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Broadway: The American Musical Previous Broadcasts

Tradition (1957-1979)/Putting It Together (1980 - Present) (Episode #105W)

KQED Channel 9: Wed, Oct 17, 2007 -- 9:00 PM

Tradition (1957-1979) - West Side Story not only brings untraditional subject matter to the musical stage, it ushers in a new breed of director/choreographer who insists on performers who can dance, sing and act. But by the time Jerome Robbins' last original musical, Fiddler on the Roof, closes after a record run of 3242 performances in 1972, the world of Broadway has changed forever. Rock'n'roll, civil rights and Vietnam usher in new talents, many trained by the retiring masters, taking musical theater in daring new directions with innovative productions like Hair, the first Broadway musical with an entire score of rock music. By the end of the 1970s, Broadway becomes the centerpiece of a remarkably successful public relations campaign that will lure tourists to New York for years to come.

Putting It Together (1980-Present) - Legendary as the "Abominable Showman," notorious producer David Merrick re-conquers Broadway in 1980 with a smash adaptation of the movie musical 42nd Street. But soon the biggest hits are arriving from an unexpected source - London. Producer Cameron Mackintosh redefines the business of show business as Cats, Les Miserables, The Phantom of the Opera and Miss Saigon become international blockbusters. Sondheim's Sunday in the Park With George defies categorization, while Jerry Herman's crowd-pleasing La Cage aux Folles has two men sing a love song to each other for the first time on Broadway - a breakthrough soon overshadowed by the rising decimation of the AIDS crisis on Broadway. Yet with Julie Taymor's triumphant re-imagining of The Lion King, Disney leads an astonishing resurrection of 42nd Street. After 9/11, Broadway - like the rest of America - emerges from the darkness. Broadway's corporate dominance continues to grow, as evidenced by new shows such as Wicked, the biggest hit of the 2003-04 season with 10 Tony nods.

Repeat Broadcasts:

  • KQED Life: Sun, Oct 21, 2007 -- 9:00 PM
  • KQED Channel 9: Sat, Oct 20, 2007 -- 11:00 PM
  • KQED Life: Thu, Oct 18, 2007 -- 8:00 PM
  • KQED Life: Thu, Oct 18, 2007 -- 11:00 AM
  • KQED Life: Thu, Oct 18, 2007 -- 12:00 AM

I Got Plenty O' Nuttin' (1930-1942)/Oh, What A Beautiful Mornin' (1943-1960) (Episode #103W)

KQED Channel 9: Wed, Oct 10, 2007 -- 9:00 PM

I Got Plenty o' Nuttin' (1929-1942) - The Great Depression proves to be a dynamic period of creative growth on Broadway, and a dichotomy in the musical theater emerges. Productions like Cole Porter's Anything Goes offer glamour and high times as an escape, while others - such as Of Thee I Sing, which satirizes the American political system, and the remarkable WPA production of The Cradle Will Rock, about a steel strike - deal directly with the era's social and political concerns. When Bing Crosby records "Brother, Can You Spare a Dime," the doleful Broadway ballad takes the hit parade by surprise. The onset of World War II galvanizes the country, and America's troubadour, Irving Berlin, rallies the troops with "This Is the Army."

Oh, What a Beautiful Mornin' (1943-1960) - The new partnership of Richard Rodgers and Oscar Hammerstein II changes the face of Broadway forever, beginning with the record-breaking Oklahoma! in 1943, featuring a landmark ballet by Agnes De Mille. Carousel and South Pacific then set the standard for decades to come by pioneering a musical in which story is all-important. For challenging the country to confront its deep-seated racial bigotry, South Pacific wins the Pulitzer Prize. Irving Berlin triumphs again with Annie Get Your Gun, featuring Ethel Merman and the unofficial anthem of the American musical theater, "There's No Business Like Show Business." TV's "The Ed Sullivan Show" becomes the most important showcase for Broadway musicals. Yet with the death of Oscar Hammerstein II soon after the premiere of The Sound of Music in 1959, the curtain begins to lower on a golden age.

