Author: Dominic McHugh
Publisher:
ISBN: 0190469994
Category : Music
Languages : en
Pages : 690
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Book Description
The Oxford Handbook of Musical Theatre Screen Adaptations traces how the genre of the stage-to-screen musical has evolved, from The Jazz Singer to The Wizard of Oz, Roberta, and Into the Woods.
Author: Dominic McHugh
Publisher: Oxford University Press
ISBN: 019005154X
Category : Music
Languages : en
Pages : 690
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Book Description
Hollywood's conversion to sound in the 1920s created an early peak in the film musical, following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St Louis, Singin' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The Oxford Handbook of Musical Theatre Screen Adaptations traces how the genre of the stage-to-screen musical has evolved, starting with screen adaptations of operettas such as The Desert Song and Rio Rita, and looks at how the Hollywood studios in the 1930s exploited the publication of sheet music as part of their income. Numerous chapters examine specific screen adaptations in depth, including not only favorites such as Annie and Kiss Me, Kate but also some of the lesser-known titles like Li'l Abner and Roberta and problematic adaptations such as Carousel and Paint Your Wagon. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.
Author: Dominic Broomfield-McHugh
Publisher: Oxford University Press
ISBN: 0197649394
Category : Film adaptations
Languages : en
Pages : 441
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Book Description
"From Show Boat (1936) to The Sound of Music (1965) and from Grease (1978) to Chicago (2002), many of the most beloved film musicals in Hollywood history originated as Broadway shows. And in the three years since the original publication of the chapters in this volume (as The Oxford Handbook of Musical Theatre Screen Adaptations, 2019) the phenomenon has persisted, with new adaptations such as Cats, In the Heights, Tick, Tick...Boom!, Dear Evan Hansen, and Spielberg's remake of West Side Story. Yet in general, the number of screen adaptations of Broadway musicals and operettas is far greater than the number that have met with success, especially both critical and commercial success (i.e., good reviews and a profit at the box office). This is all the more surprising since Hollywood tended almost (if not quite) exclusively to buy the rights to musicals that had been successful on the stage as a means of guaranteeing a profitable outcome. After all, musicals that had already enjoyed long runs and nationwide productions on the stage ought to have a readymade audience. One might also think that because the authors had puzzled over the individual challenges posed by such properties in their stage incarnations, it ought to be easier to turn them into strong film musicals. But for every West Side Story there were several Finian's Rainbows, Man of La Manchas, and Carousels: movies that simply did not do justice to the 'enchanted evenings' these works provided in their stage incarnations"--
Author: Dominic McHugh
Publisher:
ISBN: 9780197663264
Category : Film adaptations
Languages : en
Pages : 0
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Book Description
"From Show Boat (1936) to The Sound of Music (1965) and from Grease (1978) to Chicago (2002), many of the most beloved film musicals in Hollywood history originated as Broadway shows. And in the three years since the original publication of the chapters in this volume (as The Oxford Handbook of Musical Theatre Screen Adaptations, 2019) the phenomenon has persisted, with new adaptations such as Cats, In the Heights, Tick, Tick...Boom!, Dear Evan Hansen, and Spielberg's remake of West Side Story. Yet in general, the number of screen adaptations of Broadway musicals and operettas is far greater than the number that have met with success, especially both critical and commercial success (i.e., good reviews and a profit at the box office). This is all the more surprising since Hollywood tended almost (if not quite) exclusively to buy the rights to musicals that had been successful on the stage as a means of guaranteeing a profitable outcome. After all, musicals that had already enjoyed long runs and nationwide productions on the stage ought to have a readymade audience. One might also think that because the authors had puzzled over the individual challenges posed by such properties in their stage incarnations, it ought to be easier to turn them into strong film musicals. But for every West Side Story there were several Finian's Rainbows, Man of La Manchas, and Carousels: movies that simply did not do justice to the 'enchanted evenings' these works provided in their stage incarnations"--
Author: Dominic Broomfield-McHugh
Publisher:
ISBN:
Category : Film adaptations
Languages : en
Pages : 0
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Book Description
Author: Dominic Broomfield-McHugh
Publisher: Oxford University Press
ISBN: 0197663257
Category : Film adaptations
Languages : en
Pages : 401
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Book Description
"From Show Boat (1936) to The Sound of Music (1965) and from Grease (1978) to Chicago (2002), many of the most beloved film musicals in Hollywood history originated as Broadway shows. And in the three years since the original publication of the chapters in this volume (as The Oxford Handbook of Musical Theatre Screen Adaptations, 2019) the phenomenon has persisted, with new adaptations such as Cats, In the Heights, Tick, Tick...Boom!, Dear Evan Hansen, and Spielberg's remake of West Side Story. Yet in general, the number of screen adaptations of Broadway musicals and operettas is far greater than the number that have met with success, especially both critical and commercial success (i.e., good reviews and a profit at the box office). This is all the more surprising since Hollywood tended almost (if not quite) exclusively to buy the rights to musicals that had been successful on the stage as a means of guaranteeing a profitable outcome. After all, musicals that had already enjoyed long runs and nationwide productions on the stage ought to have a readymade audience. One might also think that because the authors had puzzled over the individual challenges posed by such properties in their stage incarnations, it ought to be easier to turn them into strong film musicals. But for every West Side Story there were several Finian's Rainbows, Man of La Manchas, and Carousels: movies that simply did not do justice to the 'enchanted evenings' these works provided in their stage incarnations"--
Author: Dominic Broomfield-McHugh
Publisher: Oxford University Press
ISBN: 0197663222
Category : Film adaptations
Languages : en
Pages : 329
