Enchanted Evenings:The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber Block, Geoffrey (large ebook reader .txt) đ
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In 1936 Brooks Atkinson had written that âif the word âsophisticatedâ is not too unpalatable, let it serve as a description of the mocking book which Richard Rodgers, Lorenz Hart and George Abbott have scribbled.â8 By 1954, the integrated musicals of Rodgers and Hammerstein and even Rodgers and Hartâs recently revived Pal Joeyâwhich Atkinson had reviewed disparagingly in 1940 before extolling its virtues in 1952âhad created new criteria that musicals such as On Your Toes did not match. Thus eighteen years after his initially positive assessment Atkinson attacked as âlabored, mechanical and verboseâ the book he formerly had deemed sophisticated. For Atkinson and his public âthe mood of the day,â which had recently caught up to Pal Joey, had âpassed beyondâ On Your Toes. The âlong and enervatingâ road to the still-worthy âSlaughter on Tenth Avenueâ ballet at the end of the second act simply was not worth the wait.9
In the 1936 On Your Toes Rodgers and Hart attempted an integration of music and drama that went beyond their successful innovations in Peggy-Ann and their unsuccessful ones in Chee-Chee. In Musical Stages Rodgers discusses his ambitious new artistic intentions:
One of the great innovations of On Your Toes, the angle that had initially made us think of it as a vehicle for Fred Astaire, was that for the first time ballet was being incorporated into a musical-comedy book. To be sure, Albertina Rasch had made a specialty of creating Broadway ballets [for example, The Band Wagon of 1931], but these were usually in revues and were not part of a story line. We made our main ballet [âSlaughter on Tenth Avenueâ] an integral part of the action; without it, there was no conclusion to our story.10
Despite such claims, the degree to which co-authors Rodgers and Hart and Abbott succeeded in their attempt to integrate dance, especially âSlaughter on Tenth Avenue,â has been questioned by Ethan Mordden:
Much has been made of âSlaughter on Tenth Avenueââs importance as a book-integrated ballet, but it was, in fact, a ballet-within-a-play ⊠not a part of the story told in choreographic terms. Only towards the balletâs end did plot collide with set piece when the hoofer learned that two gangsters were planning to gun him down from a box in the theatre at the end of the number. Exhausted, terrified, he must keep dancing to save his life until help comes, and thus a ballet sequence in On Your Toes turned into the On Your Toes plot.11
Morddenâs challenge does not obscure the fact that On Your Toes treats a vexing artistic issue: the conflict and reconciliation between classical and popular art. Much of the plot and the comedy in On Your Toes evolves from the tensions between the cultivated and the vernacular, between highbrow and lowbrow art. Even the barest outlines of the scenario reveal this.
When in act I, scene 3, we meet Phil Dolan III (âJuniorâ) as an adult, he is employed as a music professor at a W.P.A. [Work Projects Administration] Extension University, having renounced his career as a famous vaudeville hoofer sixteen years earlier at the insistence of his parents (scenes 1 and 2). His student and eventual romantic partner, Frankie Frayne, writes âcheapâ (1936) or âderivativeâ (1983) popular songs, including âItâs Got to Be Love,â âOn Your Toes,â and âGlad to Be Unhappyâ; another student, Sidney Cohn, who supposedly possesses greater talent (to match his pretensions and ambition), has composed âSlaughter on Tenth Avenue,â which will be performed by the Russian Ballet in act II.
The Cat and the Fiddle, a 1931 hit with lyrics by Otto Harbach and music by Kern, had explored the tensions and eventual accommodation of classical and popular music in a European setting in which a âseriousâ Romanian male composer and a jazzy American female composerâat the beginning of the show she is already well known as the composer of âShe Didnât Say Yesââeventually produce a harmonious hybrid. On Your Toes contrasted the cultivated and vernacular traditions through dance, two full-length ballets, both choreographed by the revered George Balanchine (1904â1983), who in the previous decade starred in Diaghilevâs ballet company: a classical ballet to conclude act I (âLa Princesse Zenobiaâ) and a jazz ballet (âSlaughter on Tenth Avenueâ) as a climax for act II. In the title song, tap dancing and classical ballet alternate and compete for audience approbation in the same number. Further, the Russian prima ballerina (Vera Baranova) and her partner (Konstantine Morrosine) have important dramatic (albeit non-singing) parts as well as their star dance turns. By contrast, in the dream ballet that concludes act I of Oklahoma!âthe musical which almost invariably receives the credit for integrating dance into the bookâthe dancing roles of Laurey and Curley are played by separate and mute dancers.
That On Your Toes is a musical about Art is frequently evident in the dialogue, especially its original 1936 manifestation. For example, in her efforts to convince the Russian ballet director, Sergei Alexandrovitch, that Sidney Cohnâs ballet is worthy of his company, manager and principal benefactress Peggy Porterfield explains the case for branching out: âYour public is tired of SchĂ©hĂ©razade, La Spectre de la Roseâtheyâve seen all those Russian turkeys at the Capital for 40 centsâthis is something differentâitâs a jazz balletâthey canât understand the music without the story and nobody can understand the storyâtheyâll say itâs art.â12 Vera considers herself âa great artistâ because she has convinced Junior that her âdancing [has] a virginal charm.â13 And when Morrosine tells a gangster that he âmust wait till he [Junior] stops dancingâ before shooting him, Art takes precedence over jealousy and revenge.14
The libretto also explores conflicting attitudes on the relative merits of classical and jazz dance. Frankie questions Juniorâs priorities in giving up his potential as âa headliner in vaudevilleâ to be a supernumerary in the Russian ballet.15 In the 1936 libretto Morrosineâs infidelities and obnoxious behavior toward his
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