Spectacle of Musical Theatre

Technology in Musicals

Musical theatre has existed in some form for centuries. Theatre is an art form that allows many emotions to be expressed through acting and music. While talented performers are most responsible for being characters to life and performing the music contained in the production, musical theatre also relies on other factors to guarantee the success of a musical. These factors are inclusive of ambience (i.e. The way that theatre is designed), production quality and technology. The latter of these factors has become increasingly vital to theatre production since the opening of The Savoy theatre in 1881. Indeed, technology has forever changed every facet of life. Whilst, musical theatre productions are still steeped in many types of traditions, there are many changes that have occurred in theatre productions as a result of technology. The purpose of this discussion is to examine the historic use of technology in theatres and the modern uses of technology in theatre. The research will focus on several facets of technology in musical theatre production beginning with Richard D'Oyly Carte's use of electricity to power the Savoy and the impact of radio and television on Carte's. The research will also examine the utilization of theatre spectacle and how it influenced the use of technology in musical theatre. The investigation will also examine Florenz Ziegfeld's production of Show Boat and why this particular musical was so groundbreaking. The research will also seek to expose the manner in which advertisement and the sale of tickets is influenced by technology. The discussion will also focus on the use of technology in more recent productions and how these uses have evolved over time. The final aspect of the discussion will focus on the manner in which technology has influenced the overall success of musical theatre.

Chapter I Historical Context

For the purposes of this discussion it is important to explore the historical context of the use of technology in musical theatre. It is important to note that musical theatre has existed in some form for ages all over the world and it has evolved into the musical theatre that we have come accustomed to today. Although there are some differences in the manner in which musical theatre is produced and the themes that are presented depending on the region of the world, there are some aspects of musical theatre that are the same regardless of the part of the world the production is taking place.

As it pertains to the historic use of technology in the realm of theatre Richard D'Oyly Carte (1844-1901) is a prime example of an individual who defied convention to develop a theatre with the available technologies of the time. Carte is responsible for building the Savoy theatre which opened in October of 1881. The theatre was actually built in London on the site of the old Savoy Palace. The Savoy theatre was an important creation because it provided a platform for the works of WS Gilbert and Arthur Sullivan. Eventually the theatre was known as the Savoy operas.

The building of The Savoy was important to the history of technology in theatre because it was the first theatre that was run completely on electricity. On the eve of the opening of the Savoy an announcement for the theatre's opening appeared in The New York Times. The paper describes the theatre as "large and commodious" with seating for 1,292 patrons. As it pertains to the technology The Times also explains that

"It is worthy of notice that an attempt will be made here for the first time in London to light a theatre entirely by electricity. The system used is that of the "incandescent lamp," invented by Mr. J.W. Swan, and worked by an engine of Messrs. Siemens, Brothers, and Co. About 1,200 lights are used, and the power to generate a sufficient current for these is obtained from large steam-engines, giving about 120-horse power, placed on some open land near the theatre. The new light is not only used in the audience part of the theatre, but on the stage for foot-lights, side and top-lights, & c., and (not of the least importance for the comfort of the performers) in the dressing rooms -- in fact, in every part of the house. This is the first time that it has been attempted to light any public building entirely by electricity ("The Savoy theatre")."

The Times goes on to explains that the use of electricity in the theatre was an experiment that may have ended in failure or success. The article also explained that "It is not possible, until the application of the accumulator or secondary battery -- the reserve store of electric power -- becomes practicable, to guarantee absolutely against any breakdown of the electric light. To provide against such a contingency gas is laid on throughout the building, and the "pilot" light of the central sunburner will be always kept alight, so that in case of accident the theatre can be flooded with gaslight in a few seconds ("The Savoy theatre")."

Carte's experiment at The Savoy had a lasting impact on the manner in which modern theatre functions. Carte forever transformed what theatre goers see, feel and experience during various types of productions. Carte was able to utilize electricity in a manner that has changed the theatre experience forever.

