Here is the synopsis of our sample research paper on The Responsibilities of a Theatrical Producer. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
A 13 page paper which examines what being a theatrical producer entails by providing an overview, comparison and contrast between producers past and present, factors such as costs and ticket prices, and with emphasis on the production of Broadway musicals. Bibliography lists 6 sources.
Page Count:
13 pages (~225 words per page)
File: TG15_TGproducer.rtf
Buy This Term Paper »
Unformatted sample text from the term paper:
other. A theatrical musical is one of the most difficult business ventures in which to succeed. This success, of course, is measured in how much money it makes
at the box office. A musical naturally begins with music and lyrics, and once upon a time the business of staging them centered on the songs themselves, which were
the focal point of the audience and the primary sources of material for all of the performers (Maslon). But by the 1930s, the American musical changed considerably with books
and librettos rather than songs achieving priority status (Maslon). Now, it was the story or that fueled the musical, thanks to collaborations like those of Richard Rodgers and Oscar
Hammerstein II, and the songs supplemented the plot instead of providing it themselves (Maslon). This enabled the Broadway musical to take on a greater importance as they began to
represent the times in which they were staged. This is evident in the views of race presented in 1927s Show Boat as opposed to West Side Story that emerged
30 years later (Maslon). Suddenly, a musical was not merely an assemblage of songs; it was a tightly woven mix of topical dialogue and music with a message.
With every change the theatrical musical underwent, there was needed some structural renovation to reflect its evolution. A director was always at the helm, doing as the title
implies, directing every aspect of the production from its concept to its design to the performances (Maslon). When the songs occupied center stage, directors typically had a strong musical
background, such as George S. Kaufman and George Abbott (Maslon). But when more intricate dance sequences began being introduced, choreographers like George Balanchine, Gower Champion, Jerome Robbins, Bob Fosse,
...