Below is the final draft of my paper for SYP! Non-linear Story-telling in Musical Theater
Matthew Shifrin
May 9, 2016
CAPS Research
Have you ever gone to a musical and been utterly confused; you try to piece the story together, but the events just don't line up? Most musicals that play on Broadway run on a simple formula which helps them tell a story. The stories of most musicals usually go in chronological order from beginning to end, thus making them easy to follow. But what if a musical has no story to speak of, or goes in reverse chronological order from end to beginning? To what extent is linear story-telling a factor in the success or failure of a musical? In this case, by success, I mean the simplicity with which a musical can be followed, and how well the various elements of story-telling (plot/story, music, and lyrics) connect to form a cohesive narrative. In terms of linearity, a linear musical can exhibit non-linear story-telling techniques such as flashbacks, to move the story along (see Sweeney Todd for clarification).
There are certain anomalous musicals, which, despite their non-linearity, have garnered great success on Broadway. One example is Andrew Lloyd Webber's Cats, a plotless musical based on T. S. Eliot's Old Possum's Book of Practical Cats. Though the musical is plotless, the costumes, dancing and sets kept it afloat, as did some of its songs, such as "Memories", which has become a staple of musical theater repertoire. Another anomalous work is Stephen Sondheim's Follies, which is structured around flashbacks. The work takes place at a reunion of actors who played in the Zigfeld Follies, a series of theater productions in New York in the early 1900s. The work is non-linear in the sense that its primary focus is on characters flashing back to younger versions of themselves at various points to help fill gaps in the story.
Though these works are excellent examples of non-linear/conceptual musicals, I will use Stephen Sondheim's Company, Sweeney Todd and Merrily We Roll Along as examples to discuss non-linear story-telling in the following pages. I will focus on the works of Sondheim because he pioneered the non-linear musical with Company in 1970, and ended the official "era" of non-linear musicals with Merrily we Roll Along in 1981. He is the rise and fall of non-linear story-telling in musical theater. These musicals are also the best examples of non-linear story-telling that he has to offer, and provide the widest array of techniques to keep the audience engaged while telling a story. Before I discuss these works, however, I'd like to offer three elements that make a musical successful in terms of cohesive story-telling: engaging music, engaging lyrics, and a relatable story which is simple to follow. Without one of these elements, the musical flops.
Stephen Sondheim's Company is one of the first non-linear musicals. Written in 1970 with playwright George Furth, the work was based on a series of Furth's vignettes. Sondheim and Furth had trouble unifying these vignettes into a cohesive story. In his book, Finishing the Hat, Sondheim states, "Most of the plays concerned two people in a relationship (marriage, lovers, close friends) joined by an outsider (best friend, ex-lover, mere acquaintance) who serves as catalyst for the action. To George and me, the problem of merging unrelated scenes into a unified evening seemed an impossible one to solve (making the project irresistible) until we came up with the now obvious solution-to turn the different outsiders into a single person" (165). This single person is Bobby, a 35-year-old bachelor trying to find a partner. To better understand his married friends, he goes to each of their houses to see what their lives are like. Each house, in this case, is one of Furth's vignettes. Bobby's married friends act as a sort of ephemeral Greek Chorus, appearing at the beginning of the show and singing a number, then each appearing in their separate vignette and returning in the end for a final song. Each character is so insubstantial that one is easily replaced with another. Whenever a large group of them sings together (in the show's opening number, for example), none of them notice that the others are there - each simply sings his own line, and that is that. This is one aspect that makes Company non-linear. Bobby, going to the houses of his friends, is the glue that binds the whole production. What makes this musical an artistic success (it won Tony Awards for Best Music and Best Lyrics, both of which Sondheim wrote) are its songs. These songs are packed with wit and raw emotion. An excellent example of wit can be found in the following couplet, which Kathy, one of Bobby's ex-girlfriends, sings to him: "When a person's personality is personable, /He shouldn't oughta sit like a lump. /It's harder than a matador coercin' a bull /To try to get you off of your rump" (177). It is evident from these lyrics that Sondheim enjoys lyric writing immensely and is able to have fun with it. He is able to craft his characters so that they sing their best when at their most vulnerable. An excellent example of this is "Marry Me A Little", which Bobby sings at the end of the first act, when at his lowest. The beauty of this song is in its simplicity. Bobby sings: "Marry me a little, /Love me just enough. /Cry, but not too often, /Play, but not too rough. /Keep a tender distance, / So we'll both be free. /That's the way it ought to be. /I'm ready! /Marry me a little, /Do it with a will. /Make a few demands /I'm able to fulfill. //Want me more than others, Not exclusively. /That's the way it ought to be" (185). These lyrics may seem a bit simple for a musical, but when the music is added, culminating in a giant fanfare with Bobby singing, "I'm ready," we know that he has reached an emotional crossroads, and his vulnerability turns into willingness, into action. This is what makes Sondheim's songwriting great. His emotions ring true, because we've all felt something similar at some point.
Company is a hallmark of conceptual or non-linear musicals in its ending; in the beginning of the musical Bobby's friends were celebrating his birthday party. The musical ends with the same birthday party; however, Bobby doesn't come. Neither his friends nor we, as the audience, know where he went. It doesn't matter. That's the beauty of ambiguity in musical theater. Ambiguity, in this case, re-enforces Company's non-linear structure, since after we've left, we not only have songs stuck in our heads, but situations to think on. An ending like Company's leaves us room to end it how we see fit. With its plotless, yet relatable story, witty music and lyrics, and ambiguous ending, Company defined non-linear musical theater, and also became an artistic success, since it contained all three components of a successful musical.
Sweeney Todd, unlike Company, isn't a non-linear musical in terms of storytelling, since it goes from beginning to end. However, it uses flashbacks to tell Sweeney what happened while he was away. You might wonder how this show is different from Follies, which also uses flashbacks. The flashbacks in Follies are experienced as reminiscences by its main characters, while Sweeney's flashbacks focus on secondary characters. Sweeney's flashbacks also differ from the ones in Follies in that they not only let the audience know what happened, but also let Sweeney in on what he missed. The musical was written in 1979. It was based on a Victorian-era Penny Dreadful (a type of serialized story each part of which could be purchased for a penny) called The String Of Pearls, which was published monthly from 1846-1847. Sweeney Todd won Tony Awards for Best Musical and Best Score. It follows Sweeney Todd, a wrongly-convicted prisoner who returns to London from his imprisonment in Australia, and seeks revenge on his accuser. However, his revenge spirals into serial killings. Furthermore, his victims are then baked into pies and sold to the general public. Hence he turns from a man seeking revenge into a serial killer who spreads cannibalism. The audience, who at first rooted for Sweeney to get his revenge, now feels disgusted, and wants nothing to do with the title character. So our attention turns to his daughter, Johanna; the audience hopes that she will be able to escape unscathed from her murderous father. This musical is non-linear in its use of flashbacks. In the reprise of "The Barber And His Wife", Mrs. Lovett, Todd's friend, tells him what happened to his wife while he was imprisoned in Australia. Downstage from Mrs. Lovett, actors act out the events as she describes them: "The Judge, he tells her, is all contrite, /He blames himself for her dreadful plight, /She must come straight to his house tonight! ... /Of course, when she goes there, ... /They're havin' this ball all in masks. There's no one she knows there... /She wanders tormented and drinks, Poor thing. /The Judge has repented, she thinks,... /"Oh, where is Judge Turpin?" she asks... /He was there, all right-/ Only not so contrite!" (340). At the end of the preceding quotation, Sondheim gives a stage direction to the actors downstage, telling them to depict the rape of Lucy, Todd's wife, by the judge. Hence, we're not only brought up to speed on the events from Ms. Lovett's point of view, but are also given visual accompaniment as clarification. What's important about this sequence is that Mrs. Lovett is not only bringing Todd up to speed as to what happened with his wife while he was gone, but also is telling and showing the audience. This is an interesting and unique type of flashback, which is the non-linear element to this musical.
In terms of lyric writing, the musical contains Sondheim's signature fondness for rhymes, though in this case, the rhymes are served with a dollop of dark humor. In the following couplet, Sweeney Todd and Mrs. Lovett, the baker of the pies, are imagining the possible pies their business could create: "Todd: (As she proffers another pie) What is that? Mrs. Lovett: It's fop. /Finest in the shop. / And we have some shepherd's pie /Peppered with actual shepherd /On top" (360).
The musical ends with some ambiguity, in terms of Johanna; there is no sense of closure - we don't know what happens to her afterwards, and we don't need to. This musical shows that a bit of ambiguity can not only help non-linear works such as Company, but also linear ones, such as Sweeney Todd. Sweeney Todd is one of the rare musicals that uses flashbacks to bring both the characters and the audience up to speed in a succinct and efficient way. The work is an artistic success, since it contains Sondheim's brilliant music, witty lyrics, and a simple-to-follow story (which, though linear, surprises the audience with an ambiguous ending and flashbacks which are used for both the character's and the audience's benefit).
Merrily We Roll Along is the last in the line of Sondheim's non-linear musicals. Sadly, it didn't get the attention it deserved, due to a story that was too difficult for the average audience member to follow. Written in 1981, the musical is based on George S. Kaufman's play of the same name. Uniquely, it chronicles the life of Franklin Shepherd, a Broadway composer turned TV executive, in reverse chronological order, from his middle-age, in approximately 1979, till he was fresh out of the army in 1957. The music in this work is memorable, as are the lyrics. Here, we see Sondheim's love of historical events, which is mainly seen in the transitions between scenes. The following transition was used in the original Broadway production of 1981, but was changed for subsequent productions: "Western Berliners Rise from their dinners, /Go for a stroll /And-whoops, there's a wall! /Meanwhile, the Bay of Pigs has a squall. /Let's join the Peace Corps and go to Nepal..." (401). From lyrics like these, we can clearly see that Sondheim loved his history and loved to stick references into his work for the attentive listener to find.
Unfortunately, wit in lyrics and music alone does not garner artistic success for a musical. Merrily lacked a cohesive story and this, sadly, is one of the reasons it failed, running for only 16 performances on Broadway. The musical's reverse chronology turned out to be problematic, since the beginning of the musical (the ending of Franklin's story) lacks closure. If the story were to be played in chronological order, starting with an optimistic composer fresh out of the army, watching Sputnik over New York and feeling that anything is possible in 1957, devolving into a greedy studio executive who doesn't care about his friends and only worries about his finances, the ending of the story, which is the beginning of the musical, might have satisfied audiences. As it is, the audience has no sense of closure. Most musicals climax and then offer an ending, be it comic or tragic, which elicits emotion. In Merrily's case, the ending of the story (the beginning of the musical) just stops, making us feel as if the musical were somehow unfinished. Thus, it's confusing and more than a little frustrating, since we don't really know where to go from there (greedy studio executive, so what? what then? Does he redeem himself?). Since we see it in reverse chronological order, the audience has to perform the extra step of straightening the story out to understand what's going on. This mental process is very hard to do while the play is in progress; as a result, the audience is taxed with too much extra work. Critics disapproved of the convoluted story (see the New York Times article below), the audience was confused, and Merrily We Roll Along flopped. It did so because it only had two of the three components of an artistically successful musical. The music is fantastic, and the lyrics are witty and deliciously sharp, but the story lacks a simple coherence. One redeeming aspect of this work, however, is that the musical exemplifies Sondheim's compositional process. This can be seen in act 2, where we see Frank and Charley as composer and librettist. Though this may not speak to everyone, it speaks to me, since I'm a composer. I assume that it also speaks to other creatively-minded people, since the creative process is, at some level, universal. However, critics of the created product were not happy. Frank Rich of the New York Times stated that Merrily was "miscast, sloppily written and hideously designed." He stated that the musical contained an "ugly set, confused narrative transitions, and summer-stock choreography" ("A Musical Theater Breakthrough", October 21, 1984.) In Finishing the Hat, Sondheim admits to Merrily's failing on Broadway, when discussing the frantic re-writes that he and George Furth (the librettist) were doing before the show opened: "We fell victim to the age-old illusion that blinds all rewriters: by the time opening night arrived, we thought we'd fixed the show. What we had done was bettered it, not fixed it, and the critics and theatrical 'community' (a myth if ever there was one) were merciless" (382).
