Z373: “THE AMERICAN MUSICAL,” Spring 2018 - Syllabus

Jacobs School of Music, Indiana University

Class time: TR – 11:15 a.m. to 12:30 p.m. - Simon Music Center “Sweeney Hall” M015
Constance Cook Glen (Senior Lecturer) - email: cglen@indiana.edu;
Alvin Ly, (Assistant)- email: lya@iu.edu
Office: Music Annex (MA) 154, (812) 855-6741
Office Hours: T 12:45-2:00 p.m. or by appointment

Course description and objectives:

Discover the excitement and spirit of the American musical through this course. Follow its development from
minstrelsy, vaudeville, burlesque, and operetta, through the jazz era and “golden” age musicals, to the rock operas and
“megamusicals” of today. Learn about creative teams and performers and explore the contextual meaning of the
musical and its relationship to American politics and culture.

Objectives:
ü To explore the musical means by which drama and meaning are created onstage
ü To gain a historical and cultural perspective of the genre
ü To attain familiarity with important creative teams and performers
ü To increase personal enjoyment and understanding of the musical, theatrical, and overall impact of the genre

Attendance and Makeup policies/Classroom expectations:

Attendance Policy: Attendance is mandatory. In my experience, students who always attend class (on-time) are
likely to do very well. Class lectures supplement and clarify material in the text. In addition, factual information,
musical analyses, recordings, and videos that are not covered elsewhere are presented in-class throughout the semester.
If you must be absent, please make arrangements to get the notes from a classmate.

Make-up Policy: Exams may only be made up in the case of documented illness or emergency. Listening quizzes
may not be made up, but the lowest score will be dropped. While there are no make-ups for assignment or attendance
points, two will be dropped. A few extra-credit points will be given on exams and you may elect to do an extra-credit
musical review. Information about assignments, upcoming in-class events and shows will be posted weekly on Canvas.
If you have questions, please feel free talk to me before or after class, come to my office hours, or contact me via email.

Classroom Environment: Because this is a class where the musical experience itself requires intense focus, no
electronic devices are allowed. Cell phones, ipods, laptop computers, etc. disturb others in the class and distract
from actively listening to the music. If you have concerns about this policy, please see me.

Course materials:
McLamore, Alyson. Musical Theater: An Appreciation. 2nd edition. New York, NY: Routledge, 2018. ISBN
978-1-138-67868-2. (Required)

Additional recommended materials:

Kantor, Michael and Lawrence Maslon. Broadway: The American Musical. New York: Bulfinch Press, 2004.
ISBN 08202-2905-2
Miller, Scott. Deconstructing Harold Hill: An Insider’s Guide to Musical Theatre. Portsmouth, NH:
Heinemann, 2000. ISBN 0325-001669
Miller, Scott. From Assassins to West Side Story: The Director’s Guide to Musical Theatre. Portsmouth, NH:
Heinemann, 1996. ISBN 0435-086995
Miller, Scott. Rebels With Applause: Broadway’s Groundbreaking Musicals. Portsmouth, NH: Heinemann,
2001. ISBN 0325-003572
Broadway: The American Musical 5 CD set. Sony BMG Music Entertainment, 2004. Columbia Masterworks
Broadway: The American Musical 5 CD set. Sony BMG Music Entertainment, 2004. Columbia Masterworks
Stempel, Larry. Showtime. New York: WWNorton, 2011. 978-0-393-92906-5

The textbooks and online readings provide background information for the material we cover in class and are
supplemented by books on reserve. There are many excellent websites devoted to the study of the musical in general, or
of one musical in particular. You may want to check out Musicals101 for a terrific overview and bibliography, or any of
the following: theatrehistory.com, stageagent.com, ibdb.com, mtishows.com, musicals.net. Books and recordings are
on reserve in the Cook Music Library, located on first floor in the Simon Music Center. Recordings are listed on the
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music library website and may be accessed online, to find them, click on: http://libraries.iub.edu/music, then search by
“Glen,” “Z373” and “recordings.” You have access to collections and full shows, and may listen in the School of Music
library, or at-home. Texts and explanations for some of the songs are in the McLamore book; these are marked
with an asterisk(*). Some articles are posted under “Pages” on Canvas. If you would like access to scores, some are
available in the multi-volume piano-vocal score set, entitled: Broadway Musicals Show by Show, (arranged by decade)
which is on reserve. The Cole Porter and Irving Berlin Songbooks are also on reserve and many others are available in
the music library.

