The Black Crook's hodgepodge plot stole elements from Goethe's Faust, Weber's Der Freischutz, and several other well-known works. [2] Barras's script of Faustian fairytale drama and romance included a full musical score consisting of adaptations of existing songs as well as new ones written for the show by various writers, all selected and arranged by Niblo's musical director, Thomas Baker. This scantily-clad female dancing chorus in skin-colored tights was a big draw. The people who act in it have not the slightest idea of what it is about". The book is by Charles M. Barras (1826–1873), an American playwright. [9] Theatre historian John Kenrick suggests that The Black Crook's greater success, compared with earlier shows, resulted from changes brought about by the Civil War: First, respectable women, having had to work during the war, no longer felt tied to their homes and could attend the theatre, although many did so heavily veiled. It was a staggering five-and-a-half hours long, but despite its length, it ran for a record-breaking 474 performances, and revenues exceeded a record-shattering one million dollars. A 1954 Sigmund Romberg musical, The Girl in Pink Tights, used as its background a story based loosely on the creation of The Black Crook.[3]. With only 24 hours left before the year ends, Hertzog focuses all of his attention on In the late 1890s the British showman… The Black Crook (numa tradução livre: O Trapaceiro Negro) é muitas vezes considerada a primeira peça de teatro musical que está em conformidade com a noção moderna de um "livro musical". The author, Harry Paulton, starred as Dandelion, opposite the comedian Kate Santley, who had appeared in the 1871–72 Broadway revival. The Black Crook is a work of musical theatre first produced, with great success, in New York in 1866. The Black Crook was born when a dramatic group and Parisian ballet troupe joined forces in New York. "You Naughty, Naughty Men" from "The Black Crook" performed by Libby Dees and Adam Roberts The dove magically transforms into human form as Stalacta, Fairy Queen of the Golden Realm. This is the story of how this … The evil Count Wolfenstein tries to win the affection of the lovely villager Amina by placing her boyfriend Rodolphe in the clutches of [1] According to Doug Reside, a curator at New York Public Library for the Performing Arts: The New York Herald published an op-ed piece "condemning" the play for the indecency of the costumes and dancing, suggesting that there may have been "in Sodom and Gomorrah ... such a theatre and spectacle on the Broadway of those doomed cities," and urging those "determined to gaze on the indecent and dazzling brilliancy of the Black Crook" to "provide themselves with a piece of smoked glass." Anything less "unified" it would be hard to find. The overlong piece survived a rocky opening night, and numerous cuts were subsequently made. Comedy was provided by servants, especially J. G. Burnett as von Puffengruntz, and the most popular song was "You Naughty, Naughty Men", for the soubrette Carline. The show featured a melodrama about a painter who sells his soul to a Sorcerer and mashed together dance numbers by a Parisian ballet troupe set to popular music. It borrow ed liberally from popular opera s of the day, and what was original (much of it by Guiseppe Operti) didn't catch on. The Black Crook viene considerato il prototipo del moderno musical, in cui canzoni e danze sono inscindibilmente legate al testo ed il lavoro è interpretato da attori. Title from header original title: The black crook : an original magical and spenctacular drama in four acts / by Charles M. Barras Original published: [Buffalo : Hockwell, … [17], Audience response was divided – some people loved the beauty of spectacle and some people were offended by it. [1] The book is by Charles M. Barras (1826–1873). Gänzl gives The Naiad Queen (1841) as an example of an earlier