The Conventions of Musical Theatre

 Me? I'm just tired (tired, tired, tired)

 Before you get too worried about me dear reader, please know that this line is not a desperate call for help, rather it's a line from Next to Normal, a musical that has fully captured my life and soul. Don't worry, I won't make you sit through another article about it, but in light of my exhaustion from other aspects of life, my complete fixation on a non-musical thing that has been taking over my life, and my inability to juggle multiple tasks, I've decided that the only way to get back to writing is to write. Unfortunately, as mentioned before, I'm very very tired, which is why we'll have to keep this article light. Let's talk about the conventions of musical theatre. 

Music

Songs and dances provide characters with a medium to express their feelings in a more profound and emotive way than traditional dialogue. The use of music and movement allows performers to convey a wide range of emotions, from joy and love to sadness and anger. Musical numbers often serve as a window into a character's inner thoughts, desires, and conflicts. Through songs and dances, the audience gains insight into a character's motivations and personality, contributing to their overall development within the story. Musical numbers are strategically placed within the storyline to advance the plot. They can introduce key information, provide background, or highlight significant events, moving the narrative forward in a dynamic and engaging manner. Songs may serve as a tool for foreshadowing events or developments in the plot. Lyrics and musical motifs can subtly hint at future conflicts or resolutions, adding layers of complexity to the storytelling. Music and dance are powerful tools for setting the mood and tone of a scene. Whether it's an upbeat, lively number or a slow, melancholic ballad, the musical elements contribute to the overall atmosphere of the production. Musicals often feature songs that provide resolution to conflicts within the story. These moments can be cathartic for both the characters and the audience, offering closure and a sense of resolution. Ensemble numbers showcase the collective energy and harmony of a cast. They can emphasise community, solidarity, or discord among characters, depending on the context, contributing to the overall dynamics of the story. Songs and dances can be used metaphorically to represent abstract concepts or symbolise deeper meanings. Choreography and musical elements may convey themes, relationships, or conflicts in a symbolic manner. Well-crafted musical numbers are memorable, and their tunes often become associated with specific moments or characters in the audience's minds. This memorability adds to the overall impact and longevity of the production.

Type of songs 

1. ‘I want’ songs- These songs just talk about what a character desires or needs. This is usually the song sung by a hero, though exceptions can be made. Think of ‘Populism yeah yeah’ from bloody bloody Andrew Jackson or ‘Memory’ from cats. 

2. ‘I am’ songs- These songs are very surface level, and usually sung by villains. These songs may mention the desires of the character, but do not go into why the character wants this. Examples include ‘Gaston’ from beauty and the beast, ‘The Bottom Line’ from Newsies and every song except memory from cats. 

3. Ensemble numbers- The first two types are used to advance character, but these are used to advance plots. Some famous ensemble numbers include ‘God I hope I get it’ from A Chorus Line, ‘A Musical’ from Something Rotten!

4. 11 o’clock numbers- This is a big show stopping number that happens towards the end of the second act of a two-act play. These are usually the penultimate song in the piece. The most famous examples of 11 o’clock numbers are ‘She used to be mine’ from Waitress, ‘No good deed’ from wicked, and ‘I’m here’ from the colour purple. 

5. Act 1 closers- Despite not really being a category in itself, so many of the most iconic songs are the act 1 closers.

Dance

Dance plays a pivotal role in the realm of musical theatre, serving as a dynamic and expressive element that transcends mere physical movement. It is an art form that amplifies the emotional depth of a storyline, adding layers of meaning and intensity to the narrative. In musical theatre, dance serves as a powerful tool for character development, offering performers a unique language to convey emotions, relationships, and conflicts that words alone may struggle to articulate. Beyond its narrative function, dance contributes significantly to the overall spectacle and entertainment value of a production, captivating audiences with its visually stunning choreography and enhancing the auditory experience of the musical score. Whether it's a high-energy tap routine, a graceful ballet sequence, or a lively ensemble number, dance infuses musical theatre with a sense of vitality, rhythm, and theatrical magic, creating an immersive and unforgettable experience for both performers and spectators alike.

Acting

Acting stands as the heartbeat of musical theatre, providing the essential pulse that breathes life into characters and narratives. In this art form, actors not only sing and dance but also embody the emotional core of the story, infusing it with authenticity and relatability. Through nuanced expressions, gestures, and vocal nuances, performers can tell a story that goes deeper than songs and lyrics. The art of acting in musical theatre is characterized by its ability to convey complex emotions, navigate intricate relationships, and deliver compelling storytelling. This allows the audience the chance to empathize, celebrate, and mourn alongside the protagonists. In essence, acting forms the backbone of a successful musical production, shaping the immersive experience that resonates with the audience even after the actors take their final bow and the curtains fall. 

Design

Set and prop designs can vary from excessive to simple as can be. The design of a show can extend off the stage into the theatre, as in the building. Every theatre is built differently, and set designs tend to reflect that. Shows like ‘Fun Home’ require small intimate theatres, like the circle and the square that can draw in an audience and make them feel tighter knit. Meanwhile large scale productions that are all about wowing the audience, like ‘Spiderman: Turn off the dark’ require larger buildings like the Foxwood theatre.