I asked Essie Martsinkovsky, a playwright and graduate of NYU's Tisch School of The Arts in playwriting, as to why, in her opinion, Merrily failed. She stated that “… the songs of musicals are usually not used to advance the plot, and are mainly used to burrow into the emotions of the characters. Thus, when a non-linear story is used, the audience's mental energy is already so invested in the emotions of the songs that it's harder for the audience to connect with the plot/storyline, since they only have a certain amount of emotional energy that they can use. When they go to the theater to see a musical, people want to be mentally involved, but do not want to become overly analytical”. (Personal Interview)
Since Merrily required its audience to over-analyze in order to understand the story, it asked too much of them, and subsequently failed on Broadway. Unlike Cats, Merrily was a piece designed to make people think, and try to see whether there wasn't a Franklin Shepherd inside each one of us. As a provocative musical, Merrily needed all three of elements of non-linear storytelling to survive. The music, lyrics, and story would be the only thing holding it together. And, unlike Cats, Merrily was not designed as a cash cow. In Broadway, the American Musical, a friend of Andrew Lloyd Webber's discussed how absurd the idea of dancing cats seemed. He thought that Webber was crazy - until the musical struck it rich (Broadway, The American musical). Cats was so successful because it was more spectacle than musical. With no story to worry about, the audience could focus on the emotions rather than unscrambling the story. Unlike Merrily, there was no rumination required.
Despite its failure on Broadway, Merrily was recognized for its fantastic lyrics and music, receiving the Drama Desk Award for Outstanding Lyrics in 1981-82 and receiving a Laurence Olivier Award for its revival in 2001. Since Merrily We Roll Along, no one, to my knowledge, has tried a completely reverse-chronological musical. A similar concept can be found in the semi-reverse-chronological musical The Last Five Years, by Jason Robert Brown, in which a man's perspective of a romance is told in chronological order, while the woman's perspective is told in reverse. I asked Nir Cohen, a conductor, musicologist, and doctoral student at NYU's Tisch School for the Arts, whether he thought that the genre of non-linear musicals, such as Company or Merrily, could ever have a comeback on Broadway. "No," he said, "since non-linear musicals weren't a popular thing in the first place; they were always a cult phenomenon" (Personal Interview). Nir also noted that “…works such as Merrily are extremely hard to pull off, in terms of audience engagement and structural integrity. Hence, no one writes them, since non-linear methods of story-telling, such as reverse chronology, are more prone to failure than linear story-telling devices, as we see with Merrily. We could argue that Sondheim failed with Merrily, to some extent, so composers, who look up to him, say "If he failed, what's the likelihood that we would succeed?”
In conclusion, non-linear narration does not necessarily mean artistic failure for a musical, as demonstrated by Company's and Sweeney Todd's success. But non-linear musicals can only succeed artistically if they are bound together by quality music, lyrics, and a story that is not convoluted. Company is a great example of a successful non-linear musical. Sweeney Todd was non-linear in terms of its use of multi-purpose flashbacks, and with its solid story, thrilling music and dark-humored lyrics, it was an instant hit. Merrily We Roll Along could have succeeded if the storyline had been easier to follow, giving the audience less of a need to think hard and analyze intensively, to understand what was going on. The next time you go to see a show, try and figure out whether it's linear or not, and what techniques it uses. And if you're the one writing it, be it linear or non-linear, be sure that your show contains the three elements that make a musical artistically successful: engaging lyrics, engaging music and a storyline which is simple to follow.
Works Cited
Cohen, Nir. Personal Interview. April 24, 2016.
Kantor, Michael. Broadway, the American Musical. October 21, 2004. PBS.
Martsinkovsky, Essie. Personal Interview. April 28, 2016.
Rich, Frank. "A Musical Theater Breakthrough". The New York Times. October 24, 1984.
Sondheim, Stephen. Finishing the Hat, (Alfred A. Knopf, 2010) page 165.
-----------------177.
-----------------185.
-----------------340.
-----------------360.
-----------------401.
-----------------382.
Sunday, May 8, 2016
Saturday, May 7, 2016
a song about a test
I've been writing a lot about my paper on this blog, but haven't delved much into what I am doing for my actual project. For my actual project, I'm performing a concert of original musical theater songs. Here is one of them: https://www.youtube.com/watch?v=pfAgj9-Zuxo
Tuesday, May 3, 2016
Draft 2
Below is the second draft of my paper. Matthew Shifrin April 8, 2016
Draft: non-linear story-telling in Musical Theater.
Most musicals that play on Broadway run on a simple formula which helps them tell a story. The stories of most musicals usually go in chronological order from beginning to end, thus making them easy to follow. But what if a musical has no story to speak of, or goes in reverse chronological order from end to beginning? To what extent is Linear story-telling a factor in the success or failure of a musical? In this case, by success, I mean the simplicity with which a musical can be followed, and how well the various elements of story-telling, (plot/story, music, and lyrics) connect to form a cohesive narrative. There are certain anomalous musicals, which, despite their non-linearity have garnered great success on Broadway. One example is Andrew Lloyd Webber's Cats, a plotless musical based on T. S. Eliot's Old Possum's Book of Practical Cats. Though the musical is plotless, the costumes, dancing, and sets were what kept it afloat, as did some of its songs such as Memories, which has become a staple of Musical theater repertoire. Another anomalous work is Stephen Sondheim's Follies, a work which is structured around flashbacks. The work takes place at a reunion of actors who played in the Zigfeld Follies, a series of theater productions of the early 1900s, in New York. The work is nonlinear in the sense that its primary focus is on characters flashing back to younger versions of the themselves at various points to help fill in gaps in the story. Though these works are excellent examples of nonlinear/conceptual musicals I will use Stephen Sondheim's Company, Sweeney Todd, and Merrily We Roll Along, as examples to help me answer this question in the following pages. The reason I will be using these three musicals of Sondheim's in particular is that in my opinion, they are the best examples of non-linear storytelling that Sondheim has to offer, and provide the widest array of techniques to keep the audience engaged while telling said story. Before I discuss these works, however, I'd like to discuss three elements that make a musical successful in terms of cohesive story-telling. They are: Engaging music, engaging lyrics, and a relatable story which is simple to follow. Without one of these elements, in my opinion, the musical flops.
Stephen Sondheim's Company is one of the first nonlinear musicals. Written in 1970 with Playwright George Furth, the work was based on a series of Furth's vignettes. Sondheim and Furth had trouble unifying these vignettes into a cohesive story. In his book Finishing the Hat, Sondheim states: "Most of the plays concerned two people in a relationship (marriage, lovers, close friends) joined by an outsider (best friend, ex-lover, mere acquaintance) who serves as catalyst for the action. To George and me, the problem of merging unrelated scenes into a unified evening seemed an impossible one to solve (making the project irresistible) until we came up with the now obvious solution—to turn the different outsiders into a single person." (1) This single person, is Bobby, a 35-year-old bachelor trying to find a partner. To better understand his married friends, he goes to each of their houses to see what their lives are like. Each house, in this case, is one of Furth's Vignettes. Bobby's married friends act as a sort of ephemeral Greek Chorus, appearing at the beginning of the show, and singing a number, then each appearing in their separate vignette and returning in the end for a final song. The reason that they are ephemeral is that they are insubstantial, one is easily replaced with another. Whenever a large group of them sings together (in the show's opening number, for example) none of them notice that the others are there, each simply sings his own line and that is that. This is one aspect that makes Company nonlinear. Bobby, going to the houses of his friends is the glue that binds the whole production. What makes this musical an artistic success (it won Tony awards for Best Music and Best Lyrics, both of which Sondheim wrote) are its songs. These songs are packed with wit, and raw emotion. An excellent example of wit can be found in the following couplet, which Kathy, one of Bobby's x-girlfriends sings to him. "When a person's personality is personable,
He shouldn't oughta sit like a lump.
It's harder than a matador coercin' a bull
To try to get you off of your rump." (2) It is evident from these lyrics, that Sondheim enjoys lyric-writing immensely and has fun with it. He is able to craft his characters so that they sing their best at their most vulnerable. An excellent example of this is Marry Me A Little, which Bobby sings at the end of the first act, when he is at his lowest. The beauty of this song is in its simplicity. Bobby sings: "Marry me a little, Love me just enough. Cry, but not too often, Play, but not too rough. Keep a tender distance, So we'll both be free. That's the way it ought to be. I'm ready!
Marry me a little,
Do it with a will.
Make a few demands
I'm able to fulfill.
Want me more than others,
Not exclusively.
That's the way it ought to be." (3) These lyrics may seem a little bit too simple for a musical, but when the music is added, culminating in a giant fanfare with Bobby singing I'm ready, we know that he has reached an emotional peak, and his vulnerability turns into willingness, into action. This is what makes Sondheim's songwriting great. His emotions ring true, because we've all felt something similar at some point. Company is a hallmark of Conceptual or nonlinear musicals in its ending; in the beginning of the musical Bobby's friends were celebrating his birthday party. The musical ends with the same birthday party, however Bobby doesn't come. Neither his friends nor we, as the audience, know where he went. It doesn't matter. That's the beauty of ambiguity in musical theater. Ambiguity, especially in Company's case, is there on purpose, so that after we've left, we not only have songs stuck in our heads, but situations to think on. An ending like Company's leaves us room to end it how we see fit. With its plotless yet relatable story, witty music and lyrics, and ambiguous ending, Company defined non-linear musical theater, and also became an artistic success, since it contained the three components of a successful musical.
