There’s a bright golden haze on the meadow

In March 2008, when I was still on staff at The Australian, I wrote a piece about musical theatre ahead of an Opera Australia production of My Fair Lady. With OA and John Frost opening The King and I in Brisbane, with Melbourne and Sydney seasons to follow, I pulled it out of the vault.

THE golden age of musical theatre started quietly. A young man was heard offstage – it was March 31, 1943 – extolling the joys of life and of that day in particular. “There’s a bright golden haze on the meadow,” he sang, a cappella. “There’s a bright golden haze on the meadow …” Oklahoma!, and a new era, was under way.

The show was the first collaboration between composer Richard Rodgers and lyricist Oscar Hammerstein II, and its opening is one of the most inspired, and concise, pieces of scene and character setting in all musical theatre.

Hammerstein wrote the lyrics first, and with those first eight words (of which two are definite or indefinite articles) established an indelible image of open farmland on a sunny morning and, by association, the pleasant, optimistic nature of the man who notices such things. The rhythm of the line is clear and uncomplicated, and Rodgers supports it with a sweet melody that strolls along as easily as an old-fashioned country boy.

All this takes perhaps 10 seconds to get across.

Oklahoma! has a perfect structure and the score is one of the greatest light music scores ever written,” says David King, head of musical theatre at the Western Australian Academy of Performing Arts.

Most of the competition for greatness comes from Rodgers and Hammerstein themselves, with Carousel, South Pacific, The King and I and The Sound of Music coming from the pair in the space of 16 years. But they didn’t entirely corner the market. The dream run in the 1940s and 50s included Alan Jay Lerner and Frederick Loewe’s My Fair Lady, Frank Loesser’s Guys and Dolls and Leonard Bernstein and Stephen Sondheim’s West Side Story, remarkable for the quality of their source material (from George Bernard Shaw, Damon Runyon and Shakespeare respectively) and the brilliance of their music and lyrics. More recent musicals might have one or two hit songs; shows in this group string them together like well-matched pearls. Expensive ones, too. If you’d invested $1000 in the original Oklahoma! your return would have been $2.5million.

That Oklahoma! has enduring appeal more than 60 years after its premiere attests to its quality: in 2008 there would be about 500 productions worldwide, including one at Perth-based WAAPA. But it goes further than mere popularity. Rodgers and Hammerstein set the standard and style for an era. The shows created in the space of little more than two decades, from 1943 to 1964, when Fiddler on the Roof opened, are the undisputed classics of the genre.

Writer Peter Stone [explains] Hammerstein’s use of the “conditional ballad”, where love doesn’t happen miraculously but is expressed as being in the future, or a possibility, or at one remove.

Gerald Bordman, author of American Musical Theatre: A Chronicle, heads his chapter on this period The American Musical as a Conscious Art Form. What would become the musical started in the mid-1800s and developed out of popular theatrical traditions including operetta, melodrama, burlesque and revue.

Most commentators nominate 1866 as the start of the native art form, when a touring French ballet company found itself without a theatre and enterprising producers combined the talents of the danseuses with a melodrama that did have a theatre, The Black Crook. The young women of the ballet weren’t the only ones with legs, and the show ran and ran.

In the post-war 1920s the taste was for entertainment; in the 30s theatregoers wanted either escape from the Depression or socially relevant drama because of it. There was, however, a cluster of supremely talented people working in New York who would bring the light and shade together.

Hammerstein is a pivotal figure. His grandfather was a New York theatre district pioneer and, with Jerome Kern, he wrote the groundbreaking Show Boat (1927). With its racially integrated cast and a troubling theme of miscegenation, it foreshadowed the kind of work Hammerstein would do when he joined forces with Rodgers 15 years later. He was also an important mentor to Sondheim, who would much later reign over the high end of the market.

And Hammerstein was a lyricist of exceptional and subtle gifts. In their book Broadway: The American Musical, Michael Kantor and Laurence Maslon quote writer Peter Stone on Hammerstein’s use of the “conditional ballad”, where love doesn’t happen miraculously but is expressed as being in the future, or a possibility, or at one remove. In Carousel it’s If I Loved You, in Show Boat it’s Only Make Believe, in Oklahoma! there’s People Will Say We’re in Love.

Just how different Oklahoma! was from its immediate predecessors is illustrated by something that quickly passed into music theatre legend. A talent scout for the critic Walter Winchell went to New Haven to see a show, at that stage called Away We Go, which was having its out-of-town tryout. He cabled to Winchell the following assessment: No legs, no jokes, no chance!

