Bless Your Beautiful Hide:Morality, Ethics and Musicals

Bless Your Beautiful Hide: Morality, Ethics and Musicals
(Seven Brides for Seven Brothers)

I heard a guy tell me once that this was the only musical that they could tolerate watching.  This definitely leans toward the masculine side of musicals (at least in my opinion).  Chopping wood, cabins, hunting, shooting, fighting, singing, dancing, and men taking the initiative to get a wife.




If you've not seen this one before then here's a quick overview.  There are seven brothers named by the first seven letters of the alphabet (in birth order): Adam, Benjamin, Caleb, Dan, Ephraim, Frank and Gideon.  Anyway the oldest brother Adam goes to town and finds a wife (Millie) who apparently falls for him at first sight.  He says she's the one: attractive, works hard, and she can cook.
He brings her home and she must "clean up" the other six brothers.  This includes good manners, clean clothes, and of course how to find a girl (which, includes learning to dance).  AND NO FIGHTING!!!  Which doesn't last very long, but they tried.

Anyway, the six brothers meet six girls, raise a barn, fight all the guys in town, win and go home empty-handed.  They sit around and think about the girls which spawns Adam's idea to go and kidnap the girls they had fallen for back in town.  So goes plot.  They go and take the girls.  It turns out really bad since the girls didn't like that idea.  But after months of isolation and winter the girls turn their gaze toward the guys.  Spring happens and Millie has a child.  Meanwhile, Adam has run off and is having a pity-party in the hunting cabin alone.  He comes back as well as the men from town to get back their daughters.  Musical ends with the six girls marrying the six brothers (at gun point).

Well, let's dive into some of the weeds related to morality and ethics.  The opening song sets the pace for eldest brother Adam.  He wants the perfect bride: works hard, physically attractive, and interestingly enough "sassy, as can be." Interesting combination.  He wins his wife (Millie) with deception.  She thinks she is marrying a man who lives alone on a farm (he seems to skip the part of also having six brothers in the same house).  She even sings about it but he seems to skip this fact again when she talks of cooking for only one man.



So let's pick on some of the issues.  These are a few of the moral and ethical issues that came to mind.

Constant fighting.  Throughout the movie this must be a right of passage for this family.  They fight with each other (in and outside of the kitchen), with the town folk, and with everyone at the barn raising scene. I'm all for self-defense and of course as a field grade Army officer, an appropriate application of just war theory to include but not limited to defensive war and preemptive strikes. Millie does here best to reform them with some manners and common courtesies.



Adam's little pity party and running away. Adam runs away and stays by himself at a far off hunting cabin. Basically, a little pity party of his own. This departure relates to the next scene.  He unfortunately is the catalyst for that problem too.  But I guess someone might blame the books they read.  Some even might want to ban horse and buggies for being an accomplice.  Hmm. This sounds familiar.  Ban the books and make it illegal to own books. It's the books fault.



Sobbin women scene--stealing brides. The six remaining brothers go to town and kidnap the six girls they previously met at a barn raising scene.  Of course, they got in a fight, danced, and went home. Anyway they kidnapped the girls and took them back home.  This is the catalyst that guides the remainder of the film.  Guys and girls stuck on the same homestead all winter long (at least till spring) when Millie has her baby. During this time the guys and girls really do fall for each other.



Deceit of girls at end with marriage resulting. After winter passes the dads and town folk come to the homestead to take the girls back home. One problem--the girls don't want to leave. When cornered the group hears a baby crying, but don't know who the mom and dad are.  So all the girls claim the baby is their own.  Result--the dad's force all the brothers to marry their daughters at gun point.



There are other tid bits here and there but these are just some thoughts to chew on for a while. I enjoyed the singing as always.  I especially enjoy Adam's opening solo which is the title of this article, "Bless your Beautiful Hide."



Enjoy!!
Thoughts and comments as always encouraged.

I wish, I wish, I wish: In the Woods (Musicals, Ethics, and Morality)

I wish, I wish, I wish: In the Woods (Musicals, Ethics, and Morality)



This musical is truly an odd one indeed.  It appeared as a musical on the big screen in 2014.  This one is of particular interest since it has been selected as the musical for my children's participation next summer (2018).  It made its stage debut in the mid-1980s.  Our family has viewed this musical in three different formats: one, junior high stage; two, high school stage; and three, on the theatrical version in 2014.