Sweeney todd isn't a nonlinear musical in the sense of storytelling. However it is non-linear from a psychological perspective. The musical, written in 1979, and based on a victorian-era Penny Dreadful (a type of serialized story each part of which, could be purchased for a penny) The String Of Pearls written from 1846 till 1847, won Tony Awards for Best Musical and Best Score. It follows Sweeney Todd, a wrongly-convicted prisoner who returns to London and seeks revenge on his captor. However, his revenge spirals into serial killing. Furthermore, his victims are then baked into pies and sold to the general public. Hence he turns from a man seeking revenge, to a serial killer who assists with cannibalism. The audience, who at first rooted for Sweeney to get his revenge, now feels disgusted, and wants nothing to do with the title character. So our attention turns to his daughter Johanna, whom Todd's enemy is keeping hostage, and we hope that she will be able to escape with her lover Anthony, unscathed from her murdering father. Hence the musical is nonlinear from a psychological/emotional perspective. It is a rare example of a musical which is able to take an audience's perspective of a character and flip it with a single plot escalation, (now he helps bake people into pies.). In terms of Wit, the musical contains Sondheim's signature love of rhymes, though in this case, the rhymes are served with a dollop of dark humor. In the following couplet, Sweeney Todd and ms. Lovett, the actual baker of the pies, are imagining the possible pies their business could create. "TODD (As she proffers another pie) What is that?
MRS. LOVETT It's fop.
Finest in the shop. And we have some shepherd's pie
peppered With actual shepherd On top." (4) The musical ends with some ambiguity, in terms of Johanna and Anthony; there is no sense of closure to their story, hence we don't know what happens to them afterwards and we don't need to. This musical shows that a bit of ambiguity can not only help non-linear works such as Company, but linear ones such as Sweeney Todd. This is, as far as I know, one of the rare musicals which allows the audience's emotions for a character to flip drastically, one second routing for, and the next second disgusted with, our main character. The fact that Todd, while seeking revenge, enters a state of murderous vigilantism similar to Marvel Comics' The Punisher is an intriguing thought. (5) The audience's perspective flips for a third time, once Todd makes a life-altering realization at the end of the show. After said realization we, as the audience, feel some pity for him, an emotion which we don't expect to feel since we have seen his evolution from a man seeking revenge into a Punisher-esque serial killer. Sweeney Todd, though linear in story, is non-linear in how easily it is able to manipulate the emotions of the audience through the actions of various characters. It is an artistic success, since it contains sondheim's brilliant music, witty lyrics, and a simple-to-follow story, (which though linear, surprises the audience with ambiguity and many drastic changes in our perceptions of the main character..)
Merrily We Roll Along is a non-linear musical, which didn't get the attention it deserved, due a story which was a little too hard to follow for the average audience member.
The musical, written in 1981, is based on George S. Kaufman's play of the same name. It chronicles the life of Franklin Shepherd, a Broadway composer turned TV executive in reverse chronological order, from his middle-age, in approximately 1979, till he was fresh out of the army in 1957. What's unique about this work is that it goes in reverse chronological order, starting at an ambiguous point in Frank's life in 1979, and ending with Frank, a young man in 1957. The music in this work, is memorable, as are the lyrics. Here, we see Sondheim's love of historical events, which are mainly seen in the transitions between scenes. The following transition was used in the original Broadway production of 1981, but was changed for subsequent productions: "Western Berliners Rise from their dinners, Go for a stroll and—whoops, there's a wall! Meanwhile, the Bay of Pigs has a squall.
Let's join the Peace Corps and go to Nepal..." (6) From a quote like this, we can clearly see that Sondheim loved his history and loved to stick little references into his work for the attentive listener to find. But what's important is not only wit, but story, and this, sadly is one of the reasons the musical failed, only running for 16 performances on Broadway. The fact that the musical ran in reverse was befuddling to most audience members. It was also problematic, since the ending-beginning is a little convoluted. If the story is played in reverse, from an optimistic composer fresh out of the army, seeing Sputnik and thinking that anything is possible in 1957, to his devolution into a greedy studio executive who doesn't care about his friends and only cares about his finances, the ending, (I mean beginning) of the musical is ambiguous, hence we don't really know what would happen next. On one hand, that's great, since it allows the audience to make up their own ending. On the other hand, it's confusing and a little frustrating, since we don't really know where to go from that point (greedy studio exec, so what? What then?), meaning that there's not enough closure for most audience members if they play the story from end-to-beginning, (young Franklin to middle-aged Franklin). Due to the confusing story, The critics ranted, and Merrily We Roll Along flopped. It did so because it only had two of the three components for an artistically successful musical. The music is fantastic, and the lyrics are witty and deliciously sharp. This is the type of musical where the music really helps the lyrics come alive. When we see lyrics from a song like Opening Doors, (7) in which Frank, his librettist friend Charley, and their writer-friend Mary discuss their goals as young artists:
"CHARLEY: I finished the one-act.
FRANK: I got an audition—
MARY: I started the story.
FRANK: Rehearsal pianist.
CHARLEY: So where are we eating?
MARY: I'm moving to Playboy.
FRANK: The publisher called me.
CHARLEY: I'm doing a rewrite.
MARY: My parents are coming.
FRANK: I saw My Fair Lady.
CHARLEY: I rewrote the rewrite.
FRANK: I sort of enjoyed it.
MARY: I threw out the story.
CHARLEY: I'm meeting an agent.
ALL: We'll all get together on Sunday. We're opening doors, Singing, "Here we are!" We're filling up days on a dime. That faraway shore's Looking not too far. We're following every star— There's not enough time!"
Though this isn't the whole song, (inserting all of it would take another few pages) from a fragment like this, through the lyrics, we get a sense of frantic activity which is the creative process for a group of people. However, when you combine these stellar lyrics with equally stellar music, you get a fantastic action-packed singable show-tune which is buzzing, both lyrically and musically, with activity. What's great about this work is that it, in the later sections (act 2, in which we see Frank and Charley as composer and lyricist) really exemplifies the compositional process. Though this may not speak to everyone, it speaks to me, since I am a composer. I assume that it also speaks to other creatively-minded people, since the creative process is universal. However in a bigger-picture sense, the musical failed since it lacked the third component of an artistically successful musical, be it linear or nonlinear, a relatable story which is simple to follow. Though it is relatable to creative types, the reverse chronology and ambiguous ending-beginning made most audience members and critics frustrated, which in turn led to its flopping on Broadway. I asked Essie Martsinkovsky, a playwright and graduate of NYU's Tisch School of the arts, in Playwriting, as to why Merrily failed. She stated that the songs of musicals are usually not used to advance the plot, and are mainly used to burrow into the emotions of the characters. Thus when a non-linear story is used, the audience's mental energy is already so invested in the emotions of the songs, that it's harder for the audience to connect with the plot/storyline, since they only have a certain amount of mental energy that they can use. When they go to a theater to see a musical, people want to be mentally involved, but do not want to become analytical. Since Merrily required its audience to become analytical to understand the story, it asked too much of it's audience and hence it failed on Broadway. Despite its failure on Broadway, Merrily was recognized for it's fantastic lyrics and music, receiving the Drama Desk Award for Outstanding Lyrics 1981-82 and receiving a Laurence Olivier award for its revival in 2001. Since Merrily We Roll Along no one to my knowledge has tried a completely reverse-chronological musical. A similar concept is the semi-reverse-chronological The Last 5 Years, by Jason Robert Brown, in which a man's perspective of a romance is told in chronological order, while the woman's perspective is told in reverse. I asked Nir Cohen, a conductor, doctoral student at NYU's Tisch School for the arts, musicologist, and musical theater expert whether he thought that non-linear musicals such as Company or Merrily would ever have a comeback on Broadway. He said no, since non-linear musicals weren't a popular thing in the first place, they were always a cult phenomenon. Nir also noted that works such as Merrily are extremely hard to pull off, in terms of audience engagement, (Engaging music, engaging lyrics, and relatable story) as structural integrity. Hence, since they're very hard to write structurally, and since they're somewhat prone to failure, such as when the audience is over-burdened with analysis, that no-one is willing to give it a shot, since they're likely to fail. We could argue that Sondheim failed with Merrily, to some extent, so authors look up to him, and said that if He failed, it's not likely that they will succeed.
In conclusion, Linear narration, does not necessarily mean artistic success for a musical. Nonlinear musicals can only succeed artistically if they are bound together by quality music and lyrics, a story which is not overly complicated/convoluted and simple to follow, and relatable characters. Company is a great example of a successful non-linear musical. Merrily We Roll Along could have succeeded if it had been a little less experimental, and had made Franklin Shepherd more relatable. Sweeney Todd was non-linear in terms of the psychology of its characters, which is what made it unique, and with a solid story, thrilling music, and dark-humored lyrics, it was an instant hit.
Sources:
1: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 165.
2: Sondheim, Stephen. Finishing the hat, (Alfred A. Knoph, 2010) Page 177.
3: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 185.
4: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 360.
5: For more info on the Punisher, please read Garth Ennis' Punisher Max, Volume 1, In the beginning, (latest edition published by marvel Comics in 2016)
6: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 401.
7: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 411.
Draft: non-linear story-telling in Musical Theater.
Most musicals that play on Broadway run on a simple formula which helps them tell a story. The stories of most musicals usually go in chronological order from beginning to end, thus making them easy to follow. But what if a musical has no story to speak of, or goes in reverse chronological order from end to beginning? To what extent is Linear story-telling a factor in the success or failure of a musical? In this case, by success, I mean the simplicity with which a musical can be followed, and how well the various elements of story-telling, (plot/story, music, and lyrics) connect to form a cohesive narrative. There are certain anomalous musicals, which, despite their non-linearity have garnered great success on Broadway. One example is Andrew Lloyd Webber's Cats, a plotless musical based on T. S. Eliot's Old Possum's Book of Practical Cats. Though the musical is plotless, the costumes, dancing, and sets were what kept it afloat, as did some of its songs such as Memories, which has become a staple of Musical theater repertoire. Another anomalous work is Stephen Sondheim's Follies, a work which is structured around flashbacks. The work takes place at a reunion of actors who played in the Zigfeld Follies, a series of theater productions of the early 1900s, in New York. The work is nonlinear in the sense that its primary focus is on characters flashing back to younger versions of the themselves at various points to help fill in gaps in the story. Though these works are excellent examples of nonlinear/conceptual musicals I will use Stephen Sondheim's Company, Sweeney Todd, and Merrily We Roll Along, as examples to help me answer this question in the following pages. The reason I will be using these three musicals of Sondheim's in particular is that in my opinion, they are the best examples of non-linear storytelling that Sondheim has to offer, and provide the widest array of techniques to keep the audience engaged while telling said story. Before I discuss these works, however, I'd like to discuss three elements that make a musical successful in terms of cohesive story-telling. They are: Engaging music, engaging lyrics, and a relatable story which is simple to follow. Without one of these elements, in my opinion, the musical flops.
