Stage1960s Part III - "The Age of Aquarius"

History of The Musical Stage
1960s: III
by John Kenrick
(Copyright 1996-2003)

The World Turned Upside Down

Masters Falter

Rock: The Age of Aquarius

Less Rocky Options

(The images below are thumbnails – click on them to see larger versions.)

The World Turned Upside Down
Katharine Hepburn starred in Coco (1969), and Alan Jay Lerner provided the witty lyrics – but America was paying less attention to Broadway musicals in the late 1960s.

Since the 1920s, Broadway actors, stage hands and production staffers could count on annual employment. All one needed was good health, a dependable professional reputation and enough stamina to dazzle through eight performances a week. But in the mid-1960s the number of new musicals dwindled, and actors who occasionally worked as waiters gradually turned into waiters who occasionally took time off from their restaurant jobs to act. As Jack Poggi noted in Theater in America (Cornell University Press, 1968, p. 277-278), "Broadway can no more provide a steady income to most professional actors than it can to most professional playwrights." Only 3% of New York's professional actors were earning more than $2,500 a year from stage acting.

What had happened? Simple: the world of popular culture had turned upside down. Beginning in the early 1960s, a chasm opened between the rock/youth culture (of "drugs, sex and rock and roll") and the once dominant "establishment" culture that had long included Broadway. Producer Hal Prince has explained it this way –

In 1954, when we produced The Pajama Game, the week we opened we had a hit song on the radio, Rosemary Clooney's version of "Hey There." Of course that meant a lot to us at the box office. By the early sixties, that kind of cross-over was no longer a realistic possibility.
- Harold Prince and The American Musical Theater (New York: Cambridge Univ. Press, 1989)

Showtunes were no longer found on rock-dominated air waves and pop charts. With almost no income from record and sheet music sales, composers and lyricists had to settle for the two percent of a musical's gross allotted to them in a standard contract. New talent went into the more profitable fields of pop music, television and film. Several veterans like Irving Berlin retired in disgust, and those who labored on found that styles and formulas that had worked for decades were suddenly unacceptable.

Masters Falter
Jerry Herman re-teamed with Mame's writers and star for an adaptation of Giradoux's comedy The Madwoman of Chaillot. Despite a gorgeous score and a Tony-winning performance by Angela Lansbury, Dear World (1969 - 132) never jelled. The whimsical story of a nutty old lady thwarting corporate plans to turn Paris into an oil field did not cry out for song and dance. The real tragedy was that the show came and went with few people caring. A decade earlier, such a stellar failure would have gotten international press attention. By 1969, Broadway news didn't matter much outside of New York City.

No one among Broadway's old guard seemed to know what to do. Jule Styne (composer of Gypsy) and E.Y. " Yip" Harburg (lyricist for Wizard of Oz and Finian's Rainbow) turned out Darling of the Day (1968 - 31), a musical about an artist who switches identities with his dead butler to escape publicity. A strong score, witty script and good reviews did it no favors – the public didn't seem to give a damn.

That same season, John Kander and Fred Ebb's The Happy Time (1968 - 286) closed in a matter of months and lost much of its investment. A charming score, acclaimed performances by Robert Goulet and David Wayne, and several Tonys were not enough to keep ticket sales going for more than nine months. Director Gower Champion relied on a stylish physical production, not realizing how dull the libretto was. Happy Time's cast album advertisement (at left) was seen only in Playbill, not national magazines. It no longer made sense to spend money pushing Broadway musicals to the general public.

The lavish Andre Previn-Alan Jay Lerner musical Coco (1969 - 332) was inspired by Parisian fashion designer Coco Chanel's comeback career. It ran almost a year, but was coolly received. The score was polished but unexciting, and a garish physical production did not distract audiences from the weak story line. Coco survived because of the appeal of star Katharine Hepburn, and had to close soon after she left the cast.

