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make-friends-with-the-rats · 4 months ago

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can i hear more about why you think the bowery beauties were brought in "to retain vaudeville/burlesque elements while desexualizing Medda?" :0

But of course!

Allow me to set the stage...

Vaudeville and burlesque were both popular forms of variety shows in the 19th century. The first vaudeville show in America can be traced to 1816. A vaudeville show might have acts ranging from singing and comedy to acrobatics and ventriloquism [source]. Burlesque was introduced to theaters in New York as early as the 1840s and often were composed of comedic skits, satire, songs, and women dancers in rather provocative costumes [source].

As I touched upon in my previous post, Medda Larkin, in her stage musical iteration, is inspired by the vaudeville star Aida Overton Walker.

Born in 1880, Aida Overton Walker was arguably the most famous and influential African-American star of her generation. She was as progressive as she was talented. She refused to conform with black stereotypes on the stage and devoted much work to helping young African-American artists [source]. With her as inspiration, Medda becomes bold, comedic, and confident, every bit the vaudeville star.

As a result, in nearly every Newsies the Musical character description or script you can find, Medda is described as a vaudeville performer. But before the rewrite, this wasn't strictly the case. Of course, Newsies is a Disney musical at the end of the day, so you would never have found an overtly burlesque performer in the story. But in the original movie, the line between vaudeville and burlesque is blurred.

What I mean, to put it plainly, is that Medda Larkson in the film was sexualized. (The actress Ann-Margaret herself had been a popular pin-up star in the 1960s and 70s.) Although she is portrayed as a caring adult figure and a successful actress, several characters all but drool over her and we hear catcalls in the background of both of her songs. Not to mention her first song, My Lovey-Dovey Baby is very suggestive. The overall atmosphere that is created around Medda in the film is highly reminiscent of burlesque rather than purely vaudeville.

In the musical adaptation, that burlesque energy is redirected away from Medda and towards the Bowery Beauties. This is particularly obvious in the way the song Don't Come a-Knocking was presented in the Broadway show/proshot in comparison to Medda's solo, That's Rich. While Medda commands the stage with confidence and comedy, the Bowery Beauties are shown obscured behind a male audience or are viewed literally from the male gaze.

The Newsies musical adaption took Medda Larkson and created a separation between the vaudeville and the burlesque. Or: it made Medda purely a vaudeville actress and created the Bowery Beauties. In doing so, Medda was desexualized. There are two major reasons for this. First, because of the vaudeville inspiration taken from Aida Overton Walker herself. And second, to have Medda be portrayed as a more maternal figure.

But should Medda have been completely un-burlesqued? Here's the part where I take advantage of this ask to yap about something you didn't ask for. Enjoy!

While burlesque shows did tend to attract a largely male audience, there is another aspect of burlesque that is largely overlooked.

Burlesque and vaudeville not only gave women a chance to join the stage, but gave them the freedom to be loud and self-aware when society called for women to be soft-spoken and modest. But burlesque took it a step further in the costumes female performers wore. Not only were the costumes in direct contrast (and perhaps defiance) to the Victorian image of a woman...

"A woman onstage, displaying her body, speaking freely, and challenging her audience, was a strange and shocking sight in the nineteenth century, when female performers of any kind were still conventionally equated with prostitutes." [source <- highly recommend checking this one out]

Burlesque performances at it's best gave women a unique outlet for self expression as well as confidence in her body. It was much more forward thinking and feminist than you might think.

"Men loved to watch burlesque performers, but at the same time, they were afraid that her feminine power was too dynamic to stay safely confined to the stage." [source <- same as above, literally such an interesting read]

Now, keeping this perspective in mind, the original Newsies film had the right idea in giving Medda more burlesque elements, they were just going about it wrong. And rather than fixing the problem of sexualization with a complete separation between Medda and the Bowery Beauties, Medda and the Bowery Beauties should be building off of each other.

Personally, I think that Newsies UK did it best. In the West End production of Newsies, there isn't much difference between Medda and the Bowery Beauties. They share the same costume and they share the stage during That's Rich. Medda is still commanding the audience, but the addition of the Bowery Beauties here lends new meaning. Medda has remained the vaudeville star, but the Bowery Beauties have broken out of the male gaze and joined Medda in challenging 19th century society.

