1. Historical background & context
1.0 Introduction
The role of musicians in music theatre has undergone a dynamic evolution over time, reflecting shifts in artistic philosophies, cultural landscapes, and the interdisciplinary nature of performance arts. From traditional orchestral setups to contemporary experimental productions, musicians have experienced a transformation in their anticipated roles within the realm of music theatre. Examining how musicians' roles have evolved in music theatre provides valuable insights into the intersection of auditory and visual elements, as well as the trends influencing the current landscape and expected role of musicians.
1.1 The anticipated role of instrumental music in theatre
The role of music in theatre has undergone a fascinating evolution, with various periods and cultures influencing the development of this artistic genre (Goodwin, 2024). In the earliest formative period, illustrated by a Stone Age cave painting in France, early signs of ritual musical expression were observed. Greek theatre introduced chorus-sung music, while Roman musical theatre, influenced by Greek traditions, created a separation between amateur and professional. In China, a flourishing musical variety theatre culture developed during the Sung dynasty, while in Europe, the rise of medieval mystery plays and miracle plays demonstrated a continued relationship between music and theatre, although often limited to religious contexts. With the Renaissance and Baroque periods in Europe, new forms of musical theatre came to the forefront. Court ballets in France, such as those introduced by Catherine de Médicis, laid the foundation for classical ballet and French opera. In Spain, the zarzuela emerged, while in Italy, opera buffa, with its comedic and satirical elements, underwent a notable development. The subsequent classical period brought a fusion of theatre and music in the form of opéra-comique in France, where parody and satire took centre stage. This period also marked the rise of the opéra bouffe genre in response to the rivalry between French and Italian theatres. The influence of composers like Gluck on both opera and ballet was characteristic of this time. During the Romantic expansion in the 19th century, the practice of incidental music for plays spread across different countries, with unique developments in Russia, England, and France. Tchaikovsky's ballets, such as "Swan Lake" and "The Nutcracker," illustrated the artistic impact of music on the ballet genre. Operetta, as seen in the works of Gilbert and Sullivan, thrived in England, while the genre also found its way to America. The 20th century brought further innovation with the integration of ragtime and jazz into musical theatre. This period of experimentation and diversification led to contemporary religious rock musicals, forming an intriguing parallel with medieval mystery plays. This evolution demonstrates a cyclical pattern of renewal and reinterpretation in musical theatre throughout the centuries. The historical context serves as a backdrop for the growing attention to music theatre, with a specific focus on the increasing popularity of family performances in the contemporary cultural scene.
1.2 The dynamic evolution of instrumental music in theatre
The dynamic interplay between music and theatre is transformative and mainly driven by a combination of societal changes, cultural developments and a growing demand for more engagement and creativity. This has led to a changed landscape, with both creators and audiences discovering new opportunities for creativity and engagement. Historically, these performances adhered to a conventional and segmented approach, where music functioned as a supplementary element to the theatrical narrative—a point delved into in Chapter 2: ‘the issue of narrativity in music’. Instrumental music was traditionally employed to heighten emotional depth and atmosphere within these productions. However, in current times, there is more attention to which the role of instrumental music can extend, with family performances being a good opportunity, marking a significant shift in the traditional approach. This development goes hand in hand with a changing society. Until the 19th century, there was no clear distinction between adult and child, especially in terms of cultural experience. But for example the changed family dynamics, increased awareness of the importance of culture for children, diversification of cultural offerings, technological advances and the growing emphasis on inclusiveness and diversity, are consistent with the increased focus on family performances in the Netherlands during the latter half of the 20th century. The genre, tailored for families with children, has evolved over time, blending entertainment and education. While pinpointing the exact emergence of this genre is challenging, the 1980s and 1990s saw the establishment of more professional companies dedicated to youth and family theatre. Theatre group ‘Kwatta’, founded by Josee Hussaarts in 2002, exemplifies this trend, concentrating on crafting theatre productions tailored for children and families. While April 2023 marks the farewell of this youth group, developments in recent years have resulted in the first children's theatre week in October 2023. Other youth theatre companies such as Sonnevanck and Oostpool are also doing well and receiving state subsidies.
In the exploration of the evolving roles of musicians in contemporary music theatre, various professors provide insightful perspectives. Ryan Thomas Green is a modernist composer and orchestrator and has research interests in experimental music theatre and music psychology. Green discusses the challenge of assigning the correct job title to individuals in the theatre, especially musicians in music theatre. It highlights the blurred line between actors and musicians or performers in this context (Green, 2013). Falk Hübner is professor of Artistic Connective Practices at Fontys University of the Arts in Tilburg. With a background as composer, theatre maker, researcher and educator, he is active in a huge diversity of collaborations within and outside the arts. Hübner's paper emphasizes how musicians in contemporary music theatre can transition into performance artists based on the responsibilities assigned to them. For instance, giving musicians movement or choreography transforms them into performance artists, while removing their instrument requires them to act as performance artists. This distinction is emphasized, as non-musicians lack the training to convincingly perform these roles. In chapter 5 you can read about the Oorkaan Method who are specialized into these kinds of specific training for musicians.
The perception of music is intrinsically tied to its visual production, incorporating elements such as timbre, acoustics, and visual movements. Drawing from Butor and Burnoff (1968), stating that the sound heard is not equivalent to the visual production of sound. To fully understand music, you have to pay attention to the movements of the body that produces it. Moreover, all created or composed music needs a medium to be experienced by the listener. It further connects this idea to a previous article by Hübner, emphasizing that musicians in music theatre performances become theatre performers when integrated into the stage action. The incorporation of performing musicians into the stage action is noted as a common feature in many music theatre works.
Contemporary musical theatre further blurs the distinction between musicians and actors, creating spoken and named roles in the book. Musicians seamlessly shift between accompanying vocalists and contributing to the story's development. Practitioners challenging traditional notions bring about a fusion of roles—singer, dancer, musician, and actor—culminating in the emergence of performance artists.
Many theatre companies, embracing experimentation, are also exploring new forms without seating limitations. Novel music theatre pieces redefine the boundaries between space, performer, and spectator, inviting audiences to rediscover the childlike excitement of exploring the unknown and experiencing genuine adventure. Family performances, as a unique avenue, provide adults with an opportunity to relive the child's experience, allowing audience participation in the performers' dance, reinforcing the immersive nature of these productions.
1.3 Conclusion
In short, the evolution of the role of musicians in musical theatre spans centuries and reflects societal changes, cultural developments and artistic philosophies. This evolution reveals a cyclical pattern of renewal and reinterpretation in musical theatre over the centuries. According to Hübner, musicians have changed from serving, complementary roles to becoming integral performers based on the responsibilities assigned to them. As a result, according to Green, there are challenges in assigning appropriate job titles to musicians in musical theatre. This highlights the blurred line between actors and musicians in this context. This is particularly evident in the rise of family-oriented performances and youth theatre companies, where for the first time there is a clear distinction between adults and children in terms of cultural experiences. Contemporary musical theatre promotes this fusion of roles and invites audiences into immersive experiences that redefine traditional boundaries of space and spectatorship. This dynamic evolution underscores the enduring relevance and transformative power of music within the theatrical realm.