During Carte's lifetime both the radio and eventually television were introduced to society and had significant impacts on musical theatre and entertainment in general. For instance radio was instrumental in the development of live shows and narratives and families often gathered around the radio to listen to popular broadcast. Radio exposed the fact that people enjoyed listening to scripted narratives. In addition the advent of the television added another dimension to the scripted narrative because people could both see and hear the shows. Musical theatre was influenced by the popularity of radio and television at the time. The popularity of these two mediums influenced the types of technologies eventually used in musical theatre. Carte's introduction of electricity eventually allowed for the widespread use of microphones and forever altered the manner in which lighting was used to create ambience or emphasize the mood of a scene or an act.

In addition to the use of electricity in theatres, the utilization of stage spectacle also became important. Spectacle has long been a component of theatre; however a clear definition of spectacle remains elusive. According to Kershaw (2003) "Spectacle seems always aimed to produce excessive reactions -- the WOW! Factor -- and at its most effective it touches highly sensitive spots in the changing nature of the human psyche by dealing directly with extremities of power: gods, monarchy, regicide, war, terrorism, catastrophe, apocalypse now (593)." Kershaw also defines spectacle as a type of cultural performance. He also asserts that the key paradox of spectacle is that it addresses the human in inhuman ways. Furthermore, spectacle "multiplies power through excessive waste; it plays on the visceral mainly through the visual; it can attract and repel in the same instant (Kershaw, 2003)."

Technology has become essential in the display of spectacle because of the types of effects that can be produced through technology which exploits lighting, scenery and sound to create a certain mood or evoke certain emotions.

As it pertains specifically to spectacle and the use of technology, musicals such as Cats and Phantom of the Opera changed the manner in which spectacle is depicted on stage. Adlaf (2004) explains that throughout the seventies and eighties the producers of many musicals added more spectacle to their productions. There was a great deal of criticism levelled against the addition of spectacle because some critics believed that many productions were becoming saturated with spectacle and the real narratives were being lost (Rosenberg and Harburg 141). Adlaf (2004) further explains that

"This desire for more spectacle was perhaps a reaction to the film industry and its related increase in special effects (Hattori). Whatever the reason this desire for increased spectacle eventually led to an increase in the use of technology on Broadway. This increase in technology encompassed all of the areas of production -- including primarily: scenery, lighting, and sound. Robert McDonald, business manager for Local One -- the union of stage technicians in New York City, stated that: "on the stage itself, many of the units which were pushed by hand are now handled by electric winches. So that one man can control nine, ten winches all by himself sitting at one console (Adlaf )."

The change that theatre experienced as it pertained to spectacle occurred as a result of the increase in the amount of technology made available to Broadway productions. The newer technology was inclusive of computerized control equipment. Although this equipment had been available for a while it did not become prevalent in theatre until the seventies and eighties. One of the reasons that this technology was not brought into Broadway productions sooner involved the pressure from unions which feared that utilizing the new technology would cause the theatre's to eliminate certain jobs. However the insertion of the new technology into theatres actually created jobs for people such as theatrical technicians. Each of the areas of production including lighting, sound and scenery were components in the computer controlled revolution that took place in theatres through America and Britain. The author explains that

"With scenery being the environment in the modern theatre, then the ultimate objective of the designer of musicals must be to service the moving forms that characterize the musical theatre. Everything moves in an effective musical: musical notes, lyrics, actors, dancers, scenes, and scenery (Kislan 239) This revolution was all-encompassing within Broadway productions, straight drama and musical alike, but it was the musicals and their need for spectacle that really took advantage of it (Adlaf )."

In fact the musical Cats was amongst the first to utilize computer controlled technology . Cats was an important musical in terms of spectacle because of the success of the play.

In addition Cats was significant because the entire musical was spectacle-oriented art which incorporated new technology. More specifically Cats used effective design to ensure that the musical could contain numerous scene changes while also providing fluid transitions as well. Cats was able to achieve this balance with the assistance of technology. For instance the first scene of the musical takes "place entirely in a Junkyard seen from a Cats-eye perspective -- but with different elements for each particular moment. Aside from the overall junkyard, a part of the stage raised to carry one of the singers to cat heaven (Berkowitz 209). While having people flown above the stage floor is an effect that was begin back in Aristotle's Greece, it was great spectacle for a dues ex-machine to be incorporated into the show's finale (Ostrow 140). The junkyard effects and flying tire finale added to Cats title as a high-tech musical -- and audiences responded to the spectacle wildly (Rosenberg and Harburg 47)."

