MAMT SIP

proposal 2016-17

SUSTAINED INDEPENDENT PROJECT (SIP) PROPOSAL FORM

This must be agreed by your tutor before you continue with the work of the Sustained Independent
Project (SIP).

Title/Topic:
A study into the vocal performativity of gender in Stephen Sondheims musical Sweeney Todd

Brief description:
An investigation into the role of gender in the vocal performance of songs from Sweeney Todd: the Demon Barber of
Fleet Street. This is a musical in which gender is inherently coded (the male protagonists songs are written the bass
clef, for example, with basso profundo vocals, deep and strong, are seen as masculine) but not an obvious choice for
such a switch.

What do we learn from this? How well do the songs cope dramatically under pressure? That is to say, does the
show/song become nonsensical or untruthful, inconceivable when sung by the gender opposite to that which the author
intended?

This study will assess the creative potential of Sondheims dramatic musical writing in the hands of both genders. Is it
possible to write a song for both male and female singers without rupturing the songs essential meaning? Or is it the
case in this musical that gender has too much implication in song to be able to write and perform objectively, free from
the creative restraints that gender imposes?

Does the voice perform gendered music, or does the voice gender the music? We should assume the former in this
case because characters have defined genders indeed, one such character is not even afforded a first name and is
defined by her femininity of being a Mrs.

This study is hugely relevant. Many productions are currently taking place in which genders have been radically
reversed, or the company is all-female. See the following:

All-female concert of the Sherman Edwards/Peter Stone musical 1776

http://www.playbill.com/article/carolee-carmello-is-john-adams-in-all-female-1776-concert-feb-20

Female casting of Judas and Jesus in concert of Andrew Lloyd Webbers Jesus Christ Superstar
http://www.playbill.com/article/shoshana-bean-and-morgan-james-lead-female-driven-jesus-christ-superstar-concert

Gender-swapped main character of Sondheims Company approved by composer

https://www.theatlantic.com/entertainment/archive/2016/11/company-sondheim-sexual-politics/508895/

My study is not politically inclined but this aspect must be acknowledged. Sweeney is a good example because while
the show is named after the male protagonist, Mrs Lovett is just as fecund and demanding role to play, with just as
much dramatic significance to the plot.

If theres enough time (and words), we might assess the relationship between lyrics and gender in this musical.

The main case studies at present will be:

- Epiphany - Sweeney, plus Mrs Lovetts interjections

1
 - Worst Pies in London - Mrs Lovett

Key disciplines:
Music Theory
Vocal performance
Singing
Performance
Assessing performance

Nature of work (e.g. Dissertation; portfolio comprising artefact with complementary annotation. Be clear
to avoid potential ambiguities.):
Artefacts & Performances
- asking colleagues to sing songs written for the inverse gender
- have an event wherein colleagues sing these gender-bent songs
- see whether the (blind) audience know these songs were gender-reversed
- recording of the performance of these pieces
- evaluate the performances
- record myself singing songs written for the opposite sex from the aforementioned research
- evaluate this performance with help from colleagues
Essay
- annotations and notes from performances
- Accompanying reflection on the success of these artefacts and the way that research has informed and shaped
them, and examining what success means in the context of the song and the performance is it truthful? Does
it move the listener-viewer? Is the intention of the song betrayed by the performance? (Can you tell the song
was written for a female even though it was sung by a male, for example?)

Resource needs, where relevant (ensure these are within the allocations for your course):
Male and female vocal performer(s)
Access to piano and recording equipment for recording performances

How do you think your title/topic will demonstrate that you have met the learning outcomes for the
unit? (See Unit 7 description in Course Spec):

A1) This will give me a stronger understanding of musical theatres relevance in critical discourse with regards to
gender, both from a political and artistic viewpoint. I will assess the dramatic and artistic integrity of certain songs, as
well as their political and social malleability in casting trends and the gendered theatrical climate.

B1) The practical component will inform my research, but my research will indubitably inform my practice. I will
demonstrate my awareness of gender theories and dramatic theories, and the relationship between the two, and the ways
they impact the perception and reception of performance.

B2) I will advance my intellectual rigour regarding musical and dramatic theory which will inform the socio-political
aspect of my research. In my framework, the art comes before the politics; understanding the song and the dramatic and
musical mechanisms of the piece will inform the reasoning behind its gendering. I will be able to evaluate my
performances as well as those of my peers.

D3) Assessing any kind of performance, and indeed, examining my own performance, and being examined performing,
is a completely new endeavour for me, so the core of this course is a creative risk for me.

By removing the gimmick element of it, and endeavouring to assess whether or not gender should exist in the very
being of musical theatre, by testing the integrity of musics fabric by applying it to another sex, we are innately taking a
risk.

Is it risky to transpose a song to be able to disregard the question of genders singing technique? Can we harness
Sweeney Todds menace and threat if a woman is singing Epiphany in a higher key than the bass, or is it fruitless?