In case you haven't seen this one, try to image a combination (literally) of story lines from Cinderella, Jack and Bean Stock (including a giant or two), Rapunzel (and a witch), Little Red Riding Hood (with a wolf), and a baker and his wife (childless).  How odd a combination.

So what drives the plot?  What would you do if what you wished for came true?  Would you still make that wish?  What about everyone else too? Try throwing all theses plot lines together in one big musical.  And oh by the way, the setting is in the woods (hence, the name for the musical).

Just for review.  Let's go over the plots again.  Cinderella: wicked step-mother with two snotty step-sisters and Cinderella in a house together.  The prince holds a ball and they all want to go.  Cinderella too. Girl meet prince and they live happily ever after.  Wrong!! Not in this musical.  Just wait till you see it (if not already).  There is a very similar twist with the others as well.  Jack got some magic beans for his cow, threw them in the ground creating a bean stalk.  He climbs it steals a harp and golden-egg laying goose, and finally, chops down the bean stalk and kills the giants who falls down.  Red riding hood is going to grandmas house with some goodies in a basket.  Meets a roof along the way who is later at grandma's house (full with big teeth, eyes, and ears).  He proceeds to eat grandma and Red.  Woodsman comes in and saves the day.  No more wolf.

Well, let's move on to the issues.  For an unbeliever, it may be no big deal, but morality and ethics matter.  More importantly, the source or foundation for ethical and moral decision making is paramount.  In this film (musical), morality and ethics are almost are relative as you can imagine.  In fact, the individual person sets their own rules of good and evil (while in the woods).

Its hard to say too much without ruining the plot and ending.  The focus of the movie is the baker and his wife wanting a child.  Their home however is cursed and childless because his dad stole some magic beans (hint, hint) from a witch, who just happened to take the baker's sister as a child and lock her in a tower (she just happens to have long hair and a familiar name).  The witch tells them they can have a child if they are willing to gather some items for her within a three day period: A cape, red as blood; hair, yellow as corn; a milky white cow; and and a golden slipper (not glass).  You can see now where all these plot lines will cross paths.

The musical changes scenes as the baker and his wife interact with these other plots.  This includes lying, cheating, stealing, or whatever it takes to give these items to the witch so they can have a child (supposedly removing the curse).  The latter half of the musical expands on the lack of morality as expressed "in the woods."  This includes blaming others, more deception, death, infidelity, and of course more deception.

Thoughts and comments as always encouraged.
Discernment is needed with all musicals and every form of cultural engagement.

Etcetera, etcetera, and so forth: Musicals and Morality (The King and I)

Etcetera, etcetera, and so forth: Musicals and Morality (Part Three)

This musical is quite interesting.  It is also the first musical that three of my four children have participated (including running, talking, walking, etc...).  In case you missed the picture, this musical is "The King and I."  The musical itself is available both with children actors and the more well-known version with adult actors.  Both versions are available from the Rodgers & Hammerstein website (www.rnh.com).   The musical portrays the events of the book "Anna and the King of Siam" published in 1944.

The concerns here are quite dramatic.  I would assume just like the version my children performed in, the scenes, words, and songs kept in or removed would be up to the individual director.  All in all I think my kids did a great job.  

Well back to the details.  The simple plot version.  A British teacher and her son move to the country of Siam to teach the king's children.  While there the teacher (Anna) hears and sees the activities and culture of the country of Siam (this includes the way slaves are treated).  The king of Siam is viewed as a "barbarian" but he wants the county to be viewed as modern and sophisticated.  This creates multiple humorous scenes involving British culture, Siamese culture, to include both clothes and dancing.  In the end the king dies and his son "the prince" takes over.  Ultimately the prince ends up removing some of the old cultural traditions of his father.

This quick summary does not include all the details and was not intended to.  No doubt I left out some of you favorite parts.  I am saving the comments concerning "Uncle Tom's Cabin" for later.  But I thought that was an American novel?  Just wait, we'll get to it.

First, is the reference to Moses and the Creation account as found in the Bible.  The king scoffs at the unscientific presentation of creation by Moses in six days.  This later will be a point of humor since Anna will have a similar time period to prepare for guests to arrive for a party.  Ultimately, Anna waffles on creation and talks around it.  

Second, is the issue of how the king treats slaves in his culture.  The book does more justice to the atrocities of his treatment of slaves.  The musical versions waters it down dramatically.  The musical almost treats slavery in a comical fashion in a play they perform which is adapted from the book "Uncle Toms Cabin."  The play for the king is rearranged by one of the slaves.

