Much of the song and dance we see in Portland these days comes from actors, directors and other theater geeks whose interest in musicals began in the 1970s.

It was a significant decade for musical theater in America. The rock opera became mainstream, and two shows that defined the theater experience — “The Wiz” and “A Chorus Line” — made it OK to be gay and diverse.

It was the decade of “Godspell,” “Jesus Christ Superstar” and Stephen Sondheim, who delivered at least three musicals that have become standard fare for theaters across the country: “Sweeney Todd,” “A Little Night Music” and “Follies.”

“I have vivid memories of the 1970s,” said Brian Allen, artistic director of Good Theater in Portland. “I was in high school from ’74 to ’78, and then college. I made my first-ever trip to Broadway during the ’70s, in 1977. I saw ‘A Chorus Line’ on Monday night and ‘Annie’ on Tuesday. I still remember exactly where I sat.”

It was a big deal for a Maine boy from Union to go to New York. Allen’s father had a business in Manhattan, and he took his son along as an early graduation present. They stayed at the Hilton, got all dressed up and went to the show.

Allen was flabbergasted to see people at the theater in jeans. But he enjoyed the experience immensely.

“I had been a ‘Chorus Line’ fanatic ever since it came out. I was obsessed with the cast recording,” he said. “I had even done a term paper on it and read all the reviews. To actually see the production was a thrill to this day. ‘A Chorus Line’ has a special place in my heart.”

Steve Peterson at Maine State Music Theatre in Brunswick tells a similar story. He saw the original company of “A Chorus Line” in San Francisco and twice in Los Angeles.

“It was an important show for me,” he said. “It was about a life recognized. It was the first time I heard gay characters speak, recognizably and openly, and I got it.”

Other important shows of the decade include “Pippin” and “Chicago.” “But it was ‘The Wiz’ that truly transformed me,” Peterson said. “The joy, color and music of that celebration stayed with me.”

Alice Kornhauser, marketing director of the Portland Symphony Orchestra, grew up in the suburbs of New York and saw quite a few Broadway musicals in the ’70s.

“I think my first was ‘Godspell’ when I was 6 or 7, which made a really big impression,” she said. “I especially remember the scene with the heaven-bound sheep and the poor goats that suffered eternal damnation.

“We also saw ‘On the Twentieth Century,’ ‘Ain’t Misbehavin” and ‘The Wiz,’ which was really fun. I remember being aware of ‘Oh! Calcutta!’ which had full frontal nudity, but I have no firsthand knowledge of that. Very ’70s.”

Robert Moody, the PSO’s music director, voted “Godspell” as his favorite ’70s musical “by far. I’ve actually directed the show twice. On both occasions, I also was Judas in the cast. I think Steven Schwartz is a musical genius. And for me, with a strong religious background, the message of the book of Matthew, set in this rock-musical fashion, opens my thinking to greater possibilities for faith.”

Susan and Tony Reilly, who operate the Irish American Repertory Ensemble, have strong feelings about the era.

“The show that had the biggest impact on me was ‘Pippin’ (also written by Schwartz), about one of the sons of the 9th-century emperor Charlemagne trying to find his place in the world,” said Susan Reilly.

“Crazy idea for a musical, but it worked — terrific songs, knock-out choreography by the great Bob Fosse, dynamite performances and a meaningful subject for a young person trying to find her place in the world. I still like to listen to the score.”

Tony Reilly offered up “Follies” as his favorite ’70s musical. In his mind, it may be the greatest Broadway musical ever.

” ‘Follies’ ushered in a whole new level of sophistication. I was so blown away by it that I saw it seven times,” he said. “In those days, you could get a standing-room seat for $2.50 and then grab a seat anywhere. It was the most lavish, tuneful and breathtakingly beautiful experience on the giant stage of the Winter Garden theater. I’ve seen many of the revivals, but nothing can compare to the original.”

That notion applies to the decade as a whole.

Staff Writer Bob Keyes can be contacted at 791-6457 or:

bkeyes@pressherald.com

Twitter: pphbkeyes

 

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