Broadway: 19th Century American Culture 6n1km

BROADWAY Nikita Butalia Roll Number: 2554

The early 20th century was a period when American culture was heavily influenced by theatre. Taking center stage, was the most sought-after theatre, which, to this day remains a favorite among patrons of the art form. Where the “movie culture” of today is steadily replacing theatre, Broadway remains one of the most important commercial-theatres in the world, and largely unaffected by the advent of the motion pictures. Broadway- a true representation of American culture through the ages, retains the ability to take one back in time to the peak of its popularity, for it stands for much more than simply theatre: it signifies a culture and a legacy in American history and society. Although occupying only a few blocks in the city, Broadway has made its mark on the American culture. For nearly half a century, the famous theatre in New York City has enthralled, engaged and enamored crowds and audiences through its variety of plays, musicals and theatre produced through literature. Broadway has left a mark on American culture unlike any other, shaping trends in society and theatre that exist till the present day.

Early American Theatre Early American theatre was largely influenced by European trends, mainly the English theatre. This was the period when “theatre” was mainly restricted to Burlesque performances, Operas, and Melodramas. Due to the fact that European theatre often made its way into American theatre, many plays and theatre in general was based on literary trends in Europe. Various Shakespearean ballad operas, which were common performances during this period, like The Merchant of Venice, among others like The Anatomist were some of the earliest plays that first made their way to New York. With the increase in popularity of the theatre and as the century progressed, theatre began to be influenced by its own American literary trends. Early theatre played a great role in defining and shaping class lines as well. Where Operas were mainly reserved for the upper classes and upper middle classes, minstrel shows and melodramas enjoyed by the middle classes, the men of the working class and poorer middle class were restricted to small shows in saloons. Class divisions became far more prominent and much more evident through their involvement with theatre. Burlesque: For most part of the early 19th century, theatre was associated with hedonism, violence and prostitution. From the s of various writers, it may be concluded that Elizabethan grandeur was a thing of the past, replaced with vulgar and obscene theatre, which was regarded “low” theatre, thus earning theatre as an art form a fairly bad repute. It was during this time that the Victorian Burlesque became popular, but was rejected as a form of “stage performance” due to its promiscuity and sexuality and was thus restrained to performances in bars and saloons. One of the most famous producers of the Burlesque form of theatre was Lydia Thompson, who was eventually replaced with male counterparts, in order to tone down the sexuality depicted on stage. One of the most popular Burlesque performances was The Black Crook, which was also the first of its kind.

Lydia Thompson was one of the most popular Burlesque performers during this period. She also produced and directed various performances.

Produced by Kiralfy Bros., the “Black Crook” was the first play to incorporate Burlesque performances within it. Although it did become popular, many did not approve of the great sense of sexuality that was portrayed through Burlesque style of musicals.

Co me dy on Th eatre: One of the most popular forms of theatre during this period was The Minstrel Show, featuring slapstick comedy, buffoonery on stage and parodies of various popular plays and musicals. It was this comedy, which soon translated to silent motion pictures as well, becoming a rage among the audience. Artists like Charlie Chaplin thrived on their ability to perform slapstick comedy first on stage and later on the screen. Movements in arts: Various movements in arts as a whole played a major role in shaping and re-defining theatrical trends. Realism was one of the most influential movements shaping theatre towards the end of the 19th century and beginning of the 20th century, seeking to depict elements of “real” life into its performances. Playwrights used these changing trends and movements to their advantage: experimenting with various styles of writing and incorporating the different social and political trends into theatre. They exercised their freedom and creativity in order to produce theatre that was experimental in order to constantly push the boundaries of the theatrical art form. However, none of these movements had a lasting impact on Broadway, which continued to majorly reproduce literature on stage.

