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Musical Theater and War
Although musical theater is usually associated with toe-tapping smiles and dancing girls, it also has dealt at times with America's wars. Some such shows were too grating on the sensibilities of American audiences and never made it to Broadway or achieved lasting popularity. Other musicals found sufficient producer capital and greater resonance with audiences.
Composers, writers, and audiences for musicals did not really exist in the United States until the late 19th century, when the popularity of the light opera works of such British and continental composers and librettists as Gilbert and Sullivan and Franz Lehar spread to this continent. Consequently, musicals celebrating wars fought earlier do not appear until long after their conclusion.
Broadway Musicals about the American Revolution and the Civil War
The nation's first steps toward independence were celebrated nearly two centuries later in the musical 1776. First staged in 1969, this show by Sherman Edwards (music and lyrics) and Peter Stone (book) involves meetings of the Continental Congress and the drafting of the Declaration of Independence. “Mama Look Sharp,” sung by a congressional courier caught in the middle of battle, stands in contrast to the generally comedic tone of the rest of the show: “The soldiers they fired, oh Ma did we run. But then we turned round and the battle begun. Then I went under, oh Ma am I done?”
The first musical about the Civil War appears to have been When Johnny Comes Marching Home, with music by Julian Edwards and lyrics by Stan Stange. The show enjoyed brief popularity in the winter of 1902 to 1903. Two more recent shows that made it to Broadway were set in Civil War times. Shenandoah, by Gary Geld and Peter Udell, first staged in 1975, dealt with a Virginia farm family facing the nightmare of the Civil War. Civil War, written by Frank Wildhorn with book by Gregory Boyd and lyrics by Jack Murphy, premiered in 1998. Boyd called it “an attempt to create a new music-theatre event that tries to express a sense of the time, the character and the emotional landscape of an America that is struggling to define itself during a time of terrible and profound change.” Lincoln sings words that he once spoke. A Confederate recruit misjudges the task before him: “I will cut a dashing figure; I will make the ladies swoon; I'll be back by fall to kiss 'em all, If the war don't end too soon.” Jack Kyrieleison's Battle Cry Freedom (later changed to Reunion) has been performed in a number of venues since its Goodspeed Opera House debut in 1996, though not on Broadway. The work's six vaudeville actors, “performing in 1890” before a backdrop of photographs from the war, represent Civil War statesmen, generals, sol-diers, nurses, slaves, reporters, preachers, and spies, and sing 26 songs that were popular during the Civil War era.
From the Spanish–American War through World War I
The Shoo-fly Regiment, a musical written by and starring African Americans, with music by Bob Cole and lyrics by J. Rosamond Johnson, opened on Broadway in 1907. The star, a graduate of Tuskegee Institute, volunteers for service in the Spanish–American War. After service in the Philippines, he returns to his sweetheart and marries her. One scholar believes that the show's romantic plot may have offended the white Broadway audience of that era inasmuch as such senti-mentality was regarded as “taboo in black shows” (Woll, 1989). The show closed after 15 performances.?
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- Art, Culture, and Memory
- “Star-Spangled Banner, The”
- Apocalypse Now
- Beetle Bailey
- Born on the Fourth of July
- Combat!
- Deer Hunter, The
- Farewell to Arms, A
- From Here to Eternity
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