The audience saw it differently, happy to view work that not only entertained and thrilled but often challenged as well. Oklahoma! became the first music theatre phenomenon, running for more than 2000 performances on Broadway.

The new breed of creators didn’t shy away from themes such as gang warfare (West Side Story), racism (South Pacific) and dispossession (Fiddler on the Roof), but it was in the context of well-made theatre that also provided the popular music of the day: Maria, Some Enchanted Evening, If I Were a Rich Man.

The genius, says Andrew Greene, who conducts My Fair Lady for Opera Australia in June, lies in the fact that “in (the classic) musicals it’s about the team: wonderful music, words, book and great choreography and direction, all coming together to create a wonderful night in the theatre”. No longer was the piece designed to revolve around a big-name star who sucked up most of the oxygen. Everything had to be in the service of the whole.

When a [Cole] Porter acquaintance praised Rodgers and Hammerstein’s Some Enchanted Evening, Porter replied insouciantly that it was indeed powerful, “if you can imagine it taking two men to write one song”.

Michael Grandage, director of the Donmar Warehouse production in London of Guys and Dolls, which is being staged in Melbourne, points to the detail and cohesion of its book. “From a directorial point of view, you’re able to approach a musical like Guys and Dolls exactly as you would one of the most perfectly made plays,” he says.

As with most classic periods, the golden age of the American musical was created by a relatively small number of people. They included composer and conductor Bernstein, the youthful Sondheim (as lyricist), producer David Merrick and director Hal Prince. The stellar Cole Porter and Irving Berlin wrote words as well as music: when a Porter acquaintance praised Rodgers and Hammerstein’s Some Enchanted Evening, Porter replied insouciantly that it was indeed powerful, “if you can imagine it taking two men to write one song”.

Crucially, dance became a force for concentrated storytelling, often psychologically revealing, for which Agnes de Mille and Jerome Robbins can take much of the credit. De Mille’s dream ballet for Oklahoma! and another for Carousel were so influential that she perhaps never received quite her due: soon everyone was doing what she did.

Robbins and de Mille came from the classical ballet world and didn’t see it as slumming from their duties at American Ballet Theatre. In fact Robbins, a forceful character who directed as well as choreographed, got the idea that became West Side Story while studying at the Actors Studio in New York, where Marlon Brando was among his peers. The exhilarating Act I Mambo in the re-imagining of Romeo and Juliet isn’t there for colour and movement. It reveals the depth of rivalry between the Puerto Rican and American gangs and, in the setting of a social dance, brings Tony and Maria together.

The porous divide between high art and the commercial theatre was manifest in a version of Aida, using Verdi’s music but translated to an American Confederacy setting and called My Darlin’ Aida. Obviously it didn’t enter the pantheon, but it does point to a general taste for music written for a more classic tradition of vocal training. Opera singer Ezio Pinza had huge success as Emile in South Pacific, and My Fair Lady called for a gifted soprano and got one in Julie Andrews. Rising opera star Taryn Fiebig will sing the role for Opera Australia.

OA’s chief executive Adrian Collette says the strong book is central to the appeal of My Fair Lady. It’s adapted from “a tough and polemical play by George Bernard Shaw … what the music unfailingly brings to it is the potential for romance. It keeps its essential ambiguity to the very end, but overlays it with this wonderfully romantic music.”

Greene says American musicals have been part of the lighter repertoire in European opera houses for many years, and is pleased to see OA tackling My Fair Lady after many years of Gilbert and Sullivan (OA has also staged Fiddler on the Roof).

“[Frederick] Loewe was amazing. He was a direct descendant of a 19th-century lieder composer of Austrian descent. We find him not only being able to write wonderful romantic-style pop tunes. He was able to [write in the manner of] the British music-hall style for My Fair Lady – Get Me to the Church on Time, With a Little Bit of Luck – and also something like They Call the Wind Maria from Paint Your Wagon. He was a musical chameleon.”

Like all movements, this one was finite. Times, tastes and methods changed. A show such as Cabaret (1966) mostly presented its songs not as rising out of ordinary activity but within the context of the Kit Kat Klub where Sally Bowles worked. A Chorus Line (1975) stripped away all the trappings and was a more or less plotless show about people trying to get into a show.

The bubble had very much burst by the Broadway season of 1967-68. William Goldman in his book The Season saw everything that year. There were 14 new musicals and only one hit: the endearing but chaotic Hair. To come: the rock musical, Sondheim (a kind of one-man style), the British “popera” invasion spearheaded by Andrew Lloyd Webber and Cameron Mackintosh, Disneyfication and the jukebox musical.