Grading:
Grading is based on multiple types of assignments as well as three exams and six listening quizzes. Each exam covers
material from the reading, lectures, and videos, and includes short answer, identification, and essay questions. The two-
hour final exam period is scheduled for May 3rd from 10:15 a.m. to 12:15 p.m. Listening Quizzes are over the
assigned songs and playlists are given throughout the semester. A song presentation, review of a live musical and a
project (see project guidelines on Canvas) are required and a second review is optional for extra credit; in-class
assignments and participation are also evaluated. The goal of the reviews is for you to interact with a live show and then
discuss how it affects you as the listener. Note: Your musical review for Z373 may not be submitted for credit in
any other class. In addition, attendance at a musical you choose may not be used for credit in any other class.
Doing so will result in a zero on this assignment, a possible “F” in the class and a report of academic misconduct
to the Office of Student Conduct.

Check Canvas (http://www.Canvas.iu.edu) for assignments, handouts, grades and syllabus.

3 Exams = 300 points
6 Listening quizzes (lowest dropped) = 250 points
1 Partner Presentation = 40 points
1 Review of a Musical (1 optional extra-credit = 25 points) = 60 points
1 Creative Project = 60 points
Out of class Assignments = 70* points(approximately)
Attendance = 120* points (approximately)
*5 points each – 1 assignment/1 attendance dropped
TOTAL = 900 points (subject to change)

Grading scale: 98% = A+ 88% = B+ 78% = C+ 68% = D+

92% = A 82% = B 72% = C 60% = D
90% = A- 80% = B- 70% = C- <60% = F

Academic Integrity:
All Indiana University policies regarding academic misconduct (copying, plagiarism, facilitation, fabrication and
collaboration) are in effect throughout this course and academic dishonesty is not tolerated. Students found cheating
on quizzes or exams automatically fail the class and are reported to the Office of Student Conduct. If you have
questions about academic misconduct, please consult the Code of Student Rights, Responsibilities and Conduct, which
can be found online at: http://www.iu.edu/~code/. You are encouraged to work in study or performing groups, but the
content of written homework assignments must be your own. For clarification of plagiarism, the first assignment will be
to submit the plagiarism quiz administered by the IU School of Education.

NOTE: No electronic devices may be used during quizzes or exams and if any are seen, they will be confiscated.
Anyone found using an electronic device during an exam or quiz will receive an “F” for that quiz or exam and be
reported to the Office of Student Conduct.

Students with Disabilities:

If any student requires assistance or academic accommodations for a disability, please contact me after class, during my
office hours, or by individual appointment. You must have established your eligibility for disability support services
through the Office of Disability Services for Students in Wells Library W302, 812-855-7578.
http://studentaffairs.iub.edu/dss/faculty/faculty-resources/

Resources on Campus: There are many campus offices that provide all kinds of support for students. For a full list, see:
https://sit.indiana.edu/academic-campus-resources/campus-resources.html
Important Dates, Spring 2019:
Listening Quizzes: 1/24, 2/14, 3/7, 3/28, 4/11, 5/2
Exams: 2/14, 3/28, 5/2

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 Project: 4/9 (see guidelines)
Musical Review: 4/16 (submit online/bring ticket or program to class – see assignment for options)
Extra credit musical review: 4/23
Z373: Guidelines for Reviews of Musicals – Spring 2019 (60 points each)

Z373 Weekly schedule and topics (subject to change)

Assigned topics and readings are given for each week. Listening playlists are posted on Canvas. Due dates are printed in
bold and all changes will be announced in class and/or posted on Canvas.

Week 1 January 8th -10th: Elements of a Musical; European Operetta & American Popular Entertainment
Readings: McLamore, Musical Theater: An Introduction, Ch. 5-10

Jacques Offenbach (1819-1880) Orpheus in the Underworld/Orphée aux enfers (1858)

*”Maintenant je veux” - “Ce bal est original” CD2, T15-17

Johann Strauss II (1825-1899) The Bat/Die Fledermaus (1874)

*”Dieser Anstand” [“The Watch Duet”] S2, T10

W. S. Gilbert (1836-1911) and Arthur Sullivan (1842-1900) H.M.S. Pinafore (1878), Pirates of Penzance (1879), The
Mikado (1885)
Pirates of Penzance
*“I am the Very Model of a Major General”, (bookmark) S2, 14’ to 19’ minutes

Franz Lehar (1870-1948) The Merry Widow/Die Lustige Witwe (1905)

“Dialogue and Scene and Dance Duet - “Merry Widow Waltz” - CD2, T 7 [Waltz at 20’]

Dan Emmett
“Old Dan Tucker” An Introduction to America’s Music – CD1, T14
“De Boatmen’s Dance” (1843) The Early Minstrel Show – T1

Stephen Foster
*“Camptown Races” (1850) An Introduction to America’s Music – CD1, T15

Will Cook/Harry von Tilzer In Dahomey (1902)