musical, concluding that it was only The Black Crook's long run that gave it a reputation as the "first" musical. In Victorian burlesque, music hall, and vaudeville, there is little or no unifying story, just a series of sketches. [11], The production included state-of-the-art special effects, including a pantomime-style transformation scene that converted a rocky grotto into a fairyland throne room in full view of the audience. Il libretto è di Charles M. Barras (1826-1873), un commediografo statunitense. The cast included Annie Kemp Bowler, Charles H. Morton, John W. Blaisdell, E. B. Holmes, Rose Morton, Millie Cavendish, J. G. Burnett, and George C. [2] In the late 1860s, as post-Civil War business boomed, there was a sharp increase in the number of working- and middle-class people in New York, and these more affluent people sought entertainment. The Black Crook: An Original, Magical and Spectacular Musical Drama follows in this new tradition with its deconstruction of an assembled historical theatrical creation as well as its backstory. The Black Crook, widely credited with being the first example of what came to be known as the Broadway musical form, is seeking crowd-funding for a … William Wheatley, who was the manager of Niblo’s. A British production titled The Black Crook, which opened at the Alhambra Theatre on December 23, 1872, was an opera bouffe with a new story based on some of the French source material that influenced the New York version, with new music by Frederic Clay and Georges Jacobi. The Black Crookは、 1866年にニューヨークのミュージカルシアターで最初に生みだされ、大きな成果をあげた作品。, 多くの劇作家がThe Black Crookを、現代と同形式のミュージカルの最初の人気作品だとしている。, 主に編曲されたものによって構成されているが、"You Naughty, Naughty Men"など、数曲この作品のために新しく作曲されたものが含まれている。物語はファウストの芝居がかったロマンチックコメディだが、壮大な特殊効果と露出度の高い衣装で有名になった。, この作品は1866年9月12日、ニューヨーク市のブロードウェイで3200席というキャパのNiblo's Gardenで初上演され、474公演という記録的な成果を残した。, またその後数十年にわたり広範囲にわたりツアーが行われ、1870-71年、1871-72年にブロードウェイで復活し、その後も何度も復活した。, その有名な楽曲と踊りは他の多くの演劇で演じられており、しばしば現代のミュージカルのプロトタイプであるとされている。, The Black Crookはイギリスでは1872年12月23日にアルハンブラ劇場で上演された。, イギリス版では、ニューヨーク版に影響を与えたフランスの原資料を元に、新しい物語とFrederic ClayとGeorges Jacobiによる新しい曲で、喜劇オペラとして上演された。, 1866年以前、Henry C. Jarrett、Henry Palmerがノベルティ作品をヨーロッパからアメリカに輸入するという考えをもとに、協力関係を築いた。彼らはパリのLa Bichi au bois とロンドンのAstley's Amphitheaterのパントマイムを見て、そのショーの要素を彼らのアメリカでの作品に組み込みたいと考えていた。彼らはパリのショーのリードダンサーのうちの数人と契約し、ロンドンの作品から壮大な早変わりの場面を購入した。彼らはニューヨーク音楽院で素晴らしい作品を作りたいと考えていたが、その夏に音楽院は焼け落ちてしまう。, 一方、俳優のBarrasは、自身とダンサーである妻のSallie St. Clairが主役を演じるため、協奏劇、The Black Crookを書いた。彼はニューヨークでの初演を、1880年代では長い契約とされた100回の公演を行う契約で、Niblo's GardenのマネージャーであるWilliam Wheatleyと交渉した。BarrasはニューヨークのBuffaloで風景や建物を造り始めた。, JarrettとPalmerは彼らのまだ制作されていないショーをNiblo's Gardenで上演するため、Wheatleyに近づいたが、俳優Barrasはすでに会場を予約していた。Barrasは少ない定額の印税しか得られていなかったため、Barrasはそのプロデューサーが誰であるかは認知していなかったが、これ以上Wheatleyへの手数料を払わなくてもよいことから、Jarret と Palmerは事実上ニューヨークでのThe Black Crookのプロデューサーになった。, Jarrettはヨーロッパに戻り、BarrasのメロドラマからLa Biche au boisのような楽曲に変え、より多くのアイデア、装飾品、人物を集めた。 彼はステージの機械、風景、衣装、不動産、ダンサー、俳優のコレクションとともに戻ってくる。, プロデューサ達はBarrasの風光明媚なデザインや衣装のデザインを完全に置き換えた。, オペラでは、The Magic Fluteのような対話を伴う喜歌劇でさえ、主な歌手はバレエ団にダンスを依頼する。, ビクトリア朝のバーレスク、ミュージックホール、ボードビルでは、統一された物語はほとんどなく、まったくない。, ロマンチックなストーリーとすべての役者による歌と踊りが行われるThe Black Crookは、最初の喜劇と呼ばれている。, これについてセシル・マイケルナー・スミスは、「ブラッククルークを喜劇の最初の例であると呼ぶことは間違っているだけではなく、 有名な劇場の歴史上での Jarret とPalmerによる狂想劇の有用な評価が出来ていない... その最初の形式では喜劇と区別する本、歌詞、音楽、ダンスの俗語の特質はほとんど含まれていない。」と異議を唱えている。, 他の反対派はLarry StempelとKurt Gänzlである。彼らは、「とてもたくさん、それ以前に制作された作品も、古いものと新しいものの寄せ集めではないオリジナルの楽譜も数多くある。(台本は)ごちゃまぜだ...The Black Crookは単に たくさんの短いスカートを履いた年頃の十代、少しのメロドラマ、そしてたくさんの動く景色を入れたフランスのオペラ・ブフェ・フェリエの模造品である。これ以上に「統一されていない」ものは見つけにくいだろう。」と著した。