The impact and power of Cats was made obvious through audience attendance and the general success of the show. In addition critics such as Frank Rich (reported that the musical was a "glitzy, spectacular and plotless musical that had by 1989 broken all prior net profit records (Rosenberg and Harburg 200). A supposed lack of plot did not seem to hurt Cats." Prior to its closing there were well over seven thousand performances and the show made more than a billion dollars. The monetary success of Cats made it the highest grossing musical during its time on Broadway. Additionally "After the spectacle of Cats, Broadway was considered to be now into theme park entertainment, following Michael Eisner's Disney dictum that "business" is the operative word in the phrase "show business (Ostrow 140)." Broadway was simply doing what it had to in order to survive as a business (Rosenberg and Harburg 47)."

This finding concerning the musical Cats and the Phantom of the Opera illustrate the impact of technology on musical theatre and the manner in which technology drew people to musical theatre. Both of these musicals are amongst the most popular in history and received critical acclaim. The success of these shows demonstrate the ways in which technology had a profound impact upon the way in which the producers of these two shows demonstrated the artistic vision of the shows. There use of technology was also important because it served as an example of how technology could be used to express the themes and sentiments of the shows in a new way and in a manner that attracted an audience.

Overall the research indicates that Carte contributed greatly to modern musical theatre through the introduction of electricity into theatres. Prior to Carte the presence of theatres that were powered solely by electricity were unheard of. Today, all major theatres that produce musicals are powered by electricity and depend heavily on electricity to ensure that the production runs smoothly. Although musical theatre existed prior to Carte's introduction of the electric theatre, it is difficult to imagine musical theatre today if electricity were not being utilized.

Chapter II

There are several musical theatre productions that have forever changed the manner in which musical theatre is produced. Show Boat, produced by Florenz Ziegfeld, is an important musical because it was the "first Broadway score ever to have a coherent plot and integrated songs." Show Boat was also important for its role in musical theatre because it created a new art form in the realm of American musical theatre because the production marked the first time that a musical play was distinguished from musical comedy. That is Show Boat placed into the proper context

" a rich, colourful, nostalgic chapter from the American past filled with humour, gentle pathos, tenderness and high drama. It bewitched the eye, ear and heart. It was a revelation; and it was a revolution. Here was something unique for the musical stage of that day: an American musical comedy with dramatic truth; a plot with a logical, believable line; a love story that rang true. Here were three-dimensional characters in place of the cardboard images previously populating the musical stage. Here were authenticity of background and atmosphere. Here were dialogue and lyrics that were supple, fresh and imaginative -- capable of soaring to poetic heights without abandoning the vernacular and the idiomatic. And, finally, here was a musical score which was an extravagant outpouring of the most wonderful melodies. Though it was a pioneer in creating a new genre in the musical theatre -- and though many remarkable productions since 1927 have developed the musical play into a genuine art form -- Show Boat still remains one of the best of the species. In its frequent revivals, whether on stage or screen, Show Boat still never fails to cast a spell on audiences (Show Boat)."

In 1927 when Show Boat opened there were rave reviews about the production. For instance, in December of 1927 The New York Times reported that Show Boat was unique and dynamic as it pertained to its colourful sets and the realistic portrayal of the historic show boats that once existed.

Show Boat is also an important musical because of the manner in which the show utilized technology. The production contained a gloating stage that brought to life the energy and purpose of the production in a manner that was unprecedented. Additionally the play's use of lighting and sound allowed the audience to see and understand the emotion portrayed throughout the musical. Show Boat's use of technology on the stage was also vitally important because of the nature of the play and some of the subject matter explored particularly as it related to race and cultural norms at the time.

Show Boat was indeed a groundbreaking type of show that has been revived on Broadway several times. The musical set the stage for establishing the desire of audiences to see certain stories on the stage. Show Boat also proved that a novel could be brought to life through a musical and garner a great deal of acclaim and success. In these respects Show Boat forever changed the landscape for future musicals.

Overall Show Boat demonstrated that technology, if properly utilized could serve as an enhancement to a show. However, the significance of Show Boat was that it was coherent. That is, the production was well written as it pertained to the narrative and the musical aspects of the musical. As such technology served simply as a conduit through which Show Boat could articulate the well-written narrative. This particular production set a standard for the use of stage technology that forever changed the use of technology in musical theatre productions.

