The Birth of Broadway

Fantasy, romance, and spectacle have long been part of the Broadway musical theater experience. At the turn of the century, these were often supplied by European imports; an Austrian operetta by Franz Lehar, The Merry Widow, was the big Broadway hit of 1907. But in the first decades of the 20th century, Broadway came to rely less on imported material than on European immigrant composers who would write new shows specifically for American audiences. And increasingly, these composers and their American-born successors would turn to American subjects, depicted by more realistic means. Hence our sub-title, From European Fantasy to American Realism. Not that operetta was dead by any means; many of the biggest Broadway hits fit straight into the romantic tradition, and we'll visit some of them. But our main emphasis will be on shows that depict some aspect of contemporary America. While the classes will follow a rough chronological time-line from 1907 to 1970, each will explore a particular theme, such as the musical theater's handling of the sister arts opera and ballet, its obsession with show business itself, or the differences between stage and screen. For illustrations and more information, go to https://brunyate.com/BirthBroadway