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somedayonbroadway · 4 years ago

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Have you ever done oe thought about a Bandstand AU? Because I'm now obsessed.

Okay, so I was obsessed with Bandstand for a good six months after they performed at the Tonys. Kid you not, it was the only thing I listened to. For six months straight. And it still hasn’t gotten old.

Quick rant:

Corey Cott deserves a Tony.

Laura Osnes deserves a Tony.

The show deserved to at least be nominated for best musical, if not win the whole thing.

Dear Evan Hansen is great.

But it is nothing compared to Bandstand.

(Also, DEH won best orchestrations against Great Comet… like… what? Did the judges even see that show? DEH had like… a violin, a piano and a couple guitars. It hardly had orchestrations. Great Comet is a ****ing masterpiece of complex, insane music.)

End rant.

Anyways.

Bandstand AU

Characters

Jack Kelly — Donny Novitski (Piano)

Katherine Plumber — Julia Trojan (Singer)

David Jacobs — Wayne Wright (trombone)

Spot Conlon — Davy Zlatic (bass)

Racetrack Higgins — Jimmy Campbell (saxophone)

Crutchie Morris — Johny Simpson (drums)

Albert DaSilva — Nick Radel (trumpet)

Joseph Pulitzer — June Adams

Medda Larkin — Oliver

Bryan Denton — Jo

Specs — Michael “Rubber” Trojan

Okay, so…

Newly back home, Jack Kelly is having difficulty adjusting to life after the war. After losing his best friend from friendly fire, he’s guilt ridden. The minute Jack gets home, he’s bombarded with propaganda that everything would go back to the way it was before. He doesn’t believe that as he is now jobless, is struggling for money, is struggling hard with insomnia and PTSD.

As a composer, vocalist, accordion player and pianist, Jack begins to go to old clubs he used to perform at, only to find he’d been easily replaced. Finding an old friend, Medda, for whom he’d worked with before, he manages to secure gigs at weddings, getting slim money, just enough to eat and pay rent.

After a few weeks, he finds himself slowly losing it. He hears stories of soldiers’ funerals. Those guys came back fine a while ago.

They needed a way to make it stop.

Jack is on the verge of a breakdown. He can’t go a night without a drink. He can’t stop thinking about the war. About Specs.

He can’t get it out of his head.

He’s a genius and he knows it. He’s been musically inclined his whole life. He started playing when he was seven and he started composing when he was nine. And here he is, fifteen years later, still playing weddings. No one’s giving him a job. No one seems to care that he’s struggling or needs to play because if he can’t play, there’s nothing left for him.

But he hears about a contest on the radio. A contest for a swing band to compete in a contest as a tribute to the troops just back from the war.

In a moment of clarity, Jack decides that he’s going to put together a band made up of his fellow vets to shoot for fame and fortune, to show the vets that made it home that there’s hope for them.

So he takes a name that he remembers his best friend mentioned at one time, and he goes out to find a man about to play a gig at a club named Antonio Higgins who Specs had used to call Racer. Racer is a sax player, now studying to be a lawyer. While Race does try to send him away, he realizes that he might need this as much as Jack did and once he finds out that Specs is dead, he can’t say no. He’s doing this for Specs.

Race leads him to find more musicians who served. Spot, David, Crutchie and Albert.

Race doesn’t trust anyone.

Spot is an alcoholic, cracking jokes to get through the day as best he can.

David is OCD. He has clear schedules and plans out every minute of his day.

Albert is a control freak. He’s constantly irritated and just wants everything to be done the right way and for things to work out.

Crutchie lost a leg in the war as well as receiving brain damage in an accident that sent his vehicle flipping three times while he was in the war

Not all of them get along at first. But, for the sack of all of the vets that are losing hope in a post war world where there’s no place for them, they keep it together.

They get through their first gig together. All is well for about two minutes as Race tells Jack he’s glad he decided to play with him and Spot jokes around with Crutchie after Crutchie tells the guys about his meds and how they slow him down, asking him how much slower he can get without being put in reverse. Crutchie is very slow and goofy most of the time, unable to truly remember the events that occurred overseas, but he is a monster on drums. He doesn’t mind the jokes, in fact, he takes a liking to Spot.

