ursting into song about how every thing ‘was looking just swell’. The musical not only wanted to sing away your troubles, but your thoughts as well. The ‘old style’ musical theatre had no social conscience. Always presented in the traditional proscenium arch, the musical isolated the audience from new ideas and innovations. Due to television broadcasting daily updates on world affairs it is now impossible to believe in the benevolence of the Universe that the likes of Rodgers and Hammerstein wrote about. Today’s audiences can almost find it abhorrent. They are socially aware and informed of current affairs. Musical theatre has advanced technically, intellectually, is universally popular and overflowing with cultural relativism. From 1960 onwards, Broadway came to rely more on its directors, librettists and lyricists. The emphasis of importance being on the directors. Tom O’Horgan, Gower Champion, and most of all, Bob Fosse gave the period some of its sustained achievements. These musicals are one of the most collaborative of art forms. Actors no longer had chunks of dialogue interspersed with musical interludes. The musical became seamless, with characters singing when their emotions became too overbearing for speech. The songs encouraged the musical to move forward and not stand still whilst the ‘star’ sang their showstopper! Stephen Sondheim advocated the “conceptual musical”. He subordinated every aspect of the work to his personal vision. As a result increasing intellectualised musicals confronted audiences that had frequented the theatre as a means of escape. When a writer is responsible for the book and the lyrics - as, for example, Oscar Hammerstein and Alan Jay Lerner, were - that writer may be more able to regularly address the same concerns than a composer-lyricist can. Nonetheless, Sondheim has managed to create a body of work that is clearly of a piece, despite the ...