Stephen Sondheim's Company is one of the first nonlinear musicals. Written in 1970 with Playwright George Furth, the work was based on a series of Furth's vignettes. Sondheim and Furth had trouble unifying these vignettes into a cohesive story. In his book Finishing the Hat, Sondheim states: "Most of the plays concerned two people in a relationship (marriage, lovers, close friends) joined by an outsider (best friend, ex-lover, mere acquaintance) who serves as catalyst for the action. To George and me, the problem of merging unrelated scenes into a unified evening seemed an impossible one to solve (making the project irresistible) until we came up with the now obvious solution—to turn the different outsiders into a single person." (1) This single person, is Bobby, a 35-year-old bachelor trying to find a partner. To better understand his married friends, he goes to each of their houses to see what their lives are like. Each house, in this case, is one of Furth's Vignettes. Bobby's married friends act as a sort of ephemeral Greek Chorus, appearing at the beginning of the show, and singing a number, then each appearing in their separate vignette and returning in the end for a final song. The reason that they are ephemeral is that they are insubstantial, one is easily replaced with another. Whenever a large group of them sings together (in the show's opening number, for example) none of them notice that the others are there, each simply sings his own line and that is that. This is one aspect that makes Company nonlinear. Bobby, going to the houses of his friends is the glue that binds the whole production. What makes this musical an artistic success (it won Tony awards for Best Music and Best Lyrics, both of which Sondheim wrote) are its songs. These songs are packed with wit, and raw emotion. An excellent example of wit can be found in the following couplet, which Kathy, one of Bobby's x-girlfriends sings to him. "When a person's personality is personable,
He shouldn't oughta sit like a lump.
It's harder than a matador coercin' a bull
To try to get you off of your rump." (2) It is evident from these lyrics, that Sondheim enjoys lyric-writing immensely and has fun with it. He is able to craft his characters so that they sing their best at their most vulnerable. An excellent example of this is Marry Me A Little, which Bobby sings at the end of the first act, when he is at his lowest. The beauty of this song is in its simplicity. Bobby sings: "Marry me a little, Love me just enough. Cry, but not too often, Play, but not too rough. Keep a tender distance, So we'll both be free. That's the way it ought to be. I'm ready!
Marry me a little,
Do it with a will.
Make a few demands
I'm able to fulfill.
Want me more than others,
Not exclusively.
That's the way it ought to be." (3) These lyrics may seem a little bit too simple for a musical, but when the music is added, culminating in a giant fanfare with Bobby singing I'm ready, we know that he has reached an emotional peak, and his vulnerability turns into willingness, into action. This is what makes Sondheim's songwriting great. His emotions ring true, because we've all felt something similar at some point. Company is a hallmark of Conceptual or nonlinear musicals in its ending; in the beginning of the musical Bobby's friends were celebrating his birthday party. The musical ends with the same birthday party, however Bobby doesn't come. Neither his friends nor we, as the audience, know where he went. It doesn't matter. That's the beauty of ambiguity in musical theater. Ambiguity, especially in Company's case, is there on purpose, so that after we've left, we not only have songs stuck in our heads, but situations to think on. An ending like Company's leaves us room to end it how we see fit. With its plotless yet relatable story, witty music and lyrics, and ambiguous ending, Company defined non-linear musical theater, and also became an artistic success, since it contained the three components of a successful musical.
Sweeney todd isn't a nonlinear musical in the sense of storytelling. However it is non-linear from a psychological perspective. The musical, written in 1979, and based on a victorian-era Penny Dreadful (a type of serialized story each part of which, could be purchased for a penny) The String Of Pearls written from 1846 till 1847, won Tony Awards for Best Musical and Best Score. It follows Sweeney Todd, a wrongly-convicted prisoner who returns to London and seeks revenge on his captor. However, his revenge spirals into serial killing. Furthermore, his victims are then baked into pies and sold to the general public. Hence he turns from a man seeking revenge, to a serial killer who assists with cannibalism. The audience, who at first rooted for Sweeney to get his revenge, now feels disgusted, and wants nothing to do with the title character. So our attention turns to his daughter Johanna, whom Todd's enemy is keeping hostage, and we hope that she will be able to escape with her lover Anthony, unscathed from her murdering father. Hence the musical is nonlinear from a psychological/emotional perspective. It is a rare example of a musical which is able to take an audience's perspective of a character and flip it with a single plot escalation, (now he helps bake people into pies.). In terms of Wit, the musical contains Sondheim's signature love of rhymes, though in this case, the rhymes are served with a dollop of dark humor. In the following couplet, Sweeney Todd and ms. Lovett, the actual baker of the pies, are imagining the possible pies their business could create. "TODD (As she proffers another pie) What is that?
MRS. LOVETT It's fop.
Finest in the shop. And we have some shepherd's pie
peppered With actual shepherd On top." (4) The musical ends with some ambiguity, in terms of Johanna and Anthony; there is no sense of closure to their story, hence we don't know what happens to them afterwards and we don't need to. This musical shows that a bit of ambiguity can not only help non-linear works such as Company, but linear ones such as Sweeney Todd. This is, as far as I know, one of the rare musicals which allows the audience's emotions for a character to flip drastically, one second routing for, and the next second disgusted with, our main character. The fact that Todd, while seeking revenge, enters a state of murderous vigilantism similar to Marvel Comics' The Punisher is an intriguing thought. (5) The audience's perspective flips for a third time, once Todd makes a life-altering realization at the end of the show. After said realization we, as the audience, feel some pity for him, an emotion which we don't expect to feel since we have seen his evolution from a man seeking revenge into a Punisher-esque serial killer. Sweeney Todd, though linear in story, is non-linear in how easily it is able to manipulate the emotions of the audience through the actions of various characters. It is an artistic success, since it contains sondheim's brilliant music, witty lyrics, and a simple-to-follow story, (which though linear, surprises the audience with ambiguity and many drastic changes in our perceptions of the main character..)
Merrily We Roll Along is a non-linear musical, which didn't get the attention it deserved, due a story which was a little too hard to follow for the average audience member.
The musical, written in 1981, is based on George S. Kaufman's play of the same name. It chronicles the life of Franklin Shepherd, a Broadway composer turned TV executive in reverse chronological order, from his middle-age, in approximately 1979, till he was fresh out of the army in 1957. What's unique about this work is that it goes in reverse chronological order, starting at an ambiguous point in Frank's life in 1979, and ending with Frank, a young man in 1957. The music in this work, is memorable, as are the lyrics. Here, we see Sondheim's love of historical events, which are mainly seen in the transitions between scenes. The following transition was used in the original Broadway production of 1981, but was changed for subsequent productions: "Western Berliners Rise from their dinners, Go for a stroll and—whoops, there's a wall! Meanwhile, the Bay of Pigs has a squall.
Let's join the Peace Corps and go to Nepal..." (6) From a quote like this, we can clearly see that Sondheim loved his history and loved to stick little references into his work for the attentive listener to find. But what's important is not only wit, but story, and this, sadly is one of the reasons the musical failed, only running for 16 performances on Broadway. The fact that the musical ran in reverse was befuddling to most audience members. It was also problematic, since the ending-beginning is a little convoluted. If the story is played in reverse, from an optimistic composer fresh out of the army, seeing Sputnik and thinking that anything is possible in 1957, to his devolution into a greedy studio executive who doesn't care about his friends and only cares about his finances, the ending, (I mean beginning) of the musical is ambiguous, hence we don't really know what would happen next. On one hand, that's great, since it allows the audience to make up their own ending. On the other hand, it's confusing and a little frustrating, since we don't really know where to go from that point (greedy studio exec, so what? What then?), meaning that there's not enough closure for most audience members if they play the story from end-to-beginning, (young Franklin to middle-aged Franklin). Due to the confusing story, The critics ranted, and Merrily We Roll Along flopped. It did so because it only had two of the three components for an artistically successful musical. The music is fantastic, and the lyrics are witty and deliciously sharp. This is the type of musical where the music really helps the lyrics come alive. When we see lyrics from a song like Opening Doors, (7) in which Frank, his librettist friend Charley, and their writer-friend Mary discuss their goals as young artists:
"CHARLEY: I finished the one-act.
FRANK: I got an audition—
MARY: I started the story.
FRANK: Rehearsal pianist.
CHARLEY: So where are we eating?
MARY: I'm moving to Playboy.
FRANK: The publisher called me.
CHARLEY: I'm doing a rewrite.
MARY: My parents are coming.
FRANK: I saw My Fair Lady.
CHARLEY: I rewrote the rewrite.
FRANK: I sort of enjoyed it.
MARY: I threw out the story.
CHARLEY: I'm meeting an agent.
ALL: We'll all get together on Sunday. We're opening doors, Singing, "Here we are!" We're filling up days on a dime. That faraway shore's Looking not too far. We're following every star— There's not enough time!"
Though this isn't the whole song, (inserting all of it would take another few pages) from a fragment like this, through the lyrics, we get a sense of frantic activity which is the creative process for a group of people. However, when you combine these stellar lyrics with equally stellar music, you get a fantastic action-packed singable show-tune which is buzzing, both lyrically and musically, with activity. What's great about this work is that it, in the later sections (act 2, in which we see Frank and Charley as composer and lyricist) really exemplifies the compositional process. Though this may not speak to everyone, it speaks to me, since I am a composer. I assume that it also speaks to other creatively-minded people, since the creative process is universal. However in a bigger-picture sense, the musical failed since it lacked the third component of an artistically successful musical, be it linear or nonlinear, a relatable story which is simple to follow. Though it is relatable to creative types, the reverse chronology and ambiguous ending-beginning made most audience members and critics frustrated, which in turn led to its flopping on Broadway. I asked Essie Martsinkovsky, a playwright and graduate of NYU's Tisch School of the arts, in Playwriting, as to why Merrily failed. She stated that the songs of musicals are usually not used to advance the plot, and are mainly used to burrow into the emotions of the characters. Thus when a non-linear story is used, the audience's mental energy is already so invested in the emotions of the songs, that it's harder for the audience to connect with the plot/storyline, since they only have a certain amount of mental energy that they can use. When they go to a theater to see a musical, people want to be mentally involved, but do not want to become analytical. Since Merrily required its audience to become analytical to understand the story, it asked too much of it's audience and hence it failed on Broadway. Despite its failure on Broadway, Merrily was recognized for it's fantastic lyrics and music, receiving the Drama Desk Award for Outstanding Lyrics 1981-82 and receiving a Laurence Olivier award for its revival in 2001. Since Merrily We Roll Along no one to my knowledge has tried a completely reverse-chronological musical. A similar concept is the semi-reverse-chronological The Last 5 Years, by Jason Robert Brown, in which a man's perspective of a romance is told in chronological order, while the woman's perspective is told in reverse. I asked Nir Cohen, a conductor, doctoral student at NYU's Tisch School for the arts, musicologist, and musical theater expert whether he thought that non-linear musicals such as Company or Merrily would ever have a comeback on Broadway. He said no, since non-linear musicals weren't a popular thing in the first place, they were always a cult phenomenon. Nir also noted that works such as Merrily are extremely hard to pull off, in terms of audience engagement, (Engaging music, engaging lyrics, and relatable story) as structural integrity. Hence, since they're very hard to write structurally, and since they're somewhat prone to failure, such as when the audience is over-burdened with analysis, that no-one is willing to give it a shot, since they're likely to fail. We could argue that Sondheim failed with Merrily, to some extent, so authors look up to him, and said that if He failed, it's not likely that they will succeed.
In conclusion, Linear narration, does not necessarily mean artistic success for a musical. Nonlinear musicals can only succeed artistically if they are bound together by quality music and lyrics, a story which is not overly complicated/convoluted and simple to follow, and relatable characters. Company is a great example of a successful non-linear musical. Merrily We Roll Along could have succeeded if it had been a little less experimental, and had made Franklin Shepherd more relatable. Sweeney Todd was non-linear in terms of the psychology of its characters, which is what made it unique, and with a solid story, thrilling music, and dark-humored lyrics, it was an instant hit.