It’s after this that Jack tells Albert he needs to come down off the ceiling while playing his solo, claiming that it’s selfish and out of line. Albert argues with him, sparking a bit of tension between the rest of the group. Albert then announced he has a chance to play with Dwight Anson Orchestra. Davey explains that Jack needs to work around his schedule. Albert says that they need to get paid.

Jack shoots back that the gigs they get are where and when they are going to play and he promises to try and give more of an advance in the future.

Once the others leave, Spot with Crutchie, trying to joke with him as he’s taken a liking to the youngest kid of the group, Race approaches Jack and tries to gently explain to him that he needs to learn how to talk to people if he’s gonna be a band leader. This sparks a small argument, almost leading to Race giving up and leaving, only resulting in Jack admitting that he has to do this for Specs.

He explains that Specs’s death was friendly fire and that he’d promised Specs should anything happen to him, he’d check in on his wife. Race advises Jack not to tell Specs’s wife how he died and tells him not to go to trial unless he was prepared to lose. Then he leaves, promising to see Jack for their next gig on Sunday.

So Jack goes to talk to Specs’s wife.

Katherine Plumber.

He knocks on the door before chickening out and turning to leave.

But he’s not quite fast enough.

Katherine laughs at him, accusing him of being too old for ding dong ditch. Jack laughs and shyly walks back, introducing himself as Spencer’s friend. Katherine’s smile fades and she asks him more questions, resulting in Jack telling her he has some pictures that might be of interest to her. Katherine invites him over for dinner.

Explaining to her father the situation, Joseph Pulitzer (yes, he’s very nice in this one. Deal with it.) he agrees to the dinner, telling Katherine that they won’t be great hosts. He tells Katherine to be careful and not to pry, that if Jack wants to tell her more information about Specs, he would.

So Katherine tries to respect the boundaries.

Katherine explains to her father that she feels selfish because sometimes she wishes she could be the same person she was before and that she doesn’t want to be defined as a Gold Star Wife. She used to have a life and she used to be somebody.

She pulls herself together when the knock on the door comes.

Joe welcomes Jack inside and Jack thanks him for his kindness while Katherine jokes that he works hard at being nice and explains that her mother is away visiting her grandparents.

While getting to know each other a little, Jack learns that Katherine can sing but she only sings a church and jokes that if he wanted to hear her sing, he’d have to go to a service. Katherine learns that Jack lost his parents when he was very young and has fended for himself ever since.

Eventually, they get around to looking at the pictures Jack brought. He tries to make the memories light.

But Katherine can’t help but ask if Jack was there when he’d died.

Jack tells her yes.

And Katherine can’t take it. So she excuses herself before dinner has even begun, leaving Jack and Joe to have dinner alone.

That Sunday, Jack finds himself at church, watching Katherine sing beautifully in front of an entire gathering of people.

He catches her afterwards, asking why she didn’t tell him that she got to perform the big finale. He then asks her if she’d like to see him and his band play that night, eventually convincing her that it might be fun.

Joe encourages her to go, telling her that she hasn’t been out since her husband had died. So she goes.

After watching their set, Katherine is surprised to be invited up onstage to sing a standard. She’s incredibly nervous, forgetting the bridge of the song but finishing strong with some encouragement from Jack. She meets the boys. She takes a liking to all of them, telling Davey that his family should be proud, joking along with Spot, immediately wanting to protect Crutchie, much like Spot does.

Jack tells them that he wants to win for the guys who got nothing.

Katherine asks him if he means Specs. And he tries to take it back but she runs off, upset. And Racer tells the guys that she has every right to be a part of this band as she lost her husband in the war. The guys tell Jack that he should try to get Katherine to sing with them.

So he goes to her work the next day. She tries to send him away, claiming she doesn’t need to be saved. Jack counters. “What if I do?” And then he sings her First Steps First before inviting her to rehearsal that night walking away. Katherine tells him on his way out that she’ll be there, on the condition that Jack tells her more about Specs.

At rehearsal, things are a little tense. Katherine quickly finds that Race tries his best to stay out of confrontation, David is constantly questioning Jack’s harmonies and chord progressions, Spot is always drunk, Crutchie is often confused, and Albert is hard to rely on. Katherine loosens up the tension as much as she can, learning the music and getting to know all the boys. She loves talking to Crutchie. She constantly takes Spot’s drinks from his hands and offers him coffee and water. She tries to get Race to open up and Davey to loosen up, while also somehow getting on Albert’s good side.

