By David Payne-Carter
Gower Champion's occupation spanned the years in which American musical theatre used to be remodeled from a crude renowned leisure right into a subtle artwork shape. because the director and choreographer of hi, Dolly!, forty second road, and different Broadway musicals, he was once significant to that transformation. He got here of age through the zenith of yankee musical theatre construction and made his mark on each side of the curtain. As a dancer, he received notoriety via his paintings with Jeanne Tyler and Marjorie Belcher, and his adventure as a performer gave him an effective origin for his later luck as an organizer of memorable productions. As a choreographer and director, he grew to become identified for surprising numbers that combined dance, staging, and complicated scenography. greater than a person else, he looked as if it would detect that the success of a musical trusted these spots the place track, dance, lighting fixtures, costumes, and staging created a sustained narrative and emotional movement via sound and movement instead of phrases. This publication offers the 1st vast therapy of Champion's lifestyles and mythical occupation. The booklet falls smartly into major sections. the 1st discusses Champion's profession as a performer, with chapters on his early Broadway appearances and his paintings for MGM targeted cognizance is given to how his reviews as a dancer ready him for the later half his occupation. the second one examines his paintings as a choreographer and director and is equipped round the musicals with which he was once concerned. each one bankruptcy contains a background of 1 or extra of these productions, from unique inspiration to commencing evening and infrequently past, as Champion, ever the perfectionist, sought to enhance on what every person else inspiration used to be already ideal. the amount is totally documented, with uncomplicated historic learn performed at a number of detailed collections. furthermore, the publication relies on a cautious research of Champion's scripts, which come with quite a few revisions and therefore remove darkness from how he crafted his productions. ultimately, the examine will depend on interviews carried out with a number of people who knew and labored with Champion all through his extraordinary profession.
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Extra resources for Gower Champion: Dance and American Musical Theatre (Contributions in Drama and Theatre Studies)
Sample text
Estridge, Interview. 9. Estridge, Interview. 10. ‘‘Gower Champion,’’ Dance Magazine, March 1964, pp. 33, 82. 11. Elisa Ryan, Program for a recital, Elisa Ryan Studio of Dance, May 29, 1933. 12. Sagal, Interviews. 13. Interview with Tracy Torrey, Washington, DC, May 6, 1985. 14. Gregg, Interview. 15. Sagal, Interviews. 16. Ruth Eleanor Howard, ‘‘An Interview with ‘The Ballet Master to Movieland,’ ’’ The American Dancer [Dance Magazine], June 1927, pp. 10–11. 17. Ibid. 18. Ibid. 19. D. dissertation, University of California at Los Angeles, 1971), p.
The subjects have been chosen not simply for their individual importance, but because their lives in the theatre can well serve to provide a major perspective on the theatrical trends of their eras. They are therefore either representative of their time, figures whom their contemporaries recognised as vital presences in the theatre, or they are people whose work was to have a fundamental influence on the development of theatre, not only in their lifetimes but after their deaths as well. While the discussion of verbal and written scripts will inevitably be a central concern in any volume that is about an artist who wrote for the theatre, these scripts will always be considered in their function as a basis for performance.
56. 2. Frank Rich, ‘‘Gower Champion Was a True Broadway Believer,’’ New York Times, August 31, 1980, sec. D, p. 1. 3. Denny Martin Flinn, Musical! A Grand Tour (New York: Schirmer Books, 1997), p. 299. 4. Abe Laufe quoted in Leiter, The Great Stage Directors, p. 57. 5. Leiter, The Great Stage Directors, p. 59. 6. ‘‘Gower Champion Returns to Broadway,’’ New York Times, May 30, 1980, sec. C, p. 2. 7. Neil Simon quoted in David Merrick: The Abominable Showman by Howard Kissel (New York: Applause Books, 1993), p.