Bye, Bye, Birdie Essay, Research Paper

Bye, Bye, Birdie

Birdie hysteria has struck the small quite town of Sweet Apple, Ohio, in this musical production of the 50’s craze Bye Bye Birdie. Written by Michael Stewart, this 1961 Broadway musical tells of a story of an Elvis-type singer named Conrad Birdie (Jesse Pearson), who is drafted into the United States Army. Upon hearing the news of the teenage-idol?s depart, his devastated agent Albert Peterson (Dick Van Dyke), and his secretary Rosie Alvarez (Janet Leigh), concoct a promotional scheme to help get Albert out of debt and profit on all the excitement.

The shrewd publicity stunt generates a wake of teenage hysteria which sweeps the entire nation. The arrangement is that Birdie will administer a final ?good-bye? kiss on Kim MacAfee (Ann-Margret), a randomly chosen Conrad Birdie Fan Club member. This kiss, which will also be a symbolic fair-well to all his crazed fans across the nation, will be accompanied by Birdie singing Albert?s latest song, ?One Last Kiss.? However, Birdie’s arrival in Kim’s hometown of Sweet Apple, Ohio, for the TV broadcast on the ?Ed Sullivan Show,? creates havoc for all, including Kim’s father (Paul Lynde) and her boyfriend Hugo (Bobby Rydell). Inevitably, a heated feud is created between the genders, but all ends up fair in this musical tale of love and war.

A main theme in this small town?s culture is the issue of gender and the division of roles between the two. Not uncommon for the 1950?s, many women were taught from a young age to find a good man, who could provide for them and a family, settle down and have children ? the ideal ?happy family.? As Harry states after singing the showstopper ?Kids,? ?I have the All-American family: A great wife, 2 wonderful kids and a good job.?

It is also obvious within the very first scene, that Rosie and Kim have been brainwashed with this domesticated conception. They both seem to define themselves by the relationships they are in and the men they are with. Both women seem to dominate their relationships, although they often let the men think they are the ones in control. Kim explains at one point early on that ?the only job of a women is to change the man you want, into the man you want him to be,? proving that the women are the authoritative forces of the relationships. Also, we see Kim repeatedly consoling Hugo and manipulating him into thinking what she wants him to. Also, Rosie is not an innocent individual herself, using her sexuality and Albert?s jealous to control her relationship, especially in her dance number at ?Maude?s Madcap Caf?.? Older, but maybe not smarter, Rosie and Kim quickly develop a connection through their trial and tribulations with their men. ?Men, they?re only out to use us!? Rosie explains to her young, obedient student, Kim.

This point was also shown, probably best by, Albert?s mother?s character. The most aged women in the musical, therefore the one with the most life-experience, she obviously has complete control over both Albert and her new husband, Maude.

Ironically, the men often express opposing feelings of domination, asserting that they are the gender with all the control. Harry repeatedly expresses his conception that he is boss, explaining that ?he is the head of the household.? Trying to prove his authority to his family, and specifically Kim, Harry tells Kim to ?stay in your room until your hair goes back to normal,? after she dyes it. Kim exclaims that it is her hair to do what she pleases with, which Harry responds to saying, ?Not until your 21 it?s not!? His incredibly false perception of power is almost amusing at times.

Hugo also seems to hold this same mistaken idea of authority in his relationship with Kim. As seen in the schoolyard, his friends all express disappointment with him for letting ?his? girl kiss another guy. In turn, as if a puppet to his friends ideas, Hugo expresses this displeasure to Kim, as if the opinion had been his own. Kim simply consoles him and tells him to look in her eyes, somehow magically making everything all right. She cleverly rationalizes her deception of their relationship by illustrating how this kiss could one day increase the population of their town and improve Hugo?s father?s undertaking business. He quickly complies and accepts this ridiculous fabrication. Sadly, this short spectacle demonstrates the fact that Hugo is controlled not by one force (his girlfriend), but by two (his friends).

An illustrious dyad between the 2 genders is also presented, although disguised by the main plot – the reception of Conrad Birdie to Sweet Apple. While the women all seem to join together to create the finest welcoming in Sweet Apple?s history, the men are absolutely revolted, offended and appalled by the women?s behavior. ?We Love You Birdie? is sung by the women in the schools courtyard, while the men create their own mocking version of the tune ? ?We Hate You Conrad.? This song expresses each group?s regard, or repugnance, for Birdie. Musically, Lee Adams was able to use this active song to show the audience the passionate opposition that lies between the two sexes.

My only complaint was that the musical seemed to contain two ridiculously silly and unnecessary subplots, neither which I felt helped to progress the main story (one regarding the technical struggle for time on the ?Ed Sullivan Show? with the Moscow Ballet which threatened the appearance of Birdie and Albert?s song?s and the other regarding a pill that speeds up an organism?s metabolism). Otherwise, I feel that this was a wonderful show. Director George Sidney seemed to be aware that the show was meant to be a spoof of the Elvis craze, and showed the ability of presenting the story in that type of light, joking manner. Lee Adams? lyrics were very conversational and understanding, yet technical. Charles Strouse and Jonny Green were also able to prevail, using fast-paced melodies and utilizing the actors and actresses wonderful singing abilities. From the plot to the libretto, the lyrics to the composition, this musical is the best I have seen yet.