And They're Off!

This week begins the final session of summer classes at the theatre. This last session is a return to the two-week format from the beginning of the summer and after six one-week sessions, it feels a bit like switching from a sprint to a marathon. Right now the class is busily writing away. I've thrown a lot at them - perhaps too much - and they need some time to get to know their characters and the characters' everyday lives. We have talked about what makes for "good" and "bad" stories and how to map out the Hero's Journey and ways to alter it. They loved writing up a pitch for The Worst Story Ever. The very first class enjoyed that when I introduced the idea toward the end of our session, but this was a great way to get the class started. They are a smart group; very willing to talk and debate. I can't wait to see what they've been working on.

Oh, What a Beautiful Mornin'

For a while now I have been thinking about how much theatre - musical theatre in particular - has been a source of comfort and joy throughout my life. This morning, my commute was infinitely improved with the discovery of a long-lost Ragtime soundtrack. So, I thought it a good time to begin what I hope can be a regular series about show tunes. One song recently on my mind is “Oh, What a Beautiful Mornin’” from Oklahoma!

I realize there are some people who see Oklahoma! as naive, or even “cheesey”, and I will admit that I felt that way about it for quite some time. But after discovering the 1998 Royal National Theatre production on PBS a few years ago, I’ve been converted. That production, directed by Susan Stroman, had a realistic quality to it in which the characters felt as close to real people as a musical with dancing cowboys and farmers could possibly be. Plus, “Oh, What a Beautiful Mornin’” is an easy song to sing and holds an interesting place in American theatre history with a connection to today’s “history maker”, Lin-Manuel Miranda's Hamilton.

Both Oklahoma! and Hamilton are considered “ground breaking” in their time. We understand how that moniker can be given to Hamilton, but perhaps it is less obvious for Oklahoma! The Rodgers and Hammerstein staple was an experiment in musical theatre when it premiered in 1943. Musical theatre at the time followed a typical structure with song-and-dance numbers and action reminiscent of Vaudeville and other variety entertainments. However, when the curtain rises on Oklahoma!, Aunt Eller sits alone on stage as Curley enters the scene singing the opening number all on his own. In the HBO documentary Six by Sondheim, Stephen Sondheim, who was a protege of Oscar Hammerstein II, describes this as an example of how Hammerstein’s greatest influence in American theatre is his work as “an experimental playwright”. Sondheim himself would further alter the musical theatre structure with his self-described “conversational songs” and word play. Things brings us to Hamilton, which alters musical theatre structure again with the inclusion of rap and hip-hop into conventional theatre. More directly, there is a line of mentorship between these three artists. As Sondheim was mentored by Hammerstein, Miranda learned from Sondheim (who Miranda affectionately calls “Sondheezy”). (This lineage has a role in the history of American young playwrights programs, too.)

This clip from the 1998 production at the Royal National Theatre in London is the version I enjoy the most. If you haven't seen it in full, check it out on the PBS website. I also use this video when lecturing about musical theatre, or in some playwriting workshops with young people. Hugh Jackman is a big appeal, especially to those students who know him primarily as Wolverine. (And wow, can he sing!)