Musical Theatre Minstrelsy -parodies performed by white entertainers -comes from America and England -first appears on plantations Dixon and Rice (1820’s and 1830’s) -well known for blackface song and dance Two types of impersonations being used in early minstrelsy: -Gumbo Chaff or Jim Crow (plantation or riverboat hand, joyous and uncouth) -Zip Coon or Dandy Jim (northern, elegant clothing and manners)

1840 Fully developed minstrel show, with following characteristics: -variety show (songs, dances, jokes, speeches, skits -four performers – what do they play? banjo and fiddle in middle; end-men play tambourine and bones

Dan Emmet One of the original Virginia Minstrels (first group to use the classic instrumentation) He wrote “Dixie” in 1859 De Boatmen’s Dance -use of dialect -repetition of short motives/melodies -clicking of bones

1850 ’ s and 60 ’ s Minstrelsy grows until the Civil War, Loses its original flavor and character after the war

Civil War to 1900 Four factors contributing to the growth of Musical Theatre #1 – the New York stage in the 1860’s was a hot spot of activity #2 – Vaudeville = clean, family entertainment – a succession of individual acts #3 – Importations – the earlier British Invasion (Gilbert and Sullivan, H.M.S. Pinafore and Pirates of Penzance) #4 – Americanization – happens from

George M. Cohan Showman, author, composer, director Brought new vitality to the theatre Yankee Doodle Boy – Fast pace, bold style – Quotes from popular tunes – Mostly in a major key – Simple syncopation (not as elaborate as jazz) –

The Musical in its Maturity Showboat (1927) -music by Jerome Kern, lyrics by Oscar Hammerstein -“Widening and deepening of the dramatic dimensions of the musical” -Realistic and sympathetic portrayal of African Americans on the stage -Music becomes more important – unity in the score -Use of Leitmotifs