*“I wants to be a actor lady” I wants to be a actor lady S1, T5

Other important songs and performers (1900-1925):

Bowers and DeWitt - “When the Moon Shines on the Moonshine” Broadway CD1, T3 – sung by Bert Williams
Yvain and Pollack - “My Man” Broadway CD1, T5 – sung by Fanny Brice, performed in Ziegfeld’s Follies of 1921
DeSylva and Meyer - “If You Knew Susie (Like I Know Susie)” Broadway CD1, T7 – sung by Eddie Cantor

Week 2 January 15th -17th: American Operettas, Follies and Tin Pan Alley - Cohan, Berlin, Ziegfeld
Readings: McLamore, Ch. 11, 12, 14, 20, 22 (Berlin only)

Giuseppe Operti The Black Crook (1866)

*“Amazons’ March” I wants to be a actor lady S1, T1

Victor Herbert (1859-1924) The Fortune Teller (1898), Babes in Toyland (1903), Naughty Marietta (1910)
The Fortune Teller
“Gypsy Love Song” A Victor Herbert Showcase, CD1, T2
Babes in Toyland
*“I Can’t Do the Sum” I wants to be a actor lady S2, T8
Naughty Marietta
“Ah! Sweet Mystery of Life” A Victor Herbert Showcase T4
*“Italian Street Song” Music of Victor Herbert S1, T2

Rudolf Friml (1879-1972) The Firefly (1912) – featuring Emma Trentini; Rose-Marie (1924)
Rose-Marie (1924)
*“Indian Love Call” American Musical Theatre S1, T12
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George M. Cohan (1878-1942) Little Johnny Jones (1904); The Honeymooners (1907); [Famous Songs: “Grand Old
Flag,” “Give My Regards to Broadway,” “Over There,” “Yankee Doodle Boy”]
“Over There” Over There S1, T1
“Give My Regards to Broadway” Broadway CD1, T1 sung by Joel Grey
*“Yankee Doodle Boy” I wants to be a actor lady S1, T2

Irving Berlin (1888-1989) – many songs for Follies and Revues 1900-through 1920s, Yip! Yip! Yaphank (1917); Face
the Music (1932); As Thousands Cheer (1933); This is the Army (1942); Annie Get Your Gun (1946)

“Alexander’s Ragtime Band” The Complete Irving Berlin Songbooks S1, T7 (1911)

Yip, Yip Yaphank (1917)

“Oh, How I Hate to Get Up in the Morning” Broadway CD1, T24 (originally written for Yip, Yip Yaphank,
later featured in This is the Army)
“God Bless America” (1917) (originally written for Yip, Yip Yaphank, but not performed) – not required
listening

Ziegfeld’s Follies of 1919

“A Pretty Girl is Like a Melody” Broadway CD1, T4

As Thousands Cheer (1933)

“Heat Wave” Broadway CD1, T16 sung by Ethel Waters
*“Suppertime” The Complete Irving Berlin Songbooks CD2, T9

Week 3 January 22nd – 24th: The Roaring Twenties and Beginnings of the “Book” Musical – Youmans, Kern
Readings: McLamore, Ch. 13, 15, 16

Thursday, January 24th: Listening Quiz 1 over songs from weeks 1-3

The Passing Show, The Music Box Revue, George White’s Scandals and more
Eubie Blake (1887-1983) and Noble Sissle (1889-1975), Shuffle Along (1921)
“Baltimore Buzz” American Musical Theatre CD1, T8

Vincent Youmans (1898-1946) No, No, Nanette (1925)

*“Tea for Two” Broadway CD4, T5

Jerome Kern (1885-1945) Show Boat (1927)

“Show Boat Overture” S1, T1
“Make Believe” S1, T8
*“Ol’ Man River” Broadway CD1, T10 sung by Paul Robeson

Week 4 January 30th -February 1st: The Brilliant Gershwins; The Depression
Readings: McLamore, Ch. 18-19
Ira (1896-1983) and George Gershwin (1898-1937) Lady Be Good (1924); Oh Kay (1926); Funny Face (1927); Strike
Up the Band (1930); Girl Crazy (1930); Of Thee I Sing (1931); Let ‘Em Eat Cake (1933); Porgy and Bess (1935)

“Swanee” (1920) Broadway CD1, T2 sung by Al Jolson

“Rhapsody in Blue” (1924) New World Jazz S1, T2 (piano and orchestra)

Lady Be Good (1924)

“Fascinating Rhythm” Broadway CD1, T6 sung by Fred and Adele Astaire

Oh Kay (1926)
“The Moon is on the Sea” S1, T2
“Someone to Watch Over Me” S1, T5 or Broadway CD1, T8 sung by Gertrude Lawrence

Girl Crazy (1930)

