Musical Theatre
Popular singing carries the drama forward, so a song must move the plot rather than pause it for a lyric.
Related
Musical theatre joins drama to popular singing, so a song must move the plot, not stop for a lyric.
Origins and era
Nineteenth-century operetta, vaudeville and Tin Pan Alley song met on Broadway. Show Boat in 1927 joined serious subject matter to song; the 1940s to 1960s became the golden age. After the 1960s rock musicals and megamusicals split the field.
What you hear
Start with singing, where mix and chest voice alternate, and a microphone lets a whisper carry. Songs turn a scene, with short introductions and memorable choruses. Bands range from jazz combo to orchestra, and overtures and reprises thread the themes together. Lyrics must carry character and action, not only mood.
Key figures
Gershwin wrote jazz harmony into Porgy and Bess; Rodgers and Hammerstein stitched song to plot in Oklahoma!; Bernstein set Latin rhythm beside tragedy in West Side Story; Sondheim made lyrics more complex; Lloyd Webber took the megamusical global.
Lineage
Operetta, vaudeville and Tin Pan Alley song feed in; rock musicals, jukebox musicals and film musicals come out. It also brought popular singing to the dramatic stage.
Common misunderstandings
Musical theatre is not opera, since it relies on microphones and popular singing. Nor is it only spectacle, as small theatre musicals matter too. Treating it as a song collection misses the link between song and scene.
Listen in the library
All tracks from midicn-lib — inline badge is the license tier (C1 commercial / C2 non-commercial / C3 study only).
Sources
- Larry Stempel, Showtime:A History of the Broadway Musical Theater(W. W. Norton, 2010),用于核对百老汇音乐剧的年代与作品
- The New Grove Dictionary of Music and Musicians, 2nd ed., entry Musical Theatre,用于交叉核对体裁边界与人物
Used for fact-checking only; all prose is original.