(以下原文), "There are pages and pages of earlier shows ... with scores of original music, rather than the patchwork of old and new. With the help of Amina's scheming foster mother Barbara, the Count arranges for Amina's fiancé, Rodolphe, an impoverished artist, to fall into the hands of Hertzog, an ancient, crook-backed master of black magic (the Black Crook). They engaged some of the lead dancers from the Paris show and purchased the grand transformation scene from the London piece. Barras then began to build the scenery and properties in Buffalo, New York. …1866 the first musical comedy, The Black Crook, opened in New York City. The Black Crook is a faustian tale about young artist Rodolphe who is unknowingly tricked into going on a suicide mission by the manipulative Black Crook, who tells him that Rodolphe can find riches he can use to win over his beloved Amina from the … The result, The Black Crook, an extravaganza that included a battle scene in Hell itself, has been widely identified by theatre historians as the first Broadway “book” musical. "[7] Other dissenters are Larry Stempel[8] and Kurt Gänzl, who wrote: There are pages and pages of earlier shows ... with scores of original music, rather than the patchwork of old and new. The Black Crook was at first simply a melodrama by Charles M. Barras that retold the Faust story and borrowed liberally from other plays with similar plots and themes. The Black Crook holds a mythical place in theater history as the purported first musical comedy in the United States. The Black Crook Collection Billy Rose Theatre Collection photograph file Productions Black Crook Library locations Billy Rose Theatre Division Shelf locator: *T PHO … [1], Robert C. Allen wrote in his 2000 book, Horrible Prettiness: Burlesque and American Culture, that if Whitton is correct, it was the first such "covert advertising ploy on behalf of the theatre management". It also included special effects and scene changes. [9], The same year that The Black Crook opened, The Black Domino/Between You, Me and the Post was the first show to call itself a "musical comedy". To the extent that 1866’s The Black Crook is remembered at all, it is not for artistic merit. … [The libretto was a] hotchpotch. However, Joseph Whitton, William Wheatley's business manager, explains in his short history of the play, the editor of The New York Herald was likely aware that such condemnation would promote the show and was rewarding Wheatley for his loyalty to the paper. The Black Crook is an origin story for the spectacle that is America, and 150 years after we shall exhume it once again. Directed by Robert G. Vignola. Evil, wealthy Count Wolfenstein seeks to marry the lovely village girl, Amina. – Chorus of Gnomes, Amphibea and Fairies, Mortal shadows dimly cast – Chorus of Fairies. Whose idea it was to join the producing forces is not known, but terms were struck under which Barras was given a small flat sum as a royalty and no longer had to pay fees to Wheatley, and Jarrett and Palmer effectively became producers of the New York staging of The Black Crook. A silent film based on Barras's The Black Crook was produced in 1916. was concerned that the play would fail. Baggett, James (November 2007) "Timepiece", Grand Garland Dance – Ballet and Principals, Rejoice, rejoice, rejoice! The Black Crook was simply a thrown-together imitation of the French opéra-bouffe féerie, lots of nubile teens in short skirts, a bit of melodrama, and – above all – lashings of moving scenery. They hoped to put together a spectacular production at the New York Academy of Music, but the Academy burned down that summer. Count Wolfenstein gets Amina's foster mother Barbara to scheme with a sorcerer named Hertzog (the titular "Black Crook"). THE FIRST PODCAST The Black Crook is considered the first-ever Broadway musical, a dizzying, epic-length extravaganza of ballerinas, mechanical sets, lavish costumes and a storyline about the Devil straight out of a twisted hallucination. As the innocent Rodolphe is led to this horrible fate, he discovers a buried treasure and saves the life of a dove. It is the wonders of the Arabian Nights realized. Actor Charles Barras wrote the play The Black Crook as a spectacular touring vehicle for himself