“Bidin’ My Time” CD1, T2
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 *“I Got Rhythm” CD1, T13

Of Thee I Sing (1931)

“Of Thee I Sing” CD1, T9
Porgy and Bess (1935)
Act I, Scene I:
“Summertime” S1, T2 sung by IU’s Camilla Williams or Broadway CD2, T19 sung by Anne Brown
“Oh, Little Stars, Little Stars” S1, T7
*“I Got Plenty o’ Nuttin’” S1, T17
“Bess, You Is My Woman Now” S1, T22
Act II Scene 2 “Ha-da-da, ha-da-da” S2, T1
“It Ain't Necessarily So” S2, T2

Jay Gorney (1894-1990) and Yip Harburg (1896-1981) New Americana (1932)
“Brother, Can You Spare a Dime?” Broadway CD1, T14

Week 5 February 5th -7th: Depression Years & Indiana’s own Cole Porter; Gaining Momentum - Rodgers & Hart
Readings: McLamore, Ch. 17, 21, 22, 23; Miller (Rebels) – Ch. 2

Cole Porter (1891-1964 – born in Peru, IN) Paris (1928); Fifty Million Frenchmen (1929); Gay Divorce (1932);
Anything Goes (1934); Jubilee (1935); Leave It To Me (1938); Kiss Me Kate (1948); Silk Stockings (1955)
Gay Divorce (1932)
“Night and Day” Broadway CD1, T15 sung by Fred Astaire

Anything Goes (1934)

“You’re the Top” S1, T7 or Broadway CD1, T18 sung by Ethel Merman
*“Anything Goes” S1, T10 -
“Blow, Gabriel, Blow” S1, T15

Kiss Me Kate (1948)

*“I Hate Men” S1 T8

Richard Rodgers (1902-1979) and Lorenz Hart (1895-1943) On Your Toes (1936); Babes In Arms (1937); Pal Joey
(1940)
On Your Toes (1936)
“Slaughter on 10th Avenue” – youtube video (know story)

Babes in Arms (1937)

“My Funny Valentine” Rodgers, Hart: American Songbook Series T22

Pal Joey (1940)

*“Bewitched, Bothered and Bewildered” Broadway CD1, T23 sung by Vivienne Segal

Week 6 February 12th -14th “Cross-over” Composers – Blitzstein & Weill

Readings: McLamore, Ch. 24; Miller (Rebels) pp. Ch. 1
Thursday, February 14th: Exam I and Listening Quiz 2 over weeks 3-5

Marc Blitzstein (1905-1964) The Cradle Will Rock (1937)

“Cradle Will Rock” American Musical Theater S2, T5

Kurt Weill (1900-1950) Knickerbocker Holiday (1938), Lady in the Dark (1941) The Threepenny Opera (1928/54)
The Threepenny Opera (Dreigroschenoper) (1928/54)
*“Ballad of Mac the Knife” Broadway CD2, T15

Lady in the Dark (1941)

“My Ship Has Sails” Stranger Here Myself: Songs of Kurt Weill S1, T7
“Tchaikovsky” American Musical Theater S2, T11

Week 7 February 19th -21st: At the Movies - Harold Arlen; Rodgers, Hammerstein and the “Golden” Age

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 Readings: McLamore, Ch. 25-27; Miller (Rebels), Ch. 3; Miller (Assassins) Ch. 3

Harold Arlen (1905-86) The Wizard of Oz (1939); St. Louis Woman (1946); Jamaica (1953)
“Over the Rainbow” T1 Harold Arlen Songbook - sung by IU’s Sylvia McNair
“Stormy Weather” T2 Harold Arlen Songbook - sung by IU’s Sylvia McNair

Richard Rodgers and Oscar Hammerstein II (1895-1960) Oklahoma (1943); Carousel (1945); Allegro 1947; South
Pacific (1949); Flower Drum Song (1958); Cinderella (1958); The King and I (1958); The Sound of Music (1959)

Oklahoma (1943)
“Oh, What a Beautiful Mornin'” T2
“The Surrey with The Fringe on the Top T3
*“Pore Jud Is Daid” T8
“Out of My Dreams” T9

Carousel (1945)
“If I Loved You” T4 OR Broadway CD2, T2 sung by John Raitt and Jan Clayton
*“What’s the Use of Wond’rin’?” T11

South Pacific (1949)

“Some Enchanted Evening” T5 –OR Broadway CD2, T8 sung by Ezio Pinzo
*“Bali H’ai” T8

The King and I (1958)

