THE COMPLETE PACKAGE (Part four)
This is the final article in the four part series entitled, “The Complete Package”. The first three articles dealt with the elements of ACTING, MUSIC and DANCE as they are associated with the musical theatre genre. This article will discuss the STORY as the last of the main elements that make up a musical theatre production.
The musical theatre genre often comes under fire for its weak plots and far-fetched stories. But, isn’t that also part of its charm? Breaking into singing and dancing, the integral concept behind musical theatre, is not a comfortable notion to every story. If in fact the characters are to participate in such displays, they still must do so in an appropriate context.
The subject matter and story lines invading musical theatre are expanding to include topics not considered years ago. Although musicals contained conflicts, most of the earlier classics fell under a sub-category of “light” fare. From “The Music Man” to “The Sound of Music”, from “Oklahoma” to “The King and I”, it seemed that the serious elements in the stories were most often downplayed by the light comraderie between the characters and the high- energy song and dance ensembles.
“The Music Man” is filled with light, entertaining numbers like “Seventy-six trombones”, “ Shpoopie”, “Pick-a-little-talk-a-little” and the like, although the love story developed between Harold and Marion, rife with deception and lies, adds an element of drama to the production. It is Harold’s scheme and his impending hope to swindle the town that predominates the plot. Although he’s a villain, he possesses a most likable personality and soon becomes a popular and respected visitor to the town. The musical focuses on his clever abilities as a trickster and the enjoyment of his presence by the townspeople. It is this focus that keeps the story light. And of course, even with Marion’s discovery that he is a cad, the musical still has a happy ending.
“The Sound of Music” certainly entertains us with the up-beat antics of Maria and the children, as found in musical numbers like, “The Lonely Goatherd” and “Doh a deer”, however, there are other beautiful musical offerings of seriousness and emotion, such as the mother superior’s “Climb Every Mountain.” Even the simple “Edelweiss”, sung by the Von Trapp father, before the family flees their beloved Austria forever, provokes deep emotion. In order to provide some depth to the story, there are traumatic circumstances which cause the family some painful moments, but again, we are treated to a happy ending as the children’s father and Maria find their love for one another and the family is able to escape without harm. Although there are undercurrents of seriousness in the story, the focus still seems to be on the lighter side.
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