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| | Musical Comedy Is Born |
 | | From the extravaganza, musical comedy took attractive costuming, mountings, and production numbers; from burlesque--travesty, satire, and chorus girls; from operetta--romance and glamour, a world where good always triumphs over evil and the boy always gets the girl; from revue--the star system and the set routines for principal performers. |
 | | In George M. Cohan's musicals the characters were the kind Americans were familiar with personally or through newspapers and magazines (a jockey, an ex-boxer, a U.S. Senator, a super-patriot, a manufacturer, and so forth). |
 | | He helped to lift musical productions out of the doldrums into which they were rapidly succombing through such dying forms as the operetta, burlesque, and the extravaganze; he carried our musical theater to the threshold of modernity. |
| www.theatrehistory.com /american/cohan001.html (3551 words) |
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