*“Hello, Young Lovers” T4

Week 8 February 26th-28th: The “Artist Citizen” - Leonard Bernstein

Readings: McLamore Ch. 29; Miller (Assassins) Ch. 16

Leonard Bernstein (1918-1990) Fancy Free (1944) -ballet, On The Town (1944); Peter Pan (1950) Wonderful Town
(1953); Candide (1959); West Side Story (1957); Mass (1971), 1600 Pennsylvania Avenue (1976), A Quiet Place (1983)
[about his time in Bloomington, IN]

On the Town (1944)

“I Feel Like I’m Not Out of Bed Yet” T1
“New York, New York” T2 or Broadway CD2, T1
“Gabey’s Coming” T4

Candide (1956)
“Glitter and Be Gay”– Broadway CD2, T21 sung by Barbara Cook

West Side Story (1957) (Side 1)

“Jets” T2
“Maria” T5
*“America” T7
*“Tonight” S2, T1
“I Feel Pretty” S2, T3

MASS (1971) CD B5315 D5.1-6

“A Simple Song” T2

Week 9 March 5th-7th: The Romantic American Musical - Lerner and Loewe, Loesser, Adler and Ross
Readings: McLamore, Ch. 28, 30, 31; Miller (Assassins) Ch. 13
Thursday, March 7th: Listening Quiz 3 over weeks 7-9

Frank Loesser (1910-1969) Where’s Charley? (1948); Guys and Dolls (1950); Pajama Game (1954); The Most Happy
Fella (1956); How to Succeed in Business Without Really Trying (1961)
Guys and Dolls (1950)
*“Fugue for Tinhorns” T3

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 “Adelaide’s Lament” T8
“Luck Be a Lady” T17 Or Broadway CD2, T11

Alan Jay Lerner (1918-1986) and Frederick Loewe (1901-1988) Brigadoon (1947); My Fair Lady (1956); Gigi
(1958/1973); Camelot (1960)
My Fair Lady (1956)
“Wouldn’t it be Loverly?” S1, T3
*“Just You Wait” S1, T6
“I Could Have Danced All Night” S1, T8 - OR Broadway CD2, T18 sung by Julie Andrews, age 21
“Get Me to the Church on Time” S2, T5

Jule Styne (1905-1994) Gypsy (1959); Funny Girl (1964)

Gypsy (1959) and Stephen Sondheim b. 1930

*“Everything’s Coming Up Roses” Broadway CD3, T3 sung by Ethel Merman

Funny Girl (1964) and Bob Merrill (1921-1998)

“People” Broadway CD3, T15 sung by Barbra Streisand

SPRING BREAK: MARCH 8-17, NO CLASSES

Week 10 March 19th -21st: Transitions – On and Off Broadway

Readings: Ch. 31, 32, 34, 35; Miller (Assassins) Ch. 2, 6; Resources: Miller (Deconst) Ch. 5

Meredith Willson (1902-1984) The Music Man (1957); The Unsinkable Molly Brown (1960)
Music Man (1957)
*“Goodnight My Someone” T4
“Ya Got Trouble and 76 Trombones” T5 sung by Robert Preston
“Pick a little, Talk-a-Little” T8
“Lida Rose and Will I Ever Tell You?” T13
“Gary, Indiana” T14

Mary Rodgers (1931-2014) and Marshall Barer (1923-1998) Once Upon a Mattress (1959)
“Shy” T5

Tom Jones (b. 1928) and Harvey Schmidt (b. 1929) The Fantasticks (1960)
“Try to Remember” Broadway CD3, T6 sung by Jerry Orbach

Jerry Bock (1928-2010) and Sheldon Harnick (b. 1924) She Loves Me (1963); Fiddler on the Roof (1964)
“Matchmaker, Matchmaker” S1, T2
*“Do You Love Me?” S2, T4
“Far from the Home I Love” S2, T5
“If I Were a Rich Man” Broadway CD3, T17 sung by Zero Mostel

John Kander (b. 1927) and Fred Ebb (1933-2004) Cabaret (1966); Chicago (1975); Scottsboro Boys (2000); The
Visit (2001/2015)
Cabaret (1966)
“Willkommen” Broadway CD4, T1 sung by Joel Grey
*“Tomorrow Belongs to Me” S1, T8

Chicago (1975)
“All That Jazz” Broadway CD4, T13 sung by Chita Rivera
*“The Cell Block Tango” CD1, T

Week 11 March 26th-89th: Challenges of the 60s and 70s: Rock Musicals and Broadway
Readings –McLamore Ch. 32; Miller (Rebels) Ch. 5; Resources: Warfield, “From Hair to Rent” pp. 231-245

Thursday, March 28th: EXAM 2 and Listening Quiz 4 over weeks 10-11

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James Rado (b. 1932) and Gerome Ragni (1935-1991), Galt McDermott (b. 1928) [composer] Hair (1967)
“Hair” S1, T4
“Hare Krishna” S1, T7
“Aquarius” S2, T6
“Let the Sunshine In” Broadway CD4, T2

