On the most obvious level, American musicals adopt a tone with unmistakably American traits. Characters are often brash, cocksure, bold and optimistic. Dialogue contains American colloquialisms and slang. Music stems from American folk songs and relies upon melodies with an American flavor. These traits tend to appear even in productions that do not feature American settings or characters. For example, while “The King and I” is set in Siam and features a British schoolteacher as its protagonist, she is typically portrayed as willful, forward thinking and not easily intimidated–traits traditionally associated with the American character.
George M. Cohan’s productions set the tone for musical comedies in America during the 20th century. Story lines served to support comedy routines and musical numbers; no matter how improbable the circumstances, the audience could accept it, provided that the songs and jokes were good. American musical comedies thus applied a vaudevillian approach to their material, without worrying about a dramatic or well-constructed script. This formula stressed the need for strong performers who could carry themselves on stage in a variety of different roles.
Musical plays distinguished themselves from musical comedies in American theatre by focusing on the plot rather than on individual songs. This tradition first began with “Showboat” in 1927, written by Oscar Hammerstein and Jerome Kern. It showed how the musical could genuinely tell a story, with songs that served as vital narrative tools rather than loosely connected toe tappers. With these credentials established, American musical plays embraced increasingly sophisticated themes such as immigration, political reform and historical events in the nation’s past.
American musicals often emphasize choreography, with numerous performers acting in sync to produce a visible spectacle. As the art form developed in America, choreographers adapted their dance steps to incorporate jazz, rock and innovative styles of music. Choreographers such as Bob Fosse and Jerome Robbins soon became directors in their own right, fusing the sheer spectacle of dance with the narrative and characters onstage. This helped the American musical distinguish itself from non-musical theater; it was no longer just “a play with music,” but a viable genre in and of itself.