The Search for New Direction in the musical. From the ‘American Dream’ to the ‘Rock-Opera’. 1950 to 1978 were despondent ones for the musical. American musical theatre had been showing signs of exhaustion. This most seemingly anti-intellectual of genres carries its own ‘ideological project’. Before this, the musicals not only exhibited singing and dancing; they were about singing and dancing, explaining the magnitude of that experience. They not only gave the most intense pleasure to their audience but also supplied the justification for that pleasure. The pop songs of the day were the songs from the shows. With the increase in number of radio stations and the availability of portable radios recorded music became the music of the masses. With the arrival of the Beatles in 1964, Rock music exploded across the land sending other musical trends into hibernation! The occasional attempt to break out of the old moulds were unsuccessful and led nowhere. They showed inadequacies; being unmelodic and formless. With rare exceptions, audiences rarely left the theatre singing the show tunes. Rock and roll couldn’t be assimilated in a dramatic structure. The songs didn’t tell a story. If rock and roll was used it would mean songs did not enhance and push the story forward, they would be separate from the story. Not until 1960 did Broadway face up to the emerging vogue. Musical theatre accepted rock music grudgingly.The eminence of the British musical has been the most significant theatre phenomenon in the world over the last twenty years. It has not only given British theatres a greatly needed financial boost but has changed ‘popular’ theatre indefinitely. Never will audiences see new musicals in the style of Oklahoma!, Brigadoon and South Pacific. With these musicals there was a danger of tipping from musical into melodrama. They never throbbed with subtlety because someone was always b...
