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Unfinished Show Business: Broadway Musicals as Works-in-Process, and: The American Musical and the Formation of National Identity (review)

The next chapter moves into the seldom studied, rarely acknowledged contributions of orchestrators and sound designers. Grant ties technological changes to singers’ stylistic shifts, asserting that performers lost the ability to handle substantial musical range and lyrical complexity and to project without a microphone. Moreover, sound designers manipulated and flattened out the accompaniment, which was a tragic departure from Robert Russell Bennett’s richly textured, melody-supporting orchestration of Rodgers and Hammerstein’s songs. As in the rest of the book, Grant’s intimate familiarity with tenets of musical composition and his sensitivity to the dynamics of performance supplement the extensive information.