PARADE Diverges
Exploring the Routes Taken by the Broadway and London Premieres and Why Only Some Critics Went Along for the Ride
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In the 1990s, a sudden outpouring of new musicaltalent flooded New York. Dubbed at the time ascreating New Theater Music, these challengingcomposers were drawn to provocative and lessoutwardly joyful material and possessed affinitiesfor atonal chords and complex harmonies, placing themmore in the company of Sondheim than of Schwartz.When PARADE premiered on Broadway in 1998, itscomposer-lyricist, Jason Robert Brown, was listedamong this group of impressive up-and-comers.PARADE, a musicalization of the notorious caseof Leo Frank, a Jew tragically accused of themurder of a young girl in the turn...
In the 1990s, a sudden outpouring of new musical
talent flooded New York. Dubbed at the time as
creating New Theater Music, these challenging
composers were drawn to provocative and less
outwardly joyful material and possessed affinities
for atonal chords and complex harmonies, placing them
more in the company of Sondheim than of Schwartz.
When PARADE premiered on Broadway in 1998, its
composer-lyricist, Jason Robert Brown, was listed
among this group of impressive up-and-comers.
PARADE, a musicalization of the notorious case
of Leo Frank, a Jew tragically accused of the
murder of a young girl in the turn-of-the
twentieth-century American South, is an amalgamation
of traditional and newer techniques and topics ripe
for historical and artistic analysis. Closely
examining the strikingly different Broadway and
London premieres, this book demonstrates how the
fascinatingly complex musical engages and distances
audiences, how critical receptions alter over years
and miles, and how directorial vision and critical
reviews affect the continuing trajectory of the
American musical.
talent flooded New York. Dubbed at the time as
creating New Theater Music, these challenging
composers were drawn to provocative and less
outwardly joyful material and possessed affinities
for atonal chords and complex harmonies, placing them
more in the company of Sondheim than of Schwartz.
When PARADE premiered on Broadway in 1998, its
composer-lyricist, Jason Robert Brown, was listed
among this group of impressive up-and-comers.
PARADE, a musicalization of the notorious case
of Leo Frank, a Jew tragically accused of the
murder of a young girl in the turn-of-the
twentieth-century American South, is an amalgamation
of traditional and newer techniques and topics ripe
for historical and artistic analysis. Closely
examining the strikingly different Broadway and
London premieres, this book demonstrates how the
fascinatingly complex musical engages and distances
audiences, how critical receptions alter over years
and miles, and how directorial vision and critical
reviews affect the continuing trajectory of the
American musical.
