Gershwin, Cole Porter and Irving Berlin certainly knew how to write tunes. But as Jonathan Webster discovers in the second part of his survey of the century’s greatest musicals, these popular composers are at last gaining respect as writers of ‘serious’ music.
Gershwin, Porter and Berlin are excellent songwriters. But think – where did you first hear their songs? Chances are it was in the jazz club arena rather than in the Broadway theatre or Hollywood cinema. Many of the greatest showstoppers have been taken up by pop and jazz singers and arguably have received their greatest interpretations from a Fitzgerald, Holiday or Sinatra. But what has happened to the shows they were designed for? Here we look at these great songs in the original context of their largely forgotten shows.
The word musical is an all-embracing term which has come to mean many things to different music-lovers. For some it’s a frothy operetta-style entertainment, as epitomised by the works of composers such as Franz Lehár and Sigmund Romberg; for others it signifies the era of the film musical – a form which dawned in spectacular fashion with the 1930’s celluloid showcases for Fred Astaire and Ginger Rogers. In our last issue we covered the post-war Broadway musical; now we wind back the clock to the musical comedy between 1900 and 1950.