“Operatic actors, so far from being free from
mannerisms, wholly substitute mannerisms of the feeblest sort for acting; and
as for variety of resource, there is not a penny to choose between the average
prima donna’s treatment of any two of her parts, however dissimilar in
conception. Her Lady Henrietta is exactly the same as her Marguerite; her
Marguerite is not distinguishable by a deaf man from her Juliet, except by her
dress and wig; and her Semiramis is only a swaggering Juliet. Even the few
singers, male or female, who are specially celebrated for their acting, would
be celebrated for their deficiency if they were placed in an equally prominent
position in drama, and judged by the standard set by Ristori and Salvini.”—George
Bernard Shaw, How to Become a Musical Critic, edited and with an introduction by Dan H. Laurence (1960)
If you want to know why the Broadway/West End Musical developed, you need look no further than that quote.
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