The Musical: A Research and Information Guide (Routledge Music Bibliographies)

THE MUSICAL ROUTLEDGE MUSIC BIBLIOGRAPHIES RECENT TITLES COMPOSERS Isaac Albéniz (1998) Walter A. Clark C. P. E. Bach...

Author: William Everett

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THE MUSICAL

ROUTLEDGE MUSIC BIBLIOGRAPHIES RECENT TITLES COMPOSERS Isaac Albéniz (1998) Walter A. Clark C. P. E. Bach (2002) Doris Bosworth Powers Samuel Barber, Second edition (2010) Wayne C. Wentzel Béla Bartók, Second edition (1997) Elliott Antokoletz Vincenzo Bellini, Second edition (2009) Stephen A. Willier Alban Berg, Second edition (2009) Bryan R. Simms Leonard Bernstein (2001) Paul F. Laird Johannes Brahms, Second edition (2011) Heather Platt Benjamin Britten (1996) Peter J Hodgson William Byrd, Second edition (2005) Richard Turbet Elliott Carter (2000) John L. Link Carlos Chávez (1998) Robert Parker

Frederick Delius, Second edition (2009) Mary Christison Huismann Gaetano Donizetti, Second edition (2009) James P. Cassaro Edward Elgar (1993) Christopher Kent Gabriel Fauré (1999) Edward R. Phillips Alberto Ginastera (2010) Deborah Schwartz-Kates Christoph Willibald Gluck, Second edition (2003) Patricia Howard Charles François Gounod (2009) Timothy S. Flynn

Guillaume de Machaut (1995) Lawrence Earp Gustav and Alma Mahler (2008) Susan M. Filler Felix Mendelssohn Bartholdy, Second edition (2011) John Michael Cooper with Angela R. Mace Olivier Messiaen (2008) Vincent P. Benitez Giovanni Pierluigi da Palestrina (2001) Clara Marvin Giacomo Puccini (1999) Linda B. Fairtile Maurice Ravel (2004) Stephen Zank

G.F. Handel, Second edition (2004) Mary Ann Parker

Gioachino Rossini, Second edition (2010) Denise P. Gallo

Paul Hindemith, Second edition (2009) Stephen Luttmann

Camille Saint-Saëns (2003) Timothy S. Flynn

Gustav Holst (2011) Mary Christison Huismann

Alessandro and Domenico Scarlatti (1993) Carole F. Vidali

Charles Ives, Second edition (2010) Gayle Sherwood Magee

Heinrich Schenker (2003) Benjamin Ayotte

Scott Joplin (1998) Nancy R. Ping-Robbins

Frédéric Chopin (1999) William Smialek

Zoltán Kodály (1998) Mícheál Houlahan and Philip Tacka

Aaron Copland (2001) Marta Robertson and Robin Armstrong

Franz Liszt, Third edition (2009) Michael Safﬂe

Alexander Scriabin (2004) Ellon D. Carpenter Jean Sibelius (1998) Glenda D. Goss Giuseppe Verdi (1998) Gregory Harwood Tomás Luis de Victoria (1998) Eugene Casjen Cramer

Richard Wagner, Second edition (2010) Michael Safﬂe Adrian Willaert (2004) David Michael Kidger

GENRES American Music Librarianship (2005) Carol June Bradley Blues, Funk, R&B, Soul, Hip Hop, and Rap (2010) Eddie S. Meadows Chamber Music, Third edition (2010) John H. Baron Choral Music, Second edition (2011) Avery T. Sharp and James Michael Floyd

Church and Worship Music (2005) Avery T. Sharp and James Michael Floyd The Concerto (2006) Stephen D. Lindeman Ethnomusicology (2003) Jennifer C. Post Jazz Scholarship and Pedagogy, Third edition (2005) Eddie S. Meadows The Madrigal (2011) Susan Lewis Hammond The Musical (2011) William A. Everett

Piano Pedagogy (2009) Gilles Comeau The Recorder, Second edition (2003) Richard Griscom and David Lasocki Serial Music and Serialism (2001) John D. Vander Weg String Quartets, Second edition (2010) Mara E. Parker The Violin (2006) Mark Katz Women in Music, Second edition (2010) Karin Pendle and Melinda Boyd

THE MUSICAL A RESEARCH AND INFORMATION GUIDE SECOND EDITION

WILLIAM A. EVERETT

ROUTLEDGE MUSIC BIBLIOGRAPHIES

First edition published 2004 by Routledge This edition published 2011 by Routledge 270 Madison Ave, New York, NY 10016 Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2011. To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk. © 2004, 2009 Taylor & Francis All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identiﬁcation and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Everett, William A., 1962 The musical : a research and information guide / William A. Everett. – 2nd ed. p. cm. – (Routledge music bibliographies) Includes bibliographical references and index. 1. Musicals–Bibliography. 2. Musical ﬁlms–Bibliography. I. Title. ML128.M78E84 2011 016.7821’4–dc22 2010034630 ISBN 0-203-89119-8 Master e-book ISBN

ISBN: 978-0-415-99421-7 (hbk) ISBN: 978-0-203-89119-3 (ebk)

Contents Acknowledgments

ix

List of abbreviations

x

Introduction I. Reference works Dictionaries and encyclopedias Chronologies II. General histories Theater American opera/opera in America III. Musical theater Historical, cultural, and economic studies Theoretical and analytical studies Generic studies Ethnic genres in North America National genres and surveys IV. Film and television musicals Bollywood V. Works VI. Creators Composers Wordsmiths Orchestrators and dance arrangers Choreography, choreographers, and choreographer-directors Directors and producers Designers

xii 1 1 11 14 14 19 20 20 55 58 70 75 87 94 97 171 171 213 225 226 231 238

vii

viii

VII. Performers General resources Individual performers VIII. Performance Acting/singing Directing/producing Writing Set design

Contents

239 239 240 266 268 273 274 275

XI. Historiography

276

X. Periodicals

279

Musical theater Periodicals that include articles on musical theater

279 279

XI. Sets and series of printed material

281

XII. Discographies

285

XIII. Recorded anthologies

287

XIV. Video anthologies

289

XV. Other searchable resources

290

Index

293

Acknowledgments Many individuals helped make both editions of this project possible—ﬁrst and foremost the creators and writers in the musical theater. Without their contributions, this volume would not have a reason to exist. The librarians and staff at the Miller Nichols Library, at the University of Missouri-Kansas City (UMKC), were of tremendous assistance. Special thanks go especially to Laura Gayle Green, Debbie Keeton, Jonathan Borja, and Jonathan Krinke in the Music/Media section, and the superb people in Interlibrary Loan and at the Circulation Desk. Thanks are also due to Katie Schuermann and Jedd Schneider, the graduate teaching assistants with whom I have had the pleasure to work as the ﬁrst edition of this book progressed. I would also like to thank the students at the UMKC Conservatory of Music, whose desire to learn about the musical theater has been most inspiring. My thanks also go to Shannon McLachlan, Richard Carlin, Erin McElroy, and Robert Sims at Routledge for their support and advice in preparing the ﬁrst edition (2004) and to Constance Ditzel and Denny Tek for their assistance in bringing the second edition to fruition. I would like to make special mention of two important mentors who both passed away in December 2003: Dr. Herbert C. Turrentine and Dr. J. Bunker Clark. Herb Turrentine was my master’s thesis advisor at Southern Methodist University, and it was in a graduate seminar he taught on American Music that I was introduced to and engaged by the topic. Bunker Clark was one of my doctoral dissertation advisors at the University of Kansas and encouraged my interests in American music and in music bibliography. The present volume would not exist were it not for the inﬂuence of these two distinguished people. Finally, I would like to thank my wife, Lynda, and our dogs, Beatrice and Gus, for their love and support as I was preparing this updated and expanded edition.

ix

List of abbreviations COLLECTIONS Babington Babington, Bruce, ed. British Stars and Stardom: From Alma Taylor to Sean Connery. Manchester and New York: Manchester University Press, 2001. 260 p. ISBN 0-7190-5840-6. PN1998.2.B75 2001. BBC Music Magazine Special Issue (1999) BBC Music Magazine. Special Issue: The Golden Age of Musicals. 1999. 82 p. The Cambridge Companion to the Musical, 1st ed. Everett, William A., and Paul R. Laird, eds. The Cambridge Companion to the Musical. Cambridge and New York: Cambridge University Press, 2002. 310 p. ISBN 0-521-79189-8. ML2054.C35 2002. The Cambridge Companion to the Musical, 2nd ed. Everett, William A., and Paul R. Laird, eds. The Cambridge Companion to the Musical, 2nd ed. Cambridge and New York: Cambridge University Press, 2008. 427 p. ISBN 978-0-52-86238-7. ML2054.C35 2008. Cohan Cohan, Steven, ed. Hollywood Musicals: The Film Reader. New York and London: Routledge, 2001. 224 p. ISBN 0-415-23559-6. Coleman and Sebesta Bud Coleman and Judith Sebesta, eds. Women in American Musical Theatre: Essays on Composers, Lyricists, Librettists, Arrangers, Choreographers, Designers, Directors, Producers and Performance Artists. Jefferson, NC, and London: McFarland, 2008. 292 p. ISBN 978-0-7864-3382-7. ML82.W645 2008. Goodhart Goodhart, Sandor, ed. Reading Stephen Sondheim: A Collection of Critical Essays. New York and London: Garland, 2000. 280 p. (Studies in Modern Drama, no. 10. Garland Reference Library of the Humanities, vol. 2065.) ISBN 0-81532832-X. ML410.S6872R4 1998.

x

List of abbrevations

xi

Gordon Gordon, Joanne, ed. Stephen Sondheim: A Casebook. New York and London: Garland, 1997. 259 p. (Casebook on Modern Dramatists, vol. 23. Garland Reference Library of the Humanities, vol. 1916.) ISBN 0-8153-2054-X. ML410. S68-72S74 1997. Lawson-Peebles Lawson-Peebles, Robert, ed. Approaches to the American Musical. Exeter: University of Exeter Press, 1996. 167 p. ISBN 0-85989-405-3. ML1711. Loney Loney, Glenn, ed. Musical Theatre in America: Papers and Proceedings of the Conference on the Musical Theatre in America. Westport, CT, and London: Greenwood, 1984. 441 p. ISBN 0-313-23524-4. ML1711.C66 1981. CALL NUMBER SOURCES Call number, when not imprinted in book or obtained through WorldCat: SLU St. Louis University, Pius XII Memorial Library UMKC University of Missouri-Kansas City, Miller Nichols Library WU Washington University, St. Louis, Gaylord Music Library

Introduction The musical, whether on stage or screen, is undoubtedly one of the most recognizable musical genres of the twentieth century, but also one of the most difﬁcult to deﬁne with any kind of precision. What makes a musical a musical, and not an opera or a play with music? And what about its subgenres—sometimes viewed as synonyms—such as musical comedy, musical play, and operetta? These are terms for which it is impossible to ﬁnd consistent meanings. The same questions can be asked regarding ﬁlm musicals. In the ﬁlm genre, when does a ﬁlm that includes songs stop being a ﬁlm with music and become a ﬁlm musical? Is there a speciﬁc percentage of music that distinguishes movie musicals from other types of cinema? Determining what is or what is not a musical is a task wrought with ambiguities. Musicals defy easy categorization (one of their most intriguing qualities) and the genre encompasses a variety of meanings and subgenres, all of which are related and intertwined. None of them exist within any sort of vacuum. However, when trying to gain a deeper understanding and appreciation of this complex tapestry, separating particular strands eases the task, allowing for closer investigation of certain approaches to the form. Looking ﬁrst at the relationship between musicals and operas (both, after all, are staged entertainments that include music), could musicals be considered a type of opera? Some writers reply with a resounding yes, as noted in the bibliographic entries in the subsection “American Opera/Opera in America” in Section II. Among these authors is John Dizikes, who labels Broadway musicals as “New York operas” in Opera in America: A Cultural History (see entry 89). The line between opera and musical, in any event, is not a ﬁxed boundary but rather a permeable membrane. The closeness of the genres is represented not only by composers such as Frank Loesser, Kurt Weill, Andrew Lloyd Webber, and Michael John LaChiusa, but also by performers such as Nelson Eddy, Bryn Terfel, and Audra McDonald. Crossing generic boundaries is as common as maintaining them. This is not to say that there are not substantial differences between musical theater and opera. Vocal style, musical form and style, and venue are some of the most substantive. While opera possesses a distinctive vocal quality among its ﬁnest singers, so does the realm of the musical. The realm of musical theater voices, like those in opera, is broad, and different voice types emphasize different types of characters. Take, for example, three characteristic female actresses of the musical theater: Ethel Merman, Julie Andrews, and Audra McDonald. Merman’s distinctive belt style accentuated her brassy, no-nonsense characters such as Reno Sweeney in Anything Goes, Annie Oakley in Annie Get Your Gun, or Rose in Gypsy. Julie Andrews’s lyrical soprano showcased the underlying ﬁnesse in characters such as Eliza Doolittle in My Fair Lady and Maria in the ﬁlm version of The Sound of Music. Audra McDonald’s operatic training brings a depth of spirit to characters such as Sarah in Ragtime and the title role in Marie Christine. xii

Introduction

xiii

Most of the time it is easy to distinguish operas from musicals—Tosca usually will not be mistaken for Anything Goes—but it is the gray-area shows, the genre benders, that are particularly intriguing and demonstrate just how limiting generic labels can be. Porgy and Bess, West Side Story, A Little Night Music, and Sweeney Todd are just a few examples of works that include elements of both operas and musicals, but do not exist exclusively in one domain or the other. The choice of venue, while appearing on the surface to be a deﬁning element between operas and musicals, in fact adds to the impossibility of a clear-cut division between the two genres. Musicals by Sondheim, and even some Rodgers and Hammerstein shows, as well as other “classic musicals,” are appearing regularly on opera stages in the early twenty-ﬁrst century. Conversely, Baz Luhrmann’s production of Giacomo Puccini’s 1896 opera La Bohème appeared at the Broadway Theatre in 2002, sung in Italian with English supertitles and eligible for Tony Awards. What is happening here is a return to the shared musical culture of nineteenth-century musical theater, where many kinds of entertainment appeared on musical stages. Turning from the relationship between musicals and operas to that of musicals and plays (or ﬁlm musicals and ﬁlms), the lines of division are equally indistinct. It is again impossible to deﬁne fail-safe criteria for distinguishing between musicals and nonmusicals. Considering that all theater at one point included music, one could argue that Shakespeare, since he called for songs in his plays, wrote musicals. One could look at the amount of music in a production or the role of music in a play as deﬁning factors, but even these criteria are far from concrete. Quantifying the percentage of music in order to have a work qualify as a musical is dangerous, if not absurd. As far as plot is concerned, revues, interpolations, and diversionary spectacles are examples of ways that songs not directly related to a plot can appear in a musical. Scholarship on musical theater and musical ﬁlm has burgeoned since 2004, when the ﬁrst edition of The Musical: A Research and Information Guide appeared. For example, six volumes in the Yale Broadway Masters series have been published to date (only one existed in 2004), Oxford University Press has inaugurated its Broadway Legacies series, and the ﬁrst scholarly journal dedicated to musical theater topics, Studies in Musical Theatre, made its debut in 2007. The organization of the present volume largely follows that of the ﬁrst edition, with new entries appearing throughout and several new sections. Many sources are not included here, including websites of various types dedicated to individual shows and stars, ofﬁcial websites for shows, YouTube videos, blogs, Facebook pages, and Twitter postings. Musical theater’s online presence in various manifestations grows at an astonishing rate. Section I “Reference Works” begins with dictionaries and encyclopedias dedicated ﬁrst to musical theater, then to musical ﬁlm. Chronologies follow, those for musical theater preceding ones for musical ﬁlm.

xiv

Introduction

Section II “General Histories” includes works that place musical theater in the broader contexts of theater and American opera. The entries in this section demonstrate the relationship between the musical and these related stage genres. Section III “Musical Theater” focuses on the stage musical. Entries under “Historical, Cultural, and Economic Studies” include surveys of any type, from general discussions of the musical in a wide array of contexts to detailed studies of speciﬁc eras or trends. The subsection “Theoretical and Analytical Studies” includes studies that focus on the technical aspects of the music. The remainder of the section is organized according to genre, non-English musical theater in North America, and national genres of musical theater. Section IV “Film and Television Musicals” has been expanded from the ﬁrst edition to reﬂect studies devoted to television musicals. A subsection dedicated to the Bollywood musical is included. Section V “Works” consists of entries for individual works. Because of the close relationship between stage and screen musicals and the fact that several shows have incarnations in both media, relevant works are listed together. Some shows may include more references than others; this is not to imply any level of relative importance, for many works receive in-depth treatments in entries that appear elsewhere in the book. (The index will guide the reader to these studies.) Years of revivals and other important productions are not included in the title line for the works, since this information is readily available in many chronologies. Films are identiﬁed as such in the title line. Section VI “Creators” and Section VII “Performers” include entries on people associated with the musical. Almost every person listed in these two sections could have an entire resource manual dedicated to their life and work; in fact, many of them do. The entries in these sections are by far the most selective in the book—entries are not all encompassing by any means, but constitute the most readily available and, in most instances, the most reliable sources. Section VI lists creators and is arranged by category (composer, wordsmith, orchestrator, choreographer, director/producer). When a person takes on more than one role (e.g. composer and wordsmith), the principal references appear under whichever category comes ﬁrst. Since this volume appears in a music bibliography series, composers receive preferential treatment and are listed ﬁrst. In instances where a composer’s lyrics or studies devoted exclusively to lyrics appear, as with Irving Berlin and Cole Porter, the publications concerning their words are included in the section under wordsmiths. Section VII consists of works about performers—a thorny area since many of the book-length biographies are populist, celebrity-oriented works ﬁlled with more anecdotes than substance. Various topics are addressed in the subsequent sections. Aspects of performance—composing, writing, directing, etc.—are the focus of Section VIII “Performance”. Section IX “Historiography” is a new section dedicated to essays

Introduction

xv

on the scholarship of musical theater. A list of periodicals in which articles on musical theater appear is contained in Section X “Periodicals”, generally without annotations. Section XI “Sets and Series of Printed Materials” contains printed sets and series of musical theater songs and shows. Individual vocal or orchestral scores, musical selections for speciﬁc shows, or general anthologies of “greatest hits” are not included, for these are too numerous to list individually and can be located easily through libraries and music stores. Section XII contains discographies. Section XIII includes recorded anthologies. Like the section on printed music, individual albums (original cast, studio cast, and soundtrack recordings) are not included, nor are Broadway and Hollywood albums by various singers. Section XIV includes sources for video excerpts from musicals; it does not include video recordings of complete shows. Section XV contains other searchable resources. No bibliographic guide can be all-inclusive, and these sources can guide the reader to other musical theater items. Particular mention needs to be made of Hubert Wildbihler and Sonja Völklein’s The Musical: An International Annotated Bibliography (entry 1474), the ﬁnal entry in this assemblage. Although from 1986 and therefore dated (and providing a need for the present volume), its coverage is excellent, especially for European musicals. Several websites with solid information on musicals appear in this section as well. In addition to the constituent subtopics associated with the musical, the ways to tell the story of the genre are amazingly varied. Anecdotal recollections of practitioners, newspaper and magazine articles, popular histories and appreciations, and photographic essays are among the most common approaches, but these are generally not critical histories or discussions of the genre. Autobiographical recollections, as well as many “fan” biographies, often take great liberties and elaborations when it comes to factual information. Some general surveys are so general that they provide little valuable insight beyond a superﬁcial level. Fortunately, dramaturgical studies, literary criticism, and in-depth musicological discourses on the musical continue to appear with ever-increasing frequency. As with any bibliographic or encyclopedic work, the subjectivity of its compiler is evident in the choice of materials. This book is no exception. Many lesser-known shows are included, particularly from the 1990s and early 2000s. I have included newspaper and popular magazine references for shows and people where the coverage is substantive and informative. As mentioned earlier, no bibliographic guide can be all-inclusive. I have attempted to include a variety of types of resources, including books, scholarly articles, popular articles, newspaper articles (especially from the New York Times), websites, doctoral dissertations, and master’s theses. My sincere hope is that this book will be a useful entryway for discovering the complex and stimulating world of the musical.

I Reference works

DICTIONARIES AND ENCYCLOPEDIAS Musical theater 1. Bloom, Ken. American Song: The Complete Musical Theatre Companion, 1900–1984. 2nd ed. 2 vols. New York: Schirmer, 1996. 2093 p. ISBN 0-02-870484-3 (set). ML128.M78B6 1996. Arranged by show title, each entry provides the opening date, theater, type of show, and number of performances before credits, songs, cast, and notes. There is a chronological list of shows and indices for people and song titles. 2. Bloom, Ken. Broadway: An Encyclopedic Guide to the History, People, and Places of Times Square. New York: Facts on File, 1991. 442 p. ISBN 0-81601-249-0. 2nd ed. Broadway: Its History, People, and Places: An Encyclopedia. London and New York: Routledge, 2003. 560 p. ISBN 0-415-93704-3. F128.65.T5. Bloom’s encyclopedia includes entries on composers, lyricists, critics, organizations, performers, personalities, playwrights, producers, shows, and theaters. 3. Bloom, Ken. The Routledge Guide to Broadway. New York and London: Routledge, 2007. 300 p. ISBN 0-415-97379-1. PN2277.N5B43 2006. Entries are included on people, theaters, and organizations, but not on individual shows. 1

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The musical: a research and information guide

4. Bunnett, Rexton S., Michael Patrick Kennedy, and John Muir. Guide to Musicals. Glasgow: Harper Collins, 2001. 448 p. ISBN 0-00-712268-3. ML102.M88. This is an updated and expanded paperback version of entry 18. 5. Dietz, Dan. Off Broadway Musicals, 1910-2007: Casts, Credits, Songs, Critical Reception and Performance Data of More Than 1,800 Shows. Jefferson, NC, and London: McFarland, 2010. 655 p. ISBN 978-0-78643399-5. ML1711.8.N3D54 2010. Information on 1,804 musicals, operas, and revues appears in this book, with song lists and notes included for each show. Appendices include a chronology, a discography, a list of published scripts, a ﬁlmography, and lists of shows according to theme (e.g. Black Musicals, musicals based on Shakespeare, and tribute revues). The volume includes separate song, name, and theater indices. 6. Drinkrow, John. The Vintage Musical Comedy Book. Reading, UK: Osprey, 1974. 146 p. ISBN 08045-103-5. With short entries on seventy shows from Dorothy (1886) to 1960 that include short plot summaries and principal musical numbers, the short guide covers shows originally in English. “Musical comedy” covers all English language musical theater genres. 7. Drone, Jeanette Marie. Index to Opera, Operetta and Musical Comedy Synopses in Collections and Periodicals. Metuchen, NJ, and London: Scarecrow, 1978. 171 p. ISBN 0-8108-1100-6. ML128.O4D76. Shows are arranged by title, with numbers corresponding to sources. A composer index is included. 8. Drone, Jeanette Marie. Musical Theater Synopses: An Index. Lanham, MD: Scarecrow, 1998. ISBN 0-810-83489-8. ML128.M78 D76 1998. An updated version of the previous item (7), the guide provides sources for synopses of any work for stage or screen that has music as a primary focus. 9. Everett, William A. and Paul R. Laird. Historical Dictionary of the Broadway Musical. Historical Dictionaries of Literature and the Arts, no. 22. Lanham, MD: Scarecrow, 2008. 455 p. ISBN 978-0-8108-6054-4. ML102.M88E94 2008. [paperback edition: The A to Z Broadway Musical. The A to Z Guide Series, no. 94. Lanham, MD: Scarecrow, 2009. 455 p. ISBN 978-0-8108-6881-6. ML102.M88E94 2009.] The dictionary includes brief entries on shows, people, and topics associated with the Broadway musical from the nineteenth century through 2006, in addition to a chronology, a list of Tony Award-winning musicals, and a bibliography.

Reference works

3

10. Ewen, David. The Book of European Light Opera. New York: Holt, Rinehart and Winston, 1962. 297 p. MT95. This text covers 167 European light operas from France, Germany, Austria, Italy, and England in the main part of the volume. Ranging chronologically from 1728 (The Beggar’s Opera) to 1949 (King’s Rhapsody), entries are arranged alphabetically. Appendices include a chronology, a list of composers and works, and selected recordings. 11. Ewen, David. New Complete Book of the American Musical Theater. New York: Holt, Rinehart and Winston, 1970. 800 p. ISBN 03-085060-6. The ﬁrst part of the book includes substantive entries for major musicals. The second part gives information on librettists, lyricists, and composers. Appendices include a chronology of the musical and a list of outstanding songs and the shows from which they come. 12. Gänzl, Kurt. The Encyclopedia of the Musical Theatre. 2nd ed. 3 vols. New York: Schirmer, 2001. 2274 p. ISBN 0-02-864970-2 (set). ML102. M88 G3 2001. A comprehensive encyclopedia of musical theater throughout Europe and the Americas; coverage extends beyond the twentieth-century Englishlanguage repertory to include entries on French, German, and even Croatian personalities as well as eighteenth- and nineteenth-century works. There are entries included for people and shows, with chronological work lists included for composers and plot synopses, performance histories, and reception histories for works. 13. Green, Stanley. Encyclopedia of the Musical Theatre. New York: Dodd, Mead & Company, 1976. 488 p. ISBN 0-396-07221-6. ML102.M88G7. In addition to entries on people, shows, and songs, the volume includes lists of awards and prizes and long-running shows. The book includes a bibliography and a discography. 14. Hischak, Thomas S. The American Musical Theatre Song Encyclopedia. With a foreword by Gerald Bordman. Westport, CT, and London: Greenwood, 1995. 543 p. ISBN 0-313-29407-0. ML102.M88H59 1995. Arranged alphabetically by song title, entries include information on composers, lyricists, the shows from which the song comes, notable recordings and interpretations, and anecdotal information. 15. Hischak, Thomas. The Oxford Companion to the American Musical: Theatre, Film, and Television. Oxford and New York: Oxford University Press, 2008. 957 p. ISBN 978-0-19-533533-0. ML102.M88H593 2008. In addition to entries on people, topics, and works (with indications whether the title was created for live performance, ﬁlm, or television), this extremely

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The musical: a research and information guide

useful guide includes selected cast lists and song lists, some photographs, a chronology, a chronological list of Academy and Tony awards, a guide to recordings (compiled by Catherine Hischak), and a bibliography. 16. Hischak, Thomas S. Stage It with Music: An Encyclopedic Guide to the American Musical Theatre. Westport, CT: Greenwood, 1993. 341 p. ISBN 0-313-18708-2. ML102.M88H6 1993. Brief entries on people (creators, performers, producers) and signiﬁcant shows as well as subjects, genres, and musical series appear in the volume, which also includes a chronological list of musicals and a comprehensive index. 17. Hughes, Maureen. The Pocket Guide to Musicals. Foreword by Richard Jordan. Barnsley, UK: Remember When, 2008. 191 p. ISBN 1-844680-39-8. Written from a British perspective and hence focusing on British musicals, the book is part narrative but largely bibliographical. Especially useful are the plot summaries, some as short as one sentence, and the lists of shows arranged in various ways (such as according to the type of source material). Intended for fans. 18. Kennedy, Michael Patrick, and John Muir. Musicals. Glasgow: Harper Collins, 1997. 416 p. ISBN 0-00-472067-9 (UK). ML102.M88. Entries on over 180 musicals include composer, lyricist, ﬁrst UK and US performances, principal characters, original cast lists, plot synopses, music and songs, a “Did you know” section with anecdotes and other related information, brief critical quotes, and recommended recordings. Also included in this very useful volume are short biographical sketches and a song title index. See entry 4 for an updated version. 19. Krasker, Tommy, and Robert Kimball. Catalog of the American Musical: Musicals of Irving Berlin, George & Ira Gershwin, Cole Porter, Richard Rodgers & Lorenz Hart. Washington, DC: National Institute for Opera and Musical Theater, 1988. 442 p. ISBN 0-9618575-0-1. ML128. M78K72 1988. For musicals by Berlin, the Gershwins, Porter, and Rodgers and Hart, this volume gives production credits, synopsis and production information, orchestrations, comments, locations of original materials, rental status, and publisher. More detailed information is given for every individual song written for the shows, whether it was cut or remained in the score. 20. Larkin, Colin, ed. The Guinness Who’s Who of Stage Musicals. Enﬁeld, UK: Guinness, 1994. 382 p. ISBN 0-85112-756-8 (UK). ML102.M88. Entries on shows and people associated with musical theater (actors, composers, lyricists, librettists, directors, producers, etc.) from George M. Cohan to Andrew Lloyd Webber, especially those popular in the United

Reference works

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Kingdom, make this a good quick reference guide to the genre. It has been expanded and combined with The Guinness Who’s Who of Film Musicals & Musical Film (entry 46) to form The Virgin Encyclopedia of Stage and Film Musicals (entry 21). 21. Larkin, Colin, and John Martland, eds. The Virgin Encyclopedia of Stage and Film Musicals. London: Virgin, 1999. 680 p. ISBN 0-753-50375-1 ML102.M88 One of the essential reference works for the musical theater, this updated and expanded combination of The Guinness Who’s Who of Stage Musicals (entry 20) and The Guinness Who’s Who of Film Musicals & Musical Films (entry 46) contains more than 1,600 entries for composers, lyricists, and shows that range in length from one paragraph to several pages. The volume includes album ratings (from 1 to 5 stars) and some entries include recommendations for further reading. The book is based on Larkin’s eight-volume Encyclopedia of Popular Music (London: Virgin, 1999). 22. Lewine, Richard, and Alfred Simon. Encyclopedia of Theatre Music: A Comprehensive Listing of More Than 4000 Songs from Broadway and Hollywood, 1900–1960. New York: Bonanza Books, 1961. 248 p. ML128.S3. The book is an aid for ﬁnding songs from Broadway and Hollywood musicals from 1900 to 1960 and includes an index. 23. McSpadden, J. Walker. Light Opera and Musical Comedy. New York: Thomas Y. Crowell, 1936. 362 p. ML1900.M3L5. Though dated, the book includes information, including plot summaries, for many works of Italian, French, German, Russian, English, and American origin from the eighteenth to the early twentieth centuries. 24. Morath, Max. The NPR Curious Listener’s Guide to Popular Standards. New York: Perigee, 2002. 235 p. ISBN 0-399-52744-3. ML3477. M67 2002. Dictionary-type entries appear in several chapters: “The Song Writers,” “The Performers,” “Popular Standards on CD,” and “The Language of Popular Standards”—the last being a glossary. 25. Owen, Bobbi. The Broadway Design Roster: Designers and Their Credits. Westport, CT: Greenwood, 2003. 712 p. ISBN 0-31-331915-4. PN2096.A1. Entries appear for over 2,300 scenery, costume, and lighting designers on Broadway from the 1899–1900 to 2000–01 seasons, which provide brief biographical sketches and design credits. Appendices list design

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winners for the Tony Awards, Donaldson Awards, and Maharam, American Theater Wing, and Henry Hewes awards. 26. Owen, Bobbi. Costume Design on Broadway: Designers and Their Credits, 1915–1985. Westport, CT: Greenwood, 1987. 269 p. ISBN 0-31-325524-5. PN2067. Proﬁles of over 1,000 costume designers include biographical and professional data and Broadway credits. Owen also provides a history of the ﬁeld, 100 costume illustrations, and lists of major award recipients. 27. Owen, Bobbi. Scenic Designers on Broadway: Designers and Their Credits, 1915–1990. Westport, CT: Greenwood, 1991. 320 p. ISBN 0-31-326534-8. PN2096.A1. Similar in arrangement to the previous entry, this volume includes proﬁles of over 900 scene designers, an introductory historical essay, ﬁfteen illustrations, and lists of major award recipients. 28. Simas, Rick. The Musicals No One Came to See: A Guidebook to Four Decades of Musical-Comedy Casualties on Broadway, Off-Broadway and in Out-of-Town Try-out, 1943–1983. New York and London: Garland, 1987. 639 p. ISBN 0-8240-8804-2. ML128.M78S5 1987. Arranged by show title, entries give production information and citations of reviews. Separate sections exist for Broadway and Off-Broadway shows. A chronological list of shows appears under “Opening Dates,” and there are separate indices for show titles and source authors, librettists, composers, and lyricists. 29. Stanley, William T. Broadway in the West End: An Index of Reviews of American Theatre in London, 1950-1975. Westport, CT, and London: Greenwood, 1978. 206 p. ISBN 0-837-19852-6. Z2014.D7 S77 (UMKC). This guide to reviews is arranged by composer, then show. Appendices include lists of the 25 longest-running American productions in London, the 25 longest-running American musicals in London, and the 25 longestrunning American plays in London. 30. Stubblebine, Donald J. Broadway Sheet Music: A Comprehensive Listing of Published Music from Broadway and Other Stage Shows, 1918–1993. Jefferson, NC, and London: McFarland, 1996. 449 p. ISBN 0-7864-0047-1. ML128.M78S78 1996. Giving information for printed sheet music from Broadway shows, the main body is arranged by show, with a song index appearing at the end of the volume. There is also an index of lyricists and composers, as well as a two-page bibliography.

Reference works

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31. Suskin, Steven. Berlin, Kern, Rodgers, Hart, and Hammerstein: A Complete Song Catalogue. Jefferson, NC, and London: McFarland, 1990. 312 p. ISBN 0-89950-417-X. ML128.P63. Suskin lists all the songs by ﬁve of the most important Broadway composers of the ﬁrst part of the twentieth century. 32. Suskin, Steven. Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre, “Oklahoma!” (1943) to “Fiddler on the Roof” (1964). New York: Schirmer, 1990. 810 p. ISBN 0-02-872625-1. ML1711.8.N3S9 1990. 33. Suskin, Steven. More Opening Nights on Broadway: A Critical Quotebook of the Musical Theatre 1965 through 1981. New York: Schirmer, 1997. 1141 p. ISBN 0-2-864571-5. ML1711.8.N3M8 1997. These two books are collections of selected critical responses to Broadway musicals. In addition to quotes, Suskin includes production information, illustrations, and a “Broadway Scorecard” that gives the number of reviews according to ﬁve categories: rave, favorable, mixed, unfavorable, and pan. 34. Suskin, Steven. Show Tunes, 1905–1985: The Songs, Shows, and Careers of Broadway’s Major Composers. New York: Oxford University Press, 1986. Show Tunes: The Songs, Shows, and Careers of Broadway’s Major Composers. Rev. and expanded 3rd ed. New York and Oxford: Oxford University Press, 2000. With a foreword by Michael Feinstein. 581 p. ISBN 0-19-512599-1. ML 128.M78586 1999. Arranged by composer, production information is given for their major shows, along with lists of published songs and brief commentary. Appendices include a chronological listing of productions, a collaborator reference listing, and a bibliography with information on ﬁnding music. There are indices for song titles, shows, and people. Musical ﬁlm 35. Corey, Melinda, and George Ochoa, eds. The American Film Institute Desk Reference. New York: Dorling Kindersley, 2002. 608 p. ISBN 0-7894-8934-1. PN1994. This comprehensive book on ﬁlm includes many references to ﬁlm musicals. Its principal sections are: “Movie History,” “Movie Basics,” “Movie Crafts,” “People in Film,” “Films,” and “Sources.” In addition to information about speciﬁc ﬁlms and individuals, the book includes a comprehensive survey of ﬁlm in general and information on various aspects of ﬁlmmaking, including sound and music. In typical Dorling Kindersley

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fashion, the visual presentation of the book is very user-friendly, with easily readable typeface, text sidebars, and ample photographs. 36. Anderson, Gillian B., compiler, and H. Stephen Wright, ed. Film Music Bibliography I. With a foreword by David Raksin. Hollywood: Society for the Preservation of Film Music, 1995. 175 p. ML128.M7A53 1995. This bibliographic guide includes a section on ﬁlm musicals (pp. 118–21). 37. Aumack, Sheryl. Song & Dance: An Encyclopedia of Musicals. Newport Beach, CA: Sea-Maid Press, 1990. 465 p. ISBN 0-9625180-1-8. PN1995.5.M86. Arranged alphabetically by title, basic information on ﬁlm musicals, including lists of casts and songs and one-paragraph synopsses, makes this volume a valuable quick-reference source. 38. Baxter, Joan. Television Musicals: Plots, Critiques, Casts, and Credits for 222 Shows Written for and Presented on Television, 1944–1996. Jefferson, NC: McFarland, 1997. 204 p. ISBN 0-7864-0286-5. ML2080. B39 1997. Entries include air date, network, running time, cast and credits, songs, and plot synopsis. 39. Benjamin, Ruth, and Arthur Rosenblatt. Movie Song Catalog: Performers and Supporting Crew for the Songs Sung in 1460 Musical and Nonmusical Films, 1928–1988. 352 p. Jefferson, NC: McFarland, 1993. ISBN 0-89950-764-6. ML128.M7B46 1993. Entries list performers and songwriters. Indices appear for performers, songwriters, and songs. 40. Bloom, Ken. Hollywood Song: The Complete Film & Musical Companion. 3 vols. New York: Facts on File, 1995. 1504 p. ISBN 0-8160-2002-7. ML128.M7B6 1995. A comprehensive reference work, entries list ﬁlm credits, cast, song(s), and notes. The third volume consists of a chronology, personnel index, and song index. 41. Bradley, Edwin M. The First Hollywood Musicals: A Critical Filmography of 171 Features, 1927 through 1932. Jefferson, NC, and London: McFarland, 1996. 386 p. ISBN 0-89950-945-2. PN1995.9.M86B73 1996. Arranged chronologically and divided into chapters, Bradley offers critical commentary on aspects of production, style, and other relevant information on ﬁve years of early ﬁlm musicals. The amount of space given for each entry and the level of detail are greater than in most other encyclopedic

Reference works

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surveys of the genre. Stills for many entries and a bibliography are included, along with appendices that list (1) silent features inspired by Broadway musicals, 1914 through 1928, and (2) selected short subjects, 1928 through 1931. 42. Green, Stanley. Encyclopedia of the Musical Film. Rev. ed. New York and Oxford: Oxford University Press, 1988. 344 p. ISBN 0-19-502958-5. PN1995.M86G7. Short entries on ﬁlms, songs, and people associated with the ﬁlm musical ﬁll the main section of this book, while appendices list Academy Award nominees and winners, biographical musicals, and title changes for American ﬁlms released in the United Kingdom and vice versa. Brief ﬁlmographies are provided for stars, and entries on the ﬁlms themselves include production credits, lists of cast and songs, and brief commentaries. 43. Hischak, Thomas S. The American Musical Film Song Encyclopedia. Westport, CT, and London: Greenwood, 1999. 521 p. ISBN 0-313-30737-7. ML102.M68H57 1999. Arranged alphabetically by song title, entries include information on composers, lyricists, the ﬁlm from which the song comes, notable recordings and interpretations, and anecdotal information. A list of ﬁlms is included. 44. Hischak, Thomas S. Film It with Music: An Encyclopedic Guide to the American Movie Musical. Westport, CT, and London: Greenwood, 2001. 465 p. ISBN 0-313-31538-8. PN1995.9.M86H57 2001. This volume includes succinct entries on ﬁlms, actors, choreographers, composers, arrangers, producers, directors, and topics (such as animated musicals and rock documentaries) related to the movie musical. The book includes a chronological list of musicals included in the encyclopedia (from The Jazz Singer [1927] to Fantasia 2000 [2000]), a list of Academy Award winning musicals arranged by category, a bibliography, and an extensive index. 45. Hischak, Thomas S., and Mark A. Robinson. The Disney Song Encyclopedia. Lanham, MD: Scarecrow, 2009. 368 p. ISBN 978-0-8108-6937-0. ML102.M68 H58 2009. Descriptions and discussions of over 900 songs from Disney ﬁlms, television productions, Broadway shows, and theme parks from the 1930s to the early twenty-ﬁrst century are included, along with a guide to recordings and DVDs of Disney productions and a bibliography. 46. Larkin, Colin. The Guinness Who’s Who of Film Musicals & Musical Films. Enﬁeld, UK: Guinness, 1994. 351 p. ISBN 0-8511-2787-8.

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The dictionary, a companion to The Guinness Who’s Who of Stage Musicals (entry 20), includes entries on people associated with ﬁlm musicals and the ﬁlms themselves. It has been expanded and combined with The Guinness Who’s Who of Stage Musicals to form The Virgin Encyclopedia of Stage and Film Musicals (entry 21). 47. Parish, James Robert, and Michael R. Pitts. Hollywood Songsters: A Biographical Dictionary. New York and London: Garland, 1991. 826 p. ISBN 0-8240-3444-9. ML400.P295 1991. Over 100 entries appear for performers who are known both as singers and ﬁlm stars. Entries provide brief biographies and credits for screen, stage, radio, television, and recordings. A photo is included with each entry. 48. Parish, James Robert, and Michael R. Pitts. Hollywood Songsters: Singers Who Act and Actors Who Sing: A Biographical Dictionary. New York and London: Routledge, 2002. 1200 p. ISBN 0-4159-3775-2. ML400.P295 2002. This is a second, expanded edition of the previous item. 49. Stubblebine, Donald J. Cinema Sheet Music: A Comprehensive Listing of Published Film Music from “Squaw Man” (1914) to “Batman” (1989). Jefferson, NC, and London: McFarland, 1991. 628 p. ISBN 0-89950-569-4. ML128.M7S88 1991. Arranged by ﬁlm title, this list of published sheet music includes composer and song indices. 50. Taylor, John Russell, and Arthur Jackson. The Hollywood Musical. New York: McGraw-Hill, 1971. 279 p. ISBN 07-062953-6. ML2075.T4 (UMKC). Following an extended prose history of the ﬁlm musical through the late 1960s told from Taylor’s British perspective, Jackson’s reference section constitutes the majority of the book. He includes a selected ﬁlmography, arranged alphabetically by ﬁlm title, an “Index of Names” with concise entries and credits, a song index, and a title index that includes ﬁlms listed. 51. Thomas, Lawrence B. The MGM Years. New York: Columbia House, 1971. 139 p. ML2075.T535 M2 (UMKC). Entries for forty MGM musicals from 1939 through 1971 include credits, music, background information, stills, and selected critical response. Brief biographical sketches for stars, producers, directors, and music personnel appear at the end of the book, along with a chronology of MGM musicals from 1929 to 1971, notes on dubbing and recording, a discography, and list of awards. 52. Vallance, Tom. The American Musical. London: Zwemmer and New York: A. S. Barnes, 1970. 192 p. ISBN 489-07653-9. ML102.M88V3 (UMKC).

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Brief entries on people associated with the ﬁlm musical (performers, creators, producers, etc.) constitute the body of the volume. 53. Warner, Alan. Who Sang What on the Screen. North Ride, Australia and London: Angus & Robertson, 1984. 168 p. ISBN 0-207-14869-4. ML128. M7 W37 1984. This guide to songs from ﬁlms divides entries into several categories, including Movie Musical Songs, The Singers and the Songs in NonMusicals, The Singing Actors, Songs Based on the Classics, among others. 54. Wescott, Steven D. A Comprehensive Bibliography of Music for Film and Television. Detroit: Information Coordinators, 1985. 432 p. (Detroit Series in Music Bibliography, no. 54.) ISBN 0-89990-027-5. ML128. M7W47 1985. A section on ﬁlm musicals (pp. 350–66) appears in this comprehensive guide to ﬁlm music sources. 55. Woll, Allen L. Songs from Hollywood Musical Comedies, 1927 to the Present: A Dictionary. New York and London: Garland, 1976. 251 p. ISBN 8240-9958-3. ML102.P66W64. Song titles appear in the ﬁrst part with numerical references to shows, which are listed in the second part. There is also a year-by-year listing of musical ﬁlms and an index of composers and lyricists. Woll provides an introductory overview of the ﬁlm musical.

CHRONOLOGIES Musical theater 56. Bordman, Gerald. American Musical Theatre: A Chronicle. 3rd ed. New York: Oxford University Press, 2001. 917 p. ISBN 0-19-513074-X. ML1711.B67 2000. Since its ﬁrst appearance, this deﬁnitive chronology of the American musical theater, now in its third edition, has been a staple of musical theater research. In addition to show-by-show and season-by-season commentary, thumbnail sketches of major personalities are a constituent part of the book. Coverage in the third edition ranges from 1735 (Flora, or Hob in the Well) to the 1999–2000 Broadway season. Bordman includes not only Broadway but also Off-Broadway and non-New York productions in the volume, which includes indices for “shows and sources,” “songs,”

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and “people.” This is an indispensable volume to ﬁnd quick information about a particular show. 57. Brown, Gene. Show Time: A Chronology of Broadway and the Theatre from Its Beginnings to the Present. New York: Macmillan, 1997. 470 p. ISBN 0-02-860830-5. PN2277.N5B69 1997. Arranged season by season from 1914–15 to 1996–97, the encyclopedic coverage for each year begins with factual information on things such as salaries, numbers of subscribers, numbers of productions, and a timeline. Brief entries on speciﬁc events appear under the headings “Personalities,” “Plays and Musicals,” “Business and Society,” and “Births, Deaths, and Marriages” for each season. A chronology with selected important dates covers the years 1826 through 1914. 58. Epstein, Milton. The New York Hippodrome: A Complete Chronology of Performances, from 1905 to 1939. New York: Theatre Library Association, 1993. (Performing Arts Resources, vol. 17–18.) 536 p. ISBN 0-32610-14-0. Z6935.P46. In addition to a master chronology of all performances at the Hippodrome, Epstein provides chronological lists for performances divided by type: all-star variety, concert, ﬁlm, miscellaneous, opera, spectacle, sports, and vaudeville. 59. Gänzl, Kurt, and Andrew Lamb. Gänzl’s Book of the Musical Theatre. London: Bodley Head, 1988. 1353 p. ISBN 0-028-71941-7. MT95. Musicals are listed chronologically within ﬁve geographic-based sections: (1) Great Britain, (2) France, (3) United States, (4) Austria, Germany, and Hungary, and (5) Spain. Each entry includes credits, characters, and a plot summary. A discography is included, as are separate indices for people and song titles. 60. Green, Stanley. Broadway Musicals Show by Show. 6th ed. Revised and updated by Kay Green. New York: Applause, 2008. 468 p. ISBN 978-155783-763-3. ML1711.G735 2008. Now in its sixth edition, this premier desktop chronicle of Broadway music from The Black Crook (1886) to Young Frankenstein (2007) includes informative entries on major shows. In addition to basis bibliographic information (creators, cast, song credits, and information on its New York run), brief commentary appears for each show, and a production photograph accompanies most entries. Separate indices for show, composer/lyricist, librettist, director, choreographer, original major cast members, and theater make it easy to locate speciﬁc information.

Reference works

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61. Norton, Richard C. A Chronology of American Musical Theater. 3 vols. New York: Oxford University Press, 2002. 3,046 p. ISBN 0-19-508888-3 (set). ML1711.8.N3N67 2002. Arranged by season, entries consist of information as it appeared on playbills and programs for musicals that appeared in what were considered to be ﬁrst-class New York theaters. The following data appears for each musical, taken from opening night programs when possible: title, billing, generic identiﬁcation, creators, performance information, cast list, and musical numbers. Footnotes provide additional information, such as songs that were cut or added after opening night. The time frames covered in each volume are: volume 1: 1750 to 1912; volume 2: 1912 to 1952; and volume 3: 1952 to 2001. Indices for shows, songs, and selected people make the reference book extremely user-friendly. 62. Stewart, John. Broadway Musicals, 1943-2004. Jefferson, NC: McFarland, 2006. 1048 p. ISBN 978-0-78642-244-9. ML102.M973 S74 2006. Information on every musical to open from Oklahoma! in 1943 to 2004, including revivals, is listed. Entries contain brief synopses, information on the show’s trek to Broadway, data on the Broadway run, and reception histories, including later notable productions, reviews, and awards. Film musicals 63. Burton, Jack. The Blue Book of Hollywood Musicals. Watkins Glen, NY: Century House, 1953. 296 p. ML128.M7B8 (UMKC). For each year from 1927 through 1952, ﬁlms are listed in the following categories: musicals, feature ﬁlms with songs, western ﬁlms with songs, and full-length cartoons with songs. Shorts are not included, other than The Three Little Pigs. Basic ﬁlm credits and a list of songs appear in each entry. 64. Green, Stanley. Hollywood Musicals Year by Year. Milwaukee: Hal Leonard, 1990. 352 p. ISBN 0-88188-610-6. PN1995.9.M86G74 1990. 2nd ed., revised and updated. Milwaukee: Hal Leonard, 1999. 408 p. ISBN 0-634-00765-3. PN1995.9.M86G74 1999. A companion to the author’s Broadway Musicals Show by Show (entry 60), this indispensable volume provides information on major Hollywood ﬁlm musicals from The Jazz Singer (1927) to The Little Mermaid (1989). The volume includes many stills and numerous indices.

II General histories

THEATER 65. Atkinson, Brooks. Broadway. Rev. ed. New York: Macmillan, 1974. Reprint, New York: Limelight, 1985. 564 p. ISBN 0-87910-047-8. PN2277.N5A78 1985. In his magisterial account of Broadway, the legendary New York Times critic integrates musical theater throughout his discourse and devotes one chapter, “All the Sounds on the Stage Are Like Music” (pp. 317–56) to the genre. Beginning in the 1920s, the chapter concludes with accolades for Ethel Merman and Mary Martin. 66. Berkowitz, Gerald M. New Broadways. Theatre across America: Approaching a New Millennium. Rev. ed. New York and London: Applause, 1997. 269 p. ISBN 1-55783-257-9. PN2266.B49 1997. Berkowitz surveys trends in American theater during the second half of the twentieth century, including chapters on Broadway, Off-Broadway, Off-Off-Broadway, regional theater, and alternative theater. He asserts that theater has expanded to national proportions and has become a cultural institution. Musicals are integrated into his discussion. 67. Botto, Louis. At This Theatre: 100 Years of Broadway Shows, Stories and Stars. Edited by Robert Viagas. New York: Applause and Playbill, 2002. 359 p. ISBN 1-55783-566-7. PN2277.N5. From the Senior Editor of Playbill comes this lavishly illustrated (with photos from the Museum of the City of New York’s collection and 14

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Playbill covers) book that chronicles the histories of Broadway theaters and their productions. Updated from its initial appearance in 1984, the present volume includes the legacies of the refurbished 42nd Street houses, including the Ford Center, the American Airlines Theatre, and the New Amsterdam Theatre. Musical theater appears within Botto’s inclusive context of Broadway theater. 68. Brantley, Ben, ed. The New York Times Book of Broadway. New York: St. Martin’s Press, 2001. 268 p. ISBN 0-312-28411-X. PN2277. N5N45 2001. New York Times reviews of deﬁning and unforgettable Broadway productions, including musicals, are reprinted here, along with a list of Pulitzer Prizes in drama and Tony Award winners for best play and best musical. 69. Brockett, Oscar G., and Franklin J. Hildy. History of the Theater. 9th ed. Boston: Allyn & Bacon, 2003. 692 p. ISBN 0-205-35878-0. PN2101. B68 1995. This standard theater history textbook places musical theater within broader theatrical contexts and movements. 70. Charyn, Jerome. Gangsters and Gold Diggers; Old New York, the Jazz Age, and the Birth of Broadway. New York: Four Walls Eight Windows, 2003. 295 p. ISBN 1-56858-278-1. F128.67.B7 C47 2003. The noted novelist and populist writer includes musical theater creators and stars in his fast-paced cultural survey of New York in the 1920s and 1930s. 71. Eliot, Marc. Down 42nd Street: Sex, Money, Culture, and Politics at the Crossroads of the World. New York: Warner Books, 2001. 315 p. ISBN 0-446-52571-5. F128.67.F7E44 2001. In the heart of New York’s theater district, 42nd Street is synonymous with musicals through the ﬁlm (and Broadway musical) of the same name; this is the topic of Eliot’s history. He traces the famed street from colonial times to 2000, illuminating its intriguing and ever-changing history. 72. Eyre, Richard, and Nicholas Wright. Changing Stages: A View of British and American Theatre in the Twentieth Century. New York: Knopf, 2001. 400 p. ISBN 0-375-41203-4 (UK). PN2595. The companion book to the BBC television series Changing Stages (also broadcast on PBS), the volume gives snapshot vignettes of highpoints in the history of British and American theater during the twentieth century. The Broadway musical is covered in the chapter “Still Dreaming” (pp. 162–77), where the authors sing the merits of “Adelaide’s Lament” from Guys and Dolls (pp. 173–74). Late twentieth-century British musical theater, including works such as Les Misérables and Cats, closes the chapter aptly entitled “Popularity” (pp. 340–46).

