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Big River was performed at the Madison Civic Center in October. This play is a musical that depicts the lives of Huckleberry Finn and Jim the runaway slave. The music and lyrics are by Roger Miler, the book by William Hauptman, and it was based on the legendary novel by Mark Twain. Nancy Thurow, the artistic director, should be partially blamed for the inadequacy of the production. Her ineptitude was most apparent when observing all of the songs and stage movement. Some singers performed the songs in this musical. Each song served as a didactic element in the play by helping to develop the characters and move the story forward while keeping the audiences attention. A director can better exhibit his/her own personal style by taking advantage of the intrinsically revealing nature that a musical manifests.
The songs in a musical play similar roles to sound in a non-singing play. This relationship can be seen when analyzing how the use of songs affects the mood of the play. Just as directors use certain sounds to establish the mood of the dramatic action, they also use the different types of songs to convey what type of mood they are attempting to get across. For example, when Tom and the Boys are singing "The Boys" the audience gets a feeling of the wild and carefree nature of the gang of boys. When Jim and Huck sing "Muddy Waters", while on the raft, Jim's apprehension about being a runaway slave and his excitement to reunite his family is elucidated to the audience.
The rhythm of the play was also manipulated in a fashion similar to that of a non-musical production. This can be seen after analyzing how the pace of the action can be set using sound. The rhythm of the actors is much more ostensible in a musical because there is often dancing accompanying the music. The importance of pace is exemplified in such songs like "Do You Wanna Go To Heaven?," where there are many calculated movements and the choreography must be exact.
Songs in a musical also accomplish things that regular sounds in a play are not able to convey. For example, the most memorable songs tend to gel around kinds of character experiences that are specifically articulated by the lyrics in a song. The fact that the character employs the use of words to get his point across makes musicals intrinsically more descriptive than regular plays; the feel of the song provides us with a deeper understanding of what the character is attempting to convey.
It follows that use of music in a musical has some similarities and differences to sound in a play. I posit that there is more potential for the director to show his sense of style with a musical than a regular play for the reasons articulated earlier. It must be made clear, however, that this rendition of "Big River" was not a representative example of a well-made musical. The production's shittiness can be more logically dissected after close examination of the director's apparent inability to effectively express herself vicariously by using her own sound scheme under the open-minded umbrella that musicals provide.
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