and his wife, dancer Sallie St Clair, and, in order to equip his show with the required imprimatur of ‘a New York success’, prior to touring, he negotiated with William Wheatley, manager of Niblo’s Garden, for one hundred performances at his theatre. With Edward P. Sullivan, Gladys Coburn, Roland Bottomley, Henry Hallam. The Black Crook was simply a thrown-together imitation of the French opéra-bouffe féerie, lots of nubile teens in short skirts, a bit of melodrama, and – above all – lashings of moving scenery. Second, America's railroad system had improved during the war, making it feasible for large productions to tour. The Black Crook (1866) Libretto by Charles M. Barras Act IV, Scene II This poster shows one of the more spectacular scenes in The Black Crook, with the Amazons crushing the forces of evil. Mark Twain was in the former camp: "Beautiful bare-legged girls … nothing but a wilderness of girls – stacked up, pile on pile, away aloft to the dome of the theatre, diminishing in size and clothing, till the last row, mere children, dangle high up from invisible ropes, arrayed only in camisa. O livro é de Charles M. Barras (1826-1873), um dramaturgo americano. Many theatre writers have identified The Black Crook as the first popular piece that conforms to the modern notion of a musical, while others regard this conclusion "as something of a joke". This substantially increased the potential audience for popular entertainment. It was respectable enough for the middle-class audience, but very daring and controversial enough to attract a great deal of press attention. She rewards Rodolphe for rescuing her by bringing him to fairyland and then reuniting him with his beloved Amina. It was later described as a combination of French Romantic ballet and German melodrama, and it attracted patrons of opera and serious drama, as well as those of burlesque shows. The Black Crook is often considered to be the first piece of musical theatre that conforms to the modern notion of a "book musical". He returned with a collection of stage machinery, scenery, costumes, properties, dancers and actors, and the producers completely replaced Barras's scenic and costume designs, also cutting some of the script to add more dance and spectacle. The Black Crook is a work of musical theatre first produced, with great success, in New York in 1866. [13][14] The musical was then toured extensively for decades by Barras and others licensed by him and revived on Broadway in 1870–71, 1871–72, and by The Kiralfy Brothers at Niblo's in 1873; and many more times after that; it also had numerous profitable regional productions and was widely burlesqued. Her army defeats the Count and his evil forces, demons drag Hertzog into hell, and Amina and Rodolphe live happily ever after. [19] Both awe and outrage fueled the show's increasing popularity until "nobody could hold his own in conversation unless he had seen it". Baggett, James (November 2007) "Timepiece", New York Public Library for the Performing Arts, "Mary Wells: From Boucicault to burlesque to, Information about NY and London productions, Full-color digital images of annotated 19th century promptbook for the Black Crook, Sheet music for "You Naughty, Naughty Men", https://en.wikipedia.org/w/index.php?title=The_Black_Crook&oldid=994695953, Creative Commons Attribution-ShareAlike License, Grand Garland Dance – Ballet and Principals, Rejoice, rejoice, rejoice! The book is by Charles M. Barras (1826–1873). Second, and perhaps more to the point, the music sucked. Meanwhile, Barras, an actor, wrote an extravaganza, The Black Crook, with the intention of touring the piece to feature himself and his wife, dancer Sallie St. Clair. The Black Crook was simply a thrown-together imitation of the French opéra-bouffe féerie, lots of nubile teens in short skirts, a bit of melodrama, and – above all – lashings of moving scenery. The plot bore little or no