Collaboration in Musical Theatre Writing

Good musical theatre writing is generally assessed by how intentional it is in telling its story. Since it is a very difficult thing to tell a story using music, writers must exercise extreme caution in allowing a story to unfold in an effective, economic way. Recently, there has been a trend in theatre for projects to be developed in a way that utilizes less time of writers sitting alone in a room, and more of material being developed on its feet. Devised theatre, as it is often called, is anathema to the traditional practices of musical theatre writing. The results of this project, the music and lyrics for a modern adaptation of Aristophanes\u27 Lysistrata, shed light on musical theatre writing and its relationship to collaboration. Though the songs that were generated as a result of Lysistrata were often fraught with errors in terms of structure, rhyme, and meter, the artistic ambition contained in the songs was at least slightly commendable. If devising has a place in musical theatre writing, it is as a method of generating new material, not as a way of refining material with high standards

Now: Music from the musicals 1975 - 2018

Musical Theatre performance at The Meteor Theatre Gwen is an opera singer and is joined for an evening of song, by special guests; Courteney Mayall, Alex Pelham-Waerea, Scot Hall, Hannah MacFarlane and Michaela Gilling Accompanied by the incomparable David Sidwell, Gwen and guests will be singing from musical theatre canon of 1975 through to 2018 Let them take you on a journey through the best pieces Broadway has to offer

The integration of dance as a dramatic element in broadway musical theatre

This study traces the development and growth of dance on the Broadway stage and the parallel growth of the effectiveness of choreography in enhancing the musical Theatre libretto. The study surveys the origins and early evolution of stage dance in the United States from 1775 to the introduction of ballet choreography in 1922. It concludes with an examination of Selected scripts which use choreography to dramatize the musical Theatre libretto, 1922 to 1990

Musicianship for musical theatre: a new instructional resource for the musical theatre student studying music theory

Musicianship for Musical Theatre: A new instructional resource for the musical theatre student studying music theory. There is currently no suitable textbook for the musical theatre student that teaches only the practical music theory and ear-training skills needed to be successful in their field. As a result, musicianship skills remain consistently underdeveloped for students graduating from baccalaureate musical theatre programs. Through identifying the literacy needs of the musical theatre performer and comparing them with the learning outcomes of the existing literature, this document provides insight into the curricular gaps that exist for the musical theatre student studying music theory. After careful examination, a three-chapter sample of a new textbook is proposed to provide an alternate resource for the musical theatre student that directly addresses these specific curricular needs

Pramothai Musical Theatre

AbstractThis research titled “Pramothai Musical Theatre” is part of Doctor of Philosophy Program in Music,Mahidol University. The researcher used the methodology of qualitative research to study the history ofPramothai Musical Theatre. The objectives of this research are to study the establishment of PramothaiMusical Theatre, its important personnel and components of Pramothai Musical Theatre.The research revealed that Pramothai Musical Theatre was established in 1911 by Phra SophonAksonkit (Lek Samitasiri). He established his own theatre situated in a commercial building in the southof Charoen Krung Road in order to organize the performance of musical theatre which used the playscomposed by many poets. The style of Pramothai Musical Theatre was made interesting by severaladditional components, namely, international dances during interlude dance show, the jokers who alwaysfollowed the main characters and the Chinese operas which were developed into the style of Thaimusical theatre with Thai lyrics. The important actresses were Mae Bunnak, Mae Chawee and MaeChamoi.From the research, there were two important personnel of Pramothai Musical Theatre. The firstperson was Phra Sophon Aksonkit who was the owner of Pramothai Musical Theatre and who played animportant role in developing musical theatre into an interesting and unique performance. The secondperson was Chamoi Khangkharat (Mae Chamoi) who was a significant actress of Pramothai MusicalTheatre. Mae Chamoi was so skillful in performing musical theatre that she was praised as the bestperformer in Thai-style Chinese opera.There were six essential components of Pramothai Musical Theatre: theatrical play, performer, theatre,scenery, musical ensemble, and song.Key words: Pramothai Musical Theatre, history, personnel and component

Ouachita voice students place in district competition Feb. 25-26

Four Ouachita Baptist University voice students earned honors at the National Association of Teachers of Singing (NATS) Arkansas District Conference, held Friday and Saturday, Feb. 25-26, at Harding University in Searcy, Ark. AnnaMarie Cobb, a freshman choral music education major from Arkadelphia, Ark., was a semifinalist in lower college musical theatre, treble division; Bella Owen, a junior musical theatre major from Jonesboro, Ark., earned third place in upper college musical theatre, treble division; Erin Bagley, a junior musical theatre major from White Oak, Texas, was a semifinalist in upper college musical theatre, treble division; and Kieran Malmer, a freshman choral music education major from Little Elm, Texas, won second place in classical first year, treble division

Social Media Marketing Strategy in Chinese Musical Theatre Industry

The usage of social media in the context of musical theatre marketing continues to grow. More and more musical theatre production companies in China are using social media tools such as Weibo to provide various services and interact with customers. In an effort to help understand how the current musical theatre industry conducts social media marketing and the future development direction, this paper describes a case study which applies content analysis to examined posts on Weibo sites of five top musical theatre production companies: Seven Ages, Shanghai Culture Square, Musicals, Focustage, and Amazing Musicals. The results provide insights into the characteristics of social media marketing strategies of musical theatre production companies and changes after covid-19 pandemic. The study results add to the rapidly evolving field of social media within the musical theatre industry marketing context. Moreover, it advocates for an active role for the musical companies to explore and actively participate in the customer and musical fan communities on social media

Give My Regards to the Book

This project is an analysis of the construction of American Musical Theatre. The research for this project has been drawn from direct quotes and writings from Musical Theatre writers, scores and scripts, and from historical books. Reading of these sources reveal principles of Musical Theatre writing which the authors use and the audience expects. This project analyzes how the book, lyrics, and music to a show are written and demonstrates that the writing of Musical Theatre has developed its own unique craft which is grounded in the book

Annotating Musical Theatre Plots on Narrative Structure and Emotional Content

Although theoretical models of the structure of narrative arising from systematic analysis of corpora are available for domains such as Russian folk tales, there are no such sources for the plot lines of musical theatre. The present paper reports an effort of knowledge elicitation for features that characterise the narrative structure of plot in the particular domain of musical theatre. The following aspects are covered: identification of a valid vocabulary of abstract units to use in annotating musical theatre plots, development of a procedure for annotation - including a spread-sheet format for annotators to use, and a corresponding set of instructions to guide them through the process - selection of a corpus of musical theatre pieces that would constitute the corpus to be annotated, the annotation process itself and the results of post-processing the annotated corpus in search for insights on the narrative structure of musical theatre plots