{"id":118,"date":"2017-04-24T15:18:29","date_gmt":"2017-04-24T19:18:29","guid":{"rendered":"https:\/\/sites.owu.edu\/blackbritlit\/?page_id=118"},"modified":"2017-05-04T16:17:56","modified_gmt":"2017-05-04T20:17:56","slug":"team-liverpool-texts","status":"publish","type":"page","link":"https:\/\/sites.owu.edu\/blackbritlit\/authors\/team-liverpool-texts\/","title":{"rendered":"Postcolonialism in Musicals"},"content":{"rendered":"

The Big Life<\/span><\/i><\/p>\n

Book and lyrics by Paul Sirett (British, also did work in America)<\/span><\/p>\n

Music by Paul Joseph (British)<\/span><\/p>\n

Directed by Clint Dyer (British, born in London)<\/span><\/p>\n

 <\/p>\n

The Big Life<\/span><\/i> is a musical comedy following immigrants on the Empire Windrush and their lives in England. \u00a0It mimics Shakespeare\u2019s <\/span>Love\u2019s Labour\u2019s Lost<\/span><\/i>, involving Cupid and love stories, portraying gender roles and stereotypes, and as a review in The Guardian mentioned, declares that \u201c<\/span>there’s no pleasure so sweet as a deferred pleasure.\u201d<\/span> (Logan). \u00a0The play follows four Caribbean immigrant men who vow to make their marks on England before paying any attention to women or relationships, and of course, are doomed to fail in this endeavor. \u00a0The work has a lighthearted and humorous take on race relations and social issues, giving it an environment that can be open with balanced (relaxed but not sugar-coated) means of communication (Ojumu). \u00a0For example, the work deals with racism, but in a way that is both educational and comedic–people of any race can learn and laugh at themselves because of the show\u2019s creative twists.<\/span><\/p>\n

The music in the show is described as ska style, a sort of predecessor to reggae in Jamaica in the 1960s. \u00a0These musical styles actually developed over time when people brought them over in Britain, jointly shifting and becoming something new as music grows and changes (Spencer). \u00a0The combination of these styles and their malleability over time are appropriately integrated into the work, giving a substantial historical and cultural background. \u00a0This meshes well with the characters and their lives and stories, but also tells another story of a group of people and reminds audiences of elements that tie human beings together. \u00a0The show\u2019s opening (video cited) shows the catchy and pleasing sounds of ska on stage, giving a distinct, bright introduction to the music and to the play itself (Evans). \u00a0Immediately, this opening gives the play cultural characteristics and background as to where the characters came from and what their lives are going to be like. \u00a0The scores in musicals tell as much a of story as the dialogue does, and for this work in particular, the style is crucial to understanding the piece. \u00a0The very first things to note come from this scene–excitement, eagerness, anticipation, devotion, and hope are all to be central to the story.<\/span><\/p>\n

The musical first debuted in Theatre Royal Stratford East (in London\u2019s East End), then went to West End in 2005, as West End\u2019s first ever Black British musical (Reynolds). <\/span><\/p>\n

Works Cited<\/span><\/p>\n

Evans, Victor Romero. \u201cVictor Romero Evans – ‘The Big Life’ (Musical Theatre).\u201d <\/span>YouTube<\/span><\/i>, 20 <\/span> Mar. 2009, www.youtube.com\/watch?v=YQKVUYvsZ8I. Accessed 8 Mar. 2017.<\/span><\/p>\n

Logan, Brian. \u201cThe Big Life, Apollo, London.\u201d <\/span>The Guardian<\/span><\/i>, Guardian News and Media <\/span> Limited, 25 May 2005, www.theguardian.com\/stage\/2005\/may\/25\/theatre2. Accessed 25\u00a0<\/span>Apr. 2017.<\/span><\/p>\n

Ojumu, Akin. \u201cReach for the ska.\u201d <\/span>The Guardian<\/span><\/i>, Guardian News and Media Limited, 17 Apr. <\/span> 2004, www.theguardian.com\/stage\/2004\/apr\/18\/theatre1. Accessed 8 Mar. 2017.<\/span><\/p>\n

Reynolds, Nigel. \u201cStage set for West End’s first black, British musical.\u201d <\/span>The Telegraph<\/span><\/i>, Telegraph <\/span> Media Group Limited, 4 May 2005,\u00a0<\/span>www.telegraph.co.uk\/news\/uknews\/1489256\/Stage-set-for-West-Ends-first-black-British-musical.htm<\/span><\/a>l. Accessed 8 Mar. 2017.<\/span><\/p>\n

Spencer, Neil. \u201cReggae: the sound that revolutionised Britain.\u201d <\/span>The Guardian<\/span><\/i>, Guardian News <\/span> and Media Limited, 29 Jan. 2011,\u00a0<\/span>www.theguardian.com\/music\/2011\/jan\/30\/reggae-revolutionary-bob-marley-britain. <\/span> Accessed 25 Apr. 2017.<\/span><\/p>\n

