to appear in key roles. Vaudeville and post war Hollywood styled productions were fine for then, but modern audiences demand something more for their expensively purchased stalls or circle seats.