Sources:
1: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 165.
2: Sondheim, Stephen. Finishing the hat, (Alfred A. Knoph, 2010) Page 177.
3: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 185.
4: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 360.
5: For more info on the Punisher, please read Garth Ennis' Punisher Max, Volume 1, In the beginning, (latest edition published by marvel Comics in 2016)
6: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 401.
7: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 411.
Monday, April 18, 2016
First rough draft
Below is my first rough draft. There will be another revision to this draft before the final draft will be due.
***
Matthew Shifrin April 8, 2016
Draft: non-linear story-telling in Musical Theater.
Most musicals that play on Broadway run on a simple formula which helps them tell a story. The stories of most musicals usually go in chronological order from beginning to end, thus making them easy to follow. But what if a musical has no story to speak of, or goes in reverse chronological order from end to beginning? Can musicals like that be successful on Broadway, running for years on end, and winning countless Tony Awards? To what extent is Linear story-telling a factor in the success or failure of a musical? There are certain anomalic musicals, which, despite their nonlinearity have garnered great success on Broadway. One example is Andrew Lloyd Webber's Cats, a plotless musical based on T. S. Eliot's Old Possum's Book of Practical Cats. Though the musical is plotless, the costumes, dancing, and sets were what kept it afloat, as did some of its songs such as Memories, which has become a staple of Musical theater repertoire. Another anomalic work is Stephen Sondheim's Follies, a work which is structured around flashbacks. The work takes place at a reunion of actors who played in the Zigfeld Follies, a series of theater productions of the early 1900s, in New York. The work is nonlinear in the sense that its primary focus is on characters flashing back to younger versions of the themselves at various points to help fill in gaps in the story. Though these works are excellent examples of nonlinear/conceptual musicals I will use Stephen Sondheim's Company, Sweeney Todd, and Merrily We Roll Along, as examples to help me answer this question in the following pages. But first, I'd like to discuss three elements that make a musical successful. They are: Engaging music, engaging lyrics, and a relatable story which is simple to follow. Without one of these elements, in my opinion, the musical flops.
Stephen Sondheim's Company is one of the first nonlinear musicals. Written in 1970 with Playwright George Furth, the work was based on a series of Furth's vignettes. Sondheim and Furth had trouble unifying these vignettes into a cohesive story. In his book Finishing the Hat, Sondheim states: "Most of the plays concerned two people in a relationship (marriage, lovers, close friends) joined by an outsider (best friend, ex-lover, mere acquaintance) who serves as catalyst for the action. To George and me, the problem of merging unrelated scenes into a unified evening seemed an impossible one to solve (making the project irresistible) until we came up with the now obvious solution—to turn the different outsiders into a single person." (1) This single person, is Bobby, a 35-year-old bachelor trying to find a partner. To better understand his married friends, he goes to each of their houses to see what their lives are like. Each house, in this case, is one of Furth's Vignette. Bobby's married friend act as a sort of ephemeral Greek Chorus, appearing at the beginning of the show, and singing a number, then each appearing in their separate vignette and returning in the end for a final song. The reason that they are ephemeral is that they are insubstantial, one is easily replaced with another. Whenever a large group of them sings together (in the show's opening number, for example) none of them notice that the others are there, each simply sings his own line and that is that. This is one aspect that makes it nonlinear. Bobby, going to the houses of his friends provides a glue to the whole production. What makes this musical a hit, (it won Tony awards for Best Music and Best Lyrics, both of which Sondheim wrote) are its songs. These songs are packed with wit, and raw emotion. An excellent example of wit can be found in the following couplet, which Kathy, one of Bobby's girlfriends sings to him. "When a person's personality is personable,
He shouldn't oughta sit like a lump.
It's harder than a matador coercin' a bull
To try to get you off of your rump." (2) It is evident from these lyrics, that Sondheim enjoys lyric-writing immensely and has fun with it. He is able to craft his characters so that they sing their best at their most vulnerable. An excellent example of this is Marry Me A Little, which Bobby sings at the end of the first act, when he is at his lowest. The beauty of this song is in its simplicity. Bobby sings: "Marry me a little, Love me just enough. Cry, but not too often, Play, but not too rough. Keep a tender distance, So we'll both be free. That's the way it ought to be. I'm ready!
Marry me a little,
Do it with a will.
Make a few demands
I'm able to fulfill.
Want me more than others,
Not exclusively.
That's the way it ought to be." (3) These lyrics may seem a little bit too simple for a musical, but when the music is added, culminating in a giant fanfare with Bobby singing I'm ready, we know that he has reached an emotional peak, and his vulnerability turns into willingness, into action. This is what makes Sondheim's songwriting great. His emotions ring true, because we've all felt something similar at some point. Company is a hallmark of Conceptual or nonlinear musicals in its ending; in the beginning of the musical Bobby's friends were celebrating his birthday party. The musical ends with the same birthday party, however Bobby doesn't come. Neither his friends nor we, as the audience, know where he went. It doesn't matter. That's the beauty of ambiguity in musical theater. Ambiguity, especially in Company's case, is there on purpose, so that after we've left, we not only have songs stuck in our heads, but situations to think on. An ending like Company's leaves us room to end it how we see fit. Company defined nonlinear musical theater with its plotlessness, and ambiguous ending.
Sweeney todd isn't a nonlinear musical in the sense of storytelling. However it is non-linear from a psychological perspective. The musical, written in 1979, and based on a victorian-era Penny Dreadful (a type of serialized story each part of which, could be purchased for a penny) The String Of Pearls written from 1846 till 1847, won Tony awards for Best Musical and Best score. It follows Sweeney Todd, a wrongly-convicted prison who returns to London and seeks revenge on his captor. However, his revenge spirals into serial killing. Furthermore, his victims are then baked into pies and sold to the general public. Hence he turns from a man seeking revenge, to a serial killer who assists with cannibalism. The audience, who at first rooted for Sweeney to get his revenge, now feels disgusted, and wants nothing to do with the title character. So our attention turns to his daughter Johanna, whom Todd's enemy is keeping hostage, and we hope that she will be able to escape with her lover Anthony, unscathed from her murdering father. Hence the musical is nonlinear psychologically/emotionally. It is a rare example of a musical which is able to take an audience's perspective of a character and flip it with a single plot escalation, (now he helps bake people into pies.). In terms of Wit, the musical contains Sondheim's signature love of rhymes, in this case, the rhymes are served with a dollop of dark humor. In the following couplet, Sweeney todd and ms. Lovett, the actual baker of the pies, are imagining the possible pies their business could create. "TODD (As she proffers another pie) What is that?
MRS. LOVETT It's fop.
Finest in the shop. And we have some shepherd's pie
peppered With actual shepherd On top." (4) The musical ends with some ambiguity, in terms of Johanna and Anthony; there is no sense of closure to their story, hence we don't know what happens to them afterwards and we don't need to. This musical shows that a bit of ambiguity can not only help non-linear works such as Company, but linear ones such as Sweeney Todd. This is, as far as I know, one of the rare musicals which allows the audience's emotions for a character to flip drastically, one second routing for, and the next second disgusted with, our main character. The fact that Todd, while seeking revenge, enters a state of murderous vigilantism similar to Marvel Comics' The Punisher is an intriguing thought. (5) The audience's perspective can flip for a third time, once Todd makes a life-altering realization at the end of the show. After said realization we, as the audience feel some pity for him, an emotion which we don't expect to feel since we have seen his evolution from a man seeking revenge into a Punisher-esque serial killer. Sweeney Todd, though linear in story, is non-linear in how easily it is able to manipulate the emotions of the audience through the actions of various characters.
Merrily We Roll Along is a non-linear musical, which didn't get the attention it deserved, due a story which was a little too hard to follow for the average audience member.
The musical, written in 1981, is based on George S. Kaufman's play of the same name. It chronicles the life of Franklin Shepherd, a Broadway composer turned TV executive from his middle-age, in approximately 1979, till he was fresh out of the army in 1957. What's unique about this work is that it goes in reverse chronological order, starting at an ambiguous point in Frank's life in 1979, and ending with Frank, a young man in 1957. The music in this work, is memorable, as are the lyrics. Here, we see Sondheim's love of historical events, which are mainly seen in the transitions between scenes. The following transition was used in the original Broadway production of 1981, but was changed for subsequent productions: "Western Berliners Rise from their dinners, Go for a stroll and—whoops, there's a wall! Meanwhile, the Bay of Pigs has a squall.
Let's join the Peace Corps and go to Nepal..." (6) From a quote like this, we can clearly see that Sondheim loved his history and loved to stick little references into his work for the attentive listener to find. But what's important is not only wit, but story, and this, sadly is one of the reasons the musical failed, only running for 16 performances on Broadway. The fact that the musical ran in reverse was befuddling to most audience members. It was also problematic, since the ending-beginning is a little convoluted. If the story is played in reverse, from an optimistic composer fresh out of the army, seeing Sputnik and thinking that anything is possible in 1957, to his devolution into a greedy studio executive who doesn't care about his friends and only cares about his finances, the ending, (I mean beginning) of the musical is ambiguous, hence we don't really know what would happen next. On one hand, that's great, since it allows the audience to make up their own ending. On the other, it's confusing and a little frustrating, since we don't really know where to go from that point (greedy studio exec, so what? What then?) Maybe the musical speaks to me more than to the average audience member, because i'm where Frank was in 1957, an optimistic teenager who hopes that he can create whatever he wants to. However, most of the audience were not optimistic teenagers, and weren't happy with the work. The critics ranted, and Merrily We Roll Along flopped. In part, it did so because it only had two of the three components for a successful musical. The music, is fantastic, and the lyrics are witty and deliciously sharp. This is the type of musical where the music really helps the lyrics come alive. When we see lyrics from a song like Opening Doors, (7) in which Frank, his librettist friend Charley, and their writer-friend Mary discuss their goals as young musicians,:
"FRANK: How's it going?
CHARLEY: Good. You?
FRANK: Fair.
CHARLEY: Yeah, tell me.
(The phone rings, Frank answers)
FRANK: Chinese laundry.
MARY: Hi.
FRANK: (To Charley) Mary.
CHARLEY: Say hello.
MARY: I think I got a job.
FRANK: Where?
MARY: True Romances.
FRANK: Posing?
MARY: Thank you. Writing captions.
FRANK: What about the book?
MARY: What about the book?
FRANK: Nothing, are you working on the book?
MARY: Yes...
FRANK: Good.
MARY: No...
FRANK: Mary—
MARY: Right, I know, yes, me and Balzac...
(They work furiously, only to slump over in frustrated despair. They meet center stage.)
CHARLEY: I finished the one-act.
FRANK: I got an audition—
MARY: I started the story.
FRANK: Rehearsal pianist.
CHARLEY: So where are we eating?
MARY: I'm moving to Playboy.
FRANK: The publisher called me.
CHARLEY: I'm doing a rewrite.