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73. Fehl, Fred, photographer, with text by William Stott with Jane Stott. On Broadway: Performance Photographs by Fred Fehl. Austin: University of Texas Press, 1978. A treasure-trove of production photographs from Broadway shows, including musicals. The volume spans from 1940 (Liliom) to 1968 (Golden Rainbow) and also includes commentary from creators, critics, and actors. Photos come from what is now the Harry Ransom Center for the Humanities at the University of Texas at Austin. 74. Frick, John W. New York’s First Theatrical Center: The Rialto at Union Square. Ann Arbor, MI: UMI Research Press, 1985. 209 p. (Theater and Dramatic Series, no. 26.) ISBN 0-8357-1612-0. PN2256.F68 1984. This volume, a revision of the author’s doctoral thesis, provides a history of the Union Square area from 1870 through 1900, when it was the heart of New York theater. Chapters on opera, theaters, concert-lecture halls, popular entertainments, support businesses, and satellite enterprises appear in the book. Numerous photographs and other illustrations are included. 75. Goldstein, Malcolm. The Political Stage: American Drama and Theater of the Great Depression. New York and Oxford: Oxford University Press, 1974. 482 p. PS338.P6G6. Goldstein chronicles the political content of theater and the genre’s political ties and leanings. The Cradle Will Rock is one of the musicals discussed in the book. 76. Johnson, Stephen Burge. The Roof Gardens of Broadway Theatres, 1883– 1942. Ann Arbor, MI: UMI Research Press, 1985. 241 p. (Theater and Dramatic Series, no. 31.) ISBN 0-8357-1693-7. PN2277.N5J64 1985. This chronicle of open-air theaters, some of which were later enclosed, discusses the types of works performed, including musical revues and operettas. Photographs of the performance spaces, as well as architectural and other drawings, are included. 77. Kennedy, Kathleen, and Jean Emser Schultz. Playhouse Square Cleveland: An Entertaining History, 1810 to the 21st Century. Cleveland, OH: Play-house Square Foundation, 2000. 132 p. PN2277.C57. This discussion of Cleveland’s theater district from its nineteenth-century roots through its popularity in the ﬁrst half of the twentieth century and demise in the 1960s ends with the area’s resurgence in the latter decades of the century. Musicals and musical stars are prominently featured in the volume.

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78. Londré, Felicia Hardison, and Daniel J. Watermeier. The History of North American Theater: The United States, Canada and Mexico: From Pre-Columbian Times to the Present. New York and London: Continuum, 2000. 541 p. ISBN 0-8264-1233-5. PN2219.5.L66 2000. The authors survey musical theater genres, including operetta and zarzuela, in their comprehensive study of theater in North America. 79. Morrison, William. Broadway Theatres: History & Architecture. Mineola, NY: Dover, 1999. 168 p. ISBN 0-486-40244-4. PN2277.N5M58 1999. This photographic essay includes images of the exteriors and interiors of Broadway theaters past and present, nearly all of which at one time or another housed musical productions. 80. Norton, Elliot. Broadway Down East: An Informal Account of the Plays, Players and Playhouses of Boston from Puritan Times to the Present. Boston: Boston Public Library, 1978. 156 p. ISBN 0-89073-055-5. PN2277.B. A history of Boston theater that includes references to musical productions, numerous photographs and other illustrative material, a map of Boston theaters, a chronological list of theaters, and a list of long-running shows in Boston. 81. Sharland, Elizabeth. The British on Broadway: Backstage and Beyond—The Early Years. London: Barbican Press, 1999. 105 p. ISBN 0-9531930-1-2 (UK). PN2277.N5. Chronicling the British impact on Broadway (stars, authors, composers, critics, and producers), two chapters focus on the musical theater: Chapter 6, “Ivor Novello and the British Musical” (pp. 48–55), and Chapter 7, “Cameron Mackintosh and Andrew Lloyd Webber” (pp. 56–60). Other chapters address the similarities and differences between London’s West End and New York’s Broadway, famous theater clubs, and restaurants and hotels favored by British theatrical luminaries. The book includes three walking tours of sights associated with British personalities. 82. Shubert Archive (Maryann Chach, Reagan Fletcher, Mark E. Swartz, and Sylvia Wang). The Shuberts Present: 100 Years of American Theater. New York: Abrams, in association with the Shubert Organization, Inc, 2001. 328 p. ISBN 0-8109-0614-7. PN2277.N5 S495 2001. This lavishly illustrated book presents a history of the Shubert’s achievements in American theater, including the musical theater. Focusing on the seventeen houses still owned by the Shubert Organization, the

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book presents new photographs by architectural photographer Whitney Cox in addition to photos and other materials from the Shubert Archive, many of which are reproduced in this book for the ﬁrst time. Costume and set designs, advertisements, placards, programs, and production photos ﬁll the book’s pages. Interludes on topics such as “The Shuberts in Wartime” and “Shubert Alley,” among others, separate the discussions on the houses. The volume includes 200 color plates and three gatefolds. 83. Stone, Wendell C. Caffe Cino: The Birthplace of Off-Off-Broadway. Carbondale: Southern Illinois University Press, 2005. 240 p. ISBN 0-8093-2645-0. PN2277.N5 S76 2005. Joseph Cino and his Caffe Cino, a Greenwich Village coffeehouse, fostered the gay and alternative theater movements of the 1960s and launched the careers of many stars. Among the works that appeared there was Dames at Sea with Bernadette Peters. 84. Vacha, John. From Broadway to Cleveland: A History of the Hanna Theatre. Kent, OH: The Kent State University Press, 2007. 207 p. ISBN 978-0-87338-905-1. PN2277.C572H368 2007. Musicals form an important part of the legacy of Cleveland, Ohio’s Hanna Theatre, including several premieres of shows destined for Broadway. 85. Waldau, Roy S. Vintage Years of the Theatre Guild 1928–1939. Cleveland and London: The Press of Case Western Reserve University, 1972. 519 p. ISBN 0-8295-0203-3. PN2295.T5. In this season-by-season chronicle of the Theatre Guild, plays that became Broadway musicals (Liliom, Green Grow the Lilacs) are discussed, as well as musical productions (The Garrick Gaities, Porgy and Bess). The ﬁnal chapters continue the guild’s activities through Oklahoma! 86. Wilmeth, Don B., and Christopher Bigsby, eds. The Cambridge History of American Theatre. 3 vols. 1725 p. ISBN 978-0052170809206. PN2221. C37 1998. The collection of essays includes many references to musical theater. 87. Wilson, Garff B. Three Hundred Years of American Drama and Theatre: From “Ye Bare and Ye Cubb” to “Hair.” Englewood Cliffs, NJ: Prentice-Hall, 1973. ISBN 0-13-920314-1. PN2221.W5. Wilson discusses musical entertainments in their various guises throughout his history of American drama and theater.

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AMERICAN OPERA/OPERA IN AMERICA 88. Borroff, Edith. American Operas: A Checklist. Warren, MI: Harmonie Park Press, 1992. (Detroit Series in Music Bibliography, no. 69.) 335 p. ISBN 0-89990-063-1. ML128.O4B58 1992. In her catalog of operas arranged by composer, Borroff includes many works that appeared on Broadway. Since there is no title index, one must know the composer of a work in order to ﬁnd its entry. 89. Dizikes, John. Opera in America: A Cultural History. New Haven and London: Yale University Press, 1993. 612 p. ISBN 0-300-05496-3. ML1711.D6 1993. Dizikes calls Broadway music from 1940 to 1960 “New York Opera” in the chapter of the same name (Chapter 42, pp. 502–9), which he concludes with a brief discussion of the post-1960 operas of Stephen Sondheim. Discussions of works from roughly 1900 to 1940 can be found in the index under “New York opera: antecedents.” There is a separate entry, under Gershwin, for Porgy and Bess. 90. Kirk, Elise K. American Opera. Urbana and Chicago: University of Illinois Press, 2001. 459 p. (Music in American Life.) ISBN 252-02623-3. ML1711.K56 2001. Kirk mentions several Broadway works in the context of American opera and devotes one section of the book, “Crossover: Broadway and American Opera” (pp. 316–21), to works by Bernstein and Sondheim. 91. Ottenberg, June C. Opera Odyssey: Toward a History of Opera in Nineteenth-Century America. Westport, CT, and London: Greenwood, 1994. 203 p. (Contributions to the Study of Music and Dance, no. 32.) ISBN 0-313-27841-5. ML1711.O88 1994. Many works that would be considered musicals in the twenty-ﬁrst century were part of the vast expanse known as opera during the nineteenth, and receive treatment in this book, placing them in the broader spectrum of staged musical entertainment. 92. Wallace, Mary Elaine. “American Musical Theater.” In Music in American Society 1776–1976: From Puritan to Synthesizer, edited by George McCue, pp. 161–73. New Brunswick, NJ: Transaction Books, 1977. ISBN 0-878-55209-X. ML200.1. Wallace places the Broadway musical within the context of American opera (the focus of the discussion), identifying the Broadway opera as a speciﬁc type of musical theater.

III Musical theater

HISTORICAL, CULTURAL, AND ECONOMIC STUDIES 93. Adler, Steven. On Broadway: Art and Commerce on the Great White Way. Carbondale: Southern Illinois University Press, 2004. 258 p. ISBN 0-8093-2592-6. ML1711.8.N3 A35 2004. Adler investigates many dimensions of Broadway, with a focus on musicals, in the early twenty-ﬁrst century. Based on copious interviews, he offers insightful commentary on the physical space and idea of Broadway, producers, corporations, proﬁt and not-for-proﬁt worlds, commercial viability and ﬁnances, unions, readings and workshops, the life of a production, tours, marketing, ticket sales, and the reinvention of the Times Square area and 42nd Street in the 1990s and early 2000s. 94. Alpert, Hollis. Broadway!: 125 Years of Musical Theatre. New York: Arcade, 1991. 248 p. ISBN 1-55970-092-0. ML1711.8.N3A46 1991. The companion text for an IBM-sponsored show at the IBM Gallery of Science and Art in New York City in 1991, illustrative materials come from the Museum of the City of New York’s extensive collection. The book traces the Broadway musical from The Black Crook (1866) to Miss Saigon (1991). 95. Applebaum, Stanley, and James Camner, eds. Stars of the American Musical Theater in Historic Photographs: 361 Portraits from the 1860s to 1950. New York: Dover, 1981. 170 p. ISBN 0-486-24209-9. ML1711. 20

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This collection of photographs includes images of over 400 leading American musical theater performers, along with brief commentaries. Many of the photos are signed. 96. BBC Music Magazine. Special Issue: The Golden Age of Musicals. 1999. 82 p. In a special issue of the popular monthly, various authors discuss aspects of the twentieth-century English-language musical theater. Each article receives a separate entry in the present work. A 50-item discography by Mark Shenton appears on pp. 68–81. 97. Banﬁeld, Stephen. “Popular Song and Popular Music on Stage and Film.” In The Cambridge History of American Music, edited by David Nicholls, pp. 309–44. Cambridge: Cambridge University Press, 1998. ISBN 0-521-45429-8. ML200.C36 1998 (UMKC). After discussing the elements of musical theater songs (modular form [AABA structure, refrain idea] and elements of presentation [arrangement, performance style, and production]), Banﬁeld moves to a discussion of allure—what constitutes a classing song. This involves four spheres: verbal, rhythmic, melodic/harmonic, and arrangement. He then offers a lucid history of the American musical theater beginning with Sousa, with important sections on ﬁlm musicals, popular song used in ﬁlms, and popular song on television. Banﬁeld discusses the major works in the genre in a context that emphasizes the connections between works, creators, trends, and concepts. 98. Bartell, Gerald. “Back in Time: Musicals Trace a History of Gay Life at Encores!” New York Blade News, 2 February 2001, 17. The article focuses on gay-related aspects of A Connecticut Yankee (1927), Bloomer Girl (1944), and Hair (1968), musicals on the spring 2001 program of City Center Encores. 99. Baxter, Carol G. “The Federal Theatre Project’s Musical Productions.” In Loney, pp. 381–88. The Federal Theatre Project (FTP) of the Works Progress Administration (WPA) was active in the production of live musical theater from 1935 to 1939. George Mason University in Fairfax, Virginia, is the home of 900 cubic feet of materials related to the endeavor. A chart included in the chapter provides a quick guide to some of the collection’s holdings. 100. Bell, Marty. Broadway Stories: A Backstage Journey through Musical Theatre. New York: Limelight, 1993. 288 p. ISBN 0-87910-174-1. ML1711.8.N3B36 1993. Seventeen Broadway personalities give their stories on a particular production. Bell provides narrative context between quotations, making

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this an intriguing and informative read. The personalities (with their part in the show) and shows are as follows: • • • • • • • • • • • • • • • •

David Zippel (lyricist), City of Angels Stephen Bogardus (actor), Falsettos Stephen Flaherty and Lynn Ahrens (songwriters), My Favorite Year Margo Lion (producer), Jelly’s Last Jam Jerry Zaks (director), Guys and Dolls Milton Craig (actor), Five Guys Named Moe Susan Stroman (choreographer), Crazy for You Peter Stone (librettist), Grand Hotel Kay McClelland (actor, understudy), Nick & Nora Graciela Daniele (director-choreographer), Dangerous Games and Once on This Island Karen Ziémba (actor), And the World Goes Round and The Most Happy Fella Kevin Gray (actor), The Phantom of the Opera Lydia Ooghe (child actor), Les Misérables and The Secret Garden Spiro Malas (actor), The Most Happy Fella Marlene Danielle (actor), Cats Faith Prince (actor), Guys and Dolls

101. Bernstein, Leonard. “American Musical Comedy.” In The Joy of Music. New York: Simon and Schuster, 1959, pp. 152–79. Reprint, New York: Anchor Books, Doubleday, 1994, pp. 164–91. ISBN 0-385-47201-3. ML60. In a transcript of the Omnibus telecast of 7 October 1956, Bernstein views the American musical theater as an eclectic form that borrows from various traditions and is heading steadily in the direction of opera (p. 178). He outlines a continuum for musical theater that includes the following: variety show, revue, operetta, comic opera, opera buffa, opéra comique, grand opera, and Wagnerian music drama (p. 153). 102. Bernstein, Leonard. “Leonard Bernstein Explores American Musical Comedy.” Vogue 129 (1 February 1957): 158–59, 208–11. Bernstein provides an overview of the Broadway musical from The Black Crook through My Fair Lady for a popular audience. He distinguishes between operetta, musical comedy, and revue, and demonstrates the complex intertwining and cross-fertilization of the genres. 103. Binnema, Celeste-Tina Hernandez. “Secondary School Musicals: A Critical View.” Master’s thesis, Simon Fraser University, 1996. 201 p. The study asserts that the way secondary school musicals are rehearsed and performed needs to be changed if the endeavor is going to beneﬁt students and teachers.

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104. Block, Geoffrey. “The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal.” Journal of Musicology 11 (1993): 525–44. Using criteria developed from that for formulating a European musical canon (the ideal of a particular genre), Block offers his “Canonic Twelve” Broadway musicals from Show Boat (1927) to West Side Story (1957): (1) Show Boat, (2) Porgy and Bess, (3) Pal Joey, (4) Oklahoma!, (5) Carousel, (6) Kiss Me, Kate, (7) South Paciﬁc, (8) Guys and Dolls, (9) The King and I, (10) My Fair Lady, (11) The Most Happy Fella, and (12) West Side Story. He notes the homogeneity of the creative personas: only twelve individuals, including both composers and lyricists, created the shows on the list. Rodgers and Hammerstein lead the pack, each contributing ﬁve titles, four with each other and one each with another partner (Rodgers and Hart’s Pal Joey and Kern and Hammerstein’s Show Boat). Block proceeds to show parallels between various strata of American musical theater and European operatic traditions. 105. Block, Geoffrey. Enchanted Evenings: The Broadway Musical from “Show Boat” to Sondheim. New York and Oxford: Oxford University Press, 1997. 410 p. ISBN 0-19-510791-8. ML1711.8.N3B86 1997. The standard by which future music-based studies of the Broadway musical will be judged, this landmark work chronicles the development of the American musical theater from the 1920s through Sondheim’s Sunday in the Park with George (1984). Integrating musical analysis with plot, lyrics, and theatricality, Block emphasizes the collaborative process that is at the heart of musical theater. Included are chapters on Show Boat, Anything Goes, Porgy and Bess, On Your Toes and Pal Joey, The Cradle Will Rock, Lady in the Dark and One Touch of Venus, Carousel, Kiss Me, Kate, Guys and Dolls and The Most Happy Fella, My Fair Lady, West Side Story, and Sondheim. Synopses for each show are included, along with a discography and lists of musical numbers for each focal show, including additions and deletions for selected productions. 106. Block, Geoffrey. Enchanted Evenings: The Broadway Musical from “Show Boat” to Sondheim and Lloyd Webber. 2nd ed. New York and Oxford: Oxford University Press, 2009. 479 p. ISBN 978-0-19-538400-0. ML1711.8.N3B56 2009. The second edition of this important text includes three new chapters, two on the ﬁlm musical and one on the work of Andrew Lloyd Webber that focuses on The Phantom of the Opera, and an expanded Sondheim chapter. New scholarship on the musical is integrated into the other chapters, and a companion website has been developed for the book: www.oup.com/us/ enchantedevenings.

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107. Block, Geoffrey. “Not Only for Cock-Eyed Optimists.” BBC Music Magazine Special Issue (1999): 16–18. Block makes the case for a serious musical consideration of musical theater. 108. Bloom, Ken, and Frank Vlastnik. Broadway Musicals: The 101 Greatest Shows of All Time. Foreword by Jerry Orbach. New York: Black Dog & Leventhal, 2004. 2nd ed. New preface by Broadway’s Leading Ladies. New York: Black Dog & Leventhal, 2008. 336 p. ISBN 978-1-5791-2313-0. ML102.M88.B56 2008. This lavish coffee table book is ﬁlled with illustrations and commentary. 109. Borroff, Edith. “Origin of Species: Conﬂicting Views of American Musical Theater History.” American Music 2, no. 4 (winter 1984): 101–11. The number of names for musical theater and various theories on its origins create a web of confusion on the nomenclature and genealogy of the genre. 110. Bowers, Dwight Blocker. American Musical Theater: Shows, Songs, and Stars. Washington, DC: Smithsonian Collection of Recordings, 1989. 132 p. ML1711. Intended to complement a set of four CDs (entry 1451), this guide to milestone works in the American musical theater is, in itself, a concise history of the genre. A brief survey of the genre opens the book, and it concludes with biographical sketches of major singers and songwriters. In between, there is extensive information on shows and recordings from Herbert’s The Fortune Teller (1898, recorded in 1906) to Bock and Harnick’s Fiddler on the Roof (1964). 111. Bradley, Ian. You’ve Got to Have a Dream: The Message of the Musical. Louisville, KY: Westminster John Knox Press, 2005. 254 p. ISBN 0-66422854-2. ML2054.B73 2005. The theologian and Gilbert-and-Sullivan authority explores religious aspects of the musical theater, devoting chapters to Gilbert and Sullivan, the “Golden Age” in general and Rodgers and Hammerstein in particular (Carousel, The Sound of Music), “brotherhood” musicals of the 1960s (Fiddler on the Roof, Man of La Mancha, among others), biblical musicals of the 1970s (Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, Godspell), Les Misérables, and shows from the turn of the twenty-ﬁrst century (including Whistle Down the Wind, Children of Eden, and The Beautiful Game). He also discusses the inﬂuence of musical theater on churches, with extensive commentary throughout on the theological signiﬁcance of dreams in musicals. 112. “Broadway v. the West End.” The Economist (US) 326, no. 7798 (13 February 1993): 89–90.

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New York and London have been friendly theatrical rivals since at least the 1860s, when Lydia Thompson and her company came to America. The case of The Phantom of the Opera is highlighted, with audiences on both sides of the Atlantic anticipating (at the time of the article’s appearance) the arrival of Sunset Boulevard. 113. Brooks, William. “Good Musical Paste: Getting the Acts Together in the Eighteenth Century.” In Loney, pp. 37–58. Musical theater evenings in eighteenth-century America were encyclopedic entertainments, with interpolations—musical and dramatic—placed between and within acts of the main drama. Brooks advocates period authenticity in reconstructions of works from the era. 114. Chero, Joni Maya, and Monnie Peters. American Participation in Opera and Musical Theater 1992. Carson, CA: National Endowment for the Arts, Seven Locks Press, 1995. (Research Division Report, no. 32.) 104 p. ISBN 0-929765-38-9. ML3795.C45 1995. This report on audience demographics for opera and musical theater in 1992 asserts that musical theater is second only to art museums in popularity among arts-related activities. Demographic proﬁles for musical theater audiences are closer to those of the general public than any other arts activity. The typical musical theater attendee in 1992 was “a white, married, female, suburban resident between the ages of 25 and 54, college educated, with an income between $25,000 and $49,000” (p. 7). Numerous tables detail other aspects of audience demographics for both opera and musical theater. 115. Clark, John R., and William E. Morris. “Scherzo, Forte, and Bravura: Satire in America’s Musical Theatre.” Journal of Popular Culture 12, no. 3 (winter 1978): 459–81. American culture and society were bases for satire in nineteenth- and twentieth-century musical theater. 116. Cliffe, Peter. Fascinating Rhythm. With a foreword by Brian Rust. Baldock, UK: Egon, 1990. 282 p. ISBN 0-905858-49-2. Told from a British perspective, this survey of popular song from the 1920s and 1930s includes information on creators and performers along with the works (theatrical or ﬁlm) from which many of the songs came. 117. Clum, John M. Something for the Boys: Musical Theater and Gay Culture. New York: St. Martin’s, 1999. 317 p. ISBN 0-312-21058-2. ML1700.C58 1999. Clum provides an in-depth discussion of musical theater and its close relationship with gay culture, including sections on audiences, queens,

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gay lyrics, gay icons, heterosexuality, divas, drag, chorus boys, Sondheim, and gay musicals. 118. Cockrell, Dale. “Nineteenth-Century Popular Music.” In The Cambridge History of American Music, edited by David Nicholls, pp. 158–85. Cambridge: Cambridge University Press, 1998. ISBN 0-521-45429-8. ML200.C36 1998 (UMKC). Cockrell includes theater music of various types (pp. 162–75) in his survey of music in public and private spheres during the nineteenth century. 119. Cohen-Stratyner, Barbara. “‘A Thousand Raggy, Draggy Dances’: Social Dance in Broadway Musical Comedy in the 1920s.” In Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader, edited by Jule Mainig, pp. 217–33. Urbana, University of Illinois Press, 2009. ISBN 978-0-252-03363-6. GV1781.B35 2009. The Charleston, the Black Bottom, and exhibition ballroom styles appear in 1920s Broadway musical comedies. Dances and dance scenes are integrated into the narrative in various ways and are often used to illuminate aspects of characters and plot. 120. Coleman, Bud. “New Horizons: The Musical at the Dawn of the Twentyﬁrst Century.” In The Cambridge Companion to the Musical, 2nd ed., pp. 284–301. Following discussions of various subgenres that emerged around 2000 (operetta musical, integrated musical, pop/rock musical, ethnic musicals, non-linear or “concept” musicals, “dansicals,” “actor-musicianship,” and “revisals”), Coleman offers insights on the changing role of the producer and the business of Broadway. 121. Colerick, George. From Italian Girl to Cabaret. London: Juventus, 1998. 181 p. ISBN 0-95249-643-7. ML65. Colerick traces the use of humor, burlesque, and parody in musical theater works from mid-nineteenth-century Paris through styles associated with Vienna, London, and Berlin, to operas and twentieth-century works. 122. Cushman, Robert. “A Nation Born of Song.” BBC Music Magazine Special Issue (1999): 14–15. Shows from the ﬁrst part of the Golden Age included songs that were popular hits, while those from the second part signify a parting of the ways between theater songs and popular music. 123. Decker, Todd R. “Black/White Encounters on the American Musical Stage and Screen (1924-2005).” Ph.D. dissertation, University of Michigan, 2007. 511 p.

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The exploration of instances and implications where black and white performers who play black and white characters appear together in dramatized musical narratives includes discussions of Show Boat, Fred Astaire, and the opera Margaret Garner (2005). 124. Deer, Harriett, and Irving Deer. “Musical Comedy: From Performer to Performance.” Journal of Popular Culture 12, no. 3 (winter 1978): 406–21. Musicals from the 1940s to the 1970s are explored in the context of how they reﬂect popular values, character desirability, and cultural norms. 125. Dircks, Phyllis T. “London’s Stepchild Finds a Home.” In Loney, pp. 23–35. Many popular English musical theater works also appeared on American stages during the late eighteenth century, including Midas, The Duenna, The Haunted Tower, Richard Coeur de Lion, and Inkle and Yariko. 126. Edney, Kathryn Ann Tremper. “‘Gliding Through Our Memories’: The Performance of Nostalgia in American Musical Theater.” Ph.D. dissertation (Theater), Michigan State University, 2009. 462 p. Nostalgia and anti-nostalgia, which glorify and problematize American culture and values respectively, are investigated in Oklahoma!, Flower Drum Song, Assassins, Jelly’s Last Jam, The Producers, and Hairspray. 127. Engel, Lehman. The American Musical Theater: A Consideration. New York: CBS Legacy Collection, Macmillan, 1967. 236 p. Rev. ed., New York: Macmillan, 1975. 266 p. ISBN 0025360809. ML1711.E5 1975. Lavishly illustrated and lovingly written, Engel, an esteemed Broadway conductor, offers his insights and perspectives on the history of the American musical theater. His writing is replete with artistic judgments and practical knowledge, especially in Chapter 4, “The Contemporary Musical.” In the chapter, which is divided into two parts, “The Libretto” and “Elements of the Musical Show,” Engel surveys pinnacle examples of book and music, showing a great love for shows such as Oklahoma!, Guys and Dolls, Carousel, and Pal Joey, among many others. 128. Engel, Lehman. “The Condition of the American Musical Today.” In Loney, pp. 13–20. In the keynote address for the 1981 Conference on the Musical Theatre in America, Engel gives an overview of the musical in the twentieth century, citing folio shows, rock concerts, Sondheim, and revivals as constituting the state of the art in the early 1980s. He bemoans the lack of Broadway librettists, which is as a result of ﬁnancial considerations; they can earn more money in a shorter amount of time in Hollywood.

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129. Everett, William A., and Paul R. Laird, eds. The Cambridge Companion to the Musical. Cambridge and New York: Cambridge University Press, 2002. 310 p. ISBN 0-521-79189-8. ML2054.C35 2002. The fourteen chapters in this volume, each of which is written by a specialist (or specialists) in a particular area of musical theater, chronicle the English-language musical theater from the eighteenth to the late twentieth centuries. While the authors focus primarily on Broadway productions, there is also substantial coverage of London’s West End. Each chapter has an individual entry in the present volume. 130. Everett, William A., and Paul R. Laird, eds. The Cambridge Companion to the Musical, 2nd ed. Cambridge and New York: Cambridge University Press, 2008. 427 p. ISBN 978-0-52-86238-7. ML2054.C35 2008. Five new chapters and two revised chapters were added to the ﬁrst edition, and several other articles were updated. Each chapter has an individual entry in the present volume. 131. Feder-Kane, Abigail Miriam. “‘Anything You Can Do, I Can Do Better’: Transgressive Gender Role Performance in Musical Theater and Film, 1930–1950.” Ph.D. dissertation, Northwestern University, 1999. 449 p. Spectacle and performance overrode narrative in many stage and screen musicals from the 1930s and 1940s. Women were allowed to perform transgressively, thus transcending traditional ideas of narrative, attention, and space. 132. Flinn, Denny Martin. The Great American Book Musical: A Manifesto, A Monograph, A Manual. New York: Limelight, 2008. 280 p. ISBN 978-087910-362-0. ML1711.F56 2008. Taking the stance that the book musical, with its dependence on staged storytelling through music and dance, is an art form of the past, Flinn dissects the genre to show how it functioned. He devotes chapters to music, lyrics, libretto, opening numbers, choreographers, concept musicals (and how they differ from book musicals), and revivals he’d like to see, with ideas on how and why he’d like to see them. Flinn also provides a history of the genre and offers his own insights, stemming from his work as a dancer, choreographer, and director, on its distinctive characteristics. 133. Flinn, Denny Martin. Musical! A Grand Tour. New York: Schirmer, 1997. 557 p. ISBN 0-02-864610-X. ML1711.F57 1997. As a survey of the musical theater for those who are not music specialists, this is one of the best. Giving the book the subtitle “The Rise, Glory, and Fall of an American Institution,” Flinn is never afraid to state his personal opinions, making for lively reading. The book begins with a survey of

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European stage music from the ancient Greeks, through Shakespeare and The Beggar’s Opera, to Gilbert and Sullivan. He then moves to America, beginning with The Black Crook. Flinn continues his survey through A Chorus Line, and shifts gears to offer chapters on aspects and subgenres of the Golden Age: directors and choreographers, the black musical, the rock musical, the English musical, the Off-Broadway musical, classics (major and minor), book writers, lyrics, and music. He concludes the book by lamenting the state of the genre at the end of the twentieth century. The appendix of ﬁlm adaptations of Broadway shows is useful both for its information and its pithy annotations. 134. Friedwald, Will. Stardust Memories: The Biography of Twelve of America’s Most Popular Songs. New York: Pantheon, 2002. 397 p. ISBN 0-375-42089-4. ML3477.F75 2002. Friedwald provides background, analysis, and reception history for twelve popular American songs, most of which were introduced in musicals. He details memorable performances of the popular standards by artists who were famous, infamous, or obscure. Sadly, there is no index. The songs discussed (and shows from which they come or are most associated) are: “Star Dust,” “The St. Louis Blues,” “Mack the Knife” (The Threepenny Opera), “Ol’ Man River” (Show Boat), “Body and Soul” (Three’s a Crowd), “I Got Rhythm” (Girl Crazy), “As Time Goes By,” “Night and Day” (The Gay Divorce, The Gay Divorcee), “Stormy Weather” (Cotton Club Parade), “Summertime” (Porgy and Bess), “My Funny Valentine” (Babes in Arms), and “Lush Life.” 135. Frommer, Myrna Katz, and Harvey Frommer. It Happened on Broadway: An Oral History of the Great White Way. New York and San Diego: Harcourt Brace & Company, 1998. 296 p. ISBN 0-15-100280-0. PN2277. N518 1998. Revised edition, Madison: University of Wisconsin Press, 2004. 328 p. ISBN 978-02991-9704-9. PN2277.N5. Assembled and edited by oral historians, this collection of reminiscences by stars, creators, and lovers of Broadway is organized according to theme, including “breaking-in” stories, Broadway itself, social and political issues, Rodgers and Hammerstein, dance, expectations of success or failure, star charisma, backstage lessons and lore, and other topics. 136. Furia, Philip, and Michael Lasser. America’s Songs: The Stories Behind the Songs of Broadway, Hollywood, and Tin Pan Alley. New York and London: Routledge, 2006. 358 p. ISBN 978-0-415-97246-8. ML3477. F87 2006. In addition to providing information on the stories behind many songs, including some written for Broadway and Hollywood musicals, the authors discuss what makes a song great and the collaborative process.

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137. Gänzl, Kurt, The Musical: A Concise History. Boston: Northeastern University Press, 1997. 432 p. ISBN 1-55553-311-6. ML1700.G322 1997. Gänzl offers a valuable history of the musical theater from the eighteenth century to the present, focusing on France, Britain, the United States, Germany, Austria, and Hungary, and thus provides an international coverage of popular musical theater with discussions of international trends and inﬂuences. Detailed information about seminal works is set off from the main text and provides basic information (creators, source material, and information on the premiere), a list of characters, a brief plot summary, and a list of songs. Chronologies or similar tables appear at the end of each chapter. 138. Gänzl, Kurt. Song & Dance: The Complete Story of Stage Musicals. London: Carlton, 1995. 240 p. ISBN 0-8317-1890-0. Republished with an expanded ﬁnal chapter as Musicals: The Complete Illustrated Story of the World’s Most Popular Live Entertainment. London: Carlton, 2001. 256 p. ISBN 1-84222-240-6. ML1700. This amply illustrated volume on the development of musical theater since the eighteenth century in Europe and the United States is geared toward a popular, nonspecialist audience. Several shows receive more in-depth discussions on specially colored pages. The ﬁnal chapter of Song & Dance was expanded for Musicals in order to include musicals from the mid-1990s and beyond. 139. Garber, Michael G. “Reﬂexive Songs in the American Musical, 1898 to 1947.” Ph.D. dissertation (Theatre), City University of New York, 2006. 752 p. Reﬂexive songs act as a metadramatic device to reveal layers of meaning in the American stage and ﬁlm musical. A survey of 2,367 songs found that 46 percent were reﬂective in nature. Three shows receive their own chapters: He Came from Milwaukee (1910), King of Jazz (1930), and On the Town (1944). 140. Garber, Michael G. “Songs about Entertainment: Self-Praise and SelfMockery in the American Musical.” Studies in Musical Theatre 1, no. 3 (2007): 227–44. Songs about entertainment from musicals in the early and middle parts of the twentieth century were often either self-praising or self-mocking and can be viewed in the context of metatheatre. 141. Gottfried, Martin, Broadway Musicals. New York: Abradale/Abrams, 1979. 352 p. ISBN 0-8109-8060-6. ML1711.8.N3G68. 142. Gottfried, Martin. More Broadway Musicals: Since 1980. New York: Abrams, 1991. 224 p. ISBN 0-8109-3621-6. ML1711.8.N3G69 1993.

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These two oversized coffee-table books are ﬁlled with photographs from numerous Broadway musicals, complemented by Gottfried’s insightful commentary. For visual representations of Broadway shows, they are virtually unbeatable. 143. Gottlieb, Jack. Funny, It Doesn’t Sound Jewish: How Yiddish Songs and Synagogue Melodies Inﬂuenced Tin Pan Alley, Broadway, and Hollywood. SUNY Series in Modern Jewish Literature and Culture. Albany: State University of New York Press, in association with the Library of Congress, 2004. ISBN 978-0-8444-1130-9. ML3776.G65 2004. Correspondences between Jewish melodies and American popular song are explored. The book includes 456 musical examples and a CD. Gottlieb investigates secular and sacred roots as well as afﬁnities between Jewish Americans and African Americans. 144. Grant, Mark N. The Rise and Fall of the Broadway Musical. Boston: Northeastern University Press, 2004. 375 p. ISBN 978-1-5555-3642-8. ML1711.8.N3.G727 2004. Grant explores the “Golden Age” Broadway musical and how various factors affected it, mostly adversely, in the latter part of the twentieth century, including singing styles, ampliﬁcation, rock, changing tastes, and the rise of the director-choreographer, among others. 145. Green, Stanley. Ring Bells! Sing Songs! Broadway Musicals of the 1930’s. New Rochelle, NY: Arlington House, 1971. 385 p. ISBN 0-87000-13-7. ML1711.8.N3 G735. Green’s chronological survey is divided by calendar year rather than season. He provides insightful commentary on 175 Broadway musicals, as well as appendices listing Broadway credits and production information, London productions, and ﬁlm versions of the shows he discusses. The volume includes many illustrations (production stills, sheet music covers, newspaper clippings, and similar material). 146. Green, Stanley. The World of Musical Comedy. New York: Grosset & Dunlap, 1960. 397 p. Revised and enlarged 4th ed., San Diego: A. S. Barnes, 1980. Reprint, New York: Da Capo, n.d. 480 p. ISBN 0-30680207-4. ML1711.G74 1984. Although the title, by more modern deﬁnition, is limited to one aspect of musical theater, this is in fact a comprehensive survey of the Broadway musical, organized chronologically by composer beginning with Victor Herbert and extending through the 1950s in the ﬁrst edition and the 1970s in the fourth. The book is especially useful for its many production photos.

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147. Hamm, Charles. Yesterday: Popular Song in America. New York and London: Norton, 1979. 533 p. ISBN 0-393-30062-5. ML3561.P6H35. Hamm, in his magisterial survey of American popular song, includes two chapters on Tin Pan Alley song, the classic Broadway model: “‘After the Ball’; or The Birth of Tin Pan Alley” (pp. 284–325) and “‘It’s Only a Paper Moon’; or, The Golden Years of Tin Pan Alley” (pp. 326–90). In addition to discussing major composers such as Charles K. Harris, Paul Dresser, Harry Von Tilzer, George M. Cohan, Irving Berlin, Jerome Kern, and George Gershwin, Hamm discusses the sheet music publishing industry, musical attributes of the popular style in terms of form, rhythm, and harmonic language, and the importance of Tin Pan Alley in the dance realm and Big Band repertory. 148. Hart, Norman Phillip. “Life upon the Wicked Stage: A History of Musical Biographies in America, 1783–1993.” Ph.D. dissertation, University of Maryland, 2000. 362 p. Biographical musicals balance entertainment and truth, exhibiting references to the time of the subject as well as to that of the musical incarnation. 149. Harvey, Anne-Charlotte Hanes. “Holy Yumpin’ Yiminy: Scandinavian Immigrant Stereotypes in the Early Twentieth Century American Musical.” In Lawson-Peebles, pp. 55–71. Two basic approaches to the portrayals of Scandinavians in early twentieth-century American musicals and songs exist, the ﬁrst based on operetta aesthetics (romanticized stately people) and the second as an out-of-the-ordinary immigrant culture, usually settling in the American Midwest. The ethnic portrayal of Scandinavians was innocent, politically safe, and colorfully exotic (p. 69). 150. Henderson, Amy, and Dwight Blocker Bowers. Red Hot & Blue: A Smithsonian Salute to the American Musical. Washington and London: Smithsonian, 1986. ISBN 1-560-98698-0. ML141.W3. The lavishly illustrated book includes solid and accessible commentary on the development of the American musical theater. Illustrations include production photos, historic photos, ﬁlm stills, program covers and publicity posters, sheet music covers, and the like. Many of the portraits are from the collection of the National Portrait Gallery, Smithsonian Institution. 151. Hillman, Jessica. “Tradition or Travesty? Radical Reinterpretations of the Musical Theatre Canon.” Theatre Topics 20, no. 1 (March 2010): 1–10. Licensing agreements and innovation can come into conﬂict, as demonstrated in two reinterpretations of canonic works: The Sound of Music set on a rubbish heap and Annie envisioned as a young orphan’s dream.

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152. Hillman-McCord, Jessica. “From the Shtetl to 42nd Street: Nostalgia and Postmemory in Jewish American Musicals, 1961-Today.” Ph.D. dissertation (Theater), 2007. 324 p. Jewish nostalgia, a result of the complex intersecting trends of Holocaust “postmemory” and Jewish secularization, is explored in six Jewishthemed musicals from the second half of the twentieth century: Milk and Honey, Fiddler on the Roof, The Rothschilds, Ragtime, Rags, and The Producers. 153. Hirst, David. “The American Musical and the American Dream: From Show Boat to Sondheim.” New Theatre Quarterly 1, no. 1 (February 1985): 24–38. Hirst investigates several dimensions of the American musical, including how to read a musical, naturalistic and presentational shows, the portrayal of the American Dream, the Great Depression, Busby Berkeley and the backstage musical, the dynamics of success and failure, and changing views of Americanism. 154. Hornby, Richard. “The Decline of the American Musical Comedy.” Hudson Review 41, no. 1 (spring 1988): 182–88. Hornby bemoans what he sees as the decline of the musical, offering commentary on Into the Woods, Teddy and Alice, the Lincoln Center revival of Anything Goes, and Burn This. 155. Hurwitz, Nathaniel. “An Examination of the Image of ‘Home’ in the American Musical Theatre—From Kern through Sondheim.” Ph.D. dissertation (Theater), University of Pittsburgh, 2002. 308 p. The notion of “home” as represented in the American musical shifted during the twentieth century. In the period from roughly 1914 to 1941, a central character journeys to enter a home, and in shows from roughly 1943 to 1963, characters leave home to learn why they must return. In the period lasting from roughly 1964 to 1990, the central character must deal with a dysfunctional home, while in shows since 1990, a lack of ﬁxed locality is evident. 156. Hyland, William G. The Song Is Ended: Songwriters and American Music, 1900–1950. New York and Oxford: Oxford University Press, 1995. 336 p. ISBN 0-19-508611-2. ML3477.H95 1995. Hyland discusses the lives and works of ﬁve songwriters from the ﬁrst half of the twentieth century: Irving Berlin, Jerome Kern, George Gershwin, Cole Porter, and Richard Rodgers. The book does not contain any musical examples, instead focusing on historical and dramatic aspects of the works under discussion.

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157. Jackson, Arthur. The Best Musicals from “Show Boat” to “A Chorus Line”: Broadway, Off-Broadway, London. New York: Crown, 1977. 208 p. ISBN 0-517-53881-4. ML1950.J22 1979. This coffee-table book is ﬁlled with production photos and stills from stage and screen musicals. Contrary to the title, Jackson begins his discussion with nineteenth-century works, not arriving at Show Boat until Chapter 3. Appendices include short biographical sketches, a musical calendar from 1866 to 1979, a list of songs and their sources, a list of long runs, and a ﬁlmography. 158. Jenness, David, and Don Velsey. Classic American Popular Song: The Second Half-Century, 1950-2000. New York: Routledge, 2006. 408 p. ISBN 0-415-97056-3. ML3477.J46 2005. Broadway and Hollywood composers and songs from the second half of the twentieth century are included in this study, which investigates distinguishing features of signiﬁcant American popular songs. Composers are discussed in roughly chronological order. 159. Jones, John Bush. Our Musicals, Ourselves: A Social History of the American Musical Theatre. Hanover, NH, and London: Brandeis University Press, 2003. 411 p. ISBN 1-58465-311-6. ML1711.J65 2003. Jones focuses on aspects of realism and/or social issues in his survey of the American musical from the late nineteenth-century imports of Gilbert and Sullivan through Urinetown (2001). 160. Jones, Tom. Making Musicals: An Informal Introduction to the World of Musical Theatre. New York: Limelight, 1998. 189 p. ISBN 0-87910-095-8. MT67.J775 1997. Based on a series of lectures, the lyricist/librettist of The Fantasticks gives an informal and informative history of the musical theater in the ﬁrst part of the book and practical information on creating musicals in the second, frequently drawing upon his own experience. 161. Kantor, Michael. Broadway: The American Musical. 6 DVDs. PBS Home Video 88571, 2004. This video documentary history of the Broadway musical includes interviews and excerpts from productions. Its six hour-long chapters are: 1) “Give My Regards to Broadway (1893-1927),” 2) “Syncopated City (1919-1933),” 3) “I Got Plenty of Nuttin’ (1930-1942),” 4) “Oh, What a Beautiful Mornin’ (1943-1960),” 5) “Tradition (1957-1979),” and 6) “Putting It Together” (1980-2004).” The set includes nine additional performances, the featurette “Wicked: The Road to Broadway,” and over three hours of additional interviews.

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See entry 190 for the companion book to the series. 162. Keller, James. “The Making of Broadway.” BBC Music Magazine Special Issue (1999): 20–23. Keller traces the American musical theater and its various strands through World War I. 163. Keller, Kate Van Winkle, with John Koegel. “Secular Music to 1800.” In The Cambridge History of American Music, edited by David Nicholls, pp. 49–77. Cambridge: Cambridge University Press, 1998. ISBN 0-52145429-8. ML200.C36 1998 (UMKC). Theater music was an important part of music in America during the eighteenth century, and Keller devotes several pages speciﬁcally to musical theater (pp. 69–73) as well as referring to the genre in other parts of her discussion. 164. Kenrick, John. Musical Theatre: A History. New York and London: Continuum, 2008. 408 p. ISBN 978-0-8264-2860-8. ML2054.K46 2008. The creator of the www.musicals101.com website (see entry 1466) offers a show-based approach to the history of musical theatre, tracing the genre’s development from ancient Greece to the early twenty-ﬁrst century. Kenrick devotes more than half his prose to works that appeared prior to Show Boat. 165. Keyser, Herbert. Geniuses of the American Musical Theatre: The Composers and Lyricists. Foreword by Ted Chapin. New York: Applause, 2009. 320 p. ISBN 978-1-4234-6275-0. ML385.K485 2009. Copiously illustrated, beautifully produced, and based on presentations for Crystal Cruises (hence geared toward a general audience), this engagingly written volume provides biographical information on twenty-eight Broadway composers and lyricists: Harold Arlen, Irving Berlin, Leonard Bernstein, Hoagy Carmichael, Betty Comden and Adolph Green, Howard Dietz, Edward “Duke” Ellington, Dorothy Fields, George Gershwin, E. Y. “Yip” Harburg, Jerry Herman, John Kander and Fred Ebb, Jerome Kern, Alan Jay Lerner, Frank Loesser, Johnny Mercer, Cole Porter, Richard Rodgers and Oscar Hammerstein II, Richard Rodgers and Lorenz Hart, Stephen Sondheim, Charles Strouse, Jule Styne, Thomas “Fats” Waller, Harry Warren, Andrew Lloyd Webber, Meredith Willson, and Vincent Youmans. 166. Kimbrough, Mary. The Muny: St. Louis’ Outdoor Theater. St. Louis: Bethany Press, 1978. 158 p. ISBN 0-8272-2315-3. ML1711.8.S15M85. A retrospective for the St. Louis Municipal Opera (Muny)’s sixtieth anniversary, the book traces the history of the outdoor theater known for

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its musical productions from its origins in 1919. It built a strong association with the Shubert Theatrical Corporation during the 1930s. Many famous personalities played at the Muny, and their work is documented in the volume’s numerous color and black-and-white photos. 167. Kirle, Bruce. Unﬁnished Show Business: Broadway Musicals as Works-in-Progress. Theater in the Americas. Carbondale: Southern Illinois University Press, 2005. 277 p. ISBN 0-80-932666-3 (cloth). ML2054.K57 2005. Kirle asserts that musicals are ﬂuid products that reﬂect the time, place, and culture of their creation and performance. Hence, printed texts and scores alone offer an incomplete picture of the genre. 168. Kislan, Richard. The Musical: A Look at the American Musical Theater. Englewood Cliffs, NJ: Prentice-Hall, 1980. 262 p. ISBN 0-13-608547-4. ML1711.K57. An introductory text on the musical theater for speech and theater students, the book contains three principal sections: “Forms of Musical Theater” (tracing the development of the genre from the eighteenth century to the twentieth, through minstrelsy, vaudeville, burlesque, revue, and comic opera and operetta), “The Mature Musical” (Kern, Rodgers and Hammerstein, and Sondheim), and “Elements of Musical Theater” (book, lyrics, score, dance, and design). 169. Knapp, Raymond. The American Musical and the Formation of National Identity. Princeton and Oxford: Princeton University Press, 2005. 382 p. ISBN 0-691-11864-7. ML1711.K6 2004. Knapp investigates the relationship between the musical and American identity, looking at nineteenth- and early twentieth-century musical theater forms before addressing “Deﬁning America” (with chapters titled “Whose (Who’s) America?,” “American Mythologies,” and “Countermythologies”) and “Managing America’s Others” (with chapters titled “Race and Ethnicity,” “Dealing with the Second World War” and “Exoticism.”). Audio examples are available online, with indications of their placement in the text. Musical examples and illustrations, mostly ﬁlm stills, are included. 170. Knapp, Raymond. The American Musical and the Performance of Personal Identity. Princeton and Oxford: Princeton University Press, 2006. 485 p. ISBN 978-0-691-12524-4. ML2054.K6 2006. Knapp explores how musicals enact aspects of identity, including fairy tales and fantasy, idealism and inspiration, gender and sexuality, and relationships, offering discussions on multiple musicals pertaining to each category. He concludes with a discussion of the musical’s operatic

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aspirations. Audio examples are available online, with indications of their placement in the text. Musical examples and illustrations are included. 171. Koegel, John. “Non-English-language Musical Theatre in the United States.” In The Cambridge Companion to the Musical, 2nd ed., pp. 29–53. This survey covers from the nineteenth century through World War II and includes Spanish-speaking, French, Italian, German, Scandinavian, Finnish, Chinese, and Yiddish musical theater. Koegel discusses the establishment of ethnic theaters, notions of immigration themes represented in song, performance spaces, performers and repertory, recordings, and ﬁlm musicals. 172. Kohn, Martin F. “Stage Musicals Based on Films Are Producing Sweet Success.” Detroit Free Press, 23 March 2002, Knight Ridder/Tribune News Service. In this short article on the “movical,” the author cites examples of ﬁlms that have provided source material for Broadway musicals. 173. Krasner, Orly Leah. “Birth Pangs, Growing Pains and Sibling Rivalry: Musical Theatre in New York, 1900–1920.” In The Cambridge Companion to the Musical, 1st ed., pp. 29–46; The Cambridge Companion to the Musical, 2nd ed., pp. 54–71. Comic opera and the vaudevillian approach of George M. Cohan and the team of Weber and Fields ushered in twentieth-century musical theater. Victor Herbert, Reginald de Koven, and the 1905 production of The Merry Widow all played major roles in the development of New York’s Broadway musical offerings in the century’s ﬁrst two decades, as did revues, Irving Berlin, and Jerome Kern. 174. LaChiusa, Michael John. “Genre Confusion.” Opera News (August 2002): 12–15, 73. Composer Michael John LaChiusa explores the commonalities and differences between operas and musicals. 175. LaChiusa, Michael John. “The Great Gray Way: Is It Prognosis Negative for the Broadway Musical?” Opera News (August 2005): 30–35. LaChiusa discusses the effects of faux-musicals, parody musicals, and jukebox musicals on Broadway as well as the notion that the Broadway musical is dead. 176. Laird, Paul R. “The American Musical Theatre in 1957.” Studies in Musical Theatre 3, no. 1 (2009): 5–11. In the introduction to a special issue of Studies in Musical Theatre consisting of expanded conference papers from the symposium “Musical

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Theatre in 1957” that took place in October 2007 at the University of Kansas, the conference organizer and volume co-editor provides a list of all Broadway musicals playing in 1957, a snapshot of American life in that year, and an overview of each of the volume’s eleven essays. 177. Lamb, Andrew. “From Pinafore to Porter: United States–United Kingdom Interactions in Musical Theater, 1879–1929.” American Music 4, no. 1 (1986): 34–49. The general trend during the late nineteenth century was for British works to travel to America, while in the early twentieth century, the situation was reversed. In both countries, a nineteenth-century aesthetic rooted in balladry and opera gave way to a new one that focused on the directness of Tin Pan Alley. 178. Lamb, Andrew. 150 Years of Popular Musical Theatre. New Haven and London: Yale University Press, 2000. 380 p. ISBN 0-300-07538-3. ML1700.L24 2000. As its title suggests, this book chronicles the development of popular musical theater from 1850 (Offenbach) to 2000. It offers a rich chronology of the principal movements in the musical theater in both Europe and North America, including not only works in English, French, and German, but also coverage of the Spanish zarzuela and operettas from Hungarian, Italian, Russian, Czech, and Croatian authors. The volume has ample photographs to accompany the text, which includes discussions not only of speciﬁc shows but also of speciﬁc performers. 179. Laufe, Abe. Broadway’s Greatest Musicals. Rev. ed., New York: Funk & Wagnalls, 1977. 519 p. ISBN 0-308-10317-3. ML1711.8.N3L4 1977. Laufe’s account of the American musical theater begins in the 1880s and goes to the 1970s, the time of the book’s publication. He includes an appendix of long-running musicals (500 or more performances) arranged by number of performances. As of May 1, 1972, Fiddler on the Roof held the record with 3,242 performances. 180. Lawrence, David Haldane. “Chorus Boys: Words, Music and Queerness (c. 1900-c.1936).” Studies in Musical Theatre 3, no. 2 (2009): 157–69. The working lives, salaries, on-stage depictions, and allegations of queerness of chorus boys in London’s West End are analyzed. 181. Lawson-Peebles, Robert. “Introduction: Cultural Musicology and the American Musical.” In Lawson-Peebles, pp. 1–18. Lawson-Peebles, in the introductory essay to his edited volume, argues for a serious treatment of the genre and against its derision in critical discourse.

