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Alter, Alexandra. "To Kill a Mockingbird Is Headed to Broadway." Theater.

February 10
2016.Web. <>.

This article I found in the New York Times is a potential source that I can put
towards the end of my paper. Because this article discusses the future of this
upcoming play and how its going to be adapted into a Broadway production, I am
planning on correlating it to the future of Broadway in general. Broadway will
continue to revive and bring shows that contain plots we are used to. With the
help of this source I will explore why this is the Broadway phenomenon. Is it
because digital media threatens the producers? Or are playwrights, the backbone
of this community, simply out of ideas? This source relates to the other sources
because it does speak of an adaptation like many of the other sources do. I find it
incredibly interesting that To Kill A Mockingbird, a classic, will be hitting the
Broadway stage soon! The New York Times is a credible source and that is why I
plan on incorporating its resources.
Bossard, Adele. ""Les Misrables" does not rise above the musical.." New York Thetre
Wire.Web. <>.

The theatrical production of Les Miserables is a very popular one. When the show
hit the big screen a few Christmass ago it was ultimately compared to the original
production. This article highlights the flaws that people feel that movie musicals
contain. Although this article is bias, I plan on comparing it to another source on
why movie musicals are great. This will balance it out. Therefore, this source
relates to the Into the Woods article I speak about shortly. New York Theatre Wire
is a highly recommended performing arts database, which deals with credible
sources. The article speaks about the lack of historical background that the movie
depicts. This resource also fits in to my paper because I will talk about actors who
have hit both the stage and screen and why they jump back and forth. In the
movie version, Hugh Jackman plays Jean Valjean, but this professional actor
doesnt limit himself to film. In a revival of the musical Oklahoma! Hugh
Jackman stars as Curly McLain. While performing in Oklahoma in 1998, Jackman
took a leave to star in the X-Men movie. Instead of finding a replacement, the
producers discontinued the show and waited for him to come back. They knew he
was a star and didnt want to risk not having him. In this case, media trumps
Broadway. Jackman later performed in the film version of the musical as well.
Branch, Jessica. "Broadway Etiquette: 8 Things Every Theatergoer Should Know
Did you know that Broadway theaters have age requirements? Or that your seat
assignment can help determine when you should arrive? Here are the rules
everyone should follow." Connected to Everything. 2016.Web.

I am planning to use this source to bring up the conversation of why people prefer
seeing a movie or watching Netflix, rather than attending a Broadway production.
This article informs us on Broadways etiquette, which could possible lead us to
our answer. Because there is an age restriction for theatrical productions, is that
why people prefer not to go? This article will help me explore that. There are
many rules because live theater is, for a lack of better words, live! If a phone goes
off or a kid stands up and runs onstage, than the show has changed its course. If
this were to happen in a movie theater, yeah the movie-goers might be mad, but
the movie will continue to run. It doesnt relate to the other sources because this
will introduce a new topic in my paper. It will sort of act like an intermission. It
will indirectly relate to my research topic and explore many peoples reasonings
for their love of digital media.
Calderazzo, Diana. "Book Reviews: "through the Screen Door: What Happened to the
Broadway Musical when it Went to Hollywood"." Theatre Journal 58.4 (2006): 715-6.

Differing from The Future of Theater resource, this book review explains what
has happened, the problems that were faces, and the issues going on currently. It
does speak about screen stars verses stage stars, but it also discusses that the
musical evolves and if it is an art form. It also briefly speaks about adaptations.
The detail that it lacks is, significant critical or theoretical analysis of the stageto-screen phenomenon (Calderazzo). This source relates a little bit to all of the
other ones. It talks about the communities problems, the stars, and the movie to
screen, screen to movie sensation. Although it doesnt specifically talk about
digital media, it does talk about the adaptations and the idea of the screen door. I
am interested in exploring the authors thoughts and maybe even exploring the
actual book more. It can offer a lot on the Broadway community. It also briefly
discusses the changing of Theaters name to match those of large corporations. I
think thats worth exploring? Do they have to make more money? Is Broadway
not making enough because o film? My exploration will all go hand and hand.
Genzlinger, Neil. "Not the Movies, but Real Theater
Putting On a Show at the Tonys." New York Times. 6/9 2016.Web. <>.

This article, written by Neil Genzlinger, explores the topic of Broadway,

specifically the Tony Awards, and how the stage offers something that film
doesnt have. He speaks about the devotion that a actor needs to have and how
their hard work doesnt compare to the movies at all. During the ceremony, the
community tries to make it seem like the audience is watching a movie, but the
live element takes away from the vision. The performers then understand that its
okay to be different. This citation is suitable for my research paper because it
discusses the difference between the two communities and that you cant always

receive the same thing from a movie. A theatre production is live and therefore
will always have surprises. A suspenseful movie is not the same as a suspenseful
theatrical production. The movie will always play the same way. A play can be
ever-changing depending on the audience, the actors, and the energy between
them. This idea is what makes Broadway a community. Everyone can see a film,
but not everyone will choose to see a Broadway show, interact with the cast and
transfuse energy within them.
Kalb, Jonathan. "Rebel Rhetoric and Restless Tweens." Hunter Online Theater
Review. 2016.Web. <>.