20th Century Broadway Considered one of the primary “movers” in American culture, the influence of Broadway on society is large. Not only was Broadway a representation of the growing influence of theatre as an art form, but it was also one of the primary sources of entertainment during this period. It was through Broadway that theatre in America received its due credit. The influence of prostitution from American theatre was cleared up, and various popular artists and performers took to theatre. Women in theatre were treated as equal artists with men, and prostitution was no longer associated with theatre, thus elevating the art form and attributing to it the credit it deserved. The Great War of the Roaring Twenties: The period of the early 20th century in the United States is usually referred to as the “Roaring Twenties” due to the growing cultural edge that the country witnessed during this time. This period witnessed a boom in music, literature and theatre: all of which were largely “American” yet influenced by the world around it. The economic stability during this period added to the cultural and social dynamism experienced in most major cities of the world during this period. In America, it was New York City, which became the cultural hub and

center for creativity within the country. Jazz music flourished; the “flapper” concept of womanhood became popular, which redefined the idea of the “modern” woman; and most importantly: technological advancements such as automobiles, telephones, motion pictures, among others were a great part of the new-age culture. This phase lasted till the Wall Street Crash of 1929 and the Great Depression which followed soon after. This period, however, had a grand effect on Broadway as well. Theatre flourished during this period, drawing inspiration from everything around it: especially the World War I. For the first time since its inception, theatre began to actively participate and contribute to world issues. It was the first time theatre had depicted on stage a political and social reality, instead of merely restricting itself to a medium of entertainment for the general public. Where various theatres sought to collect charity and funding for injured soldiers of the war, there were others who played their part by depicting the atrocities of the war through plays. The ill-effects of war and growing materialism were challenged through theatre and went on the continue till the second World War and the Great Depression. Theatre opens up to the “Blacks”: One of the most significant advancements in theatre was the opening up of the Broadway stage to the African-American actors. Until now, “Black theatre” was a whole different theatre, existing alongside the “White theatre” and while both existed individually, representing different classes of society divided by race, they were never before merged together. It was during the 1920s that Broadway opened its gates to actors of African-American origin, thus creating a milestone in the history of theatre. Prior to the 1920s, black roles in white plays were taken up by white actors with painted faces to suit their role. The Federal Theatre Project ed plays that featured African American actors and those that were written by AfricanAmerican writers. On the other hand, “black theatre” mostly existed in Vaudeville, and other “secondary” and less popular theatres. The first play to introduce a black actor was O’Neill’s “The Emperor Jones” starring Charles Gilpin. The play was accepted well by the audience, thus opening doors for other black actors onto the Broadway stage. Pre-existing racial themes and stereotypes were reduced in theatre with the coming of the black actors to the stage. This was a result of the “Harlem Renaissance” or the “New Negro Movement” which abolished slavery and gave equal rights to African-Americans. This opening up of theatre was a landmark in American theatre, as it was symbolic of the idea that blacks were now accepted in society not as inferior, but as those holding equal rights as the whites. This also led to an increase in the popularity of Broadway theatre, as it was now a little more popular among the masses as well.

Introduction of the Repertory Theatre: The conception of the Repertory Theatre proved to be yet another milestone in the development of American theatre. The Repertory theatre was a non-profit theatre, which became a training ground for aspiring actors and young talent. Apart from that, the Repertory Theatre opened doors for audiences from all sections of society the opportunity to watch and attend theatre at affordable prices. Classics and popular plays were presented at the Civic Theatre at affordable and low prices in order to make theatre accessible to all kinds of population. The theatre introduced audiences to the works of Anton Chekhov, Henrik Ibsen, etc. Exclusive theatre was only open only to those of the upper classes and upper middle classes for a very long time, and the introduction of this new type of theatre helped bridge the gaps in society to a certain degree. The first such theatre was named the Civic Repertory Theatre, in 1926. It was conceptualized and started by the famous actress, Eva LeGallienne. The theatre became a huge hit among theatre-lovers as well as aspiring actors. The theatre became a cultural centre for all theatre lovers who ed the cause and participated actively. Not only did the civic Repertory Theatre showcase brilliant plays, but it managed to receive funding through individual donors who believed in and ed the cause. In fact, it remained alive through the stock market crash of 1929 as well, and is a non-profit theatre community that remains alive till today.