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182. Lawson-Peebles, Robert, ed. Approaches to the American Musical. Exeter: University of Exeter Press, 1996. 167 p. ISBN 0-85989-405-3. ML1711. This collection of essays focuses on how the genre is not merely escapist entertainment but rather is engaged with contemporary cultural issues. Each chapter receives a separate entry in the present volume. 183. “Legless: The Frenzied Life and Frequent Death of the Broadway Musical.” The Economist (US) 310, no. 7592 (March 4, 1989): 85. Looking at the cost of mounting a Broadway production as a reason for the lack of new musicals in the 1988–89 season, the unnamed author cites the $8 million ﬂop Legs Diamond as an example of a ﬁnancial failure, while the $7 million Jerome Robbins’ Broadway, which recreated some of the choreographer’s most celebrated moments, seemed to have a brighter future. 184. Lerner, Alan Jay. The Musical Theatre: A Celebration. New York: McGraw-Hill, 1986. Reprint, New York: Da Capo, 1989. 240 p. ISBN 0-306-80364-X. ML1950.L38 1989. As the lyricist for shows such as My Fair Lady and Camelot, Lerner possesses and offers tremendous insight into the creative processes involved with the musical theater. His survey of the musical theater is a well-written personal narrative of the development of the genre. 185. Levine, Lawrence W. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge, MA, and London: Harvard University Press, 1988. ISBN 0-674-39076-8. E169.I.L536 1988. Although not focused on the musical theater, Levine’s thesis about the creation of high and low culture is central to the genre and its cultural signiﬁcance. Levine refers to musicals, operas, and their interrelationship throughout the volume. 186. Lewis, David H. Broadway Musicals: A Hundred Year History. Jefferson, NC, and London: McFarland & Company, 2002. 250 p. ISBN 0-7864-1269-0. ML2054.L48 2002. Focusing on the post-Rodgers and Hammerstein developments (Rodgers and Hammerstein appear in the ﬁfth of seventeenth chapters), Lewis discusses revivals, “Cirque du Disney” (as he calls Chapter 16), and other turn of the twenty-ﬁrst century trends. A discography is included. 187. Loney, Glenn, ed. Musical Theatre in America: Papers and Proceedings of the Conference on the Musical Theatre in America. Westport, CT, and London: Greenwood, 1984. 441 p. ISBN 0-313-23524-4. ML1711.C66 1981.

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In April 1981, the Musical Theatre in America Conference, jointly sponsored by the American Society for Theatre Research, the Sonneck Society (now the Society for American Music), and the Theatre Library Association, took place at the C. W. Post Center of Long Island University. The thirty-nine papers and panels from the four-day conference are given in these proceedings. Between Lehman Engel’s opening keynote address, “The Condition of the American Musical Today,” and Gerald Bordman’s concluding “Summing It Up,” the nine panels at the conference, the basis for the book’s organization, are as follows: (1) “The Beginnings: Recreating the Eighteenth-Century American Musical,” (2) “The Musical in the Nineteenth Century,” (3) “The Musical in the Twentieth Century: Variety and Revue Formats,” (4) “The Musical in the Twentieth Century: The Book Musical,” (5) “Dance in the American Musical Theatre,” (6) “Putting It All Together: The Synthesis of a Musical as a Work of Art,” (7) “Preserving the Heritage: The Written and Visual Record,” (8) “Preserving the Heritage: the Aural Record,” and (9) “Preserving the Heritage: The Living Record.” Each essay or summary has its own entry in this book. 188. Lundskaer-Nielsen, Miranda. Directors and the New Musical Drama: British and American Musical Theatre in the 1980s and 90s. Palgrave Studies in Theatre and Performance Histories. New York and Basingstoke, UK: Palgrave Macmillan, 2008. 241 p. ISBN 978-0-230-60129-1. ML2054. L86 2008. Focusing on directors, Lundskaer-Nielsen investigates shifts in musical theater during the 1980s and 1990s. She discusses differences between American and British musicals and their reception histories, and includes transcripts of her interviews with Adam Guettel, Matthew Watchus, William Finn, David Leveaux, Ita Weitzman, James Lapine, Margo Lion, Jack Viertel, and Richard Maltby, Jr. 189. Mandelbaum, Ken. Not Since Carrie: 40 Years of Broadway Musical Flops. New York: St. Martin’s, 1991. 372 p. ISBN 0-312-06428-4. ML1711.8.N3M13. While most chronicles of the Broadway musical focus on successes, this one discusses those that failed, whether ﬁnancially, critically, or both. Mandelbaum surveys the years 1950 to 1990, listing only shows that either played or were destined for Broadway. 190. Maslon, Laurence. Broadway: The American Musical. Updated and revised edition. Foreword by Julie Andrews. New York: Applause, 2010. Originally published New York: Bulﬁnch, 2004. ISBN 978-1-4234-9103-3. ML1711.8.N3K34 2004. Based on the six-part documentary ﬁlm by Michael Kantor (entry 161), this lavishly illustrated informative history of the American musical has been updated to include shows through 2009.

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191. Mast, Gerald. Can’t Help Singin’: The American Musical on Stage and Screen. Woodstock, New York: Overlook Press, 1987. 389 p. ISBN 0-87951-283-0. ML1711.M39 1987. One of the few surveys of the American musical to integrate stage and screen works, Mast offers insight into the genre as a whole, its principal issues and trends, works, and creators. 192. Mates, Julian. The American Musical Stage before 1800. New Brunswick, NJ: Rutgers University Press, 1962. 331 p. ML1711.M4 (UMKC). Mates discusses eighteenth-century American musical theater by topic: (1) entertainments related to the musical stage, (2) theaters and audiences, (3) theater orchestras, (4) companies, (5) repertory, (6) librettists and composers, and (7) performance and criticism. 193. Mates, Julian. America’s Musical Stage: Two Hundred Years of Musical Theatre. Westport, CT: Greenwood, 1985. 252 p. (Contributions to Drama and Theatre Studies, no. 18.) ISBN 0-313-23948-7. ML1711. Focusing on the eighteenth and especially the nineteenth centuries, Mates discusses companies, repertory, and performers before embarking on a treatment of interrelationships between various musical stage forms, including opera (comic, grand, and operetta), minstrel show and circus, melodrama and dance, burlesque, revue, vaudeville, and musical comedy. 194. Mates, Julian. “The First Hundred Years of the American Lyric Theater.” American Music 1, no. 2 (summer 1983): 22-38. Theater in eighteenth- and early-nineteenth-century America was highly musical; the division between musical theater and legitimate drama was slight. Audiences of the time experienced musical theater through amateur performances, circuses, minstrel shows, melodrama, and various types of opera. 195. McCarter, Jeremy. “Hip-Hop and Musicals: Made for Each Other?” New York Times, 8 June 2003, AR5, 8. The fusion of verse and song in hip-hop theater has a great practitioner in Will Power, whose works include Flow and The Seven. 196. McGovern, Dennis, and Deborah Grace Winer. Sing Out, Louise! 150 Stars of the Musical Theatre Remember 50 Years on Broadway. New York: Schirmer, 1993. 232 p. ISBN 0-02-871394-X. ML1711.8.N3M265 1993. Filled with reminiscences and anecdotes by well-known and less-familiar Broadway performers, this book offers ﬁrsthand accounts of many aspects of the Broadway musical, including commentary by and about its stars, the audition process, rehearsals, understudying, troubled shows, and the

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like. The indices are indispensable in locating speciﬁc shows and people in the volume. 197. McKay, Rick. Broadway: The Golden Age. DVD. 111 minutes. RCA 82876 65441 9 (2004). McKay interviewed over 100 creators and performers for this featurelength documentary. The ﬁlm has a website: www.broadwaythemovie.com. 198. McMillin, Scott. The Musical as Drama: A Study of the Principles and Conventions behind Musical Shows from Kern to Sondheim. Princeton and Oxford: Oxford University Press, 2006. 246 p. ISBN 978-0-691-12730-0. ML2054.M353 2006. McMillin challenges the notion of an “integrated” musical, instead arguing that it is the juxtaposition of disparate elements that distinguish the genre and facilitate the exploration of different aspects of the characters and plot. 199. Miller, D. A. Place for Us [Essay on the Broadway Musical]. Cambridge, MA, and London: Harvard University Press, 1998. 141 p. ISBN 0-67466990-8. ML1711.M58 1998. A gay man muses about the Broadway musical. 200. Miller, Scott. Deconstructing Harold Hill: An Insider’s Guide to Musical Theatre. Portsmouth, NH: Heinemann, 2000. 190 p. ISBN 0-325-00166-9. ML2054. Following the premise established in his ﬁrst book, From “Assassins” to “West Side Story”: The Director’s Guide to Musical Theatre (entry 201), Scott Miller, artistic director of New Line Theatre in St. Louis, offers insights and analyses of major Broadway shows geared toward directors and actors. For each show, Miller discusses speciﬁc characters and their motivations, textual and musical themes, historical and cultural contexts, and production aspects. The titles of the subsections demonstrate Miller’s wit; for example, “Reading is Fundamental” for his discussion of Passion’s Fosca and Giorgio or “Dot by Dot” for the section on Sunday in the Park with George’s Dot. The following shows are included in the book: Camelot, Chicago, The King and I, March of the Falsettos, The Music Man, Passion, Ragtime, and Sunday in the Park with George. 201. Miller, Scott. From “Assassins” to “West Side Story”: The Director’s Guide to Musical Theatre. Portsmouth, NH: Heinemann, 1996. 242 p. ISBN 0-435-08699-5. NT955.M595 1996. Miller offers insights and analyses of major Broadway shows geared toward directors and actors. For each show, Miller discusses speciﬁc

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characters and their motivations, textual and musical themes, historical and cultural contexts, and production aspects. In this volume, he discusses Assassins, Cabaret, Carousel, Company, Godspell, Gypsy, How to Succeed in Business without Really Trying, Into the Woods, Jesus Christ Superstar, Man of La Mancha, Merrily We Roll Along, Les Misérables, My Fair Lady, Pippin, Sweeney Todd, and West Side Story. 202. Miller, Scott. Rebels with Applause: Broadway’s Groundbreaking Musicals. Portsmouth, NH: Heinemann, 2001. 198 p. ISBN 0-325-00357-2. ML2054.M55 2001. In his third book on musicals geared toward directors and actors, Scott Miller focuses on what he calls groundbreakers: works that broke the established rules and created new ones. He arranges this book chronologically, thus offering a history of innovation in the musical theater. Shows include The Cradle Will Rock, Pal Joey, Oklahoma!, Anyone Can Whistle, Hair, Jacques Brel is Alive and Well and Living in Paris, The Ballad of Little Mikey, Songs for a New World, Floyd Collins, and Rent. 203. Miller, Scott. Strike Up the Band: A New History of Musical Theatre. Portsmouth, NH: Heinemann, 2007. 271 p. ISBN 978-0-325-00642-0. ML1711.5.M55 2006. In his decade-by-decade survey of musical theater since 1900, Miller focuses on lesser-known works, many of which never played on Broadway, to provide a highly nuanced study of the social, cultural, political, and artistic development of the genre. 204. Moore, Tracey. “The Out-of-Town Tryout Goes Back to School.” Studies in Musical Theatre 3, no. 3 (2009): 303–9. Colleges and universities provide effective environments for developing new musical theater works. 205. Morath, Max. The NPR Curious Listener’s Guide to Popular Standards. New York: Perigee, 2002. 235 p. ISBN 0-399-52744-3. ML3477.M67 2002. The ﬁrst three chapters contextualize popular songs, including their place in the Broadway musical. Written for the nonspecialist, Morath includes information about how songs are constructed and how they work. 206. Mordden, Ethan. Beautiful Mornin’: The Broadway Musical in the 1940s. New York and Oxford: Oxford University Press, 1999. 278 p. ISBN 0-19512851-6. ML1711.8.N3. In his decade-by-decade survey of the Golden Age of the Broadway musical, Mordden addresses the major shows, stars, and attitudes of each decade, including multitudinous anecdotes and backstage tales. Mordden’s biting sarcasm is often apparent, and his personal opinions

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weigh equally with the other parameters and sources he addresses and discusses. In this, his volume on the 1940s, Mordden organizes shows by either genre or theme. He includes a chapter on the cast album, a new phenomenon of the decade, which greatly affected the dissemination of musical theater. 207. Mordden, Ethan. Better Foot Forward: The History of the American Musical Theatre. New York: Grossman, 1976. 369 p. ISBN 0-670-15974-3. ML1711.M7. Mordden, in a survey of the American musical theater to the 1970s, asserts that the genre had a slow development prior to Show Boat. His discourse focuses on works rather than on people. 208. Mordden, Ethan. Broadway Babies: The People Who Made the America Musical. New York and Oxford: Oxford University Press, 1983. 244 p. ISBN 0-19-503345-0. ML1711.M73 1983. Mordden arranges this book, in which he focuses on people, by profession. He devotes several chapters to each category: composer, librettist, producer, star, and choreographer. An annotated discography is included. 209. Mordden, Ethan. Coming Up Roses: The Broadway Musical in the 1950s. New York and Oxford: Oxford University Press, 1998. 262 p. ISBN 0-19511710-7. ML1711.8.N3M77 1998. Mordden takes a chronological approach to the 1950s, devoting entire chapters to landmark works such as Guys and Dolls, Kismet, and My Fair Lady, and concluding with a chapter on West Side Story and Gypsy. 210. Mordden, Ethan. The Happiest Corpse I’ve Ever Seen: The Last 25 Years of the Broadway Musical. New York: Palgrave Macmillan, 2004. ISBN 0-312-23954-8. ML2054.M66 2004. Taking up where his decade-by-decade survey left off, Mordden laments the Broadway musical from 1980 to 2005. 211. Mordden, Ethan. Make Believe: The Broadway Musical in the 1920s. New York and Oxford: Oxford University Press, 1997. 257 p. ISBN 0-19510594-X. ML1711.M75 1997. Surveying Broadway in the 1920s by category (musical comedy, operetta, star comic, variety show, etc.), Mordden’s insightful opinions and subjective remarks provide counterpoint to the factual and anecdotal information about the show, stars, and attitudes of the decade. 212. Mordden, Ethan. One More Kiss: The Broadway Musical in the 1970s. New York: Palgrave Macmillan, 2003. 264 p. ISBN 0-312-23953-X. ML1711.8.N3.

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In the ﬁnal volume of his decade-by-decade survey of the Golden Age of the Broadway musical (the 1920s through the 1970s), Mordden discusses the small percentage of successful shows while focusing on the huge number of problematic musicals from the decade. While Chicago, A Chorus Line, Annie, and several Sondheim shows made history, the failure of many other shows from the decade inspired Mordden to choose chapter titles such as “It’s a Bore: The Dreary Musical” and “Evolution Papa: Three ‘Don’t’ Musicals.” 213. Mordden, Ethan. Open A New Window: The Broadway Musical in the 1960s. New York: Palgrave, 2001. 279 p. ISBN 0-312-23952-1. ML2054. Combining chronological and thematic approaches, Mordden devotes several chapters to individual shows (Camelot, Funny Girl, and Cabaret). The English musical and the Off-Broadway musical receive their own individual treatments. 214. Mordden, Ethan. Sing for Your Supper: The Broadway Musical in the 1930s. New York: Palgrave Macmillan, 2005. 278 p. ISBN 0-312-23951-3. ML1711.8.N3M785 2005. Mordden comments on shows and stars from this complicated decade, providing insight into musical comedies, operettas, revues, politics, choreography, and related topics. 215. Mortimer, Harold Roan. “The Silver Operetta and the Golden Musical: The Inﬂuence of the Silver Age (1905–1935) on the Broadway Musical of the Golden Age (1943–1964).” Ph.D. dissertation, University of Washington, 1999. 223 p. Viennese operetta had a strong inﬂuence on American musicals, as is evident in a comparative and critical analysis of Die lustige Witwe (The Merry Widow) and My Fair Lady. 216. Most, Andrea. Making Americans: Jews and the Broadway Musical. Cambridge, MA, and London: Harvard University Press, 2004. 266 p. ISBN 0-674-01165-1. ML1711.M74 2003. Most demonstrates the signiﬁcance of Jewish identity in the development of the American musical during the second quarter of the twentieth century, investigating themes of difference, self-understanding, and acculturation, among others. 217. Most, Andrea. “‘We Know We Belong to the Land’: Jews and the American Musical Theater.” Ph.D. dissertation, Brandeis University, 2001. 252 p. For Jews in America, the theater, including the musical theater, became a metaphor for the presentation of self, and thus offers a lens through which to explore strategies of assimilation. Most includes analyses of The Jazz

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Singer, Whoopee, Girl Crazy, Babes in Arms, Oklahoma!, South Paciﬁc, and The King and I in these contexts. 218. Ostrow, Stuart. The Anatomy of a Broadway Musical. New York: Limelight, 2010. 288 p. ISBN 978-0-8791-0373-6. The producer Stuart Ostrow evaluates the elements of a musical and how they work together to bring an idea to the stage. 219. Ostrow, Stuart. A Producer’s Broadway Journey. Westport, CT, and London: Praeger, 1999. 201 p. ISBN 0-275-95866-3. ML1711.8.N3088 1999. Broadway’s legacy from 1950 to 1998 is told from the point of view of an experienced producer. Ostrow gives candid insights into some of the canonic works of the American musical theater. 220. Patinkin, Sheldon. “No Legs, No Jokes, No Chance”: A History of the American Musical Theater. Evanston, IL: Northwestern University Press, 2008. 597 p. ISBN 978-0-8101-1994-9. ML1711.P37 2007. Conceived as a textbook from a theater perspective, the volume includes not only information on shows, plots, creators, and performers but also sidebars with basic facts about especially important shows and people, “Backdrops” on contexts and events of the era under discussion, and “Suggested Watching and Listening” for each chapter. 221. Porter, Susan L. “English-American Interaction in American Musical Theater at the Turn of the Nineteenth Century.” American Music 4, no. 1 (1986): 6–19. During the Colonial period, American musical theater relied heavily on British sources. The ten most frequently performed works in New York, Philadelphia, Baltimore, Boston, and Charleston between 1790 and 1810 were all of British origin. It was not until the second decade of the nineteenth century that American theater began to wean itself from Britain. 222. Porter, Susan L. With an Air Debonair: Musical Theatre in America, 1785–1815. Washington, DC, and London: Smithsonian Institution Press, 1991. 631 p. ISBN 1-56098-063-X. ML1711.P67 1991. An extraordinary study, Porter discusses every aspect of English-language musical theater from 1785 to 1815. In addition to the works themselves, she includes valuable information on concepts of genre, theaters, scenery, special effects, costumes, and other aspects of production, the acting company, performance practice (acting styles, vocal styles, and the orchestra), and concludes with a chapter entitled “The Modern Performance” in which she offers practical advice on mounting a production of one of these works. Culled from primary sources, the information in this

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book provides rich insight into all aspects of musical theater at the turn of the nineteenth century. Two checklists at the end of the book chronicle the enormous number of musical theater productions in America during the era: “A Preliminary Checklist of Musical Entertainments Performed in the United States, 1785–1815” and “Musical Theatre Performances in Five American Cities, 1801–1815” (Baltimore, Boston, Charleston, New York, and Philadelphia). 223. Preston, Katherine K. “American Musical Theatre before the Twentieth Century.” In The Cambridge Companion to the Musical, 1st ed., pp. 3–28; The Cambridge Companion to the Musical, 2nd ed., pp. 3–28. Investigating the rich heritage of musical theater prior to the twentieth century, Preston describes the various stands and genres of musical stage presentations enjoyed by Americans beginning in 1735: melodrama, itinerant singers and vocal stars, stock companies, blackface minstrelsy, pantomime, ballet, spectacle, extravaganza, burlesque, opera (in English, French, and Italian), operetta, vaudeville, and variety. 224. Riddle, Peter H. The American Musical: History & Development. Oakville, Ontario: Mosaic, 2003. 215 p. ISBN 0-88962-828-9. ML2054. R542 2003. This broad overview of the genre includes commentary on inﬂuences, developments, and key works. The volume includes an appendix on “Broadway on Film” and a glossary. 225. Riis, Thomas L., and Ann Sears, with William A. Everett. “The Successors of Rodgers and Hammerstein from the 1940s to the 1960s.” In The Cambridge Companion to the Musical, 1st ed., pp. 137–66; The Cambridge Companion to the Musical, 2nd ed., pp. 164–89. Divided by decade, then creators, the survey demonstrates how musical theater creators followed or challenged the Rodgers and Hammerstein model. Lerner and Loewe, Arlen, Berlin, Styne, Loesser, Bock, Herman, and others are included in the essay. The essay in the ﬁrst edition of The Cambridge Companion to the Musical concludes with a section on recordings (audio, ﬁlm, and television renderings) and stage revivals of mid-twentieth-century musicals. 226. Roost, Alisa C. “The Other Musical Theatre: Political Satire in Broadway Musicals from Strike Up the Band (1927) to Anyone Can Whistle (1964).” Ph.D. dissertation (Theater), City University of New York, 2001. 367 p. Roost analyzes the political subject matter, contemporary attitude towards the topics, and their satirical treatments in musicals from Gershwin through Sondheim. She also addresses formal aspects of these politically vibrant works.

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227. Root, Deane L. American Popular Stage Music 1860–1880. Ann Arbor: UMI Research Press, 1981. 284 p. ISBN 0-8357-1174-9. ML1711.R66 1981. Root surveys the various types of popular musical theater in the United States between 1860 and 1880, including children’s operettas, plays with music (burlesque, plays with songs, circuses and other forms of variety show, minstrel shows, and variety hall), spectacles, foreign operettas, and American operettas. 228. Rosenberg, Bernard, and Ernest Harburg. The Broadway Musical: Collaboration in Commerce and Art. New York and London: New York University Press, 1993. 356 p. ISBN 0-8147-7433-4. ML1711.8.N3R67 1993. Musical theater is a commercial enterprise, and its collaborative nature inevitably produces conﬂicts and tensions that require resolution. Excerpts from interviews with many involved in the Broadway industry provide ﬁrsthand insight into the business’s inner workings. 229. Russell, Susan. “The Performance of Discipline on Broadway.” Studies in Musical Theatre 1, no. 1 (2007): 97–108. Using Jean Baudrillard’s theory of simulacra, Russell investigates the popularity of revivals, revues, and ﬁlm adaptations on Broadway and the mass-marketed corporate perception of “liveness.” 230. Salzman, Eric and Thomas Desi. The New Music Theater: Seeing the Voice, Hearing the Body. New York and Oxford: Oxford University Press, 2008. 416 p. ISBN 978-0-19-509936-2. ML1706.S26 2008. Looking at the broader post-modern notion of “music theater,” the authors provide a history of the genre, along with commentary on its innovative aspects as well as performance spaces, artistic hierarchies, and audiences. 231. Sebesta, Judith. “Purpose and Parody in ‘Religious’ Musical Theatre.” Baylor Journal of Theatre and Performance 3, no.1 (2006): 7–10. Following a discussion of conﬂuences in music, theatre, and spirituality, Sebesta explores the increase of musicals with spiritual- and religious-themed musicals in the early twenty-ﬁrst century. 232. Sebesta, Judith. “Social Consciousness and the ‘Search for New Directions’: The Musicals of Gretchen Cryer, Nancy Ford, and Elizabeth Swados.” In Coleman and Sebesta, pp. 200–220. Sebesta discusses the socially conscious approach to the musicals of three women creators, all of whom create shows with children and strong women as subjects, move beyond a conventional book musical approach, and often incorporate rock styles into their scores.

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233. Sebesta, Judith. “‘Something Borrowed, Something Blue’: The Marriage of the Musical and Europe.” In The Cambridge Companion to the Musical, 2nd ed., pp. 270–83. In many ways, Continental, non-English language musicals of the late twentieth century emulate their English-language counterparts. At the same time, they are not mere copies. Sebesta focuses on Austrian, German, and French musicals, and highlights the creations of Michael Kunze. 234. Sennett, Ted. Song and Dance: The Musicals of Broadway. New York: Metrobooks, 1998. 176 p. ISBN 1-56799-642-6. ML1711.8.N3S46 1998. This amply illustrated coffee-table book offers an account of the twentiethcentury Broadway musical, focusing on works from the middle parts of the century. 235. Sheehan, Jeanne McGowan. “From Books to Broadway: The Musicalization of Literature.” Ph.D. dissertation, Northern Illinois University, 2008. 263 p. Sheehan investigates musicals based on literature and the process of adaptation. 236. Silverberg, Carol E. “If It’s Good Enough for Shakespeare: The Bard and the American Musical.” Ph.D. dissertation (English), State University of New York at Binghamton, 2009. 244 p. Five musicals based on Shakespeare are examined, including their ﬁlm version and major revivals, where these exist: The Boys from Syracuse, Kiss Me, Kate, West Side Story, Your Own Thing, and Two Gentlemen of Verona. 237. Singer, Barry. Ever After: The Last Years of Musical Theater and Beyond. New York: Applause, 2004. 328 p. ISBN 1-557-83529-2. ML1711.6.S56 2004. Singer discusses new musicals that appeared from the late 1970s through 2003 and draws more upon interviews than reviews. 238. Skaggs, Hazel G. “Broadway Musicals in Schools Today.” Music Educators Journal 52, no. 4 (February–March 1966): 148–49. A schoolteacher views musicals as acceptable school projects as long as they do not replace “serious” musical education. 239. Smith, Cecil. Musical Comedy in America. New York: Theatre Arts Books, 1950. 374 p. ML1711. A classic account of the musical theater, Smith’s narrative offers incisive, witty, honest, and not always complimentary insight into the genre’s development, stars, creators, and major works.

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240. Smith, Cecil, and Glenn Litton. Musical Comedy in America. 2nd ed. New York: Theater Arts Books, 1981. 368 p. ISBN 0-87830-564-5. ML1711.S6. The ﬁrst part of the book, “From The Black Crook to South Paciﬁc” is a reprint of Smith’s work listed immediately above (138), while the second, “From The King and I to Sweeney Todd,” is by Glenn Litton, who, in his continuation of Smith’s chronicle, employs the same fundamental approach as his predecessor. 241. Sondheim, Stephen. “The Musical Theater.” Dramatists Guild Quarterly 15, no. 3 (autumn 1978): 6–29. In this transcript of a talk Sondheim gave at a Dramatists Guild Special Projects session, the composer, describing himself as a cult ﬁgure, discusses many aspects of the musical theater, including collaboration, integration of the musical score, libretto, staging, arrangements and orchestration, lyrics, budget, auditions, rehearsals, and longevity. 242. Stempel, Larry. “The Musical Play Expands.” American Music 10, no. 2 (summer 1992): 136–69. During the 1950s, three musicals expanded on aspects of the Rodgers and Hammerstein model: My Fair Lady (book), The Most Happy Fella (music), and West Side Story (dance). 243. Sternfeld, Jessica. “Revisiting Classic Musicals: Revivals, Films, Television and Recordings.” In The Cambridge Companion to the Musical, 2nd ed., pp. 325–39. Classic musicals can be re-envisioned through revivals, ﬁlm versions, television productions, and recordings. 244. Steyn, Mark. Broadway Babies Say Goodnight: Musicals Then & Now. New York: Routledge, 1999. 346 p. ISBN 0-415-92286-0. ML1711.8.N3874 1999. Steyn’s highly personal, unashamedly humorous, and often acerbic collection of essays on the musical will both entertain and dismay its readers. He is not afraid to express his opinions and devotes most chapters in the book to thematic aspects of the musical (e.g. “The Music,” “The Lyrics,” “The Jokes”) while focusing on individual creators in others (“The Genius”—Sondheim and “The Maximalist”—Lloyd Webber, for example). 245. Suskin, Second Act Trouble: Behind the Scenes at Broadway’s Big Musical Bombs. New York: Applause, 2006. 400 p. ISBN 1-55783-631-0. ML2054 .S96 2006. Suskin assembles accounts of why twenty-ﬁve Broadway musicals went awry.

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246. Sutherland, Susan. Teach Yourself About Musicals. London: Teach Yourself Books, 1998. 242 p. ISBN 0-3407-0534-5. A volume in the self-guided learning series Teach Yourself, this book traces the development of the musical, focusing on major works and personalities. Self-test questions appear at the end of each chapter. 247. Swain, Joseph P. The Broadway Musical: A Critical and Musical Survey. New York and Oxford: Oxford University Press, 1990. 384 p. ISBN 0-19-505434-2. ML1711.S95 1990. Revised and expanded second edition, Latham, MD, and Oxford: Scarecrow Press, 2002. 464 p. ISBN 0-8108-4375-7. ML2054.S93 2002. Swain chooses a thematic base for each chapter, and then focuses on one or two works that demonstrate his theme. Each chapter includes brief discussions of other works related to the focal musical, contextualizing it and demonstrating its larger framework. In each chapter, Swain addresses issues particular to the show under consideration, offering a variety of vantage points for the study and discussion of the musical. The book is replete with musical examples and graphs. The second edition includes a new chapter titled “Epic as Musical” and a revised epilogue. Show titles do not appear on the title page, but are given here as reference points. • First Maturity: Show Boat Swain focuses his discussion on the musical’s opening scene, integrating musical and dramatic discourses. • America’s Folk Opera: Porgy and Bess Using the concept of folk opera, Swain argues that Porgy and Bess, through its use of musical and verbal language, is an American folk opera. • Second Maturity: Oklahoma! In his discussion of Rodgers and Hammerstein’s ﬁrst collaboration, Swain discusses the concept of tension and release. • Morality Play as Musical: Carousel Swain discusses the opening waltz sequence and the musical unity of the ﬁrst scene before moving on to how the complexity of Billy Bigelow is reﬂected in the “Bench Scene” and “Soliloquy.” • Shakespeare as Musical: Kiss Me Kate Citing ironic humor as a driving force, Swain discusses “So in Love” and the concept of a play within a play as exemplary attributes of Kiss Me Kate. • The Pure Love Story: The Most Happy Fella Fella includes a wide diversity of musical styles, including recitative, to accentuate the different stages of falling in love. Swain gives a close reading of the show’s ﬁnal scene.

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• Myth as Musical: My Fair Lady and Camelot Swain considers My Fair Lady to be superior to Camelot in its dramaturgical treatment of myth. He discusses “I’ve Grown Accustomed to Her Face” as the crystallization of the mythic element in My Fair Lady, with Eliza becoming the sculptor and Higgins the block (p. 214). • Tragedy as Musical: West Side Story Focusing on integration, Swain discusses continuity, dance, and the unifying use of the tritone in West Side Story. • The Ethnic Musical: Fiddler on the Roof Ethnicity is at the center of this musical, rather than on its periphery. Swain identiﬁes the augmented second interval and modality as the means through which musical ethnicity is created in the musical. • Religious Experience as Musical: Godspell Discussing the show as a conversion experience, Swain emphasizes the nonlinear aspects of the ﬁrst act and the move toward a narrative plot at the end of the second. • History as Musical: Jesus Christ Superstar and Evita Calling both works operas, Swain discusses the eclectic musical styles of the shows and Lloyd Webber’s use of contrafacta (same music with different words) rather than literal reprises of musical numbers. • Frame Story as Musical: A Chorus Line Dance as a means for character identiﬁcation is one of the most signiﬁcant elements of this musical, according to Swain. • Thriller as Musical: Sweeney Todd: The Demon Barber of Fleet Street Swain discusses Sondheim’s expanded harmonic vocabulary in Sweeney Todd and his use of nonfunctional tonality. Musical tension is created through phrase rhythm rather than harmonic function. Swain calls “Epiphany” the central moment in the opera, and also discusses Sondheim’s use of leitmotifs and reprises. • Epic as Musical: Les Misérables (in second edition only) Discussing the inherent problems in transferring a literary epic to the musical stage, Swain discusses the ﬁrst act ﬁnale, how music is used to establish characters and create tableaux, and the multiple dramatic interpretations posed by the creators’ use of contrafactum. 248. Tambling, Jeremy. “Towards a Psychopathology of Opera.” Cambridge Opera Journal 9, no. 3 (November 1997): 263–79. Tambling addresses various psychological dimensions of viewing opera, musical theater, and musical ﬁlm, including the acts of viewing and listening, spatial identiﬁcation, the female voice, sexuality, sound and aura, muteness, and shock. He refers to Show Boat throughout the essay for many of his examples. 249. Thorne, Kathleen Hegarty. The Story of Starlight Theatre: The History of Kansas City’s Delightful Musical Theatre under the Stars. Eugene, OR: Generation Organization, 1993. 148 p. ISBN 0-9633565-0-X. ML28.K17.

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Since its opening in 1951, Starlight Theater in Kansas City, Missouri has established itself as one of the nation’s leading outdoor amphitheaters. It has produced musicals and variety shows since its inauguration, and many legendary performers have appeared on its stage. 250. Traubner, Richard. “Broadway and Beyond: Films are a Springboard.” American Record Guide 65, no. 4 (July–August 2002): 20–24. Offering an overview of the 2001–02 Broadway season for musicals, Traubner notes that with an average cost of $10 million to mount a New York musical, the trend is toward revivals or works with some sort of name recognition, usually from popular ﬁlms. 251. Tuttle, Raymond. “The Columbia Broadway Masterworks Series: Sony Sets the Stage for Musical Theater Memories.” Fanfare 22, no. 5 (May–June 1999): 100–104. Reissues of classic recordings of Broadway musicals have been digitally remastered and include material not included on the original releases. 252. Vacha, John. The Music Went ‘Round and Around: The Story of Musicarnival. Kent, OH, and London: The Kent State University Press, 2004. ISBN 0-87338-798-8. ML1711.8.C57V3 2004. 159 p. Musicarnival was popular summer tent theater in Warrensville Heights, Ohio, a Cleveland suburb, from 1954 to 1975 that produced an average of eight to ten shows each summer during its prime. Its creator, John L. Price, Jr., maintained a resident stock company for the ﬁrst eleven seasons, but shifted to package productions, usually with headliner stars, in the late 1960s for ﬁnancial reasons. 253. Verdino-Süllwold, Carla Maria. “Opera, Operetta, or Musical? Vanishing Distinctions in 20th Century Music Drama.” Opera Journal 23, no. 4 (December 1990): 31–43. Using a Hamburg production of The Phantom of the Opera with opera singers Peter Hofmann and Anna Maria Kaufmann as a basis, the author asserts that opera is in a continual state of evolution, that terminology for what constitutes an opera as opposed to a musical is problematic, and that distinctions between various types of twentieth-century musical theater are fading. 254. Vincentelli, Elisabeth. “The Queen and I: True Confessions of a Lesbian Lover of Show Tunes.” Village Voice 41, no. 37 (10 September 1996): 45, 50, 56. The author suggests that more lesbians should develop a love for musicals, noting that most lesbians dislike show tunes because Broadway musicals typically eschew direct emotion. She remarks on the strong women’s roles in many ﬁlm musicals.

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255. Wall, Carey. “There’s No Business Like Show Business: A Speculative Reading of the Broadway Musical.” In Lawson-Peebles, pp. 24–43. Wall explores connections between the post-Oklahoma! Broadway musical and the American business ethic, as well as America’s involvement in that ethic. He cites How to Succeed in Business without Really Trying and All That Jazz as examples in his discourse. 256. Walsh, David, and Len Platt. Musical Theater and American Culture. Westport, CT, and London: Praeger, 2003. 216 p. ISBN 978-0-2759-8057-3. ML3918.M87W35 2003. This survey of the American musical from the nineteenth to early twentyﬁrst centuries focuses on the genre as a social and political vehicle and one that constitutes a speciﬁcally American form of collective expression. Chapter topics include sociological analyses of the musical, the roots of the musical, musicals in the 1920s, Depression-era musicals, the book musical, transformations of the genre, and globalization. 257. Wolf, Stacy. A Problem Like Maria: Gender and Sexuality in the American Musical. Ann Arbor: University of Michigan Press, 2002. 289 p. ISBN 0-472-09772-5. ML2054.W65 2002. Taking a feminist reading of the American musical theater, Wolf looks to Mary Martin, Ethel Merman, Julie Andrews, and Barbra Streisand as lesbian idols and cites The Sound of Music as a “lesbian ur-text” (p. xii). 258. Wollman, Elizabeth L. “The Economic Development of the ‘New’ Times Square and Its Impact on the Broadway Musical.” American Music 20, no. 4 (winter 2002): 445–65. Wollman discusses the corporatization of Broadway (including ﬁnancial considerations, marketing, and synergy—the marketing of products from one show in another), the redevelopment of Times Square, the changing role of the Broadway critic, the search for a new Broadway audience, and the relationship between commercial and nonproﬁt theaters which brought tremendous changes to Broadway in the ﬁnal years of the twentieth century. Broadway musicals have found a new place in the broader realm of popular culture, ushering in a new relationship between corporate control and independent artistic expression. The exact nature and consequences of these changes are yet to be determined. 259. Wollman, Elizabeth L. “Emancipation or Exploitation? Gender Liberation and Adult Musicals in 1970s New York.” Studies in Musical Theatre 2, no. 1 (2008): 5–32. Adult musicals (featuring nudity and simulated sex) such as Oh! Calcutta!, Let My People Come, Mod Donna, and The Faggot translated messages

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of women’s and gay liberation movements and addressed changing sexual mores. 260. Woods, Alan. “Consuming the Past: Commercial American Theatre in the Reagan Era. “In The American Stage: Social and Economic Issues from the Colonial Period to the Present, edited by Ron Engle and Tice L. Miller, pp. 252–66. Cambridge: Cambridge University Press, 1993. ISBN 0-521-41238-2. PN2226.A5 1993. The commercial theater, including musical theater, during the Reagan presidency (1981–89) emphasized spectacles nearly void of meaning but ﬁlled with money and opulence, sentimental reworkings of the past, and the presentation of ersatz nostalgia. Theater, therefore, reinforced many of the themes of the Reagan administration. He states that gross receipts on Broadway increased during the 1980s, due not to increased attendance but rather to increased ticket prices. 261. Wright, Jill Yvonne Gold. “Creating America on Stage: How Jewish Composers and Lyricists Pioneered American Musical Theater.” Ph.D. dissertation (Theater), The Claremont Graduate University, 2003. 206 p. Wright argues that Jewish composers and lyricists speciﬁcally created and deﬁned America on the musical theater stage and made it a priority in their works to champion marginalized people. Chapters are devoted to Irving Berlin, Jerome Kern and Oscar Hammerstein II, George and Ira Gershwin, and Richard Rodgers and Oscar Hammerstein II. 262. Yamami, Wynn T. “Enacting the Canon: The Dramatization of Composers on the American Stage and Screen, 1910-1938.” Ph.D. dissertation, New York University, 2009. 275 p. The author explores the treatment of classical composers in popular musical theater and ﬁlm, including Beethoven in Beethoven (1910, a play with musical accompaniment), Schubert in Blossom Time (1921), Offenbach in The Love Song (1925), Chopin in White Lilacs (1928), Johann Strauss II in The Great Waltz (1934, 1938 ﬁlm), and various composers in Heavenly Music (1943 ﬁlm). THEORETICAL AND ANALYTICAL STUDIES 263. Choi, Jaehee. “They Do That Voodoo So Well: A Critical Examination of Selected Songs of the Founders of the American Standard Songbook.” Ph.D. dissertation, University of Southern California, 2007. 491 p. After chapters on the social and aesthetic climate of the ﬁrst third of the twentieth century and a primer on the various Schenkerian-derived analytical procedures used in the study, individual chapters on Jerome

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Kern, Irving Berlin, George Gershwin, and Cole Porter each include a brief biography, examinations of several songs, and a short reception history of the songs based on recordings. 264. Forte, Allen. The American Popular Ballad of the Golden Era, 1924–1950. Princeton: Princeton University Press, 1995. 366 p. ISBN 0-691-04399-X. ML3477.F67 1995. Forte offers probing analytical discussions, complete with ample Schenkerian sketches and reductions, of some of the most popular American ballads from the second quarter of the twentieth century. In doing so, he probes beyond the surface-level appeal of the songs and seeks out their large-scale substructures. This is not for the faint of heart when it comes to music theory. Forte details his approach and terminology in the opening chapters before devoting chapters to the work of single composers (Jerome Kern, Irving Berlin, Cole Porter, George Gershwin, Richard Rodgers, and Harold Arlen) and groups of composers (including Richard Whiting, Walter Donaldson, Harry Warren, Jimmy McHugh, Vincent Youmans, Duke Ellington, Kurt Weill, Hoagy Carmichael, Arthur Schwartz, Vernon Duke, John Green, Burton Lane, Jimmy Van Heusen, Kay Swift, Bernice Petkere, Ann Ronell, Dana Suesse, and Ruth Lowe). 265. Forte, Allen. Listening to Classic American Popular Songs. New Haven and London: Yale University Press, 2001. 219 p. ISBN 0-300-08338-6. ML3477.F672 2001. This discussion of twenty-three songs, all but one from musical theater and ﬁlm, is written for the general reader with a basic understanding of music. Forte begins the book with a chapter on technical aspects of music (melody, harmony, form, lyrics, rhythm). He includes lead sheets and complete lyrics for each song and looks at them as autonomous entities, focusing on their individual attributes rather than their dramatic functions or places within broader musical or dramatic contexts. A compact disc by baritone Richard Lalli and pianist Gary Chapman, with Forte as pianist-composer for “Embraceable You” and “Come Rain or Come Shine” accompanies the book. Forte includes the following songs in his survey: • “Fascinating Rhythm” (1924, from Lady, Be Good!) • “Manhattan” (1925, from Garrick Gaieties [although used in the unproduced Winkle Town, 1922]) • “How Long Has This Been Going On?” (1927, from Funny Face, dropped, then used in Rosalie [1928]) • “What is This Thing Called Love?” (1929, from Wake Up and Dream)

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• “I Guess I’ll Have to Change My Plan” (1929, from The Little Show) • “Fine and Dandy” (1930, from Fine and Dandy) • “Embraceable You” (1930, from Girl Crazy) • “I’ve Got the World on a String” (1932, from Cotton Club Parade, 21st edition) • “Autumn in New York” (1934, from Thumbs Up) • “I’ve Got You under My Skin” (1936, from Born to Dance) • “Let Yourself Go” (1936, from Follow the Fleet) • “The Way You Look Tonight” (1936, from Swing Time) • “Change Partners” (1937, from Carefree) • “The Nearness of You” (1937, from Romance in the Dark) • “I Didn’t Know What Time It Was” (1939, from Too Many Girls) • “Something to Live for” (1939) • “That Old Black Magic” (1942, from Star-Spangled Rhythm) • “There Will Never Be Another You” (1942, from Iceland) • “Ev’ry Time We Say Goodbye” (1944, from Seven Lively Arts) • “How Little We Know” (1944, from To Have and Have Not) • “Come Rain or Come Shine” (1946, from St. Louis Woman) • “But Beautiful” (1947, from Road to Rio) • “Steppin’ Out with My Baby” (1947, from Easter Parade) 266. Symonds, Dominic. “The Story of Oh: The Aesthetics and Rhetoric of a Common Vowel Sound.” Studies in Musical Theatre 2, no. 3 (2008): 245–59. The discretely ambiguous “Oh” exists in a variety of performance idioms. Among those Symonds discusses are the opening and closing numbers in Oklahoma! 267. Wilder, Alec. American Popular Song: The Great Innovators, 1900–1950. Edited and with an introduction by James T. Maher. New York: Oxford University Press, 1972. 536 p. ML3551.W54. In his study, arranged principally by composer, Wilder (himself a composer) discusses the musical elements of popular songs that make them noteworthy. His observations are based on examples ranging from single chord progressions to large-scale verse-refrain structures. Individual chapters are devoted to Jerome Kern, Irving Berlin, George Gershwin, Richard Rodgers, Cole Porter, and Harold Arlen. Vincent Youmans and Arthur Schwartz appear in a joint chapter, as do Burton Lane, Hugh Martin, and Vernon Duke. Still other composers are surveyed in the chapter “The Great Craftsmen.” Wilder’s text focuses on the musical dimensions of the songs, rather than textual or theatrical considerations.

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GENERIC STUDIES Minstrelsy 268. Cockrell, Dale. Demons of Disorder: Early Blackface Minstrels and Their World. Cambridge: Cambridge University Press, 1997. 236 p. ISBN 0-521-56074-8. ML1711.C63 1997. Many traditions inﬂuenced and shaped blackface minstrelsy in the ﬁrst half of the nineteenth century. Issues of race and class were paramount. Cockrell discusses various tropes, their creation, and their promulgation. He gives attention to major songs (“Jim Crow,” “Zip Coon,” and “Old Dan Tucker”) and people (including Thomas Dartmouth Rice and George Washington Dixon) associated with minstrelsy. 269. Lott, Eric. Love and Theft: Blackface Minstrelsy and the American Working Class. New York: Oxford University Press, 1993. 314 p. ISBN 0-19509641-X. ML1711.L67 1993. Lott places minstrelsy in the context of nineteenth-century American working-class culture, focusing on white-based social attitudes toward fancy and racial domination. 270. Mahar, William J. Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture. Urbana and Chicago: University of Illinois Press, 1999. 445 p. ISBN 0-252-02396-X. ML1711.M34 1999. Blackface minstrelsy helped formulate antebellum popular culture and provides insight into some of its fundamental aspects. Mahar poses multiple arguments in his book: (1) performers parodied European sources in their work as part of an effort to create cultural parity with Europe; (2) they represented elements from African American cultures mixed with Anglo-American ones, creating intersections between the two traditions; (3) class was a consistent subject in minstrelsy, evident in its relationship to opera; and (4) issues of gender regarding male dominance and sentimentality as well as its double standards for and portrayal of women appeared on stage. Touring circuits were popular and the genre was a proﬁtable commercial commodity. 271. Nathan, Hans. Dan Emmett and the Rise of Early Negro Minstrelsy. Norman: University of Oklahoma Press, 1962. 496 p. ML410.E5N4. Largely a biography of Dan Emmett, Nathan also includes a substantial amount of information on minstrelsy, the Virginia Minstrels, the minstrel band “Dixie,” and other topics. He includes a list of primary sources for minstrelsy, a bibliography of works by Emmett, and an anthology of minstrel works by Emmett and his contemporaries.

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272. Norris, Renee Lapp. “‘Black Opera’: Antebellum Blackface Minstrelsy and European Opera.” Ph.D. dissertation (musicology), University of Maryland College Park, 2001. 330 p. Minstrelsy and opera had a great deal in common during the nineteenth century, and operatic parody and borrowing formed a signiﬁcant part of minstrelsy. 273. Norris, Renee Lapp. “Opera and the Mainstreaming of Blackface Minstrelsy.” Journal of the Society for American Music 1, no. 3 (Aug. 2007): 341–65. Opera parodies were part of comic blackface minstrelsy and relied on recontextualization and a unpredictable juxtaposition of sources and subject matter. 274. Paskman, Dailey. “Gentlemen, Be Seated!”: A Parade of the Old Time Minstrels. New York: Clarkson N. Potter, 1976. (Originally published in 1928.) 253 p. ISBN 0-517-52587-9. PN3195.P3 1976. Paskman provides an introduction to the formation, production aspects, and characteristics of minstrelsy. He includes photographs and other illustrations, complete songs, and a working model of a minstrel show. 275. Scott, Derek B. “Blackface Minstrels, Black Minstrels, and Their European Reception.” In Sounds of the Metropolis: The Nineteenth-Century Popular Music Revolution in London, New York, Paris, and Vienna, pp. 144–70. New York and Oxford: Oxford University Press, 2008. ISBN 978-0-19530946-1. ML3470.S38 2008. Although aspects of minstrelsy are discussed throughout the book, this chapter focuses on its place in British popular culture and includes ﬁve subsections: 1) Seeking the Black beneath the Blackface; 2) England’s Preeminent Minstrel Troupes; 3) Black Troupes; 4) Minstrel Contradictions; and 5) The Minstrel Legacy. 276. Southern, Eileen. “The Georgia Minstrels: the Early Years.” Inter-American Music Review 10, no. 2 (Spring–Summer 1989): 157–68. Southern chronicles the popular minstrel troupe’s activities, emphasizing the talents and training of its individual members. 277. Toll, Robert. Blacking Up: The Minstrel Show in Nineteenth-Century America. New York: Oxford University Press, 1974. 310 p. ML1711.T64. Toll discusses the social and entertainment contexts of minstrelsy, minstrelsy’s evolution as an institution, and the various topics addressed in minstrel shows. He includes both white and black minstrelsy in his study.

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278. Winans, Robert B. “Early Minstrel Show Music, 1843–1852.” In Loney, pp. 71–97. The minstrel banjo, different from the modern instrument, was at the heart of the minstrel instrumental ensemble, along with the tambourine, bones, and violin. Other instruments could and were added to this core. Winans lists the most popular minstrel show songs for several time periods as well as a list of song types (love, other scenes of black life, and parodies). Variety, Vaudeville, and related genres 279. American Vaudeville Museum. www.vaudeville.org This virtual museum includes proﬁles on people associated with the genre, as well as links to the Vaudeville Times, a bibliography, and other information. 280. Bacon, R. W. A Vaudeville Retrospective. http://varietyartsenterprises.com/ VaudeStudies.html A solid bibliography, list of audio resources, and link to the American Vaudeville Museum (entry 279) appear on this Variety Arts Enterprises website. 281. Cullen, Frank, with Florence Hackman and Donald McNeilly. Vaudeville, Old and New: An Encyclopedia of Variety Performers. 2 vols. New York and London: Routledge, 2006. 1368 p. ISBN 978-0-415-93853-2. PN1968.U5 C85 2007. The monumental, well-illustrated reference work covers not only vaudeville but also performance art, burlesque, revue, and comic opera. 282. Rodger, Gillian. Champagne Charlie and Pretty Jemima: Variety Theater in the Nineteenth Century. Urbana, Chicago, and Springﬁeld: University of Illinois Press, 2010. 274 p. ISBN 978-0-252-07734-0. PN1968. U5R63 2010. Rodger chronicles the history of nineteenth-century variety and provides insights into how it related to ideas of social class, gender, sexuality, and race. She also addresses the business side of the enterprise, relationships between “respectable” and “less respectable” types of variety, and variety houses in New York and other parts of the US, and touring troupes. The careers of selected performers, including Annie Hindle and Ella Wesner, are highlighted. 283. Rodger, Gillian. “Legislating Amusements: Class Politics and Theater Law in New York City.” American Music 20, no. 4 (winter 2002): 381–98.

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The 1862 “Anti-Concert Saloon Bill,” passed by the New York State Legislature, prohibited theatrical managers and proprietors from holding both a liquor license and a theatrical license. It hence affected the nature of popular musical entertainment in New York, resulting in the emergence of a more “high-class” variety. 284. Rodger, Gillian. “Male Impersonation on the North American Variety and Vaudeville Stage, 1868–1930.” Ph.D. dissertation, University of Pittsburgh, 1998. 428 p. Male impersonators changed their performance styles during the period surveyed. Reasons for this included structural changes in variety that led to vaudeville, the competition from English performers, and an increased pathologization of masculine women. Rodger describes the artists’ performance styles and conventions, vocal ranges, and repertories over a sixty-year period. 285. Schaffner, Caroline. “A Tab Show: The Stepchild of Musical Comedy.” In Loney, pp. 199–207. Told by a veteran tab show performer, this account of musical tabloid (tab show) companies—traveling groups that performed vaudeville between the showing of ﬁlms from the early 1900s through the early 1930s—provides insight on the Midwest-based phenomenon. 286. Sobel, Bernard. A Pictorial History of Vaudeville. With a foreword by George Jessel. New York: Citadel, 1961. 224 p. Reprint, New York: Barricade and Northam, UK: Roundhouses, 2003. 224 p. ISBN 1-56980237-8. PN 1967. This is a lavishly illustrated history of vaudeville and the people associated with it. 287. Stein, Charles W., ed. American Vaudeville as Seen by Its Contemporaries. New York: Knopf, 1984. 393 p. ISBN 0-394-53743-2. PN 1968. U5A4 1984. An anthology of seventy-three personal reminiscences by practitioners and observers of vaudeville including Fred Astaire, Fanny Brice, Will Rogers, Eddie Cantor, and George M. Cohan, all of which have been previously published, the volume is replete with illustrative material. 288. Terni, Jennifer L. “A Genre for Early Mass Culture: French Vaudeville and the City, 1830-1848.” Theatre Journal 58, no. 2 (May 2006): 221–48. Nineteenth-century French vaudeville is examined, along with its contributions to twentieth- and twenty-ﬁrst century sitcoms.