She finds that once they’re all playing together, things seem a little easier, like they all get along and work well together.

They play at a club in town called Medda’s, playing a song Jack hopes to be a winning song called “You Deserve It”. It’s snappy and catchy and all the boys really enjoy it. After this, Medda asks the band to play the next night and Jack and Kath celebrate with drinks.

Jack then asks Katherine if she’d be willing to take on a stage name, Kathy Pulitzer, saying it had a better ring to it than Katherine Plumber. Katherine doesn’t like this and leaves, unable to handle the idea of losing another part of Specs.

Jack follows her, apologizing after Katherine breaks, crying about how she’ll never see her husband’s body or get to say goodbye.

Jack promises to give her answers if she comes back to the band. So they go tell the guys they have another gig.

The next night, after escorting a very drunk Spot home, Jack expresses his worries that Spot will be wasted on the night of the competition to which Albert replies he has bigger problems and reveals he’d been rehearsing with Dwight Anson and thinks they might have a better song. He leaves, telling Jack he’d be playing with the band that had the better song.

Jack walks Katherine home, angry and scared and exhausted knowing he can’t sleep. He tells Katherine that if it were Specs, he’d be saying how they’d be winning this thing, on their way to New York in some Pullman cars, living the dream.

Katherine shows Jack a poem she’d written that makes Jack feel better. After promising — mostly — not to tease, Jack asks Katherine if he can look through more of her poems. Reluctantly, Katherine agrees.

The next day, Jack returns Katherine’s book with a new song, word for word lyrics to one of Katherine’s poems. He explains that this is the song they need to win. Katherine is hesitant but agrees to sing it.

Going to the contest, the band wins easily, hitting the judges hard with a song with a true story and one that many were too scared to tell.

Ecstatic, the band has a moment of victory before reality sets in.

They’re told that no one is paying for them to get to New York. They’re responsible for travel and getting there doesn’t guarantee them a spot on the broadcast. Jack and Race try to argue, telling them that they have to help them get there because everyone just heard them win, to which one of the producers replies that hardly anyone was listening.

And if no one saw it, it never happened.

(That moment gets me every ****ing time. The lights go out and a spotlight hits every single one of the boys. It hurts so bad.)

Their arguments get nowhere. And they’re left with this crippling news.

Jack falls to the ground in mental and emotional agony. The guys are arguing and getting worked up but Katherine is holding onto Jack, trying to make sure he’s alright.

Jack finally stands and tells them that they’re going to that contest. They have to make it there anyway they can and they’ll take every gig they can get because they have a right to respect.

And all the guys agree.

They’re done fighting for their country. It’s time to fight for themselves.

They take every gig offered to them, writing new songs and winning the hearts of their hometown (Cleveland). They even write a song about their hometown. Everyone adores it.

Jack and Katherine are closer than ever, Jack telling Katherine all the stories about Specs he can remember. He tells her one of his favorite memories of Specs which was when they were playing with some other cats in the army. Specs was playing the drums so fast, telling everyone to go faster and faster until finally he looked at Jack and just told him to sing. And Jack did. It was less of a song than a battle call.

When they write their new song, they begin to perform it everywhere they can as their town loves the song that’s all about them. While they do this, a certain club owner overheard the band talking about making enough money to get to New York. And Miss Medda hatches a scheme.

She asks the band to play more often for more pay and gets the rest of the town in on the game. Jack doesn’t realize what she’s doing.

Davey admits to Albert that his wife kicked him out. Albert offers up his home, igniting the first selfless act any of the others had ever seen from him.

Katherine tried to get Spot to give up the bottle. He refuses.

Spot starts massaging Crutchie’s back every now and then to help him relax and make him feel better after his injury.

In the midst of all of this, Katherine explains to Jack that she has to quit her job in order to make sure she could be at the contest. She says she’d be taking all the overtime and lipsticks as she could before then. She tells Jack how she lied about her mother being away to visit family and how she walked out on her and her father years ago.

And she says she wants to know what happens to Specs.

Unable to keep dodging the question, Jack breaks. He loses it, telling her that she couldn't understand. He’s crying as he recounts every detail in his brain, telling her how it happened, how it was his fault that his best friend was dead.

And Katherine runs away from him, horrified at what she’d just heard.

