Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904
Identifieur interne : 000950 ( Istex/Curation ); précédent : 000949; suivant : 000951Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904
Auteurs : Michael NewburySource :
- The Journal of the Gilded Age and Progressive Era [ 1537-7814 ] ; 2005-10.
Abstract
In 1903, Alan Dale, the theater critic for the New York American and Journal, when contemplating the state of the American stage, came to the conclusion that “the only national theatre I can find, after severe cogitation, is that beautiful, flip, and classic commodity known as musical comedy.” Dale pointed out that musical comedy's exorbitant popularity was a recent development, emerging only in the previous five or ten years, and that his anointing of the form as the national theater would not sit well with more serious-minded devotees of drama. “Well read gentlemen with heavy minds,” wrote Dale, would prefer different sorts of productions, plays that “mere commercial managers don't want to stage and mere amusement seekers don't want to see.” Seeking an improbable bridge over this cultural divide, Dale suggested that “[Henrik] Ibsen might air his neat little views on heredity in happy verse set to music…[His] favorite subject of maggots on the brain” could feature a “chorus of pretty girls disguised as maggots.”
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DOI: 10.1017/S1537781400002760
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