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College > Musical Theatre History Midterm > Flashcards

Musical Theatre History Midterm Flashcards

1
Q

○ Post WWI- Politically Isolationist
○ Booming Economy
○ Prohibition- Classes Mingle
§ Wanted Men to stop beating wives
§ Women seen as more right bc more godly, but came with bad stereotypes
§ But then people got it anyways
§ The classes mingle bc everyone went to speakeasies
○ Lots of frivolous, diversionary entertainments
§ Who can sit on a flag pole the longest
How many ppl can fit into phonebooth

A

1920s

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2
Q

○ Review of minstrel songs by white people

White ppl understand colored ppl more than black ppl

A

Lew Leslie’s Blackbirds

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3
Q

Show Boat Year, Music, Book & Lyrics

A

1927
Music: Jerome Kern
Book & Lyrics: Oscar Hammerstein II

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4
Q

1st broadway intergrated musical

A

Show Boat

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5
Q

Integrated musical

A

Songs push plot forward, § Songs are character driven

Essential to the plot

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6
Q

○ Dramatic Storyline
§ They were usually funny in the 1920s
○ Black & white characters on stage together, equally complicated
§ All black characters were played by black ppl except Mammy
□ Bc she was famous
○ Black & White Actors on stage

A

Show Boat Innovations

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7
Q 
○ Anything Goes 
		○ Porgy & Bess 
		○ Stock Market Crash
		○ Great Depression comes in
		○ A Lot of venues dry up as move into radio & film
A

Musicals of 1930s

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8
Q

○ Chilling effect on lavish productions
§ Ziegfeld dies destitute in 1932
§ Not as big bc everyone is poor
○ Migration to Hollywood
○ B’way: Stylish Escapism
§ Cole Porter: composer associated with this
§ A lot of stories about or rich ppl, mind off of troubles
○ Growth of Satire, politics in musicals
§ Gershwin Bros.
Interested in musicals to say something

A

Trends in the 1930s

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9
Q

Anything Goes Music & Lyrics

A

Cole Porter

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10
Q

○ Book: Howard Lindsay & Russell Crouse (orig. Guy Bolten & P.G. Wodehouse)
○ Ran 420 performances
○ Stylish escapism!
§ Very fun
○ White People tap dancing is becoming a b’way staple now from shuffle along

A

Anything Goes

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11
Q

George & Ira Gershwin Music & Lyrics?

A 
○ George: Music (1898-1937)
			§ Composed classical, jazz, B'way
			§ Died of a brain tumor
		○ Brother Ira: lyrics (1896-1983)
			§ "The Jewler"
				□ Could fit lyrics into any complicated songs
			§ Fascinating Rhythm: came from that
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12
Q

Porgy & Bess Year, music, lyrics

A

1935
Music: George Gershwin
Lyrics: Ira Gershwin, Dubose Heyward

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13
Q

• Operetta
• Vaudeville & Revues
Minstrel Shows

A

The American Musical’s DNA

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14
Q

○ Late 19th/Early 20th Century
○ Impprted from Central Europe
○ Combines dialogue, music & dance to tell a story
Light, comic or romantic stories
○ Large cast
○ For wealthy people
Part of the fun is seeing how rich people live

A

Operetta

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15
Q

(Opera-“art”) + melodrama x fun

A

Operetta

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16
Q 
○ Clear hero & villain
	○ Music as punctuation
		○ Dramatic music. "Melo"=Melody
	○ High, Heavy Drama
		○ High stakes
	○ Often features romance
	○ Not always a happy ending
		○ Gossip Girl
Overhearing conversation, very dramatic
A

Features of Melodrama

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17
Q 
○ Middle Class
	○ White
	○ Men & women looking for respectable entertainment
	○ "Middlebrow"
		○ People look down on it
		○ Condescending
		○ Racist
			§ They're talking about foreheads
High brow are smarter, White people
A

Operetta’s audience?

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18
Q

○ Story set in exotic/foreign locale
○ Characters= rich/royalty
○ Romance
Tropes= Mistaken identities, letters gone astray, etc.