Rock: "The Age of Aquarius"
The old Broadway guard still had its moments. When confronted by a hippie protestor on a college campus, onetime lyricist-librettist P.G. Wodehouse quipped, "Why don't you get a haircut; you look like a chrysanthemum." But by the late 1960s, with established directors and writers uncertain about the future of the musical, the way was open for something different. The same hard rock sound that had conquered the world of popular music made its way to the musical stage with two simultaneous hits –

– Your Own Thing (1968 - 933) took the gender-switching plot of Shakespeare's Twelfth Night and reworked it around the management of a rock band called "The Apocalypse." Your Own Thing ran for three years, then toured. Almost forgotten now, this off-Broadway favorite rates as New York's first rock musical hit.

–Hair (1968 - 1,742) had only a shadow of a plot, involving a young rock man who revels in rock and rebellion until he is drafted into the army. He falls in with a tribe-like group of hippies who sing about such pointed social issues as poverty, race relations, the Vietnam war and more. This explosion of revolutionary proclamations, profanity and hard rock shook the musical theatre to its roots. After brief runs off-Broadway (first at Joseph Papp's Public Theatre and then a dance club) composer Galt MacDermot and librettists Gerome Ragni and James Rado revised their "happening" before moving to Broadway. "Aquarius" and "Let the Sunshine In" became chart-topping hits, and Hair's counter culture sensibility (including a draft card burning, simulated sex, and a brief ensemble nude scene) packed the Biltmore Theatre for almost five years.

Most people in the theatre business were unwilling to look on Hair as anything more than a noisy accident. Tony voters tried to ignore Hair's importance, shutting it out from any honors. However, some now insisted it was time for a change. New York Times critic Clive Barnes gushed that Hair was "the first Broadway musical in some time to have the authentic voice of today rather than the day before yesterday." Over the next few seasons, Barnes used his powerful pen to attack musicals that did not fit his new criteria. But Hair defied imitation, and similar projects with "mod" titles like Celebration (1969), Salvation (1969) and Joy (1970) soon disappeared. Audiences had little patience for bad theatre, even under the cover of rock.

Less Rocky Options
Two shows with non-rock scores found tremendous success at the end of the decade –

–Promises, Promises (1968 - 1,281) teamed Hollywood composer Burt Bacharach and lyricist Hal David with playwright Neil Simon. Based on the film The Apartment, its pop-style score had a major hit in "I'll Never Fall In Love Again." Broadway favorite Jerry Orbach headed the cast.

–1776 (1969 - 1,217) was based on the drama surrounding the drafting of the Declaration of Independence. The unlikely subject matter worked well, turning a mummified historical event into an exciting battle between believable human beings. The score by onetime schoolteacher Sherman Edwards had no hit songs, but it was flawlessly woven into Peter Stone's powerful book. There were liberties taken with historic fact, but few dramas have ever brought the past to life with such panache. Broadway cheered, and 1776 became a Tony and Pulitzer Prize winner. (A London production closed in weeks – surprise, surprise.)

As a popular folk song of the era put it, the times they were a-changin'. Neither Promises nor 1776 ran as long as Oh, Calcutta! (1969 - 1,922), a small off-Broadway revue that enticed audiences with little substance but lots of nudity. The skits were written by an all-star line up that included John Lennon and Sam Shepard, with forgettable rock songs provided by a group called "The Open Window." It was hard to believe that this sophomoric silliness was devised by the respected British theatre critic Kenneth Tynan. At one point, one bare cast member announced, "Gee, this makes Hair look like The Sound of Music." (As if to prove the profitability of bad taste, a 1976 Broadway revival of Oh, Calcutta! ran for an amazing 5,959 performances.)

There were several contradictory trends in musical theatre as the 1960s ended. Hello Dolly and Fiddler on the Roof were still running, but they were already relics of another era. At the same time, the composers responsible for Your Own Thing, Promises, 1776 and Oh, Calcutta! would never write another Broadway hit. Old or new, most stage composers had no idea what to try next. The inevitable crop of doom merchants insisted that the musical was dead. Luckily, the 1970s would bring more than a few "Little Things" that would prove to be "Singular Sensations." (If each of these allusions makes you say "God, I hope I get it!" – read on.) The Broadway musical wasn't dead – it was just preparing to morph.

Next: Stage 1970s