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Book Description
"From Show Boat (1936) to The Sound of Music (1965) and from Grease (1978) to Chicago (2002), many of the most beloved film musicals in Hollywood history originated as Broadway shows. And in the three years since the original publication of the chapters in this volume (as The Oxford Handbook of Musical Theatre Screen Adaptations, 2019) the phenomenon has persisted, with new adaptations such as Cats, In the Heights, Tick, Tick...Boom!, Dear Evan Hansen, and Spielberg's remake of West Side Story. Yet in general, the number of screen adaptations of Broadway musicals and operettas is far greater than the number that have met with success, especially both critical and commercial success (i.e., good reviews and a profit at the box office). This is all the more surprising since Hollywood tended almost (if not quite) exclusively to buy the rights to musicals that had been successful on the stage as a means of guaranteeing a profitable outcome. After all, musicals that had already enjoyed long runs and nationwide productions on the stage ought to have a readymade audience. One might also think that because the authors had puzzled over the individual challenges posed by such properties in their stage incarnations, it ought to be easier to turn them into strong film musicals. But for every West Side Story there were several Finian's Rainbows, Man of La Manchas, and Carousels: movies that simply did not do justice to the 'enchanted evenings' these works provided in their stage incarnations"--
Author: Laura MacDonald
Publisher: Taylor & Francis
ISBN: 0429535864
Category : Performing Arts
Languages : en
Pages : 838
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Book Description
Global in scope and featuring thirty-five chapters from more than fifty dance, music, and theatre scholars and practitioners, The Routledge Companion to Musical Theatre introduces the fundamentals of musical theatre studies and highlights developing global trends in practice and scholarship. Investigating the who, what, when, where, why, and how of transnational musical theatre, The Routledge Companion to Musical Theatre is a comprehensive guide for those studying the components of musical theatre, its history, practitioners, audiences, and agendas. The Companion expands the study of musical theatre to include the ways we practice and experience musicals, their engagement with technology, and their navigation of international commercial marketplaces. The Companion is the first collection to include global musical theatre in each chapter, reflecting the musical’s status as the world’s most popular theatrical form. This book brings together practice and scholarship, featuring essays by leading and emerging scholars alongside luminaries such as Chinese musical theatre composer San Bao, Tony Award-winning star André De Shields, and Tony Award-winning director Diane Paulus. This is an essential resource for students on theatre and performance courses and an invaluable text for researchers and practitioners in these areas of study.
Author: Donelle Ruwe
Publisher: Routledge
ISBN: 1317167732
Category : Literary Criticism
Languages : en
Pages : 294
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Book Description
Bringing together scholars from musicology, literature, childhood studies, and theater, this volume examines the ways in which children's musicals tap into adult nostalgia for childhood while appealing to the needs and consumer potential of the child. The contributors take up a wide range of musicals, including works inspired by the books of children's authors such as Roald Dahl, P.L. Travers, and Francis Hodgson Burnett; created by Rodgers and Hammerstein, Lionel Bart, and other leading lights of musical theater; or conceived for a cast made up entirely of children. The collection examines musicals that propagate or complicate normative attitudes regarding what childhood is or should be. It also considers the child performer in movie musicals as well as in professional and amateur stage musicals. This far-ranging collection highlights the special place that musical theater occupies in the imaginations and lives of children as well as adults. The collection comes at a time of increased importance of musical theater in the lives of children and young adults.
Author: Dominic McHugh
Publisher: Oxford University Press
ISBN: 0199968144
Category : Music
Languages : en
Pages : 286
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Book Description
Few musicals have had the impact of Lerner and Loewe's timeless classic My Fair Lady. Sitting in the middle of an era dominated by such seminal figures as Rodgers and Hammerstein, Frank Loesser, and Leonard Bernstein, My Fair Lady not only enjoyed critical success similar to that of its rivals but also had by far the longest run of a Broadway musical up to that time. From 1956 to 1962, its original production played without a break for 2,717 performances, and the show went on to be adapted into one of the most successful movie musicals of all time in 1964, when it won eight Academy Awards. Internationally, the show also broke records in London, and the original production toured to Russia at the height of the Cold War in an attempt to build goodwill. It remains a staple of the musical theater canon today, an oft-staged show in national, regional, and high school theaters across the country. Using previously-unpublished documents, author Dominic McHugh presents a completely new, behind-the-scenes look at the five-year creation of the show, revealing the tensions and complex relationships that went into its making. McHugh charts the show from the aftermath of the premiere of Shaw's Pygmalion and the playwright's persistent refusal to allow it to be made into a musical, through to the quarrel that led lyricist Alan Jay Lerner and composer Frederick Loewe to part ways halfway through writing the show, up to opening night and through to the present. This book is the first to shed light on the many behind-the-scenes creative discussions that took place from casting decisions all the way through the final months of frantic preparation leading to the premiere in March 1956. McHugh also traces sketches for the show, looking particularly at the lines cut during the rehearsal and tryout periods, to demonstrate how Lerner evolved the relationship between Higgins and Eliza in such a way as to maintain the delicate balance of ambiguity that characterizes their association in the published script. He looks too at the movie version, and how the cast album and subsequent revivals have influenced the way in which the show has been received. Overall, this book explores why My Fair Lady continues to resonate with audiences worldwide more than fifty years after its premiere.