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289. Trav, S. D. No Applause—Just Throw Money: The Book That Made Vaudeville Famous. New York: Faber and Faber, 2005. 336 p. ISBN 978-0-5712-1192-0. PN1968.U5 T73 2005. A noted performer describes the genre with humor and sharp insight. Burlesque 290. Allen. Robert C. Horrible Prettiness: Burlesque and American Culture. Chapel Hill: University of North Carolina Press, 1991. 382 p. ISBN 978-0-8078-4316-1. PN1948.U6 A45 1991. Allen discusses burlesque as a form of popular theatrical entertainment, chronicling Lydia Thompson’s ﬁrst tour to the US with her “British Blondes” and providing a context for the genre. He also looks at the place of burlesque in American culture, including its representations of gender and threats to middle-class norms. Melodrama 291. Grimsted, David. Melodrama Unveiled. American Theater and Culture, 1800–1850. Chicago and London: University of Chicago Press, 1968. 285 p. PN1918.U5G7. Melodrama reﬂected its times, politics, and culture, as is evident in Grimsted’s history of the genre in America during the ﬁrst half of the nineteenth century. The author includes discussions of music and opera as they relate to melodrama. 292. Mason, Jeffrey D. Melodrama and the Myth of America. Bloomington and Indianapolis: Indiana University Press, 1993. 249 p. ISBN 0-25333686-4. PS336.M44M36 1993. Although music is hardly addressed in the study, it does provide valuable insight into how melodrama was used in constructing an American ideology during the nineteenth century. Mason focuses on ﬁve melodramas and their fundamental themes: Metamora (1829) and Native Americans, The Drunkard (1844) and temperance, Uncle Tom’s Cabin (1852) and race politics, My Partner (1879) and the West, and Shenandoah (1889) and the Civil War. 293. Mayer, David. “The Music of Melodrama.” In Performance and Politics in Popular Drama, edited by David Bradby, Louis James, and Bernard Sharratt, pp. 49–63. Cambridge: Cambridge University Press, 1980. ISBN 0-521-22755-0. PN1643.P4.

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Mayer discusses the central role of music in melodrama from the 1890s until after World War I. Music was elaborately orchestrated and integrated with the dramatic action. 294. McConachie, Bruce A. Melodramatic Formations: American Theatre and Society, 1820–1870. Iowa City: University of Iowa Press, 1992. 320 p. ISBN 0-87745-359-4. PN2248.M34 1992. McConachie provides a social history of melodrama, focusing geographically on the northeastern United States and discussing aspects and dynamics of formulaic creation, production, shifting audiences, and reception. 295. Shapiro, Anne Dhu. “Music in American Pantomime and Melodrama, 1730–1913.” American Music 2, no. 4 (winter 1984): 49–72. Action music was composed to accompany speciﬁc stage action in pantomime and melodrama. Generally wordless and woven into the drama, the music appeared at moments in the action where verbal information was secondary to actions and feelings. Revue 296. Baral, Robert. Revue: The Great Broadway Period. London: Fleet Press, 1962. ML1711.8.N3. Broadway revues from 1900 to 1945 are surveyed in an encyclopedic, lavishly illustrated manner. 297. Bordman, Gerald. American Musical Revue: From “The Passing Show” to “Sugar Babies.” New York and Oxford: Oxford University Press, 1985. 184 p. ISBN 0-19-503630-1. ML1711.B665 1985. Noted theater historian Gerald Bordman chronicles the revue from its European roots (though with different names for the genre) and charts its course in America from The Passing Show (1894) through the late 1970s, concluding with Sugar Babies (1979) and retrospectives of Fats Waller (Ain’t Misbehavin’, 1978), Eubie Blake (Eubie!, 1978), and Duke Ellington (Sophisticated Ladies, 1981). Bordman asserts that the revue has continued well into the second half of the twentieth century in various incarnations, though overall the genre was in a state of decline. 298. Davis, Lee. Scandals and Follies: The Rise and Fall of the Great Broadway Revue. New York: Limelight, 2000. 427 p. ISBN 087910-274-8. ML1711.8.N3 D38 2000. Chronicling the revue from its antecedents (variety, burlesque, and minstrel shows) through its heyday with series such as Ziegfeld’s Follies,

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George White’s Scandals, and the Shuberts’s Passing Shows, to its decline in the 1940s, where it was eclipsed by television variety shows, Davis includes information on not only the shows themselves but also their stars and impresarios. 299. Green, Stanley. “Overture: American Musical Revues.” In Loney, pp. 143–46. In the introductory portion of the section “The Musical in the Twentieth Century: Variety and Revue Formats,” Green describes the revues of the 1920s as satirizing society and politics, and those of the 1930s being more political. The genre declined in the 1940s. He includes shows such as Sophisticated Ladies and Ain’t Misbehavin’ as revues, labeling them retrospective shows. 300. Hirsch, John E. “The American Revue Costume.” In Loney, pp. 155–77. With seventeen reproductions of costume designs, this article offers a visual as well as a prose description of revue costumes, focusing on the types of motifs: (1) natural objects (blossoms and jewels), (2) manmade objects, and (3) society’s celebrations. 301. Knapp, Margaret M. “Theatrical Parodies in American Topical Revues.” Journal of Popular Culture 12, no. 3 (winter 1978): 482–90. Stars, production styles and types, and popular stage productions were parodied in revues during the 1920s and 1930s. 302. Mander, Raymond, and Joe Mitchenson. Revue: A Story in Pictures. Foreword by Noël Coward. London: Peter Davies, 1971; New York: Taplinger, 1971. 120 p. ISBN 432-09076-2 (London imprint). ML89.M353. Two hundred and twenty-ﬁve illustrations from British revues constitute the main part of the book. Also included is an overview of the genre in Britain, a list of revues that played at least 250 performances in London between 1893 and 1970, and categorized indices. 303. Sebesta, Judith. “Ziegfeld, Bagley, Sillman, and Cranko: The Revue in the 1956-57 Season On and Off-Broadway.” Studies in Musical Theatre 3, no. 1 (2009): 117–25. Five revues from the 1956–57 season—New Faces of ’56, Cranks, Shoestring ’57, Ziegfeld’s Follies of ’57, and Mask and Gown—are examined in terms of structure, reception, and stars. Operetta 304. Bordman, Gerald. American Operetta: From “H.M.S. Pinafore” to “Sweeney Todd.” New York and Oxford: Oxford University Press, 1981. 206 p. ISBN 0-19-502869-4. ML1900.B67.

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“Operetta by any other name is far more welcome,” states Bordman on page 3 of his survey of the genre. Bordman asserts that the musical play as developed by Rodgers and Hammerstein and others, including Sondheim, represents a logical step in the evolution of operetta. 305. Crittenden, Camille. Johann Strauss and Vienna: Operetta and the Politics of Popular Culture. Cambridge and New York: Cambridge University Press, 2000. 323 p. ISBN 0-521-77121-9. ML410.S91. Crittenden surveys many aspects of Viennese operetta, including its creation, creators and performers, Viennese identity, musical style, carnival elements, Austro-Hungarian relations, and reactions to Wagnerian Zukunftsmusik. 306. Csáky, Moritz. Ideologie der Operette und Wiener Moderne: Ein kulturhistorischer essay (Ideology of Operetta and Viennese Modernism: A Cultural History Essay). Vienna: Böhlau, 1996. 2nd ed. 1998. 328 p. ISBN 3-205-98930-9. ML1900. In German, this essay discusses sociological and political aspects of Viennese operetta, proving that these works were far from being simply escapist entertainments. 307. Drinkrow, John. The Vintage Operetta Book. Reading, UK: Osprey, 1972. 124 p. ISBN 0-85045-102-7. MT95. This brief guide to operettas originating in France, Germany, or Austria and known to English-language audiences in translation, gives basic plot information and principal songs for forty-nine works. 308. Everett, William A. “Romance, Nostalgia and Nevermore: American and British Operetta in the 1920s.” In The Cambridge Companion to the Musical, 1st ed., pp. 47–62. Revised as “American and British Operetta in the 1920s: Romance, Nostalgia and Adventure.” In The Cambridge Companion to the Musical, 2nd ed., pp. 72–88. Operetta in the 1920s was led by Sigmund Romberg and Rudolf Friml in America, where escapist tales were set to waltzes, marches, and other European-derived musical styles with overtones of American popular idioms. In Britain, Chu Chin Chow and The Maid of the Mountains were popular with post-World War I audiences, and Noël Coward’s Bitter Sweet concluded the decade. Many ﬁlms of operettas from the 1920s were made, giving a new life to many works. The aesthetics of the genre became the source for numerous parodies. 309. Hughes, Gervase. Composers of Operetta. London: Macmillan and New York: St. Martin’s, 1962. Reprint, Westport, CT: Greenwood, 1974. 283 p. ISBN 0-8371-7612-3. ML390.H887C6 1974.

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Although its title implies a biographical dictionary, the book is a prose description of the operetta genre, arranged ﬁrst by country and then by composer. The book is organized into four divisions: (1) “French Operetta,” (2) “Round the Continent” (Germany and Scandinavia, Viennese Operetta, the Slavs, Italy and Spain), (3) “British Operetta,” and (4) “Finale” (includes “The Transatlantic Scene” about the United States). 310. Mullen, Richard. “Viennese Operetta.” Contemporary Review 277, no. 1619 (December 2000): 363–68. Mullen praises Camille Crittenden’s book on Strauss operetta (entry 305), cites Vienna’s Volksoper and Baden bei Wein as important centers for operetta, and discusses the legacy and appeal of the genre. 311. Replogle, Holley Dawn. “Crossover and Spectacle in American Operetta and the Megamusical.” Ph.D. dissertation (musicology), University of California, Los Angeles, 2009. 223 p. Replogle explores similarities between operettas and megamusicals, genres that both claim heritage to European operatic traditions. She compares the careers of Jeanette MacDonald and Sarah Brightman, spectacle in The Merry Widow and Les Misérables, the ﬁlm versions of Naughty Marietta and Rose Marie, and offers a reading of The Phantom of the Opera in terms of its middle-class female audience. 312. Rosenberg, Donald. “Operetta Haven.” Opera News 66, no. 12 (June 2002): 53. The Ohio Light Opera has produced operetta every summer since 1979 in the Freedlander Theatre at the College of Wooster. Historical style is important in the full-scale English-language productions of both familiar and obscure works. 313. Traubner, Richard. Operetta: A Theatrical History. Garden City, NY: Doubleday, 1983. New York and Oxford: Oxford University Press, 1989. 461 p. ISBN 0-385-13232-8. ML1900.T7. Rev. ed., London and New York: Routledge, 2003. 496 p. ISBN 0-415-96641-8. ML1900.T7. Traubner’s magniﬁcent volume is as much an encyclopedia of the genre as a comprehensive history of it. The genre’s various manifestations in Paris, Vienna, Berlin, London, and New York are treated, as are other national traditions such as the Spanish-language zarzuela and similar forms in Italy and Russia. Major works, composers, theaters, and performers are all included. As the title reveals, the volume focuses on operetta as a theatrical genre, emphasizing its plots, productions, actors, and repertories. 314. ”Viennese Operetta Weeping Fans.” The Economist (US) 349, no. 8092 (31 October 1998): 92.

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The author bemoans the fate of traditional Viennese operetta in the late twentieth century at the Volksoper through the inclusion of popular musicals in its repertory along with radical, postmodern rethinkings of classic works. 315. Würz, Anton. Reclams Operettenführer. 23rd ed. Stuttgart: Reclam, 2002. 351 p. ISBN 3-1501-0512-9. In German, this concise guide to mainly Central European operettas gives basic biographical information for each composer and plot and musical information for each show. A section at the end called “Musicals” includes works such as Sound of Music, Cabaret, and Hallo, Dolly (Hello, Dolly), and Die Romanticks (The Fantasticks). Some titles are in English, while others are in German. Musical comedy 316. Block, Geoffrey. “The Melody (and Words) Linger On: American Musical Comedies of the 1920s and 1930s.” In The Cambridge Companion to the Musical, 1st ed., pp. 77–97; The Cambridge Companion to the Musical, 2nd ed., pp. 103–26. The Roaring 1920s and Depression-era 1930s yielded many varieties of musical theater, and distinctions increased between two major forms: “home-grown musicals, i.e. musical comedies, and musicals that conspicuously revealed their debt to European themes and styles” (p. 83). The union of music and words is fundamental to the songs from this era, the musical comedy’s central legacy, and Block discusses the working relationship between the two. Along with a table listing the musical comedies of Kern, the Gershwins, Porter, Rodgers and Hart, and others, Block offers critical commentary on revivals, ﬁlm adaptations, and reconstructed recordings of this repertory. 317. Block, Geoffrey. “Revisiting the Glorious and Problematic Legacy of the Jazz Age and Depression Musical.” Studies in Musical Theatre 2, no. 2 (2008): 127–46. Block provides a methodology for investigating musical comedies of the 1920s and 1930s, using Rodgers and Hart’s Jumbo as a case study. 318. Bordman, Gerald. American Musical Comedy: From Adonis to Dreamgirls. New York and Oxford: Oxford University Press, 1982. 244 p. ISBN 0-19-503104-0. ML1711.B66. In a companion to American Operetta, Bordman traces the somewhat messy development of musical comedy, showing how it borrowed from operetta and revue while reacting immediately to the time and spirit of

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its representative works. Musical comedies focus on the contemporary and everyday, distinguishing them from the “somewhere else” credo of operetta. Rock musicals 319. Warﬁeld, Scott. “From Hair to Rent: Is ‘Rock’ a Four-Letter Word on Broadway?” In The Cambridge Companion to the Musical, 1st ed., pp. 231–45; The Cambridge Companion to the Musical, 2nd ed., pp. 235–49. Warﬁeld identiﬁes three categories of rock musicals: (1) those identiﬁed by their creators as such; (2) those that began as concept albums; (3) those that use rock styles but are not labeled rock musicals by their creators; and (4) those that emulate earlier styles of rock ‘n’ roll. He discusses Bye Bye Birdie, Hair, Godspell, Jesus Christ Superstar, Rent, Hedwig and the Angry Inch, and Inappropriate in his essay. 320. Wollman, Elizabeth L. “The Aesthetic Development of the Rock Musical on the New York Stage.” Ph.D. dissertation, City University of New York, 2002. 413 p. The rock musical, a marginal form of musical theater, offers neither authentic rock music nor traditional musical theater narrative. Rock musicals negotiate an aesthetic space between the two styles and are considered high-risk ventures by many producers. 321. Wollman, Elizabeth L. “Much Too Loud and Not Loud Enough: Issues Involving the Reception of Staged Rock Musicals. In Bad Music: The Music We Love to Hate, edited by Chris Washburne and Maiken Derno, pp. 311–30. Routledge: New York, 2004. ISBN 0-415-94365-5. ML3800. B13 2004. Wollman explores what constitutes a good rock musical according to the widely differing criteria of musical theater and rock fans. Issues of authenticity, critics, marketing, the composer’s role, and performance styles are addressed. 322. Wollman, Elizabeth L. The Theater Will Rock: A History of the Rock Musical, from “Hair” to “Hedwig.” Ann Arbor: University of Michigan Press, 2006. 279 p. 0-472-11576-6. ML1711.8.N3W65 2006. Wollman provides insights on the birth of the rock musical, Hair, rock musicals in the 1970s, ‘80s, and ‘90s, and the state of genre at the beginning of the twenty-ﬁrst century. She explores the use of rock music in musicals and the incorporation of the rock concert aesthetic in these works. Wollman also discusses the inﬂuence of mass media, sound and recording technology, and economics on the genre. Excerpts from interviews with

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many people involved with rock musicals provide ﬁrsthand insights into the challenges, successes, and failures associated with the genre. Megamusicals 323. Burston, Jonathan. “Theatre Space as Virtual Place: Audio Technology, the Reconﬁgured Singing Body, and the Megamusical.” Popular Music 17, no. 2 (May 1998): 205–18. The sound and visual designs for megamusicals reﬂect a standardization of performance brought about through technology. With ampliﬁcation at high volume levels and a sound striving for that of digitally recorded music, speakers rather than people become sound sources. This creates a new set of aesthetic criteria for the audiovisual split and contributes to new deﬁnition of public space. 324. Everett, William A. “The Mega-Musical as Transcultural Phenomenon.” In The New Europe at the Crossroads, edited by Ursula Beitter, pp. 55–65. New York: Peter Lang, 1999. ISBN 0-820-43831-6. D2009.N4853 1999 (UMKC). Les Misérables represents a reincarnation of French Grand Opera while The Phantom of the Opera is an homage to the same genre. 325. Prece, Paul, and William A. Everett. “The Megamusical and Beyond: The Creation, Internationalisation and Impact of a Genre.” In The Cambridge Companion to the Musical, 1st ed., pp. 246–65. Revised as “The Megamusical: The Creation, Internationalisation and Impact of a Genre.” In The Cambridge Companion to the Musical, 2nd ed., pp. 250–69. Producer Cameron Mackintosh, the worldwide phenomenon of Les Misérables, and the artistic and business vision of Andrew Lloyd Webber are all signiﬁcant factors in the emergence of the megamusical, a musical theater form where visual dimensions (sets, costumes, and choreography) and technological wonders dazzle the audience as much as the romantic tales and nearly operatic scores. The works of the French team Claude-Michel Schönberg and Alain Boublil share a common source in French history and emphasize issues of broad social importance, while Andrew Lloyd Webber’s musicals focus on personal healing or catharsis alongside commercialization, pop icons, and pure theatricality. 326. Sternfeld, Jessica. The Megamusical. Proﬁles in Popular Music. Bloomington and Indianapolis: Indiana University Press, 2006. 452 p. ISBN 978-0-253-34793-0. ML2054.S74. Sternfeld provides a history of the genre, addressing both its internal, musico-dramatic qualities and its marketing strategies. Chapters are

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devoted to Jesus Christ Superstar, Cats, Les Misérables, and The Phantom of the Opera. 327. Sternfeld, Jessica. “The Megamusical: Revolution on Broadway in the 1970s and 1980s.” Ph.D. dissertation, Princeton University, 2002. 592 p. Sternfeld examines the megamusical as a genre and cultural phenomenon. She focuses on four seminal works: Jesus Christ Superstar, Cats, Les Misérables, and The Phantom of the Opera. Andrew Lloyd Webber, as the genre’s chief creator, is the subject of one chapter. See 311. ETHNIC GENRES IN NORTH AMERICA African American musical theater 328. Armstead-Johnson, Helen. “Themes and Values in Afro-American Librettos and Book Musicals, 1898–1930.” In Loney, pp. 133–42. Themes in African American book musicals in the period surveyed reﬂect the values of their writers and audiences, including African heritage, folk tradition, education, social class, color, black-white relationships, money, power, love, and chicanery. 329. Emery, Lynne. “Black Dance and the American Musical Theatre to 1930.” In Loney, pp. 301–7. Jazz music and dance make the American musical unique, and without black inﬂuence, there would not be a speciﬁcally American musical theater. 330. Graziano, John. “Black Musical Theater and the Harlem Renaissance Movement.” In Black Music in the Harlem Renaissance: A Collection of Essays, edited by Samuel A. Floyd, Jr., pp. 87–110. New York, Westport, CT, and London: Greenwood, 1990. ISBN 0-313-26546-1. ML3556.8.N5B6 1990. The black musical did not rise to the aesthetic heights expected of it by the proponents of the Harlem Renaissance in the 1920s. However, the success of Shufﬂe Along on Broadway in 1921 was paramount. Many black musicals appeared in Harlem, but interaction between these shows and the Renaissance was likely minimal. Many of the songs in the shows were innovative, particularly in the use of blue notes and chords, and contributed to the development of the mainstream musical theater style. 331. Graziano, John. “Images of African Americans: African-American Musical Theatre, Show Boat and Porgy and Bess.” In The Cambridge

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Companion to the Musical, 1st ed., pp. 63–76; The Cambridge Companion to the Musical, 2nd ed., pp. 89–102. Tracing African American musical theater from the 1860s to the 1920s, the diversity of styles ranges from minstrelsy to Broadway book musicals and revues. Personalities such as the Hyers Sisters, John W. Isham, the team of Bert Williams and George Walker, and that of Noble Sissle and Eubie Blake made important contributions. Images of African American life by whites appeared on Broadway in Show Boat and Porgy and Bess. 332. Graziano, John. “Sentimental Songs, Rags, and Transformations: The Emergence of the Black Musical, 1895–1910.” In Loney, pp. 211–32. Three shows are the focus of this essay—In Dahomey, Abyssinia, and The Red Moon—though other works are also covered. Graziano describes the African American musical theater between 1895 and 1910 and demonstrates how it took ragtime from vaudeville and placed it into the American musical comedy. He discusses the importance and prevalence of transformation scenes at the end of many African American musicals. 333. Long, Richard A. “Black Inﬂuences on Choreography of the American Musical Theatre since 1930.” In Loney, pp. 323–29. African American dances, stance, and gesture, while appearing mainly in African American musicals, also penetrated primarily white shows. Early in the century, these movements were usually done at the will of the actor/ dancer, whereas later they were the core through which the rest of the production was articulated. 334. Peterson, Bernard L. Jr., A Century of Musicals in Black and White: An Encyclopedia of Musical Stage Works By, About, or Involving African Americans. Westport, CT: Greenwood, 1993. 529 p. ISBN 0-313-26657-3. ML102.M88P37 1993. Entries on almost 1,300 shows from the 1870s to the 1990s that feature contributions by African Americans (librettists, composers, performers, producers) or have thematic materials related to the African American experience constitute the bulk of this volume. Entries are listed alphabetically in the text, and an appendix provides a chronological list. An extensive bibliography and indices for names, songs, and subjects complete the work. 335. Peterson, Bernard L. Proﬁles of African American Stage Performers and Theatre People, 1816–1960. With a foreword by James V. Hatch. Westport, CT, and London: Greenwood, 2001. 408 p. ISBN 0-313-29534-4. PN2286.P46 2001. The biographical entries in this volume provide valuable information on African American performers on stage and screen. Additional references

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appear at the end of each entry. Appendices include brief entries on performers not included in the main body of the work and a list of people by profession. The book contains an extensive bibliography. 336. Riis, Thomas L. “Black Musical Theater, 1870–1930: Research Problems and Resources.” American Music 2, no. 4 (1984): 95–100. In his “state of the research” for African American musical theater in 1984, Riis cites major gaps and voids while providing information on primary and secondary sources. 337. Riis, Thomas L. “The Experience and Impact of Black Entertainers in England, 1895–1920.” American Music 4, no. 1 (1986): 50–58. African American performers were frequently seen on British stages in productions of Uncle Tom’s Cabin, Oriental America, In Dahomey, and minstrel shows. 338. Riis, Thomas L. Just Before Jazz: Black Musical Theater in New York, 1890–1915. Washington, DC, and London: Smithsonian Institution Press, 1989. 309 p. ISBN 0-87474-788-0. ML1711.8.N3R5 1989. In his survey of African American musical theater in the years surrounding the turn of the twentieth century, Riis provides valuable information on various aspects of the genre and, as a musicologist, devotes ample time to the music itself. He discusses various types of African American musical theater, including revues, book musicals, and star vehicles, as well as the inﬂuence of the Back to Africa movement on contemporary works. Riis also includes lists of shows and songs by black composers and several sheet music facsimiles. 339. Riis, Thomas L. More Than Just Minstrel Shows: The Rise of Black Musical Theatre at the Turn of the Century. Brooklyn: Institute for Studies in American Music, 1992. 63 p. (I.S.A.M. Monographs, no. 33.) ISBN 0-914678-36-1. ML1711.R54 1992. Musical comedies were an important part of the African American musical theater legacy during the period 1895 through 1905 and included many references to problems and concerns of African Americans at the turn of the twentieth century. 340. Southern, Eileen. The Music of Black Americans: A History. 3rd ed. New York and London: Norton, 1997. 678 p. ISBN 0-393-03843-2. ML3556. S74 1997. Southern discusses African American musical theater in the context of the overall historical development of African American music. She includes sections on minstrelsy, vaudeville and musical comedy, and Broadway musicals at various points in the book.

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341. Woll, Allen L. Black Musical Theatre: From “Coontown” to “Dreamgirls.” Baton Rouge and London: Louisiana State University Press, 1989. 301 p. ISBN 0-8071-1469-3. ML1711.W64 1989. Woll traces African American musical theater on Broadway from 1898 through the early 1980s. His comprehensive study includes references to the shows, their creators and producers, actors, audiences, and broader social and cultural contexts. The book has a useful bibliography. 342. Woll, Allen L. Dictionary of the Black Theatre: Broadway, Off-Broadway, and Selected Harlem Theatres. Greenwood, 1983. 359 p. ISBN 0-31322561-3. The dictionary includes entries for shows (including performance details, credits, and plot summary, and selected critical response) in Part 1, and biographical entries for performers, writers, directors, and organizations in Part 2. Woll includes a chronology, a discography, and a selected bibliography. Spanish-language musical theater (Zarzuela) 343. Miranda, Ricardo. “De Estambul a Tuxtepec: Zulema.” In Ecos, Alientos y Sonidos: Ensayos sobre Música Mexicana, pp. 155–71. Xalapa, Mexico: Universidad Veracruzana and Fondo de Cultura Económica. This Spanish-language essay by one of Mexico’s leading musicologists discusses Zulema, a “zarzuela oriental” by Ernesto Elorduy and Rubén M. Campos from 1903, the only Mexican work of its type from before the revolution. 344. Ramírez, Elizabeth C. Footlights across the Border: A History of Spanish-Language Professional Theatre on the Texas Stage. New York: Peter Lang, 1990. 194 p. ISBN 0-8204-1035-7. PN2270.M48R36. Zarzuela, opera, and operetta are included in this survey. 345. Sturman, Janet L. Zarzuela: Spanish Operetta, American Stage. Urbana and Chicago: University of Illinois Press, 2000.245 p. (Music in American Life.) ISBN 0-252-02596-2. ML1950.S78 2000. Sturman traces the history of the zarzuela, focusing on its New World incarnations in Argentina, Mexico, Puerto Rico, and the United States. She assesses the genre’s political and musical signiﬁcance and discusses its role in deﬁning American urban ethnicity. There are also chapters on contemporary zarzuela audiences, performance practices, and support networks. 346. Thomas, Susan. Cuban Zarzuela: Performing Race and Gender on Havana’s Lyric Stage. Urbana: University of Illinois Press, 2009. 250 p. ISBN 978-0-2520-3331-5. ML1714 .T46 2009.

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Zarzuela in Cuba during the 1920s and 1930s, a hybrid of popular musical theater, musical styles, and elite culture, addressed contemporary socio-cultural issues. 347. Wolff, Victoria Felice. “From Literary Page to Musical Stage: Writers, Librettists, and Composers of Zarzuela and Opera in Spain and Spanish America (1875-1933)”. Ph.D. dissertation, McGill University, 2008. Zarzuela and opera rose as cultural expressions of the societies in which they were produced in both Spain and Spanish America. They became a new space to imagine and express a transnational Hispanic nation that was fundamentally tied to Spain. Yiddish musical theater 348. Heskes, Irene. “The Hebrew Publishing Company Collection: An Introductory Report.” In Loney, pp. 389–92. The Hebrew Publishing Company printed a large amount of sheet music for Yiddish theaters. The article is a progress report on the American Yiddish Theater Music project, whereby the Hebrew Publishing Company’s musical imprints were to be cataloged and annotated. A short history of Yiddish American musical theater is included in the survey. 349. Heskes, Irene. “Music as Social History: American Yiddish Theater Music, 1882–1920.” American Music 2, no. 4 (winter 1984): 73–87. Growing out of Jewish minstrelsy and the Purimshpil (Purim-play), Yiddish theater had a heritage that included the operettas of Abraham Goldfaden (1840–1908), performances in theaters in New York’s Lower East Side, and a strong sheet music industry. Themes reﬂected both nostalgia for and recollection of life in Europe and the triumphs and trials of life in America. 350. Sandrow, Nahma. “‘A Little Letter to Mamma’: Traditions in Yiddish Vaudeville.” In American Popular Entertainment: Papers and Proceedings of the Conference on the History of American Popular Entertainment, edited by Myron Matlow, 87–95. Westport, CT: Greenwood, 1979. ISBN 0-3132-1072-1. PN2221.C65 1977. Sandrow details aspects of Yiddish Vaudeville. 351. Warnke, Nina. “Immigrant Popular Culture as Contested Sphere: Yiddish Music Hall, the Yiddish Press, and the Processes of Americanization, 1900-1910.” Theatre Journal 48, no. 3 (October 1996): 321–35. Yiddish music halls functioned as contested sites where aesthetic principles, moral concerns, commercial interests, and social pressures of assimilation

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were addressed within the contexts of Jewish American identity at the turn of the twentieth century. NATIONAL GENRES AND SURVEYS Australia 352. Australia Council. Opera/Music Theatre in Australia: Report to the Australia Council. Sydney: Australia Council, 1980. 149 p. ISBN 0-908024-320. The ofﬁcial report from the Committee of Inquiry discusses the status of opera and musical theater in Australia. 353. Once in a Blue Moon: A Celebration of Australian Musicals. Sydney: Australian Broadcasting Corporation, 1994. Video. Directed by Peter Butler, produced by Dennis Watkins, and with commentary by Nancy Hayes, the video includes performances of nineteen songs from ﬁfteen Australian musicals staged between 1958 and 1994. Various Australian singers appear with the Melbourne Symphony Orchestra. Canada 354. Ingraham, Mary I. “Something to Sing About: A Preliminary List of Canadian Staged Dramatic Music since 1867.” Intersections 28, no. 1 (2007): 14–77. The preliminary list of Canadian staged dramatic misc is offered in three formats: 1) alphabetically by composer surname, 2) alphabetically by title, and 3) chronologically. Commentary on genre determination and musical citizenship is included. Croatia 355. Everett, William A. “Nineteenth-Century Croatian Operetta.” Journal of Croatian Studies 42 (2001): 33–42. Three of the most signiﬁcant Croatian-born operetta composers of the nineteenth and early twentieth centuries were Franz von Suppé, Ivan Zajc, and Srecko (Felix) Albini. Suppé and Zajc both enjoyed success in Vienna writing German-language operettas that were also popular in Croatia in translation. 356. Tuksar, Stanislav. “An Outline for a Chronology of the Musical Theatre in Croatia from the 12th to the 18th Century.” In Essays in Honour of

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Joze Sivec, edited by Jurij Snoj and Darja Frelih, pp. 151–60. Ljubjljana, Slovenia: Slovensko muzikolosko drustvo–Zalozba ZRC, 2000. Musical theater has a long tradition in Croatia, and this article traces its developments from the Middle Ages to the eighteenth century. 357. Tuksar, Stanislav. “Popularno glazbeno kazaliste od Ivana pl. Zajca do Alﬁja Kabilja” (Popular Musical Theater from Ivan Zajc to Alﬁjo Kabilo). In Krlezini dani u Osijeku 2000, edited by Branko Hecimovic, pp. 135–40. Zagreb and Osijek: HAZU–HNK u Osijeku–Pedagoski Fakultet Osijek, 2001. Tuksar traces the development of popular musical theater in Croatia from the operettas of Ivan Zajc in the late nineteenth and early twentieth centuries to the works of late twentieth-century composer Alﬁjo Kabilo. France 358. Damase, Jacques. Les Folies du Music-Hall: A History of the Music-Hall in Paris. With a foreword by Noël Coward. London: Anthony Blond, 1962. Reprint, London: Spring Books, 1970. 190 p. ISBN 0-60035-410-5. ML1727.8.D2. This photographic essay of Paris music hall entertainments and its principal performers is complemented by Damase’s succinct and insightful commentary. 359. Dufresne, Claude. La belle histoire de l’Opérette, d’Offenbach à nos jours. Paris: Solar, 1997. 96 p. ISBN 2-263-02593-6. Color and black-and-white illustrations, many of which are production photographs, illuminate this French-language popular history of musical theater in France during the nineteenth and twentieth centuries. 360. Duteurtre, Benoît. L’Opérette en France. Paris: Seuil, 1997. 192 p. ISBN 2-02-029902-X. This French-language popular history of the French musical theater includes references to many shows, both domestic and foreign, and a large number of illustrations. 361. Harding, James. Folies de Paris: The Rise and Fall of French Operetta. London: Chappell and Company/Elm Tree Books, 1979. 183 p. ISBN 0-903443-28-7. ML1727.H370. Harding’s chronicle of nineteenth-century French operetta begins with Adolphe Adam, continues through Hervé (Florimond Ronger), Jacques

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Offenbach, Charles Lecocq, and André Messager, and concludes with Reynaldo Hahn. The focus is on the people involved with the genre: composers, librettists, and performers. 362. Macdonald, Hugh. “Comique Touch.” Opera News 60, no. 16 (May 1996): 30–33. Opera comique, a genre that ﬂourished during the nineteenth century, included comedy, parody, spoken dialogue, melodrama (spoken dialogue above instrumental music), stock characters, and attractive music. Germany 363. Schuermann, Kathleen Rachele. “The German-Language Musical at the Turn of the Twenty-First Century: Tradition, Globalization, and Commercialization.” Master’s thesis, University of Missouri, Kansas City, 2003. 72 p. German megamusicals from the end of the twentieth century, including Tanz der Vampire (Dance of the Vampires, 1997) by Roman Polanski, Michael Kunze, and Jim Steinman; Ludwig II. Sehnsucht nach dem Paradies (Ludwig II: Longing for Paradise, 2000) by Stephen Barbarino and Franz Hummel; and Der Glöckner von Notre Dame (The Bell-Ringer of Notre Dame, 1999) by James Lapine, Alan Menken, and Stephen Schwartz, are similar to their English-language counterparts in terms of theatricality, concept, and design. The three shows, however, are distinctively German not only in the language of performance but also in the choice of subject matter and references to contemporary German culture. Schuermann chronicles the ill-fated Broadway run of Dance of the Vampires, the English translation of Tanz der Vampire starring Michael Crawford. Netherlands 364. Blom, Paul. Hallo Hierheen! Theater voor het grote publiek 1839–1939 (This Way Please! Popular Theatre in the Netherlands 1839–1939). Amsterdam: Theater Instituut Nederland, 1997. 104 p. ISBN 90-70892-46-4. This bilingual (Dutch and English) guide to the exhibition of the same name in the Theatre Instituut Nederland, Amsterdam includes sections on venues, melodrama (1839–70), circus (1870–95), variety (1895–1920), and revue (1920–39). Photographs from the exhibition are reproduced in the book. 365. Bredschneyder, Fred. Elseviers Groot Operette- en Musicalboek. Amsterdam and Brussels: Elsevier, 1972. 208 p. ISBN 90-10-010-92-9. MT95.B63.

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In Dutch. Introductory essays provide histories of the musical theater in general and speciﬁcally in the Netherlands and Belgium. An alphabetical list of composers with entries on their biographies and most famous works includes plot summaries, performance histories, and information on ﬁlms and recordings. 366. musical.patina.nl This Dutch-language website has a search engine and links to shows, theaters, and performers.

New Zealand 367. Harcourt, Peter. Fantasy and Folly: The Lost World of New Zealand Musicals, 1880–1940. Wellington: Steele Roberts, 2002. 170 p. ISBN 1-877228-65-6. Tracing the development of New Zealand musicals, the volume includes information on visiting Australian companies, works based on Maori myths and legends, and the dissemination of New Zealand musicals overseas. 368. Jackson-Tretchikoff, Julie. “Amateur Operatics in Auckland: Musical Theatre’s Last Frontier.” Studies in Musical Theatre 2, no. 2 (2008): 195–207. Amateur societies such as the Auckland Music Theatre, Inc., play a key role in New Zealand’s musical theatre. 369. Smith, Moira. “The Ephemeral Tradition of Extravaganza.” Journal of Folklore Research 44, no. 203 (May–Dec. 2007): 249–78. “Extravs” were student-created shows that formed part of the graduation celebrations at Victoria University in Wellington, New Zealand between 1920 and 1963.

Spain (Zarzuela) 370. Bussey, William M. French and Italian Inﬂuence on the Zarzuela 1700–1770. Ann Arbor: UMI Research Press, 1982. 297 p. (Studies in Musicology, no. 53.) ISBN 0-8357-1285-0. ML1950.B87 1982. Foreign inﬂuence on eighteenth-century Spanish music was nothing unusual, though it was especially evident in the zarzuela. Bussey views the zarzuela as a way to achieve insight into eighteenth-century Spanish views of foreign inﬂuence, national identity, popular taste, customs, and politics.

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371. Cincotta, Vincent J. Zarzuela: The Spanish Lyric Theatre. Wollongong, Australia: University of Wollongong Press, 2002. 766 p. ISBN 0-86418700-9. ML1950 .C55 2002. The massive resource is organized into three sections: 1) a history of the genre from 1840 to the present, 2) biographies and catalogs for 92 composers and 74 librettists, and 3) synopses of some of the most popular works, a chronology, discography, and videography. 372. Crews, Ruth, and Richard Davis. “Popular Song and Musical Theater: Producing and Directing the Zarzuela.” Journal of Singing—The Ofﬁcial Journal of the National Association of Teachers of Singing 62, no. 3 (Jan–Feb 2006): 315–19. A short history of the genre precedes ideas on casting and vocal techniques required for zarzuela. 373. Mindlin, Roger. Die Zarzuela: Das spanische Singspiel im 19. und 20. Jahrhundert. Zurich: Atlantis Verlag, 1965. 119 p. ML1950.M55 1965. In German, the book discusses the zarzuela in the nineteenth and twentieth centuries and includes a repertory list and information on recordings. 374. Webber, Christopher. The Zarzuela Companion. With a foreword by Plácido Domingo. Lanham, MD, and Oxford: Scarecrow, 2002. 341 p. ISBN 0-8108-4447-8. ML1950.W43 2002 (UMKC). In this, a seminal work on zarzuela, concise essays on the state of the genre past and present precede chapters on major composers with synopses of their most important works. There are also chapters with entries on lesser-known composers of the nineteenth and twentieth centuries, Catalan sarsuela, Cuban zarzuela, writers, and singers. There is also a selected discography, bibliography, and glossary. 375. Webber, Christopher. Zarzuela.net. www.zarzuela.net This information-ﬁlled website includes feature book, performance, CD, and DVD reviews, feature articles, creator biographies, synopses, song translations, an index of titles, and other information. United Kingdom 376. Bailey, Peter. “‘Naughty but Nice’: Musical Comedy and the Rhetoric of the Girl, 1892–1914.” In The Edwardian Theatre: Essays on Performance and the Stage, edited by Michael R. Booth and Joel H. Kaplan, pp. 36–60. Cambridge: Cambridge University Press, 1996. ISBN 0-521-45375-5. PN2595.E35 1996.

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In Edwardian English musical comedy, the girl-heroine had a great deal to do with formulations of sexuality and gender. Many musical comedies featured “Girls” in consumer culture situations in which a patriarchal system was trying to deﬁne its “New Woman,” paralleling the real-life scenarios of the actresses. 377. Bergan, Ronald. The Great Theatres of London: An Illustrated Companion. London: Admiral, 1987; San Francisco: Chronicle Books, 1988. 200 p. ISBN 0-877-01571-6. PN2596.L6B46 1988. Arranged by theater, this photographic essay with extensive commentary on the history of major London theaters, includes information on and photos of musical productions. 378. Gänzl, Kurt. The British Musical Theatre. 2 vols. London: Macmillan and New York: Oxford University, 1986. Vol. 1: 1865–1914, 1196 p., Vol. 2: 1915–1984, 1258 p. ISBN 0-19-520509-X (set). MS1731.8.G36 1986. Performance details and critical appraisals of approximately 1,000 British musicals produced in London’s West End or elsewhere in the United Kingdom make this an indispensable reference tool to British musical theater. Appendices include lists of printed music and recordings. 379. Mander, Raymond, and Joe Mitchenson. Musical Comedy: A Story in Pictures. Foreword by Noël Coward. London: Peter Davies, 1969; New York: Taplinger, 1970. 120 p. ISBN 432-09075–4 (London imprint). ML89.M35 1970. Two hundred and thirty pictures from musicals that appeared in London constitute the main part of the book. “Musical comedy” is broadly deﬁned to include musicals that have a plot. Shows of both British and American origin are included. An overview of musicals precedes the illustrations, and copies of early playbills, a list of musicals that played at least 500 performances in London between 1894 and 1968, and categorized indices follow them. 380. Morley, Sheridan. “Bitter Sweet Memories.” BBC Music Magazine Special Issue (1999): 36–38. Morley champions neglected British musicals that appeared between the times of Gilbert and Sullivan and Lloyd Webber. 381. Morley, Sheridan. Spread a Little Happiness: The First Hundred Years of the British Musical. London: Thames and Hudson, 1986. 224 p. ISBN 0-50001-398-5. ML1731.8.L7. Chronicling the British musical from the late nineteenth century through the 1980s, Morley provides a lavishly illustrated theatrical history of the genre.

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382. Pearsall, Ronald. “Musical Comedy.” In Edwardian Popular Music, pp. 21–45. Rutherford, NJ: Fairleigh Dickinson University Press, 1975. ISBN 0-8386-1781-6. ML286.5.P4. A survey of light musical theatre from the 1890s through 1912, with an extended discussion of The Merry Widow’s London premiere in 1907. 383. Snelson, John. “‘We Said We Wouldn’t Look Back’: British Musical Theatre, 1935–1960.” In The Cambridge Companion to the Musical, 1st ed., pp. 101–19; The Cambridge Companion to the Musical, 2nd ed., pp. 127–46. Between 1935 and 1960, 127 new British musicals appeared in the West End, though only a handful are known a half-century later. Snelson discusses the work of creators such as Ivor Novello, Noël Coward, Noel Gay, Billy Mayerl, Vivian Ellis, Sandy Wilson, Julian Slade, Lionel Bart, James Gilbert, and David Heneker and Monty Norman. He details the dichotomy between indigenous British musicals and the American imports that were immensely popular after World War II and which had a large impact on the creation of British musicals, both emulative and reactionary. Many of the British shows were too dramatically linked to Britain to be exportable, hence limiting their exposure and documentation. 384. Whitehouse, Edmund. London Lights: A History of West End Musicals. Cheltenham: This England Books, 2005. 160 p. ISBN 0-9-6324-54-8. Written for This England, a magazine publisher, this enthusiast-compiled volume covers London musical theatre from the 1850s to the early twenty-ﬁrst century. Arranging material largely by decade, additional chapters are devoted to signiﬁcant creators and performers. Useful appendices include an alphabetical list of musicals (with number of performances), a chronological list, a list of long-running shows, information on theaters, a list of London pantomimes, and a list of people with birth and death years. 385. Wright, Adrian. A Tanner’s Worth of Tune: Rediscovering the Post-War British Musical. Woodbridge, UK, and Rochester, NY: Boydell, 2010. 320 p. ISBN 978-1-84383-542-4. Dewey: 782.14094109045. This narrative history of the British musical from after World War II to the early 1970s includes chapters devoted to Ivor Novello, Noel Coward, Sandy Wilson, the plein air musicals of Julian Slade and his contemporaries, adopted British musicals (shows that originated outside of Britain but found their greatest success there), the British Verismo Musical, musicals with speciﬁc British characteristics from the 1960s, biomusicals, and Lionel Bart (prefaced with a discussion of John Osborne’s work).

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Music hall 386. Bailey, Peter, ed. Music Hall: The Business of Pleasure. Milton Keynes, UK, and Philadelphia: Open University Press, 1986. 166. ISBN 0 335 15278 3. ML3650.M9 1986. This collection of essays by Peter Bailey, John Earl, Jeremy Crump, Dagmar Höher, Lois Rutherford, Susan Pennybacker, and Chris Waters examines the business and sociological dimensions of music hall in Victorian and Edwardian England, during which the music hall became an institution where market forces, cultural hegemony, and class consciousness were all readily apparent. 387. Baker, Richard Anthony. British Musical Hall: An Illustrated History. Foreword by Roy Hudd OBE. Phoenix Mill, UK: Sutton, 2005. 320 p. ISBN 0-7509-3685-1. Written for a popular audience, the book covers the history of music hall, its performers, creators, venues, audiences, songs, and other aspects of the genre, including music hall in Australia. 388. Beerbohm, Max. “Music Halls of My Youth.” In Mainly on the Air, pp. 39–47. London: William Heinemann, 1946. New York: A. A. Knopf, 1946. PR6003.E4 M3. In a transcript of a radio broadcast from January 18, 1942, noted English parodist, broadcaster, and caricaturist recalls the music hall performances he attended in his youth, including speciﬁc songs and performers. 389. Bratton, J. S. “Beating the Bounds: Gender Play and Role Reversal in the Edwardian Music Hall.” In The Edwardian Theatre: Essays on Performance and the Stage, edited by Michael R. Booth and Joel H. Kaplan, pp. 86–100. Cambridge: Cambridge University Press, 1996. ISBN 0-52145375-5. PN2595.E35 1996. Looking at women performers who cross-dressed or blacked-up, Bratton asserts that music hall was a forum in which gender formulations were tested and contested. 390. Bruce, Frank. Scottish Showbusiness: Music Hall, Variety and Pantomime. Scotland’s Past in Action. Edinburgh: National Museums of Scotland, 2000. 134 p. ISBN 1-901663-43-4. Scottish dimensions of music hall, variety, and pantomime are emphasized in this illustrated guide. 391. Busby, Roy. British Music Hall: An Illustrated Who’s Who from 1850 to the Present Day. London and Salem, NH: Paul Elek, 1976. 191 p. ISBN 0-236-40053.

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This biographical dictionary of British and American people associated with music halls includes photographs of many of the subjects. 392. Cheshire, D. F. Music Hall in Britain. Illustrated Sources in History. Newton Abbot, UK: David & Charles, 1974. 112 p. ISBN 0-7153-6212-7. Images and quotations from primary sources (with introductions) constitute most of this book. 393. Kift, Dagmar. The Victorian Music Hall: Culture, Class and Conﬂict. Transl. by Roy Kift. Cambridge: Cambridge University Press, 1996. 254 p. ISBN 0-521-4742-8. PN1968.G7K5313 1996. After an introduction that provides a survey of scholarship on music hall, Kift investigates the genre’s history, programs, and audiences, discussing the activities of regional halls as well as those in London. She then probes the relationship between music hall and working-class culture and society. 394. Mander, Raymond, and Joe Mitchenson. British Music Hall. Revised ed. London: Gentry Books, 1974. (ﬁrst published 1965). 243 p. ISBN 0-85614-036-8. PN1968.G7M3. Three hundred and twenty-eight captioned illustrations form the main part of this book. Also included are essays on various aspects of music hall; lists of performers for the Royal Command Performance of 1912, the Royal Command Performance in Celebration of Peace from 1919, and Royal Variety Performances from 1921 to 1973; a short discography; and a categorized index. 395. Mellor, G. J. The Northern Music Hall. Newcastle upon Tyne: Frank Graham, 1970. 224 p. PN1968.G7MA (UMKC). Music Hall in Britain died in the 1950s, according to the author. He traces the genre’s history from the 1850s, highlighting the roles of theaters, stars, and managers from Northern England and Scotland. Indices appear for people and houses. 396. Pearsall, Ronald. “Music Hall.” In Edwardian Popular Music, pp. 46–73. Rutherford, NJ: Fairleigh Dickinson University Press, 1975. ISBN 0-8386-1781-6. ML286.5.P4. An overview of the theaters, stars, and acts of early twentieth century British music hall in which the author asserts that the genre “had passed its peak” (49). 397. Russell, Dave. “Varieties of Life: The Making of the Edwardian Music Hall.” In The Edwardian Theatre: Essays on Performance and the Stage, edited by Michael R. Booth and Joel H. Kaplan, pp. 61–85. Cambridge: Cambridge University Press, 1996. ISBN 0-521-45375-5. PN2595.E35 1996.

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Russell views Edwardian music hall as a resilient response to new business practices and audience demographics. The prominence of comic song gave way to more varied types of entertainment, and the genre provides insight into the attitudes and mores of the era. 398. Rust, Brian. British Music Hall on Record. Middlesex: Gramophone, 1979. 301 p. ISBN 0-902470-07-9. Arranged by performer, the discography includes mainly 78rpm recordings. 399. Scott, Derek B. “The Music Hall Cockney: Flesh and Blood, or Replicant?” In Sounds of the Metropolis: The Nineteenth-Century Popular Music Revolution in London, New York, Paris, and Vienna, pp. 171–95. New York and Oxford: Oxford University Press, 2008. ISBN 978-0-19530946-1. ML3470.S38 2008. Although music hall is discussed in various places throughout the book, this chapter focuses on the genre. Scott looks at three phases of development in depictions of Cockneys in music hall: (1) parody; (2) the character-type; and (3) the imagined real. 400. Senelick, Lawrence, David F. Cheshire, and Ulrich Schneider. British Music Hall, 1840-1923: A Bibliography and Guide to Sources, with a Supplement on European Music Hall. Hamden, CT: Archon Books, 1981. 361 p. ISBN 0-20-8018409. Z5784.M93 S46. This useful bibliography includes entries on collections, periodicals, general studies, picture books, reminiscences, memoirs, diaries, London districts and individual music halls, and provincial halls. Other topics include architecture, regulation, operation, personalia, performance material, literary and artistic treatment, and recordings. A supplement provides sources on music hall outside the UK. 401. Summerﬁeld, Penny. “Patriotism and Empire: Music-Hall Entertainment, 1870-1914.” In Imperialism and Popular Culture, ed. John M. MacKenzie, 17–48. Manchester, UK: Manchester University Press, 1986. ISBN 0-71901770-4. DA533.I46 1986. Summerﬁeld discusses the inﬂuence of music hall on attitudes towards imperialism from 1870 to 1914. She investigates the social composition of audiences, the determinants of the content in music hall songs and acts, and the shifting meanings of patriotism in music hall and related entertainments. Pantomime 402. Bicât, Tina, Ruth Staines, and Colin Winslow. Pantomime: A Practical Guide. Illustrated 2nd edition. Ramsbury: Crowood, 2004. 160 p. ISBN 978-1-8612-6692-7. PN1985.

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A practical guide to the genre, especially for those working in smaller venues with limited budgets. 403. Broadbent, R. J. A History of Pantomime. London: Simpkin, Marshall, Hamilton, Kent & Co., 1901. 226 p. An investigation into various world theatrical inﬂuences on the pantomime tradition as viewed when the “modern” version of the genre was solidifying its existence. Several reprint editions are available. 404. Frow, Gerald. “Oh, Yes It Is!”: A History of Pantomime. London: British Broadcasting Corporation, 1985. 192 p. ISBN 0-563-20366-8. PN1988.C57. As an accompaniment to the BBC Radio 4 documentary series on pantomime, this readable survey of the genre includes information on creators, performers, plots, and characters. Several illustrations are in color. 405. Harris, Paul. The Pantomime Book: The Only Known Collection of Pantomime Jokes and Sketches in Captivity. Foreword by Roy Hudd. London and Chester Springs, PA: Peter Owen, 1996, 2008.149 p. ISBN 978-07206-1319-3. In addition to panto sketches and jokes, the author includes personal insights on the genre and provides rules for a successful pantomime, including “Make sure there is a wide choice of songs” (p. 146). 406. Mander, Raymond, and Joe Mitchenson. Pantomime: A Story in Pictures. Foreword by Danny LaRue. New York: Taplinger, 1973. 168 p. ISBN 0-8008-6233-3. PN1925.M25. A narrative history of the genre precedes 249 glossy images. 407. O’Brien, John. Harlequin Britain: Pantomime and Entertainment, 16901760. Baltimore and London: The John Hopkins University Press, 2004. 299 p. ISBN 0-8018-7910-8. PN1987.G7O27 2004. O’Brien discusses the emergence of British pantomime in the 1720s, reasons for the genre’s popularity, and its effect on and relationship to eighteenth-century society. 408. Robbins, Norman. Slapstick & Sausages: The Evolution of British Pantomime. Tiverton, UK: Trapdoor, 2002. 254 p. ISBN 0-9542987-0-5. PN1987.G7R63 2002 (University of Calgary Library). Told from the perspective of a practitioner, the book offers a readable and anecdote-ﬁlled history, though without citations, of the genre. Summaries of the most famous panto plots appear in the ﬁnal chapter. 409. Taylor, Millie. British Pantomime Performance. Bristol and Chicago: Intellect, 2007. 208 p. ISBN 978-1-84150-174-1.

