1. Class #1 Background

2. Our resources… Broadway: The American Musical 3-part dvd by PBS musicals101.com A terrific web site by John Kenrick

3. Where does it all begin? Greek theater (5 th Century, BC) Roman theater (3 rd Century, BC) Middle Ages Religious Dramas Hildegard of Bingen: Ordo virtutum Hildegard of BingenOrdo virtutum Renaissance French Commedia Dell’arte Pulcinella (Igor Stravinsky) Pulcinella Opera (Italy) England Ballad and Comic

4. Baroque Opera Arias, Recitatives, Chorus Little dramatic action Quality of the singing Excessive stage tricks Aristocratic/Noble audience

5. Mozart & DaPonte

6. What’s new? Everything! Character development! Subconscious thought! Ever expanding ensembles! Middle-class target audience!

7. Operetta Paris, Vienna and London Vernacular Spoken dialogue Comedies Predictable characters, plots and situations

8. Paris: Jacques Offenbach Popular yet refined music Silly plots Spoken dialogue Happy endings La Belle Helene (1864) La Belle Helene

9. Vienna: Johann Strauss More refined and “classical” music Spoken dialogue Infectious melodies Die Fledermaus (1874) Die Fledermaus

10. England: Gilbert & Sullivan W.S. Gilbert (librettist) Pioneering stage director Arthur Sullivan (music) 14 comic operas (Richard) D'Oyly Carte Opera Company Pirates of Penzance (1880) (Kevin Klein)Kevin Klein “Topsy-Turvy” 1999 “Three Little Maids Are We” Gay Men’s Chorus of Los Angeles

11. England: Music Halls Legitimized saloons Intermingling of classes 300+ in London by 1875 “Ye Ole’ English Music Hall” 1926 “Ye Ole’ English Music Hall” Stars included Laurel & Hardy Charlie Chaplin

12. Next week… Before Showboat i.) Review of Vaudeville, Minstrel shows, Variety, Burlesque. ii.) Integrated musical vs. Musical comedy and reviews iii.) Florenz Zeigfeld and the Follies iv.) George M. Cohan v.) Irving Berlin (1) Influence of World War I