Repeat Broadcasts:

  • KQED Life: Sun, Oct 14, 2007 -- 9:00 PM
  • KQED Channel 9: Sun, Oct 14, 2007 -- 1:00 AM
  • KQED Life: Thu, Oct 11, 2007 -- 8:00 PM
  • KQED Life: Thu, Oct 11, 2007 -- 11:00 AM
  • KQED Life: Thu, Oct 11, 2007 -- 12:00 AM

Tradition (1957-1979)/Putting It Together (1980 - Present) (Episode #105H)

KQED 9: Wed, Oct 17, 2007 -- 9:00 PM

West Side Story not only brings untraditional subject matter to the musical stage, it ushers in a new breed of director/choreographer who insists on performers who can dance, sing and act. But by the time Jerome Robbins' last original musical, Fiddler on the Roof, closes after a record run of 3242 performances in 1972, the world of Broadway has changed forever.
Rock'n'Roll, civil rights and Vietnam usher in new talents, many trained by the retiring masters, taking musical theater in daring new directions with innovative productions like Hair, the first Broadway musical with an entire score of rock music. The adult narrative of Stephen Sondheim's Company plunges the musical into a new era. Hal Prince's conceptual staging showcases John Kander and Fred Ebb's dynamic score for Cabaret. Bob Fosse captures a sexuality and cynicism ahead of its time with Chicago, but it is director/choreographer Michael Bennett who spearheads the biggest blockbuster of all - A Chorus Line. "It totally changed the musical theater," says Shubert Organization chairman Gerald Schoenfeld. "It was a catalyst for the improvement of this area, and of course this area is now the most desirable area in New York."
With Sondheim's Sweeney Todd, the Broadway musical reaches unexpected new heights in style and material with a tale of slaughter and cannibalism set in 19th-century London. By the end of the 1970s, Broadway becomes the centerpiece of a remarkably successful public relations campaign that will lure tourists to New York for years to come.
The episode features interviews with actor Joel Grey, composer Marvin Hamlisch, actor Jerry Orbach, producer Hal Prince, writer Frank Rich, lyricist Stephen Sondheim, director Julie Taymor and actor Ben Vereen. Highlights include rare footage of Ethel Merman rehearsing for Gypsy and home movies from the original stage production of Chicago.

Repeat Broadcasts:

  • KQED 9: Sat, Oct 20, 2007 -- 11:00 PM
  • KQED 9: Fri, Oct 19, 2007 -- 10:00 PM

I Got Plenty O' Nuttin' (1930-1942)/Oh, What A Beautiful Mornin' (1943-1960) (Episode #103H)

KQED 9: Wed, Oct 10, 2007 -- 9:00 PM

The Great Depression proves to be a dynamic period of creative growth on Broadway, and a dichotomy in the musical theater emerges. Productions like Cole Porter's Anything Goes offer glamour and high times as an escape, while others - such as Of Thee I Sing, which satirizes the American political system, and the remarkable WPA production of The Cradle Will Rock, about a steel strike - deal directly with the era's social and political concerns. When Bing Crosby records "Brother, Can You Spare a Dime," the doleful Broadway ballad takes the hit parade by surprise. The onset of WWII galvanizes the country, and America's troubadour, Irving Berlin, rallies the troops with "This Is the Army."

Repeat Broadcasts:

  • KQED 9: Fri, Oct 12, 2007 -- 10:00 PM

Give My Regards to Broadway (1893-1927)/Syncopated City (1919-1933) (Episode #101W)

KQED Channel 9: Sun, Oct 7, 2007 -- 1:00 AM

Give My Regards to Broadway (1893-1927) - When Florenz Ziegfeld Jr. first hits New York in 1893, the intersection of Broadway and 42nd is nobody's idea of "the crossroads of the world." But by 1913, "The Ziegfeld Follies really were an amalgamation of everything that was happening in America, in New York, at that time," says writer Philip Furia. Ziegfeld's story introduces many of the era's key figures: Irving Berlin, a Russian immigrant who becomes the voice of assimilated America; entertainers, such as Jewish comedienne Fanny Brice and African-American Bert Williams, who become America's first "crossover" artists; and the brash Irish-American George M. Cohan, whose song-and-dance routines embody the energy of Broadway. This is also the story of the onset of a world war and the Red Summer of 1919, when labor unrest sweeps the nation - and Broadway.