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Musical director and scholar Mille Taylor provides a useful guide to the British pantomime tradition. Topics include story types, artiﬁce, reﬂexivity, distance and interactions between actors and the audience, topical references, carnivalesque and ritualistic aspects, gender and cross-dressing, economic contexts, verbal language, music, and dance. See 390.

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410. Altman, Rick. The American Film Musical. Bloomington and Indianapolis: Indiana University Press, 1987. 386 p. ISBN 0-253-30413-X. PN1995.9.M86 A48 1987. A seminal study on the ﬁlm musical, Altman addresses the theory of genre analysis and its inherent difﬁculties before embarking on a thorough investigation of the ﬁlm musical. He discusses the ﬁlm musical’s characteristic dual-focus narrative and overall structural paradigm. Altman identiﬁes three fundamental types of ﬁlm musical: the fairy tale musical, the show musical, and the folk musical. The book includes a chronological table of musicals according to these subgenres from 1927 through 1983. 411. Aylesworth, Thomas. Broadway to Hollywood: Musicals from Stage to Screen. Twickenham: Hamlyn, 1985. 256 p. ISBN 0-831-71006-3. Aylesworth surveys ﬁlm musicals with Broadway origins. 412. Aylesworth, Thomas. History of Movie Musicals. London: Hamlyn, 1984. 256 p. ISBN 0-600-34754-0 PN1995.M86. PN1995.M86. Early ﬁlm musicals were attempts to compete with vaudeville acts and other live theatrical productions, drawing producers such as Ernst Lubitsch and Busby Berkeley to the genre. 413. Barrios, Richard. A Song in the Dark: The Birth of the Musical Film. New York and Oxford: Oxford University Press, 1995. 493 p. ISBN 0-19-508810-7. PN1995.9.M86B37 1995. 2nd ed. New York and Oxford: Oxford University Press, 2010. 504 p. ISBN 978-0-19-537734-7. PN1995.9.M86B37 2009. 87

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Barrios investigates many aspects of musical ﬁlms from 1926 to 1934, including technology, studios, subject matter and style, and stars. 414. Bondebjerg, Ib. “Modernism, New Wave and the Musical.” Filmvidenskabelig Arbog (1999): 89–112. The Danish ﬁlm musical is discussed in relation to other ﬁlm and stage genres, along with intertextuality and sociohistorical contexts. 415. Bowles, Stephen E. “Cabaret and Nashville: The Musical as Social Comment.” Journal of Popular Culture 12, no. 3 (winter 1978): 550–56. Film musicals can reﬂect the values and cultural milieu of a particular time and place: 1930s Berlin in Cabaret (1972) and 1970s Nashville in Nashville (1975). 416. Brackett, David. “Banjos, Biopics, and Compilation Scores: The Movies Go Country.” American Music 19, no. 3 (fall 2001): 247–90. Brackett discusses two ﬁlms, Urban Cowboy (1980) and Nashville (1975), in which music plays an integral role. Both ﬁlms incorporate diegetic music in the style of ﬁlm musicals. He also explores country music biopics and “ﬁlms à clef” (biopics about ﬁctional characters), ﬁlm types that include musical sequences. In these ﬁlms, as well as others in the essay, Brackett explores the various levels of meaning associated with country music. 417. Cohan, Steven, ed. Hollywood Musicals: The Film Reader. New York and London: Routledge, 2002. 224 p. ISBN 0-415-23559-6. ML2075. Fourteen articles on ﬁlm musicals by various scholars are reprinted here. Cohan groups the essays into four sections—Generic Forms, Gendered Spectacles, Camp Interventions, and Radical Displacements—and provides introductory remarks to each section. A select bibliography is included. Each essay receives a separate entry in the present volume. 418. Cooke, Mervyn. A History of Film Music. Cambridge: Cambridge University Press, 2008. 562 p. ISBN 978-0-521-81173-6 (hardback). ML2075.C68 2008. In his magisterial survey of ﬁlm music, Cooke devotes a section of chapter 4, “Stage and screen,” to the ﬁlm musical, discussing various approaches and styles associated with the genre (pp. 145–66). 419. Dunne, Michael. American Film Musical Themes and Forms. Jefferson, NC: McFarland, 2004. 223 p. ISBN 0-7864-1877-X. PN1995.9.M86 D86 2004. Dunne analyzes and contextualizes the themes, subjects, and contemporary relevance of Hollywood musicals.

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420. Feuer, Jane. “The Theme of Popular vs. Elite Art in the Hollywood Musical.” Journal of Popular Culture 12, no. 3 (winter 1978): 491–99. The juxtaposition of popular and elite art was a prominent plot device in ﬁlm musicals from 1927 to 1952. 421. Feuer, Jane. The Hollywood Musical. 2nd ed. Bloomington and Indianapolis: Indiana University Press, 1993. 154 p. ISBN 0-253-20768-1. PN1995.9.M86F48 1993. The Hollywood musical is a genre whose very essence embodies reﬂexivity. Feuer shows how Hollywood musicals are about Hollywood, its heritage, stars, audiences, techniques, styles, and fantasy worlds (most commonly shows themselves or dreams). She discusses quotation and pastiche as being central to the genre. 422. Fischer, Lucy. “Designing Women: Art Deco, the Musical, and the Female Body.” In Music and Cinema, edited by James Buhler, Caryl Flinn, and David Neumeyer, pp. 295–315. Hanover, NH: Wesleyan University Press, 2000. ISBN 0-8195-6410-9. ML2075.M875 2000. Fischer explores the relationship between Art Deco aesthetics and depictions of women in movie musicals. Her examples are: (1) “Designer Deco,” showcased by Ginger Rogers in Swing Time (1936); (2) “Deco ‘Primitive’,” exempliﬁed by Josephine Baker in Princess Tam Tam (1935), and (3) “Deco Decadence,” seen in Busby Berkeley’s choreography in numbers such as “By a Waterfall” from Footlight Parade (1933) and “The Shadow Waltz” from Gold Diggers of 1933. 423. Fischer, Lucy. “Shall We Dance?: Feminist Cinema Remakes the Musical.” Film Criticism 13, no. 2 (winter 1989): 7–17. Chantal Akerman’s Belgian ﬁlm Les annees 80 parodies the style and ideology of the American ﬁlm musical in a feminist tone. 424. Furia, Philip, and Laurie Patterson. The Songs of Hollywood. New York and Oxford: Oxford University Press, 2010. 280 p. ISBN 978-0-19533708-2. ML2075.F87 2010. In their narrative survey of song in Hollywood ﬁlm, the authors discuss how songs were presented in movies, relationships between songs and surrounding narratives, analyses of the songs, anecdotes surrounding particular songs, and other insights. 425. Gorbman, Claudia. Unheard Melodies: Narrative Film Music. Bloomington: Indiana University Press and London: BFI Publishing, 1987. 190 p. ISBN 0-253-33987-1. ML2075.G67 1987. Although not dealing directly with ﬁlm musicals, Gorbman’s text is a cornerstone in ﬁlm music studies and includes a great deal of material relevant to ﬁlm musicals.

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426. Hasbany, Richard. “‘Saturday Night Fever and Nashville’: Exploring the Comic Mythos.” Journal of Popular Culture 12, no. 3 (winter 1978): 557–71. The ﬁlms Saturday Night Fever and Nashville include elements of 1970s society viewed through a comic mythos. 427. Hemming, Roy. The Melody Lingers On: The Great Songwriters and Their Movie Musicals. New York: Newmarket, 1986. 388 p. ISBN 0-93785857-9. ML2075.H4 1986 (UMKC). Hemming provides chapters on major ﬁlm musical composers that include ﬁlmographies and photo stills. Subjects include: Harold Arlen, Irving Berlin, George Gershwin, Jerome Kern, Jimmy McHugh, Cole Porter, Ralph Rainger, Richard Rodgers, Harry Warren, and Richard Whiting. A collective chapter at the end surveys Nacio Herb Brown, Hoagy Carmichael, Frank Loesser, Arthur Schwartz, Jule Styne, and James Van Heusen. 428. Hischak, Thomas S. Through the Screen Door: What Happened to the Broadway Musical When it Went to Hollywood. Lanham, MD: Scarecrow, 2004. 328 p. ISBN 0-8108-5018-4. ML1711.H42 2004. Hischak describes the process of adapting Broadway shows for ﬁlm from The Desert Song through Chicago, and, in the ﬁnal chapter, offers insights on how Hollywood has inﬂuenced Broadway. 429. Jenkins, Jennifer R. “‘Say It with Firecrackers’: Deﬁning the ‘War Musical’ of the 1940s.” American Music 19, no. 3 (fall 2002): 315–39. War musicals of the 1940s provided escapism and also promoted a sense of patriotic duty for all Americans. Several conventions exist, including using past wars as a backdrop for ﬁlm, integrating troop shows in the plot, and endorsing nostalgia for home and hearth. Jenkins discusses Me and My Gal (1942), Star-Spangled Rhythm (1942), Thousands Cheer (1943), and Holiday Inn (1942) in these contexts. 430. Jubin, Olaf. “From That’s Entertainment! to That’s Entertainment?— Globalization and the Consumption of the Hollywood Musical in Germany and Austria.” Studies in Musical Theatre 3, no. 3 (2009): 235–51. Decisions regarding translation, subtitles, and dubbing of American musicals for release in the German-speaking world signiﬁcantly alter narratives and structures and hence affect audience interpretation and reception. 431. Keegan, Rebecca Winters. “What Makes a Modern Movie Musical Sing?” Time, 17 May 2007. www.time.com Keegan offers a primer on ingredients for a successful movie musical.

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432. Kellow, Brian. “Let’s Face the Music.” BBC Music Magazine Special Issue (1999): 46–50. Kellow chronicles the ﬁlm musical genre, citing its demise after the 1950s. 433. Knight, Arthur. “Dis-integrating the Musical: African American Musical Performance and the American Musical Film, 1927–1959.” Ph.D. dissertation, University of Chicago, 1998. 340 p. Hollywood made eight ﬁlm musicals that included all-black or predominantly black casts. This study investigates the phenomenon and how African American audiences understood the ﬁlms. 434. Knight, Arthur. Disintegrating the Musical: Black Performance and American Musical Film. Durham, NC, and London: Duke University Press, 2002. 339 p. ISBN 0-8223-2935-2. PN1995.9.N4 K59 2002. Blackness and music are linked in Hollywood musicals and sound-era race ﬁlms (black-cast musical ﬁlms made by both black and white ﬁlmmakers for black audiences). Knight explores the relationships between these two branches of ﬁlm musicals. Various aesthetic, cultural, and social meanings of the ﬁlms forge a link between African Americans and musical performance, especially for African American audiences. Knight also discusses early cinema and the on-screen appearance of blacks in blackface. 435. Kobal, John. Gotta Sing Gotta Dance: A Pictorial History of Film Musicals. London: Hamlyn, 1971. 320 p. ISBN 0-600-03126-8. ML2075. K6 (UMKC). This illustrated history of ﬁlm musicals includes sections on early sound ﬁlms, non-English-language ﬁlm musicals, the Hollywood musical from the 1940s through the 1960s, and the Hollywood chorus girl. 436. Kreuger, Miles, ed. The Movie Musical from Vitaphone to ‘42nd Street.’ New York: Dover, 1975. 367 p. ISBN 0-486-23154-2. ML2075. Every reference from Photoplay magazine on music ﬁlms from their ﬁrst mention in the periodical (1926) through 42nd Street (1933) is reproduced in this collection. 437. Lodge, Mary Jo. “Beyond ‘Jumping the Shark’: The New Television Musical.” Studies in Musical Theatre 1, no. 3: 293–305. Music, heightened reality, and camp aesthetics are successfully employed in musical episodes from three television series, Xena: Warrior Princess, Buffy the Vampire Slayer, and Scrubs. 438. Maltin, Leonard. The Disney Films. 4th ed. New York: Disney Editions, 2000. 422 p. ISBN 0-7868-8527-0. PN1999.W27 M36 2000.

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In this comprehensive guide to the Disney ﬁlms, a large number of which were musicals, Maltin provides credits, commentary, and stills. 439. Mundy, John. Popular Music on Screen: From the Hollywood Musical to Music Video. Manchester and New York: Manchester University Press, 1999. 272 p. ISBN 0-7190-4029-9. ML2075.M87 M86 1999. Mundy discusses the ﬁlm musical in his study of the complex relationship between popular music and ﬁlm. Chapters are devoted to the classic Hollywood musical from 1926 to 1955, the impact of rock music on the ﬁlm musical (evident in the early Elvis ﬁlms), and British ﬁlm musicals from the 1930s through the 1960s, comparing them to their American cousins. 440. Predal, Rene. “Les comedies musicales de Stanley Donen.” Jeune Cinéma 302, April–May 2006, pp. 4–10. In French, Stanley Donen’s approach to the ﬁlm musical is investigated through analyses of Anchors Away, Royal Wedding, and Seven Brides for Seven Brothers. 441. Previn, André. No Minor Chords: My Days in Hollywood. New York: Doubleday, 1991. 148 p. ISBN 0-385-41341-6. ML422.P82A3 1991. In his autobiographical recollection of his years in Hollywood (1948–64), Previn tells of his experiences as a composer, arranger, and conductor at MGM, where he worked on such ﬁlms as Kiss Me Kate, Kismet, Silk Stockings, Gigi, Porgy and Bess, Irma La Douche, My Fair Lady, Thoroughly Modern Millie, and Jesus Christ Superstar. Previn garnered four Academy Awards and thirteen nominations during his years in Hollywood. 442. Rickard, Sue. “Movies in Disguise: Negotiating Censorship and Patriarchy through the Dances of Fred Astaire and Ginger Rogers.” In Lawson-Peebles, pp. 72–88. Gender and sexuality were strong themes of Hollywood musicals, and the dances of Astaire and Rogers can be interpreted as displaced sexuality. Dance allowed Astaire to display masculine sexuality while Rogers’ responses directed the audience’s emotional reactions to Astaire. 443. Siefert, Marsha. “Image/Music/Voice: Song Dubbing in Hollywood Musicals.” Journal of Communication 45, no. 2 (spring 1995): 44–64. Song dubbing was an integral part of ﬁlm musicals, beginning with Al Jolson lip-synching to the voice of Joseph Diskay in The Jazz Singer (1927). 444. Smith, Susan. The Musical: Race, Gender and Performance. Short Cuts 26. London and New York: Wallﬂower, 2005. 130 p. ISBN 1-904764-37-1.

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In her two-chapter monograph, Smith address the handling of race and gender in ﬁlm musicals from 1927 to 1993, arguing that the genre can sometimes be surprisingly progressive. 445. Stern, Lee Edward. The Movie Musical. New York: Pyramid, 1974. (Pyramid Illustrated History of the Movies.) 160 p. ISBN 0-515-03487-7. ML2075.S78 1975. The decade-by-decade survey of the ﬁlm musical through the early 1970s includes a large number of black-and-white stills. 446. That’s Entertainment! MGM, 1974. Daniel Melnick, executive producer. Jack Haley, Jr., producer and director. 127 minutes; That’s Entertainment, Part II. MGM, 1976. Saul Chaplin and Daniel Melnick, producers. Gene Kelly, director. 133 minutes; That’s Entertainment! III. MGM, 1994. Peter Fitzgerald and George Feltenstein (uncredited), executive producers. Bud Friedgen and Michael J. Sheridan, producers. Bud Friedgen and Michael J. Sheridan, directors. 113 minutes. These three videos offer a screen history of MGM musicals. Clips from ﬁlms, as well as deleted scenes and backstage offerings (notably in the third installment), make this one of the ﬁnest chronicles of MGM’s masterpieces in the ﬁlm musical genre. 447. Whitesell, Lloyd. “Trans Glam: Gender Magic in the Film Musical.” In Queering the Popular Pitch, edited by Sheila Whiteley and Jennifer Rycenga, pp. 263–77. New York: Routledge, 2006. ISBN 0-4159-7804-1. ML3470. Q44 2006. Film glamour and its queer associations are explored through three ﬁlms— The Adventures of Priscilla, Queen of the Desert, Velvet Goldmine, and Hedwig and the Angry Inch—that redeﬁne earlier conventions of gender enhancement. 448. Willett, Ralph. “From Gold Diggers to Bar Girls: A Selective History of the Movie Musical.” In Lawson-Peebles, pp. 44–54. Drawing upon the work of Busby Berkeley, Fred Astaire and Ginger Rogers, Gene Kelly, and Bob Fosse, Willett asserts that Hollywood musicals were not pure escapism but rather self-reﬂexive explorations of a shifting and complex society. 449. Woll, Allen L. The Hollywood Musical Goes to War. Chicago: Nelson-Hall, 1983. 186 p. ISBN 0-882-29704-X. PN1995.9.M86W64 1983. Central to wartime musicals were themes of patriotism, war-related issues and settings (both at home and abroad), and the gloriﬁcation of the soldier and his life. During World War II, ﬁlm creators referred to the hostilities by creating freedom songs, updating lyrics for songs from

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World War I, and refashioning stories such as The Desert Song to have contemporary war-related settings. Woll also addresses the portrayal of women in Hollywood war musicals, Latin American musicals (including those associated with Carmen Miranda), African American musicals, and how themes of democracy, nostalgia, and youth appeared in World War II-era ﬁlms. 450. Wood, Graham. “Distant Cousin or Fraternal Twin? Analytical Approaches to the Film Musical.” In The Cambridge Companion to the Musical, 1st ed., pp. 212–30. Providing a model for examining movie musicals, Wood identiﬁes three areas of investigation: (1) technology, (2) genre, and (3) style. Included under genre are issues such as ﬁlm adaptations from stage works and relative adherence to the original, original ﬁlm musicals, sources of the musical score, biopics, self-reﬂexivity, race, culture, gender, and sexuality. Under style, Wood discusses visual style, musical style (song, diegesis, transition, recent Disney styles, song migration, and singing and lyrics), and dance style. Wood demonstrates the coalescence of these elements in his concluding example, “Slap that Bass” from Shall We Dance? 451. Wood, Graham. “Why Do They Start to Sing and Dance All of a Sudden? Examining the Film Musical.” In The Cambridge Companion to the Musical, 2nd ed., pp. 305–24. A revised version of entry 450 using more recent examples of ﬁlm musicals, the concluding example is “Roxanne Tango” from Moulin Rouge. BOLLYWOOD 452. Aftab, Kaleem. “Brown: The New Black! Bollywood in Britain.” Critical Quarterly 44, no. 3 (2002): 88–98. In this sociological view of Bollywood in Britain, Aftab asserts that the industry emphasizes divisions between South Asian and white communities in dramatic content as well as attitudes toward seeing such ﬁlms. 453. Banker, Ashok. Bollywood. Harpenden, UK: Pocket Essentials, 2001. 96 p. (Pocket Essentials Film.) ISBN 1-903047-45-5 (UK). A concise introduction to the Indian ﬁlm industry, the book offers information on ﬁfty of the most signiﬁcant Bollywood ﬁlms. Films are listed chronologically, but the book lacks an index. 454. Chhabra, Aseem. “Bollywood’s Toast to the World.” India Abroad 32, no. 39 (28 June 2002): M8. (Available through ProQuest.)

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Bollywood ﬁlms increased in popularity in the West around 2000. More mature story lines appeared than previously, when ﬁlms consisted of “three hours of dancing around trees” (M8). 455. Chute, David, ed. “Bollywood Rising: A Beginner’s Guide to Hindi Cinema.” Film Comment 38, no. 3 (May–June 2002): 35–57. This series of short (one to four pages) articles provides an introduction to several facets of Bollywood. The articles and authors (where given) include: • “The Road to Bollywood”—David Chute • “How to Read a Hindi Film and Why”—Maithili Rao • “Playback Time: A Brief History of Bollywood ‘Film Songs’ ” —Nasreen Munni Kabir • “Guilty Pleasures: The Director of Monsoon Wedding Waxes Nostalgic for the Film Songs of Her Youth”—Mira Nair • “The Family Business: No Matter Where You Look in Hindi Cinema, The Clan’s the Thing”—David Chute • “Freedom Songs: Rediscovering Bollywood’s Golden Age” —Jacob Levich • “Where to Start: Fearless Bollywood Picks from Our Contributors” • “Bullets over Bombay: Exposing the Underworld of Hindi Cinema (Both Onscreen and Off)”—Travis Crawford • “Deeper into Bollywood: Further Research for the Curious” —David Chute 456. Dudrah, Rajinder Kumar. Bollywood: Sociology Goes to the Movies. New Delhi: Sage, 2006. 212 p. ISBN 978-0-7619-3461-5. PN1993.5.I8 D83 2006. The book provides a sociological and theoretical study into the relationship between Bollywood cinema and its global audience. 457. Joshi, Lalit Mohan. Bollywood: Popular Indian Cinema. 2nd ed. London: Dakini, 2002. 351 p. ISBN 0-953-70322-3. PN1993.5.I8. Joshi surveys the ﬁlms, stars, and industry of Bollywood. 458. Kaur, Ravinder. “Viewing the West through Bollywood: A Celluloid Occident in the Making.” Contemporary South Asia 11, no. 2 (July 2002): 199–209. Although the author does not focus on music per se, Kaur includes references to musical style (notably Bhangra/Indi pop music) in this article about the shifting themes in Hindi cinema and their relationship to middleclass India and the Indian diaspora. 459. Mishra, Vijay. Bollywood Cinema: Temples of Desire. New York: Routledge, 2001. 296 p. ISBN 0-415-93014-6. PN1993.5.I8.

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Bollywood is shaped by a desire for national community and a pan-Indian culture. Mishra uses postcolonial studies and ﬁlm theory as theoretical bases for his study. 460. Morcom, Anna. “An Understanding between Bollywood and Hollywood? The Meaning of Hollywood-Style Music in Hindi Films.” British Journal of Ethnomusicology 10, no. 1 (2001): 63–84. Hollywood-style music is prevalent in Hindi ﬁlms as a means of enhancing drama and narrative, creating interplay of universal and culture-speciﬁc elements in music and ﬁlm. 461. Simons, Lewis M. “Inside Bollywood!” Smithsonian 31, no. 10 (January 2001): 46ff. (Available through GaleGroup online.) Simons discusses Bollywood musicals as escapist entertainment with little regard for narrative plot and an emphasis on song-and-dance spectacle. He discusses the genre’s features, the low-key lifestyles of Indian stars and directors, and other aspects of Indian cinema. 462. Suri, Sanjay. “Bollywood Is the Flavor of the Season in Britain.” News India 33, no. 18 (3 May 2002): 30ff. (Available through ProQuest online.) Bollywood was the “ﬂavor of the season” in summer 2002 in London, with the appearance of ﬁlms Bend It Like Beckham and Bollywood Queen, the musical Bombay Dreams, a Selfridges’ department store display, and an exhibition of Bollywood posters at the Victoria and Albert Museum. 463. Torgovnik, Jonathan. Bollywood Dreams: An Exploration of the Motion Picture Industry and Its Culture in India. London and New York: Phaidon, 2003. 115 p. ISBN 0-71-484307-5. PN1993.5.I8. Illustrations form a signiﬁcant part of this overview of Bollywood cinema.

V Works

THE AETHIOP (1812) 464. Yellin, Victor Fell. “Rayner Taylor’s Music for The AEthiop: Part 1, Performance History.” American Music 4, no. 3 (fall 1986): 249–67. Although it failed in London, The AEthiop succeeded in Philadelphia. This was largely due to the excellent state of the theatrical life in Philadelphia and its universally praised theater orchestra, which was expanded for the production. 465. Yellin, Victor Fell. “Rayner Taylor’s Music for The AEthiop: Part 2, The Keyboard Score (The Ethiop) and Its Orchestral Restoration.” American Music 5, no. 1 (spring 1987): 20–47. Discussing his experience restoring the orchestral parts from a keyboard reduction, Yellin comments on musical style, ﬁguration, and orchestration. AIDA (2000) 466. Lassell, Michael. Elton John and Tim Rice’s “Aida”: The Making of the Broadway Musical. New York: Disney Editions, 2000. 128 p. ISBN 0-78686484-2. ML410.J64 L37 2000. The lavishly illustrated tie-in book to Aida includes information on the show and its creation. Several illustrations are in a two-page foldout format. 467. Witchel, Alex. “An Aida Born of Ecstasies and Explosions.” New York Times, 19 March 2000, AR 7, 18. 97

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With references to the Chicago tryout and a 1998 version that played in Atlanta, the article focuses on the roles of Disney and Elton John in the creation and production of the Broadway version of the Egyptian tale. ALADDIN (1992 FILM) 468. Culhane, John. Disney’s “Aladdin”: The Making of an Animated Film. New York: Hyperion, 1992. 120 p. ISBN 1-56282-757-X. NC1766.U52 D5324 1992. The authorized book on the Disney animated ﬁlm includes a section on its sound and music, “Jasmine—The Sound of Determination” (pp. 36–49). 469. Schultz, Debra A. “Talking to the Audience: The Animated Film Musical Addressing Contemporary Issues.” Master’s thesis, American University, 1993. 52 p. Schultz discusses gender, family structure, race, and class in three Disney animated ﬁlms: The Little Mermaid, Beauty and the Beast, and Aladdin. AMOUR (2002) 470. Riding, Alan. “The Real Paradox: Musical Comedy Made in France.” New York Times, 20 October 2002, AR 5. Appearing on the day of its New York opening, the article discusses the Paris-to-Broadway path of Michel Legrand’s ﬁrst musical, a sung-through romantic tale that ultimately failed. ANNIE GET YOUR GUN (1946) 471. Canby, Vincent. “A New Annie Oakley, but the Same Old Magic from Irving Berlin.” New York Times, 14 March 1999, AR 10. Extolling the merits of Irving Berlin, Bernadette Peters, and Tom Wopat, the reviewer of the 1999 Broadway revival considers Berlin’s reluctance to write “a situation show” and Peter Stone’s revisions of the original book. 472. Donovan, Timothy P. “Annie Get Your Gun: A Last Celebration of Nationalism.” Journal of Popular Culture 12, no. 3 (winter 1978): 531–39. Annie Get Your Gun celebrated post-World War II individualism and self-betterment.

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ANYTHING GOES (1934) 473. Butler, Robert. Just About “Anything Goes”: The National Theatre at Work. London: NT Publications, 2002. 80 p. ISBN 0-9542048-1-6. PS3553.R58 A5 2002 (Collins Memorial Library, University of Puget Sound). Butler chronicles Trevor Nunn’s production of Anything Goes at London’s National Theatre from the ﬁrst rehearsal through the ﬁrst preview performance. The book is richly illustrated with black-and-white photographs. APPLAUSE (1929 FILM) 474. Lecomte, Jean-Marie. “Rouben Mamoulian’s Applause and the Birth of the Disenchanted Musical.” Studies in Musical Theatre 2, no. 2 (2008): 147–61. Mamoulian subverts Broadway musical conventions in this early backstage ﬁlm musical. ASPECTS OF LOVE (1989) 475. Gänzl, Kurt. The Complete “Aspects of Love.” London: Aurum Press and New York: Viking Studio, 1990. 160 p. ISBN 0-670-83192-1. ML410.L78. Along with over 150 production photographs and the complete libretto, Gänzl includes essays on the making of the musical as well as on David Garnett, author of the 1955 novella Aspects of Love, his Bloomsbury set, and the French town of Pau, where much of the novella and musical’s action takes place. ASSASSINS (1991) 476. Brantley, Ben. “A Demon Gallery of Glory Hounds.” New York Times, 23 April 2004. Brantley reviews the Roundabout Theater Company’s production, addressing its cultural relevance. 477. Calderazzo, Diana. “Stephen Sondheim’s Assassins and the Wartime Political Climate.” Theatre Symposium: A Journal of the Southeastern Theatre Conference 14 (2006): 138–51. This reception history of Assassins includes information on signiﬁcant productions in the United States and the United Kingdom through

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2004. Calderazzo details the effects of differing social and political environments on audience and critical perception of the show. 478. Fulk, Mark K., and Angela Howard. “What We Laugh About When We Laugh About Stephen Sondheim’s Assassins.” Popular Music and Society 19, no. 3 (fall 1995): 105–23. The reception history of Assassins and critical response to the musical are examined in regards to American history, politics, and gender relations. 479. Lifton, Robert Jay. “Assassination: The Ultimate Public Theater.” New York Times, 9 September 1990. The noted psychiatrist and author explores the American fascination with assassins. 480. Lovensheimer, James. “Unifying the Plotless Musical: Sondheim’s Assassins.” ISAM Newsletter 29, no. 2 (2000): 5, 14. Intertextual references, rather than a liner plot, unify Assassins. 481. Miller, Scott. “Assassins and the Concept Musical.” In Gordon, pp. 187–204. Miller places Assassins in the continuum of the concept musical and discusses its sophisticated musical and dramatic properties. 482. Rothstein, Mervyn. “Sondheim’s Assassins: Insane Realities of History.” New York Times, 27 January 1991, H5, 34. Appearing the day the musical opened at Playwrights Horizons, the article discusses the creation of the show that is in an “area between a narrative or book musical and a revue.” AVENUE Q (2003) 483. Mandell, Jonathan. “Puppets Not Suitable for Children.” New York Times, 16 March 2003, AR6, 18. The musical about recent college graduates living in New York includes characters portrayed by puppets and others played by performers without puppets. Inspired by the Muppets in the mode of presentation, the show’s creators address mature life themes in the show. 484. Pincus-Roth, Zachary. Avenue Q: The Book. New York: Hyperion, 2006. 176 p. ISBN 9781-04013-0298-6. ML50.L86 A93 2006. In addition to the complete libretto and lyrics, this distinctive companion book with a fuzzy orange cover includes interviews with the creators and cast on various topics (the show’s genesis, puppets, and marketing, among others), photographs, and “educational” puzzles.

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BARE (2000) 485. Mollenkamp, Julie Rae. “bare.” Theatre Journal 61, no. 4 (Dec. 2009): 643–45. In her review of the 2009 Unicorn Theatre (Kansas City, MO) production of the cult musical, Mollencamp provides insights into what has been marketed as “a merge between Spring Awakening and Dead Poet’s Society” and “the REAL High School Musical.” BEAUTY AND THE BEAST (1991 FILM, 1994) 486. Frantz, Don. “Disney’s Beauty and the Beast”: A Celebration of the Broadway Musical. New York: Hyperion/Disney Editions, 1995. 160 p. ISBN 978-0-7868-6179-8. ML410.M515 F73 1995. The souvenir book of the Broadway musical includes information on the show, production photographs, design and costume sketches, and complete lyrics. 487. Nelson, Steve. “Broadway and the Beast: Disney Comes to Times Square.” Drama Review 39, no. 2 (summer 1995): 71–85. Disney’s Broadway enterprises are discussed after the opening of Disney’s ﬁrst Broadway show, Beauty and the Beast. 488. Stearns, David Patrick. “Beast on Broadway.” USA Today, 8 April 1994, D1–2. Great anticipation surrounded Disney’s ﬁrst Broadway musical and the corporation’s arrival on Broadway. See 469. BIG (1996) 489. Isenberg, Barbara. Making It Big: The Diary of a Broadway Musical. New York: Limelight, 1996. 214 p. ISBN 0-87910-088-5. ML410.S52556. Isenberg chronicles the development and Broadway opening of Big, a musical based on the ﬁlm of the same name. BILLY ELLIOT THE MUSICAL (2005) 490. Rodosthenous, George. “Billy Elliot The Musical: Visual Representations of Working-Class Masculinity and the All-Singing, All-Dancing Bo[d]y.” Studies in Musical Theatre 1, no. 3 (2007): 275–92.

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Visual representations of working-class masculinities are transformed through dance, most notably through the iconic creation of a male ballet dancer. BLUE MONDAY (1922) 491. Johnson, John Andrew. “Gershwin’s Blue Monday (1922) and the Promise of Success.” In The Gershwin Style: New Looks at the Music of George Gershwin, edited by Wayne Schneider, pp. 111–41. New York and Oxford: Oxford University Press, 1999. ISBN 0-19-509020-9. ML410. G288G49 1999. Written for George White’s Scandals of 1922, Blue Monday is a one-act “Opera Ala [sic] Afro-American.” Johnson shows relationships between the music of Blue Monday and two later works: Rhapsody in Blue and Porgy and Bess. He discusses the work’s 1925 reworking entitled 135th Street, its appearance in the 1945 ﬁlm Rhapsody in Blue, source material, reviews, and press commentary. Johnson asserts that the work was “a failed experiment” (p. 129) but nonetheless was pivotal in Gershwin’s compositional maturation. BOMBAY DREAMS (2002) 492. Bedell, Geraldine. “Indian Summer.” Guardian (London), 7 April 2002, 10. Andrew Lloyd Webber, producer of Bombay Dreams, effuses about the show and its composer, A. R. Rahman, known primarily for his Bollywood ﬁlm scores. 493. Bessman, Jim. “Lloyd Webber’s, Rahman’s Dreams Become Reality.” Billboard 114, no. 38 (21 September 2002): 62. Bollywood composer A. R. Rahman wrote the music for the West End hit. Lloyd Webber’s involvement as producer continues the “noble tradition” of established composers helping younger ones. 494. “A Passage to London.” Little India 12, no. 8 (31 August 2002): 47. (Available through ProQuest online.) Bombay Dreams, with music by A. R. Rahman and produced by Andrew Lloyd Webber, looks to the Bollywood ﬁlm musical for its underlying aesthetic. Its appearance was part of a wider British interest in all things Indian during the summer of 2002. 495. Sweeting, Adam. “Bollywood by Numbers: When Lloyd Webber Wanted a Composer for His Indian Musical, It Had to Be A. R. Rahman.” Guardian (London), 30 May 2002, 10.

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When Lloyd Webber decided to produce a Bollywood-style musical, he approached A. R. Rahman to write the music. The result was Rahman’s ﬁrst stage musical. BRIGADOON (1947, 1954 FILM) 496. Oates, Jennifer. “Brigadoon: Lerner and Loewe’s Scotland.” Studies in Musical Theatre 3, no. 1 (2009): 91–99. Brigadoon reﬂects the notion of “discursive unconsciousness” in its depictions of Scottishness. BY JEEVES (1996) 497. Jarvis, Martin. Broadway, Jeeves?: The Diary of A Theatrical Adventure. London: Methuen Drama, 2003. 308 p. ISBN 0-41377-331-0. PN2598. J37A3 2003. The well-known British actor who played the title role in the short-lived 2001 American production chronicles the show’s journey from its tryout through the Broadway opening. CABARET (1966, 1972 FILM) 498. Belletto, Steven. “Cabaret and Antifascist Aesthetics.” Criticism 50, no 4 (fall 2008): 609–30. The ﬁlm version of Cabaret presents an aesthetic response to fascist ideology that is partially accomplished through its diegetic use of music. 499. Brengle, Linda K. “Divine Decadence, Darling! The Sixty-Year History of the Kit Kat Klub.” Journal of Popular Culture 34, no. 2 (fall 2000): 147–54. Using the 1998 revival as a starting point, Brengle explores how directors Hal Prince, Bob Fosse and Sam Mendes each envisioned the Kit Kat Klub. 500. Clark, Randy. “Bending the Genre: The Stage and Screen Versions of Cabaret.” Literature Film Quarterly 19, no. 1 (1991): 51–59. A comparison between the stage and screen versions of Cabaret reveals differences not only in plot but also in the musical score, tone, and technique. 501. Garebian, Keith. The Making of “Cabaret.” Toronto, Paris, and New York: Mosaic, 1999. 152 p. ISBN 0-88962-651-0. ML410.K16G229 1999. Garebian traces the metatheatrical devices and all that is Cabaret. He discusses the show’s original inspiration and its various manifestations, including the ﬁrst stage production, ﬁlm, and revivals.

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502. Masteroff, Joe, Linda Sunshine, John Kander, Fred Ebb, and Rivka Katvan. “Cabaret”: The Illustrated Book and Lyrics. New York: Newmarket, 1999. 120 p. ISBN 1-55704-383-3. ML50.K173. The coffee-table book contains the complete lyrics for the show, along with over 100 illustrations, most of them in color and from the 1998 Roundabout Theatre revival, excerpts from Alan Cumming’s diary, and other information related to the show’s sources, genesis, and incarnations. 503. Rinaldi, Nicholas George. “Music and Mediator: A Description of the Process of Concept Development in the Musical Cabaret.” Ph.D. dissertation, The Ohio State University, 1982. 225 p. Rinaldi discusses the processes that take place during a musical’s development, focusing on the concept approach of Cabaret as envisioned by its director, Harold Prince. Rinaldi investigates the role of musical numbers within the overall context of the show. LA CAGE AUX FOLLES (1983) 504. Blankenship, Bill. “Dragging up Family Values.” Topeka Capital-Journal, 1 March 2002, 1D. People involved with Topeka Civic Theatre’s production of the “genderbending but family-oriented musical” discuss the show. 505. Hart, N. “The Selling of La Cage aux Folles: How Audiences Were Helped to Read Broadway’s First Gay Musical.” Theatre History Studies 23 (2003): 5–24. La Cage was the ﬁrst Broadway musical to dignify the relationship between two gay men. It appeared during a period of social neoconservatism and likewise had to negotiate the border between homosexual content and largely straight audiences. The production team had to manipulate the content and publicity of the show to help the audience read it as a heterosexual narrative with homosexual characters. 506. Newmark, Judith. “Crossing over the Straight Line.” St. Louis Post-Dispatch, 7 September 2003, F3. Newmark discusses the portrayal of homosexuality on Broadway, the “biglady shows” Mame and Hello, Dolly! (both by Jerry Herman, who also created La Cage), and how La Cage belongs to a tradition of musicals that addresses and deﬁes social prejudices. CAMELOT (1960) 507. Blanchard, Jayne. “A Poignant Rediscovery of Camelot.” Washington Times, 26 November 2003, D8.

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Molly Smith’s reworking of Camelot is, in the reviewer’s opinion, one of the “most resonant and poignant” stagings of the musical. 508. Everett, William A. “King Arthur in Popular Musical Theatre and Film.” In King Arthur in Music, edited by Richard Barber, 145–60. Cambridge: D. S. Brewer, 2002. ISBN 0-8599-1767-3. ML3849. Camelot is one of the focal works in this essay (pp. 151–56), which discusses the musical styles associated with the principal characters (Arthur, Lancelot, Mordred, and Guenevere) in what is the iconic Arthurian musical. 509. Morra, Irene. “Constructing Camelot: Britain and the New World Musical.” Contemporary Theatre Review 19, no. 1 (2009): 22–34. Camelot transfers a notion of Britishness that is both cultural and historical to the Broadway musical, as do Brigadoon and My Fair Lady. It is a show that consciously rewrites a canonical text (Arthurian romance) and thus demonstrates an attempt to create a cultural product that could rival those of Europe and also be validated by and against British cultural norms. CANDIDE (1956) 510. Crist, Elizabeth. “The Best of All Possible Worlds: The Eldorado Episode in Leonard Bernstein’s Candide.” Cambridge Opera Journal 19, no. 3 (Nov. 2007): 223–48. Revisions of the Eldorado episode reveal confusion as to whether the authors wanted to create a critique of McCarthyism or straight romance and fantasy. The episode represents both a shift in the story itself and changes in the production and libretto. 511. Crist, Elizabeth. “Mutual Responses in the Midst of an Era: Aaron Copland’s The Tender Land and Leonard Bernstein’s Candide.” Journal of Musicology 23, no. 4 (2006): 485–527. The two works can be read as liberal narratives concerning disillusionment with leftist politics. The hypocrisy in Candide’s inquisition scene forms a parallel to Senator Joseph McCarthy anti-communist witch-hunt. 512. Everett, William A. “Candide and the Tradition of American Operetta.” Studies in Musical Theatre 3, no. 1 (2009): 53–59. Tropes associated with 1920s American operetta appear in Candide. 513. Schwarte, Michael. “Parodie and Entlehnung in Leonard Bernstein’s Candide: Bemerkungen zu einem musikgeschichtlichen GattungsChamäleon.” In Festschrift Klaus Hortschansky zum 60. Geburtstag, ed. A. Beer and L. Lütteken (Tutzng: H. Schneider, 1995), 567–80.

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In German, Schwarte discusses musical allusions and stylistic references in Candide. THE CAPEMAN (1998) 514. Sebesta, Judith. “Just ‘Another Puerto Rican With a Knife’? Racism and Reception on the ‘Great White Way’.” Studies in Musical Theatre 1, no. 2 (2007): 183–97. The Capeman and its reception are discussed in the broader context of Latino/a musical theatre. CARMEN JONES (1943, 1954 FILM) 515. Depardieu, Benoît. “Carmen Jones: A Carmen ‘à la Afro-American’.” Studies in Musical Theatre 2, no. 3 (2008): 223–34. Hammerstein’s intentional use of words produced the “transference” that resulted in Bizet’s Carmen becoming Carmen Jones. Hammerstein’s choices reveal a projected fantasy and a white construct of blackness. 516. Fauser, Annegret. “‘Dixie Carmen’: War, Race, and Identity in Oscar Hammerstein’s Carmen Jones (1943).” Journal of the Society for American Music 4, no. 2 (2010): 127–74. Carmen Jones reﬂects complex issues of race, war, and identity in the United States in 1942 and 1943. CAROUSEL (1945, 1956 FILM) 517. Lovensheimer, Jim. “‘When the Children Are Asleep’: Carousel in 1957.” Studies in Musical Theatre 3, no. 1 (2009): 101–07. For audiences at the 1957 New York City Center Light Opera revival, the characters of Carrie and Mr. Snow took on new socio-cultural resonances in light of postwar American middle-class attitudes and expectations. CATS (1981) 518. Denman, Jeffry. A Year with “The Producers.” With a foreword by Matthew Broderick. New York and London: Routledge, 2002. 187 p. ISBN 0-878-30154-2. PN2287.D463.

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Although Denman’s account deals mainly with The Producers, he was the last actor to play Munk and, from that perspective, describes the ﬁnal performances of Cats. 519. Hanan, Stephen Mo. A Cat’s Diary: How the Broadway Production of “Cats” Was Born. Hanover, NH: Smith and Kraus, 2001. ISBN 1-57525281-3. ML420.H128. The journal of actor Stephen Hanan, who played the triple role of Bustopher/Asparagus/Growltiger in the original Broadway production of Cats, chronicles the creative process of the show from the ﬁrst rehearsal through the opening performances. The book provides a great deal of information on the rehearsal process for a musical, and is ﬁlled with many anecedotes. Several press reviews of Cats appear at the end of the volume. 520. Lloyd Webber, Andrew. “Cats”: The Book of the Musical. San Diego, New York, and London: Harcourt Brace & Company, 1983. 112 p. ISBN 0-15-615582-6. ML410.L78C4 1983. Valerie Eliot gives a brief introduction to T. S. Eliot and Old Possum’s Book of Practical Cats. Andrew Lloyd Webber, Trevor Nunn, Gillian Lynne, and John Napier each provide short essays on Cats in this photographic souvenir book of the show. The majority of the volume consists of the T. S. Eliot poems musicalized in Cats along with production photographs and drawings by John Napier. 521. Weber, Bruce. “Suit Says Cats Character Was Much Too Frisky.” New York Times, 1 February 1997, 21–22. A woman ﬁled a lawsuit claiming that one of the cat-dressed actors, who periodically roam into the audience as part of the show, physically attacked her. CHICAGO (1975, 2002 FILM) 522. Kuchwara, Michael. “Grifﬁth Has Heart as Roxie Hart.” Charleston Daily Mail (WV), 4 August 2003, 2C. Melanie Grifﬁth’s performance of Roxie Hart on Broadway accentuates the character’s insecurity, desperation, drive, and sadness. This is particularly evident in “Roxie,” which was changed from a big dance number into a “monologue with movement.” 523. Marshall, Rob, Bill Condon, and Martin Richards. “Chicago”: The Movie and Lyrics. New York: Newmarket, 2003. 192 p. ISBN 1-55704-578-X. PN1997.2.C45.

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In addition to an abridged script for the ﬁlm Chicago, the book includes color stills, essays on 1920s murderesses, various incarnations of the story of Roxie Hart, Kander and Ebb’s 1975 musical (including the 1996 Broadway revival), vaudeville, and the process of adapting a stage musical for the screen. A discussion of the movie’s dual worlds of stage fantasy and gritty reality is an important part of the coffee-table book. 524. Rich, Frank. “They Both Reached for the Gun.” New York Times, 22 March 2003, AR1. The New York Times critic investigates how Chicago has been identiﬁed with the social climes of its various incarnations: Watergate for the 1975 stage version, Johnnie Cochran and O. J. Simpson for the 1996 revival, and George W. Bush and the media for the 2002 ﬁlm. 525. Rogers, David A. II. “Murder, Schtick, and Jazz: An Exploration of Realism in the Broadway Musical Chicago.” Master’s thesis, University of Missouri, Kansas City, 1998. 107 p. Chicago displays an overview of musical styles of the 1920s, the era in which the show is set, thus displaying a sense of musical realism. 526. Striff, Erin. “Mimicry and Murder: Female Impersonation in Chicago.” Journal of American Drama and Theatre 18, no. 3 (fall 2006): 77–89. Focusing on the scene in which Billy Flynn uses Roxie Hart as a ventriloquist’s dummy and the character of Mary Sunshine, Striff addresses female impersonation, the portrayal of female criminals, and critical theory on mimicry in Chicago. 527. Teachout, Terry. “It’s a Noisy Hall with a Nightly Brawl, but No Fosse.” New York Times, 22 December 2002, AR5. Rob Marshall’s choreography for the ﬁlm version of Chicago is radically different from that of Bob Fosse in the original stage production.

A CHORUS LINE (1975) 528. Every Little Step (video recording). Produced and directed by James D. Stern & Adam Del Deo. Endgame Entertainment Company. 93 minutes. Sony Picture Classics 30962 (2009). ISBN 1-4359-6883-2. This documentary follows the audition process for the 2005 revival and also includes footage concerning the genesis of the original production. Special features include commentary with directors Adam Del Deo and James D. Stern and composer Marvin Hamlisch, a conversation with Donna McKechnie, and an interview with John Breglio, Bob Avian and

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Baayork Lee. For more information, see http://www.sonyclassics.com/ everylittlestep. 529. Flinn, Danny Martin. What They Did for Love: The Untold Story behind the Making of “A Chorus Line.” Photographs by Martha Swope. New York: Bantam, 1989. 231 p. ISBN 0-553-34593-1. ML410.H1745F6 1989. Flinn chronicles the show’s development from a late-night meeting of Broadway dancers organized by Michael Bennett through its conceptual genesis, workshops, and rehearsals, to its opening night and Tony Awards performance. The narrative fast-forwards through the tours and ﬁlms, concluding with the 3,389th performance on 29 September 1983, when it became the longest running Broadway show to date. 530. Sandoval-Sánchez, Alberto. “A Chorus Line: Not Such a ‘One, Singular Sensation’ for U.S. Puerto Rican Crossovers.” In José, Can You See?: Latinos On and Off Broadway, pp. 83–99. Madison: University of Wisconsin Press, 1999. ISBN 0-299-16200-1. PN2270.H57 S26 1999. A Chorus Line includes Puerto Ricans as characters (Diana and Paul) and as members of the creative team (Nicholas Dante and Priscilla López). This chapter investigates the modes of participation and representation of Latino/as in the musical, their constructions, and their effects both within A Chorus Line and in the development of the Broadway musical. 531. Stevens, Gary, and Alan George. The Longest Line: Broadway’s Most Singular Sensation: “A Chorus Line.” New York and London: Applause, 1995. 256 p. ISBN 1-55783-221-8. ML410.H1745S74 1995. Oblong in shape, this coffee-table book includes quotes from people associated with A Chorus Line throughout its 6,137-performance run. The ﬁnal “Liner Notes” section includes lists of cast replacements, swings and understudies, chorus couples and family members, deceased performers, 1976 Tony Awards, other highlights, revenue, the other 677 Broadway productions that ran during the ﬁfteen years of A Chorus Line, and data on number of seats, ticket prices, net receipts, and percent capacity. 532. Viagas, Robert, Baayork Lee, and Thommie Walsh, with the Entire Original Cast. On the Line: The Creation of “A Chorus Line.” 2nd ed. Pompton Plains, NJ: Limelight, 2006. 392 p. ISBN 0-87910-336-1. ML410.H125V5 2006. Originally published in 1990, this updated edition was issued to coincide with the show’s 2006 Broadway revival. The 19 original cast members relate their experiences with the show in this collective oral history.

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In the second edition, they continue to tell their stories and the impact of A Chorus Line on their lives. CINDERELLA (1957 TELEVISION) 533. Wood, Graham. “Ten Minutes and Fifty (Two) Years Ago: The Three TV Versions of Rodgers and Hammerstein’s Cinderella.” Studies in Musical Theatre 3, no. 1 (2009): 109–16. Wood contextualizes the plot of Cinderella within Rodgers’s overall output, discusses differences in the musical, visual, and dramatic presentation of the song “Ten Minutes Ago” in the three versions of the television musical, and investigates the cultural politics inherent in each version. THE CIVIL WAR (1999) 534. Orgill, Roxane. “From Hard Facts Comes Comfortable Music.” New York Times, 18 April 1999, AR7, 23. Frank Wildhorn’s self-described “musical tapestry” relies heavily on its songs for plot, character, and emotion. The music is a mixture of historical and contemporary styles. THE COLOR PURPLE (2005) 535. Funderburg, Lise. “The Color Purple”: A Memory Book. New York: Carroll & Graf, 2006. 184 p. ISBN 978-0-7867-1844-3. ML410.R97 F86 2006. This coffee-table scrapbook-styled companion book to the Broadway musical includes information on the show’s creation, ample production photographs, and the complete libretto. 536. Persley, Nicole Hodges. “The Color Purple.” Theatre Journal 60, no. 1 (2008): 143–44. In her performance review, Persley highlights celebrity casting (American Idol-winner Fantasia Barrino as Celie) and metatheatrical issues of race and class, including the show’s attempts to undermine theatre’s “problematic black/white binary.” COMPANY (1970) 537. Bristow, Eugene K., and J. Kevin Butler. “Company, About Face! The Show that Revolutionized the American Musical.” American Music 5, no. 3 (fall 1987): 241–54.