Black sheep of the family, Vaudeville: The biggest influence on American theatre and Broadway, especially in the 1920s, was Vaudeville. Throughout the 1920s, Vaudeville was considered the “lower” form of theatre. Although it never received due credit, its influence on theatre remains unmatched. Vaudeville featured a number of artists, actors and acts at a time. It performed songs, routines, comedies, magic, dramatic readings, etc- but specialized mainly in musicals. Broadway musical performances did learn and adopt a thing or two from Vaudeville. Moreover, Vaudeville although “secondary” to Broadway, was open to a larger group of people. Theatre as it was meant to be, was open for a population that could not make it to Broadway. While Broadway represented the elite, it was Vaudeville that opened up to the masses. For this reason, Vaudeville and its musical performances were not considered “legitimate” theatre for a long time. It was finally in the 1920s when musicals were recognized as theatre, and were incorporated into Broadway as well. “Shuffle Along” was a musical, which ran for 502 performances at Broadway and was highly popular among patrons of theatre. Vaudeville was famous for its mixed-gender audience, as well as its mixed-population. In order to make theatre accessible and open to female audience, liquor was banned inside the theatre, and the content of the plays was made fit for middleclass female audience. This opening up of theatre to women became one of the biggest reasons behind the theatre earning nationwide popularity. It came to be considered the most enjoyed form of entertainment. The middle classes, to whom theatre was usually very limited, were able to explore the art form through Vaudeville. It was for this reason, that it was termed “Vaudeville” which means “voice of the city” or “songs of the town.” It was for this “lack of exclusivity” in the population at Vaudeville, that it was considered a lower form of theatre by many. However, not only did Broadway draw influence from theatre styles, plays and their techniques from Vaudeville, it also took many actors from the theatre group as well. The various personalities

adopted by comedians at Vaudeville, as well as techniques, theatre styles and work remain alive in theatre to this day.

Theatre Guild: Founded in 1818 by Lawrence Langner, Phillip Moeller, Helen Westley and Theresa Helburn, Theatre Guild was a theatrical society that evolved out of the work of The Washington Square Players- the New York production company founded in 1914. The theatrical society was formed out of a collective objective to produce plays performed more for the “art” in theatre, and less for commercial use. Although this restricted the audience that it received, it managed to retain the true sense of quality theatre. The Theatre Guild became famous among patrons of theatre, who were equally keen to watch and preserve such art. Its board of directors were shared the responsibility of choosing plays, management and production in order to produce work quality work, thus giving them an edge over the other theatre groups. Having produced a total of 228 plays on Broadway, the influence of the Theatre guild over Broadway was large. Broadway received some truly well-produced plays through the Guild, thus retaining the true form of theatre. It also became a group for various producers who did not find home in Broadway. The Theatre Guild became an important community for theatre and group for Broadway. It was responsible for bringing foreign works from different cities where theatre was successfully established, in order to improve theatre in the Unites states. This resulted in competition between U.S. playwrights and their foreign counterparts, which further encouraged playwrights to broaden their approach to theatre. Coming of the “Little Theatres” and University Programmes: The United States began opening up to technology around the world after 1915. Through