Chapter III Advertising

Advertising and marketing are vitally important aspects of musical theatre because they inform the public of what can be expected from a theatrical performance. Advertising allows the public to determine whether or not a particular performance might be appealing or entertaining. Mick and Buhl (1992) explain that the theory of semiotics is essential to understanding advertising within the context of musical theatre. The authors report that semiotics maintains "that advertising is a quasi-fictional, culturally constituted system of symbols in which products are strategically synchronized with scenes, props, people, and actions (Douglas and Isherwood 1979; Mick 1986). Accordingly, consumers interpret ads as a principal way to understanding their world and themselves and, in the end, they become the final arbitrators of advertising meanings (Mick and Buhl, 1992)."

At the current time technology is not only vitally important to theatrical production. Sound effects, movement, and lighting all play an important role in establishing an ambience in the theatre and ensuring that a story can be properly told. Technology is also vitally important in the realm of theatre as it pertains to the business aspects of operating a theatre. That is, technology is used to advertise plays and musicals and to sale theatre tickets. As it relates to advertisement, theatres use television and the internet to advertise shows. For instance a play may show advertisements on local television that are designed to make the public aware that tickets for the production are available. These advertisements may show small scenes from the play and provide the public with prices, dates and times.

According to Elliot (2005) Product placement and endorsement deals have always been an aspect of marketing in the genres of television, radio and movies. However product placement and endorsement deals have only recently become a mainstay on Broadway. In recent years advertisers have been searching for new ways to get consumers to purchase products. At the same time theatre producers are usually looking for ways to fund their products. As a result of these two forces merging there has been a marked increase in product placement and endorsement deals involving Broadway shows. For instance, Elliot 2005 points out that Hilton Hotels and Resorts sponsored the musical "Chitty Bang, "which played at the Hilton Theatre. In addition, Turtle Wax endorsed the show "Good Vibrations" and Visa sponsored the national tour of "Movin' Out." The author further explains that most of the endorsement deals are worth between $500,000 and just over $1 million. The worth of the endorsement deals is dependent upon the amount of time the show runs.

Although many people understand the need for such relationships with companies, there are others that are sceptical of these relationships. For instance Gary Ruskin an opponent of such ads asserts that "It's sad to see Broadway become part of the marketing machinery, turning into another vehicle to help marketers bombard us with ads." Indeed opponents of product placement and endorsement deals assert that the amount of advertisement that people are bombarded with on a daily basis creates cultural harms because it encourage materialism. On the other hand, proponents of product placement and endorsement assert that this "Broadway is "an uncluttered environment where you don't have to share the spotlight as on television or in the movies…And it's a more memorable experience because it's live… At 8 o'clock, the curtain goes up, and at 10:30, it goes down. And if you weren't there, you missed it (Elliot, 2005)."

In afact the author explaisn that the majority of the details would not be suspicious such as the two drinks created by Gran Centenario and sold at the Hirschfeld lobby and bars near the theatre to pay tribute to the show or the sponsorship of parties for the casts (Elliot, 2005). The advertisement can also be seen a dance number, containing containers with the brand logo appearing onstage, and print ads. Elliot (2005) further explains that

"Until now, advertisers have not often sought out Broadway for branded entertainment deals because the theater business is smaller than the entertainment industries they typically work with. And because theater is more entrepreneurial in nature, it is often harder to make deals there than with media conglomerates. Previous Broadway deals were limited to traditional tactics, like placing products onstage in exchange for acknowledgements in tiny type under the "Credits" section in the back pages of Playbill. And if, say, Frank Loesser mentioned Vitalis and Barbasol in "Guys and Dolls," it was for purposes of verisimilitude, not because the makers paid their way into the song (Elliot, 2005)."