Third,  which is related to the second concern, is the blatant idolatry involved.  The culture is obviously of a Buddhist persuasion.  Therefore, the characters in multiple scenes ask an idol Buddha  to  help them in their situation or for wisdom.  This is simple idolatry.  Bowing and praying to an idol (even if treated in a comical fashion), is still idolatry.  This is one area repeatedly dealt with with our children in their participation in this musical.  The sad part is that in reality there are millions of people trapped in this false religion.

Obviously, discernment is needed in watching or participating in musicals of any nature.  Hopefully we don't want to embrace the extremes of throwing out all musicals or on the other end saying all musicals are okay.  Surely there are redeemable parts of our culture.  God is not neutral toward culture.  Scripture is clear certain activities and behaviors will always be evil and sinful.  And no we should not be afraid to say some parts (some more than others) of all cultures have serious problems with sin and evil.  Just to be clear it is not sufficient to simply adhere to an ad hominem argument to accuse others of _____ism for not agreeing with their own views of what is good or evil with a culture.  Too much of Christianity (and especially our unbelieving media) resorts to this line of reasoning.  Especially when this thought is considered cool, trendy, and culturally acceptable (even in churches).

Definitely worth viewing but be sure if children watch you explain Biblical issues of concern with them (of course, if they are of appropriate age). 

Comments as always encouraged. 

Musicals and Morality: Tradition, Tradition, Tradition (Part 2)

Musicals and Morality: Tradition, Tradition, Tradition 
(Fiddler on the Roof)







Some of you know the exact musical where the term "tradition" comes from without batting an eye or straining a memory cell.  For others, it may seem rather strange.  Perhaps to some its some narrow-minded perspective on reading the scripture (you know all that old sound doctrine stuff that moderns are trying to shun).  But to those who live in the village of Anatevka it helps keep life in balance.  Yep, you guessed it, the time honored classic "Fiddler on the roof."  As far as I can tell, it has been a global stage musical since 1964 and became a movie screen addition in 1971.

This musical is jam packed with songs that readily come to the culturally informed mind.  Songs such as: "Tradition" "To Life" or even "If I were a Rich Man."  Its kinda hard to get the picture out of your mind of a rather plump individual dancing in his barn rafters wishing he had more money (belly shaking and all).  The classic has its ups and downs.  I guess I've seen it a dozen or more times over the years.

For those of you who have never seen it, skip this paragraph (WARNING), because I'll ruin the ending for you.  The general plot line goes as follows.  The main character (Tevye) and his family live in a little village of Anatevka. Here's a key fact: the entire village are Jews.  One of these "traditions" is that a matchmaker finds brides for the men in the village.  This idea drives the movie.  The daughters want to get married, the parents have high or low expectation for the future spouse, and the dad approves of the "match" (husband and wife).

The musical itself revolves around Tevye's oldest three daughters finding husbands (one of these men is a Gentile).  The eldest daughter wants to marry a poor child-hood friend (turned seamstress). The next in line wants to marry the village rabbi's son, but ends up marrying a stranger to the village (Jewish of course).  The third daughter marries a Gentile (which causes a great deal of turmoil in their home resulting in shunning his daughter).

So at what point are there concerns with the plot?  Christian morality at stake?  What potential take away's can an Christian audience discern?  I'll answer those questions by identifying certain pertinent facts which arise from the film version itself.  I'll give two examples of this idea.

First, the movie itself pictures animosity of the Gentile nations towards God's chose people, the nation of Israel.  Tevye on several marked occasions, identifies himself (and and his family) as "God's chosen people."  He later makes kind remarks toward a law enforcement official and comments "its a shame your not a Jew."  This particular theme plays out over and over.  Sort of like seeing Psalm Two on the big screen.  Don't forget this musical revolves around a Jewish village.  They are still waiting for the Messiah to come (which is sadly brought out in the end of the movie).

Second, the movie flows around the concept of tradition.  This is one point where Christians can learn from the foibles of the movie.  The movie characters are completely controlled by the concept of tradition.  Tradition, I would define as: this is the way we have always done it.  Caveat: that does not mean the way we've always done is was wrong.  Those who think or do other wise appear strange, radical, or subversive.  The oldest daughter, who wants to marry a poor tailor, goes outside of traditional "match-maker" to make her own match.  Tevye's opening narrative addresses this point on self items such as heading coverings and prayer garments.  As to whether Tevye's conclusion is correct, in the process of breaking tradition, seems to be answered in his third daughters marriage.  The first two daughters marry Jewish men (the first, from within the village; the second, a stranger to the village).  The third daughter expands on this traditional break down further by marrying a Gentile (outside the Jewish people).  This final step ends in the shunning of his own daughter.