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Company focuses on vignettes in the lives of its characters, demonstrating a vertical, rather than horizontal plot concept in which characterization takes precedence over story. Song forms are not in traditional molds, and Sondheim frequently capitalizes on the relationship between duple and triple meters, paralleling the plot: “Two is a couple, three is company” (p. 243). 538. Olson, John. “Company—25 Years Later.” In Gordon, pp. 47–67. Olson asserts that the themes of loneliness and disconnectedness in Company are as relevant in the 1990s as they were in the 1970s. A CONNECTICUT YANKEE (1927) 539. Everett, William A. “King Arthur in Popular Musical Theatre and Film.” In King Arthur in Music, edited by Richard Barber, pp. 145–60. Cambridge: D. S. Brewer, 2002. ISBN 0-8599-1767-3. ML3849. A Connecticut Yankee is one of the focal works in this essay (pp. 145–51). The musical comedy is a coalescence of antiquated English and 1920s American linguistic and musical idioms, as represented in the number “Thou Swell.” COP ROCK (1990 TELEVISION) 540. Plasketes, George. “Rock Around the Cop: Bochco’s Broadway Blueprint as Television Musical Muse and Martyr.” In B-Sides, Undercurrents and Overtones: Peripheries to Popular in Music, 1960 to the Present, pp. 119–34. Farnham, UK and Burlington, VT: Ashgate, 2009. ISBN 978-07546-6561-8. ML3477.P63 2009. Cop Rock, a fusion of the television police drama with the musical that was a critical and commercial failure, demonstrated ways in which music could be integrated into a ﬁlmic narrative. Subsequent television and ﬁlm creators drew upon the techniques of Cop Rock. THE CRADLE WILL ROCK (1937) 541. Oja, Carol J. “Marc Blitzstein’s The Cradle Will Rock and Mass-Song Style of the 1930s.” Musical Quarterly 73, no. 4 (1989): 445–75. The Cradle Will Rock includes mass songs, also called workers’ songs, a genre that emerged during the 1930s in the Composers’ Collective of New York. The collective’s mission was to create songs that would appeal to the masses yet have artistic integrity. Writing protest music was

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one of their primary goals. In The Cradle Will Rock, Blitzstein integrated his art-music training, Broadway idioms, and his experiences with the collective. CRADLE WILL ROCK (1999 FILM) 542. Robbins, Tim. “Cradle Will Rock”: The Movie and the Moment. New York: Newmarket, 2000. ISBN 1-55704-399-X. PN1997.C848R63 1999. The pictorial guide to the ﬁlm about the making of Cradle Will Rock includes the script, stills, and sidebars that provide historical insight to aspects of 1937 people, culture, and events. DAMN YANKEES 543. Sternfeld, Jessica. “Damn Yankees and the 1950s Man: You Gotta Have (Loyalty, an Escape Clause, and) Heart.” Studies in Musical Theatre 3, no. 1 (2009): 77–83. Damn Yankees embodies cultural ideas of the mid-1950s, including attitudes toward masculinity, patriotic duty, marital ﬁdelity, and postwar suburbia. DANCE OF THE VAMPIRES (2002) 544. Gardner, Elysa. “Vampires Bites, and That’s No Compliment.” USA Today, 10 December 2002, 4D. This is one of the musical’s many poor reviews, citing overt references to Lloyd Webber’s The Phantom of the Opera in both plot and star (Michael Crawford). 545. Riedel, Michael. “Hate at 1st Bite: How Vampires Got Drained of Its Blood.” New York Post, 13 December 2002, 55. Calling the show something “that didn’t seem to know what it wanted to be,” Riedel discusses how the creators wanted a musical comedy rather than a Gothic work, including star Michael Crawford, who exerted complete creative control over his character. DEBBIE DOES DALLAS (2002) 546. Zinoman, Jason. “Debbie’s Doing New York Now, but Rate Her PG.” New York Times, 27 October 2002, AR5.

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Based on the 1978 porn ﬁlm of the same title, the Off-Broadway musical is much more restrained and mainstream than its source. DR. HORRIBLE’S SING-ALONG BLOG (2008) 547. Walters, Ben. “Two-Point-Zero: Dr. Horrible’s Sing-Along Blog.” Film Quarterly 62, no. 3 (spring 2009): 66–67. The 42-minute, three-part experiment in online content, conceived during the 2007 writers’ strike, caused the website on which it was posted to crash due to overwhelming response. It has since more than recouped its production costs through online and DVD sales. EFX (1995) 548. Quaglia, Serena. “Dancing the Megamusical in Las Vegas. An Ethnography of Dance in Popular Culture: EFX at the MGM Grand, Las Vegas, Nevada.” Master’s thesis, York University (Toronto), 1999. 122 p. Told from the vantage point of a dancer in the original production of EFX, a Las Vegas extravaganza, this study chronicles and contextualizes the show’s production. EFX is a Las Vegas spectacle that includes elements of a Broadway musical, along with technological wonders and a strong emphasis on choreography. The show featured a celebrity star (Michael Crawford, David Cassidy, and Tommy Tune are mentioned in the text) along with forty dancers, “four principal lead singers, a ﬂying trapeze team, and massive virtual imagery” (p. 34). Many types of dancing are required in the show, necessitating great versatility from the performers. EL CAPITAN (1896) 549. Hess, Carol A. “John Philip Sousa’s El Capitan: Political Appropriation and the Spanish-American War.” American Music 16, no. 1 (spring 1998): 1–24. Notions of manifest destiny, Anglo superiority, and the Black Legend provided a great deal of inspiration for the United States’ “big stick” policy in Latin America. Sousa’s operetta, ﬁlled with stirring marches—an American symbol—and bereft characterizations of both Spaniards and Peruvians, paralleled this image. Hess received the Society for American Music’s Lowens Award for the best article on an American music topic in 1998 for this study.

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EVERY GOOD BOY DESERVES FAVOUR (1977) 550. Lodge, Mary Jo. “Special Theatrical Event: Every Good Boy Deserves Favour.” Studies in Musical Theatre 3, no. 2 (2009): 213–18. The 2009 revival at London’s National Theatre of Tom Stoppard and André Previn’s “play for actors and orchestra” raises questions as to its genre—is it a play or a musical? EVITA (1978, 1996 FILM) 551. Lloyd Webber, Andrew, and Tim Rice. “Evita”: The Legend of Eva Peron (1919–1952). London: Elm Tree Books, 1978 and New York: Avon, 1979. ISBN 0-380-46433-0. ML50.L804. The creators of Evita included their own essays with song lyrics and historical photographs of the Peróns in this “photo-documentary—the ofﬁcial book of their opera Evita” (back cover copy). 552. Parker, Alan. The Making of “Evita.” Introduction by Madonna. London: Collins, 1996. 129 p. ISBN 0-00-649095-6. PN1997.E93353. This coffee-table photographic collection of stills from the cinematic version of Evita captures the epic monumentality of Alan Parker’s ﬁlm and includes Parker’s remarks on and reminiscences of making the ﬁlm. FALSETTOS (1992) 553. Richards, David. “An Ode to Joy on Broadway.” New York Times, 10 May 1992, B1, 7. Combining two earlier one-act works, March of the Falsettos (1981) and Falsettoland (1990), Falsettos, according to the reviewer, is an important work whose tale involving homosexuality, families, AIDS, and hope is “certainly the musical Broadway dearly needed this season, lest Broadway turn into a street of gaudy, escapist entertainments” (p. 7). THE FANTASTICKS (1960) 554. Farber, Donald C., and Robert Viagas. The Amazing Story of “The Fantasticks.” New York: Citadel, 1991. 241 p. ISBN 0-8065-1214-8 ML410. S261-4F4 1991. Paperback ed., “The Fantasticks”: How It All Began. New York: Citadel, 1995. 241 p. ISBN 0-8065-1673-9. ML410.S26143F43 1995.

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Although appearing under different titles, these are hardback and paperback editions of the same text: a discussion of the careers of creators Tom Jones and Harvey Schmidt before The Fantasticks, as well as the genesis, production, and reception history of the show. FIDDLER ON THE ROOF (1964, 1971 FILM) 555. Altman, Richard, with Mervyn Kaufman. The Making of a Musical: “Fiddler on the Roof.” New York: Crown, 1971. 214 p. ML410.B661 A5. Altman chronicles the creation, performance, and reception history of Fiddler on the Roof, looking at not only the original Broadway version, but also international productions (including one in Israel) and the ﬁlm. 556. Hillman, Jessica. “Goyim on the Roof: Embodying Authenticity in Leveaux’s Fiddler on the Roof.” Studies in Musical Theatre 1, no. 1 (2007): 25–39. David Leveaux’s 2004 Broadway revival raised questions and controversy about authenticity and ethnicity on the musical stage. 557. Mehler, Charles Eliot. “Fiddler on the Roof: Considerations in a New Age.” Studies in Musical Theatre 2, no. 1 (2008): 51–60. Mehler explores Fiddler on the Roof as a cultural, literary, and theatrical entity, especially in regards to the genuineness of the Yiddishkeit experience it offers. FLOWER DRUM SONG (1958) 558. Hwang, David Henry. “A New Musical by Rodgers and Hwang.” New York Times, 13 October 2002, AR1, 16. Playwright David Henry Hwang describes the process of rewriting the book of Flower Drum Song for its 2002 Broadway revival. 559. Klein, Christina. “Asians in America: Flower Drum Song and Hawaii.” In Cold War Orientalism: Asia in the Middlebrow Imagination, 1945-1961, pp. 223–63. Berkeley: University of California Press, 2003. ISBN 0-52022469-8. DS33.4.U6K55 2003. In her monograph on Orientalism in America during the Cold War, Klein discusses Flower Drum Song (pp. 226–45) as a show that bolsters the image of the United States as a diverse nation that emphasizes dual identity over assimilation into whiteness in order to promote a benevolent, rather than imperialistic, rationale for exerting a worldwide inﬂuence.

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560. Ma, Sheng-mei. “Rodgers and Hammerstein’s ‘Chopsticks’ Musicals.” Literature/Film Quarterly 31, no. 1 (2003): 17–26. The author investigates the three Orientalist musicals of Rodgers and Hammerstein—The King and I, South Paciﬁc, and Flower Drum Song— each of which was adapted from a short story or novel, made into a Broadway musical, and subsequently transferred to ﬁlm. FOLLIES (1971) 561. Chapin, Theodore S. Everything Was Possible: The Birth of the Musical “Follies.” New York: Knopf, 2003. 360 p. ISBN 978-1-5578-3653-3. ML410.S6872 C53 2003. Chapin chronicles the development, creation, and production of Follies. Chapin, the show’s gofer, kept a detailed daily journal that became the basis for the book. 562. Fisher, James. “Nixon’s America and Follies: Reappraising a Musical Theatre Classic.” In Gordon, pp. 69–84. Fisher views Follies as strong sociopolitical commentary on America during the Nixon presidency. 563. McEntee, Ann Marie. “The Funeral of Follies: Stephen Sondheim and the Razing of American Musical Theater.” In Goodhart, pp. 89–99. McEntee views Follies as a postmodern play, focusing on the “Loveland” sequence in which the revues of the 1930s are both celebrated and challenged. 564. Smith, Helen. “The Art of Gloriﬁcation: A History of Pastiche, and Its Use Within Sondheim’s Follies.” British Postgraduate Musicology 2 (October 1998): 24–31. After identifying two types of pastiche show—static and narrative— Smith asserts that Follies begins where Show Boat left off as a reﬂexive on-stage chronicle of the history of stage music. FORBIDDEN BROADWAY (VARIOUS) 565. Alessandrini, Gerard, with Michael Portantiere. Forbidden Broadway: Behind the Mylar Curtain. New York: Applause, 2009. 279 p. ISBN 9781-5578-3743-1. ML2054 .A44 2009. The coffee-table book chronicles thirty years of Forbidden Broadway, the revue that spoofs all things Broadway. Told from the perspective of

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its creator/producer, the book includes recollections from the show’s stars and production photographs. 42ND STREET (1933 FILM) 566. Fumento, Rocco, ed. 42nd Street. Madison: University of Wisconsin Press, 1980. 198 p. (Wisconsin/Warner Bros. Screenplay Series.) ISBN 0-299-08100-1. PN1997.F596. “From Bastards and Bitches to Heroes and Heroines” is the engrossing title of Rocco Fumento’s introductory essay to the script of 42nd Street reproduced here. In the essay, Fumento chronicles the development of the ﬁlm from the novel by Bradford Ropes through early scripts to its ﬁnal form, critical reception, and publicity. He asserts that the ﬁlm succeeded primarily because of Lloyd Bacon’s direction and Busby Berkeley’s camera work.

A FUNNY THING HAPPENED ON THE WAY TO THE FORUM (1962) 567. Kivesto, Lois. “Comedy Tonight! A Funny Thing Happened on the Way to the Forum.” In Gordon, pp. 35–45. Kivesto investigates the Roman antecedents, principally in the work of Plautus, and how Sondheim departs from the Rodgers and Hammerstein model in the musical. GODSPELL (1971) 568. Sheppard, W. Anthony. Revealing Masks: Exotic Inﬂuences and Ritualized Performance in Modernist Musical Theater. Berkeley, Los Angeles, and London: University of California Press, 2001. (California Studies in 20th-century Music, no. 1.) ISBN 0-520-22302-0. ML197.S552 2001. In the chapter “God in Popular Music(al) Theater,” Sheppard connects Godspell with Bernstein’s Mass through creator Stephen Schwartz and common textual and musical elements (pp. 231–33). GOLD DIGGERS OF 1933 (1933 FILM) 569. Hove, Arthur, ed. Gold Diggers of 1933. Madison: University of Wisconsin Press, 1980. 190 p. (Wisconsin/Warner Bros. Screenplay Series.) ISBN 0-299-08080-3. PN1997.G56843S4.

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In his introductory essay entitled “In Search of Happiness,” Hove discusses the ﬁlm’s creation, including the roles of its two directors, Mervyn LeRoy and Busby Berkeley, its political (even Marxist) content, its romance, and its ultimate goal—happiness for the characters in the ﬁlm and also for its audience. GREASE (1972, 1978 FILM) 570. Noonan, Julie A. “Popular Voices; Ampliﬁcation, Rock Music and Vocal Quality in Grease.” Studies in Musical Theatre 3, no. 2 (2009): 185–200. Rock vocal techniques in Grease contributed to a shift in musical theater vocal aesthetics. THE GREEN PASTURES (1936 FILM) 571. Cripps, Thomas, ed. The Green Pastures. Madison: University of Wisconsin Press, 1979. 208 p. (Wisconsin/Warner Bros. Screenplay Series.) ISBN 0-299-07920-1. PN1997.G693. Cripps’s introductory essay to the classic black folk-religious ﬁlm chronicles its creation (the ﬁlm was based on a Pulitzer Prize-winning play) and places it within the social context of its time. Cripps addresses perceptions from black and white audiences and critics. Hall Johnson’s choral arrangements and their performances by the Hall Johnson Choir are integral to the ﬁlm. THE GREENWICH VILLAGE FOLLIES OF 1919 (1919) 572. Cocuzza, Ginnine. “The Greenwich Village Follies of 1919.” In Loney, pp. 147–54. John Murray Anderson established himself as a producer with the Greenwich Village Follies of 1919. The various scenes and numbers of the revue are described in the article. GUYS AND DOLLS (1950, 1955 FILM) 573. Garebian, Keith. The Making of “Guys and Dolls.” Oakville, ON, and Niagara Falls, NY: Mosaic Press, 2002. 153 p. ISBN 0-88962-764-9. ML410.L796G22 2002.

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Providing background on Damon Runyon, whose stories were the source for the musical, and the musical’s creative team, Garebian’s narrative on the genesis of Guys and Dolls also includes sections on the casting process, the rehearsals, the tryout, and performances in New York and London. He also discusses the 1955 MGM ﬁlm, the all-black 1976 revival, the 1982 production at London’s National Theatre, and Jerry Zaks’ 1992 Broadway revival. 574. Schwarz, Daniel R. Broadway Boogie Woogie: Damon Runyon and the Making of New York City Culture. New York: Palgrave Macmillan, 2003. 346 p. ISBN 0-31223-948-3. PS3535.U52 Z75 2003. Runyon, whose stories inspired Guys and Dolls, was indispensible in creating public images of New York City culture. GYPSY (1959, 1962 FILM) 575. Fitzgerald, Jason. “‘I Had a Dream’: ‘Rose’s Turn,’ Musical Theatre and the Star Efﬁgy.” Studies in Musical Theatre 3, no. 3 (2009): 285–91. Applying concepts of the celebrity effigy and dual temporality in musicals, “Rose’s Turn” becomes Mama Rose’s attempt to turn fiction into reality by superseding the celebrity persona of the actress playing her. 576. Garebian, Keith. The Making of “Gypsy.” Oakville, ON, and Buffalo, NY: Mosaic Press, 1993. 130 p. ISBN 0-88962-654-5. ML410.S78G3 1993. In his study on the evolution of Gypsy, Garebian gives a brief history of the concept of star-centered musical comedy and how Ethel Merman’s immortal portrayal of Rose ﬁts into this continuum. He also discusses Gypsy Rose Lee, Arthur Laurents’s book for the show, and the score by Jule Styne and Stephen Sondheim. Garebian describes the rehearsal process and the premiere before devoting the ﬁnal chapter to portrayals of Rose by Rosalind Russell in the 1962 ﬁlm and Angela Lansbury, who, in Laurents’ production, kept bowing at the end of “Rose’s Turn,” making the audience realize they were witnessing a madwoman’s performance, not a musical number. 577. Rich, Frank. “Gypsy: Then, Now and Always.” New York Times, 4 May 2003, AR1, 10. Looking at forty-four years of Gypsy, Rich places it closer to plays such as The Glass Menagerie and Death of a Salesman about problematic siblings and parents than to canonic musicals such as My Fair Lady and The Music Man.

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HAIR (1968) 578. Horn, Barbara Lee. The Age of “Hair”: Evolution and Impact of Broadway’s First Rock Musical. New York and Westport, CT: Greenwood, 1991. 166 p. (Contributions in Drama and Theatre Studies, no. 42.) ISBN 0-313-27564-5. ML410.M117H7 1991. Horn places Hair in the context of 1960s hippie culture. She reconstructs the opening night performance and discusses the show’s controversies, performance and reception history, and continued popularity. 579. Miller, Scott. Let the Sun Shine In: The Genesis of “Hair.” Portsmouth, NH: Heinemann, 2003. 144 p. ISBN 0-325-00556-7. ML410.M117. Miller chronicles the evolution of Hair. 580. Rapaport, Pola, and Wolfgang Held. HAIR: Let the Sun Shine In. DVD. 56 minutes. Alive Mind Media ALV-DV-16 (2007). This video documentary includes archival footage and interviews, contextualizes the original production, and addresses the continuing relevance of the show and its messages. The DVD also includes “The Making of Hair,” a series of commentaries by those associated with the musical. 581. Richards, David. “Lighting a Candle for Hair at 25.” New York Times, 15 April 1993, B1, 4; Tom O’Horgan, “Tribal Is What It Was Supposed to Be; Tribal Is What It Was.” New York Times, 25 April 1993, B4; Shelley Plimpton, “It Makes Me Feel Good to Know I Contributed to the World.” New York Times, 25 April 1993, B4–5; Michael Butler, “Something Will Happen to Bring the Age of Aquarius About.” New York Times, 25 April 1993, B5. This series of four articles, three of which are by people involved with the original production of Hair, discuss the show on its twenty-ﬁfth anniversary. HAIRSPRAY (1988 FILM, 2002, 2007 FILM) 582. Landau, Diane. “Hairspray”: The Movie Musical. San Rafael, CA: Insight Editions, 2007. 160 p. ISBN 978-1-9337-8438-0. PN1997.2.H35. L36 2007. The lavishly and innovatively illustrated companion book to the 2007 ﬁlm includes the history of the Hairspray, from screen to stage and back again. It includes a foreword by John Waters, director’s notes by Adam Shankman, and introduction by Craig Zadan and Neil Meron, and an essay “Mama Edna’s Turn” by John Travolta, who played Edna in the ﬁlm.

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583. O’Donnell, Mark, Thomas Meehan, Marc Shaiman, and Scott Wittman. “Hairspray”: The Roots. New York: Faber and Faber, 2003. 168 p. ISBN 0-571-21143-7. ML410.S511. Following an interview with two of the show’s creators and a timeline that integrates history with the life events of the musical’s characters, the coffee-table book includes a libretto accompanied by production photos and text inserts that are either commentary on speciﬁc lines, anecdotal interjections by those involved with the show, or further insights into aspects of the musical’s creation. 584. Waters, John. “Finally, Footlights on the Fat Girls.” New York Times, 11 August 2002, B1, 4. The director of the ﬁlm Hairspray discusses his enthusiasm for the Broadway musical. HARLEM SONG (2002) 585. Marks, Peter. “A Harlem Renaissance with Broadway Partners.” New York Times, 30 June 2002, B1, 4. The $4 million revue at the Apollo Theater in Harlem is a ninety-minute production that tells the story of artistic and social changes in Harlem during the twentieth century. 586. Singer, Barry. “Learning the Moves of Harlem, Circa 1930.” New York Times, 25 August 2002, AR5. The lead performers in “Miss Linda Brown” in Harlem Song, Dana Shavonne Rainey and Gabriel A. Croom, discuss their experiences with the rural blues number. HIGH SCHOOL MUSICAL SERIES (2006–08) 587. Edwards, Kim. “The Cinematic Heritage of High School Musical: Restarting Something New.” Screen Education 52 (summer 2009): 18–23. Three elements that contribute to the ﬁlm’s success are discussed: (1) its status quo as a Disney movie musical with plot elements reaching back to Shakespeare, (2) its self-conscious introduction of musical theater to a new audience, and (3) its portrayal of characters who adhere to social norms as well as their own creative individuality. 588. Jeter, Geri. “Tending to High School Musical 2.” Stage Directions 21, no. 12 (Dec. 2008): 24–26.

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Green Valley High School in Henderson, NV was one of four high schools to pilot the high school version of High School Musical 2: On Stage. 589. “London: Disney’s High School Musical.” Theatre Record 28, no. 14, 29 July 2008, 792–96, 803. Reviews from the Apollo Theatre’s production in London, which opened on 30 June 2008, are reprinted. 590. Rudisell, Kristen. “‘My School Rocks!’ Dancing Disney’s High School Musical in India.” Studies in Musical Theatre 3, no. 3 (2009): 253–71. In conjunction with the release of High School Musical in India, Disney sponsored the “My School Rocks” dance competition to encourage Indian children to actively alter and interpret the ﬁlm’s musical numbers. 591. Rutter, Tony. “High School Musical: Directing High School Musical.” Stage Directions 20, no. 12 (Dec. 2007): 32–36. The designer and director of the Ames (Iowa) Community Theater production of High School Musical describes his experiences. 592. Smith, Adam. “High School Musical: American Scream!” Empire 234 (Dec. 2008), 166–70. The creation and popularity of the High School Musical franchise is examined, including a psychotherapist’s view on its appeal to young audiences. HIS DARK MATERIALS (2003) 593. MacDonald, Laura. “Imagining His Dark Materials as a Gesamtkunstwerk.” Studies in Musical Theatre 1, no. 2 (2007): 199–211. Based on ﬁrst-hand interviews, the article describes the creative process behind the Royal National Theatre’s staging of His Dark Materials (directed by Nicholas Hytner with music by Jonathan Dove and words by Nicholas Wright) and the participatory role of the audience in the collaborative production. HOLIDAY INN (1942 FILM) 594. Rosen, Judy. “White Christmas”: The Story of an American Song. New York: Scribner, 2002. 213 p. ISBN 0-7432-1875-2. ML410.B499 R67 2002. Rosen surveys Irving Berlin’s background and the circumstances surrounding “White Christmas,” the famous song introduced by Bing Crosby

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in Holiday Inn. The author also discusses the song’s reception history and popularity. HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING (1961) 595. Leithauser, Brad. “Broadway Bound.” Time, 3 April 1995, 70. Citing Matthew Broderick’s “unforced freshness” as a gift he brings to the role of J. Pierrepont Finch, the reviewer points to minor modiﬁcations in the 1995 revival that keep the show rooted in 1961. ILLYRIA (2002) 596. Beggs, Anne. “Illyria, A New Musical.” Theatre Journal 61, no. 2 (May 2009): 315–16. The 2008 production Peter Mills’s musical version of Shakespeare’s Twelfth Night by the Manhattan-based Prospect Theater Company demonstrates the quality and increasing importance of Off-Off-Broadway. IN DAHOMEY (1902) 597. Riis, Thomas L., ed. The Music and Scripts of “In Dahomey.” Madison: A-R Editions 1996. 245 p. (Recent Researches in American Music, vol. 25. Music of the United States of America, vol. 5.) ISBN 0-89579342-3. M2.R2389 v.25. Riis’s extensive and insightful remarks on the historic African-American musical address its place as “an entertainment unhobbled by bitter and degrading minstrel-show racial stereotypes” (p. xiii), its songs, genesis, and creators, the order and titles of songs used in various productions (demonstrating that there is not one deﬁnitive version of the show), and American and British versions of the script. A complete script and pianovocal score constitute the main part of the volume. Appendices include the operatic interpolation “Child of the Sun” (Meyerbeer and Scribe) and orchestrations for three songs. There is also a discography of songs from In Dahomey recorded between 1901 and 1922. IN THE HEIGHTS (2008) 598. Heinze, Roxane. “In the Heights.” Theatre Journal 60, no. 1 (2008): 145–46. In her performance review of the Off-Broadway production as it prepared to move to Broadway, Heinze discusses the show’s “diasporic-infused Latino aesthetic,” choreography, and depiction of community.

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599. Morton, Carlos. “In the Heights: The Bodega Sells Dreams.” Gestos 48 (Nov. 2009): 155–56. A review in the Latino theater journal Gestos praises the show, despite its plot twist concerning a winning lottery ticket. 600. Reesman, Bryan. “Scaling the Heights.” Stage Directions 20, no. 3 (March 2007): 24–26. An interview with Nevin Steinberg, sound designer for the off-Broadway production. THE INDIAN PRINCESS (1808) 601. Bak, John S. “John Nelson Barker’s The Indian Princess: The Role of the Operatic Melodrama in the Establishment of an American Belles-Lettres.” Studies in Musical Theatre 2, no. 2 (2008): 175–93. Bak investigates The Indian Princess in the contexts of myth and genre and how these two aspects competed or combined to give the work its American identity. 602. Hitchcock, H. Wiley. “An Early American Melodrama: The Indian Princess of J. N. Barker and John Bray.” MLA Notes 12, no. 3 (June 1955): 375–88. Music played an important role in The Indian Princess, indicated at least in part by the fact that the score was published. The melodrama is the ﬁrst surviving play based on Pocahontas. INTO THE WOODS (1987) 603. Cole, Christine A. “Going Back ‘Into the Woods’: Mentoring in a Community Youth Theater Program.” M.A.L.S. thesis, State University of New York Empire State College, 2008. 50 p. Cole directed a production of Into the Woods through Canandaigue Youtheatre, a community theatre camp, in which younger, mentored students played the characters in act 1 while their older mentees assumed the roles for act 2. The musical became a vehicle for youth mentoring and arts education. 604. Stoddart, S. F. “‘Happily … Ever …’ NEVER: The Antithetical Romance of Into the Woods.” In Goodhart, pp. 209–20. Into the Woods deconstructs normative gender relations and the notion of a happy ending. The work concludes with a deeper appreciation of the consequences of selﬁshness (the events of act 1), aloneness and the need to work together to achieve common goals.

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605. Weinraub, Bernard. “Back to the Woods, with Darker Lyrics and a Dancing Cow.” New York Times, 24 February 2002, AR12. Stephen Sondheim and James Lapine made changes for the 2002 revival that resulted in a darker, more sinister show. Vanessa Williams was chosen to play the Witch because the creators wanted to ﬁnd an actress who would not generate comparison with Bernadette Peters (who created the role) but yet would command the stage. I’D RATHER BE RIGHT (1937) 606. Eisler, Garrett. “Kidding on the Level: The Reactionary Project of I’d Rather Be Right.” Studies in Musical Theatre 1, no. 1 (2007): 7–24. The Rodgers and Hart musical is positioned as a reactionary response to Franklin Delano Roosevelt’s New Deal and a fundamentally right-wing product. JAMAICA (1957) 607. Vogel, Shane. “Jamaica on Broadway: The Popular Caribbean and Mock Transnational Performance.” Theatre Journal 62, no. 1 (March 2010): 1–21. Jamaica demonstrates “mock transnational performance” through lyricist Yip Harburg’s leftist poetry, Lena Horne’s sound and performance strategies, and the professional support and social activist networks cultivated backstage. JANE EYRE (2000) 608. Napolitano, Marc. “Hear Jane Sing: Narrative Authority in Two Musical Versions of Jane Eyre.” Studies in Musical Theatre 2, no. 2 (2008): 33–50. Approaches to creating the narrative authority of the title character in John Caird and Paul Gordon’s stage musical and Michael Berkeley and David Malouf’s chamber opera are analyzed and compared. THE JAZZ SINGER (1927 FILM) 609. Carringer, Robert L., ed. The Jazz Singer. Madison: University of Wisconsin Press, 1979. 190 p. (Wisconsin/Warner Bros. Screenplay Series.) ISBN 0-299-07660-1. PN1997.J353J3.

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Carringer’s introductory essay to the script of The Jazz Singer traces the history of the ﬁlm its original concept in 1917, various forms that appeared before the ﬁlm—including the short story “The Day of Atonement” by S. Raphaelson (reprinted in the volume)—the ﬁlm itself, and later versions of the story on radio and television. Appendices include primary source documents about the Vitaphone process and a cue sheet for the musical score.

JERRY SPRINGER—THE OPERA (2003) 610. James, Caryn. “Now in London: I Was Jilted by a Lesbian Dwarf” and “How Jerry Springer Inspired an Opera.” New York Times, 11 May 2003, AR7, 10. Discussing the Royal National Theatre in London’s production, the article is summarized in its tagline: “By some strange alchemy, ‘Jerry Springer— The Opera’ spins trash into gold.” 611. Sotto-Morettini, Donna. “‘The Clowns of God’: Jerry Springer The Opera.” Contemporary Theatre Review 14, no. 1 (2004), 75–87. This investigation queries whether the show adopts rather than inhabits the operatic genre. JESUS CHRIST SUPERSTAR (1971, 1973 FILM) 612. Gartner, Zsuzsi. “Superstar Wins Resurrection: The ‘70s Saga of the Son of God Proves a Durable Rock Opera.” Georgia Straight (Vancouver, B.C.), 24–31 December 1993, 31–32. Ted Neeley, who played Jesus in the 1973 ﬁlm of Jesus Christ Superstar, recreated the role in the musical’s 1993 touring production. He gave an interview in preparation for the Vancouver performances in which he discussed how the show’s relevance changed after Jonestown, Jim Bakker, Madonna and the cruciﬁx, The Last Temptation of Christ, and other events in the popular perception of religion. 613. Huffman, James R. “Jesus Christ Superstar—Popular Art and Unpopular Criticism.” Journal of Popular Culture 6, no. 2 (fall 1972), 259–69. Superstar appeals to diverse groups because of the openness of its themes and its eclectic musical score. 614. Nassour, Ellis, and Richard Broderick. Rock Opera: The Creation of “Jesus Christ Superstar,” from Record Album to Broadway Show and Motion Picture. New York: Hawthorn, 1973. 248 p. ML410.L78.

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The book chronicles the history of Jesus Christ Superstar on disc, stage, and screen. THE JEWEL BOX REVUE (1940S–1970s) 615. Coleman, Bud. “The Jewel Box Revue: America’s Longest-Running, Touring Drag Show.” Theatre History Studies 17 (1997): 79–91. This proﬁle of the longest-running touring drag show in America, the Jewel Box Revue, includes information on its evolution, stars (including male and female impersonators), production numbers, venues, audiences, and demise. JUMBO (1935) 616. Block, Geoffrey. “‘Bigger than a Show—Better than a Circus’: The Broadway Musical, Radio, and Billy Rose’s Jumbo.” Musical Quarterly 89, no. 2–3 (summer–fall 2006): 164–98. Jumbo’s genesis, history, story, songs, promotion through radio broadcasts, and reception history are discussed, as are the roles played by its creators and performers in the musical comedy-circus hybrid’s development. THE KING AND I (1951, 1956 FILM) 617. Chantasingh, Chalermsri Thuriyanonda. “The Americanization of The King and I: The Transformation of the English Governess into an American Legend.” Ph.D. dissertation (American studies), University of Kansas, 1999. 261 p. The author traces the historical facts behind the musical’s source material and asserts that Anna becomes the personiﬁcation of American values and ideals. 618. Deleyto, Celestino. “The Nun’s Story: Femininity and Englishness in the Films of Deborah Kerr.” In Babington, pp. 120–31. In this essay on Kerr’s ﬁlms, one section is devoted to The King and I (pp. 129–30). Deleyto views the ﬁlm as an endorsement of the Americanization of imperialism and freedom, accomplished by the introduction of a new morality in “Getting to Know You” and the ﬁnal scene, where the children repeat Anna’s teaching with American accents. 619. Glassmeyer, Danielle S. “‘Sentimental Orientalism’and American Intervention in Vietnam.” Ph.D. dissertation, Loyola University of Chicago, 2001. 311 p.

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The King and I is among the works that Glassmeyer examines as promoting public support for American intervention in Asia during the 1950s through “sentimental orientalism,” which fuses notions of domestic motherhood with ideas about foreign policy to create an American “maternal” mission to rescue and nurture Asian “children.” 620. Klein, Christina. “Cold War Orientalism: Musicals, Travel Narratives, and Middlebrow Culture in Postwar America.” Ph.D. dissertation (American studies), Yale University, 1997. 447 p. The King and I and South Paciﬁc are among the narratives Klein examines in her study of the role of middlebrow culture in winning public consent for the Cold War in Asia as examples of cross-racial adoption and round-the-world travel. 621. Klein, Christina. “Musicals and Modernization: The King and I.” In Cold War Orientalism: Asia in the Middlebrow Imagination, 1945-1961, pp. 191–222. Berkeley: University of California Press, 2003. ISBN 0-520-22469-8. DS33.4.U6K55 2003. In her monograph on Orientalism in America during the Cold War, Klein discusses The King and I as a work that, through Anna, translates the goals of international integration into maternal, adoptive, and familial terms. 622. McConachie, Bruce. “Family Circles, Racial Others, and Suburbanization,” in American Theater in the Culture of the Cold War: Producing and Contesting Containment, 1947–1962, pp. 126–98. Iowa City: University of Iowa Press, 2003. ISBN 0-87745-82-6. PN2266.3.M38 2003. The King and I is discussed in the context of the Cold War through the metaphor of containment—creating boundaries—and how audiences responded to and mapped themselves onto the characters and themes of the musical. See especially pp. 140–46, 153–60, 162–63, 165–66, 169–70, and 175. See 260. KISS ME, KATE (1948, 1953 FILM) 623. Canby, Vincent. “With Wit and High Spirits, a Musical Wake-Up Kiss.” New York Times, 5 December 1999, AR8, 28. In a glowing review of the 1999 Broadway revival starring Marin Mazzie and Brian Stokes Mitchell, Canby calls the show “an elegant, nimble dream of a show, one of the rare perfect achievements of the American musical theater.”

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624. Lawson-Peebles, Robert. “Brush Up Your Shakespeare: The Case of Kiss Me, Kate.” In Lawson-Peebles, pp. 89–108. “Brush Up Your Shakespeare” is a tribute to the Bard in his own comic style and possesses great dramatic potency (the universality of Shakespeare and a challenge to polarity models of high and low culture) not only in itself but also in its performance by two gangsters in the 1953 ﬁlm version of the musical. 625. Mordden, Ethan. “Shakespeare and Cole Porter, Together Again.” New York Times, 14 November 1999, AR5, 23. Mordden discusses the background to the musical before proceeding to the revival, which remains, with only a few exceptions (such as moving “Another Op’nin’, Another Show” a few minutes earlier in the show “to become what it always sounded like: the ultimate opening number”), close to the original. 626. Rebellato, Dan. “‘No Theatre Guild Attraction Are We’: Kiss Me, Kate and the Politics of the Integrated Musical” Contemporary Theatre Review 19, no. 1 (2009): 1–73. Psychoanalytic feminist theory is used to explore instabilities, dis-integration, and sexual-political content in Kiss Me, Kate. LADY DI—DIANA: A SMILE ENCHANTS THE WORLD (2001) 627. “And Now the Musical.” People Magazine, 26 November 2001, 68–69. A German musical about Diana by composer Peter Thomas, starring British actress Karen Gillingham, had its premiere in Saarbrücken, Germany. LADY IN THE DARK (1941) 628. mcclung, bruce d., “American Dreams: Analyzing Moss Hart, Ira Gershwin, and Kurt Weill’s Lady in the Dark.” Ph.D. dissertation, University of Rochester, 1995. 693 p. Lady in the Dark attempted to portray the psychiatric practices and theories of Moss Hart’s therapist, Dr. Lawrence S. Kubie. The show’s addressing of gender and employment issues are more in line with the Depression than World War II. (From “AMS Dissertation Abstract Bulletin No. 3,” May 1, 1995.) 629. mcclung, bruce d., “Lady in the Dark”: Biography of a Musical. New York and Oxford: Oxford University Press, 2007. 296 p. ISBN 978-0-19512012-7. ML410.W395M35 2006.

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Winner of several prestigious awards, mcclung’s monograph details Lady in the Dark’s creative process, cultural context, musical-dramatic processes, Broadway run, revivals, performance legacy, and reception history. 630. mcclung, bruce d., “Psicosi per musica: Re-examining Lady in the Dark.” In “A Stranger Here Myself”: Kurt-Weill Studien, edited by Kim Kowalke and Horst Edler, pp. 235–65. Hildesheim: Olms, 1993. ISBN 3-487-09722-2. ML410.W395. mcclung challenges critics’ notions of Lady in the Dark’s banality by emphasizing its structural and dramatic elements that combine European and American aspects. He investigates the show’s central song, “My Ship,” in terms of its musical traits and dramatic role. 631. mcclung, bruce d., Joanna Lee, and Kim Kowalke, eds. “Lady in the Dark”: A Sourcebook. New York: Kurt Weill Foundation, 1997. 85 p. ML410.W4218 L157 1997 (Sibley Music Library). Published by the Kurt Weill Foundation, this book provides information on the musical. THE LIGHT IN THE PIAZZA (2004) 632. Lahr, John. “Innocence Abroad: Adam Guettel’s Italian Romance.” New Yorker (2 February 2004), p. 90–91. The review of the Chicago Goodman Theatre production of The Light in the Piazza describes the musical’s plot, themes, and characters. LI’L ABNER (1956) 633. Harvill, William. “Li’l Abner: From Comic Strip to Musical.” Studies in Musical Theatre 3, no. 1 (2009): 8590. The musical’s faithfulness to the comic strip on which it is based has kept it marginalized, for the story strongly relies on a familiarity with the source material. THE LION KING (1994 FILM, 1997) 634. Taymor, Julie. “The Lion King”: Pride Rock on Broadway. New York: Hyperion, 1997. 192 p. ISBN 0-7868-6342. ML410.J64. Julie Taymor, director of The Lion King on Broadway, gives her account of the show’s creation, addressing all aspects of the production, including

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the South African elements and Lebo M’s musical contributions. Costume, mask, and stage designs are discussed and documented through visual images. The tale ends with the Broadway previews, and unlike many such books, a libretto is not included. The focus is instead on the production’s highly original visual aspects. 635. Wickstrom, Maurya. “Commodities, Mimesis, and The Lion King: Retail Theatre for the 1990s.” Theatre Journal 51, no. 3 (1999): 285–98. Retail commerce and theater are fused in the production and consumption of The Lion King.

LITTLE HOUSE ON THE PRAIRIE, THE MUSICAL (2008) 636. Evans, Rachel. “Performance Review: Little House on the Prairie, The Musical.” Theatre Journal 62, no. 2 (May 2010): 296–98. The creation and production of a musical based on Laura Ingalls Wilder’s book series starring Melissa Gilbert, who played Laura in the NBC television series based on the books, as Ma is discussed.

LITTLE JOHNNY JONES (1904) 637. Vallillo, Stephen M. “George M. Cohan’s Little Johnny Jones.” In Loney, pp. 233–44. The descriptive essay of Cohan’s famous musical surveys the show’s American chauvinism, Cohan’s singing and dancing styles, and the work’s inclusion of vaudeville and melodrama elements.

THE LITTLE MERMAID (1989 FILM, 2008) 638. Lassell, Michael. “The Little Mermaid”: From the Deep Blue Sea to the Great White Way. New York: Disney Editions, 2008. 171 p. ISBN 978-14321-1272-3. MT955.L37 L58 2009 (Old Dominion University). The companion volume to the Broadway musical includes interviews with creators and stars, a narrative of the tale’s reinvention from the Hans Christian Andersen version through the animated ﬁlm and ultimately the Broadway version, information on the show’s creative process, and many production photographs and other illustrations. See 469.

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LITTLE NELL AND THE MARCHIONESS (1867) 639. Comer, Irene Forsyth. “Lotta Crabtree and John Brougham: Collaborating Pioneers in the Development of American Musical Comedy.” In Loney, pp. 99–110. Magnetic star Lotta Crabtree played the lead in John Brougham’s adaptation of Charles Dickens’s The Old Curiosity Shop in what was, by later deﬁnitions, an integrated book musical. Although it lacked a specially written score, the work was a milestone in the development of the American musical theater. A LITTLE NIGHT MUSIC (1973) 640. Craig, David. “On Performing Sondheim: A Little Night Music Revisited.” In Gordon, pp. 93–106. Craig discusses the intricacies of Sondheim’s sense of theater as he describes the process of his own musical staging of A Little Night Music in Los Angeles in 1990. 641. Kapilow, Rob. “Stephen Sondheim’s Clever ‘Clowns’.” Performance Today. NPR.org, 11 March 2009. http://www.npr.org/templates/story/ story.php?storyId=94772727 Noted commentator and What Makes It Great host Rob Kapilow discusses “Send in the Clowns.” 642. Puccio, Paul M. “Enchantment on the Manicured Lawns: The Shakespearean ‘Green World’ in A Little Night Music.” In Goodhart, pp. 133–69. Puccio looks at Shakespeare’s A Midsummer Night’s Dream as important source material for A Little Night Music and compares the two works. 643. Swain, Steve. “Remembering and Re-membering: Sondheim, The Waltz, and A Little Night Music.” Studies in Musical Theatre 1, no. 3 (2007): 259–73. Swain argues against calling A Little Night Music a “waltz musical” and discusses how Sondheim re-scandalizes the dance. LOVE’S LABOUR’S LOST (2000) 644. Marshall, Kelli. “‘It Doth Forget to Do the Thing It Should’: Kenneth Branagh, Love’s Labour’s Lost, and (Mis)Interpreting the Musical Genre.” Literature/Film Quarterly 33, no. 2 (2005): 83–91. Marshall criticizes Branagh’s homage to 1930s Hollywood musicals, arguing that the director misinterpreted established conventions and contexts.

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MAID MARIAN (1901) 645. Stock, Lorraine Kochanske. “Recovering Reginald de Koven’s and Harry Bache Smith’s ‘Lost’ Operetta Maid Marian.” In Images of Robin Hood: Medieval to Modern, edited by Lois Potter and Joshua Calhoun, pp. 256–65. Newark: University of Delaware Press, 2008. ISBN 978-087413-003-4. PR2129.163 2008. Stock gives an account of her project to reconstruct the “lost” and neverpublished sequel to Robin Hood. MAMMA MIA! (1999, 2008 FILM) 646. Andersson, Benny, Björn Ulvaeus, and Judy Craymer. Interviews by Philip Dodd. Mamma Mia! How Can I Resist You? The Inside Story of Mamma Mia! and the Songs of ABBA. London: Phoenix Illustrated, 2008. (First published London: Weidenfeld & Nicolson, 2006). 264 p. ISBN 978-0-7538-2101-5. 782.421660922 (Dewey). The stories behind the stage and ﬁlm versions of Mamma Mia!, ABBA, and the group’s songs that appear in the musical are chronicled through quotes and photographs. A chronology, production details, and biographical information on those who are quoted in the book appear at the end. 647. Womack, Malcolm. “‘Thank You For the Music’: Catherine Johnson’s Feminist Revoicings in Mamma Mia!” Studies in Musical Theatre 3, no. 2 (2009): 201–11. Catherine Johnson, in writing the book for Mamma Mia!, subverts the original meanings of the ABBA songs that constitute the score and imbues them and the musical’s story with a cultural feminist message. MARY POPPINS (1968 FILM, 2004) 648. Carmichael, Jessica Hope. “Mary Poppins: Storytelling and Cultural Attitudes in a Disney Film.” M.M. thesis (musicology), University of Missouri-Kansas City. 94 p. Characters and situations from P. L. Travers’s series of novels were transformed into a Disney ﬁlm musical. The Sherman brothers’ score was central in deﬁning characters and effecting the stories’ change from page to screen. 649. Sibley, Brian and Michael Lassell. Mary Poppins: Anything Can Happen If You Let It—The Story Behind the Journey from Books to Broadway. New York: Disney, 2007. 108 p. ISBN 978-0-7868-3657-4. PR6039.R32.

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This youth audience-oriented book includes sections on P. L. Travers’s books, the Disney ﬁlm, and the musical. Its folding-case design also includes a separate design folio and a “Mary Poppins on Broadway” souvenir-style photo album. MAYTIME (1917, 1937 FILM) 650. Rodman, Ronald. “Tonal Design and the Aesthetic of Pastiche in Herbert Stothart’s Maytime.” In Music and Cinema, edited by James Buhler, Caryl Flinn, and David Neumeyer, pp. 187–206. Hanover, NH: Wesleyan University Press, 2000. ISBN 0-8195-6410-9. ML2075.M875 2000. Music director Herbert Stothart used pastiche heavily in the ﬁlm Maytime (1937). Marcia’s music is basically operatic while Paul’s comes from popular song. The common middle ground in which they meet is Romberg’s “Will You Remember?,” the only song from the stage operetta to be presented in its entirety in the ﬁlm. Rodman demonstrates how Marcia and Paul possess individual key constellations that have a common point in “Carry Me Back to Old Virginny.” MEET ME IN ST. LOUIS (1944 FILM) 651. Britton, Andrew. “Meet Me in St. Louis: Smith, or, the Ambiguities.” Australian Journal of Screen Theory 3 (1977): 7–25. Britton discusses the ambiguities of the family and small-town communities as presented in Meet Me in St. Louis. 652. Kaufman, Gerald, ed. Meet Me in St. Louis. London: British Film Institute, 1994. 71 p. (BFI Film Classics.) ISBN 0-85170-501-4. PN1997.M42753. Kaufman discusses the long gestation of the ﬁlm, including its many rewrites and production delays. He credits the ﬁlm’s director, Vincente Minnelli, for its success and discusses in detail Minnelli’s contributions to the ﬁlm. ME AND JULIET (1953) 653. Mariska, Bradley Clayton. “‘Who Expects a Miracle to Happen Every Day?’: Rediscovering Me and Juliet and Pipe Dream, The Forgotten Musicals of Rodgers and Hammerstein.” M.A. thesis (Musicology), University of Maryland, College Park, 2004. 104 p. Mariska documents the history of these two shows, analyzes the effectiveness of music, plot, and lyrics in both, and considers factors that

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led to their failures. The shows are also discussed in relation to the political and cultural landscapes of 1950s America. MERRILY WE ROLL ALONG (1981) 654. Cronin, Mari. “Sondheim: The Idealist.” In Gordon, pp. 143–52. Merrily exempliﬁes Sondheim’s belief in personal responsibility and loyalty and asks its audience to act with more humanity, honesty, and awareness. 655. Stoddart, S. F. “Visions and Re-visions: The Postmodern Challenge of Merrily We Roll Along.” In Goodhart, pp. 187–98. Stoddart argues that the revisions made to Merrily We Roll Along in 1985 accentuate the primary importance of the friendship between Franklin and Charlie as opposed to Franklin’s marriages. He also discusses a 1934 play of the same name by George S. Kaufman and Moss Hart that, like the musical, proceeds backward in time. THE MERRY WIDOW (1905) 656. Baker, David J. “The Merry Mogul.” Opera News 65, no. 6 (December 2000): 48. The Merry Widow epitomized Viennese operetta in its musical style, structure, and signiﬁcance. 657. Krasner, Orly Leah. “Wien, Women and Song: The Merry Widow in New York.” Sonneck Society Bulletin 22, no. 1 (spring 1996): 1, 8–11. Merry Widow mania swept New York when the operetta ﬁrst appeared there in 1907. 658. Schweitzer, Marlis. “‘Darn That Merry Widow Hat’: The On- and Offstage Life of a Theatrical Commodity, Circa 1907-1908.” Theatre Survey 50, no. 2 (Nov. 2009): 189–221. The Merry Widow instigated a commodity-driven franchise that led to its phenomenal worldwide fame. A MIGHTY WIND (2003 FILM) 659. Hajdu, David. “A Mighty Wind: Spinal Tap for Folkies?” New York Times, 13 April 2003, B1, 28.

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Christopher Guest’s ﬁlm parody of the folk music scene includes standard models of commercial folk but lacks references to politics, an important dimension of the folk scene of the 1960s. THE MIKADO (1885) 660. Beckerman, Michael. “The Sword on the Wall: Japanese Elements and Their Signiﬁcance in The Mikado.” Musical Quarterly 73, no. 3 (1989): 303–19. The Mikado includes numerous references to actual Japanese musical devices. The treatment of the “Miya sama” melody is discussed in terms of Edward Said’s concept of Orientalism. 661. Fink, Robert. “Rhythm and Text Setting in The Mikado.” 19th-Century Music 14, no. 1 (summer 1990): 31–47. The complex rhythmic interaction between words and music in The Mikado often demonstrates conﬂicts between poetic meter and musical rhythm. LES MISÉRABLES (1985) 662. Behr, Edward. “Les Misérables”: History in the Making. New York: Arcade, 1996. (Previously published as The Complete Book of Les Misérables.) 192 p. ISBN 1-55970-370-9. ML410.S286. Celebrating the tenth anniversary of “Les Mis,” the companion book to the musical includes information on Victor Hugo, the musical’s creators (gathered from numerous interviews), and its performance legacy. The book includes the libretto, color photos from productions worldwide, and various transformations of Emile Bayard’s “Cosette,” the show’s iconic image. Lists of opening nights, original cast recordings, and awards are also included. 663. Everett, William A. “From French to European to Global: The Saga of Schoenberg and Boublil’s Les Misérables.” In European Culture in a Changing World: Between Nationalism and Globalism, edited by Daniel Meyer-Dinkgräfe, pp. 229–36. Amersham, UK: Cambridge Scholars Press, ISBN 1-904303-33-1. 2004. “Les Mis” has multiple identities—French, European, and global—each of which contributes to the musical’s reception history in different ways. MISS SAIGON (1989) 664. Behr, Edward, and Mark Steyn. The Story of “Miss Saigon.” New York: Arcade, 1991. 192 p. ISBN 1-55970-124-2. ML410.S286.

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In addition to chronicling the origins, creation, casting, rehearsal, and production of Miss Saigon, the book includes essays on the Vietnam War, the Bui-Doi, prostitution in Vietnam, and the opera Madame Butterﬂy by Puccini (on which the musical is modeled). Many photos in color and black and white provide visual documentation for the show. 665. Kroll, Jack. “Good Evening, Miss Saigon.” Newsweek, 22 April 1991, 60. The musical is viewed in the context of the Persian Gulf War. Its theatrical combination of spectacle and simplicity is highlighted not only in Lea Salonga’s performance as Kim but also in that of Jonathan Pryce, the Eurasian pimp called “The Engineer,” in “The American Dream.” 666. Mellers, Wilfrid. “From Butterﬂy to Saigon: Europe, America, and ‘Success.’ ” In Lawson-Peebles, pp. 19–23. The eminent musicologist asserts that Puccini’s Madame Butterﬂy integrated old and new approaches to musical theater, and is in reality more modern than Miss Saigon. 667. Shimizu, Celine Parreñas. “The Bind of Representation: Performing and Consuming Hypersexuality in Miss Saigon.” Theatre Journal 57, no. 2 (May 2005): 247–65. Shimizu discusses “race panic logic” and hypersexual representations in the musical. 668. Yoshikawa, Yoko. “The Heat is On Miss Saigon Coalition: Organizing Across Race and Sexuality.” In The State of Asian America; Activism and Resistance in the 1990s, ed. by Karin Aguilar-San Juan; foreword by David Henry Hwang; afterword by M. Annette Jaimes, 275–94. Boston: South End Press, 1994. ISBN 0-89608-477-9. E184.O6 S7 1994. The author provides an account of demonstrations against the show on basis of its Asian stereotypes and the Lamba Legal Defense Fund, a national organization dedicated to gay and lesbian rights, using a performance of Miss Saigon as a fundraiser. MONTY PYTHON’S SPAMALOT (2005) 669. Coveney, Michael. “You Cannot Be Serious.” New Statesman 134, no. 4736 (18 April 2005): 42–43. In his review of the Broadway production, Coveney discusses the comedic, satirical, and deconstructive elements of the hit musical. 670. Finke, Laurie A. and Susan Aronstein. “Got Grail? Monty Python and the Broadway Stage.” Theatre Survey 48, no. 2 (Nov. 2007): 289–311.