Regardless of how people feel concerning the use of endorsements and product placement for musical, there is agreement that producing a musical, particularly on Broadway is an expensive feat. According to "Whether the show is a straight drama or a musical, there is a substantial amount of start-up capital that must be obtained. However, the typical definition of a straight drama precludes certain requirements. Or, at least, simplifies the total needs for any given production. For example, when compared to a musical, straight drama typically has fewer settings, less dance, less music, and less need for high-technology-based effects. Musical theater requires materials, tools, technology, and talent drawn collectively from many or all other art forms, and thus demands relatively larger sums of money. To ultimately be produced before the public, every musical requires the full collaboration of artistic and business professionals alike (Rosenberg and Harburg 5). The rising costs of technology is a major factor in continuous price rises for audience members and in production costs for all the labor intensive performing arts (Rosenberg and Harburg 27). Within the last few decades, these production costs, especially for mounting a production on the Broadway stage, have increased tremendously. The hit Broadway musical Cats, for example, cost over four million to produce on the Broadway stage. Another Broadway musical hit, The Phantom of the Opera, cost over eight million dollars to produce on the Broadway stage (Rosenberg and Harburg 64)."

With these things understood it is likely that the increased use of technology will continue to increase the costs of producing musicals. As such the types of advertisements and endorsement deals that are currently being utilized on Broadway are likely to continue for quite some time to come. Producers recognize that companies can provide them with substantial and consistent streams of capital that allow them to produce these large shows. As such endorsement deals are needed and there seems to be little else that producers can do to generate the type of funding needed to produce these costly shows.

The internet is used to advertise in much the same way. In addition the internet is often used to allow consumers to purchase tickets. Consumers can go to ticket masters or the official site of the theatre where a specific production will be shown and purchase tickets. In addition to purchasing the tickets through the internet patrons can also see exactly where their seats will be because most theatres provide maps of the theatre which display the location of each seat. Allowing patrons to purchase tickets through the internet has been essential for the continued success of theatres because it gives people the freedom they need to make purchases. For instance prior to the use of the internet to purchase tickets people would have to go to the box office of the theatre to purchase tickets. This can be extremely difficult or inconvenient for those work or live a significant distance from the theatre, this is particularly true if the patron lives in another city or another country. However, providing patrons the option of purchasing a ticket on the internet guarantees that they will have a ticket to the show of their choice. It also allows guests who live far away from the theatre to make all the proper arrangements ahead of time. People outside of the country who live in different time zones can purchase tickets at times that are convenient to them. Overall having the ability to purchase tickets via the internet removes a great deal of stress that patrons often feel when attempting to get tickets. In doing so people are more likely to attend shows, thus making them a success.

Overall technology and inventive endorsements have forever changed the way that musical theatre is advertised and the products that are advertised through musical theatre. The research asserts that although the symbiotic relationship between companies and the shows that endorse them can be beneficial for all stakeholders, there is some concern that these relationships contribute to the high rate of materialism that exists throughout the western world. On the other hand many believe that this relationship is important to the companies and to musical theatre because they allow producers to get funding that is often needed to ensure that a production can even take place. As such it is likely that musical theatre productions will continue to use product placement and enforcements as vehicles to get finance shows.

Additionally productions will continue to utilize the internet as a means to advertise and sale tickets. The internet provides consumers all over the world with simultaneous access to information about various productions and the ability to purchase tickets to these productions. In many ways the internet has forever changed the manner in which the public can access theatrical works.

In addition to advertisement through the internet, musical theatre also uses more traditional types of advertisement such as playbills, flyers and billboards have also been effected by the use of technology. Playbills are still an essential aspect of advertising and they also provide theatre goers with lasting souvenirs. Playbills provide details about a particular production including a synopsis of the work, the names are the characters and the actors who play the characters and the names of band/orchestra members and crew members. In addition the playbill provides production information, dates and times of shows and theatre information.

Although the playbill is a traditional component of theatrical advertisement it has also been impacted by the use of technology. This can be seen over the years in the increased use of colour and the quality of the pictures contained in the playbill. From a semiotic standpoint these changes, brought about by technology, have increased the quasi-fictional attributes of theatrical advertisement. That is, technology has enhanced the ability of a theatrical production to appeal to the cultural aesthetic of the audience. In doing so, the public is better able to understand and perceive the theme that exist within a particular production which assists them in choosing whether or not to see the production.

Although flyers may not be a dominant as they once were they are still relevant, particularly from smaller productions. Smaller productions often do not have the ability to place a great deal of money into advertising. However the increased availability of advanced technology allows shows to create flyers that are visually appealing and show the public what the performance will contain.