This next article on speaks about School of Rock: The Musical.
Although I do focus on adaptations in other sources, this one is to focus on the
lengths that producers will go, in order to make money. They are taking movies
and making them into musicals, instead of the other way around. The article
explains, School of Rock: the Musical is Andrew Lloyd Webber and Julian
Fellowess effort to squeeze a few more millions out of a deliciously dumb and
infectiously silly movie (Kalb). The article focuses on the aspects that this new
School of Rock will bring and how Jack Black is embraced by the Broadway
version of Dewey Finn. There will be similarities, including a kids chorus who
comprise the roles that the students play in the movie. I find this source
particularly interesting because of the admittance Lloyd Webber and Julian
Fellowes have about their show. Its nice to know that we can relax while seeing
this upcoming production. We dont have to focus on confusing plots or
unfamiliar characters. We feel safe and our brains dont have to wonder too far.
Lambert, Craig. "The Future of Theater
In a digital era, is a play still a thing?" Harvard Magazine. February 2012.Web.

I am choosing to add this resource into my paper because of the power that
Broadway has on, not only its attending audience, but the soul of its community;
the actors. Actor John Lithgow, discusses his thoughts on why actors should be
grateful for the stage over the movie screen. I believe he is a good source because
although he explains this opinion of his, he reasons for the other side too. The
actual source is credible because it is a non-for-profit affiliate to Harvard
University and therefore it does not aim there publishing towards donations to the
University. Maybe film helps Broadway when its movie stars appear on the live
stage. Is that when ticket sales go up? This source correlates with the topic on
how digital media, film in particular, is competing with Broadway and how ticket
sales sway back and forth depending on this form of media. John Lithgow also
decide not to leave the stage when offered, some would say, a better

Piccalo, Gina. "Record-breaking 'Into the Woods' is a surprise hit." Los Angeles Times. 1/5
2015.Web. <>.

This next source appears to be the liaison between film revenue compared to
Broadways. It also is on the other side of the spectrum of movie musicals. This
article discusses how the film is what made the original Sondheim production big!
It also discusses the idea that the cast can actually sing compared to casts of other
movie musicals. This ties in with the fact that these films are trying to pose
themselves as Broadway productions. I enjoyed seeing Into the Woods myself,
both the movie and theatrical production. I remember many details differing
between the plot of the two. This relates to the idea that the movie adapted in
order to create a better version. Not only did this movie make millions of dollars
that Broadway isnt making, but also its changing out memories of the show to
the newer ones. Like I said previously, this cite contradicts the Les Mis source.
This movie was admired more then that movie was.
Stolowitz, Andrea, and Henning Bochert. "One Year In Berlin." Hunter on-line
theater review. 2016.Web. <>.

This resources is another article I found on It is a conducted

interview between Andrea Stolowitz and Henning Bochert. The article introduces
us to them. She is a playwright in Berlin and he was the other human participating
in this conversation, which was held at a theater public discussion. This article
talked about their theatrical backgrounds and the realities of theater. One topic of
the interview focuses on the economics and aesthetics of theater and this is why I
am adding this source to my article. Not only does this piece bring an awareness
to theater globally, but it also highlights the financial element that lies in the back
of a playwrights mind. This wont directly speak about the effects of digital
media, but I will talk about how playwrights write in order to keep tickets selling.
If the idea of money is always in a playwrights mind, they might write there show
based off of how a current audience would love to see it happen, rather than
artistically creating their piece of art.
Stuever, Hank. "Is there anything Foxs fabulous Grease: Live didnt have? Yes:
Libido.." Washington Post. 1/31 2016.Web. <>.

This next source comes from the outburst of a new live musical on Foxs network.
This article will lead into the discussion in my paper about how in the past couple
of years TV screens can offer some of the main things that Broadway has to offer.
Grease fits in line with The Sound of Music, The Wiz, and Peter Pan. This source
will help explain that these shows receive a huge audience when they are
performed on the screen, but the Broadway attendance doesnt meet par. It will
also help explain how they are becoming even more similar to the real Broadway

productions. Grease Live incorporates a live audience seen on screen, which made
it seem like we were watching an actual Broadway show with people sitting
around all around us. We were only sitting on our couches and Grease Live was
taking place on the Warner Brothers set. The article talks about how well Grease
Live did and even mentioned some of the stars who have performed on the
Broadway stage prior to this production. Although the live show did do well, the
article speaks about how it lacked some of the original Grease characteristics. It
was a fabulous, well-scrubbed and flawlessly executed show that could have been
just a little bit greasier. (Stuever) Do these adaptations change the original for a
reason? And if so why? These are questions this article will help me explore.