A

Typical operetta conventions

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19
Q

○ Most popular in operetta
○ British composers of light/lyric operas
Unusual ish that he was british

A

Gilbert & Sullivan

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20
Q

Gilbert

A

libretto & lyrics
○ Libretto=Script
○ He was a higher class, his name goes first

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21
Q

Sullivan=

A

Music

Gilbert wrote script & Sullivan would write music afterwards

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22
Q

Gilbert & Sullivan Shows

A

H.M.S. Pinarfore (1878)

Pirates of Penzance

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23
Q 
○ "Topsy-Turvy" Plots
	○ Reflects Victorian values esp. class & race
		○ Rich can never marry the poor
	○ Create appetite for witty wordplay
	○ Sullivan 1900, Gullivan 1911 died
WWI Ends Operetta Popularity
A

Gilbert & Sullivan’s work

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24
Q

○ Genre of Popular entertainment (1880s-1930s)
○ Variety Shows
○ No common element between acts
○ Family Friendly
○ People changed it into middle class entertainment, clean
Made it fancyyyy

A

Vaudeville

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25
Q 
○ Singers
	○ Dancers
	○ Acrobats
	○ Comedians
	○ Animal acts
Dramatic Oratory
A

Types of Vaudeville acts

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26
Q

○ Middle & Working class
○ Cheap tickets, like movies
○ Mixed Gender
○ 1st time children are welcome in theatre
○ Do show all day long in a rotating things
○ Racially Segregated audiences
○ Some black people went to Vaudeville
○ Black audiences & performers
○ Not many black people went to Operetta
○ Chitlin’ circuit- Black Vaudeville
Pig intestines= Chitlin’. They fed this to the slaves

A

Audience for Vaudeville

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27
Q

he Producer=All important
○ Art of the “put together”, or the bill
§ Coordinating
○ Acts toured of a chain of theatres, rather than individual bookings
§ Booked for a whole year
○ Bad pay
○ Circuits varied in size, region, & status
○ “Small time” vs “Big time”
○ “Chitlin’ Circuit= Black

A

The Vaudeville Circuits

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28
Q

○ Charlie Chaplin
○ Ray Bolger (Scarecrow from Wiz of Oz)
○ The Marx Brothers
○ Laurel & Hardy

A

Notable Vaudeville Performers

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29
Q

○ Born to Family of V’Ville performers
○ Stage debut as a baby
○ Born of the 4th of july, possibly the 30th
Dancer, singer, songwriter, playwright, producer

A

George M. Cohan

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30
Q

○ Yankee Doodle Boy
○ Give My Regards to Broadway
○ You’re a Grand Old Flag
Over There

A

George M. Cohan Famius songs

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31
Q

Little Johnny Jones

A

George M. Cohan (1904)

• Classic Book Musical

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32
Q

• Deeply Patriotic
• Irish American= “All American”
○ As an immigrant, he’s most american he argued
• Achieved fame as a performer, songwriter, Playwright
• Wrote Book Musicals
○ Little Johnny Jones
○ Little Nellie Kelly

A

Features of Cohan’s Career

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33
Q 
• Composer
	• Born Israel Beilin
		○ Changed name bc he spelled name wrong
		○ Immigrant
		○ Protocols of elders of zion
			§ Fake jewish story that theyre evil
	• Emigrated from Russia as a baby
	• Could barely read music
	• Wrote for Tin Pan Ally, V'Ville, Broadway (B'way)
A

Irving Berlin (1888-1989)

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34
Q

sheet music company, sounded like a tin pan in alley

A

○ Tin Pan Ally,

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35
Q

• God Bless America
• White Christmas
• Alexander’s Ragtime Band
• There’s No Business like Show Business
• Puttin’ On the Ritz
• Etc.
1st jazz song to cross over to white music

A

Famous Berlin songs

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36
Q 
• Revue written by Berlin, variety show with a theme
	• *WWI inspired*
	• Theme is "Hooray hooray USA"
	• Revue about army life
	• Performed by real servicemen
	• Camp Upton, Yaphank, NY
Wrote God Bless America but cut it
A

Yip Yip Yaphank (1917)

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37
Q

revival of Yip Yip Yaphank but for WWII

A

This is the Army

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38
Q 
• Personally very patriotic
	• Prolific songwriter
		○ So many songs
	• First to introduce syncopated rhythms to main stream white audiences
Swingy
A

Features of Berlin’s Career

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39
Q

• “It is in my opinion musical numbers should carry on the action of the play and should be representative of the personalities who sing them”
• Born in NYC, studied music in Germany
• Worked in London
• Rehearsal Pianist, composed for short films
• Wrote16 scores between 1915-20
Met Oscar Hammerstein II in 1925***

A

Jerome Kern (1885-1945)