Billboards have also been a traditional form of advertisement that has been forever altered through technology. The impact of technology on billboards is associated with the increased use of electronic billboards. For instance in New York City electronic billboards for Broadway shows can be seen in high traffic areas throughout the city such as Time square. Electronic billboards are important to advertising theatre because they bring to life the essence of the production. Electronic billboards are also unique because they allow for more than one production to be advertised in the same location. That is the electronic screens used in the billboards change throughout the day allowing for various productions to advertise. The use of electronic billboards to advertise is just another way in which the electronically driven culture is reflected in a traditional form of entertainment such as theatre.

Overall the research concerning advertising and the use of technology asserts that the use of technology in advertisement is based on the semiotic theory. Technology serves as a way to enhance cultural expressions of a traditional art form of theatre. The internet allows people all over the world to access information about various productions including show times, locations and the ability to purchase tickets without ever leaving their homes. This type of access makes musicals more available to people who might not otherwise be interested in seeing musical theatre. Likewise, technology has also affected more traditional forms of advertisement such as playbills and billboards because it has increased the ability of productions to create playbills and billboards that are informative while also appealing to the digital and technological advancements that the public has become accustomed to. Additionally Broadway shows and shows throughout the world are teaming up with companies to increase capital through product placement and advertisement within shows. Although this practice has been met with a great deal of controversy, the practice does generate a great deal of capital that would otherwise be difficult to acquire. These monies in turn pay for the expensive technologies that add to the spectacle of modern musical theatre.

Chapter IV Modern Theatre

Although the use of technology in musical theatre has been historically important and interesting, some of the most exciting uses of technology in musical theatre has been various aspects of current productions. These productions have relied heavily on technology that was once only utilized in film production. Theatres throughout the world have begun to utilize television screen, 3D effects and sound effects that were once unheard of in the context of theatre. In fact as technology has changed within the movie industry, so it has in the theatre industry. The recent increase in the use of computerized control equipment, that transforms the Broadway stage allowing for impressive theatrical and scenic effects, truly began in the 1980's with productions such as Cats (1983) & Phantom of the Opera (1988). has been a primary reason that musicals, in terms of popularity & monies earned, have far outstripped the straight drama.

Modern Musicals such as WeWill Rock You have been instrumental in defining modern musical theatre. According to the official website of the musical,

"WE WILL ROCK YOU is a new breed of musical -- a unique collaboration between QUEEN, the legends of rock and one of the United Kingdom's most phenomenally successful writers, Ben Elton. WE WILL ROCK YOU took six years of development and at a cost of 7.5 million pounds, the highly anticipated Queen/Ben Elton musical "We Will Rock You" arrived in London's West End on 14 May, 2002 at The Dominion Theatre, Tottenham Court Road. WE WILL ROCK YOU has been London's number 1 show since its opening, breaking all house records at London's largest theatre, and has been playing to standing ovations nightly. With its innovative use of high technology, it has been hailed as "a new breed of musical" (BBC Newsnight) and "a hi-tech extravaganza" (The Guardian)."

This particular musical uses technology in ways that have not been seen before. For instance the show utilizes various plasma screens and unprecedented lighting and sound effects.

I addition the We Will Rock You, Spider Man the musical has also garnered a great deal of attention for its high tech stage production. SpiderMan costs a reported $65 million American dollars to produce, making it the most expensive musical in the history of Broadway. Despite the amount of money that it costs to create this production, the musical has ran into a plethora of problems. These problems include injuries to several actors and members of the crew. In addition the mechanics of the musical are so complicated that they have broken down several times during the play. In addition a review of the production which has been previewing on Broadway explains that

"Nothing looks truly new, including the much-vaunted flying sequences in which some poor sap is strapped into an all-too-visible harness and hoisted uneasily above the audience. (Aren't they doing just that across the street in "Mary Poppins"?) This is especially unfortunate, since Ms. Taymor and her collaborators have spoken frequently about blazing new frontiers with "Spider-Man," of venturing where no theater artist (pardon me, I mean artiste) has dared to venture before (Brantley, 2011)."

