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In this sense one can sing their way to utopia (Redmond). Musical numbers have an energy that is transformative, exuberant and liberating. In the musical the sheer idea of bursting into song because of a feeling is utopian. The musical is distanced from various modes of realism through its nature. In operating in such a way the musical has become synonymous with the concept of utopia. The musical is premised on the idea of freedom and breaking out of normal social conventions through song and dance (Chumo, 49). Singin’ in the Rain has a specific relationship to the musical genre’s convention of utopian visions. Secondly, although the film appears to be progressive in terms of its self-referential nature, it is actually only a small extension of the backstage musicals that dominated the genre in the 1930s and early 40s. Only ‘Make ‘em Laugh’ and ‘Moses Supposes’ were original songs, every other number had been seen at some point or another in the vault of previous MGM musicals (Feuer, 442). MGM hired screenwriters Betty Comden and Adolph Green to fashion a script around a selection of songs from the Freed era of MGM musicals.
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Rick Altman’s claim that “both intratextually and intertextually, the genre film uses the same material over and over again” (331) certainly applies to Singin’ in the Rain for more than one reason. In Singin’ in the Rain it is the fantastical elements that generate and reinforce the utopian society that the classical Hollywood musical affirms.
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Specifically Singin’ in the Rain, like many musicals, offers a vision of a utopian society, free from depression and misery. Within this self-reflexive and integrated musical many elements work to gain the heightened reality that convey the sense of joy and happiness. Singin’ in the Rain is such a film that conveys such a feeling of liberation and freedom. The relationship between the musical and the individual is quite worthy of note in the words of Leo Braudy, “The essence of the musical is the potential of the individual to free himself from inhibition at the same time he retains a sense of limit and propriety in the very form of the liberating dance” (140). Singin’ in the Rain is at Sadler’s Wells, London, until 5 September.The musical is a magical genre, often noted for transcending reality and generating bliss and delight in contrast to mundane life (Redmond). There is easy enjoyment, if not tonight the alchemical X-factor.
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The stand-out singer is actually Sam Lips and his buttery smooth croon on Beautiful Girl.Ĭhurch has chosen not to mess too much with one of the greatest movie musicals of all time but there could be an advantage in tightening it up for the stage, shrinking the space between big numbers, dropping a few jokes – although the re-creations of stilted silent films are very amusing, and Andrew Wright’s choreography fills the stage with life and colour in Act II’s ballets. Clifton has a lovely voice, too, although it’s not (yet) as megawatt as his dancing. Kevin Clifton (from Strictly) plays Don’s sidekick Cosmo Brown, probably the hardest-working person on stage, delivering the goofball slapstick of a number like Make ’Em Laugh – without quite the mania of the movie’s Donald O’Connor. Tozer is excellent as the deluded diva, consistently funny and surprisingly sympathetic in the brief, poignant moment when her self-worth wobbles. Cooper’s singing and acting, however, have matured over the years to make him a convincing all-rounder as silent movie star Lockwood, navigating the move into talkies somewhat better than glamorous Lina Lamont (Faye Tozer from Steps), whose mangled vowels have to be dubbed by sparky actress and love interest Kathy Selden (the very polished Charlotte Gooch). At 50, he’s mellowed, and his dancing has less vigour, which is fitting for this gentle show if not quite as thrilling. A former star of the Royal Ballet and Matthew Bourne’s male-chorus Swan Lake, he was a dancer with edge and bristling sex appeal. Photograph: Manuel HarlanĪdam Cooper has played leading man Don Lockwood (the Gene Kelly role) since the start.