 <\/p>\n

Takeaway: Or the Devil in Tom Jones<\/span><\/i><\/p>\n

Written by Robert Lee (has lived in Britain and the US–Princeton University and NYU Tisch alumnus, now Associate Arts Professor at NYU Tisch)<\/span><\/p>\n

Composed by Leon Ko (has lived and worked in Britain, the US (NYU Tisch alumnus), and China)<\/span><\/p>\n

Directed by Kerry Michael (has done extensive theatre work in Britain)<\/span><\/p>\n

 <\/p>\n

Takeaway<\/span><\/i> is a musical comedy whose protagonist is Eddie Woo, a second-generation Chinese-British immigrant who works at his family\u2019s business, a Chinese takeaway restaurant. \u00a0Throughout the musical, Eddie struggles with dealing with the death of his mother, maintaining various romantic relationships (of varying seriousness) in addition to friendships, following his Welsh pop-star idol, \u201cLas Vegas legend,\u201d \u00a0Tom Jones, and finding his identity as a Chinese-British person (\u2018TAKEAWAY\u2019- a musical). \u00a0<\/span><\/p>\n

Though the writers (of the book, music, and lyrics), Ko and Lee, are both Asian-American, the play was first performed at Theatre Royal Stratford East in Stratford, England. \u00a0<\/span>Takeaway<\/span><\/i> also takes place in England, specifically in East London where the father\u2019s takeaway restaurant is.<\/span><\/p>\n

The musical deals largely ideas present in pop culture, reality vs. fantasy, family dynamics\/place in a family, place in society, dealing with the complexity of grief, friendships, relationships, sexualities, secrets, and dreams for the future. \u00a0An important piece of the musical is the focus on people of racial minorities finding their place in pop culture, a place that often doesn\u2019t represent them. \u00a0Eddie\u2019s idol is not of Chinese heritage, like he is. \u00a0Underrepresentation is a major modern problem in pop culture, such as in lacking characters of color portrayed in TV shows, movies, plays, even a significant difference in faces people see in the music industry, and this musical addresses that issue extensively. \u00a0<\/span><\/p>\n

Lee finds it important to label himself as Asian-American, and his play as East Asian-British. \u00a0He touches on issues such as the commonality of underrepresentation, saying, \u201c<\/span>If race truly wasn’t a major issue in the UK, I might have argued, then why were there no British east Asian pop stars or romantic film leads \u2013 or musical theatre stars?\u201d (Lee). \u00a0This is also why, he argues, that<\/span> Takeaway<\/span><\/i> is an important piece for a modern British audience–no matter what their race. \u00a0Non-Chinese-British audience members can learn from it; Chinese-British audiences can benefit from seeing parts of themselves represented.<\/span><\/p>\n

The musical claims to be the first East Asian-British one in existence (<\/span>\u201cTheatre Royal Stratford East presents ‘Takeaway’- the first British Chinese musical.\u201d). \u00a0<\/span>It opened on Friday, June 10, 2011. \u00a0Theatre Royal Stratford East encourages boundary-breaking productions such as this that change the industry and reshape the views of everyone involved.<\/span><\/p>\n

 <\/p>\n

Works Cited<\/span><\/p>\n

Lee, Robert. \u201cWhy I stand by my east Asian British musical.\u201d <\/span>The Guardian<\/span><\/i>, Guardian News and <\/span> Media Limited, 30 June 2011,\u00a0<\/span>www.theguardian.com\/stage\/theatreblog\/2011\/jun\/30\/east-asian-british-musical-takeaway<\/span><\/a>. Accessed 8 Mar. 2017.<\/span><\/p>\n

\u201cRobert Lee.\u201d <\/span>NYU: Tisch<\/span><\/i>, New York University, <\/span>tisch.nyu.edu\/grad-musical-theatre-writing\/faculty\/robert-lee. Accessed 8 Mar. 2017.<\/span><\/p>\n

\u201cTAKEAWAY – a musical.\u201d <\/span>The musicals of Ko & Lee<\/span><\/i>, Chinese Hell,\u00a0<\/span>www.chinesehell.com\/musicals\/takeaway\/index.html. Accessed 8 Mar. 2017.<\/span><\/p>\n

\u201cTheatre Royal Stratford East presents ‘Takeaway’- the first British Chinese musical.\u201d <\/span>Nee Hao <\/span><\/i> Magazine<\/span><\/i>, VIP, 13 June 2011, <\/span>www.neehao.co.uk\/2011\/06\/theatre-royal-stratford-east-presents-takeaway-the-first-british-chinese-musical\/. Accessed 8 Mar. 2017.<\/span><\/p>\n

 <\/p>\n

A Dream Across the Ocean<\/span><\/i><\/p>\n

Written by Martha Samuels<\/span><\/p>\n

Produced by Churchboyz! Gospel group (from Britain, music style is rooted in the Caribbean)<\/span><\/p>\n