resemblance to Barras's play. Henry C. Jarrett and Harry Palmer had hired the ballet troupe to perform at the New York Academy of Music, but the troupe was left without an engagement when a fire destroyed the Academy. The Black Crook is no longer produced because it doesn't fit the modern image of musical theatre. They saw the Féerie La Biche au bois in Paris, and a pantomime at Astley's Amphitheatre in London, and they wanted to incorporate into their American productions the original elements of spectacle that they saw in those shows. The core original story of The Black Crook is set in Germany in the 17th century. The Black Crook was produced by Abrons Arts Center in 2016 in honor of the 150th anniversary of the original production, with assistance from the Lower Manhattan Cultural Council's Creative Arts Fund Grant. Title from header Original title: The black crook : an original drama in four acts / by J. The Black Crookis set in the Hartz Mountains of Germany in the 1600s. (2010). Anything less "unified" it would be hard to find", The Black Crookがオープンした同年、The Black Domino / Between You、Me and the Postは、「喜劇」と称した最初のショーであった。, 1860年代後半には、南北戦争後のビジネスが盛んになり、ニューヨークの労働者や中産階級の人数が急増し、豊かになった彼らはエンターテインメントを求めた。劇場はより一般的になり、以前はオペラを主催していたNiblo's Gardenが軽喜劇を提供し始めた。, The Black Crookに続いて、The White Fawn(1868)、Le Barbe Blue(1868)、Evangeline(1874)が上演された。 類似作品である6年前の The Seven Sisters(1860)は、253回の公演という並外れた長期講演を果たしたが、今やなくなり忘れられてしまった。この作品では、特殊な効果やシーンの変化も含まれていた。, Gänzlは、「最初の」ミュージカルとしての評判を与えたのは The Black Crook の長年の功績であったと結論づけて、初期のミュージカルの一例としてThe Naiad Queen(1841)を挙げている。劇場の歴史家John Kenrickは、The Black Crookの成功は、以前のショーと比較して、南北戦争によってもたらされた変化が原因だとしている。一つ目の変化として、戦争中に働かなければならなかった優秀な女性が、家事に拘束されることなく、こっそりと劇場に行くことが出来たこと。これによってエンターテインメントの潜在的な観衆が大幅に増加した。また二つ目に、戦時中にアメリカの鉄道システムが改善されたため、大規模なプロダクションでのツアーが可能になった。, オリジナルの作品は、1866年9月12日に3,200人収容のNiblo's Gardenでオープンした。 それは5時間半の驚異的なものだったが、その長さにもかかわらず、記録的な474回の公演が行われ、収入は記録的な100万ドルを超えた。, Wheatlyはその作品を指揮した。 Barrasのファウストのおとぎ話のドラマとロマンスのスクリプトには、既存の曲の適応と、NibloのミュージカルディレクターであるThomas Bakerが選び、手がけた様々な作家のショーのために書かれた新しい曲のフルスコアが含まれている。 ショーからの人気曲には、ジョージ・ビックウェルに賞賛された音楽とセオドア・ケニックに賞賛された歌詞が収録されていますが、実際には英語の曲や曲に合わせられているかもしれません。, プロダクションには、パノラマのような変態シーンを含む最先端の特殊効果が含まれていました。このシーンでは、岩場の洞窟を聴衆の視点から妖精王座の部屋に変えました。キャストにはAnnie Kemp Bowler、Charles H. Morton、John W. Blaisdell、E. The Black Crook, que l'on pourrait traduire par L'Escroc Noir, est une comédie musicale en deux actes créée en 1866 par Charles M. Barras.Selon la notion moderne de livret, il s'agit pour certains historiens de la première comédie musicale. In operas, even comic operas with dialogue, like The Magic Flute, the principal singers leave the dancing to the ballet troupe. … [3] Popular songs from the show included "You Naughty, Naughty Men", with music credited to George Bickwell and lyrics credited to Theodore Kennick, although the song may really have been adapted from an English song or songs. The dance soloists were two Italian ballerinas from the school of Teatro alla Scala of Milan, Marie Bonfanti and Rita Sangalli, who went on to star in further New York productions. 多くの劇作家が The Black Crook を 、現代と同形式のミュージカルの最初の人気作品だとしている。 原作本の著者はCharles M. Barras (1826-1873)。 劇中で使用される音楽は Thomas Baker によって編曲・選曲されている。 B. Holmes、Rose Morton、Millie Cavendish、J. Es wird oftmals als das erste Musical angesehen. Anything less "unified" it would be hard to find" Meanwhile, Hertzog, "The Black Crook," has a deal with the devil: he must hand over to Satan one soul each year or find himself banished to Hell. The music, selected and arranged by Thomas Baker, consists mostly of adaptations, but it included some new songs composed for the piece, notably "You Naughty, Naughty M… Jacobi & Fredrick Clay Original published: London : J.W. The Black Crook: An Original, Magical and Spectacular Musical Drama A year after the Civil War ended, on September 12, 1866, The Black Crook opened at Niblo’s Garden on Broadway and Prince Street. The story is a Faustian