It’s hard to see anything other than Sondheim lasting another 50 years but that doesn’t stop people from trying, year after year, to write the next hit. King says the New York Music Theatre Festival each year premieres about 40 new musicals – “there’s an enormous amount of stuff written” – and a few composers, Adam Guettel (Rodgers’s grandson) and Michael John LaChiusa chief among them, are writing works of note.

And a Broadway that can offer, simultaneously, musical versions of Frank Wedekind’s wildly controversial 1891 play dealing with youthful sexuality, Spring Awakening, and the perky Legally Blonde – King calls it imaginative and witty – is far from being dead, no matter how much people hanker for the glory days and start reading it the last rites.

The King and I, presented by Opera Australia and John Frost, QPAC, Brisbane, until June 1. Melbourne, June 10-August 17; Sydney, September 7-November 1.

THE BEST OF THE BEST FROM THE GOLDEN AGE

Oklahoma!, Richard Rodgers and Oscar Hammerstein II, choreography by Agnes de Mille, 1943

On the Town, Leonard Bernstein, Betty Comden and Adolph Green, developed from Jerome Robbins’s ballet Fancy Free for American Ballet Theatre, 1944

Carousel, Rodgers and Hammerstein, choreography by Agnes de Mille, 1945

Annie Get Your Gun, Irving Berlin, 1946

Kiss Me Kate, Cole Porter, 1948

South Pacific, Rodgers and Hammerstein, 1949

Guys and Dolls, Frank Loesser, 1950

The King and I, Rodgers and Hammerstein, 1951

My Fair Lady, Alan Jay Lerner and Frederick Loewe, 1956

West Side Story, music by Bernstein, lyrics by Stephen Sondheim, directed and choreographed by Jerome Robbins, 1957

The Sound of Music, Rodgers and Hammerstein, 1959

Gypsy, music by Jule Styne, lyrics by Sondheim, directed and choreographed by Jerome Robbins, 1959

Fiddler on the Roof, by Jerry Bock and Sheldon Harnick, directed and choreographed by Jerome Robbins, 1964

A Masked Ball, Semele Walk, Sydney Festival

A Masked Ball, Opera Australia in association with the Sydney Festival, January 16

Semele Walk, KunstFestSpiele Herrenhausen, Germany, Sydney Festival, January 12

Tamar Iveri and Jose Carbo in Opera Australia's A Masked Ball. Photo Prudence Upton

Tamar Iveri and Jose Carbo in Opera Australia’s A Masked Ball. Photo Prudence Upton

WHEREVER or whenever you want to set it, Verdi’s A Masked BallUn ballo in maschera – takes place in a world of privilege where the haves live it large and those less fortunate look for ways to improve their position by any means possible. Opera Australia’s new production, directed by Alex Olle from the Catalan company La Fura dels Baus, locates the action in a contemporary totalitarian society, the kind in which it’s necessary for the ruler and his hangers-on to live within a concrete bunker, albeit one of grand proportions.

In something of a miracle, set designer Alfons Flores has made the Sydney Opera House’s dinky Joan Sutherland Theatre stage look majestically capacious as columns and platforms rise and fall to encompass seamlessly King Gustav’s public rooms, his private office, the lair of the fortune-teller Ulrica, the home of Secretary of State Renato and the execution field where Renato’s wife, Amelia, seeks a remedy for her lovesickness. The view from Gustav’s office is of the security apparatus going about its business, seen via video link. He needs the protection. While Gustav brushes off the warning that someone close to him wants him dead – everyone at court is devoted to him, are they not? – outside there are those who would rise against him if they got the chance and the nerve.

The appearance is monumental and simultaneously enclosed and cut-off. In such a space almost everything stated becomes suspect. When Gustav claims that the love of his people will shield him, you think instantly of Bashar al-Assad, holed up while his country burns around him. Naturally those around Gustav tell him what he wants to hear; perhaps he really believes it, perhaps not. Here, thoughts of North Korea pop up, particularly as the members of Gustav court are not only identically dressed but thoughtfully provided with a number. They are also kitted out with a rather nasty face covering – not so much a mask as a latex hood such as aliens or sex perverts might own. The double-edged notion that no one is showing his or her true face and that the court has been reduced to oppressive conformity is good, but Lluc Castells, the costume designer, could perhaps reconsider the means for expressing it.

Some mental gymnastics are needed to reconcile the Amelia-Gustav love story with the image of an iron-fist ruler. Perhaps Gustav is little more than a puppet figure whose courage is finally revealed through love, but if that’s the case the audience has to do the work. OA’s Gustav, Diego Torre, isn’t up to conveying that kind of nuance. He is impressive at full bore, with a brightly coloured tenor that hits the big moments out of the park but is less adept at bringing finesse and variety to Gustave’s more complex moments.

