Pick a Pocket Or TwoPub Date : 2021-09-23DOI: 10.1093/oso/9780190877958.003.0010
Ethan Mordden
{"title":"Sweep Me Off My Feet","authors":"Ethan Mordden","doi":"10.1093/oso/9780190877958.003.0010","DOIUrl":"https://doi.org/10.1093/oso/9780190877958.003.0010","url":null,"abstract":"This chapter explores the British musical in the 1960s. It begins by considering how Lionel Bart's successful Fings Ain't Wot They Used T'Be (1960), Oliver! (1960), Blitz! (1962), and Maggie May (1964) form a cornerstone in the history of the British Musical. Indeed, Bart left his mark on the era, partly through a renewed interest in adapting classics and partly in a yen for experimentation. In fact, the first British concept musical came along just a year after Oliver! In the form of Monty Norman and Wolf Mankowitz's Belle; or, The Ballad of Dr. Crippen (1961). Belle was one of the quirkiest shows of its time, but then the concept musical is quirky by nature, as witnessed by Stop the World—I Want To Get off (1961). Most experimental of all during this period was Joan Littlewood's Oh What a Lovely War (1963). Despite all this experimentation, the comedy musical was still vital; the Whitehall Theatre added to its series of sex farces with a musical farce, Come Spy With Me (1966), a spoof of James Bond thrillers starring drag artist Danny La Rue.","PeriodicalId":118439,"journal":{"name":"Pick a Pocket Or Two","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130586386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pick a Pocket Or TwoPub Date : 2021-09-23DOI: 10.1093/oso/9780190877958.003.0012
Ethan Mordden
{"title":"To Love Another Person Is To See the Face Of God","authors":"Ethan Mordden","doi":"10.1093/oso/9780190877958.003.0012","DOIUrl":"https://doi.org/10.1093/oso/9780190877958.003.0012","url":null,"abstract":"This chapter discusses the emergence of the through-song British musical, also known as “pop opera.” This can be dated from the afternoon of March 1, 1968, when parents (mainly mothers) of students at Colet Court School watched an end-of-term performance of a twenty-minute version of Andrew Lloyd Webber and Tim Rice's Joseph and the Amazing Technicolor Dreamcoat. By 1991, Lloyd Webber and Rice had officially created the first performance in the history of pop opera which was Jesus Christ Superstar (1971). Lloyd Webber's ability to compose consistently in a single voice, or to eclecticize, in other words, to teach the audience to navigate the action through musical signifiers is not appreciated enough. Tim Rice's ease in “conversationalizing” the bigger-than-life figures that pop opera delights in is similarly underrated, because he makes it look easy. The biggest hit in this period of musical history is Les Misérables (1985). This show's saga started when Alain Boublil sees Superstar and decides to write something comparable. It was written with composer Claude-Michel Schönberg.","PeriodicalId":118439,"journal":{"name":"Pick a Pocket Or Two","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131336558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pick a Pocket Or TwoPub Date : 2021-09-23DOI: 10.1093/oso/9780190877958.003.0003
Ethan Mordden
{"title":"Toy Town","authors":"Ethan Mordden","doi":"10.1093/oso/9780190877958.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780190877958.003.0003","url":null,"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).","PeriodicalId":118439,"journal":{"name":"Pick a Pocket Or Two","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124589530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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