MARY: My parents are coming.
FRANK: I saw My Fair Lady.
CHARLEY: I rewrote the rewrite.
FRANK: I sort of enjoyed it.
MARY: I threw out the story.
CHARLEY: I'm meeting an agent.
ALL: We'll all get together on Sunday. We're opening doors, Singing, "Here we are!" We're filling up days on a dime. That faraway shore's Looking not too far. We're following every star— There's not enough time!
(The stage becomes alive with activity: Charley being interviewed by an agent, Frank playing the same bars of music over and over while dancers rehearse, Mary meeting a musician on a subway. The three come together once again.)
FRANK: I called a producer.
CHARLEY: I sent off the one-act.
MARY: I started the story.
FRANK: He said to come see him.
CHARLEY: I dropped out of college.
MARY: I met this musician.
FRANK: I'm playing a nightclub.
CHARLEY: They're doing my one-act!
MARY: I'm working for Redbook.
FRANK: I rewrote the ballad.
MARY: I finished the story.
CHARLEY: We started rehearsals.
MARY: I threw out the story And then the musician. I'm moving to Popular Science.
ALL: We're opening doors, Singing, "Look who's here!" Beginning to sail on a dime. That faraway shore's Getting very near! We haven't a thing to fear— We haven't got time!"
Though this isn't the whole song, (inserting all of it would take another few pages) from a fragment like this, through the lyrics, we get a sense of frantic activity which is the creative process for a group of people. However, when you combine these stellar lyrics with equally stellar music, you get a fantastic action-packed singable show-tune which is buzzing, both lyrically and musically, with activity. What's great about this work is that it, in the later sections (act 2, in which we see Frank and Charley as composer and lyricist) really exemplifies the compositional process. Though this may not speak to all audience members, it speaks to me, since I am a composer. I assume that it speaks to most other audience members as well, since the creative process is universal. However in a bigger-picture sense, the musical failed since it lacked the third component of a successful musical, be it linear or nonlinear, a relatable story which is simple to follow. Though it is relatable to creative types, the reverse chronology and ambiguous ending-beginning made most audience members and critics frustrated, which in turn led to its flopping on Broadway. Though it did not do well on Broadway in 1981, it was awarded the Drama Desk Award for Outstanding Lyrics 1981-82 and received a Laurence Olivier award for its revival in 2001. Since Merrily We Roll Along no one to my knowledge has tried a completely reverse-chronological musical. A similar concept is the semi-reverse-chronological The Last 5 Years, by Jason Robert Brown, in which a man's perspective of a romance is told in chronological order, while the woman's perspective is told in reverse.
In conclusion, Linear narration, does not necessarily mean success for a musical. Nonlinear musicals can only succeed if they are bound together by quality music and lyrics, a story which is not overly complicated/convoluted and simple to follow, and relatable characters. Company is a great example of a successful non-linear musical. Merrily We Roll Along could have succeeded if it had been a little less experimental. Sweeney Todd was non-linear in terms of the psychology of its characters, but with a solid story, thrilling music, and dark-humored lyrics, it was an instant hit.
Sources:
1: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 165.
2: Sondheim, Stephen. Finishing the hat, (Alfred A. Knoph, 2010) Page 177.
3: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 185.
4: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 360.
(5) For more info on the Punisher, please read Garth Ennis' Punisher Max, Volume 1, In the beginning, (latest edition published by marvel Comics in 2016)
6: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 401.
7: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 411.
***
Matthew Shifrin April 8, 2016
Draft: non-linear story-telling in Musical Theater.
Most musicals that play on Broadway run on a simple formula which helps them tell a story. The stories of most musicals usually go in chronological order from beginning to end, thus making them easy to follow. But what if a musical has no story to speak of, or goes in reverse chronological order from end to beginning? Can musicals like that be successful on Broadway, running for years on end, and winning countless Tony Awards? To what extent is Linear story-telling a factor in the success or failure of a musical? There are certain anomalic musicals, which, despite their nonlinearity have garnered great success on Broadway. One example is Andrew Lloyd Webber's Cats, a plotless musical based on T. S. Eliot's Old Possum's Book of Practical Cats. Though the musical is plotless, the costumes, dancing, and sets were what kept it afloat, as did some of its songs such as Memories, which has become a staple of Musical theater repertoire. Another anomalic work is Stephen Sondheim's Follies, a work which is structured around flashbacks. The work takes place at a reunion of actors who played in the Zigfeld Follies, a series of theater productions of the early 1900s, in New York. The work is nonlinear in the sense that its primary focus is on characters flashing back to younger versions of the themselves at various points to help fill in gaps in the story. Though these works are excellent examples of nonlinear/conceptual musicals I will use Stephen Sondheim's Company, Sweeney Todd, and Merrily We Roll Along, as examples to help me answer this question in the following pages. But first, I'd like to discuss three elements that make a musical successful. They are: Engaging music, engaging lyrics, and a relatable story which is simple to follow. Without one of these elements, in my opinion, the musical flops.
Stephen Sondheim's Company is one of the first nonlinear musicals. Written in 1970 with Playwright George Furth, the work was based on a series of Furth's vignettes. Sondheim and Furth had trouble unifying these vignettes into a cohesive story. In his book Finishing the Hat, Sondheim states: "Most of the plays concerned two people in a relationship (marriage, lovers, close friends) joined by an outsider (best friend, ex-lover, mere acquaintance) who serves as catalyst for the action. To George and me, the problem of merging unrelated scenes into a unified evening seemed an impossible one to solve (making the project irresistible) until we came up with the now obvious solution—to turn the different outsiders into a single person." (1) This single person, is Bobby, a 35-year-old bachelor trying to find a partner. To better understand his married friends, he goes to each of their houses to see what their lives are like. Each house, in this case, is one of Furth's Vignette. Bobby's married friend act as a sort of ephemeral Greek Chorus, appearing at the beginning of the show, and singing a number, then each appearing in their separate vignette and returning in the end for a final song. The reason that they are ephemeral is that they are insubstantial, one is easily replaced with another. Whenever a large group of them sings together (in the show's opening number, for example) none of them notice that the others are there, each simply sings his own line and that is that. This is one aspect that makes it nonlinear. Bobby, going to the houses of his friends provides a glue to the whole production. What makes this musical a hit, (it won Tony awards for Best Music and Best Lyrics, both of which Sondheim wrote) are its songs. These songs are packed with wit, and raw emotion. An excellent example of wit can be found in the following couplet, which Kathy, one of Bobby's girlfriends sings to him. "When a person's personality is personable,
He shouldn't oughta sit like a lump.
It's harder than a matador coercin' a bull
To try to get you off of your rump." (2) It is evident from these lyrics, that Sondheim enjoys lyric-writing immensely and has fun with it. He is able to craft his characters so that they sing their best at their most vulnerable. An excellent example of this is Marry Me A Little, which Bobby sings at the end of the first act, when he is at his lowest. The beauty of this song is in its simplicity. Bobby sings: "Marry me a little, Love me just enough. Cry, but not too often, Play, but not too rough. Keep a tender distance, So we'll both be free. That's the way it ought to be. I'm ready!
Marry me a little,
Do it with a will.
Make a few demands
I'm able to fulfill.
Want me more than others,
Not exclusively.
That's the way it ought to be." (3) These lyrics may seem a little bit too simple for a musical, but when the music is added, culminating in a giant fanfare with Bobby singing I'm ready, we know that he has reached an emotional peak, and his vulnerability turns into willingness, into action. This is what makes Sondheim's songwriting great. His emotions ring true, because we've all felt something similar at some point. Company is a hallmark of Conceptual or nonlinear musicals in its ending; in the beginning of the musical Bobby's friends were celebrating his birthday party. The musical ends with the same birthday party, however Bobby doesn't come. Neither his friends nor we, as the audience, know where he went. It doesn't matter. That's the beauty of ambiguity in musical theater. Ambiguity, especially in Company's case, is there on purpose, so that after we've left, we not only have songs stuck in our heads, but situations to think on. An ending like Company's leaves us room to end it how we see fit. Company defined nonlinear musical theater with its plotlessness, and ambiguous ending.
Sweeney todd isn't a nonlinear musical in the sense of storytelling. However it is non-linear from a psychological perspective. The musical, written in 1979, and based on a victorian-era Penny Dreadful (a type of serialized story each part of which, could be purchased for a penny) The String Of Pearls written from 1846 till 1847, won Tony awards for Best Musical and Best score. It follows Sweeney Todd, a wrongly-convicted prison who returns to London and seeks revenge on his captor. However, his revenge spirals into serial killing. Furthermore, his victims are then baked into pies and sold to the general public. Hence he turns from a man seeking revenge, to a serial killer who assists with cannibalism. The audience, who at first rooted for Sweeney to get his revenge, now feels disgusted, and wants nothing to do with the title character. So our attention turns to his daughter Johanna, whom Todd's enemy is keeping hostage, and we hope that she will be able to escape with her lover Anthony, unscathed from her murdering father. Hence the musical is nonlinear psychologically/emotionally. It is a rare example of a musical which is able to take an audience's perspective of a character and flip it with a single plot escalation, (now he helps bake people into pies.). In terms of Wit, the musical contains Sondheim's signature love of rhymes, in this case, the rhymes are served with a dollop of dark humor. In the following couplet, Sweeney todd and ms. Lovett, the actual baker of the pies, are imagining the possible pies their business could create. "TODD (As she proffers another pie) What is that?
MRS. LOVETT It's fop.
Finest in the shop. And we have some shepherd's pie
peppered With actual shepherd On top." (4) The musical ends with some ambiguity, in terms of Johanna and Anthony; there is no sense of closure to their story, hence we don't know what happens to them afterwards and we don't need to. This musical shows that a bit of ambiguity can not only help non-linear works such as Company, but linear ones such as Sweeney Todd. This is, as far as I know, one of the rare musicals which allows the audience's emotions for a character to flip drastically, one second routing for, and the next second disgusted with, our main character. The fact that Todd, while seeking revenge, enters a state of murderous vigilantism similar to Marvel Comics' The Punisher is an intriguing thought. (5) The audience's perspective can flip for a third time, once Todd makes a life-altering realization at the end of the show. After said realization we, as the audience feel some pity for him, an emotion which we don't expect to feel since we have seen his evolution from a man seeking revenge into a Punisher-esque serial killer. Sweeney Todd, though linear in story, is non-linear in how easily it is able to manipulate the emotions of the audience through the actions of various characters.
Merrily We Roll Along is a non-linear musical, which didn't get the attention it deserved, due a story which was a little too hard to follow for the average audience member.
The musical, written in 1981, is based on George S. Kaufman's play of the same name. It chronicles the life of Franklin Shepherd, a Broadway composer turned TV executive from his middle-age, in approximately 1979, till he was fresh out of the army in 1957. What's unique about this work is that it goes in reverse chronological order, starting at an ambiguous point in Frank's life in 1979, and ending with Frank, a young man in 1957. The music in this work, is memorable, as are the lyrics. Here, we see Sondheim's love of historical events, which are mainly seen in the transitions between scenes. The following transition was used in the original Broadway production of 1981, but was changed for subsequent productions: "Western Berliners Rise from their dinners, Go for a stroll and—whoops, there's a wall! Meanwhile, the Bay of Pigs has a squall.