As Amelia, the lovely Georgian Tamar Iveri is a winner from her first moments. The possessor of a soprano of warm timbre, strong focus and plentiful power at the top, she illuminates Amelia’s longing, confusion and pain with eloquent variety of colour, phrasing and dramatic shaping. Jose Carbo is similarly gripping, his Renato altering course thrillingly from faithful courtier to implacable foe. As with Iveri, Carbo is keenly alert to the shifting emotions of the character, growing in stature and vocal authority as the evening progresses.

Gustav’s page Oscar, conventionally a trousers role but here emphatically a female part, is in the zesty hands of Taryn Fiebig, whose crystalline soprano soars easily over the orchestra and the fine forces of the AOBO chorus. At the other end of the female vocal spectrum, Bulgarian mezzo Mariana Pentcheva plays Ulrica with easy assurance and brings a cast-iron implacability to her lowest register, but her heavy vibrato and squally top are distracting. On opening night conductor Andrea Molino tactfully kept good orchestral cover going whenever Pentcheva had to go beyond her comfort zone.

Molino – he conducted Carlisle Floyd’s Of Mice and Men for OA in 2011, an under-appreciated  highlight – was terrific throughout, minus a couple of occasions when singers seemed stretched by his tempi. The Australian Opera and Ballet Orchestra went like a well-targeted rocket from the outset on opening night and was particularly responsive to the score’s light, bouncy music for Oscar.

Olle’s concept is powerful and generally persuasive – he manages to pull it all together with a big, surprising and extremely strong ending – although overall the ideas are expressed relatively tamely. It wouldn’t surprise me at all to hear that the underscore of protest and dispossession have been ramped up when the production moves to OA’s co-producing companies in Buenos Aires, Brussels, Oslo and Bologna. Were Sydney and Melbourne opera-goers considered too conservative for the kind of provocations for which La Fura dels Baus is famous?  Or is this just the beginning of the journey?  Whichever it is, this is a production calling out for further viewings.

A Masked Ball continues in Sydney until February 12. Melbourne, six performances April 12-May 3. In Melbourne the role of Amelia is shared between Csilla Boross and Jacqueline Mabardi; Lorina Gore sings Oscar

SEMELE Walk brought a huge jolt of energy to the Sydney Festival and oodles of glamour. If you are coming late to the discussion, Semele Walk offered an abridged version of Georg Frideric Handel’s baroque opera – all the hits, none of the slow bits – performed as models paraded a lavish number of looks from British designer Vivienne Westwood.

Devised and directed by Ludger Engels, the marriage of Handel and Westwood was as magical as it was mad. If you wanted to look at the show with a peevish eye, yes, there was an awful lot of loud clumping as attenuated young women wearing sumptuous Westwood and vertiginous heels pony-stepped up and down the long runway in the centre of Sydney Town Hall.

And yes, as soloists Aleksandra Zamojska and Armin Gramer strode from one end to the other their voices left only a vaporous trail behind them. I very much enjoyed the trick of placing choristers from Sydney Philharmonia Choirs amongst the audience, although I imagine it may have been challenging to put the sound together coherently if you were seated next to one of the altos.

On the plus side, the musicians of Solistenensemble Kaleidoskop stayed in one place, together, mostly, and were superb. Some of them were also dramatically kitted out in Westwood and looked extremely funky. Standing in front of them, music director Olof Boman kept a firm hand on the disparate proceedings (they included some electronica), a light hand with Handel’s divine music and even made a brief appearance on the catwalk.

There was no profound correlation between Westwood and Handel waiting to be uncovered. The bones of the story were there: the mortal Semele, married to Zeus, oversteps the mark by demanding to see his full godly glory, and implodes. Semele does sing of pride, vanity and excess, which suits, but essentially there is just a lot of beauty and temperament thrown together in the same space.

On the Westwood side the temperament was to be found in the gorgeous, ornate, fanciful gowns – the models, of course, went about their business with the requisite blank faces, although I think I saw one suppress a smile when Gramer started fondling her frock.

On the musical side Zamojska’s Semele was a whirlwind, furiously racing about looking super-glam in Westwood and rather risky heels. Her soprano is high, silvery, flexible and beautifully placed, making great pleasures of O sleep, why dost though leave me and Myself I shall adore. Graner is a smooth, confident counter-tenor with an impish air who captured well the graceful flow of Where’er you walk.

It was fun to see the fashion crowd and the opera crowd thrown together too – an extension of the onstage drama. A memorable festival experience.