The Fallacy of Musical Comedy

On one of the occasions that George Bush fell of his mountain bike, his spin-doctors (eager to make sure the fall didn’t make him seem weak or effeminate) pointed out “he wasn’t whistling show tunes.”  This is the same basic homophobic premise of several current commercials: manly men do not listen to show tunes. I find this whole subject offensive since it fosters a false stereotype that only men who are gay or effeminate are fans of Broadway show music. 

Those who subscribe to this cliché must also believe that for five decades the Broadway musical stage has been supported by women and gay men and that those same fans must be the ones to whom million of albums were sold. That would also mean that the only heterosexual men to see filmed musicals were those unfortunate enough to be dragged to movie houses by their wives or girlfriends. It’s a ridiculous premise, based on a total ignorance and lack of appreciation for the musical theater.

When the seminal musical Oklahoma opened in March of 1943, it was an enormous smash. Since the country was at war, its all-American setting and sentiments were especially popular with serviceman about to go overseas. Once they did, it was not unusual to hear soldiers, sailors and marines in Europe or the East unashamedly humming or singing,  “I’m Just a Girl Who Can’t Say No.”  And that was just one of the songs from that show that was constantly playing on the radio. They were great songs, and — guess what? — both Rodgers and Hammerstein were straight. So were such other musical creators as George M. Cohan, Irving Berlin, Harold Rome, Frank (Guys and Dolls) Loesser, and Lerner and Loewe.  One famous lyricist, a close friend of Frank Sinatra’s was so straight, in fact, that he out-womanized Old Blue Eyes.

 It’s also true, of course, that many composers and lyricists were gay, including Cole Porter, Noel Coward, Lorenz Hart, and Jerry Herman.  But what does that prove? Americans didn’t ask whom the creators of musicals were sleeping with; they just wanted to hear all those great songs. For decades the top 40 charts often included such Broadway hits as “You’re Just in Love” from Call Me Madam, “If I Loved You” from Carousel, and “Standing on the Corner” from The Most Happy Fella.  Unfortunately, by the late 60s Rock and Roll took over the recording and broadcast industry and show music was confined to the stage, TV specials, original cast recordings and badly directed films like 1967’s leaden Camelot.

With musicals less accessible, fans had to seek them out and soon anyone who did so was branded by the lovers of contemporary music as not only uncool but unmanly. It’s an odd example of Group Think because today’s young gay doesn’t like or know show music any more than his straight contemporary.  I doubt that even the leading gay rock stars have any interest in the Great White Way, while oddly enough the famously heterosexual superstar Billy Joel was thrilled to turn his music into a Broadway show.  Saying you have to be gay to love Broadway shows is like saying you have to be Indian to appreciate the sitar. It’s just a matter of musical taste, not an indicator of sexual proclivity or repressed desires. 

So, President Bush shouldn’t be afraid to whistle  “Oh, What a Beautiful Morning” as he bikes along a mountain trail.  And the muscled mechanic, covered with grease, shouldn’t worry about getting caught singing "Send in the Clowns”.  Liking or disliking musical comedy is not a litmus text for masculinity. It’s musical comedy. It ‘s a strong, proud, powerful, ever-evolving art form that was invented in America. And for almost a hundred years nobody has done it better than Americans, gay or straight.