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The Drowsy Chaperone Study Guide - Theatre Under The Stars

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“Imagine, if you will, it’s November, 1928.<br />

You’ve just arrived at the doors of the<br />

Morosco <strong>The</strong>atre in New York. It doesn’t<br />

exist anymore, it was torn down in 1982,<br />

and replaced with an enormous hotel. It’s<br />

awful. Unforgivable. Anyway, it’s very cold<br />

and a heavy grey sleet is falling from the<br />

sky but you don’t care because you’re going<br />

to see a Broadway show! Listen!”<br />

12<br />

Man in Chair, from <strong>The</strong> <strong>Drowsy</strong> <strong>Chaperone</strong><br />

Sometimes after a great shock or sorrow,<br />

you just want to have a party. That’s what<br />

the 1920s were: one long, fabulous, roaring<br />

party of a decade after years of horror<br />

and war. World War I had brought the<br />

world so much death; tens of thousands of young men had been<br />

lost. <strong>The</strong> old ways of behaving, the old moralities, seemed oldfashioned.<br />

People had had enough of reality – they wanted<br />

spectacle and romance, fun and frivolity. Solemnity and seriousness<br />

were out – fun and spectacle were in. <strong>The</strong> American people<br />

wanted a new way of looking at the world, a new perspective.<br />

And they got it, in their music, their clothes, their architecture, and<br />

especially in their theatre.<br />

Jazz was the soundtrack of this wild new era, and musical theatre<br />

artists did not hesitate to use this uniquely American sound in their<br />

shows. If America broke its political ties with Europe in 1776, it finally<br />

broke away theatrically during the 20s. During the 19th century,<br />

the European operetta had been the model for American theatre,<br />

but, like all of American culture, something new was needed. As<br />

Prince Dorough says in Popular-Music Culture in America, “<strong>The</strong><br />

1920s musicals ...avoided the sentimentality and slightly aristocratic<br />

tone that came from Viennese operetta. American musical<br />

comedies were brassy and brash, lively and spicy, colloquial and<br />

earthy. <strong>The</strong>y employed more of the elements of dance and music<br />

that were identifiably American, and they accurately reflected<br />

the optimism and hedonism, the frenetic energy, and the<br />

abandoned, carefree attitudes of the postwar-boom era.” This is<br />

the joyous passion that <strong>The</strong> <strong>Drowsy</strong> <strong>Chaperone</strong> celebrates.

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