In the age of ever-evolving technology, it's surprising how musical theater still looms so close in the American imagination. The world is saturated with different forms of entertainment including cinema, television and streaming services, but musical theater has remained consistently popular. Through unique dance, song and drama, the theater effortlessly transports audiences to a world of fantasy and romance. Centered on Broadway in America, musicals have since progressed to include extravaganzas that were initially not essential to productions. However, while not particularly baroque, the significance of early American musical theater performances remains. Two of the most influential figures who led the rise of American musical theater are Florenz Ziegfeld, Jr and Irving Berlin. Ziegfeld and Berlin marked the stage with their bold attitudes and paved the way for many others to join. Although Ziegfeld's contribution in popularizing individuals and artists differed from Berlin's contribution in combining different musical elements to create "American-sounding" music, both composers were instrumental in the successful integration of immigrants into American culture through their influences in the American theater . . Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get Original EssayThe Ziegfelds were a family of talented musicians, with the exception of Florenz Jr., who had no interest in attending music school and an interest in show business. Florenz Ziegfeld, Jr. was born to music professor Herr Doktor Florenz Ziegfeld, Sr., who opened the Chicago Musical College in 1867 (Brideson 3). After the Great Fire of 1871, the Ziegfeld family moved their home and college to Chicago's business district (Brideson 10). Here, Ziegfeld found himself drawn to a variety of influences: quirky individuals, burlesque theater, and music that was the opposite of his father's. He especially idolized the brash nature of Buffalo Bill Cody, a stage performer, who made a name for himself through the extravagance of his image, personality, and marketing (Brideson 13). Ziegfeld ran amateur shows while working for his father until 1894, when he decided to make a name for himself. The show that first put Ziegfeld on the map was for Prussian immigrant, Eugen Sandow. Ziegfeld wielded Sandow's talent through colossal exaggeration (Brideson 18). Ziegfeld had a talent for advertising people's best qualities and drawing crowds. With Ziegfeld's help, Sandow was considered one of America's first sex symbols and earned an infamous reputation that some individuals condemned. However, audiences still traveled far and wide to see this “monarch of muscle” (Brideson 19). Ziegfeld used this technique to popularize his musical shows, and his great success had an impact on both managers and producers. Using his experience managing several shows, Ziegfeld began to play a much larger role in the shows. He always strived for perfection, and this was especially evident with the onset of Ziegfeld's New Groove. Starting in 1907, Ziegfeld designed a show consisting of several talents to showcase a particular star. These shows became a hit with audiences, as journalists called him “Mr. Ziegfeld's superlative achievement” (New York Times). One of the biggest contributions to the show was the performances of Burt Williams. Burt Williams, an African-American comedian, performed the famous eleven o'clock song of the Follies, which was the encore for the most beloved artist of the time (Gardner). Williams was a light-skinned individual and.