Summary
Highlights
The speaker reminisces about being cast in a production of 'Hair' and contrasting it with a high school production of 'Fiddler on the Roof'. Despite their apparent differences, both musicals share similarities in their ensemble-based approach, breaking the fourth wall, and clear concepts, yet are perceived as existing in different worlds. The 1960s saw a decline in the popularity of American musicals, with the golden age formula becoming stale. This prompted a period of experimentation, laying the groundwork for trends that would follow in subsequent decades. The video will focus on concept musicals, Broadway auteurs (director-choreographers), and musicals created outside the Broadway bubble.
Concept musicals, a term popularized by Martin Gottfried, prioritize conveying an idea or theme over a linear plot. This can be achieved through a director's overarching vision or a series of vignettes unified by a theme. Early attempts like 'Allegro' and 'Love Life' failed in the golden age, but the 1960s provided an environment for greater experimentation. Four key musicals exemplify this shift: 'Cabaret', 'Fiddler on the Roof', 'Man of La Mancha', and 'Hair'.
'Cabaret' is presented as a turning point in musical theater, opening doors for experimental works. Directed by Hal Prince, it uses dual narratives (the real world and the Kit Kat Club) to comment on the rise of Nazism. Innovations included Boris Aronson's set design, particularly the 'curtain of light' and the tilted mirror reflecting the audience, and the subtextual critique of Nazism embedded in seemingly harmless songs. The musical challenges audiences to rethink their first principles.
'Fiddler on the Roof' is a highly successful musical that blends golden age and concept musical styles. Director-choreographer Jerome Robbins relentlessly questioned the show's core meaning, leading to the central theme of tradition and its gradual dissolution. Jewish traditions are woven into every element, from the opening number to the set design inspired by Marc Chagall. The Fiddler character embodies tradition, remaining with Tevye even as his world changes, showcasing the musical's universal appeal regarding challenging beliefs and preserving heritage.
'Man of La Mancha' uses a show-within-a-show concept, with Cervantes enacting his story for fellow prisoners. It broke Broadway tradition with its real-time setting, single location, and thrust stage. The musical explores the themes of reality versus idealism, portraying Cervantes' escape into the world of Don Quixote. The power of performance is highlighted as Cervantes transforms into Quixote, inspiring hope in the face of harsh reality. The show's minimalist aesthetics and theatrical techniques drew inspiration from European theater.
'Hair: The American Tribal Love-Rock Musical' is described as a pure concept musical, capturing the entire counterculture movement of the late 1960s. Its development stemmed from off-off-Broadway experimental theater, utilizing ensemble-based storytelling and improvisation. Director Tom O'Horgan's subversive approach on Broadway, including casting real hippies, directly addressing sex, racism, and drug use, and its anti-Vietnam War stance, made it a mainstream smash. The musical challenged audience participation and mainstream theatrical norms.
The 1960s saw a significant shift in power from librettists and songwriters to director-choreographers. These 'Broadway auteurs' collaborated from a musical's inception, viewing it as a sum of storytelling, music, dance, and acting. Jerome Robbins set the precedent for this role, integrating dance seamlessly into his productions like 'West Side Story' and 'Fiddler on the Roof'. Hal Prince, influenced by Robbins, further developed the concept musical and became a prolific director-producer, shaping Broadway for decades.
Gower Champion and Bob Fosse, both former Broadway dancers, returned to Broadway after unsuccessful Hollywood careers to become director-choreographers. Champion, known for his elegant ballroom style, directed four hit musicals in a row, including 'Bye Bye Birdie' and 'Hello Dolly!'. He mastered stage pictures and audience manipulation, integrating rock and roll pastiche and innovative stage designs. Bob Fosse, with his distinct vaudevillian, burlesque, and modern dance style, made his directorial debut with 'Sweet Charity', pushing his unique choreography and cinematic flair, exemplified by the 'Big Spender' number. Fosse's work led to him directing the film adaptations of 'Sweet Charity' and 'Cabaret', winning an Oscar for the latter.
The 1960s expanded the theatrical landscape outside New York City. Off-Broadway, once a home for experimental plays, flourished with successes like 'The Fantasticks', which became the world's longest-running musical by focusing on craft over commerce, utilizing minimalism, and drawing from Commedia dell'arte. Off-off-Broadway, represented by 'Hair', offered even more avant-garde approaches, often for free. Regional theaters, like Goodspeed Opera House, began to produce original musicals like 'Man of La Mancha' that eventually transferred to Broadway. British musicals like 'Oliver!' also found success on Broadway, foreshadowing the British invasion of the 1980s.
The experimental musicals, director-choreographers, and shows originating outside Broadway in the 1960s collectively evolved the structure of musical theater. This era set the stage for the groundbreaking works of Stephen Sondheim and Hal Prince, the distinct style of Bob Fosse, and the British rock musicals that would dominate in later decades. The 60s zeitgeist, embodied in these risks, transformed Broadway and laid the foundation for modern musical theater.