{"id":3150,"date":"2022-11-02T09:50:25","date_gmt":"2022-11-02T09:50:25","guid":{"rendered":"https:\/\/soc.hamiltonlits.org\/sharingsociology\/?p=3150"},"modified":"2022-12-08T16:47:56","modified_gmt":"2022-12-08T21:47:56","slug":"broadway-revivals-whats-really-revived","status":"publish","type":"post","link":"https:\/\/soc.hamiltonlits.org\/sharingsociology\/fall-2022\/broadway-revivals-whats-really-revived\/","title":{"rendered":"Broadway Revivals: What’s Really Revived?"},"content":{"rendered":"\n
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It\u2019s no secret that Broadway has long been rooted in a culture of sexism. Many beloved musicals contain sexist lyrics. \u201cWhy can\u2019t a woman be more like a man?\u201d from My Fair Lady <\/em>is a classic case in point along with others depicted above. Plots often center around the typically aesthetic transformation of a woman to achieve the acceptance of a man. <\/p>\n\n\n\n

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Pretty Woman <\/em>2018 Broadway production<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

While Broadway has been making strides to be more inclusive, it consists of many revivals, or reproductions of old shows, which contain the same sexist messaging. These revivals have recently prompted popular debate as to if the shows should be altered, or if they should be revived at all.<\/p>\n\n\n\n

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My Fair Lady <\/em>1956 Broadway production<\/figcaption><\/figure>\n\n\n\n
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My Fair Lady <\/em>2018 Broadway production<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

\u201cA World of Men\u201d – The Sound of Music<\/em><\/strong><\/h2>\n\n\n\n

Theatre is created by men. During the 2016-2017 Broadway season, only six productions out of approximately thirty in total were directed by women (Playbill 2017). With so many men on the creative side of the theatrical process, it\u2019s no wonder that authentic female characters are so rarely represented. Composer and lyricist Georgia Stitt remarks upon \u201cthe real scarcity of women on the creative teams\u201d of the current revivals of shows \u201cwhere women have no agency (Sheppard 2022).\u201d Just a coincidence? Not quite. <\/p>\n\n\n\n

The most common piece of advice writers receive is \u201cwrite what you know.\u201d Writers are encouraged to draw from their personal experiences as inspiration for their work. Imitation is key: in their work, writers incorporate the same types of interactions and feelings towards others that they feel and believe in themselves (Wilshire 1984). Ideally, this allows the audience to understand and relate to the interactions between characters because they are watching that with which they are familiar. So when men use their own perspective to create a show, they impress their view of men and women upon its stories and characters. As individuals who benefit from the patriarchy and who cannot identify with those being discriminated against, men are more prone to taking a sexist view.<\/p>\n\n\n\n

\u201cWe\u2019ve Got Foibles and Fables to Portray\u201d – Pippin<\/em><\/strong><\/h2>\n\n\n\n

So what effect are these revivals having on audiences today? Music has the unique ability to communicate the identity and the emotions of the characters in the story in a way that affects the audience like nothing else (Roy and Dowd 2010). Therefore, subconsciously, the audience internalizes the messages sent by the musical and shapes their perception of reality. For example, repeated exposure to power dynamics in which men are the attackers and women are the victims reinforces the subordination of women to the audience (Bussey and Bandura 1999). So when the lead in \u201cCarousel\u201dtells her daughter that \u201cIt is possible dear, for someone to hit you, hit you hard, and it not hurt at all\u201d or a singing Nazi in \u201cThe Sound of Music\u201d tells a girl only a year younger that she is completely unprepared for the world to which she responds \u201cI need someone\u2026 telling me what to do,\u201d the audience\u2019s perceptions of gender are being shaped. Composer Georgia Stitt asks \u201cAre these the shows I\u2019m going to take my 12-year-old daughter to?\u201d (Sheppard 2022).<\/p>\n\n\n\n

\u201cIt\u2019s the Little Things\u201d – Company<\/em><\/strong><\/h2>\n\n\n\n

Not all revivals reproduce the original show lyric for lyric. Aware of the outdated language and stereotypes, some seek to alter the original text. In the 2021 revival of \u201cCompany,\u201d for example, one simple alteration is made to great effect. The lead character,  a \u201ctypical male bachelor,\u201d is changed into a woman, in an effort by director Marrianne Elliot to actively confront her audience\u2019s notions of gender stereotypes. Critic Walter Kerr wrote that in doing so, \u201cCompany\u201d stares modern \u201csociety straight in the eye before spitting in it (Rubel 2021).\u201d This demonstrates how some shows can purposefully set out to socially impact their audience by subverting assumptions about gender roles\u201d (Rubel 2021). By changing the gender of the protagonist, Elliot allowed for the brilliant music to live on while deliberately making strides towards gender equality. <\/p>\n\n\n\n

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Company <\/em>1970 Broadway production<\/figcaption><\/figure>\n\n\n\n
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Company <\/em>1995 Broadway production<\/figcaption><\/figure>\n\n\n\n
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Company <\/em>2021 Broadway production<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Sources<\/h2>\n\n\n\n

Bussey, Kay and Albert Bandura. 1999. \u201cSocial Cognitive Theory of Gender Development and Differentiation.\u201d Psychological Review<\/em> 106(4):676\u2013713. <\/p>\n\n\n\n

Sheppard, W. Anthony. 2022. Sondheim in Our Time and His<\/em>. New York, NY: Oxford University Press. <\/p>\n\n\n\n

Playbill 2016. Why Broadway Has Too Few Female Directors- and Why It Needs More.\u201d New York City, New York: Playbill. Retrieved October 10, 2022 (https:\/\/playbill.com\/article\/why-broadway-has-too-few-female-directorsand-why-it-needs-more).<\/p>\n\n\n\n

Roy, William G., and Timothy J. Dowd. 2010. \u201cWhat Is Sociological about Music?\u201d Annual Review of Sociology 36(1):183\u2013203.<\/p>\n\n\n\n

Rubel, Jeffrey. 2022. \u201c\u2018You Never Need an Analyst with Bobby Around\u2019: The Mid-20th-Century Human Sciences in Sondheim and Furth’s Musical.\u201d History of the Human Sciences<\/em> 35(3-4):168-192.<\/p>\n\n\n\n

Wilshire, Bruce. 1984. \u201cRole Playing and Identity: The Limits of Theatre as a Metaphor.\u201d American Journal of Sociology<\/em> 89(6): 1476-78.<\/p>\n\n\n\n

<\/figure>\n","protected":false},"excerpt":{"rendered":"

It\u2019s no secret that Broadway has long been rooted in a culture of sexism. Many beloved musicals contain sexist lyrics. \u201cWhy can\u2019t a woman be more like a man?\u201d from My Fair Lady is a classic case in point along with others depicted above. Plots often center around the typically aesthetic transformation of a woman […]<\/p>\n","protected":false},"author":165,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"footnotes":""},"categories":[184],"tags":[],"class_list":["post-3150","post","type-post","status-publish","format-standard","hentry","category-fall-2022"],"yoast_head":"\nBroadway Revivals: What's Really Revived? - Sharing Sociology<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/soc.hamiltonlits.org\/sharingsociology\/fall-2022\/broadway-revivals-whats-really-revived\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Broadway Revivals: What's Really Revived? - Sharing Sociology\" \/>\n<meta property=\"og:description\" content=\"It\u2019s no secret that Broadway has long been rooted in a culture of sexism. 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