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40
Q

• Small, 299-seat theatre
• Experimented with “integrated” musicals
○ Song & dances are integral to the plot
○ Composer: Jerome Kern
○ Librettist Guy Bolton
○ Lyrics: P.G. Wodehouse or Philip Bartholomae
• Relatively small cast
• Low Budget
• Naturalistic acting & speech
• Attemps to integrate songs with plot
Not dance tho

A

Princess Theatre shows (1915-1918)

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41
Q
  • Repeated musical phrases
    • Note when they repeat stuff, reprise
    • Use this to reinforce stuff
A

Motif

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42
Q 
• 1820s European imports
		○ Ballets, operas
	• 1830s Minstrelsy
		○ 1840s- Minstrel shows
	• 1850s- plays, melodramas
		○ Our american cousin
			§ Play that lincoln watched while shot
		○ Uncle Tom's Cabin
			§ Love it
			§ Ppl rewrote ending
			§ Antislavery novel
	• 1860s- Burlesque & Variety
		○ Tawdry! Fun!
	• 1870s-1917 Opererra, or light/lyric opera
		○ Gilbert & Sullivan
	• 1880s- Vaudeville
Family Friendly! Fun!
A

Theatre idk

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43
Q

• White men dressed up in blacface
• Performed songs, dances & skits
Started in 1830s

A

Minstrelsy review

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44
Q

• “wheel about an turn about an do jis so; eb’ry time I wheel about I jump jim crow”
• Saw a crippled slave singing and dancing, copied him. Popular minstrel shows
Image of what a black person is comes from them

A

Jump Jim Crow

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45
Q

• 1840s-1890s; most popular form of entertainment in America

Lasted through 1920s, out by 1940s

A

Minstrel show

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46
Q

• Concert

Semicircle, swap jokes & one liners

A

Minstrel show form

47
Q

§ only person not in black face, Kernel sandrs

Make fun of him

A

Interlocutor:

48
Q

§ Stars, bc they sat on the end

Played tambarines & rhythm bones

A

Tambo & Bones, The end men

49
Q

Unrelated songs & specialty acts

A

Olio

50
Q 
• White People
	• Northern
		○ People curious about black people
	• Male
		○ Women would just begin to go to the theatres
Often working class
A

Minstrel show audiences

51
Q

• In the 1840s many northerners were suspicious of blacks, on the fence about slavery
○ Abolitionists were radical
○ Had sympathy, but aren’t radical
• Satisfied white’s curiosities about blacks
Allayed fears & suspicious

A

Why so popular?

52
Q 
• Started after 1855
	• Flourished, super popular
	• Never a mixed company
	• Performers often blacked up, not just black people. Clown makeup
	• Gave black entertainers a vehicle
		○ Could do something
Lent credibility to black stereotypes
A

Afr. American minstrel troupes

53
Q 
• Camptown races
	• Pollywolly doodle
	• Blue tail fly (Jimmy crack corn)
	• Buffalo gals
	• My old kentucky home
Eenie menie minie mo, catcha  black person :(
A

Popular minstrel songs

54
Q 
• Tap dancing= Irish Jig + Shuffle
		○ Evolved from this,
		○ Enslaved people couldn't dance
		○ Couldn't cross feet, feet go back and forth
	• Negro music
A

Minstrelsy roots in afr american culture

55
Q 
• Flavor flav
		○ Party minded
		○ Wore giant clocks
		○ Accused of minstrelsy
	• Blacks= singing & dancing
	• Blacks-= comic performers
	• Often don't play dramatic leads or romantic roles
Perpetuation of stereotypes via stock characthers
A

Minstrelsy roots in popular culture

56
Q

Jim Crow, sambo, mammy, auntie, uncle, zip coon.

A

Pre-Civil War stereotypes

57
Q 
○ Black people are happy 
		○ Rural 
		○ Slow
		○ Lazy
		○ Loves "massa" 
		○ Loves to sing & dance
		○ Loves to eat
			§ Chicken, watermelon
Black sharecroppers were given terrible land, so they could only grow watermelon.
A

Jim Crow, aka the Sambo

58
Q 
○ Loved "Massa" & his kids
		○ Desexualized
			§ Overweight
			§ (Han)Kerchief
			§ On the plantation, often a victim of sexual abuse
			§ Not a threat to the family unit
		○ Berated black men
Backward family with women in charge
A

Mammy aka Auntie

59
Q

○ Old, docile
○ Loves “Massa”
○ Entertains white children
Zippy doo da, uncle remus

