The notion that characters in a staged drama might periodically break out into song or dance is fundamentally strange. All the same, sung and danced dramas permeate our lives, and they have for a long time. Even if you do not regularly visit the opera or ballet, you have likely seen Frozen or The Little Mermaid. Films such as these fit squarely into a tradition of musical theater that extends back for hundreds of years.

Musical drama, as the examples in this chapter will demonstrate, is highly diverse. It can be tragic or comic. It can be realistic or self-consciously artificial. It can be emotionally compelling or merely entertaining. It also encompasses endless variety in musical style, and it can be difficult to draw lines between genres. The examples in this chapter might variously be described as “musical theater,” “opera,” or “ballet” (a term that both European and Javanese performers use to describe their dance drama traditions). However, there are many overlaps between these categories. European ballet first developed as a part of opera, for example, and many operatic traditions include dancing. Dance dramas often include singing— something that is true of both examples in this chapter.

The most difficult categories to differentiate are “musical theater” and “opera.” For example, one does not hear Frozen—even in its live, staged version—referred to as an opera. But why not? Because it is in English? Lots of operas are in English. Because it has spoken dialogue? So does Mozart’s The Magic Flute, discussed below. Because the music is written in a popular style? The Italian opera composer Giuseppe Verdi was responsible for the greatest hit tunes of his day. The most substantial difference between “musical theater” and “opera,” as those categories are understood today, has to do with the training of the performers on the one hand and the venues in which they perform on the other. However, these categories are already shaky, and they will continue to change as new styles of sung and danced drama are developed and popularized.

We encourage the reader of this chapter to approach each example on its own terms, without undue preconceptions about genre. Whether we are talking about New York City in 2015 or Mantua in 1608, it is always helpful to consider the cultural context in which the work was created. Who was the audience, and how were they prepared to understand and appreciate what they saw onstage? Although our examples are diverse, each effectively uses music to enrich the storytelling.