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Musical Theatre: c.1960- c.1970

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Rick Gomez

on 22 March 2017

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Transcript of Musical Theatre: c.1960- c.1970

Musical Theatre:
c. 1960-c. 1970

The Golden Age is Eclipsed by "the Age of Aquarius"
Small Musicals/Big Payoff
Broadway Gets Desperate
(Can Anybody Say Burlesque?)
Things Start to Get Very "Rocky"
Gower Champion
The End of the Golden Age
The Fantasticks (1960)
You're a Good Man
Charlie Brown (1967)
Bye Bye Birdie (1960)
Carnival! (1961)
Your Own Thing (1968)
Hair (1968)
The American Tribal
Love Rock Musical
1776 (1969)
...but then again,
not so "rocky."
Libretto/Lyrics: Gerome Ragni, James Rado
Music: Galt MacDermot
‘Hair’ tells the story of Vietnam-era youths awkwardly but exuberantly creating their own rite of passage through the confusion around them. Among them are Claude and Berger; a pair of friends battling against Claude's draft notice, and Sheila, who is in love with both of them, but her politically-active lifestyle leaves her little time to act on her feelings. Ultimately, Claude decides that the hippie life isn't for him and goes to Vietnam. With themes of alienation and civil disobedience Hair illustrates the '60s generation's search for meaning through various "be-ins," "love-ins" and protest.
First rock musical,
but not lasting.
Let the Sun Shine
Hair won Drama Desk Award for Best Score (but not Tony).
x 3
In the days leading up to July 4, 1776, Continental Congressmen John Adams and Benjamin Franklin coerce Thomas Jefferson into writing the Declaration of Independence as a delaying tactic as they try to persuade the American colonies to support a resolution on independence. As George Washington sends depressing messages describing one military disaster after another, the businessmen, landowners and slave holders in Congress all stand in the way of the Declaration, and a single "nay" vote will forever end the question of independence. Large portions of spoken and sung dialog are taken directly from the letters and memoirs of the actual participants.
Sit Down John
The Lees of Old Virginia
Here's how Broadway viewed Rock in 1960 (Bye Bye Birdie).
Oh! Calcutta! (1968)
Nudity Packs the House:
Original Run-1,922 Performances.
1976 Revival-5,959 Performances.
A revue, created by British drama critic Kenneth Tynan, is made predominantly of sketches on sex-related topics
The title,
Oh! Calcutta!
is a pun on the title of a painting by Clovis Trouille, "O quel cul t'as!" French for "What an @$$ you have!".
A few Song Titles:
Taking Off the Robe
Was It Good for You Too
One on One
Four In the Hand
Things Start to Get a Little "Rocky"
(and a tad "Roll-y")
Book: John Gordon
Music and Lyrics: Clark Gesner
Book and Lyrics: Tom Jones
Music: Harvey Schmidt
My New Philosophy
Music by Andrew Lippa
(1999 Revival)
Try To Remember
An allegorical story, The Fantasticks centers on two neighboring fathers who trick their children, Luisa and Matt, into falling in love by pretending to feud. The fathers hire traveling actors to stage a mock abduction, so that Matt can heroically seem to save Luisa, ending the supposed feud. When the children discover the deception, they reject the arranged love match and separate. Each then gains disillusioning experiences of the real world, seen in parallel fantasy sequences. They return to each other bruised but enlightened, and they renew their vows with more maturity. (Wikipedia)
Hello Dolly (1964)
Funny Girl (1964)
Fiddler On the Roof
Man of La Mancha (1965)
Mame (1966)
Cabaret (1966)
Hello Dolly (1964)
Hello Dolly
Telephone Hour
When the draft selects rock star Conrad Birdie, his fans are devastated, but none more than struggling songwriter Albert Peterson, whose song Birdie was just about to record. Albert's longtime girlfriend, Rosie, pushes Albert to write a new tune that Birdie will perform on television to a fan selected in a contest. The scheme works, with young Ohio teenager Kim McAfee declared the winner, but no one has counted on the jealous wrath of her boyfriend.
A meddlesome matchmaker brings together the young clerk of a wealthy Yonkers merchant and his assistant with a widowed milliner and her assistant, while making sure she herself gets to marry the merchant, in Jerry Herman and Michael Stewart's musical adaptation of Thornton Wilder's The Matchmaker.
A naïve, orphaned girl is taken in as an apprentice to a traveling French circus and develops an astonishing ability to relate to the puppets designed and performed by an embittered, crippled man who loves her.
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