Spider-Man the musical is evidence that technology does not necessarily make a musical better. In fact technology can complicate a project to the point that its opening date has to be postponed so that the musical can be revamped. This is the case with Spider-Man the musical. The technology used was not properly executed and as a result people have been seriously injured and some actors have quit the musical. In addition many critics who have attended previews of the show assert that the cheap feel of the set distracted them from the message inherent in the narrative.

Spider-Man is an example of what is wrong with some aspects of modern theatre -- the inability to balance the use of technology while still providing the traditional elements of a musical. It is important that producers remember that technology should be utilized to enhance the theatrical work and shouldn't distract the audience. In addition it is important to remember that theatre is not film or television. It is impossible to duplicate some of the things that are seen on film because films can tape numerous scenes and place them together to make a single scene. In addition a great deal of what is seen on film is computer generated. Although musical theatre can incorporated some of the techniques used in film, producers must remember that film and theatre are two different mediums and audiences still enjoy seeing musicals.

Interactive technology is also an important modern musical theatre. Interactive media is inclusive of sounds and images stored or created, on a computer, which the computer gernerates in response to the actions of live performers in a theatrical production (Saltz, 2001).

"Interactive media do not sap the spontaneity or variability from a live performance, as linear media do, since they embody those qualities. Media are interactive to the extent that they adapt to the performer rather than making the performer adapt to them. By definition, the more interactive the media, the more responsive. Theatre that incorporates interactive media has the potential to combine the strengths of both live performance and media. Whether it realizes that potential in any particular case, of course, depends on the specific choices made in a production and the deftness with which those choices are carried out (Saltz, 2001, 109)."

Therefore, interactive media can be utilized in a manner that is completely different from the use of technology in the history of musicals. That is the computer generated scenarios become an aspect of the production in much the same way that the human characters or actors are part of the production. Computer generated graphics can be extremely realistic and provide the narrative with a dimension that is not otherwise present. In doing so interactive media has forever changed the manner in which musical theatre is produced and the sentiment that it articulates.

by and large modern musical theatre is extremely reflective of the technology driven society in which we live. That is the theatre now utilizes many of the same technology that people utilize in their daily lives as it pertains to the interaction between media and the actions of people.

Chapter V

The Future of Musical Theatre

In the future musical theatre will continue to evolve. Technology will be used in ways that were once unthought-of. Additionally it is likely that creators and producers of shows will find a balance between the use of technology and maintaining the integrity of the narrative. It is vitally important that musical theatre remain as a separate and distinguishable genre of theatre. This can be accomplish if the proper balance exist between technology and protecting the artistic form that is musical theatre.

Although there is some optimism concerning the future of musical theatre there is also a great deal of scepticism because of a lack of new original musicals. This scepticism exists because many of the musicals now on Broadway are revivals or reinterpretations of old musicals. Critics fear that art of creating new and innovative musical with original scores is a dying art form. In fact "Broadway is also being dominated by revivals of classic musicals such as La Cage aux Folles, South Pacific, Promises and West Side Story. Undoubtedly we will see these shows and others like them revived again in the next ten to 15 years, because what is the alternative -- a revival of Rock of Ages or Million Dollar Quartet? The short-term producing vision that these compilation shows represent could so easily collapse the longterm future of the new original musical on Broadway (Adalf)."

The subject of mediated theatre has also garnered a great deal of attention in recent years and it is likely to continue to generate controversy in the future. Mediated theatre involves the recording of live performances. According to Bay-Cheng (2007)

"While watching mediated theatre, one should be aware that the gaze has been reversed. What was formerly intended to push toward the viewer is now pulling away. Areas of the stage that were previously expansive have become narrowly compressed. The entire performance has been pushed back on itself. This is perhaps why many recorded versions of theatre seem so anaemic compared to their live performances. Without additional augmentation to the screen mise-en-scene and attention to the physical reversal of attention, the gaze of the viewer is pulled into an empty space. With nothing pulling us in and the performance now retreating from us, the screen version can appear lifeless and stale. The best-recorded versions, then, are those that account for and address the structure of the space and direction of the viewer's gaze, by penetrating the stage space so as to make it a dynamic environment by moving the camera into the stage space much like the camera moves through cinematic space (Bay-Cheng 2007)."