The musicals that made ‘Hamilton’ possible
Musical theater’s real pioneers are those that invent storytelling tools. “Hamilton” is one. Here are some others that helped musical theater as we know it evolve out of its roots in ethnic variety shows and Tin Pan Alley, Ziegfeld’s “Follies” and vaudeville, burlesque, operetta and minstrel shows among other forms:
1914: Irving Berlin’s “Watch Your Step: A Syncopated Show in Three Acts” is the first show on Broadway that has both a single story and a single composer. 1914: In writing the music to go with lyrics to “They Didn’t Believe Me,” from the British show “The Girl from Utah,” Jerome Kern mixes dialogue and sung lyrics. 1918: Kern and lyricist P.G. Wodehouse write “Bill,” in which the singer is allowed to be inarticulate about her love, as opposed to having perfect, affected diction that was popular in songs. The song didn’t appear in a musical until “Show Boat.” 1927: Jerome Kern and Oscar Hammerstein II’s “Show Boat” uses a song, “Can’t Help Lovin’ Dat Man,” to show, not tell, a secret from a character’s background. Many, though not all, songs in this show help develop character, story and the world of the show, as opposed to being ornamental entertainment. 1936: With “On Your Toes,” George Balanchine uses dance to drive the narrative forward, as opposed to being a break in the action — when a character dances faster and faster to evade gunfire in the ballet “Slaughter on Tenth Avenue.” 1943: Richard Rodgers and Oscar Hammerstein’s “Oklahoma!” begins not with a chorus of dancing girls, as is custom, but with a quiet, sweet, a cappella song — the better to evoke the pastoral world of their story. Agnes de Mille’s dream ballet “Laurey Makes Up Her Mind” uses dance to create dramatic irony, showing the audience more than the leading lady knows about her own fear and desire. 1956: Shavian wit enters the American musical with “My Fair Lady.” 1957: Jerome Robbins’ prologue to “West Side Story” sets up the show’s whole story of gang rivalry and defines its cutthroat urban vibe using no words, only music and movement. 1966: John Kander and Fred Ebb’s “Cabaret” pioneers the concept musical: In one part of the stage, a regular book musical takes place; in another part, a menacing cabaret emcee offers Brechtian commentary on the first part.
1968: “Hair,” by James Rado, Gerome Ragni and Galt MacDermot, erases the divide between performer and audience by inviting the whole audience to dance onstage at the finale.
1970: With “Company,” Stephen Sondheim introduces the possibility that characters might not mean what they sing, opening a wealth of opportunities for emotional layering.