Pete Townshend (b. 1945) and The Who Tommy (1969)

“Pinball Wizard” T13
“Tommy, Can You Hear Me?” T16
“I’m Free” T 21

Week 12 April 2n-4th- 5th: Dance Musicals; Stephen Sondheim (b. 1930)
Readings –McLamore Ch. 33, 37, 38, 43; Miller (Assassins) Ch. 4, 8, 15
http://www.billboard.com/articles/news/6752896/stephen-sondheim-interview-new-show-lady-gaga-disney

Charlie Smalls (1943-1987) The Wiz (1975)

“Ease on Down the Road” Broadway CD4, T11

Marvin Hamlisch (1944-2012) Chorus Line (1975)

*“I Can Do That” T2
“One” T9 Or Broadway CD4, T12
“What I Did for Love” T10

Stephen Sondheim A Funny Thing Happened on the Way to the Forum (1962); Anyone Can Whistle (1964); Company
(1970); Follies (1971); A Little Night Music (1973); Sweeney Todd (1979); Merrily We Roll Along (1981) Sunday in the
Park with George (1984); Into the Woods (1987); Assassins (1991); Dick Tracy (1993); Putting It Together (1993);
Getting Away With Murder (1996); Passion (1994); Bounce (2003); Frogs (2004); Roadshow (2008)

A Funny Thing Happened on the Way to the Forum (1962)

*“Comedy Tonight” Broadway CD3, T11 sung by Zero Mostel and Lee Remick

Company (1970)
“The Ladies Who Lunch” Broadway CD4, T4 sung by Elaine Strich
*“Getting Married Today” Putting It Together CD2, T12

A Little Night Music (1973)

“Send in the Clowns” Broadway CD4, T10 sung by Glynnis Johns
“Overture, Night Waltzes” CD1, T1
“Now, Later, Soon” CD1, T2
“The Miller’s Son” CD1, T14

Sweeney Todd (1979)

“The Worst Pies in London” S1, T3 sung by Angela Lansbury
“My Friends: The Ballad of Sweeney Todd” S1, T5
“Pretty Women - Epiphany” S3, T1 sung by Len Cariou
*“A Little Priest” S3, T2

Sunday in the Park with George (1984)

“Color and Light” T3 (pointillism in accompaniment)
“Finishing the Hat” T7

Into the Woods (1987)

“Into the Woods” T2
*“Agony” T19
“No One is Alone” T32

Assassins (1991)
*“The Ballad of Booth” T2
“Another National Anthem/November 22, 1963” T8

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Week 13 April 9th -11th: London’s West End: The Commercial Phenomenon of Andrew Lloyd Webber
Readings: McLamore Ch. 36, 39, 40; Miller (Assassins), Ch. 9

Tuesday April 9th – Projects due, In-Class Performances begin

Thursday, April 11th – Listening Quiz 5 over weeks 12-13
Tim Rice (b. 1944) and Andrew Lloyd Webber (b. 1948) Joseph and the Amazing Technicolor Dreamcoat (1968,
revised); Jesus Christ Superstar (1971); Evita (1976)
Andrew Lloyd Webber Jeeves (1975); Cats (1981); Starlight Express (1984); Song and Dance (1985); Phantom of the
Opera (1986); Aspects of Love (1989); Sunset Boulevard (1993); By Jeeves (1996); Whistle Down the Wind (1998); The
Beautiful Game (2000)

Jesus Christ Superstar (1971)

“Hosanna” S2, T1
*“Pilate’s Dream” S2, T3
“I Don’t Know How to Love Him” S2, T6 or Broadway CD4, T7 sung by Yvonne Elliman

Evita (1976)
*“Another Suitcase, in Another Hall” S2, T3
“On the Balcony of the Casa Rosada/Don’t Cry for Me Argentina” S3, T1 or Broadway CD4, T15 sung by
Patti Lupone

Phantom of the Opera (1986)

*“The Phantom of the Opera” CD1, T6

Week 14 April 17th -19th: The Mega Musical and Social Commentary
Readings: McLamore Ch. 41, 44; Miller (Assassins), Ch. 12; Miller (Rebels) Ch. 10
Tuesday, April 16th – Musical Review Due

Alain Boublil (b. 1941) and Claude-Michel Schönberg (b. 1944) *Les Miserables (1980); Miss Saigon (1989)
*Les Miserables (1980)
“Who am I?” S1, T4
*“Castle on a Cloud” S2, T1
“Master of the House” S2, T2
“Do You Hear the People Sing?” S2, T7 or Broadway CD5, T4