She doesn’t show up to the gig the next night.

Jack confides in Race who tells him that he’s letting this girl slip away from him. Jack tries to joke about Race not chasing after any pretty girls even though he has plenty of girls lining up to get a kiss from him after shows. Race says that he thought a smart guy like Jack would’ve had him figured out already.

Race lost his partner in the war.

Suddenly, things make a lot more sense.

Katherine stays home with her father, sobbing, explaining that it was Jack’s fault her husband was dead. But Pulitzer tells her that there aren’t reasons for what happens. Everything just happens. He tells her the only thing that matters is what she does next.

Katherine writes a poem and shows it to Jack the next day, apologizing even though Jack says she has nothing to apologize for. She says the same thing goes to him. She explains that she doesn’t know and cannot understand what happened in the frontlines. And this poem was for Jack and the boys.

Jack sets it to music knowing this song is too real and genuine to be played for an audience. So they change the lyrics.

This is the song Katherine would have sung if Specs had come home.

After performing this song for the first at Medda’s, Jack stands up to tell the audience that they won’t make it to New York, getting emotional and telling them that he was no hero and that the wrong guy made it home from the war. Medda stops him and explains to him he doesn’t need NBC when he has Cleveland. She hands him seven tickets to the Cleveland Limited. Pullman Cars. First class.

Jack literally breaks into tears and hugs Medda as tightly as he possibly can.

The band’s going to New York.

Jack gears up the guys for a successful contest while being awestruck and exploring New York City. Jack walks Katherine back to her room after a night exploring. They stop themselves from going into her room together after they both admit there’s more than just friendship between them.

They part ways that night, promising to see each other in the morning.

The next day, they go through preliminaries and are told they’ll be on the broadcast. Jack and Katherine sign the contract and the whole band celebrates until the next night when no one can seem to find Racer.

When Race arrives, two minutes before they’re on, he explains that Jack and Katherine signed away the rights to their own song and would be no more than walk ons if they won.

This just about breaks Jack.

Spot suggests leaving. The rest of the guys agree.

But Jack asks Katherine if she remembers all the original lyrics to Welcome Home, the poem she’d written for her boys.

She says yes.

And they know what they have to do for the soldiers out there to know they’re not alone.

They get on stage and they blow it up.

Crutchie starts the drums. Jack tells him to go faster. Faster. Faster.

Then he looks at Katherine. And he tells her to sing.

Charlie made it home.

Most of him at least .

Had three operations,

But the pain has not decreased .

Al learned to survive.

Means you never trust .

Once you see the worst in man,

Then how do you adjust?

Sean, he cracks a joke.

Claims to be alright .

Drinks a fifth of vodka

In his kitchen every night

And I stand here trying

Like mother Mary

With my private burden

Of grief to carry

Welcome home my boys

Welcome home my sons

Welcome home my husband

Welcome home my love

Welcome home

David’s never free.

Schedules out his day.

Filling every minute

Just to keep the ghosts away .

He could never get

Back the life he had .

Faced with raising kids

Who did not recognize their dad .

Tony made it back to town

Four months ago

Lives to tell the things

No one could bear to know

Keeps his guard up now

A lot goes undiscussed

Focuses on fighting

What he finds unjust

Welcome home my boys

Welcome home my sons

Welcome home my husband

Welcome home my love

Welcome home

Jack, he does his best,

Trying to pretend

What he doesn't talk about

Won't matter in the end

Jack, he made it home

But thinks it wasn't fair

How he made it out

But left his buddy there

Jack, he doesn't sleep

Because the nightmares come

Jack looks for an answer,

Jack, he looks for absolution,

And I'd give up anything

If I could give him some

And I stand here helpless

My arms extended

Knowing full well, darling,

Your war's not ended

Welcome home

Welcome home my husband

Welcome home my love

Welcome home

Welcome home my boys

Welcome home my sons

Welcome home my husband

Welcome home my love

Welcome home

It’s the most honest performance these men have ever given.

Months later, Jack and the band walk out of a movie theatre, joking about how good Dwight Anson Orchestra looked while Sinatra sang their song.

And some girls run up to them, asking for an autograph.

Jack gives them one, telling them to bring their father who served backstage at their next concert.

And then they leave.

They have a gig to get to.

What do you guys think? Wanna see any specific scenes?

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