Let's join the Peace Corps and go to Nepal..." (6) From a quote like this, we can clearly see that Sondheim loved his history and loved to stick little references into his work for the attentive listener to find. But what's important is not only wit, but story, and this, sadly is one of the reasons the musical failed, only running for 16 performances on Broadway. The fact that the musical ran in reverse was befuddling to most audience members. It was also problematic, since the ending-beginning is a little convoluted. If the story is played in reverse, from an optimistic composer fresh out of the army, seeing Sputnik and thinking that anything is possible in 1957, to his devolution into a greedy studio executive who doesn't care about his friends and only cares about his finances, the ending, (I mean beginning) of the musical is ambiguous, hence we don't really know what would happen next. On one hand, that's great, since it allows the audience to make up their own ending. On the other, it's confusing and a little frustrating, since we don't really know where to go from that point (greedy studio exec, so what? What then?) Maybe the musical speaks to me more than to the average audience member, because i'm where Frank was in 1957, an optimistic teenager who hopes that he can create whatever he wants to. However, most of the audience were not optimistic teenagers, and weren't happy with the work. The critics ranted, and Merrily We Roll Along flopped. In part, it did so because it only had two of the three components for a successful musical. The music, is fantastic, and the lyrics are witty and deliciously sharp. This is the type of musical where the music really helps the lyrics come alive. When we see lyrics from a song like Opening Doors, (7) in which Frank, his librettist friend Charley, and their writer-friend Mary discuss their goals as young musicians,:
"FRANK: How's it going?
CHARLEY: Good. You?
FRANK: Fair.
CHARLEY: Yeah, tell me.
(The phone rings, Frank answers)
FRANK: Chinese laundry.
MARY: Hi.
FRANK: (To Charley) Mary.
CHARLEY: Say hello.
MARY: I think I got a job.
FRANK: Where?
MARY: True Romances.
FRANK: Posing?
MARY: Thank you. Writing captions.
FRANK: What about the book?
MARY: What about the book?
FRANK: Nothing, are you working on the book?
MARY: Yes...
FRANK: Good.
MARY: No...
FRANK: Mary—
MARY: Right, I know, yes, me and Balzac...
(They work furiously, only to slump over in frustrated despair. They meet center stage.)
CHARLEY: I finished the one-act.
FRANK: I got an audition—
MARY: I started the story.
FRANK: Rehearsal pianist.
CHARLEY: So where are we eating?
MARY: I'm moving to Playboy.
FRANK: The publisher called me.
CHARLEY: I'm doing a rewrite.
MARY: My parents are coming.
FRANK: I saw My Fair Lady.
CHARLEY: I rewrote the rewrite.
FRANK: I sort of enjoyed it.
MARY: I threw out the story.
CHARLEY: I'm meeting an agent.
ALL: We'll all get together on Sunday. We're opening doors, Singing, "Here we are!" We're filling up days on a dime. That faraway shore's Looking not too far. We're following every star— There's not enough time!
(The stage becomes alive with activity: Charley being interviewed by an agent, Frank playing the same bars of music over and over while dancers rehearse, Mary meeting a musician on a subway. The three come together once again.)
FRANK: I called a producer.
CHARLEY: I sent off the one-act.
MARY: I started the story.
FRANK: He said to come see him.
CHARLEY: I dropped out of college.
MARY: I met this musician.
FRANK: I'm playing a nightclub.
CHARLEY: They're doing my one-act!
MARY: I'm working for Redbook.
FRANK: I rewrote the ballad.
MARY: I finished the story.
CHARLEY: We started rehearsals.
MARY: I threw out the story And then the musician. I'm moving to Popular Science.
ALL: We're opening doors, Singing, "Look who's here!" Beginning to sail on a dime. That faraway shore's Getting very near! We haven't a thing to fear— We haven't got time!"
Though this isn't the whole song, (inserting all of it would take another few pages) from a fragment like this, through the lyrics, we get a sense of frantic activity which is the creative process for a group of people. However, when you combine these stellar lyrics with equally stellar music, you get a fantastic action-packed singable show-tune which is buzzing, both lyrically and musically, with activity. What's great about this work is that it, in the later sections (act 2, in which we see Frank and Charley as composer and lyricist) really exemplifies the compositional process. Though this may not speak to all audience members, it speaks to me, since I am a composer. I assume that it speaks to most other audience members as well, since the creative process is universal. However in a bigger-picture sense, the musical failed since it lacked the third component of a successful musical, be it linear or nonlinear, a relatable story which is simple to follow. Though it is relatable to creative types, the reverse chronology and ambiguous ending-beginning made most audience members and critics frustrated, which in turn led to its flopping on Broadway. Though it did not do well on Broadway in 1981, it was awarded the Drama Desk Award for Outstanding Lyrics 1981-82 and received a Laurence Olivier award for its revival in 2001. Since Merrily We Roll Along no one to my knowledge has tried a completely reverse-chronological musical. A similar concept is the semi-reverse-chronological The Last 5 Years, by Jason Robert Brown, in which a man's perspective of a romance is told in chronological order, while the woman's perspective is told in reverse.
In conclusion, Linear narration, does not necessarily mean success for a musical. Nonlinear musicals can only succeed if they are bound together by quality music and lyrics, a story which is not overly complicated/convoluted and simple to follow, and relatable characters. Company is a great example of a successful non-linear musical. Merrily We Roll Along could have succeeded if it had been a little less experimental. Sweeney Todd was non-linear in terms of the psychology of its characters, but with a solid story, thrilling music, and dark-humored lyrics, it was an instant hit.
Sources:
1: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 165.
2: Sondheim, Stephen. Finishing the hat, (Alfred A. Knoph, 2010) Page 177.
3: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 185.
4: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 360.
(5) For more info on the Punisher, please read Garth Ennis' Punisher Max, Volume 1, In the beginning, (latest edition published by marvel Comics in 2016)
6: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 401.
7: Sondheim, Stephen. Finishing the hat, (alfred A. knoph, 2010) page 411.
Friday, April 1, 2016
Preliminary outline
Below is a rough/preliminary outline for the paper on the effectiveness of non-linear story-telling in musicals, that I will be writing, as part of my Senior year project.
Intro. Research question: To what extent is linear narration a
factor in the success or failure of a musical. Thesis: In
company, The musical's success was based on the wit and raw power of Sondheim's lyrics, the relatability of the main character, and the catchiness of his music. Sweeney Todd was a success
due to it's nature of storytelling. The audience wants justice
for the main character, but once a line of social behavior (killing people so that they can be baked into pies) has been crossed the audience will withdraw, and
judges the hero as villainous. Merrily we roll along flopped on
broadway due to being too sophisticated in its way of
storytelling, for an audience that was used to stereotypical or
linear storytelling. Success in this case, is determined by
performances and revenue.
Part 1: Company.
Part 2: Sweeney todd.
part 3: Merrily we roll along.
Company: Company is a plotless musical, made up of individual vignettes. The vignettes were connected by the main character, Bobby, and him trying to find love. He tied the musical together. The
Unconventional method of storytelling here is that the
characters, except for the main one, are ephemeral and
interchangeable; each character is seen in his own vignette, but does not re-appear until the end of the show. The characters don't seem to notice each other, outside of their individual vignettes, which all involve the main character. Despite it's non-linear method of story-telling, this musical was a smash hit due to
its raw emotion, stellar acting and music. Musical examples of
the varied emotions in the musical include Being alive, Marry
me a little, The ladies who lunch, and barcelona. Some of these
songs make up individual vignettes, while others are parts of
larger scenes. The ambiguous ending, a hallmark of non-linear storytelling, is what made this work a
hit, the audience does not know what happens to the main character in the end,
and we don't need to. Definite endings, as Company shows, are not
always needed for a smash hit. Let the audience decide.
Part 2: Sweeney todd. Though the storyline in this musical is
linear, it has a psychological twist; in that way, we can say
that it's method of story-telling is non-linear. The
psychological twist is that we sympathize with our main character
less and less, when we see that he assists in cannibalism,
thus becoming a serial killer. His initial goal of revenge has turned into senseless murder. Since the
audience has lost faith in/is disgusted by the main character, the
audience's focus shifts to his daughter and we want her to get
away unscathed from her murdering father.
Merrily we roll along: Merrily we roll along's non-linear story-telling device is it's ambiguous ending-beginning., Since the musical
goes in reverse chronological order, most audiences of the time were
confused with the lack of closure in the ending-beginning, and found the story hard to follow. Hence the musical
got bad reviews when it opened and only ran for 16 performances
on Broadway. To my knowledge, no-one has tried a
reverse-chronological musical since. Though the lyrics are brilliant, as exemplified by songs such as Now you know, Franklin Shepherd inc, old friends, Bobby and Jackie and Jack, and Opening Doors, the reverse chronology and ambiguous ending-beginning left most audience members befuddled. We, as an audience, lose
faith in our main character, since he devolved from an optimistic, intelligent composer at the end of the show, into a greedy egotistical studio
executive who doesn't care about the people around him at the beginning.
Conclusion: Linear narration, does not necessarily mean success
for a musical, nonlinear musicals can only succeed if they are
bound together by quality music and lyrics, a story which is not overly complicated/convoluted and simple to follow, and relatable characters.
Intro. Research question: To what extent is linear narration a
factor in the success or failure of a musical. Thesis: In
company, The musical's success was based on the wit and raw power of Sondheim's lyrics, the relatability of the main character, and the catchiness of his music. Sweeney Todd was a success
due to it's nature of storytelling. The audience wants justice
for the main character, but once a line of social behavior (killing people so that they can be baked into pies) has been crossed the audience will withdraw, and
judges the hero as villainous. Merrily we roll along flopped on
broadway due to being too sophisticated in its way of
storytelling, for an audience that was used to stereotypical or
linear storytelling. Success in this case, is determined by
performances and revenue.
Part 1: Company.
Part 2: Sweeney todd.
part 3: Merrily we roll along.
Company: Company is a plotless musical, made up of individual vignettes. The vignettes were connected by the main character, Bobby, and him trying to find love. He tied the musical together. The
Unconventional method of storytelling here is that the
characters, except for the main one, are ephemeral and
interchangeable; each character is seen in his own vignette, but does not re-appear until the end of the show. The characters don't seem to notice each other, outside of their individual vignettes, which all involve the main character. Despite it's non-linear method of story-telling, this musical was a smash hit due to
its raw emotion, stellar acting and music. Musical examples of
the varied emotions in the musical include Being alive, Marry
me a little, The ladies who lunch, and barcelona. Some of these
songs make up individual vignettes, while others are parts of
larger scenes. The ambiguous ending, a hallmark of non-linear storytelling, is what made this work a
hit, the audience does not know what happens to the main character in the end,
and we don't need to. Definite endings, as Company shows, are not
always needed for a smash hit. Let the audience decide.