A

The Uncle

60
Q 
○ Urban
		○ Con artist
			§ Talked fast
		○ Pretentious
			§ Wore dumb clothes that were fancy
		○ Carried a razor
		○ The Pimp
		○ Dangerous but sort of laughable
		○ Glamorization of the pimp later, flip the script
Flip into images of empowerment
A

Zip Coon

61
Q

Brute, Jezebel

A

Post Civil War sterotypes

62
Q

○ Violent
○ Dangerous, esp. to white women
○ Animalistic, black people are animals
○ Cannot be controlled by laws, civilization
○ Lynching is acceptable to white people bc of this
§ Can not be controlled
§ Extrajudicial, malicious violence is okay if it’s white people
○ The brute as animal
§ Not human
Political cartoons protrayed them as not human

A

Brute

63
Q 
○ Josephine Baker
			§ Banana skirt
			§ Alluring
		○ Heathen
		○ Highly sexualized
		○ Uncontrollable lust
		○ Desires to be dominated
			§ By white men
		○ Oversexualization of black women today. That's what black women really are.
White people are innocent.
A

The Jezebel

64
Q

Shuffle Along Year, Playwright, Libertto

A

• 1921
• Eubie Blake & Noble Sissle
Libretto: Flournoy Miller & Aubrey Lyles

65
Q

1st African American show to feautre a love story

A

Shuffle Along

66
Q 
• Break color barrier w/audiences
		○ 1st time blacks allowed in orchestra
		○ Audience still 90% white
	• Created white market for black shows
	• Employed hundreds of black performers
		○ Launched their careers
Portrayed 1st legitimate black romance
A

Positive effects of Shuffle Along

67
Q

• Solidified negative sterotypes
○ Zip coon for the competing mayors
○ Onion- jim crow
• Set up a narrow model for black shows
• Produced by whites
○ Led to white producers & writers creating shows for black performers
White people writing stuff for black people :/

A

Negative effects of shuffle along

68
Q

Porgy & Bess year, music, lyrics

A

(1935)
○ Music: George Gershwin
Lyrics: Ira

69
Q

○ “Folk Opera”
○ Blend of Euro styles w/jazz & folk
Is it a black musical?

A

Porgy & Bess

70
Q 
○ "Huh?"
		○ Opera? Musical?
		○ Is it good for Black People?
		○ Later proclaimed Gershwin's masterpiece
Stephen Sondheim
A

Critic’s Response

71
Q

○ 1943-early/mid 1960s
○ Integrated musicals are de facto form
§ Dominant form
§ Song progresses the plot
○ Hugge commercial & artistic growth
○ Musicals hhave a lofty place in mainstream middle class society

A

The Golden age

72
Q

○ 1 of 2 ppl to win a an oscas, tony, emmy, grammy, & pulitzer prize
○ Born into a well-off jewish family
○ Took piano lessons since he was six
Studied at Columbia University, Institute of Musical Art (juliard)

A

Richards rodgers (1902-1979)

73
Q 
was his 1st lyricist
		○ Struggled in the early 1920s
		○ 1925: Broke in writing revues
			§ Variety show with a theme
		○ Early 1930s: Hollywood
			§ Trying to break into broadway
Later 1930s: Broadway
A

Rodgers & Larry Hart

74
Q

○ Babes in arms (1937)
○ I’d Rather be right (1937)
Pal Joey (1940-41)

A

Rodger & Hart shows

75
Q

○ Witty, urbane comedy
○ Sophisticated cynicism
Glorify city life
Sex & the City

A

Characteristics of Rogers & Hart shows

76
Q

○ Hart had deteriorating health, alcholoism, etc.
○ Hart had no interest in “Green Grow the Lilacs”
Hart died in 1943

A

End of Rodgers & Hart

77
Q

○ Grandpa (Oscar I) was Jewish theatre producer
○ Father was theatre manager; unlce was vaudeville producer
§ Uncle did pie in the face
○ Went to Columbia Univ & law school
Dropped out of law school for theatre

A

Oscar Hammerstein II (1895-1960)

78
Q 
○ 1st Broadway play in 1921
		○ Several modest hits
		○ 1927: Show Boat with Jerome Kern
			§ Big hit
Then didn't do it
A

Hammerstein in the 20’s

79
Q

○ A string of flops shows
§ Like 13
○ Collaborated with a variety of composers
Considered a has-been by Musical theatre pros

A

Hammerstein in the ’30s

80
Q

○ Straight play by Lynn Riggs, produced by Theatre Guild- modest hit
○ Thetre Guild had a string of flops
○ Approached Rodgers & Hart about musicalizing the play
Rodgers wanted to; Hart didn’t

A

Green Grow the Lilacs (1931)

81
Q

○ Out of town tryouts = lousy
○ Mike Todd: “no gags, no girls, no chance”
In rehearsals, changed the title

A

Away We Go!