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Spamalot represents a revival of the song-and-dance communitybuilding Golden Age musicals that, as a transformation of the 1975 ﬁlm Monty Python and the Holy Grail, allows its audience to view its content through a double lens—one of parody and another of American ideologies as presented through the mid-twentieth-century Broadway musical. 671. Mancoff, Debra N., and Kevin J. Harty. “Monty Python’s Spamalot.” Arthuriana 15, no. 2 (2005): 73–74. In this review of the Chicago pre-Broadway tryout, cut scenes and scenarios are mentioned. The reviewers assert this as a send-up of both the Arthuriad and musical theater. 672. “Monty Python’s Spamalot.” Theatre Record 26, no. 21 (7 November 2006): 1232–37, 1272. A feature that appeared after the musical’s 2006 London opening includes reprints of various reviews. 673. Wheeler, Bonnie. “Monty Python’s Spamalot.” Arthuriana 15, no. 2 (2005): 74–76. Monty Python’s Spamalot, including its Playbill, exempliﬁes pure camp, as described in this review of the New York production.

THE MOST HAPPY FELLA (1956) 674. Block, Geoffrey. “Frank Loesser’s Sketchbooks for The Most Happy Fella.” Musical Quarterly 73, no. 1 (1989): 60–78. Loesser’s compositional process and how he addressed musical and dramatic issues in creating The Most Happy Fella are illuminated through a study of his sketchbooks.

MOULIN ROUGE (2001 FILM) 675. Bilbrough, Miro. Moulin Rouge. New York: Newmarket, 2001. 175 p. ISBN 1-55704-507-0. PN1997. Lavishly illustrated under the direction of Sue Adler and produced by Bazmark Design, this coffee-table book integrates commentary about Baz Luhrmann’s ﬁlm, its making, and its source material. Stills from the ﬁlm create a visually dazzling montage that parallels that of the ﬁlm.

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THE MUSIC MAN (1957) 676. Oja, Carol J. “West Side Story and The Music Man: Whiteness, Immigration, and Race in the US during the Late 1950s.” Studies in Musical Theatre 3, no. 1 (2009); 13–30. Oja’s parallel reading of the two biggest Broadway hits from 1957 reveals intersecting themes in the two shows, including the interconnectedness of racism and nostalgia, a focus on ordinary people, youth, and teen culture, and a xenophobic subtext. 677. Schwartz, Roberta Freund. “Iowa Stubborn: Meredith Willson’s Musical Characterizations of His Fellow Iowans.” Studies in Musical Theatre 3, no. 1 (2009): 31–41. Though his dialogic song style based on pitch repetition and a small number of motifs, Willson characterizes Iowa natives as stubborn in several songs. 678. Staniunas, John. “Haunted Characters: Harold and Marian: Directing The Music Man.” Studies in Musical Theatre 3, no. 1 (2009): 43–51. Every production of The Music Man, including the one directed by the author in 2007, is haunted to some degree by the performance ghosts of its stars Robert Preston (Broadway, ﬁlm), Shirley Jones (ﬁlm), and Barbara Cook (Broadway). 679. Willson, Meredith. But He Doesn’t Know the Territory. New York: G. P. Putnam’s Sons, 1959; reprint ed. Minneapolis: University of Minnesota Press, 2009. 192 p. ISBN 978-0-8166-6770-3. ML410.W714A3. Willson discusses The Music Man from its conception through opening night. MY FAIR LADY (1956, 1964 FILM) 680. Diehl, Crandall. “My Fair Lady and Other Broadway Memories.” Choreography and Dance 2, part 2 (1992): 73–87. Diehl, dance captain for the original production of My Fair Lady, discusses Hanya Holm’s choreography for the show. 681. Garebian, Keith. The Making of “My Fair Lady.” Toronto: ECW Press, 1993. 127 p. ISBN 1-55022-161-2. ML410.L63G37 1993. Garebian provides background and context for the musical, including treatments of the Pygmalion story, George Bernard Shaw’s play, Gabriel Pascal’s ﬁlm, and Lerner and Loewe’s creative processes in bringing My Fair Lady to the stage. He discusses the work’s performance history and gives

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a musical-dramatic analysis. Appendices include a short history of the Broadway musical genre, and cast and credits for the original production. 682. Macpherson, Ben. “‘Eliza, Where the Devil Are My Songs?’: Negotiating Voice, Text and Performance Analysis in Rex Harrison’s Henry Higgins.” Studies in Musical Theatre 2, no. 3 (2008): 234–44. “Transformative identiﬁcation” (after Freud and Lacan) provides a means through which to investigate the relationship between literary text and embodied performer as exempliﬁed in Rex Harrison’s portrayal of Henry Higgins. MY LIFE WITH ALBERTINE (2003) 683. McCarter, Jeremy. “In Search of a Lost Love: Making a Musical out of Proust.” New York Times, 3 March 2003, AR7. In anticipation of the musical’s opening at Playwrights Horizons, the article discusses Richard Nelson’s adaptation of one strand of Marcel Proust’s Remembrance of Things Past with music by Ricky Ian Gordon (following the model of French composer François Poulenc). NO, NO, NANETTE (1925) 684. Dunn, Don. The Making of “No, No, Nanette.” Secaucus, NJ: Citadel, 1972. 335 p. ISBN 0-8065-0265-7. ML410.Y73 D8 (UMKC). Dunn chronicles the 1971 revival of No, No, Nanette, including the involvement of notables such as Busby Berkeley and Ruby Keeler. He provides information about the original 1925 musical and the careers of the people involved with the revival. The book is written in a narrative, storylike manner and has neither a table of contents nor an index. OKLAHOMA! (1943, 1955 FILM) 685. Bond, Randall Ives. ‘Still Dreaming of Paradise’: Rodgers and Hammerstein’s Oklahoma!, South Paciﬁc, and Postwar America.” Ph.D. dissertation, Syracuse University, 1996. 337 p. Bond investigates how Oklahoma! and South Paciﬁc functioned as modern morality plays for their 1940s audiences and how they provided ideas for a postwar Paradise based on the American dream of rebirth and renewal in a landscape of second chances within the geopolitics of an expanding American frontier. 686. Carter, Tim. In the Workshop of Rodgers and Hammerstein: New Light on “Oklahoma!.” In Music Observed: Studies in Memory of William

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C. Holmes, ed. Colleen Reardon and Susan Parisi, 55–64. Warren, MI: Harmonie Park Press, 2004. ISBN 0-899-0125-5. The distribution of songs in act 1 and the handling of Jud are investigated through previously unexplored primary sources for the show. 687. Carter, Tim. “Oklahoma!”: The Making of an American Musical. New Haven and London: Yale University Press, 2007. 346 p. ISBN 978-0-30010619-0. ML410.R6315C37 2007. Carter documents Oklahoma!’s extensive creative process and the mythology surrounding the show. 688. Case, Claudia Wilsch. “Inventing the Heartland: The Theatre Guild, Oklahoma! and World War II.” Theatre Symposium: A Journal of the Southeastern Theatre Conference 14 (2006): 35–47. Case discusses the Theatre Guild’s involvement in Green Grow the Lilacs and Oklahoma!, as well as how the transformation of Green Grow the Lilacs redeﬁned both musical theater and prairie identity during the early years of World War II. 689. Cook, Susan C. “Pretty Like the Girl: Gender, Race and Oklahoma!” Contemporary Theatre Review 19, no. 1 (2009): 35–47. Gender, ethnicity, and class are created in Oklahoma! through music, text, and choreography. Cook explores aspects such as Rodgers’s limited use of syncopation, de Mille’s incorporation of white folk dance and ballet, and the character Curly’s image of “white masculine self-sufﬁciency”—a favorable image during World War II—as regressive hallmarks of the musical. 690. Filmer, Paul, Val Rimmer, and Dave Walsh. “Oklahoma!: Ideology and Politics in the Vernacular Tradition of the American Musical.” Popular Music 18, no. 3 (October 1999): pp. 381–95. Oklahoma! articulated a mythic, idealized, and ordered American Dream as the United States was entering the Cold War. Its idea of a modern civil society was posed against the image of the Volk in Fascism. The musical asserts “the popular values which provided a consensual ideological legitimation for the new global political and military project of the USA …” (p. 393). 691. Green, Stanley. “Oklahoma!: Its Origin and Inﬂuence.” American Music 2, no. 4 (winter 1984): pp. 88–94. Green chronicles the creation and development of Oklahoma! and the enthusiastic reception of its ﬁrst performance. 692. Kirle, Bruce. “Reconciliation, Resolution, and the Political Role of Oklahoma! in American Consciousness.” Theatre Journal 55, no. 2 (May 2003): 251–74.

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The fragmentation of community in Oklahoma! represented by the famer and cowman and its resolution when the territory becomes a state can be viewed as an allegory for the conﬂict between isolationists and interventionists concerning America’s entry into World War II, implying that in order to be safe from fascism, America had to bond together. The musical reconciles rural populism with urban New Deal ideology. 693. May, Theresa Joette. “Earth Matters: Ecology and American Theatre.” Ph.D. dissertation, University of Washington, 2000. 353 p. May includes Oklahoma! in her survey of dramas that are emblematic of deeply rooted stories about the land and the ideologies about the land that they create. 694. Miller, Derek. “‘Underneath the Ground’: Jud and the Community in Oklahoma!” Studies in Musical Theatre 2, no. 2 (2008): 163–74. Jud Fry, as the villain and antagonist, can be read as a Jewish character. In doing so, the play’s ﬁguration of Jewishness is recast. 695. Most, Andrea. “‘We Know We Belong to the Land’: The Theatricality of Assimilation in Rodgers and Hammerstein’s Oklahoma!” PMLA (Journal of the Modern Language Association of America) 113, no. 1 (Jan. 1998): 77–89. Oklahoma! demonstrates how ethnic outsiders, in this instance Jewish creators, demonize a racial Other in an effort to be considered white and therefore assimilated. 696. White, Richard Kerry. “Historic Festivals and the Nature of American Musical Comedy.” Ph.D. dissertation, University of Oregon, 1984. 347 p. White surveys the nature and role of festivals in Europe from the Renaissance through the eighteenth century. He focuses on elements of celebration, display, contest, and ceremony. He then discusses Oklahoma! as a “displaced” festival, viewing it as a product of the American mythos and contextualizing it within an American festival tradition. 697. Wilk, Max. OK!: The Story of “Oklahoma!” New York: Grove Press, 1993. Reprinted, with some alteration and deletions, as the ﬁrst part, “Overture,” of the author’s Overture and Finale (entry 765). Wilk chronicles and discusses the show from its conception through its Broadway premiere. PACIFIC OVERTURES (1976) 698. Fleischer, Leonard. “‘More Beautiful Than True’ or ‘Never Mind a Small Disaster’: The Art of Illusion in Paciﬁc Overtures.” In Gordon, pp. 107–24.

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Fleischer reveals how the general Sondheim theme of growing from illusionary self-protection to a mature acceptance of reality is reﬂected in Paciﬁc Overtures. PAL JOEY (1940, 1957 FILM) 699. Christman, Paul. “Pal Joey: Reconstructing a Classic Rodgers and Hart Score.” Studies in Musical Theatre 3, no. 2 (2009): 171–83. The author describes his process in reconstructing the score of Pal Joey. THE PASSING SHOW OF 1914 700. Westover, Jonas. “A Study and Reconstruction of The Passing Show of 1914: The American Musical Revue and its Development in the Early 20th Century.” Ph.D. dissertation (musicology): City University of New York, 2010. 430 p. (text), 427 p. (edition). One of the most important examples of a revue is reconstructed and analyzed in terms of script (contemporary and reﬂexive references), music, creators, performers, and producers. PASSING STRANGE (2008) 701. Woolf, Brandon. “Negotiating the ‘Negro Problem’: Stew’s Passing (Made) Strange.” Theatre Journal 62, no. 2 (May 2010): 191–207. Woolf addresses the dialectical and diasporic elements of Passing Strange in regards to the complexities of racial and national identities that are evident in the work’s frequently contradictory trajectories. PASSION (1994) 702. Goodhart, Sandor. “‘The Mother’s Part’: Love, Letters, and Reading in Sondheim’s Passion.” In Goodhart, pp. 221–58. Goodhart looks at Passion as an epistolary musical and notes parallels between the musical’s plot and Sondheim’s relationship with his mother. 703. Harrison, John. “Live from Lincoln Center: Passion in Concert.” Opera Journal 38, no. 4 (Dec. 2005): 57–62. The Lincoln Center’s live telecast of March 31, 2005 and DVD of the original production are compared, emphasizing their differences in approach.

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704. Knapp, Shoshana Milgram. “Difference and Sameness: Tarchetti’s Fosca, Scola’s Passione d’Amore, and Sondheim’s Passion.” In Goodhart, pp. 101–19. Sameness and difference are critical in all three works under discussion. In Passion, the love relationship of Fosca and Giorgio is treated differently than in its two predecessors, both of which were sources for the musical. 705. Konas, Gary. “Passion: Not Just Another Simple Love Story.” In Gordon, pp. 205–22. Passion possesses an intricate musical structure and a dark, dreamlike atmosphere. Konas employs Jungian archetypes and symbols in his discussion of the work. THE PHANTOM OF THE OPERA (1986) 706. Corliss, Richard. “Phantom Mania.” Time, 1 March 1993, 58–59. In addition to the version by Lloyd Webber, other Phantom musicals exist, including Ken Hill’s Phantom of the Opera, Phantom, Drury Lane’s Phantom of the Opera, The Hirschfeld Phantom of the Opera, John Kenley’s Phantom of the Opera, and The Pinchpenny Phantom of the Opera. 707. Perry, George. The Complete “Phantom of the Opera.” London: Pavilion, 1987 and New York: Henry Holt, 1988. 171 p. ISBN 0-8050-0657-5. ML410.L78. Chronicling the saga of The Phantom of the Opera from the creation of the Paris Opera House and its legends through Gaston Leroux’s novel and various ﬁlm versions of the tale—all lavishly illustrated—Perry provides a historical basis for his discussion of the Lloyd Webber musical. Production photos and the complete libretto are also included. 708. Tylor, Marcus. The Phantom of the Opera: The First Year Backstage 1986–1987. n.p.: Marcus Tylor, 2008. 230 p. ISBN 0-9556-8200-2. This photo archive of 220 medium-resolution backstage images also serves as a catalogue of high-resolution images available from the author. PINS AND NEEDLES (1937) 709. Wright,Trudi Ann. “Labor Takes the Stage: A Musical and Social Analysis of Pins and Needles.” Ph.D. dissertation (musicology), University of Colorado at Boulder, 2010. 168 p.

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Wright examines the International Ladies’ Garment Workers’ Union (ILGWU)’s pro-labor revue, its social and cultural contexts, sketches, songs, and legacy. PIPE DREAM (1955) See 653. POCAHONTAS (1855) 710. Brooks, William. “Pocahontas, Her Life and Times.” American Music 2, no, 4 (winter 1984): 19–48. John Brougham and James C. Maeder’s “burlesque extravaganza” was a parody whose references included the theater itself, Shakespeare, the nature of history, the rise of historical consciousness, linguistic idioms, and music. Over one-third of Pocahontas includes music; most (or perhaps all) of its songs were parodies of existing pieces (p. 32). PORGY AND BESS (1935) 711. Allen, Ray, and George P. Cunningham. “Cultural Uplift and DoubleConsciousness: African American Responses to the 1935 Opera Porgy and Bess.” Musical Quarterly 88, no. 3 (fall 2005): 342–69. African-American reception of Porgy and Bess is investigated within contexts of an ideology of cultural and racial uplift, the notion of doubleconsciousness, and a desire to offer a more democratic vision of American culture through elevating black artists and art. 712. Alpert, Hollis. The Life and Times of “Porgy and Bess”: The Story of an American Classic. New York: Knopf, 1990. 354 p. ISBN 0-394-58339-6. ML410.G288A68. Alpert discusses the development, critical reception, performance history (both in the United States and abroad), stage versions, ﬁlm version, and other aspects of Porgy and Bess. Although there is not a table of contents, there is an index. Color reproductions of posters for various productions, including ones in Berlin, La Scala, and Warsaw, are included. 713. Davis, Andrew, and Howard Pollack. “Rotational Form in the Opening Scene of Gershwin’s Porgy and Bess.” Journal of the American Musicological Society 60, no. 2 (summer 2007): 373–414.

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The opening scene of Porgy and Bess demonstrates a considerably complex architectural design, with two alternating themes becoming conjoined to form the subject of a climatic fugue. This teleological genesis in the music parallels the scene’s dramatic structure. 714. Hamm, Charles. “The Theatre Guild Production of Porgy and Bess.” Journal of the American Musicological Society 40, no. 3 (fall 1987): 495–532. Using materials from the original Theatre Guild production, Hamm reconstructs the work as it was ﬁrst staged and in the form the composer desired it to be played. He asserts that this version should be the model for modern performances, as opposed to an uncut score that dates from before the work’s tryout in Boston, when cuts were made. 715. Horn, David. “Who Loves You Porgy? The Debates Surrounding Gershwin’s Musical.” In Lawson-Peebles, pp. 109–26. Horn cites two major debates surrounding Porgy and Bess: aesthetic (Is it an opera or a musical?) and race. The issue of race was at the heart of the cancellation of a “community” performance by the Royal Liverpool Philharmonic Society in 1989 due to opposition by a local black arts organization that claimed the images of African Americans would cause offense and reinforce existing prejudices. 716. Nauert, Paul. “Theory and Practice in Porgy and Bess: The GershwinSchillinger Connection.” Musical Quarterly 78, no. 1 (spring 1994): 9–33. Gershwin’s studies with Joseph Schillinger inﬂuenced the composer’s technique, evident through Schillinger-based analyses of passages from Porgy and Bess. 717. Reynolds, Christopher. “Porgy and Bess: “An American Wozzeck.” Journal of the Society for American Music 1, no. 1 (February 2007): 1–28. In Porgy and Bess, Gershwin pays homage to Wozzeck through discernable, shared structural elements. 718. Shirley, Wayne D. “‘Rotating’ Porgy and Bess.” In The Gershwin Style: New Looks at the Music of George Gershwin, edited by Wayne Schneider, pp. 21–34. New York and Oxford: Oxford University Press, 1999. ISBN 0-19-509020-9. ML410.G288G49 1999. In his sketches for Porgy and Bess, Gershwin determined four rotations for the Porgy motive, following his teacher Joseph Schillinger’s technique. Some of these rotations made it into the ﬁnal version of the work. 719. Starr, Lawrence. “Toward a Reevaluation of Gershwin’s Porgy and Bess.” American Music 4, no. 2 (summer 1984): 25–37.

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Starr discusses the dramatic work as an opera, looking at character illumination, unifying musical devices, recitative, and arias. THE PRODUCERS (1968 FILM, 2001) 720. Baber, Katherine. “‘The Jew who Buried Hitler’: Music and Identity in Mel Brooks’s The Producers.” ISAM (Institute for the Study of American Music) Newsletter 35, no. 2 (spring 2006): 6–7. The stage and subsequent ﬁlm musical versions of The Producers address, through characteristic parody, the Black-Jewish dialogue inherent in both musical theater and Brooks’ own work. 721. Brooks, Mel, and Tom Meehan. “The Producers”: The Book, Lyrics, and Story behind the Biggest Hit in Broadway History! How We Did It. New York: Roundtable Press, 2001. 224 p. ISBN 0-7868-6880-5. ML50.B874. The creators of the musical The Producers discuss the process of transforming Mel Brooks’ 1968 cult ﬁlm for Broadway, including revising the ﬁnal sequence to give an eleven-minute song to star Nathan Lane (“Betrayed”). An annotated libretto illustrated with production photos constitutes most of the coffee-table volume. 722. Denman, Jeffry. A Year with “The Producers.” With a foreword by Matthew Broderick. New York and London: Routledge, 2002. 187 p. ISBN 0-878-30154-2. PN2287.D463. A chorus member in The Producers who had several small roles in the show, including the Blind Violinist, the Little Wooden Boy, FDR, and Scott the choreographer, relates his experience in The Producers from the initial casting call to the Tony Awards ceremony and Denman’s going on as an understudy for Leo Bloom. In a series of daily journal entries, Denman discusses many aspects of the show’s creation and evolution from a performer’s perspective. 723. Müller, Ulrich. “Springtime for Hitler: Der Nationalismus im BroadwayMusical— The Producers (2001)” (“Springtime for Hitler: Nationalism in Broadway Musicals— The Producers (2001).” In Musikegeschichte als Verstehensgeschichte: Festschrift für Gernot Gruber zum 65. Geburtstag, ed. Joachim Brügge et al., 683–98. Tutzing: Hans Schneider, 2004. ISBN 978-3-7952-1173-8. The ridicule of National Socialism in The Producers is treated from a German perspective. The essay is in German. 724. Nisse, Jason, and Hannah Cleaver. “Showtime for Hitler in Germany; The Producers: Mel Brooks’s Classic Musical Spoof of the Nazi Era Is to Be Staged in Berlin.” Independent on Sunday (London), 3 March 2002, 3.

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Clear Channel Entertainment announces plans to produce the show in Sydney, London, Vienna, and Berlin. It will be translated into German, with some changes made for the German sense of humor, but keeping all of the tasteless Hitler jokes. 725. Sebesta, Judith. “From Celluloid to Stage: The ‘Movical,’ The Producers, and the Postmodern.” Theatre Journal 56 (2003): 97–112. The Producers exempliﬁes postmodern trends in creating stage musicals based on ﬁlms. QUEST FOR CAMELOT (1998 FILM) 726. Everett, William A. “King Arthur in Popular Musical Theatre and Film.” In King Arthur in Music, edited by Richard Barber, pp. 145–60. Cambridge: D. S. Brewer, 2002. ISBN 0-8599-1767-3. ML3849. Discussed in the broader context of Arthurian musicals, the songs in this ﬁlm are based largely on 1990s pop music styles and feature artists such as Celine Dion, Steve Perry, Leann Rimes, and The Corrs (pp. 158–60). RADIANT BABY (2003) 727. Singer, Barry. “Dancing All Night, Writing All Day.” New York Times, 16 February 2003, AR6. The biographical musical about visual artist Keith Haring includes a disco-inspired musical score by Debra Barsha. RAGS (1986) 728. Madison, William V. “Children of the Wind.” Opera News 67, no. 2 (August 2002): 50–51. Opera star Teresa Stratas starred in the ill-fated musical about a Jewish immigrant family in 1910. REGINA (1949) 729. Foradori, Anne Bill. “Marc Blitzstein’s Regina: A Pivotal Work in American Musical Theatre.” D.M.A. doc., The Ohio State University, 1994. 124 p. The author explores the musical techniques, dramaturgy, and reception history of Regina.

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RENT (1996) 730. Edwin, Robert. “The Bach to Rock Connection: Renting La Boheme.” Journal of Singing—The Ofﬁcial Journal of the National Association of Teachers of Singing 54, no. 1 (September–October 1997): 59–60. Rent is a landmark musical in a rock idiom that addresses social and cultural issues of the 1990s. 731. Giel, Kate, ed. “Rent”: Book, Music and Lyrics by Jonathan Larson as Directed by Michael Greif. Interviews and text by Evelyn MacDonnell with Katherine Silberger. New York: Rob Weisbach Books/William Morrow/Melcher Media, 1997. 160 p. ISBN 0-688-15437-9. ML50. L334R46 1997. An oversized book, the volume includes an oral history of the show along with the complete libretto, production photographs, and biographical sketches of performers and creators associated with the show. 732. Rapp, Anthony. Without You: A Memoir of Love, Loss, and the Musical “Rent.” New York: Simon & Schuster, 2006. 320 p. ISBN 0-743-26976-4. PN2287.R247 A3 2006. The actor who created the role of Mark Cohen in the original Broadway production (and in the ﬁlm) reﬂects on the show’s genesis and his own life at the time. 733. Savran, David. “Rent’s Due: Multiculturalism and the Spectacle of Difference.” Journal of American Drama and Theatre 14, no. 1 (winter 2002): 1–14. Rent became a marketable commodity through its non-realistic portrayals of racially and sexually diverse characters. 734. Schulman, Sarah. Stage Struck: Theater, AIDS, and the Marketing of Gay America. Durham, NC: Duke University Press, 1998. 176 p. ISBN 978-08223-2264-1. ML410.L2857 S38 1998. Schulman, who recognized much of her novel People in Trouble in Rent, investigates how gay and lesbian culture and the lives of people with AIDS are misrepresented in the musical in order to sell tickets. 735. Sebesta, Judith. “Of Fire, Death, and Desire: Transgression and Carnival in Jonathan Larson’s Rent.” Contemporary Theatre Review 16, no. 4 (2006): 419–38.

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Sebesta investigates Rent through the lens of Mikhail Bakhtin’s theories on carnival and the carnivalesque and demonstrates how Larson subverts and transgresses typical musical theatrical hierarchies and commodiﬁcations. RHAPSODY IN BLUE: THE STORY OF GEORGE GERSHWIN (1945 FILM) 736. Greenspan, Charlotte. “Rhapsody in Blue: A Study in Hollywood Hagiography.” In The Gershwin Style: New Looks at the Music of George Gershwin, edited by Wayne Schneider, pp. 145–59. New York and Oxford: Oxford University Press, 1999. ISBN 0-19-509020-9. ML410. G288G49 1999. Greenspan looks at the ﬁlm pseudobiography of Gershwin and discusses its ﬁctional characters and its use and choice of music for entertainment and patriotic purposes. She includes a guide to the ﬁlm’s ﬁfty-nine musical cues. ROAD SHOW (2008) 737. Roost, Alisa C. “Road Show.” Theatre Journal 61, no. 4 (Dec. 2009): 624–26. John Doyle’s 2008 production at the Public Theater in New York is reviewed, highlighting the musical’s genesis (as Wise Guys in 2000 and Bounce in 2003) and unconventional elements. ROBIN HOOD (1890) 738. Krasner, Orly Leah. “To Steal from the Rich and Give to the Poor: Reginald de Koven’s Robin Hood.” In Images of Robin Hood: Medieval to Modern, edited by Lois Potter and Joshua Calhoun, pp. 242–55. Newark: University of Delaware Press, 2008. ISBN 978-0-87413-003-4. PR2129.163 2008. Krasner discusses the production history and music of Robin Hood. 739. Stedman, Jane. “They Hey! For the Merry Greenwood: Smith and de Koven and Robin Hood.” Journal of Popular Culture 12, no. 3 (winter 1978): 432–45. Harry B. Smith and Reginald de Koven’s collaboration on Robin Hood resulted in the popular light opera that launched de Koven’s compositional career.

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ROCKY HORROR SHOW (1973) 740. Taylor, Millie. “‘Don’t Dream It, Be It’: Exploring Signiﬁcation, Empathy and Mimesis in Relation to The Rocky Horror Show.” Studies in Musical Theatre 1, no. 1 (2007): 57–71. As an extreme case of audience interaction and mimicry, The Rocky Horror Show is explored as an example of the way in which audiences respond to performance, addressing both signiﬁcation and reception. ROSE-MARIE (1924) 741. Everett, William A. “Formulating American Operetta in 1924: Friml’s Rose-Marie and Romberg’s The Student Prince.” American Music Research Center Journal 11 (2001): 15–33. The score of Rose-Marie included Indianist identiﬁers and Tin Pan Alley styles, while The Student Prince relied on European-style waltzes and marches alongside Tin Pan Alley-inspired numbers. The two shows collectively helped deﬁne an American style of operetta in 1924. THE ROTHSCHILDS (1970) 742. Davis, Christopher. The Producer. New York: Harper & Row, 1970. 321 p. SBN 0-06-010994-7. PN2287.E4. The book chronicles The Rothschilds from its conception through opening night. THE SECRET GARDEN (1991) 743. Olson, Marcus J. “The Secret Garden by Marsha Norman and Lucy Simon: A Creative Thesis in Directing.” Master’s thesis, Miami University, 1996. 175 p. Following a history and analysis of the musical, the author provides an account of the process and approach in his own production of the musical. 744. Rich, Frank. “Garden: The Secret of Death and Birth.” New York Times, 26 April 1991, C1, 27. The musical explores every metaphor in Frances Hodgson Burnett’s 1911 novel, emphasizing subtext more than text. Rich found Mandy Patinkin’s performance to be about himself and the musical as a whole to be “cluttered” and “scattershot.”

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745. Tyler, Lisa. “‘This Haunted Girl’: Marsha Norman’s Adaptation of The Secret Garden.” In Marsha Norman: A Casebook, edited by Linda Ginter Brown, pp. 133–44. New York: Garland, 1996. ISBN 0-8153-1352-7. PS3564.O623 Z78 1996. Norman’s changes to Burnett’s novel include expanding Archibald Craven’s character, shifting the narrative’s focus from the children to Archibald, and including ghosts (“Dreamers”). Tyler discusses these and other alterations and their implications. SEUSSICAL (2000) 746. Scott, A.O. “Sense and Nonsense.” New York Times Magazine, 26 November 2000, 48–52, 105. Both the Broadway musical Seussical and the ﬁlm How the Grinch Stole Christmas seem unconcerned with the subtleties that made Dr. Seuss books classics, replacing “keen psychological insights” with “incoherent psychobabble” (p. 105). THE SEVEN LIVELY ARTS (1944) 747. Schuster-Craig, John. “Stravinsky’s Scènes de Ballet and Billy Rose’s The Seven Lively Arts: The Abravanel Account.” In Music in the Theater, Church, and Villa: Essays in Honor of Robert Lamar Weaver and Norma Wright Weaver, edited by Susan Parisi, pp. 285–90. Warren, MI: Harmonie Park Press, 2000. ISBN 0-899-90092-5. ML55. Igor Stravinsky wrote the ballet for Rose’s revue, cuts in which were made at Rose’s insistence. Many questions remain about the work. SHOW BOAT (1927) 748. Axtell, Katherine Leigh. “Maiden Voyage: The Genesis and Reception of Show Boat, 1926–1932.” Ph.D. dissertation (Musicology), University of Rochester, Eastman School of Music, 2009. 531 p. Axtell explores the musical from Kern’s proposal to adapt Ferber’s novel through its ﬁrst, albeit brief, Broadway revival in 1932. She asserts that the musical relied heavily on generic expectations of operetta, musical comedy, vaudeville, and revue. She also investigates the collaborative process of the show’s creation, its success in 1927, the importance of the 1932 revival, and interpolated numbers.

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749. Breon, Robin. “Show Boat: The Revival, The Racism.” Drama Review 39, no. 2 (summer 1995): 86–105. The controversy regarding portrayals of African Americans and social history in Show Boat are addressed in the context of the 1993 Harold Prince revival. 750. Decker, Todd. “‘Do You Want to Hear a Mammy Song?’: A Historiography of Show Boat.” Contemporary Theatre Review 19, no. 1 (2009): 8–21. The reception history of Show Boat from the 1940s through the early twenty-ﬁrst century reveals its changing reputation and meaning, particularly concerning the interplay between racial representation, text, and performance. 751. Henry, William A. III. “Rough Sailing for a New Show Boat.” Time, 1 November 1993, 84–85. The Harold Prince production of Show Boat that played in Toronto before going to New York generated race-related protests because of its portrayal of African Americans. The reviewer felt that miscasting abounded in the grandiose staging of the classic musical. 752. Kreuger, Miles. “Showboat”: The Story of a Classic American Musical. New York: Oxford University Press, 1977. Reprint, New York: Da Capo, 1990. 246 p. ISBN 0-306-80401-8. ML410.K385K7 1990. An in-depth chronicle of Show Boat from Edna Ferber’s novel through the groundbreaking stage version and various ﬁlm adaptations, Kreuger offers a wealth of information about the show, its creators, and its stars. Appendices list major productions, the evolution of the musical score (noting its additions and deletions), ﬁlm credits, radio versions, and recordings. 753. Lewis, Anne. “An Examination of the Female Lead Roles in Show Boat as a Model for Gender-Based Performance Practice.” D.M.A. dissertation, University of North Carolina, Greensboro, 2005. 126 p. Stereotypes of contemporaneous gender roles provide a basis for the creation of an informed performance practice for the female lead roles in Show Boat. 754. McMillin, Scott. “Paul Robeson, Will Vodery’s ‘Jubilee Singers,’ and the Earliest Script of the Kern-Hammerstein Show Boat.” Theatre Survey 41, no. 2 (Nov. 2000): 51–70. Based on an early typescript for the show, McMillin discusses the differences between it and the ﬁnal version, contending that the real source of racism in both the novel and the musical rests in 1920s culture.

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755. Mordden, Ethan. “Show Boat Crosses Over.” New Yorker, 3 July 1989, 79–94. Show Boat has had many manifestations in its history on stage, screen, and disc. Mordden discusses the show’s legacy and provides a history of its performance practices and interpretations. 756. Traubner, Richard. “Maiden Voyage.” BBC Music Magazine Special Issue (1999): 24–27. Traubner discusses the staying power and legacy of Show Boat. SHREK THE MUSICAL (2008) 757. Brater, Jessica, Jessica Del Vecchio, Andrew Friedman, Bethany Holmstrom, Eero Laine, Donald Levit, Hillary Miller, David Savran, Carly Grifﬁn Smith, Kenn Watt, Catherine Young, and Peter Zazzali. “‘Let Our Freak Flags Fly’: Shrek the Musical and the Branding of Diversity.” Theatre Journal 62, no. 2 (May 2010): 151–72. DreamWorks’s diversity-themed marketing strategy for Shrek the Musical is contradicted through the overt racial stereotyping of Donkey. SING FOR YOUR SUPPER (1939) 758. Lehac, Ned. “The Story of Sing for Your Supper: The Broadway Revue Produced by the Federal Theatre Project.” In Loney, pp. 187–97. Ned Lehac, one of the creative team behind Sing for Your Supper, recalls his experiences with the revue, what he calls “the most ambitious musical production of the whole [Federal Theatre P]roject” (p. 187). The show, which received strong reviews, closed after three months when Congress stopped funding the Federal Theatre Project. SINGIN’ IN THE RAIN (1951 FILM) 759. Ewing, Marilyn M. “‘Gotta Dance!’: Structure, Corruption, and Syphilis in Singin’ in the Rain.” Journal of Popular Film & Television 34, no. 1 (spring 2006): 12–23. “The Broadway Ballet” in Singin’ in the Rain alludes to the darker aspects of the ﬁlm industry. 760. Hess, Earl J., and Pratibha A. Dabholkar. “Singin’ in the Rain”: The Making of An American Masterpiece. Lawrence: University Press of Kansas, 2009. 331 p. ISBN 978-07006-1656-5. PN1997.S5133 H47 2009.

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A detailed investigation of the ﬁlm from its original concept through its Hollywood premiere. 761. Wollen, Peter. Singin’ in the Rain. London: British Film Institute, 1992. 72 p. (BFI Film Classics.) ISBN 0-85170-3512-8. PN1997.S5133. This study investigates the background of the ﬁlm, emphasizing the numbers “Singin’ in the Rain,” “Make ‘em Laugh” and “Broadway Ballet” and Gene Kelly’s heavy involvement in the ﬁlm both as its star and codirector/ choreographer. Kelly’s political activities and their impact on the ﬁlm are discussed, as is the ﬁlm’s self-reﬂexivity and subject matter, namely the inherent relationship between ﬁlm and dance and the coming of the sound motion picture. The book includes black-and-white and color stills. THE SOUND OF MUSIC (1959, 1965 FILM) 762. Dyer, Richard. “The Sound of Music.” In Only Entertainment, second edition, pp. 46–59. New York and London: Routledge, 2002. ISBN 978-0415-25496-0 (cloth). PN1590.S6 D94 2002. Dyer investigates oppositions in the ﬁlm, between order and freedom— evoked through both narrative and music—and between classes, the image and performance of Julie Andrews, and the role of ideologies concerning nationalism and marriage in the ﬁlm. The essay was ﬁrst published in Movie 23 (1976–77). 763. Ellis, Sarah T. “Establishing (and Re-establishing) a Sense of Place: Musical Orientation in The Sound of Music.” Studies in Musical Theatre 3, no. 3 (2009): 277–83. In the ﬁlm version of The Sound of Music, concepts of space and place are embedded visually and through reiterative musical performance. 764. Wilk, Max. The Making of “The Sound of Music.” New York and London: Routledge, 2007. 115 p. ISBN 978-0-415-97934-4. ML410.R616 W49 2007. Wilk discusses the evolution of the show, from its ﬁrst ideas to eventual triumph, ﬁlm version, and revival. An appendix includes production notes by Ken Bloom. 765. Wilk, Max. Overture and Finale. New York: Back Stage Books, 1999. 200 p. ISBN 0-8230-8820-0. ML410.R6315. While the ﬁrst part of the book is a revised reprint of the author’s earlier book on Oklahoma! (See entry 697), the “Finale” discusses The Sound of Music in three versions: the original 1959 stage production, Robert Wise’s 1965 ﬁlm, and the 1998 Broadway revival.

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SOUTH PACIFIC (1949, 1958 FILM, 2001 TELEVISION) 766. Everett, William A. “South Paciﬁc and Nostalgia.” In On Bunker’s Hill: Essays in Honor of J. Bunker Clark, edited by William A. Everett and Paul R. Laird, pp. 255–62. Sterling Heights, MI: Harmonie Park Press, 2007. ISBN 0-89990-138-7. ML160.O63 2007. Nostalgia is manifested in various ways in South Paciﬁc through its text and performance history. 767. Gracewood, Jolisa Margaret. “All At Sea: Literature of the Paciﬁc War.” Ph.D. dissertation (Comparative literature), Cornell University, 2005. 327 p. Gracewood discusses South Paciﬁc as providing source material for the idea of the expendable and ambivalent “khaki castaway,” a person who ﬁnds himself stranded in the Paciﬁc for ofﬁcial reasons. 768. Klein, Christina. “Family Ties as Political Obligation: Oscar Hammerstein II, South Paciﬁc, and the Discourse of Adoption.” In Cold War Orientalism: Asia in the Middlebrow Imagination, 1945-1961, pp. 143–90. Berkeley: University of California Press, 2003. ISBN 0-520-22469-8. DS33.4.U6K55 2003. In her monograph on Orientalism in America during the Cold War, Klein discusses the end of South Paciﬁc as a romantic vision of the hybrid multinational family and likewise America’s image as an adoptive parent of Asian children. International adoption, as in the ﬁctional South Paciﬁc and the real-life Hiroshima Maidens and Christian Children’s Fund, helped foreground the concept that US–Asia relations were voluntary and diplomatic rather than forced and imperialist. 769. Lovensheimer, James Alan. “The Musico-Dramatic Evolution of Rodgers and Hammerstein’s South Paciﬁc.” Ph.D. dissertation (Musicology), The Ohio State University, 2003. 283 p. Lovensheimer studies the musico-dramatic evolution of South Paciﬁc and provides insights into the show’s structural, thematic, and character changes and the reasons behind them, including attitudes toward race and women during the Cold War. 770. Lovensheimer, Jim. “South Paciﬁc”: Paradise Rewritten. Broadway Legacies. New York and Oxford: Oxford University Press, 2010. 283 p. ISBN 978-0-19-537702-6. ML2054.L68 2010. In this, the inaugural volume of OUP’s Broadway Masters series, Lovensheimer discusses the creation of South Paciﬁc, including its origins in James Michener’s novel and the show’s various drafts, in addition to

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the musical’s complex messages regarding race, gender, and colonialism in light of Cold War-era American norms. He also discusses why the work has endured. 771. Román, David, and Zachary Wolf. “South Paciﬁc.” Theatre Journal 61, no. 2 (May 2009): 299–301. In their review of the 2008 Lincoln Center revival, directed by Bartlett Sher, the authors conclude with it being “lovely beyond description.” 772. Weeks, Jerome. “Lost Horizons: A Shrewd South Paciﬁc Revisits Heartache, Colonialism, and World War II.” American Theatre 16, no. 6 (July–August 1999): 47–48. The starkness of the Dallas Theatre Center production reviewed here emphasizes the show’s “lonely, ﬂawed humans stuck on a wartime island.” See 560, 620, 685. SPRING AWAKENING (2006) 773. Vandevender, Bryan M. “A Substitute for Love: The Performance of Sex in Spring Awakening.” Studies in Musical Theatre 3, no. 3 (2009): 293–302. Spring Awakening employs song and dance to directly represent and deploy teenage sexuality. STREET SCENE (1947) 774. Lee, Joanna, Edward Harsh, and Kim H. Kowalke, eds. “Street Scene”: A Sourcebook. 2nd ed. New York: Kurt Weill Foundation, 1996. 74 p. (Sibley Music Library.) ML410.W4218 S915 1994. Published by the Kurt Weill Foundation, the book includes information on the show. 775. Stempel, Larry. “Street Scene and the Enigma of Broadway Opera.” In A New Orpheus: Essays on Kurt Weill, edited by Kim H. Kowalke, pp. 321–41, New Haven, CT: Yale University Press, 1986. ISBN 0-300-03514-4. ML410. W395N5 1986. Stempel discusses the problems of generic classiﬁcation within Street Scene and compares Anna Maurrant’s “Aria” in Street Scene with Billy Bigelow’s “Soliloquy” in Carousel.

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776. Thornhill, William. “Kurt Weill’s Street Scene.” Ph.D. dissertation, University of North Carolina, Chapel Hill, 1990. 318 p. The ﬁrst section of the dissertation traces the development of Street Scene from Weill’s original conception, based on Elmer Rice’s play, to the Broadway version. Tables list marginalia in Weill’s copy of the play and comparisons between the play and the musical. Weill’s letters and other primary source materials form the basis of the discussion of the evolution of the work. The second section examines Weill’s American writings on opera and musical comedy, focusing on his notion of how to cultivate a middle ground between the two approaches, furthering ideas he fostered in Europe. The third and ﬁnal section argues that Street Scene is a practical realization of Weill’s ideological writings about musical theater. The author addresses the impact of ﬁlm music and ﬁlm composers on Broadway musicals and discusses Weill’s use of gestic music, a technique through which music articulates the essential nature, character, and form of the stage action. An appendix details the evolution of Weill’s Street Scene, showing correspondences and differences with the original play. STRIKE UP THE BAND (1930) 777. Pirie, Joan. “Winning the Battle and Losing the War: The 1927 Strike Up the Band.” In Loney, pp. 253–56. The early version of the Gershwin classic did not succeed, at least in part because of its cynicism. The musical was a war satire, but addressed other contemporary issues as well. THE STUDENT PRINCE (1924) 778. Everett, William A. “Golden Days in Old Heidelberg: The First-act Finale of Romberg’s The Student Prince.” American Music 12, no. 3 (1994): 255–82. The ﬁrst-act ﬁnale of The Student Prince is an integrated musical-dramatic scene that includes reprises and new material (“Serenade”) along with plenty of marches and waltzes to satisfy the requirements of the genre. See 741. SUNDAY IN THE PARK WITH GEORGE (1984) 779. Bonahue, Edward T., Jr. “Portraits of the Artist: Sunday in the Park with George as ‘Postmodern’ Drama.” In Gordon, pp. 171–85.

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Bonahue argues that Sondheim’s philosophy of art is essentially conservative and traditional. 780. Olley, Frank. “A Cathedral to Art.” In Goodhart, pp. 199–208. Olley compares Sunday to Jacobean theater of the early seventeenth century, noting similarities between Sunday and Shakespeare’s Winter’s Tale and Tempest in their portrayal of chronological time that is in reality illusionary. 781. Symonds, Dominic. “Putting It Together and Finishing the Hat? Deconstructing the Art of Making Art.” Contemporary Theatre Review 19, no. 1 (2009): 101–12. Symond’s deconstruction of the rhetoric of composition asks whether the putting together of materials (dots, notes) serves to reveal meaning or obscures and obfuscates what lies beyond the materials. SUNSET BOULEVARD (1993) 782. Henry, William A. III. “Finally Ready for Her Close-Up.” Time, 20 December 1993, 66. Minor adjustments for the Los Angeles production of Sunset Boulevard improved the London original. Differences in casting (Patti LuPone and Kevin Anderson in London, Glenn Close and Alan Campbell in Los Angeles) and interpretation are brieﬂy discussed. 783. Perry, George C. “Sunset Boulevard”: From Movie to Musical. With a foreword by Andrew Lloyd Webber. London: Pavilion Books and New York: Henry Holt and Company, 1993. 169 p. ISBN 0-8050-2927-3. ML410.L78P52 1993 (SLU). The coffee-table book of the musical includes information on the ﬁlm, its real-life inspirations and stars, the development of the musical, a full-color photographic summary of the London production, and the libretto. SWEENEY TODD, THE DEMON BARBER OF FLEET STREET (1979) 784. Blyton, Carey. “Sondheim’s Sweeney Todd—A Case for the Defence.” Tempo 149 (June 1984): 19–26. Blyton argues that Sweeney Todd is an opera rather than a musical. 785. Fullerton, James Graeme. “The Grotesque in Twentieth-Century Opera.” Ph.D. dissertation, City University of New York, 2006. 2006 p.

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Fullerton investigates ﬁve operas in his study of the grotesque (deﬁned in the dissertation’s abstract as “a juxtaposition of two or more elements that are typically considered discrete, but when mixed together generate a complex reaction”), one of which is Sweeney Todd. 786. Mack, Robert L. The Wonderful and Surprising History of Sweeney Todd: The Life and Times of an Urban Legend. London and New York: Continuum, 2007. 395 p. ISBN 978-0-8264-9791-8. Included in this comprehensive study of the story of Sweeney Todd are the musical and its subsequent ﬁlm version (pp. 260–89, 300–306). Mack discusses the close relationship between the musical and the Christopher G. Bond play on which it was based as well as the inﬂuence of the ﬁlm Hangover Square (and Bernhard Herrmann’s score for the ﬁlm) on the development of the musical. 787. Mack, Robert L., ed. Sweeney Todd: The Demon Barber of Fleet Street. Oxford and New York: Oxford University Press, 2007. 300 p. ISBN 978-019-954344-1. Mack includes a section “‘More Hot Pies’: Stephen Sondheim’s Sweeney” (pp. xxii–xviii) in the introduction to his edition of A String of Pearls, the narrative of Sweeney Todd ﬁrst published in 1846–47. 788. Marchesani, Joseph. “Arresting Development: Law, Love, and the Nameof-the-Father in Sweeney Todd.” In Goodhart, pp. 171–85. Using the model of Jacques Lacan, Marchesani traces Sweeney’s psychological stages as imaginary (naïve), symbolic (sense of injustice), and real (psychotic break). 789. Mollin, Alfred. “Mayhem and Morality in Sweeney Todd.” American Music 9 (1991): 405–17. Sweeney Todd and Mrs. Lovett differ in their motivations for mass murder, and are likewise punished (killed) in appropriately different ways. 790. Schlesinger, Judith. “Psychology, Evil, and Sweeney Todd, or, ‘Don’t I Know You, Mister?’ ” In Gordon, pp. 125–41. A professional therapist, Schlesinger discusses the different manners of madness evident in the musical, showing relationships between the characters, the audience, and society. 791. Taylor, Millie. “Integration and Distance in Musical Theatre: The Case of Sweeney Todd.” Contemporary Theatre Review 19, no. 1 (2009): 74–86. Using Sweeney Todd as a case study, Taylor demonstrates how song, dance, and narrative can over-code each other and reveal different aspects

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of a situation, atmosphere, or character, thus creating distance in a show perceived as “integrated.” SWEET CHARITY (1966, 1969 FILM) 792. Dyer, Richard. “Sweet Charity.” In Only Entertainment, 2nd ed., pp. 60–63. New York and London: Routledge, 2002. ISBN 978-0-41525496-0 (cloth). PN1590.S6 D94 2002. Sweet Charity critiques the genre’s “gospel of happiness” through four areas: religion, love, entertainment, and friendship. The short essay was ﬁrst published in The Movie 75 (1981). SWEET SMELL OF SUCCESS (2002) 793. Anderson, Kurt. “Only Gossip.” New York Times Magazine, 3 March 2002, 50–55, 116. The role of celebrity gossip, central to the plot of Sweet Smell of Success, changed radically from 1957 when the ﬁlm was released, and 2002 when the musical appeared. THE SWORD IN THE STONE (1963 FILM) 794. Everett, William A. “King Arthur in Popular Musical Theatre and Film.” In King Arthur in Music, edited by Richard Barber, pp. 145–60. Cambridge: D. S. Brewer, 2002. ISBN 0-859-91767-3. ML3849. The music of the Disney animated feature is typical of the genre—the songs, all of which are quite brief, emerge from and return to the musical underscoring (pp. 156–58). Merlin’s music is reminiscent of that of Arthur in Lerner and Loewe’s Camelot. TARZAN (2006) 795. Lassell, Michael. Tarzan: The Broadway Adventure. New York: Disney Editions, 2007. 160 p. ISBN 978-1-4231-0085-0. ML410 C7355 L277 2007 (Yale University). The companion book to the Disney musical chronicles the creation of the show and is ﬁlled with rehearsal and production photographs. THIS IS SPINAL TAP (1984 FILM) 796. Covach, John. “Stylistic Competencies, Musical Satire, and This Is Spinal Tap.” In Concert Music, Rock, and Jazz since 1945: Essays and Analytical

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Studies, edited by Elizabeth West Marvin and Richard Hermann, pp. 399–421. Rochester: University of Rochester Press, 1995. ISBN 1-878822-42-X. ML160.C737 1995. The rockumentary of a ﬁctitious British heavy metal band relies on humor, musical and otherwise, for much of its effect. Covach investigates three numbers from the ﬁlm, “Heavy Duty,” “Cups and Cakes,” and “(Listen to the) Flower People,” noting their intrinsic musical and relational dimensions and how each elicits an amused response from the audience. THIS IS THE ARMY (1942) 797. Anderson, Alan. The Songwriter Goes to War. Foreword by Mary Ellin Barrett. Pompton Plains, NJ: Limelight, 2004. 224 p. ISBN 0-87910-304-3. ML410.B499 A53 2004. Anderson provides a history of the all-Army revue. 798. Magee, Jeffrey. “Irving Berlin’s Musical Theater of War.” Institute for Studies in American Music Newsletter 36, no. 2 (spring 2007): 1–2, 10–11. The World War II revue is discussed. THOU SHALT NOT (2001) 799. Midgette, Anne. “A Tale Whose Time Has Come 134 Years after It Appeared.” New York Times, 21 October 2001, AR5, 22. Emile Zola’s 1867 novel Thérèse Raquin was the basis for two musical works in 2001: the musical Thou Shalt Not with music and lyrics by Harry Connick Jr. and directed and choreographed by Susan Strohman, and the opera Thérèse Raquin by Tobias Picker. THE THREEPENNY OPERA (1928) 800. Stephen Hinton, ed. The Threepenny Opera. Cambridge: Cambridge University Press, 1990. 229 p. (Cambridge Opera Handbooks.) ISBN 0-521-33026-2. ML410.W395 K87 1990. Hinton’s volume on The Threepenny Opera (Die Dreigroschenoper) by Bertolt Brecht and Kurt Weill explores the work’s genesis, ﬁrst performance, production history, progeny (including the orchestral suite, ﬁlm, novel, and revisions), and interpretations. The book also includes Brecht’s narration for a concert version of the work, a chapter on “The Threepenny

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Opera in America” by Kim H. Kowalke, correspondence between Hans Heinsheimer and Weill, essays on the work by Brecht, A. Ebbutt (Berlin correspondent for the Times [London]), Theodor Wiesengrund-Adorno, Ernst Bloch, Eric Blom, Walter Benjamin, and Hans Keller, a study of the work’s motifs by David Drew, and practical remarks on performance practice by Geoffrey Abbott. Hinton translated several of the essays from their original German language. TITANIC (1997) 801. Stone, Peter, and Maury Yeston. “Titanic”: The Complete Book of the Musical. New York: Applause, 1999. 174 p. ISBN 1-55783-355-9. ML50.Y48. Chronicling the creation of the musical Titanic, the book also includes a complete libretto with color production photographs. The show’s creators contributed essays on the historical Titanic, the difﬁculties in transferring history to the musical stage, and design sketches and model sets. Composer Maury Yeston provided remarks on the musical score. A TRIP TO CHINATOWN (1890) 802. Hardy, Camille. “Art Dancing on Broadway: Loie Fuller in A Trip to Chinatown.” In Loney, pp. 123–32. A Trip to Chinatown was innovative in many ways, one of which was Loie Fuller’s experimental dance style. UNCLE TOM’S CABIN (VARIOUS) 803. Riis, Thomas L. “The Music and Musicians in Nineteenth-Century Productions of Uncle Tom’s Cabin.” American Music 4, no. 3 (fall 1986): 268–86. Many types of music appeared in various productions of Uncle Tom’s Cabin during the nineteenth century. Performers such as George Campbell Howard composed their own songs, while Stephen Foster’s “My Old Kentucky Home,” originally called “Poor Uncle Tom, Good Night,” was written for an Uncle Tom’s Cabin show. Jubilee singers were an important feature of many companies in the 1870s, and newly composed songs by people such as James Bland and interpolations by performers were characteristic of the 1880s and 1890s.

