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• W2482460631 abstract "Musical comedies that are recognisably American in tone or theme predate the opening of Oklahoma! by many years. At the turn of the century, critics applauded the shows of George M. Cohan for the original, furiously quick-paced action and vernacular dialogue that were his trademarks. Other non-operatic popular plays of the era with appealing music began to feature more kinetic staging, homespun and believable (if often silly) characters, and an air of optimism and headstrong abandon. The singing and dancing actors of Cohan's type, masters and mistresses of the Triple Threat, bespoke a special brand of native entertainment as early as 1902. Fresh, clean, full of slangy humour and catchy songs, with plots loose enough to allow virtually any kind of specialty act to be inserted, truly American musical comedies like The Belle of New York (1897), Little Johnny Jones (1904; featuring the hit number ‘Yankee Doodle Boy’), or In Dahomey (1903; the first major African-American musical comedy to put ragtime songs on Broadway) established a type that became the standard through the 1920s." @default.
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• W2482460631 date "2001-01-01" @default.
• W2482460631 modified "2023-10-02" @default.
• W2482460631 title "The successors of Rodgers and Hammerstein from the 1940s to the 1960s" @default.
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• W2482460631 doi "https://doi.org/10.1017/ccol9780521862387.010" @default.
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