By M. Lundskaer-Nielsen
This is often one of many first books to provide a rigorous research of the large adjustments within the musical theatre through the Nineteen Eighties and 90s. furthermore, it makes a speciality of the contribution of famous, severe theatre administrators to the mainstream Musical Theatre and it's the first booklet to provide a twin Anglo-American point of view in this topic.
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Extra info for Directors and the New Musical Drama: British and American Musical Theatre in the 1980s and 90s
Nor was Company at the tail end of this trend: eight years after the musical opened, Curse of the Starving Class (1978) was the first of Sam Shepard’s family plays—followed by Buried Child (1978), True West (1980), and A Lie of the Mind (1985)—all of which undermined the myth of the supportive family unit as the center of American life. Certainly, there is a difference of tone and central preoccupations between Company and the plays listed earlier, but there are also telling similarities which indicate that they have all come out of the same period in American social history.
A closer comparison reveals clear parallels in the staging of key moments in Citizen Kane and Evita. In the musical, Eva’s parallel journeys as a political figure and as an individual are depicted through the contrast between large rally-like scenes and private moments that reveal the human being behind the media images. In her first major appearance on the balcony of the Casa Rosada, the blown-up images of Eva on the upstage screen and her position on the raised balcony forces the audience to look up at her from the same angle as the film audience watching Kane for his big political rally.
OKLAHOMA! VERSUS COMPANY The distance between Prince’s musical dramas and the musical plays that preceded them can be seen in a comparison between Rodgers and Hammerstein’s breakthrough musical Oklahoma! and the Prince musical Company. Harold Prince in Context 21 In 1943, Oklahoma! signaled a new era for the Broadway musical, establishing the dominance of musical plays on Broadway. Based on Lynn Riggs’s play Green Grow the Lilacs, Oklahoma! tells the story of farmers and cowboys during the taming of the West.
Directors and the New Musical Drama: British and American Musical Theatre in the 1980s and 90s by M. Lundskaer-Nielsen