There are several points which can tend to make it sad to watch.  First,  as was just mentioned, the shunning of the third eldest daughter, for marrying outside the Jewish people.  Not only did she not want her parents blessing but didn't care much for his views either.  This is a sort of an expansion on her elder sister, who didn't want here dads permission either, simply his "blessing" (after they already determined what they would do).  Second, is the marriage scene finishing the first half of the movie.  Such a wonderful and blessed occasion to be remembered.  But the Gentile police force comes in wrecking not just the wedding but the entire village.  Third, when the second eldest daughter, leaves to be with her beloved who has been taken to a prison camp in Siberia.  She sings such a sad parting song, "leaving the home she loved."  Fourth, when the entire village is evicted by the Gentile authorities.  This is the closing portion of the movie including the main cast members singing "Anatevka."

On a happy or encouraging note, here the parents sing a "sabbath prayer" for or to their children is a continued blessing.  What loving parent would not want to pray for their children's protection from "the strangers ways"  or to be a blessing like Ruth or Esther.  Perhaps even the dancing seen in the bar when they sing "To Life" (minus the drunken condition Teyve walks home in).  More could be mentioned but these are memorable enough.

All in all the musical is entertaining to watch and listen to the music.  Some love it.  Others may not.  Definitely one which my family continues to watch and sing.  And as far as I know, we will continue to watch it and sing its heart warming tunes for many years to come.

Comments as always encouraged.
This musical is definitely worth watching.
Not a perfect article but just some thoughts concerning the musicals basic content.
Enjoy.

Musicals and Morality: Initial Thoughts Toward a Christian View of Musicals

Musicals and Morality: Initial Thoughts Toward a Christian View of Musicals 

No doubt you have heard of musicals before.  Not sure? How about a sampling of titles to spark the remembrance: The Sound of Music, Singing in the Rain, Fiddler on the Roof, or perhaps Seven Brides for Seven Brothers. Of course, there are hundreds of these movies or stage performances that are specifically identified as musicals.  Some are books turned to movie, such as Les Miserables.  Many of the lyrics and musical arrangements are simply memorable and are masterfully put together.
I would suggest that is part of why they get stuck in our heads so easily.   We'll use this topic to do a short series on musicals and morality.  If you don't watch them, rent or own them, that's an option.  I'd rather Christians be biblically-educated and exercise discernment.  If it is a stumbling block, then when you come for a visit we won't watch it.  I do not write this because I object to musicals, I've had multiple of my children perform and sing in them.  I concern is discernment.  Cultural discernment, that is.

Here's a thought.  Do we ever think through the morality and/or ethics of musicals?  Or do we simply lump them all together and say no to all of them?  Consider the main male character in "The Music Man."  The character, Professor Harold Hill, is a traveling salesman.  His job (if you want to call it that) is to sell/promise boy's band uniforms and musical instruments.  Being a traveling salesman is an occupation just like any other.  You can sell any product honesty for God's glory.  Right there.  That's the catch.  The means or methodology by which Prof. Hill sells his products is down right dishonest.  Shall we simply call this lying.  He repeatedly makes promises that are impossible to keep.  He remains one step ahead of the law and those who would keep him accountable.

What does the viewing or listening audience walk away with?  Many catchy tunes, either as solos or choral arrangements.  Many of which Christians enjoy to sing or simply to hum along.  Consider our example above.  You would be surprised the number of musical arrangements found in musicals that you either know the title or some of the lyrics already.  How many almost know the tune or words containing "Seventy-Six Trumpones" or "Marian the Librarian" perhaps even "Gary, Indiana."  All these are taken from "the Music Man."  At what point does the movie content cross the line to be less than wholesome for Christian consumption? 

We could go through scores of examples.  Many of which come from musicals which you have probably not even heard of but you know the lyrics or a tune from it.  Imagine how much Disney has done in this arena.  How many Christian children know "Let it Go" from the movie "Frozen" or shall we spell out that long word from "Mary Poppins."  You know the one where the main character is actually a flying magician/witch.  Yet Christians can rattle off scores of titles or perhaps even have a friend, "with a wooden leg named Smith!"

Thoughts and Comments encouraged.
This is only the beginning of this series.