82
Q

○ Opening night = small crowd
○ Papered the house, gave tickets away to servicemen
§ Free tickets to ppl in uniform
○ Director hadn’t worked on Broadway since 1935
○ Choreographer had never worked on Broadway
○ No real starts
○ Cast had the measles opening nights
○ Ran for 2,248 performances
Revolutionized musical theatre

A

Oklahoma!

83
Q

Oklahoma Year

A

1943

84
Q

○ Changed “musical comedy” to musical theatre
○ Established dominance of the integrated musical
○ Uses dance to further plot
§ Dream ballet
Songs & reprises stem organically from character & story needs

A

Oklahoma! Innovations

85
Q 
○ Oklahoma! (1943)
		○ Carousel (1945)
		○ South Pacific (1949)
		○ The King & I (1951)
SOUND OF MUSIC
A

Rodgers & Hammerstein shows

86
Q

○ Themes of tolerance, social liberalism, sincerity (sentiment?), optimism
○ Seamless integration of story, song, & dance
“gags & girls” grounded in “truth”

A

Charachteristics of R & H shows

87
Q 
○ Elevated the musical to "art"
			§ Integrated musical
			§ Musical drama
			§ Musical with social import, themes
		○ Musical theatre= strong cultural influence
March 28, 1954: An evening with R&H
A

R & H legacy

88
Q

○ 1943 through early (or late!) 1960s
○ Dominance of the integrated musical
○ Lavish Productions with sturdy plots
○ Comedy often grounded in serious themes
○ Rise of Ticket prices= rise of prestige
○ Dominated by R&H
Everyone else?

A

The golden Age

89
Q

Guys & Dolls Year, Music & Lyrics,

A

(1950)

Music & Lyrics: Frank Loesser

90
Q 
○ Reflects Suburban values
			§ Conformity
			§ Materialsm
			§ Marriage and Family
				□ "ball & chain"
				□ Women are obligated to get married
				□ Loss of freedom
No economic freedom for women
A

Guys & Dolls in Context

91
Q

West side story year, music, lyrics, director/choreo

A 
(1957)
		○ Book: Arthur Laurents
		○ Music: Leonard Berstein
		○ Lyrics: Stephen Sondheim
Dir/Choreo: Jerome Robbins
92
Q 
○ Considered a landmark in using dance
			§ Won the tony for best choreo
		○ Critically hailed, audiences mixed
			§ Famously lost the Best Musical Tony to the Music Man
Eventually ran for 782 performances
A

West Side Story

93
Q 
○ Reflects dangers of excessive idealism
		○ Myth of "The American Dream"
		○ Race & Class
		○ Polish Americans vs "Puerto Ricans"
Vaguely latin
A

West Side Story in context

94
Q

○ 1960? Oscar Hammerstein’s death
○ 1964? Fiddler on the roof= last big R&H Style musical
1968? Advent of Hair and concept musicals

A

End of Golden Age

95
Q 
○ Patriotic
		○ Yankee Doodle Boy
		○ Born to Vaudeville performers
		○ Wasn't born on 4th of July
		○ Made the Irish cool & all-american aka white
		○ created musicals- was the playwright, lyricist, songwriter, and producer
like lmm
		○ Wrote Revues, Book Musicals
		○ Grew up in Vaudeville
		○ Song- Grand Old Flag
Song- Give my regards to Broadway
A

George M. Cohan

96
Q

○ One of George M. Cohan’s show
○ When done
○ What was it about
1904

A

Little Johnny Jones

97
Q

○ Couldn’t read sheet music/ play piano
○ Jewish
○ Song- White Christmas
○ Wife died of typhoid fever on honey moon
○ Changed name
○ Annie Get your gun
○ Puttin on the ritz
○ 1st to introduce syncopated rhythms in mainstream white music
○ Tin Pan Alley
○ 2nd wife- Both got disowned, catholic family & Jewish family don’t like each other
Hated integrated musicals

