From Leading Man to Leading Boy: a look at the “ideal male” throughout broadway history

Throughout the last century of American culture, we have seen shifts in public opinion of what attractiveness is. Whether in sports, popular music or television/film, trends in attractiveness change just as frequently and quickly as trends in fashion. We see this prominently in Broadway: writers of new musicals occasionally adjust their characters to fit to certain societal standards of beauty. We see this on full display when comparing Golden Age musicals like Oklahoma! to contemporary musicals like Newsies

Before diving into the nuanced differences between the presentation of men during these two eras, it’s important to establish where the world was recording-wise in these two periods of time. In the late ‘40s/early ‘50s, the recording industry was developing more intricate and sensitive microphones, starkly opposing previous models where you could only get a sound out of them if you shrieked into them at full blast. Singers like Bing Crosby and Frank Sinatra took full advantage of these advancements, thus leading to the emergence of the “Crooner” era. For about 15 years, baritones and basses like Nat King Cole and Elvis Presley were at the forefront of American culture, helping establish the ideal male archetype of having a lower voice, being more masculine/developed, being more physically domineering, etc. The growing popularity of crooners in mainstream music then bled into the musical theatre world: shows like Guys and Dolls, The Music Man, Bye Bye Birdie and even Oklahoma! featured crooner-esque leading men, almost all of them baritones and basses. We can see this on full display when watching these shows ourselves: the leading men of these shows, Nathan Detroit, Harold Hill, Conrad Birdie and Curly McLain, establish themselves stereotypically masculinely, none of them singing above a high F. All of these leading men move with purpose, stand up straight and rarely ever show much emotional vulnerability.

As time went on, the American cultural landscape began to shift. After the jazz crooner era, the world began to see the emergence of Rock ‘n’ Roll, a new and high-adrenaline style of music that highlighted the male tenor voice. Additionally, these emerging rockers were less afraid to tap into more feminine styles of beauty; many of them wore makeup, grew their hair long, and donned higher shoes/tighter clothes. Singers like Robert Plant, David Bowie and Elton John made their mark as the hot new male style. As the face of the popular music scene began to change, so did the musical theatre scene: shows like Rent, Hair, and Jesus Christ Superstar began to adjust their leading male to a more feminine, higher-voiced rocker type. This eventually set the current standard of male attractiveness: passionate, young men with soaring tenor voices, starkly opposing from the more matured, darker and masculine archetypes from the ‘40s. 

Contrasting Curly McClain from Oklahoma! with Jack Kelly from Newsies is essentially contrasting the stereotypical Broadway male in their times of release. Curly would have absolutely been a successful crooner in his day; in particular, singing his duet with Laury, “People Will Say We’re in Love”. Written like a classic ‘40s ballad, Curly playfully flirts with his female love interest, asserting physical dominance and nonchalance while he softly serenades her. In the filmed 1999 production, Hugh Jackman embodies this style: although Jackman himself is a tenor, he remains in the baritone-section of his vocal range, moves with grandeur and physical dominance, and keeps his broad shoulders far apart. Jackman’s performance, as well as Curly’s writing, also appeals to the gender roles of men outside of the entertainment industry at the time: men were supposed to be physically powerful over women, have deep and masculine voices, only be emotionally vulnerable to a very limited extent, etc. To observe Curly’s behavior and singing style in Oklahoma! is to observe the desired behavior for all men in the crooner era. 

Jack Kelly, on the other hand, is very representative of a modern male desire: to be youthful and charming, much more emotionally vulnerable, and more free-spirited than a stuck-in-his-ways leading man of the ‘40s. In the filmed production of Newsies, Jeremy Jordan moves with agility and spontaneity, shows plenty of emotional variety, and sustains a high A at the end of Santa Fe. To that same point, some of Jack’s songs, like Seize the Day, King of New York and Santa Fe, include grand messages of setting your sights on something greater than yourself. His relationship to Katherine is interesting because he is at a lower social class than her, therefore holds less social power than her in their interactions, starkly contrasting from Curly’s relationship to Laury. Jack appeals much more to a modern-day desired male, being more in touch with his emotional and feminine side, being unafraid to belt his heart out, and having much more youthful and agile movements.

In short, Jack Kelly and Curly McLain are perfect examples of the changing leading male archetype throughout American musical theatre history. From a masculine, crooner-style domineering leading man, to a boyish, passionate and free-spirited young man, the “perfect male” has undergone many physical and emotional changes throughout the generations, and it is interesting to think where the leading man will go in future shows.

7 thoughts on “From Leading Man to Leading Boy: a look at the “ideal male” throughout broadway history

  1. Wow excellent work! In the fist portion of the essay I thought you did a great job strongly connecting how the trends of the times mixed with the trends of the music industry. And then from there you lead me on trail of how that became mirrored in the musical industry. I think you structured the essay very well. I like how you walked through how public perception of males on stage shifted and then you brought it full circle with Jack Kelly and how he embodied male stereotypes. Once again great job! Fun to read.


  2. I loved this article! What I found most fascinating was your examination into the history connected to trends of attraction and what it means to exude masculinity. I think this was a really smart topic to have delved into because it’s true that American musicals emulate the trends of an era. That is what I’ve found so interesting about our course is that through this one genre of art we get a glimpse into a time before us. Your analysis of singing styles and the “Crooner” era is something I was unaware of but extremely influential to the development of the ideal man on stage. I think choosing to focus on music industry insights was great because its highlights again the importance and significance of music and the performance of musical numbers in musical theater productions.


  3. Simply put, this essay was great! I thought throughout you lead the readers down a very structured pathway starting with the explanation of how the music industry was beginning to change and how new styles like the crooner were beginning to emerge. Then connecting this to how the theater industry mirrors the music industries trends and styles was a perfect way to segway into the explanation of your characters and how the ideas and stereotypes changed overtime thus giving us two very different people. All in all a very well thought out and well structured essay, great work!


  4. I really enjoyed how you tied together the ideas of how the musical industry at different eras in our history helped shape what the ideal male looked like. Similarly, comparing how both Jack and Curly’s characters were represented visually, musically, and emotionally was very well done.


  5. I really enjoyed reading your analysis on the shifting definitions of masculinity. In particular, I thought it was interesting how you were able to connect media portrayal of masculinity to technological advancements in the 20th century. I never would have considered that better microphones in the ’40s would allow men to be perceived as more masculine/domineering (which you refer to as the “Crooner” era) through their effectiveness in projecting lower voices. Your connection between the rise of rock n’ roll and productions such as Rent strongly portrays the cultural relevance and responsiveness unique to musical theatre. I thought that you also did a great job giving and explaining character examples of this changing masculinity, specifically referring to Curly as a “Crooner” and Jack as a more modern representation of masculinity. I definitely agree that these two characters represent the societally accepted definition of what an “ideal male” should strive to be during their respective time period. This essay was intriguing and easy to read. Great work!


  6. I really liked how you used emotional vulnerability as a cultural shift – and it’s so obvious in musicals too! Modern musicals have such emotionally open leading men, it’s almost a cliche at this point, but it is interesting to think back on the history of very traditionally masculine, emotionally closed leading men in golden-age theater. Awesome essay!


  7. This blew my mind! I never thought about the baritone/tenor aspect of this before, and it makes so much sense! And not only do you see changes from ‘man’ to ‘boy’ vocally, but Curly is well into his twenties, while Jack isn’t even 18 yet. I really enjoyed reading this.


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