Cameron Mackintosh’s four shows (“Cats,” “Les Misérables,” “The Phantom of the Opera,” and “Miss Saigon”) have run on Broadway for more than 62 years total and, internationally, have made more money than these four movies — STAR WARS, RAIDERS OF THE LOST ARK, JURASSIC PARK, and TITANIC — put together.
Cameron Mackintosh’s four shows (“Cats,” “Les Misérables,” “The Phantom of the Opera,” and “Miss Saigon”) have run on Broadway for more than 62 years total and, internationally, have made more money than these four movies — STAR WARS, RAIDERS OF THE LOST ARK, JURASSIC PARK, and TITANIC — put together.But the rising costs of originating a show have driven away more independent individual producers and opened the field for corporations like the Walt Disney Co.The producer will rarely spend his own money; he raises it from investors — usually called backers or “angels,” for obvious reasons — and pays himself a salary.Tags: Ideas For Thesis PapersSimple Thesis For Mechanical EngineeringGang Violence Research PaperBiographical Essays About YourselfEssay About The GlobalizationCreative Writing College CourseEssays For Capital Punishment ProRhetorical Essays
The lyrics of Cole Porter, Ira Gershwin, and Irving Berlin — to name but three — are routinely quoted in poetry anthologies around the world.
In the early days of the musical, what mattered most were the songs, and it was essential that they were catchy enough to amuse the audience or provide material for dancers or comedians.
With the stronger demands of the narrative musical, performers had to become actors as well; indeed, after the success of nonsinging actor Rex Harrison in “My Fair Lady,” actors with minimal singing ability — Richard Burton, Lauren Bacall — became major musical stars.
Of course, what Broadway values most these days is the “triple threat” — performers who can sing, dance, and act.
Complicated and often inflammatory, the craft of producing a Broadway show involves knowing the public’s tastes (and usually challenging it), raising capital, battling societal trends — all on the most expensive real estate in the most fractious city in the world.
And, finally, there is the dissemination of the musical, which encompasses a vast narrative of communications and the media.None of these elements would come together without the producer.The idea for a new musical can come from a writer, composer, or performer, but it can only be realized by a producer.However, this is by no means the only kind of music to appear on Broadway.Then, there are the lyrics, the words that go with the music.Performers have also been the cornerstone of the musical.They could be comedians like Bert Lahr or Bert Williams; singers like Ethel Merman or Ethel Waters; dancers like Ray Bolger or Marilyn Miller.As the musical got more complex, it required a director to shape the production and its design and concept. Kaufman and George Abbott emerged in the ’30s; currently major artists like Harold Prince, Jerry Zaks, and Julie Taymor are key to shaping a musical’s success.Choreographers were next to emerge as major artists; in the teens and ’20s, they were simply “dance directors,” but influential choreographers like George Balanchine and Agnes de Mille brought visionary ideas to the stage.With gifted choreographers like Jerome Robbins and Bob Fosse broadening their range in the ’50s, it was only matter of time before they took on the job of director in addition to their dance duties.The director/choreographer became a major visionary force on the stage, guiding every visual and physical moment of a musical.