A

Irving Berlin

98
Q 
○ Names
			§ Zip Coon
			§ Mammy
			§ Uncle Tom
			§ Brute
			§ Jezebel
		○ Tambo & Bones
			§ End men
Interlocuter: only guy not in blackface
A

Minstrel Shows and stereotypes

99
Q

○ Most influential Broadway musical of 1920’s
○ Black love story
○ All Black Cast
○ Josephine Baker
○ Run for a long time
○ Black people got to sit in orchestra seating
○ Black writers white producer
○ Blake, sissel, people who wrote it, 4 ppl
○ Brought tap dancing to musical
○ Who are characters & what happens
Book musical

A

Shuffle Along

100
Q 
○ Ole Man River
		○ Dramatic story line
		○ Integrated musical
		○ Sympathetic to POC
		○ Black & white actors had equal stage time
		○ Mixed race
		○ 1927
Book & Lyrics: Oscar Hammerstein
A

Show Boat

101
Q 
○ Military base in new york
		○ Revue
		○ Military members
		○ God Bless America was cut 
		○ Composer: Berlin
WWI
A

Yip Yip Yaphank

102
Q 
○ George & Ira
		○ Porgy & Bess
		○ Crazy for you
		○ An American in Paris
		○ George did the music & Ira did lyrics
Rhapsody in blue
A

Gershwin Brothers

103
Q

○ Folk Opera
○ Open a yogurt shop together until one of them evaded their taxes
○ Based off a novel by dubose hayword
○ Zip coon & brute (sporting life & crown)
○ Bess was Jezebel
○ Anne Brown, 1st black person in julliard
POC romance, sympathy

A

Porgy and Bess

104
Q

○ Grandfather was a jewish theatre producer
○ South Pacific
○ Dropped out of law school to do theatre
○ Show boat
○ Teamed with rodgers
○ Had a long string of flops
○ Oklahoma! Was next big hit after Showboat
§ Adapted green grow the lilacs into Oklahoma
Aidelvies is his last song

A

Oscar Hammerstein II

105
Q

○ Julliard

PEGOT

A

Richard Rodgers

106
Q 
○ Hart didn't want to do Oklahoma!
		○ Book musicals
		○ Babes in arms
		○ Funny, witty, sexy, sophisticated
		○ Sex & the City 
Early 1930s= Hollywood; Late 1930s= Broadway
A

Larry Hart

107
Q

○ Jerome Kern
○ Song furthers the plot
Show boat is the 1st big hit

A

Integrated musical

108
Q 
○ Dance furthers plot
		○ Adapted green grow the lilacs
		○ Female choreographer: Agnes Demille
		○ Women have some agency
		○ Small crowd 1st night
			§ Gave out free tickets to military
			§ Loved it
			§ Papering the crowd
Dream Ballet
A

Oklahoma! 1943

109
Q 
○ They're the producers
		○ Oklahoma!
		○ Carousel: R& H!!!!
		○ South Pacific DATE
			§ Anti racist racist
			§ Conditional romantic love song
				□ If I loved you
				□ If I did this
			§ People saw themeselves in the soldiers
			§ People like the kids
			§ Women had a good amount of agency
		○ The King and I
Sound of Music
A

Rodgers & Hammerstein

110
Q

South Pacific Date

A

(1949)

111
Q

○ Berlin
○ Produced by Rodgers & Hammerstein
Didn’t wanna do integrated musical

A

Annie Get Your Gun

112
Q

○ Revue by Berlin during WW2

Re-added god bless america

A

This Is The Army

113
Q 
○ Jerome Robbins-director
		○ Sondheim- lyrics
		○ Romeo & Juliet
		○ 1957
		○ Rita Moreno
		○ Arthur Laurents: Book
		○ Reflects dangers of idealism, no american dream
		○ No best tony for musical
		○ Root for mixed race couple
		○ Won tony for choreo
LMM did spanish translations
A

West Side Story

114
Q 
○ Rock musical
		○ 1968
		○ Sex drugs rock & roll
		○ Hippies
		○ Legal issues
		○ 1750 performance
		○ Who cares about plot: 1st concept musical
		○ Anti war
		○  brought youth back to broadway
		○ East village hippies
		○ Nudity
		○ On stage orgy cut from stage
		○ Went to Supreme Court twice
		○ Lists are songs
		○ Galt mcdermot was originally a jingle composer
Canadian
A

Hair

College (19 decks)

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