melodramatic romantic comedy, but the production became famous for its spectacular special effects and skimpy costumes. The music, selected and arranged by Thomas Baker, consists mostly of adaptations, but it included some new songs composed for the piece, notably "You Naughty, Naughty Men". [18] Charles Dickens had an opposite reaction: "[It is] the most preposterous peg to hang ballets on that was ever seen. [2] La versione britannica di The Black Crook , che ebbe inizio all' Alhambra Theatre di Londra il 23 dicembre 1872, fu un' opera buffa basata sullo stesso materiale francese, con nuove musiche di Frederic Clay e Georges Jacobi. This is a self-hating production of The Black Crook if ever there was one, far more about the director’s apparently high self-regard than service to the play, the theatre, or the audience. It incorporates elements from Goethe's Faust, Weber's Der Freischütz, and other well-known works. [2][3] One of these, in 1882, was the opening-night attraction at O'Brien's Opera House in Birmingham, Alabama. & H. Paulton ; music by Mons. Amina, however, is married to an artist named Rudolphe. The Black Crook の部分一致の例文一覧と使い方 該当件数 : 4件 例文 The weather is crook. Unfortunately, I’m not interested in how much smarter Mr. Joshua William … Hertzog has made a pact with the Devil (Zamiel, "The Arch Fiend"): he can live forever if he provides Zamiel with a fresh soul every New Year's Eve. Amina loves Rudolph and turns the powerful Count Wolfenstein down when he proposes to her. The Black Crook provided New York with its most effective piece of grosse Spektakel-Feerie to date, and – perhaps even more attention-pullingly – its most uninhibited mass view of apparently little-clad female limbs to date, and those legs and the displays of scenic machinery roused an unparalleled interest as, with an ever fluid programme of components, the show ran on on Broadway … The Black Crook は、 1866年にニューヨークの ミュージカルシアター で最初に生みだされ、大きな成果をあげた作品。 多くの劇作家が The Black Crook を 、現代と同形式のミュージカルの最初の人気作品だとしている。 原作本の著者はCharles M. Barras (1826-1873)。 This page was last edited on 17 December 2020, at 02:05. He negotiated the show's New York premiere with William Wheatley, the manager at Niblo's Garden, for a run of 100 performances, which was an extraordinarily long contract for the 1880s. The script was poorly written and the acting wasn’t much better. Boniface. [7], Grosch, Nils and Tobias Widmaier (Hrsg.) Many theatre writers have identified The Black Crook as the first popular piece that conforms to the modern notion of a musical, while others regard this conclusion "as something of a joke". The Black Crook is often considered a prototype of the modern musical in that its popular songs and dances are interspersed throughout a unifying play and performed by the actors.[2]. The show took New York by storm when it debuted on September 12, 1866. Jarrett returned to Europe to gather more ideas, decorations and personnel to change the show from Barras's melodrama into a musical piece more like La Biche au bois. An evil Count Wolfenstein is in love with a village girl named Amina. The Black Crook was followed by The White Fawn (1868), Le Barbe Blue (1868) and Evangeline (1874). Das erste Musical: The Black Crook 16th Februar 2019 Die erste Darbietung, die ein wenig an das heutige Musical erinnert und sich daher auch von den bereits bekannten Formen der künstlerischen Darstellung distanziert, ist das Musical „The Black Crook“ (Der Ganove in Schwarz). [12] The poster announced with great emphasis the presence of a French "Ballet Troupe of Seventy Ladies" choreographed by David Costa. [10] An apparently similar show from six years earlier, The Seven Sisters (1860), which also had an unusually long run of 253 performances, is now lost and forgotten. [1][3] The piece was mounted with unprecedented opulence, and the skimpiness of the costumes created controversy that only served to promote it.