Toy Town

Ethan Mordden
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Abstract

This chapter examines the emergence of the musical comedy. Musical comedy was invented by George Edwardes, famed for being the manager of the Gaiety Theatre. Therefore, the dawn of musical comedy became known as the Gaiety Era. This was a period that lasted roughly from the 1890s to about 1915. Interestingly, though, Edwardes' first such production, In Town (1892), did not quite fit in with this new genre. In Town, was a hit, lasting some thirty-five weeks. Next, A Gaiety Girl (1893) was a smash at 413 performances, and this one at least had a plot. It soon became a favorite on the English-speaking musical comedy scene and was a hit on both sides of the Atlantic. The chapter then considers the move toward the modern story musical, looking at librettist Owen Hall, who wrote the books for two of the most successful Edwardian shows: The Geisha (1896) and Leslie Stuart's Florodora (1899).
玩具城
这一章考察了音乐喜剧的出现。音乐喜剧是由乔治·爱德华兹发明的,他因担任欢乐剧院的经理而闻名。因此,音乐喜剧的开端被称为欢乐时代。这一时期大致从19世纪90年代持续到1915年。然而,有趣的是,爱德华兹的第一部这样的作品《在城里》(1892)并不完全符合这种新流派。《在城里》很受欢迎,持续了大约35个星期。接下来,《欢乐女孩》(1893)在413场演出中大获成功,这一次至少有一个情节。它很快成为英语音乐喜剧界的宠儿,并在大西洋两岸都大受欢迎。这一章接着讨论了向现代故事音乐剧的转变,着眼于剧作家欧文·霍尔,他为爱德华时代最成功的两部戏剧写了剧本:《艺妓》(1896)和莱斯利·斯图尔特的《弗洛多拉》(1899)。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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