these advancements, theatre from Europe was more easily accessible to those in America, thus giving rise to various other theatre groups with came up during this time. These were small, non-professional groups, independent groups, which emulated European theatre, and came to be known as “little theatres” in the county. Some of the early famous groups were Toy Theatre, Chicago Little Theatre, Neighborhood Playhouse, Washington Square Players, Provincetown Plays, and Detroit, Arts and Crafts Theatre; which arose between 1912 and 1916. By 1925, more than 2,000 little theatres and communities were ed with the Drama League of America. Up until the 1903, Universities were open to theatre performances, yet none had opened up courses in Dramatics. George Pierce Baker was the first to start teaching Playwriting at Radcliffe in 1903 and it was then that it eventually opened up to Harvard. However, it was mainly the period between 1920 and 1940, when colleges and universities actively opened up to courses in playwriting, drama and production. Students eagerly took up these courses and workshops and drama education in colleges became accepted officially in 1940. The Princetown Plays and Washington Square Players (later the Theatre Guild) became two of the most popular theatre groups. These “little theatre” groups began producing plays, many of which were performed at Broadway, and began to gain popularity among their audience. Theatre began to become eclectic in nature, deriving inspiration from world events, foreign theatre and other theatre groups as well. Many students began ing these “little theatres” and many began starting their own. University acceptance of programmes in drama education was a big landmark in American theatre. This acceptance into the curriculum gave it a sense of credibility, which further encouraged all kinds of artists and aspiring actors to the bandwagon. The Great Depression for Broadway: 1930s and Onwards The greatest hurdle for Broadway came in the name of the Stock Market Crash, leading to the Great Depression of the 1930s. The number of people affected by the Great Depression remains uncountable. Right from producers to ushers, to aspiring artists and actors, all suffered from the Great Depression. Broadway lost most of its talent, as Hollywood took up to 75% of Broadway talent. The number of Broadway productions reduced from 233 in 1930 to 187 in 1931. This trend in reduced productions lasted for a very long time. In the face of world recession, theatre took a backseat, until finally in 1939, the number of productions reduced to 98. It was the first time the number of available plays had dipped lower than 100. Worse than Broadway was Vaudeville, which catered to the middle classesthe worst affected by the Great Depression. Towards the end of the decade, many producers such as of Broadway theatre died one after the other. In March, E.L. Erlanger and E. F. Albee ed away, and in September, the death of Vaudeville producer Frederick Proctor made the news. This turned out to be a major disappointment for the American theatre, as the Broadway that had existed all this while was now changing. New talent was taking the legacy forward, bringing a fresher outlook into an art form that was tainted and exhausted as a result of the war as well as the Great Depression.

Theatre Post World War II

For most of the 20th century, American Theatre sought to discover itself. It was throughout this century, that theatre evolved from European literary roots, to theatre inspired by American literature itself; to an audience that open its doors to musicals, comedies and burlesque dancing; to theatre opening up to women of the middle classes. Most importantly, theatre was no longer a closed community, but it was recognized as an art form, gaining popularity as was seen through the emergence of a number of little theatre groups and communities. During the period between the wars, American drama reached its maturity, through the works of some of the biggest names in American theatre: Eugene O’Neill and Provincetown Players. Finally, the recognition received by drama education in universities and colleges was a landmark in theatrical advancement- it was truly a part of the culture of the nation and was no longer limited merely to a medium of entertainment. It was after the Second World War that American theatre truly became its “own” as influence from foreign works and other cultures (especially European and the English theatre) reduced and American trends began to inspire its own theatre. Several American playwrights became well-known not only in the country but also world-wide. Arthur Miller and Tennessee Williams were two such playwrights. Around the 1950s and 1960s, many movements in Arts began to spread around the world, and naturally, affected theatre as well. These led to experimentation in theatre as well, and a shift from traditional plots was noted during this period. Musicals became popular as the grim era of the war was finally over and audience moved to a merrier form of theatre. Musicals such as West Side Story and A Chorus Line broke all previous records and were a big hit among American audience. Towards the end of the 20th century, theatre began to borrow from cinematic roots. Movies that were part of the popular culture began to be translated on stage. Broadway musicals began to be developed around Disney’s movies and stories. Some of these were The Little Mermaid, Beauty and the Beast, and the most popular of all- Lion King. This shift in theatre was a big contribution to the revitalization of the Times Square in the 1990s.

Broadway Today The influence of the 20th century, especially the period between 1920 and 1930, during which theatre flourished like never before, can still be seen in theatre today. The Civic Repertory Theatre is still alive as a non-profit community ing theatre in America. Above all, the legacy of Broadway still continues, making it the largest theatre house in America and the most popular, worldwide. Broadway is no longer simply a medium of entertainment, but a legacy with a fan-following as large as any other medium of entertainment. Although the film industry has replaced much of the excitement that was first directed towards theatre, it is still considered a sacred form of art that any visitor in New York pays homage to, and the patrons of theatre swear by. Musical theatres are striving in today’s society, and plays like Lion King, Phantom of the Opera, and Oklahoma are earning popularity nationwide. Although theatre is continuously changing and adapting to the changing trends, time and culture in America and

the world, it would not be the theatre that it is today, without the growth it received throughout the 20th century- especially the early years of the 20th century.