From the diverse proto-theatres of the mid-1800s, though the revues of the ‘20s, the ‘true musicals’ of the ‘40s, the politicisation of the ‘60s and the ‘mega-musicals’ of the ‘80s, every era in American musical theatre reflected a unique set of socio-cultural factors. Nathan Hurwitz uses these factors to explain the output of each decade in turn, showing how the most popular productions spoke directly to the audiences of the time. He explores the function of musical theatre as commerce, tying each big success to the social and economic realities in which it flourished. This study spans from the earliest spectacles and minstrel shows to contemporary musicals such as Avenue Q and Spiderman. It traces the trends of this most commercial of art forms from the perspective of its audiences, explaining how staying in touch with writers and producers strove to stay in touch with these changing moods. Each chapter deals with a specific decade, introducing the main players, the key productions and the major developments in musical theatre during that period.

Volume II of America's Indomitable Character has information on: A synopsis of Volume I. A preview concerning the content of Volume II with the sub-themes of Nature, human nature, society, the social contract, and education and how they weave into American character identity. American character identity and its Colonial connection to the philosophy of Jean-Jacques Rousseau. The historical personage Michel Guillaume (J. Hector St. John) de Crèvecoeur, a French, British, American Colonial citizen, and the America farmer par excellence who posed the famous question: What is an American? Benjamin Franklin's contributions to the developing American character identity. Thomas Paine's revolutionary views on American character identity. Thomas Jefferson's philosophical contributions to American character identity. John Dickinson, America's soldier and founding father. Hugh Henry Brackenridge, American publisher and author who educated Colonial Americans in politics. The literary group the Connecticut Wits who were both for and against America's independent development. The role of Colonial Religion and early attitudes concerning the American Colonial Theater as they relate to American character identity. The American dramatist and jurist Royall Tyler and his play The Contrast (A Comedy in Five Acts) in which the newly developing American consciousness of independence, including female independence, vis-à-vis English foppery and buffoonery are presented. Further, the use of the Native American's chanson du mort, in this case the Song of Alknomook and the dramaturgical presentation of Yankee Doodle are of utmost importance in understanding The Contrast and how they interplay with American character identity. The Albany Plan of Union. The Declaration of Independence written by the Founding Fathers. The Articles of Confederation (and Perpetual Union). A chronology of theatrical events between 1600 and 1800.

A fascinating look at how the Bible has inspired Broadway plays and musicals, from Ben-Hur to Jesus Christ Superstar

Throughout nineteenth century America, religious officials often condemned the theatre as an inversion of the house of God, similar to the church in architectural structure and organization but wholly different in purpose and values. This book explores the many ways in which religious institutions supported by capitalism profoundly affected the early development of American theatre. The author analyzes the church's critical view toward common theatre practices, including the use of female and child performers, and the lower class alliance with the stage. Three appendices provide period correspondence, including an excerpt from Mark Twain's February 1871 "Memoranda," in which Twain criticizes an Episcopalian reverend for denying church burial to a popular stage comedian.