The American musical theater remained almost entirely untouched by these developments.
By the 1880s, the self-proclaimed symbolists began mining the dramatic potential of the subconscious mind, overturning the melodramatic playwriting models that had dominated Western stages throughout the 1800s, and departing substantially even from the new vogue for realist and naturalist plays and performance styles. Are these incongruities the result of lazy dramaturgy? Can they be chalked up to the usual attention deficit of the pre-“integrated” musical? Or might they be forgiven altogether, since it’s all just a dream, anyway?Īlready at the turn of the twentieth century, the “serious” drama of Europe was ardently exploring the theatrical potential of dreams. (“Now where was the Declaration of Independence signed?” Answer: “At the bottom!”) These flag-waving festivities, thrilling as they surely were for the show’s original audiences, quite literally have nothing to do with the action of the musical, which presumably takes place over one or two days and nights… during which it is also, apparently, May Day and Valentine’s Day. It has already sung paeans to Fourth of July fireworks and the “heroes of ’76,” and conducted a dubious lesson on the history of the holiday.
It's new-time radio drama produced in the classic style.In one of two overblown patriotic spectacles, the Act 2 finale of Little Nemo explodes with a burst of fizzy stage pyrotechnics as the company sings a hymn to the Liberty Bell. Phil Harper stars as Harry Nile, with Pat French as his all-knowing assistant Murphy. But it's a dangerous profession! Sometimes the source of a scream is elusive, sometimes a surveillance job goes south, and sometimes someone's got their gun sight set on you! From out of the Pacific Northwest come 24 more adventures produced by Jim French. There's a crime to be solved, and an investigator is needed.
0 kommentar(er)
