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A recent release from David Armstrong, an adjunct instructor of drama at the University of Washington, has emerged from his well-received course titled, “The Broadway Musical.”

This course presents a historical and cultural exploration of how Broadway musicals have primarily been devised by individuals who exist outside the dominant social narratives. Armstrong’s book, “Broadway Nation: How Immigrant, Jewish, Queer, and Black Artists Invented the Broadway Musical,” chronicles this narrative across four significant periods: The Genesis Period, The Silver Age, The Golden Age, and The Modern Era.

Armstrong is also the creator, producer, and host of “Broadway Nation,” a podcast that delves into the same subjects. He has experience as a director, producer, playwright, and choreographer on Broadway and with esteemed theater companies throughout the U.S. He is particularly renowned for his 18-year tenure as the artistic director and executive producer at The 5th Avenue Theatre in Seattle.

UW News engaged in a discussion with Armstrong about his book and the societal influence of Broadway musicals.

What motivated you to concentrate on this particular history?

David Armstrong: When I was first approached by the School of Drama to develop a course, I had to wrestle with the question, “What do I wish to teach?” They requested a history of Broadway musicals, which can be approached in various ways. I aimed for something distinct — and this had been on my mind for quite some time — the notion that Broadway musicals are largely an “outsider art form.” My research reinforced my hypothesis that the individuals responsible for the creation of Broadway musicals, and those who have preserved it throughout its 125-year journey, have predominantly come from marginalized demographics — including groups we might not currently consider marginalized but who were significantly disenfranchised in their eras. For instance, Irish immigrants play a crucial role in this narrative, and they occupied the lowest tier on the social ladder at the dawn of the 20^th century.

The tale of marginalized groups crafting Broadway musicals intrigued me greatly. I have always had a passion for history. I used to remark, even as a child, “Everything I know about history I learned from Broadway musicals.” You gain substantial insights about existence from Broadway shows, and you undeniably learn about historical events.

In the preface of this book, you discuss how Broadway musicals mirror and influence American culture. Could you expand on this idea?

DA: The Broadway musical is inherently a democratic art form. It emerges from the populace. Since the creators themselves originated from everyday life, it’s not an elitist art form, as most other art forms had been before its advent.

The early pioneers were determined to reflect the current events of their time. George M. Cohan, whom I regard as the father of musical comedy, spoke about bringing real-life experiences to the stage — thus trying to encapsulate the very spirit of American existence.

Some critics may claim musicals are implausible. That’s a common rebuttal. I argue that musicals are allegories for life’s realities. They encapsulate existence in their unique manner. A student once remarked to me after attending my class, “I didn’t anticipate this to include so much American history.” To which I replied, “Well, you cannot separate the two.” Everything is mirrored in musicals, and they in turn reflect what’s occurring in the world and within the culture. The brilliance of musicals lies in the fact that even if audiences perceive them as trivial or insignificant, they are inherently grappling with significant issues. The magic ingredient of outstanding musicals is that they commonly address profound matters that lie at the core of American culture. However, audiences might not always recognize this due to the engaging nature in which these themes are presented. Nevertheless, I firmly believe the essential topics resonate with viewers on a subconscious level. This characteristic makes musicals so revolutionary — they contain messages and concealed strengths.

You conclude the book with sections on the societal impact of musicals. How would you characterize that influence?

DA: Those chapters are my favorite, reflecting my preferred aspect of teaching as well. They interlace everything else contained within the book. At this juncture, I am finished narrating the history, having essentially arrived at the present day. Now, the pertinent question is: What do Broadway musicals convey? What is the essence of it all? Upon analysis, I recognized three predominant themes that the majority of Broadway musicals orbit around: transgressive women; equity, social justice, and inclusion; and community. Nearly every production addresses at least one of these themes, and many engage with two or possibly all three.

The most prevalent theme is transgressive women — women who defy societal expectations. Neither in the era the musical depicts nor when the musical was originally penned and staged. Yet, the audience does not generally perceive musicals through this lens. Whenever I inform people that the principal subject of the Broadway musical is transgressive women, they look at me as though I’m insane. This perception arises because women have traditionally occupied subordinate roles in other American media, but this isn’t the case in Broadway musicals. Musicals frequently shine a spotlight on women, typically those who are single and working. There are exceptions — notable ones — but it is undeniable that a substantial majority of Broadway musicals position women at the forefront of the narrative.

The second theme revolves around equity, social justice, and inclusion. I included a chart in the book cataloging 35 successful musicals that center on these themes, tracing back to the very beginning. Certainly, “Show Boat” stands out as a pivotal early production that positions this theme at the forefront and illustrates the significant influence a musical can wield in addressing critical issues.

The third theme, equally significant, pertains to community, specifically the importance of nurturing healthy, dynamic communities. Diverse musicals such as “Oklahoma!” and “Come from Away” showcase this idea effectively. In contrast, productions like “Sweeney Todd” and “West Side Story” illustrate the complexities within communities.
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that are fragmented and facing challenges. What steps should we take to establish, uphold, and foster a community? The conclusion that Broadway musicals frequently suggest is that — to cultivate a flourishing and vibrant community — both conflicting parties in a dispute must find common ground. We need to unite in some way. Currently, it appears we are situated in a society that struggles with compromise. I believe we may need to draw wisdom from these remarkable Broadway musicals to progress.

For additional details, reach out to David Armstrong at [email protected].

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