Jerry Herman (b. 1931) Hello Dolly! (1964), Mame (1966), La Cage aux Folles (1983)
La Cage aux Folles (1983)
“I am what I am” Broadway CD5, T2

Jonathan Larson (1960-1996) Rent (1996)

“La vie boheme” S1, T23
“Seasons of Love” S2, T1 OR Broadway CD5, T.12
“Your Eyes” S2, T16

Week 15 April 23rd -25th: New Directions - From Disney to Socially Relevant, Revivals, Movies & Television
Readings: McLamore Ch. 42, 45, 46
Tuesday, April 23rd – Extra Credit Musical Review due

Richard Sherman (b. 1928), and Robert Sherman (1925-2012) Mary Poppins (1964); “It’s a Small World (After
All)” (1964); The Jungle Book (1967); Chitty Chitty Bang Bang (1968); The Aristocats (1970-with others); Charlotte’s
Web (1973); The Slipper and the Rose [British Cinderella] (1976); The Many Adventures of Winnie the Pooh (1977)

William Finn (b. 1952) March of the Falsettos (1981); Falsettoland (1990); The Falsettos (1992); A New Brain (1998);
The 25th Annual Putnam County Spelling Bee (2004)

Elton John (b. 1947) (and Tim Rice) The Lion King (1997); Billy Elliott (2005)
The Lion King

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 “Hakuna Matata” Broadway CD5, T13

Jason Robert Brown Parade (1998), The Last Five Years (2001)
The Last Five Years
*“Climbing Uphill” - https://www.youtube.com/watch?v=cUve0ruUxBw

Stephen Trask and John Cameron Mitchell Hedwig and the Angry Inch (1998)
“Wig in a Box” T6

ABBA Mamma Mia! (1999)

“Dancing Queen” Broadway CD5, T15

Mel Brooks (b. 1926) The Producers (2001)

“I Wanna Be a Producer” Broadway CD5, T14 sung by Matthew Broderick

S. Wittman and M. Shaiman (b. 1959) Hairspray (2002)

“Good Morning Baltimore” Broadway CD5, T16 sung by Marissa Jane Winokur

Billy Joel (b. 1949) Movin’Out (2002)

“Movin’ Out” Broadway CD5, T17 sung by Michael Cavanaugh

Stephen Schwartz (b. 1948) Godspell (1971); Pippin (1972); Wicked (2003); Geppetto (2006-television musical;
Snapshots (2011); [in addition, music and lyrics for many Disney musical films]
Wicked
*What is this Feeling?” T4
“Defying Gravity” T11 OR Broadway CD5, T19 sung by Kristin Chenoweth
“For Good” T18

Robert Lopez (b. 1975) and Jeff Marx (b. 1970) [book by Jeff Whitty] - Avenue Q the Musical (2003)
"What Do You Do with a BA in English?” T2
*“I Wish I Could Go Back to College” T17

Robert Lopez, Trey Parker (b. 1969), and Matt Stone (b. 1971)- The Book of Mormon 2011 [Parker & Stone created
South Park]
“I Believe” https://www.youtube.com/watch?v=GVJgmp2Tc2s

Adam Guettel (b. 1965) Floyd Collins (1996); The Light in the Piazza (2005) (grandson of Richard Rodgers)
The Light in the Piazza
“The Light in the Piazza” T12
“Octet” T13

Lin-Manuel Miranda (b. 1980) In the Heights (2005), Hamilton (2015)

In the Heights (2005
“In the Heights” T1
“$96,000” T7
Hamilton
“Alexander Hamilton” https://www.youtube.com/watch?v=yIl1OIGzuDg

Duncan Sheik (b. 1969) and Steven Sater (b. in Evansville, IN) Spring Awakening (2006)

High School Musical (2006)

Brian Yorkey and Tom Kitt (b. 1974) Next to Normal (2008); In Your Eyes (2010); If/Then (2013) [featuring Idina
Menzel]
next to normal
*“Make Up Your Mind/Catch Me I’m Falling”
https://www.youtube.com/watch?v=9x9oSNMTjfc
“You Don’t Know” and “I am the One” – 2009 Tony Awards -
https://www.youtube.com/watch?v=j7jDBC8FUJ0

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Glee (2009)

Jeff Bowen and Hunter Bell The [title of show] Show (2010)
Bono (b. 1960) and The Edge [from U2] Spiderman: Turn Off the Dark (2010)

Glen Hansard and Markéta Irglová Once (2011)

Jeanine Tesori and Lisa Kron Fun Home (2013)

“Changing My Major” - https://www.youtube.com/watch?v=tZZcpWlqeZw

FINAL EXAM: Thursday, May 3rd from 12:30 p.m. to 2:30 p.m. [Includes Listening Quiz 6 over weeks 14-15]