Part 2: Sweeney todd. Though the storyline in this musical is
linear, it has a psychological twist; in that way, we can say
that it's method of story-telling is non-linear. The
psychological twist is that we sympathize with our main character
less and less, when we see that he assists in cannibalism,
thus becoming a serial killer. His initial goal of revenge has turned into senseless murder. Since the
audience has lost faith in/is disgusted by the main character, the
audience's focus shifts to his daughter and we want her to get
away unscathed from her murdering father.
Merrily we roll along: Merrily we roll along's non-linear story-telling device is it's ambiguous ending-beginning., Since the musical
goes in reverse chronological order, most audiences of the time were
confused with the lack of closure in the ending-beginning, and found the story hard to follow. Hence the musical
got bad reviews when it opened and only ran for 16 performances
on Broadway. To my knowledge, no-one has tried a
reverse-chronological musical since. Though the lyrics are brilliant, as exemplified by songs such as Now you know, Franklin Shepherd inc, old friends, Bobby and Jackie and Jack, and Opening Doors, the reverse chronology and ambiguous ending-beginning left most audience members befuddled. We, as an audience, lose
faith in our main character, since he devolved from an optimistic, intelligent composer at the end of the show, into a greedy egotistical studio
executive who doesn't care about the people around him at the beginning.
Conclusion: Linear narration, does not necessarily mean success
for a musical, nonlinear musicals can only succeed if they are
bound together by quality music and lyrics, a story which is not overly complicated/convoluted and simple to follow, and relatable characters.
Wednesday, March 9, 2016
Big 2+1
Below is my Thesis, and research topic, as well as an outline for the presentation that I will be giving at the end of the year.
Research topic for SYP: Talk about Sondheim, his successes and failiures as pertaining to his musicals. Pick two successes, analyze and give evidence as to why they were successful, and the tthird is a flop, why was it a flop? Demonstrate where.
For the presentation have one piece be successful one flop and
then one of your pieces and talk about what you took away from
Sondheim's writing style in making your own musical.
Question: To what extent is linear narration a factor in the
success or failiure of a musical. Thesis: In company, sondheim's
success was based on the wit of his lyrics and his musical
control of the narrative, and his reactions to diferent
characters. Sweeney Todd was a success due to it's nature of
storytelling. The audience wants justice for the main character,
but once a line of social behavior (aka canibalism) as been
crossed, the audience will withdraw, and judges the hero as
villainous. Merrily we roll along flopped on broadway due to
being too sophisticated in its way of storytelling, for an
audience that was used to stereotypical or linear storytelling.
To clarify, Success in this case, is determined by the number of performances and revenue.
For the presentation have one piece be successful one flop and
then one of your pieces and talk about what you took away from
Sondheim's writing style in making your own musical.
Question: To what extent is linear narration a factor in the
success or failiure of a musical. Thesis: In company, sondheim's
success was based on the wit of his lyrics and his musical
control of the narrative, and his reactions to diferent
characters. Sweeney Todd was a success due to it's nature of
storytelling. The audience wants justice for the main character,
but once a line of social behavior (aka canibalism) as been
crossed, the audience will withdraw, and judges the hero as
villainous. Merrily we roll along flopped on broadway due to
being too sophisticated in its way of storytelling, for an
audience that was used to stereotypical or linear storytelling.
To clarify, Success in this case, is determined by the number of performances and revenue.
Annotated Artifacts
Below is a list of Annotated artifacts, articles, books, videos, and websites, that I will be using to help me conduct research and write my final paper.
*** Look I made a hat, by Stephen sondheim. A collection of
Sondheim's librettos, notes, and anecdotes, for his musicals from
1981-2011. This book contains a wealth of information on
lyric-writing.
Finishing the hat, By Stephen Sondheim. Another excellent
collection of Sondheim librettos, from 1954-1981. This book also
contains overviews of other broadway composers, with Sondheim's
views on their best and worst songs, as well as deconstructions
of these songs to see what makes them effective. The book also
discusses Sondheim's process and goes a little bit into how to
write musicals.
Broadway: The american Musical. (PBS, 2003, narrated by Julie Andrews) A documentary covering Broadway from the Zigfeld
follies of 1908, through Wicked, which came out in 2003. There
isn't much info on composers and their methods, but this is a good crash course in the history and evolution of Broadway musicals.
Writing the broadway musical by Aaaron Frankel, (I have not read
this one yet, and don't know whether it's available
electronically, but I hope it will be useful).
Company, (1995 revival) soundtrack. (One of sondheim's musicals, a good example of creative lyrics, it is analyzed in Finishing the Hat.)
Merrily we roll along, (revival cast, available on Spotify.
(another one of Sondheim's musicals, with some creative and entertaining lyrics, also discussed in-depth in Finishing the Hat.)
Follies, (the new cast recording). (more creative lyrics in this recording, libretto and lyric analyses for this show are available in Finishing The Hat as well.)
Making musicals, by Tom Jones, a book published in 1998. A book which covers both the history of Broadway and the process of
writing musicals. Though it does not go as deeply into the
history as Broadway: An American Musical, it has an excellent section on creating your own musicals, including how to find
collaborators and how to avoid writer's block.
Playbill.com. A website with reviews of Broadway shows, news about musical theater festivals, and a free repository of librettos. It may be useful if I wanted to compare the writing styles of various composers.
NYMF (the new york musical theater festival, more info available at nymf.org) A festival specializing in modern musical theater. The festival tries to promote new composers,
and new works. It may be useful if I wanted to compare Sondheim,
to some modern composers, just breaking into Broadway, to check
whether they're being influenced by him.
The BMI Lehmann-engel musical theater workshop. (Bmi.com) A New-York-based musical theater workshop, specializing in the creation
of musicals of various lengths, from 10-minute to 1.5-2-hour,
works. This workshop fosters collaboration of lyricists with
book writers (librettists) and composers. It may be useful in the same way as NYMF, to find out what the modern indie musical theater scene looks like. It also may be a program that I'd want to partake in, in the future, same goes for NYMF.
Listen to this, by Alex ross, A book which covers various composers and musical styles, from bee-bop to bach. I'm not sure whether it contains anything on the broadway musical, but it may be worth a look.
The Edinburgh Fringe festival, in edinburgh Scotland. (edfringe.com) A very famous festival of musicals, stand-up, and concerts. There's also one in New York. I'm not sure whether the content from these festivals is findable on Youtube, (NYMF's wasn't) but I will look.
"So you want to enter a theater festival, but which one?" (from
the producer's perspective, available from
theproducersperspective.com) A very useful blog entry, featuring an exhaustive list of musical theater festivals around the world.
The Barrington Stage company (barringtonstageco.org) A workshopping environment for Musicals. This lab is famous for
workshopping William Finn's The 25th annual Putnam county
Spelling bee. (A friend of mine knows the director of the stage company, so I may be able to get an interview with her about the workshopping process from a director's point of view.)
There's a musical theater festival in Chicago, (cmtf.org).
There's also a La musical theater festival. (source: musicalwriter.com)
The National Alliance of Musical theater, (namt) has a musical theater festival, ( musicaltheaterwriters.com)., though you need your organization to be a member of the Namt, before you can enter.
Musical writing advice from Steven Schwartz, (creator of wicked,
and pippin): A solid and sensible advice column from Steven Schwartz, covering everything from getting inspiration to being produced. (available from Musical theater writers.com)
*** Look I made a hat, by Stephen sondheim. A collection of
Sondheim's librettos, notes, and anecdotes, for his musicals from
1981-2011. This book contains a wealth of information on
lyric-writing.
Finishing the hat, By Stephen Sondheim. Another excellent
collection of Sondheim librettos, from 1954-1981. This book also
contains overviews of other broadway composers, with Sondheim's
views on their best and worst songs, as well as deconstructions
of these songs to see what makes them effective. The book also
discusses Sondheim's process and goes a little bit into how to
write musicals.
Broadway: The american Musical. (PBS, 2003, narrated by Julie Andrews) A documentary covering Broadway from the Zigfeld
follies of 1908, through Wicked, which came out in 2003. There
isn't much info on composers and their methods, but this is a good crash course in the history and evolution of Broadway musicals.
Writing the broadway musical by Aaaron Frankel, (I have not read
this one yet, and don't know whether it's available
electronically, but I hope it will be useful).
Company, (1995 revival) soundtrack. (One of sondheim's musicals, a good example of creative lyrics, it is analyzed in Finishing the Hat.)
Merrily we roll along, (revival cast, available on Spotify.
(another one of Sondheim's musicals, with some creative and entertaining lyrics, also discussed in-depth in Finishing the Hat.)
Follies, (the new cast recording). (more creative lyrics in this recording, libretto and lyric analyses for this show are available in Finishing The Hat as well.)
Making musicals, by Tom Jones, a book published in 1998. A book which covers both the history of Broadway and the process of
writing musicals. Though it does not go as deeply into the
history as Broadway: An American Musical, it has an excellent section on creating your own musicals, including how to find
collaborators and how to avoid writer's block.
Playbill.com. A website with reviews of Broadway shows, news about musical theater festivals, and a free repository of librettos. It may be useful if I wanted to compare the writing styles of various composers.
NYMF (the new york musical theater festival, more info available at nymf.org) A festival specializing in modern musical theater. The festival tries to promote new composers,
and new works. It may be useful if I wanted to compare Sondheim,
to some modern composers, just breaking into Broadway, to check
whether they're being influenced by him.
The BMI Lehmann-engel musical theater workshop. (Bmi.com) A New-York-based musical theater workshop, specializing in the creation
of musicals of various lengths, from 10-minute to 1.5-2-hour,
works. This workshop fosters collaboration of lyricists with
book writers (librettists) and composers. It may be useful in the same way as NYMF, to find out what the modern indie musical theater scene looks like. It also may be a program that I'd want to partake in, in the future, same goes for NYMF.
Listen to this, by Alex ross, A book which covers various composers and musical styles, from bee-bop to bach. I'm not sure whether it contains anything on the broadway musical, but it may be worth a look.
The Edinburgh Fringe festival, in edinburgh Scotland. (edfringe.com) A very famous festival of musicals, stand-up, and concerts. There's also one in New York. I'm not sure whether the content from these festivals is findable on Youtube, (NYMF's wasn't) but I will look.
"So you want to enter a theater festival, but which one?" (from
the producer's perspective, available from
theproducersperspective.com) A very useful blog entry, featuring an exhaustive list of musical theater festivals around the world.
The Barrington Stage company (barringtonstageco.org) A workshopping environment for Musicals. This lab is famous for
workshopping William Finn's The 25th annual Putnam county
Spelling bee. (A friend of mine knows the director of the stage company, so I may be able to get an interview with her about the workshopping process from a director's point of view.)
There's a musical theater festival in Chicago, (cmtf.org).
There's also a La musical theater festival. (source: musicalwriter.com)
The National Alliance of Musical theater, (namt) has a musical theater festival, ( musicaltheaterwriters.com)., though you need your organization to be a member of the Namt, before you can enter.
Musical writing advice from Steven Schwartz, (creator of wicked,
and pippin): A solid and sensible advice column from Steven Schwartz, covering everything from getting inspiration to being produced. (available from Musical theater writers.com)
Subscribe to:
Posts (Atom)