Directed by Ray Shell (from North Carolina)<\/span><\/p>\n

 <\/p>\n

A Dream Across the Ocean<\/span><\/i> follows the journey of Winston Morgan, a Caribbean man immigrating to London by way of the Empire Windrush in the 1960s. \u00a0Morgan embarks on this journey and life-change in order to improve the lives of himself and his family. \u00a0He struggles with leaving his love, Annie, behind, and to adjust to such a new place, though he does eventually find some stability in a friendship while overseas with Patrick, an Irishman.<\/span><\/p>\n

The musical first debuted at the Ashcroft Theatre in Croydon, South London, in August 2012, and has also played at the Hackney Empire in London in July 2013. \u00a0<\/span><\/p>\n

This work focuses heavily on themes of family, love, relationships (romantic and otherwise), friendships, home, heart, and faith.<\/span><\/p>\n

The musical style varies between gospel and ska, experimenting with different genres just as people\u2019s stories and experiences are different. \u00a0These two genres are particularly important because of the Black British and Caribbean history that which they indicate. \u00a0Ska has cultural ties to reggae, as a form of music that followed it–meaning what is found in Britain and in the UK, as well as that found in the Caribbean. \u00a0The gospel music also has significant ties to Black culture, which very obviously helps characterize the groups of people portrayed in the play. \u00a0In addition, gospel music helps the faith aspect of the work to be highlighted in a unique way, allowing the score to guide the messages of the piece. \u00a0The ska and gospel style music also help to bring out the importance of journey, hope, and changes in this musical.<\/span><\/p>\n

To hear the music and the ideas it helps convey is important to learning about a new musical (ACTSemail). \u00a0The video cited provides insight into this idea, as well as a taste for the work overall.<\/span><\/p>\n

Another beneficial part of learning about a play is seeing designs for it (Fisher). \u00a0Set designer Elly Wdowski has set renderings\/thumbnail sketched released that provide vibrant imagery of the show\u2019s concept.<\/span><\/p>\n

 <\/p>\n

Works Cited<\/span><\/p>\n

ACTSemail. \u201cA DREAM ACROSS THE OCEAN.\u201d <\/span>YouTube<\/span><\/i>, 19 July 2012, <\/span> www.youtube.com\/watch?v=ZzTN92OudoA. Accessed 30 Mar. 2017.<\/span><\/p>\n

\u201cA DREAM ACROSS THE OCEAN, A New British Musical to Make Premiere at Ashcroft <\/span>Theatre, 8\/11 -8\/12.\u201d <\/span>Broadway World: UK Regional<\/span><\/i>, Broadway World, 11 May 2012, <\/span>www.broadwayworld.com\/uk-regional\/article\/A-DREAM-ACROSS-THE-OCEAN-A-N<\/span><\/a>ew-British-Musical-to-Make-Premiere-at-Ashcroft-Theatre-811–812-20120511. <\/span>Accessed 30 Mar. 2017.<\/span><\/p>\n

Dixon, Marcia. \u201cThe Windrush Generation Set To Take Centre Stage.\u201d <\/span>The Voice<\/span><\/i>, GV Media <\/span>Group Ltd., 8 Dec. 2012, <\/span>www.voice-online.co.uk\/article\/windrush-generation-set-take-centre-stage. Accessed 30 <\/span>Mar. 2017.<\/span><\/p>\n

Fisher, Gillian. \u201cBehind the scenes with Ray Shell and his latest show, Dream Across the Ocean.\u201d <\/span>Afridiziak Theatre News<\/span><\/i>, Afridiziak, 23 July 2012,\u00a0<\/span>www.afridiziak.com\/theatrenews\/interviews\/july2012\/ray-shell.html. Accessed 30 Mar. <\/span>2017.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

The Big Life Book and lyrics by Paul Sirett (British, also did work in America) Music by Paul Joseph (British) Directed by Clint Dyer (British, born in London)   The Big Life is a musical[…]<\/p>\n","protected":false},"author":90,"featured_media":0,"parent":31,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-118","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.owu.edu\/blackbritlit\/wp-json\/wp\/v2\/pages\/118","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.owu.edu\/blackbritlit\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.owu.edu\/blackbritlit\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.owu.edu\/blackbritlit\/wp-json\/wp\/v2\/users\/90"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.owu.edu\/blackbritlit\/wp-json\/wp\/v2\/comments?post=118"}],"version-history":[{"count":5,"href":"https:\/\/sites.owu.edu\/blackbritlit\/wp-json\/wp\/v2\/pages\/118\/revisions"}],"predecessor-version":[{"id":300,"href":"https:\/\/sites.owu.edu\/blackbritlit\/wp-json\/wp\/v2\/pages\/118\/revisions\/300"}],"up":[{"embeddable":true,"href":"https:\/\/sites.owu.edu\/blackbritlit\/wp-json\/wp\/v2\/pages\/31"}],"wp:attachment":[{"href":"https:\/\/sites.owu.edu\/blackbritlit\/wp-json\/wp\/v2\/media?parent=118"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}