Z373: Guidelines for Reviews of Musicals – Spring 2019 (60 points each)

There are many musicals being produced in Bloomington this semester so it should not be difficult to find one to attend.
If you wish to attend something outside of Bloomington, please clear it with me. Suggestions for local production places
include: Buskirk-Chumley, Union Board, Bloomington High School North, the Waldron Arts Center, the BPP (Hoosier
Musicals), etc. Some possibilities for reviews include: JSOM – West Side Story beginning 4/6 (free admission to
rehearsal on 4/3); IU Theatre – City of Angels, beginning 4/13 (free admission to rehearsal on 4/12); IU
Auditorium – Sound of Music – 1/31-2/1; Cinderella – 2/28-3/1; Cabaret – 3/20-3/21; Wizard of Oz – 4/17-4/18;
BPP –Spun: A Brother-Sister Rock Musical – begins 1/26; Bloomington High School North; Union Board and/or
other university and community groups TBA.

Check the Events schedule on-line, the IDS, or the Herald-Times for exact dates, times, places and cost.
[http://iuauditorium.com, http://www.indiana.edu/~thtr/] Ticket prices vary, but the local productions are the least
expensive [and sometimes the best]. Note: Your musical review for Z373 may not be submitted for credit in any
other class. In addition, attendance at a musical you choose may not be used for credit in any other class. Doing
so constitutes academic misconduct and will result in a zero, a possible “F” in the class and a report to the Office
of Student Conduct.

The musical review is due April 17th, but may be turned in earlier. If you wish to do an extra credit review (worth 20
points), it is due April 24th. Treat these reviews exactly like newspaper reviews, with specific limitations as to font,
margins, length, etc. Bring your program and ticket stub to class, but submit the actual review through the assignments
tab on Canvas. The review should be at least two pages (550-600 words) with one-inch margins all around (extra credit
review can be one page). It needs to be typed in Times New Roman, 12 pt. font, double-spaced and submitted through
Canvas. Bring the ticket to submit in class. No credit will be given for hand-written reviews. No extra spaces (between
your name, paragraphs, etc.) should be taken. Your name should go at the upper right-hand side, single-spaced with the
following information:
Jack/Jill Musical-lover

Rent Z373, January, 2019

No other title is necessary; just go straight into the text. As in any good essay, a brief introduction and conclusion
should begin and end the review. Use quotes, italics or underlining to set off the title of the show or individual songs.
When taking notes on a performance, be discreet (pencil-scratches can be very annoying to other theater-goers and to
performers!). Write about the songs between or after acts, rather than during, and write up the review soon after the
performance so that you don’t forget your impressions. REMINDER: The review that you write for this class cannot be
submitted to any other class. The university does not allow duplicates of assignment to be used in separate classes.
The review needs to include the following information:
>Your ticket or program
>A description of the show -- include the venue and date, name of the show, composer, and lyricist. In this
section, a very brief plot analysis should be included. Summarize slightly and do not give the story in detail.
Although not required, you may choose to add a small amount of background material about the plot, lyricist, composer,
other performances, etc. However, you must use your own words. A sentence written by someone else stands out like
a neon light, because the syntax, vocabulary and style are different from yours. If you include background
information, mention the source for the information -- within the text of the review (professional reviewers rarely

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use formal footnotes). For instance, “The program notes said that this show . . .”OR – Online (at www…) I found . . .”
Include the following:
>A description of the performers and roles: voice types, solos, ensembles, and choreography, as well as
something about the accompanying music (orchestra, band, tape, etc.). A good approach is to talk about the
characterization of the role, and how the music shows this (e.g. sweet lyrical songs for the heroine and dark, dramatic
minor keys for the villain). You may also want to mention costumes, sets, scenery, staging etc. Feel free to say whether
or not you felt these things helped further the characterization of roles and the plot.
>A description of specific songs or dances – talk about the plot context of some of the primary songs (or your
favorites), and what you liked or disliked about them musically. As you discuss individual songs, include some of the
following: musical style, mood evoked, and important musical themes. Point out highlights, such as special solos or
other moments. Also point out low points – times when the show just didn’t seem to gel, disasters on stage, etc. if that is
appropriate. Intersperse your summary with personal comments as to your reaction to the performance. Some aspects
will merit only a sentence, or will be subsumed within the general summary, while others may get a full paragraph –
depending on your interest.
>An evaluation of the success of the performance. Were the performers well-rehearsed? Did they know what
they were doing and did they relate well onstage? Were they able to communicate the theme of the show? What was
the overall quality/level of the performance? In general, do you think this is a good musical (aside from the
performance)? Will you tell others to attend this show? Word of mouth is always important to performers!

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