[1][4]. G. Burnett、George C. Bonifaceが含まれていました。このポスターは、デイビッド・コスタが振り付けたフランスの「70歳の女性のバレエ団」の存在を大いに強調して発表しました。この肌色のタイツの女性のダンスコーラスは、大胆に魅力的でした。それは中産層の聴衆には十分に尊敬されましたが、非常に大胆であり、多くの報道関係者を引き付けるほど議論の余地がありました。このダンスソリストは、ミラノのTeatro alla Scalaの学校のMarie BonfantiとRita Sangalliの2人のイタリア人バレリーナであり、彼はさらにニューヨークのプロダクションに出演しました。その後、1872- 1871年、1871-72年にはブロードウェイで、1873年にはニブロのキラーフィー・ブラザーズによって復活したBarrasやその他の人たちによって数十年にわたり広範囲にわたってツアーされた。それ以降はさらに何度も。それはまた、数多くの有益な地方生産を持ち、広く馬鹿げていました。 1882年には、アラバマ州バーミンガムにあるオブライエンのオペラハウスでオープニングナイトのアトラクションが行われました。[1], 1872年12月23日にアルハンブラ劇場で開かれたThe Black Crookと題する英国製作は、フレデリック・クレイとジョルジュ・ヤコビの新しい音楽で、La Biche au boisを元にしたオペラ・ブーフィーでした。 著者、ハリーPaultonは、1871-72ブロードウェイの復活に登場したコメディアンケイトサンレイの反対側にタンポポのように主演した。 プロットは、Barrasの演劇とほとんどまたは全く類似していなかった。 1881年に英国の作品が復活しました。BarrasのThe Black Crookをベースにした静かな映画が1916年に制作されました。1954年のSigmund RombergのミュージカルThe Pink in Tightsは、The Black Crookの創作についての話を背景にしています。, 舞台:1600年のドイツのハルツ山脈に設定されており、ゲーテのファウスト、ヴェーバーのデール・フライシュチュッツなどの有名な作品を取り入れている。, ストーリー:邪悪で、裕福な伯爵ウォルフェンシュタインは美しい村の女の子、アミーナと結婚しようとしていた。アミーナの育ての母であるバーバラの助けを借りて、伯爵はアミーナの婚約者、貧しい芸術家であるルドルフを古代の黒魔術(Black Crook)のマスターであるヘルツォークの手に渡す手配をする。 ヘルツォークは悪魔(ザミエル、「アーチ・フィンド」)と契約を結んでいた。その契約により、ヘルツォークはザミエルに毎年大晦日に新鮮な魂を提供すれば、永遠に生きることができた。 心の清いルドルフはこの恐ろしい運命に導かれた最中、埋葬された宝を発見し、鳩の命を救う。 鳩はゴールデンレルムの妖精の女王であるスタラクタ(Stalacta)であり、魔法で人間に変形する。 彼女は恩返しとして、ルドルフを妖精の国に連れて行き、愛するアミーナと再会させる。スタラクタの軍隊は伯爵と彼の邪悪な勢力を倒し、悪魔は黒魔術師ヘルツォークを地獄に引きずり、アミーナとルドルフはいつまでも幸せに生きる。. Villagers, Peasants, Choresters, Guards, Attendants, Fairies, Sprites, Naiads, Submarine Monsters, Gnomes, Skeletons, Apparitions, Demons, Monsters, etc. Wheatley directed the piece. [3], Jarrett and Palmer approached Wheatley about mounting their unwritten show at Niblo's Garden, but Barras had already booked the venue. – Chorus of Gnomes, Amphibea and Fairies, Mortal shadows dimly cast – Chorus of Fairies. The British piece was revived in 1881. It opened on September 12, 1866 at the 3,200-seat Niblo's Garden on Broadway, in New York City, and ran for a record-breaking 474 performances. Theater history books refer to 'The Black Crook,' which opened in 1866 in New York, as the first book musical. [15], A British production titled The Black Crook, which opened at the Alhambra Theatre on December 23, 1872, was an opera bouffe based on La Biche au bois, with new music by Frederic Clay and Georges Jacobi. [10], The original production opened on September 12, 1866 at the 3,200-seat Niblo's Garden. The moral crusade against the show was taken up by Reverend Charles Smyth who preached a fire and brimstone sermon against it as part of a public lecture series. Theaters became more popular, and Niblo's Garden, which had formerly hosted opera, began to offer light comedy. The Black Crook, with song and dance for all the actors, built around a romantic story, has been called the first musical comedy. By 1866, Henry C. Jarrett and Henry Palmer had formed a producing partnership with the idea to import European novelty acts to America. [2][5][6] Cecil Michener Smith dissented from this view, arguing that "calling The Black Crook the first example of the theatrical genus we now call musical comedy is not only incorrect; it fails to suggest any useful assessment of the place of Jarrett and Palmer's extravaganza in the history of the popular musical theatre ... but in its first form it contained almost none of the vernacular attributes of book, lyrics, music, and dancing which distinguish musical comedy. All of this, of course, simply increased public interest. … [The libretto was a] hotchpotch. The whole tableau resplendent with columns, scrolls, and a vast ornamental work, wrought in gold, silver, and brilliant colors – all lit up with gorgeous theatrical fires, and witnessed through a great gauzy curtain that counterfeits a soft silver mist! The Black Crook è considerato il primo lavoro, del teatro musicale, che risponde alle caratteristiche odierne di un "book musical". 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