By David Amos
SAN DIEGO — About a month ago, the PBS Network presented an extraordinary and revealing documentary called Broadway Musicals: A Jewish Legacy.
We all know of the many composers, singers, and writers of Jewish roots who have contributed to the Broadway stage, from its humble beginnings in New York, to the golden years of the musicals, and all the way to the present, where the tradition continues.
But before seeing this special program, I was not aware of the overwhelming influence of Jews and Jewish heritage in musicals where you may not have immediately noticed its effects. As the documentary said, practically everyone you can think of was Jewish, with the clear exception of Cole Porter, an Episcopalian. I could also mention the names of other Gentiles in this distinguished list, but the list is not that long.
There are several interesting aspects to all of this. These creators were dedicated to presenting works that both entertained and instructed. (Look at all the Rodgers and Hammerstein musicals; every one of them dealt with important social and moral issues).
All these Broadway masterpieces were written for non-Jewish audiences, although many of the authors and composers had their start in the Yiddish Theatre. Many of the stories dealt with outsiders facing overwhelming obstacles. This was the result of many Jewish immigrants, or their children, with the mentality of being part of mainstream America. For the first time in musicals, the subjects included racial issues, prejudice, spousal abuse, cultural differences, and even Nazism.
The spirit of these musicals emphasized the quintessential American optimism, while at the same time questioning the “American Dream”
Another jaw-dropping element is that many of the songs that we all know and love, lyrics that are entirely secular in their subjects, are variations and at times, direct quotes of synagogue and cantorial melodies. The artistic freedom of Broadway drew many creative minds from all the disciplines.
How were these musicals different from their European counterparts? It was not only with the Jewish musical references, but also the use of “bent notes” (Porgy and Bess), the stereotyped Jewish wail, altered chords, minor keys, and of course, African-American rhythms and thematic subjects.
This goes along with all the other Jewish influences in American Pop Culture. As you well know, image of the typical American hero in the adventure films and Westerns from the 1920’s to the present was created by Hollywood producers who were mostly Jewish immigrants who kept their heritage and religious beliefs to themselves. There are many good books on this subject.
A departure from these ways happened in the 1960’s with Fiddler on the Roof. An early sketch of West Side Story was the conflicts of Jewish and Latino lovers (Straight out of Romeo and Juliet), but Bernstein, Harold Prince and Stephen Sondheim, were not comfortable with this premise, and changed it to Puerto Ricans and Americans. But by 1964, the world was ready for Fiddler, which was not only openly Jewish, but it emphasized the concept of the old-world traditions and how it clashed with the reality of the constantly changing society of which we all are a part. It became such a success because of its universality, and its story could fit into the evolution of any culture or country.
A terrific 90 minutes of entertainment and solid information. I ordered the Broadway Musicals, a Jewish Legacy DVD from PBS; it is a document worth having and sharing.
And, we should not underestimate the influence that music can have on the entire world, even to the extent of having cultures understand each other, which after time passes may reduce ignorance and the need for wars. Even Leonard Bernstein felt that if he would write a great piece of music, he could change the world.
I sincerely believe this. But if so many Jews were influential in shaping Broadway and the American pop culture, why can’t we so it with serious, concert music? Yes, it is a hard sell, since popular music is so much more accessible and easier to digest on a first hearing. But what we call “serious classical music,” as long as it is of the highest quality, can leave a serious mark in history.
And if many of today’s living composers start writing music on direct Jewish subjects, its history, the festivals, traditions, the Holocaust, and Israel, it can’t hurt.
Works of art stimulate universal acceptance and understanding.
Let me know your opinions.
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Amos is conductor of the Tifereth Israel Community Orchestra (TICO) and has guest conducted professional orchestras around the world. He may be contacted at david.amos@sdjewishworld.com