Syncopated City (1919-1933) - Gossip columnist Walter Winchell gives Broadway a nickname that becomes synonymous with all of New York: "It is the Big Apple, the goal of all ambitions, the pot of gold at the end of a drab and somewhat colorless rainbow." With the advent of Prohibition and the Jazz Age, America convulses with energy and change, and nowhere is the riotous mix of classes and cultures more dramatically on display than Broadway. But as the Roaring Twenties come to a close, Broadway's Jazz Age suffers the one-two punch of the "talking picture" and the stock market crash, triggering a massive talent exodus to Hollywood and putting an end to Broadway's feverish expansion.

Repeat Broadcasts:

  • KQED Life: Sun, Oct 7, 2007 -- 9:00 PM

Give My Regards to Broadway (1893-1927)/Syncopated City (1919-1933) (Episode #101H)

KQED 9: Fri, Oct 5, 2007 -- 10:00 PM

When Florenz Ziegfeld Jr. first hits New York in 1893, the intersection of Broadway and 42nd is nobody's idea of "the crossroads of the world." But by 1913, "The Ziegfeld Follies really were an amalgamation of everything that was happening in America, in New York, at that time," says writer Philip Furia.
Ziegfeld's story introduces many of the era's key figures: Irving Berlin, a Russian immigrant who becomes the voice of assimilated America; entertainers, such as Jewish comedienne Fanny Brice and African-AmericanBert Williams, who become America's first "crossover" artists; and the brash Irish-American George M. Cohan, whose song-and-dance routines embody the energy of Broadway. This is also the story of the onset of a world war and the Red Summer of 1919, when labor unrest sweeps the nation - and Broadway.

Give My Regards to Broadway (1893-1927)/Syncopated City (1919-1933) (Episode #101W)

KQED Channel 9: Wed, Oct 3, 2007 -- 9:00 PM

Give My Regards to Broadway (1893-1927) - When Florenz Ziegfeld Jr. first hits New York in 1893, the intersection of Broadway and 42nd is nobody's idea of "the crossroads of the world." But by 1913, "The Ziegfeld Follies really were an amalgamation of everything that was happening in America, in New York, at that time," says writer Philip Furia. Ziegfeld's story introduces many of the era's key figures: Irving Berlin, a Russian immigrant who becomes the voice of assimilated America; entertainers, such as Jewish comedienne Fanny Brice and African-American Bert Williams, who become America's first "crossover" artists; and the brash Irish-American George M. Cohan, whose song-and-dance routines embody the energy of Broadway. This is also the story of the onset of a world war and the Red Summer of 1919, when labor unrest sweeps the nation - and Broadway.

Syncopated City (1919-1933) - Gossip columnist Walter Winchell gives Broadway a nickname that becomes synonymous with all of New York: "It is the Big Apple, the goal of all ambitions, the pot of gold at the end of a drab and somewhat colorless rainbow." With the advent of Prohibition and the Jazz Age, America convulses with energy and change, and nowhere is the riotous mix of classes and cultures more dramatically on display than Broadway. But as the Roaring Twenties come to a close, Broadway's Jazz Age suffers the one-two punch of the "talking picture" and the stock market crash, triggering a massive talent exodus to Hollywood and putting an end to Broadway's feverish expansion.

Repeat Broadcasts:

  • KQED Life: Sun, Oct 7, 2007 -- 9:00 PM
  • KQED Life: Thu, Oct 4, 2007 -- 8:00 PM
  • KQED Life: Thu, Oct 4, 2007 -- 11:00 AM
  • KQED Life: Thu, Oct 4, 2007 -- 12:00 AM

Give My Regards to Broadway (1893-1927)/Syncopated City (1919-1933) (Episode #101H)

KQED 9: Wed, Oct 3, 2007 -- 9:00 PM

When Florenz Ziegfeld Jr. first hits New York in 1893, the intersection of Broadway and 42nd is nobody's idea of "the crossroads of the world." But by 1913, "The Ziegfeld Follies really were an amalgamation of everything that was happening in America, in New York, at that time," says writer Philip Furia.
Ziegfeld's story introduces many of the era's key figures: Irving Berlin, a Russian immigrant who becomes the voice of assimilated America; entertainers, such as Jewish comedienne Fanny Brice and African-AmericanBert Williams, who become America's first "crossover" artists; and the brash Irish-American George M. Cohan, whose song-and-dance routines embody the energy of Broadway. This is also the story of the onset of a world war and the Red Summer of 1919, when labor unrest sweeps the nation - and Broadway.

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