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URBAN COWBOY (2003) 804. Green, Jesse. “How This Cowboy Got Lost in the City.” New York Times, 25 May 2003, AR 4. Lonny Price, director of Urban Cowboy, discusses problems with the musical and why it failed.

URINETOWN (2001) 805. Beggs, Anne. “‘For Urinetown is your town…’: The Fringes of Broadway.” Theatre Journal 62, no. 1 (March 2010): 41–56. Urinetown’s commercial and popular success combined with the show’s subversive satire recalibrate audience expectations for both satire and musical theater. Urinetown’s overt reﬂexive references to musical theater combine with its Brechtian and Kafkaesque approach to offer radical political critique in a middlebrow cultural form. 806. Drukman, Steven. “Go with the Flow.” Elle, September 2001, p. 190. The musical’s plot about a people’s revolt over being charged to urinate includes many pokes at musical theater conventions, both in John Carrata’s choreography and Mark Hollmann’s music. 807. McKinley, Jesse. “Fitting a Little Show into a Big House.” New York Times, 2 September 2001, AR 3, 5. “Urinetown Uptown? Her Moment Has Come.” New York Times, 2 September 2001, AR 5. Chronicling the musical’s genesis, Fringe production, and move to Broadway, the ﬁrst article includes quotes from Urinetown’s creators while the second focuses on Spencer Kayden, who plays Little Sally.

THE WALLEYE KID: THE MUSICAL (2005) 808. Bryant, Lei Ouyang. “Performing Race and Place in Asian America: Korean American Adoptees, Musical Theatre, and the Land of 10,000 Lakes.” Asian Music 40, no. 1 (winter–spring 2009): 4–30. In 2005 Theater Mu, an Asian American theater company based in Minneapolis, presented The Walleye Kid: The Musical. This overview of the show includes interviews with creators and audience members on its creation, context, and reception.

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WATCH YOUR STEP (1914) 809. Knapp, Margaret. “Watch Your Step: Irving Berlin’s 1914 Musical.” In Loney, pp. 245–52. Watch Your Step was Berlin’s ﬁrst complete score for Broadway. Harry B. Smith wrote the book and Irene and Vernon Castle were the stars. The revue exuded escapism and self-assuredness. WEST SIDE STORY (1957) 810. Bushard, Anthony. “From On the Waterfront to West Side Story, or There’s Nowhere Like Somewhere.” Studies in Musical Theatre 3, no. 1 (2009): 61–75. Musical and narrative parallels exist in On the Waterfront and West Side Story, both with scores by Bernstein. 811. Garebian, Keith. The Making of “West Side Story.” Oakville, ON, and Buffalo, NY: Mosaic Press, 1995. 160 p. ISBN 0-88962-652-9. ML410. B47G37 1995. Providing background information on the show’s creators, Garebian focuses on the collaborative process involved in the genesis of West Side Story, dubbing the show a concept musical because of its emphasis on physical movement to tell the story. Garebian asserts that the show was a milestone in Broadway history because no single element stood out above the rest, even choosing the descriptor “Symbiosis” as the title of the chapter describing the rehearsal process. 812. Mellers, Wilfrid. “West Side Story Revisited.” In Lawson-Peebles, pp. 127–36. Mellers reconsiders the score of West Side Story after hearing Bernstein’s complete recording, deciding that he did in fact like the love music as much as the hate music, contrary to his remarks in Music in a New Found Land (1964). 813. Miller, Derek. “West Side Story.” Theatre Journal 61, no. 3 (Oct. 2009): 479–81. In his review of a pre-Broadway performance in Washington, D.C. of Arthur Laurents’ production of West Side Story, Miller discusses the problems associated with the realism newly infused into the show through the use of Spanish and an emphasis on the gangs’ anger.

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814. Nash, Paul. “‘The Most Beautiful Sound I Ever Heard’: Liturgy, Religious Imagery and Symbolism in West Side Story.” Contemporary Theatre Review 19, no. 1 (Feb. 2009): 87–100. Liturgical elements and religious signiﬁers, both visual and aural, appear in West Side Story and reﬂect a sacralization of the Broadway musical. 815. Rigney, Mark. Deaf Side Story: Deaf Sharks, Hearing Jets, and a Classic American Musical. Washington, D.C.: Gallaudet University Press, 2003. 232 p. ISBN 978-1-5636-8145-5. ML2054 .R54 2003. The 2000 MacMurray College production featured students from the Illinois School for the Deaf as the Sharks and hearing students as the Jets. This is the story of that endeavor. 816. Sandoval-Sánchez, Alberto. “A Puerto Rican Reading of the America of West Side Story.” In José, Can You See?: Latinos On and Off Broadway, pp. 62–82. Madison: University of Wisconsin Press, 1999. ISBN 0-29916200-1. PN2270.H57 S26 1999. Urban spaces, racial politics, and stereotypes contribute to the problematic reception history of West Side Story. 817. Simeone, Nigel. Leonard Bernstein: West Side Story. Landmarks in Music since 1950. Farnham, UK, and Burlington, VT: Ashgate, 2009. 192 p. ISBN 978-0-7546-6484-0. ML410.B566S56 2009. Simeone provides detailed insights on West Side Story’s creative process, genesis, manuscripts, innovative musical score, and reception. He also investigates the original Broadway cast recording, which was made in a single day and a copy of which is included with the book. 818. Wells, Elizabeth. “West Side Story and the Hispanic.” Echo: A MusicCentered Journal 2, no. 1 (spring 2000). Online journal. West Side Story was a contemporary response to the Latin American dance craze that began in the 1930s and was part of mainstream American culture by the mid-1950s. 819. Wells, Elizabeth. “‘West Side Story’s: Changing Perspective on an American Musical.” Ph.D. dissertation, Eastman School of Music, 2004. 357 p. West Side Story demonstrates musical and cultural issues of the 1950s, mythical and literary archetypes, and questions of gender and ethnicity. The work also carries a myriad of interpretations and approaches and has its own mythology. See 676.

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WICKED (2003) 820. Cote, David. Wicked: The Grimmerie. Text and interviews by David Cote. Principal photography by Joan Marcus. New York: Hyperion, 2005. 193 p. ISBN 1-4013-0820-1. ML410.S42. Billed as “The Ofﬁcial Companion to the Broadway Musical” and designed to emulate Elphaba’s book of spells in the show, this lavishly illustrated book includes essays on Wicked, commentary from the creators and actors, and an integrated “The Songs and Story of Wicked” with lyrics and an abridged version of the libretto. 821. Laird, Paul. “The Creation of a Broadway Musical: Stephen Schwartz, Winnie Holzman, and Wicked.” In The Cambridge Companion to the Musical, 2nd ed., pp. 340–52. Drawing on a great deal of material gleaned from interviews with Schwartz, Laird chronicles the creation of Wicked. 822. Ross, Suzanne. The Wicked Truth: When Good People Do Bad Things. Glenview, IL: The Raven Foundation, 2007. 216 p. ISBN 978-1-60402982-6. BF698.R67 2007. Based on the critical theories of René Giraud, Ross investigates concepts of “the Myth,” good and evil, violence, self-realization, and the scapegoat as they are depicted in Wicked. She demonstrates how the musical deﬁes archetypical Myth tropes. 823. Wolf, Stacy. ‘Defying Gravity’: Queer Conventions in the Musical Wicked.” Theatre Journal 60, no. 1 (March 2008): 1–21. Wicked’s narrative and musical structure is rooted in recognizable conventions of the “integrated musical” that are subjected to queer and feminist reworkings. The principal relationship in Wicked is between two women who sing a large number of duets and are featured in a dance number. The most signiﬁcant male character is relegated to a secondary role. 824. Wolf, Stacy. “Wicked Divas, Musical Theater, and Internet Girl Fans.” Camera Obscura 65, vol. 22, no. 2 (May 2007): 38–71. The musical’s attraction to girl audiences has to do with its representation of divas, both as characters and as actors (the “double diva”), in fundamentally non-normative, and—according to Wolf—queer ways. THE WIZARD OF OZ (VARIOUS VERSIONS, INCLUDING 1939 FILM) 825. Fricke, John, Jay Scarfone, and William Stillman. “The Wizard of Oz”: The Ofﬁcial 50th Anniversary Pictorial History. New York: Warner Brooks, 1989. 245 p. ISBN 0-446-51446-2. PN1997.W593 F75 1989. The photographic essay pays tribute to the classic ﬁlm.

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826. Harmetz, Aljean. The Making of “The Wizard of Oz.” Introduction by Margaret Hamilton. New York: Delta, 1977, 1989. 332 p. ISBN 0-38529746-7. PN1997.W593. Many factors coalesced in the making of The Wizard of Oz, including the MGM studio, the script, the musical adaptation, casting, direction, stars, munchkins, costumes, sets, Technicolor, and special effects. 827. Rodman, Ronald. “‘There’s No Place Like Home’: Tonal Closure and Design in The Wizard of Oz.” Indiana Theory Review 19, nos. 1–2 (spring–fall 1998): 125–43. Rodman explores harmony and its relation to form in Herbert Stothart’s score, in which the music director incorporated songs by Harold Arlen and Yip Harburg. 828. Rushdie, Salman. The Wizard of Oz. London: BFI Publishing, 1992. 69 p. (BFI Film Classics.) ISBN 0-85170-300-3. PN1997.W593 R87 1992. The celebrated author offers personal insights and interpretations of the ﬁlm as he relates its narrative plot. Rushdie views the ﬁlm as a tale of exile that suggests imagination can produce reality and the only real home is the one we make ourselves. 829. Swartz, Mark Evan. Oz before the Rainbow: L. Frank Baum’s “The Wonderful Wizard of Oz” on Stage and Screen to 1939. Baltimore and London: John Hopkins University Press, 2000. 293 p. ISBN 0-80186477-1. PS3503.A923 W6385 2000. After the publication of The Wonderful Wizard of Oz in 1900, numerous versions of the book appeared on stage and screen. Swartz discusses these popular, though now largely forgotten works (stage musicals from 1902 to 1918 and silent ﬁlms from 1908 to 1925), providing insight not only into the works themselves but also into the arts of adaptation and marketing in American popular culture. YANKEE DOODLE DANDY (1942 FILM) 830. McGilligan, Patrick, ed. Yankee Doodle Dandy. Madison: University of Wisconsin Press, 1981. 239 p. (Wisconsin/Warner Bros. Screenplay Series.) ISBN 0-299-08470-1. PN1997.Y322 1981. In his introductory essay “The Life Daddy Would Have Liked to Live,” McGilligan describes the making of the George M. Cohan biopic, which in true Hollywood fashion, combined fact and ﬁction. He describes various aspects of the ﬁlm’s creation, including the casting of James Cagney in the lead role, Cohan’s involvement in its genesis, and reaction

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to the ﬁnished product. Lyrics for the Cohan songs used in the ﬁlm appear in a separate appendix. A YEAR WITH FROG AND TOAD (2003) 831. Pogrebin, Robin. “Uncutesy Shows: One Mom’s Quest.” New York Times, 20 April 2003, AR-5, 33. The secret of the children’s musical is that it doesn’t try too hard and is “quaint but not cutesy.” Other musicals geared toward children are mentioned, including Disney’s productions and Seussical. YIDL MITN FIDL (1936 FILM) 832. Walden, Joshua S. “Leaving Kazimierz: Comedy and Realism in the Yiddish Film Musical Yidl mitn Fidl.” Music, Sound, and the Moving Image 3, no. 2 (autumn 2009): 159–93. The 1936 Yiddish ﬁlm musical Yidl mitn Fidl, with a score by American composer Abraham Ellstein, features songs in the Yiddish theater tradition. Music plays a crucial role in the ﬁlm that aims to show and preserve the Jewish customs of the Polish shtetl in a comic romantic fantasy concerning escape from the Old World to the New. ZIEGFELD FOLLIES (VARIOUS) 833. Farnsworth, Marjorie. The Ziegfeld Follies. Introduction by Billie Burke Ziegfeld. New York: Bonanza Books, 1956. 194 p. PN2287.Z5. Lavishly illustrated with photographs, this history of Ziegfeld’s Follies pays homage to the shows themselves, their stars and creators, and Ziegfeld himself. With names such as Anna Held, Al Jolson, Will Rogers, Fanny Brice, Billie Burke, and Nora Bayes associated with the productions, the book is a valuable resource for information on early twentieth-century Broadway performers. 834. Ommen, Ann. “Legends of the Follies: Fact and Fiction in the Performance History of Three Songs from the Ziegfeld Follies.” Studies in Musical Theatre 1, no. 3 (2007): 245–58. The performance histories of three songs from Ziegfeld’s Follies—“Shine On, Harvest Moon,” “My Man,” and “A Pretty Girl Is Like a Melody”—are traced from their initial appearances through the renditions created for The Great Ziegfeld (MGM, 1936), separating the legends and exaggerations that arose concerning the numbers from the truth.

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835. Ommen van Der Merwe, Ann. The Ziegfeld Follies: A History in Song. Lanham, MD: Scarecrow, 2009. 278 p. ISBN 0-8108-6716-8. ML2054.V36 2009. A detailed guide to each edition of the Follies. 836. Tierney, Tom. Ziegfeld Follies: Paper Dolls in Full Color. New York: Dover, 1985. 32 p., printed one side only. ISBN 0-486-24811-9. Spanning ﬁfteen editions and ﬁfty years of Follies, full-color re-creations of two models and twenty-three lavish costumes provide a visual account of the spectacular and glamorous “Ziegfeld girls.” ZIEGFELD FOLLIES OF 1922 837. Cohen-Stratyner, Barbara Naomi. “Welcome to ‘Laceland’: An Analysis of a Chorus Number from The Ziegfeld Follies of 1922, as Staged by Ned Wayburn.” In Loney, pp. 315–21. The penultimate number in Ziegfeld Follies of 1922, “Laceland” ended with more than ﬁfty female chorus members on stage. Wayburn differentiated the chorus into smaller units in order create manageable group specialties.

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838. Bryer, Jackson R., and Richard A. Davison, editors. The Art of the American Musical: Conversations with the Creators. New Brunswick, NJ, and London: Rutgers University Press, 2005. 324 p. ISBN 0-8135-3612-X. ML1711.A77 2005. The book includes interviews with Lynn Ahrens and Stephen Flaherty, Jason Robert Brown, Betty Comden and Adolph Green, Sheldon Harnick, John Kander and Fred Ebb, Burton Lane, Arthur Laurents, Kathleen Marshall, Harold Prince, Stephen Sondheim, Susan Stroman, Charles Strouse, Tommy Tune, John Weidman, and George C. Wolfe. 839. Konas, Gary. “Working with the Boys: Women Who Wrote Musicals in the Golden Age.” In Coleman and Sebesta, pp. 92–129. Konas discusses the work of Dorothy Fields, Betty Comden, Carolyn Leigh, and Mary Rodgers in addition to providing brief assessments of other women who created for Broadway in the middle part of the twentieth century. COMPOSERS 840. Kasha, Al, and Joel Hirschhorn. Notes on Broadway: Conversations with the Great Songwriters. Chicago: Contemporary Books, 1985. 334 p. ISBN 0-8092-5162-0. ML385.K25 1985. Integrating commentary with quotes from the creators themselves, the authors present twenty-six Broadway songwriters: Burt Bacharach, Hal 171

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David, Leonard Bernstein, Sammy Cahn, Betty Comden and Adolph Green, Gretchen Cryer, William Finn, Micki Grant, Carol Hall, Marvin Hamlisch, Sheldon Harnick, Jerry Bock, Jerry Herman, John Kander and Fred Ebb, Henry Krieger and Tom Eyen, Alan Jay Lerner, Tim Rice, Mary Rodgers, Carole Bayer Sager, Stephen Schwartz, Charles Strouse, Jule Styne, and Peter Udell. 841. Tibbetts, John C. “The New Tin Pan Alley: Hollywood Looks at American Popular Songwriters.” In Composers in the Movies: Studies in Musical Biography, pp. 102–54. New Haven and London: Yale University Press, 2005. ISBN 0-300-10674-2. PN1995.0.C553T53 2005. Tibbetts discusses biopics of musical theater creators Stephen Foster, Sigmund Romberg, Irving Berlin, George M. Cohan, Gus Kahn, Paul Dresser, George M. Cohan, Jerome Kern, Cole Porter, Richard Rodgers and Lorenz Hart, George Gershwin, W. C. Handy, and John Philip Sousa, with references to others. 842. Wilk, Max. They’re Playing Our Song: From Jerome Kern to Stephen Sondheim—The Stories behind the Words and Music of Two Generations. New York: Atheneum, 1973. 297 p. ISBN 0-689-10554-1. ML3561.P6W5. Integrating quotes from the creators themselves or people who worked closely with them, Wilk provides narrative commentary on the accomplishments of the songwriters. Subjects include: Jerome Kern, Bert Kalmar and Harry Ruby, Vincent Youmans, Dorothy Fields, Lorenz Hart, Richard Rodgers, Oscar Hammerstein II, Ira Gershwin, Richard Whiting, Leo Robin, Betty Comden, Harry Warren, Johnny Mercer, Harold Arlen, Jule Styne, Sammy Cahn, Saul Chaplin, E. Y. Harburg, Stephen Sondheim, Frank Loesser, and Irving Berlin. Arlen, Harold (1905–86) 843. Jablonski, Edward. Harold Arlen: Happy with the Blues. Garden City, NY: Doubleday, 1961. Reprint, with new introduction and supplementary song list, New York: Da Capo: 1985. 288 p. ISBN 0-306-76192-0. ML410. A76J3 1985. Written while his subject was still alive, Jablonski focuses on Arlen’s life, his circle of friends and professional colleagues, and his career. 844. Jablonski, Edward. Harold Arlen: Rhythm, Rainbows, and Blues. Boston, MA: Northeastern University Press, 1996. 426 p. ISBN 1-55553-263-2. ML410.A76J33 1996. Written over thirty years after his ﬁrst book on Arlen, Jablonski’s second biography on the composer makes use of several crates of materials that

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belonged to Arlen, which included scrapbooks, clippings, letters, recordings, and other items. Jablonski provides insight into Arlen’s life and career, from the perspective of a friend, and includes a complete work list, selected discography, and selected ﬁlmography. 845. Lahr, John. “Come Rain or Come Shine: The Bittersweet Life of Harold Arlen.” The New Yorker 81, no. 28 (19 September 2005): 88–94. Lahr proﬁles Arlen’s life and work. Balfe, Michael (1808–70) 846. Tyldesley, William. Michael William Balfe: His Life and His English Operas. Aldershot, UK: Ashgate, 2003. 276 p. ISBN 0-7546-0558-2. ML410.B18. The author provides information on Balfe’s early years, each of his works, and an overview of opera in England during Balfe’s lifetime. Bart, Lionel (1930–99) 847. Roper, David. Bart! The Unauthorised Life and Times, Ins and Outs, Ups and Downs of Lionel Bart. London: Pavilion, 1994. 184 p. ISBN 1-85793330-3. ML410.B24 R67 1994. Roper discusses the life of the British musical theater composer most famous for writing Oliver!. Berlin, Irving (1888–1989) 848. Barrett, Mary Ellin. Irving Berlin: A Daughter’s Memoir. New York: Simon and Schuster, 1994. 320 p. ISBN 0-671-72533-5. ML410.B499B37 1994. This rich and heartfelt memoir focuses on Berlin’s family life and personality. 849. Bergreen, Laurence. As Thousands Cheer: The Life of Irving Berlin. New York: Viking, 1990. 658 p. ISBN 0-670-81874-7. ML410.B499B5 1990. This life and works biography provides background on the creation of some of Berlin’s most famous works and includes a work list and selected bibliography. 850. Furia, Philip, with the assistance of Graham Wood. Irving Berlin: A Life in Song. New York: Schirmer, 1998. Songography by Ken Bloom. 321 p. ISBN 0-02-864815-3. ML410.B499F87 1998.

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Furia’s informative biography includes discussions of Berlin’s ﬁnest songs, focusing on the particular details that make them exceptional. 851. Hamm, Charles. Irving Berlin: Songs from the Melting Pot: The Formative Years, 1907–1914. New York and Oxford: Oxford University Press, 1997. 292 p. ISBN 0-19-507188-3. ML410.B499H36 1996. Hamm discusses lyrics, music, song types (e.g. ragtime songs and ballads), show types (e.g. minstrelsy and revue), ethnicity, and culturalsociological elements reﬂected in the early songs of Irving Berlin. A discography by Paul Charosh of period recordings of early Berlin songs appears in an appendix. 852. Hass, Richard W. “Development of Creative Expertise in Music: A Quantitative Analysis of the Songs of Cole Porter and Irving Berlin.” Ph.D. dissertation, Temple University, 2008. 111 p. The ﬁeld of music perception and cognition meets the study of creativity in this study. Changes in psychologically salient musical components in songs by Berlin and Porter are examined, as are hit and non-hit songs. Developmental trends were noted, though few differences between hit and non-hit songs emerged. 853. Jablonski, Edward. Irving Berlin: American Troubadour. New York: Henry Holt, 1999. 406 p. ISBN 0-8050-4077-3. ML410.B499J33 1999. Jablonski’s biography is informed and illuminated by the author’s personal relationships with Berlin and his circle. The volume includes a list of songs, selected recordings, sources, and bibliography. 854. Jay, Dave. The Irving Berlin Songography 1907–1966. New Rochelle, NY: Arlington House, 1969. 172 p. ISBN 0-870-00998-2. ML134.B49. The chronological list of Berlin’s songs includes discographical information. 855. Lahr, John. “Revolutionary Rag: How Irving Berlin’s Joyous Impertinence Changed American Music.” New Yorker 75, no. 2 (8 March 1999): 77–83. Berlin was one of the most original and successful composers of all time. Lacking formal education, he nevertheless studied the couplets of Alexander Pope and was associated with the Algonquin Round Table, a group that did not tolerate simpletons. In his piano playing, he often discovered harmonies by ear that “trained” composers might miss. 856. Magee, Jeffrey. “‘Everybody Step’: Irving Berlin, Jazz, and Broadway in the 1920s.” Journal of the American Musicological Society 59, no. 3 (fall 2006): 697–732. Berlin introduced a series of songs that many construed as jazz in his four Music Box Revues (1921–24). The term jazz was in ﬂux, and Berlin

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constructed a jazz trope out of various ragtime and blues ﬁgures with lyrics that juxtaposed disparate and even disparate topics. The songs and their stage presentations operated within an emerging cultural perspective that viewed Jewish Americans, such as Berlin and Gershwin, at the center of jazz and musical theater. 857. Magee, Jeffrey. “Irving Berlin’s ‘Blue Skies’: Ethnic Afﬁliations and Musical Transformations.” Musical Quarterly 84, no. 4 (winter 2000): 537–80. Magee gives a song proﬁle of “Blue Skies”—that is, an exploration of the song’s composition and performance history that demonstrates its various socially constructed meanings. He discusses the Jewish elements in the song itself, comparing “Blue Skies” to some of Berlin’s Jewish novelty songs; the works in which the song appeared (Betsy, 1926; The Jazz Singer, 1927); swing band versions of the 1930s and 1940s; Bing Crosby’s version in the ﬁlm Blue Skies (1946); bebop versions; The Ella Fitzgerald Songbooks (1958); and Willie Nelson’s country version (1978). He concludes that the song has become a “common property of the American experience” (p. 572). Bernstein, Leonard (1918–90) 858. Burton, Humphrey. Leonard Bernstein. New York: Doubleday, 1994. 594 p. ISBN 0-385-42345-4. ML410.B566B9 1994. Burton devotes a chapter in his biography to On the Town (pp. 129–37) and discusses Bernstein’s work for Broadway in part three, “Something’s Coming—The Composing Years: 1952–1957” (pp. 217–77). He dedicates chapters to Candide (pp. 257–64) and West Side Story (pp. 265–77). 859. Laird, Paul R. Leonard Bernstein: A Guide to Research. New York and London: Routledge, 2002. 306 p. (Routledge Music Bibliographies.) ISBN 0-8153-3517-2. ML134.B512 L35 2001. In his discussion of Bernstein’s complete output, Laird includes several pages on the composer’s Broadway scores (pp. 56–58) and many annotated bibliographical entries on his theater works (pp. 171–208). 860. Mcclung, bruce d., and Paul R. Laird. “Musical Sophistication on Broadway: Kurt Weill and Leonard Bernstein.” In The Cambridge Companion to the Musical, 1st ed., pp. 167–78; in The Cambridge Companion to the Musical, 2nd ed., pp. 190–201. Linking Weill and Bernstein through a 1952 concert performance of The Threepenny Opera, written by the former and conducted by the latter, the essay describes how these two creators infused Broadway with an

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increased sense of musical sophistication. McClung discusses each of Weill’s Broadway musicals in the ﬁrst part of the chapter. Laird states that although Bernstein was an “irregular presence on Broadway,” he nonetheless was a signiﬁcant contributor to the American musical theater, continuing, as Lotte Lenya has suggested, the path laid forth by Kurt Weill as a Broadway composer. 861. Myers, Paul. Leonard Bernstein. London: Phaidon, 1998. 240 p. (20th-Century Composers.) ISBN 0-7148-3701-6. ML410.B566M84 1998. In the well produced, choicely illustrated, and reader-friendly style typical of Phaidon’s 20th-Century Composers series, Myers discusses Bernstein’s Broadway works in the context of his overall musical career. 862. Peyser, Joan. Bernstein: A Biography. New York: Beech Tree Books, 1987. Rev. and updated ed., New York: Billboard, 1998. 510 p. ISBN 0-8230-8259-8. ML410.B566P5 1998. In her biography, which focuses on Bernstein’s private life, musical theater works are discussed in the context of the people who worked on the productions and Bernstein’s role in the creative and production processes. 863. Secrest, Meryle. Leonard Bernstein. New York: Knopf, 1994. 471 p. ISBN 0-679-40731-6. ML410.B566S43. Secrest weaves Bernstein’s theatrical works into the context of the narrative, focusing on their collaborative aspects and production histories. 864. Seldes, Barry. Leonard Bernstein; The Political Life of an American Musician. Berkeley, Los Angeles, and London: University of California Press, 2009. 290 p. ISBN 978-0-520-25764-1. ML410.B566S45 2009. In his account of Bernstein’s political life and its career implications during the Cold War, political scientist Barry Seldes includes coverage of Bernstein’s work for the musical theater. 865. Snyder, Linda June. “Leonard Bernstein’s Works for the Musical Theatre: How the Music Functions Dramatically.” D.M.A. thesis, University of Illinois at Urbana-Champaign, 1982. 290 p. Snyder gives both general and detailed information on Bernstein as a dramatic composer. She discusses six works: Trouble in Tahiti, Candide, West Side Story, On the Town, Wonderful Town, and 1600 Pennsylvania Avenue. 866. Stearns, David Patrick. “New Realities of the Musical.” BBC Music Magazine Special Issue (1999): 64–67. Stearns views Bernstein as the end of an “old” tradition on Broadway and Sondheim as the beginning of a “new” one.

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Blake, Eubie (1883–1983) 867. Rose, Al. Eubie Blake. New York: Schirmer, 1979. 214 p. ISBN 0-02872170-5. ML410.B6247R68. Blake himself provided a great deal of assistance in this biography, which places his life and work in its historical and cultural contexts. The volume includes a selected list of compositions, a discography, a list of piano rolls by Blake (assembled by Michael Montgomery), and a ﬁlmography. Noble Sissle and Eubie Blake 868. Kimball, Robert, and William Bolcom. Reminiscing with Noble Sissle and Eubie Blake. New York: Viking, 1973. Reprint, New York: Cooper Square, 2000. 256 p. ISBN 0-8154-1045-X. ML3556.K55. Integrated into the biographical narrative are many photographs and other illustrations (program and sheet music covers, archival materials, newspaper clippings, etc.) related to the careers of Sissle and Blake. A catalog of works, a discography, and a ﬁlmography are also included. Blitzstein, Marc (1905–64) 869. Gordon, Eric A. Mark the Music: The Life and Work of Marc Blitzstein. New York: St. Martin’s, 1989. 605 p. ISBN 0-312-02607-2. ML410. B6515G7 1989. Gordon’s in-depth life and times biography of Blitzstein includes descriptions of his major works. 870. Shout, John D. “The Musical Theater of Marc Blitzstein.” American Music 3, no. 4 (winter 1985): 413–28. Blitzstein refused to follow the predictable norms of Broadway in his musical theater works. Braham, David (1834–1905) 871. Franceschina, John. David Braham: The American Offenbach. Forgotten Stars of the Musical Theatre. New York and London: Routledge, 2003. 266 p. ISBN 0-415-93769-8. ML410.B792 F73 2003. Braham was the musical director for the vaudeville team Harrigan and Hart and wrote music for many of their shows. Franceschina chronicles Braham’s life and work, focusing on the theatrical aspects of his craft. Braham was also music director at the Grand Opera House (1895–98) and Wallack’s Theatre (1898–1905).

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Chaplin, Saul (1912–97) 872. Chaplin, Saul. The Golden Age of Movie Musicals and Me. Norman and London: University of Oklahoma Press, 1994. 262 p. ISBN 0-80612652-3. ML410.C4177A3 1994. The autobiography of the Hollywood songwriter, vocal arranger, arranger, pianist, music director, and producer includes reminiscences about such ﬁlms as An American in Paris, Seven Brides for Seven Brothers, and West Side Story (the three ﬁlms for which Chaplin won Academy Awards), Kiss Me Kate, High Society, The Sound of Music, and Man of La Mancha. Cohan, George M. (1878–1942) 873. Cohan, George M. Twenty Years on Broadway. New York and London: Harper & Brothers, 1925. Reprint, Westport, CT: Greenwood, 1971. 264 p. ISBN 0-8371-5682-3. PN2287.C56 A3. Cohan recounts his life and career until shortly after World War I. 874. McCabe, John. George M. Cohan: The Man Who Owned Broadway. Garden City, NY: Doubleday, 1973. 296 p. ISBN 0-385-01578-X. PN2287.C56 M3. McCabe discusses Cohan’s life and work, giving detailed treatment to his major shows and professional and personal life philosophies. Cook, Will Marion (1869–1944) 875. Carter, Marva Grifﬁn. “Removing the ‘Minstrel Mask’ in the Musicals of Will Marion Cook.” Musical Quarterly 84, no. 2 (summer 2000): 206–20. Will Marion Cook was signiﬁcant in removing the minstrel mask from African American musical theater and instead incorporated realism, confrontational jabs as verbal weapons, a complex split vision that allowed black artists to see themselves from multiple subjective perspectives, and universal themes rather than speciﬁcally racialized ones into his musicals, among which were Clorindy: The Origin of the Cakewalk (1989), In Dahomey (1903), and Darkydom (1915). 876. Carter, Marva Grifﬁn. Swing Along: The Musical Life of Will Marion Cook. Oxford and New York: Oxford University Press, 2008. 193 p. ISBN 978-0-91-510891-0. ML410.C7545C37 2007. Composer, conductor, and violinist Will Marion Cook moved from the world of minstrelsy to Broadway, creating musical theater works

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infused with African American musical elements. Carter chronicles his complicated life and provides details on his various musical activities. Coward, Noël (1899–1973) 877. Citron, Stephen. Noel & Cole: The Sophisticates. New York and Oxford: Oxford University Press, 1993. 360 p. ISBN 0-19-508385-7. ML390. C585 1993. In his dual biography of Noël Coward and Cole Porter, Citron draws parallels between the two ﬁgures, both of whom wrote words and music, while at the same time emphasizing their originality. He includes a ﬁvepart chronology of events (Porter, Coward, United States, Britain, World) and analyses of selected songs by both Coward and Porter. 878. Cole, Stephen. Noël Coward: A Bio-Bibliography. Westport, CT: Greenwood. 344 p. (Greenwood Bio-Bibliographies in the Performing Arts, no. 44.) ISBN 0-313-28599-3. PR6005.O85. The book includes a short biographical essay, a chronology, entries for Coward’s performances arranged according to medium (stage, ﬁlm, radio, television), a discography, awards and honors, and an annotated bibliography. 879. Coward, Noël. Autobiography. With an introduction by Sheridan Morley. London: Methuen, 1986. 512 p. ISBN 0-413-60660-0. PR6005.085Z. The three volumes of Coward’s autobiography are published together in this volume: Present Indicative (ﬁrst published in 1937), Future Indeﬁnite (ﬁrst published in 1954), and Past Conditional (unﬁnished and published here for the ﬁrst time). The works stand as models for autobiography and provide great insight into Coward, his world, his circle, and his psyche. Present Indicative concerns his childhood up to 1931, Future Indeﬁnite the war years of 1939 to 1945, and Past Conditional the years between the ﬁrst two books. The book includes an insightful introduction by Sheridan Morley, photographic illustrations, and an index. 880. Day, Barry. The Letters of Noël Coward, edited and with commentary by Barry Day. New York: Random House, 2007; paperback ed., New York: Vintage, 2009. 793 p. ISBN 978-0-307-39100-1. PR6005.085Z48 2007. Day weaves insightful commentary around letters to and from Coward. The book includes 191 photographs. 881. Leslie, Cole. The Life of Noël Coward. London: J. Cape, 1976. Published in North America as Remembered Laughter: The Life of Noël Coward. New York: Knopf, 1976. 501 p. ISBN 0-394-49816-X. PR6005.O85Z67 1976.

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Leslie, a friend of Coward’s, gives a chatty, informed portrayal of “The Master” in a book that includes many photographs, a bibliography, and an index. 882. Morella, Joe, and George Mazzei. Genius and Lust: The Creativity and Sexuality of Cole Porter and Noel Coward. New York: Carroll & Graf, 1995. 276 p. ISBN 0-7867-0237-0. ML390.M77 1995. The authors examine correlations between homosexuality and the creative process in the work of Coward and Porter. 883. Morley, Sheridan. A Talent to Amuse: A Biography of Noël Coward. Garden City, NY: Doubleday, 1969. 453 p. PR6005.O85Z74 (UMKC). Coward endorsed this biography, which focuses on his life and theatrical career. A parallel chronology lists his activities as performer, composer, playwright, director, and author, along with major revivals and foreign productions of his works, from 1918 through 1968. 884. Payn, Graham, with Barry Day. My Life with Noël Coward. New York and Huntington: Applause, 1994. 402 p. ISBN 1-55783-190-4. PR6005.085Z84 1995. Written by Coward’s partner, the book focuses on Coward’s personal life and is ﬁlled with tales and anecdotes. The volume also includes Coward’s writings on the theater. 885. Payn, Graham, and Sheridan Morley, eds. The Noël Coward Diaries. Boston, MA: Little, Brown, and Company, 1982. 698 p. ISBN 0-31669550-5. PR6005.O85 Z465 1982. Excerpts from Coward’s wartime diaries (1941–45) form the prologue of the volume, the principal part of which includes Coward’s diaries from 1945 to 1969. The edition includes footnotes, a chronology, and an index. De Koven, Reginald (1859–1920) 886. De Koven, Mrs. Reginald [Anna]. A Musician and His Wife. New York and London: Harper & Brothers, 1926. 259 p. ML410.D342. More about its author than de Koven, Mrs. de Koven’s book nonetheless gives some information on the composer. 887. Krasner, Orly Leah. “Reginald de Koven (1859–1920) and American Comic Opera at the Turn of the Century.” Ph.D. dissertation, City University of New York, 1995. 551 p. Chronicling de Koven’s life and works, Krasner focuses on Robin Hood (1890), Rob Roy (1894), and The Highwayman (1897), de Koven’s most

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important stage comic operas and among the most successful works of their time. In addition to de Koven’s proliﬁc career as a composer, Krasner discusses other aspects of the composer’s career: the socialite, the journalist, the conductor, and his partnership with the brothers Shubert. Appendices include a complete list of de Koven’s works and a list of performances of de Koven’s works in the United Kingdom. Ellington, Duke (1899–1974) 888. Franceschina, John. Duke Ellington’s Music for the Theatre. Jefferson, NC, and London: McFarland, 2001. 250 p. ISBN 0-7864-0856-1. ML410. E44 F7 2001. Duke Ellington wrote extensively for the theater, including revue songs, full book musicals, incidental music for plays, and ballets. This survey of his theater music includes discussion of plot, musical style, and productions. The works are placed within the broader context of Ellington’s life and opus. Finn, William (b. 1952) 889. Witchel, Alex. “Find the Ginger! It’s Anxiety Time for an Original.” New York Times, 26 April 1992, H 8. The feature article appeared days before the Broadway opening of the composer’s Falsettos. In it, the composer gives insights into the show’s history and his own persona. Friml, Rudolf (1879–1972) 890. Everett, William. Rudolf Friml. American Composers. Urbana and Illinois: University of Illinois Press, 2008. 144 p. ISBN 978-0-25203381-0. ML410.F94E84 2008. Trained as a classical pianist in his native Prague, Friml achieved success writing for the Broadway stage in the second and third decades of the twentieth century. While all of Friml’s shows are covered, individual chapters are devoted to Rose Marie and The Vagabond King. Gershwin, George (1898–1937) 891. Banﬁeld, Stephen. “Gonna Take You Higher.” BBC Music Magazine Special Issue (1999): 28–31.

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Banﬁeld articulates the similarities and differences between George Gershwin and Kurt Weill and how both creators crossed lines between “high” and “low” art. 892. Block, Geoffrey. Review of The Memory of All That: The Life of George Gershwin by Joan Peyser. MLA Notes 51, no. 1 (September 1994): 195–97. Block’s review places Peyser’s biography in the context of other Gershwin biographies, notably the one by Charles Schwartz, and ﬁnds Peyser’s lack of documentation problematic. 893. Carnovale, Norbert. George Gershwin: A Bio-Bibliography. Westport, CT, and London: Greenwood, 2000. 609 p. (Bio-Bibliographies in Music, no. 76.) ISBN 0-313-26003-6. ML134.G29C37 2000. Carnovale presents a thorough annotated bibliographic guide to writings about Gershwin and his works, including those for stage and screen. 894. Gilbert, Stephen. The Music of Gershwin. New Haven and London: Yale University Press, 1995. 255 p. ISBN 0-300-06233-8. ML410.G288G5 1995. Gilbert provides a thorough analytical discussion of Gershwin’s music, using Schenkerian graphs and other procedures. He devotes several chapters to Gershwin’s music for stage and screen, including chapters titled “The Road to ‘I Got Rhythm,’” and “New Musicals,” and one on Porgy and Bess. 895. Gilbert, Stephen. “Nice Work: Thoughts and Observations on Gershwin’s Last Songs.” In The Gershwin Style: New Looks at the Music of George Gershwin, edited by Wayne Schneider, pp. 67–94. New York and Oxford: Oxford University Press, 1999. ISBN 0-19-509020-9. ML410. G288G49 1999. Gershwin’s last songs (except for “By Strauss”) were written for ﬁlms. Gilbert discusses the particular aspects of these songs that set them apart from Gershwin’s other music. 896. Goldberg, Isaac. George Gershwin: A Study in American Music. New York: Simon and Schuster, 1931. 305 p. ML410.G288G7. Written during Gershwin’s lifetime, this ﬁrst biographical study of the composer includes remarks on his Broadway and Hollywood careers, his work with Ira, jazz and modernism, and his dream of writing opera. 897. Greenberg, Rodney. George Gershwin. London: Phaidon, 1998. 240 p. (20th-Century Composers.) ISBN 0-7148-3504-8. ML410.G288G74 1998. In typical fashion for Phaidon’s 20th-Century Composers series, this book is a well-produced, reader-friendly account of Gershwin’s life and

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work. Greenberg devotes a great deal of space to Gershwin’s work for musical theater and ﬁlm. 898. Hyland, William G. George Gershwin: A New Biography. Westport, CT: Praeger, 2003. 294 p. ISBN 978-0-275-98111-2. Hyland addresses Gershwin’s life and work, including that for musical theater, in an accessible style. He devotes chapters to Broadway, Lady Be Good and the Concerto, Of Thee I Sing, Porgy and Bess, and Hollywood, among other topics. 899. Jablonski, Edward. Gershwin: A Biography. New York: Doubleday, 1988. Reprint, New York: Da Capo, 1998. 441 p. ISBN 0-306-80847-1. ML410. G288J29. This detailed study of Gershwin’s life and work includes a work list, bibliography, and discography/videography. 900. Jablonski, Edward. Gershwin Remembered. Portland, OR: Amadeus, 1992. 181 p. ISBN 0-931340-43-8. ML410.G288J22 1992. Jablonski assembled an anthology of commentary by the Gershwins, colleagues, friends, and critics on various aspects of George Gershwin’s life and art, including his work for Broadway. 901. Peyser, Joan. The Memory of All That: The Life of George Gershwin. New York: Simon & Schuster, 1993. 320 p. ISBN 0-671-70948-8. ML410. G228P5 1993. Peyser’s psychobiography of Gershwin examines the composer’s various interpersonal relationships, his health issues, and his reactions to his successes and disappointments. She contends that Ira’s lyrics could be read as a coded biography of the composer. 902. Pollack, Howard. George Gershwin: His Life and Work. Berkeley, Los Angeles, and London: University of California Press, 2006. 901 p. ISBN 978-0-520-24864-9. ML410.G288P65 2007. In his magisterial, comprehensive, and lengthy biography, Pollack devotes considerable attention to Gershwin’s work for Broadway and Hollywood. Pollack draws extensively on previously unexamined archival material. 903. Rimler, Walter. George Gershwin: An Intimate Portrait. Urbana and Chicago: University of Illinois Press, 2009. 204 p. ISBN 978-0-25203444-2. ML410.G288R55 2009. This concise and compelling account of Gershwin’s life contextualizes musical theater works within the composer’s professional career and personal challenges.

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904. Schneider, Wayne. “Gershwin’s Operetta Overtures: Medley or Composition?” In The Gershwin Style: New Looks at the Music of George Gershwin, edited by Wayne Schneider, pp. 35–65. New York and Oxford: Oxford University Press, 1999. ISBN 0-19-509020-9. ML410. G288G49 1999. Most musical theater overtures during Gershwin’s day were based on tunes from the work that followed, and Gershwin’s examples were no exception. Gershwin composed his own overtures, and was concerned about compositional processes and large-scale tonal plans. Girl Crazy has a potpourri overture, while Of Thee I Sing and Let ‘Em Eat Cake have overtures that introduce principal musical material in a dramatic fashion. 905. Schwartz, Charles. Gershwin: His Life and Music. New York: BobbsMerrill, 1973. Reprint, New York: Da Capo, 1979. 427 p. ISBN 0-30680096-9. ML410.G288S33 1979. Schwartz places Gershwin’s music, including that for Broadway and Hollywood, within the context of his life and career. He includes a separate section on musical style (including musical examples) at the end of the book, where one can also ﬁnd a work list, a list of ﬁlms based on Gershwin’s music, a selected discography, and an extensive twenty-six-page bibliography. George and Ira Gershwin 906. Jablonski, Edward, and Lawrence D. Stewart. The Gershwin Years. Garden City, NY: Doubleday, 1958. 3rd ed. New York: Da Capo, 1996. 402 p. ISBN 0-306-80729-4. ML410.G288J3 1996. This detailed and vivid biography is particularly well illustrated with photographs, facsimiles of letters, sketches and manuscripts, sheet music covers, and the like. 907. Rosenberg, Deena. Fascinating Rhythm: The Collaboration of George and Ira Gershwin. New York: Dutton, 1991. 516 p. ISBN 0-525-93356-5. ML410.G288R67 1991. This chronicle of the Gershwins’ life and work includes easily intelligible musical analysis, earlier and published versions of lyrics—sometimes printed in parallel columns for easy comparison and critical discussion of their shows, ﬁlms, and songs. 908. Savran, David. “The Search for America’s Soul: Theatre in the Jazz Age.” Theatre Journal 58, no. 3 (Oct. 2006): 459–76. The Gershwins’ musicals Tip-Toes and Lady, Be Good are examples of how the musical comedy genre blended high and low art and created

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a forum in which debates about jazz were addressed thematically and musically. Gordon, Ricky Ian (b. 1956) 909. Kellow, Brian. “High Scorers: Ricky Ian Gordon.” Opera News 64, no. 10 (April 2000): 22–25. Gordon discusses the role of intellect and emotion in his work. Guettel, Adam (b. 1965) 910. Green, Jesse. “A Complicated Gift.” New York Times Magazine, 6 July 2003, 18–23. While his musical The Light in the Piazza was in previews in Seattle, Guettel gave an interview that included topics such as his career in the musical theater, his personal demons (drugs and alcohol), and the legacy he inherited from his grandfather Richard Rodgers. 911. Oteri, Frank J. and Lyn Liston, editors and transcribers, video presentation by Randy Nordschow. “Adam Guettel: On the Road.” New Music Box: The Web Magazine from the American Music Center, 1 September 2006. http://www.newmusicbox.org/article.nmbx?id=4759. Guettel offers commentary about the contemporary musical theater, including a “grass roots musical theatre movement that has been blossoming everywhere in the country except Broadway,” and his own work. 912. Savran, David. “Adam Guettel Faces the Music: Will His Lushly Romantic New Musical Win Him Mainstream Audiences?” American Theatre 21, no. 1 (January 2004): 26–30, 94–97. Guettel discusses his creative process in an interview that appeared shortly before the opening of The Light in the Piazza at Chicago’s Goodman Theatre. Hamlisch, Marvin (b. 1944) 913. Hamlisch, Marvin, with Gerald Gardner. The Way I Was. New York: Charles Scribner’s Sons, 1992. 234 p. ISBN 0-684-19327-2. ML410.H125A3. Told with wit and grace, Hamlisch’s autobiography offers insights into the composer’s life and career on Broadway (A Chorus Line, They’re Playing Our Song, Jean, and Smile) and in Hollywood (The Way We Were and The Sting, among others), as well as his “pops” concerts.

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Herbert, Victor (1859–1924) 914. Gould, Neil. Victor Herbert: A Theatrical Life. New York: Fordham University Press, 2008. 628 p. ISBN 978-0-8232-2871-3. ML410. H52G68 2008. Written by the artist director of the Victor Herbert Festival at Saratoga Springs, New York, the exuberant book offers detailed information on Herbert, his personality, life, and theatrical works. 915. Kaye, Joseph. Victor Herbert: The Biography of America’s Greatest Composer of Romantic Music. New York: Watt, 1931. 271 p. ML410. H52K2. The popular biography, told in a novelized fashion, includes information about Herbert’s music and his alleged plagiarism. The book includes an extensive work list and an index. 916. Mott, Alyce. VHsource. www.vherbert.com. A website devoted to Victor Herbert with downloadable versions of public domain performance materials, information on upcoming performances, a monthly newsletter, and other information on Herbert and his music. 917. Waters, Edward N. Victor Herbert: A Life in Music. New York: Macmillan, 1955. 653 p. ML410.H52W3. Waters’ detailed study of Herbert’s life and work includes information on his varied musical activities, his sense of Irishness, and his views on music, opera, and operetta. The book includes a work list, a discography of Herbert’s recordings, and an extensive forty-page index. Herman, Jerry (b. 1933) 918. Citron, Stephen. Jerry Herman: Poet of the Showtune. New Haven and London: Yale University Press, 2004. 352 p. ISBN 978-0-3001-0082-2. ML410.H5624 C58 2004. Citron covers Herman’s life and work, providing information on each of Herman’s shows and their distinctive qualities. 919. Edwards, Amber. Words and Music by Jerry Herman. DVD. 90 minutes. PBS Home Video B0010W4D6Y (2008). Edwards’s video documentary features commentary from many theatrical luminaries in addition to archival footage of Herman’s shows and other performances of his music.

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920. Herman, Jerry, with Marilyn Stasio. Showtune: A Memoir. New York: Donald I. Fine, 1996. 277 p. ISBN 1-55611-502-4. ML410.H5624H47. The composer-lyricist of Hello, Dolly!, La Cage aux Folles, and Mame recalls his career, integrating aspects of the shows themselves with tales of their stars and other collaborators. Kander, John (b. 1927) and Fred Ebb (1928–2004) 921. Kander, John and Fred Ebb. As told to Greg Lawrence. Colored Lights: Forty Years of Words and Music, Show Biz, Collaboration, and All That Jazz. Introduction by Liza Minnelli, foreword by Harold Prince. New York: Faber and Faber, 2003. 251 p. ISBN 0-571-21133-X. ML410. K163A3 2003. Kander and Ebb reﬂect on their collaboration in this anecdote- and insight-ﬁlled book. 922. Leve, James. Kander and Ebb. Yale Broadway Masters. New Haven and London: Yale University Press, 2009. 384 p. ISBN 978-0-300-11487-4. ML2054.L47 2009. Leve details the complete output of Kander and Ebb as well as each individual creator’s work with other collaborators. Chapters are devoted exclusively to Cabaret, Chicago, and Kiss of the Spider Woman. Topics addressed in the book include the team’s relationship with Liza Minnelli, issues of identity and pastiche in their scores, homosexuality and camp elements, strong characters who are survivors, and the idea of shows within shows. The book includes discussions of various versions of shows and works on which the team was working at the time of Ebb’s death. Kelley, Edgar Stillman (1857–1944) 923. Rivenburg, Leonard L. “Edgar Stillman Kelley and the American Musical Theatre, 1880–1900.” In Loney, pp. 111–22. Kelley’s work for the musical stage established the composer’s reputation as a signiﬁcant ﬁgure in American music in both the United States and Europe.

Kern, Jerome (1885–1945) 924. Banﬁeld, Stephen. Jerome Kern. Yale Broadway Masters. New Haven and London: Yale University Press, 2006. 388 p. ISBN 978-0-300-11047-0. ML410.K385B36 2006.

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Musical, lyrical, and dramatic structures are focal points of this important analytical study of Kern and his work. Among the topics Banﬁeld addresses is the enigmatic second act in Show Boat. 925. Bordman, Gerald. Jerome Kern: His Life and Music. New York and Oxford: Oxford University Press, 1980. 438 p. ISBN 0-19-502649-7. ML410.K385B7. Bordman’s detailed biography skillfully integrates Kern’s life with his work. Avoiding specialized musical vocabulary, Bordman discusses Kern’s complete output. 926. Davis, Lee. Bolton and Wodehouse and Kern: The Men Who Made Musical Comedy. New York: Heinemann, 1993. 455 p. ISBN 0-87008-145-4. PN1998.2. Told in a lively, informal style, Davis traces the career of the theatrical trio whose Princess Theatre musicals were cornerstones of the musical comedy. He discusses their work together as a threesome, efforts made by two members of the group (almost always with other collaborators), and their individual achievements. 927. Freedland, Michael. Jerome Kern: A Biography. New York: Stein and Day, 1981. 182 p. (First published in 1978.) ISBN 0-8128-2776-7. ML410.K385F7 1981. Freedland focuses on Kern’s life and activities from a British perspective. 928. Lamb, Andrew. Jerome Kern in Edwardian London. New York: Institute for Studies in American Music, 1985. 85 p. (I.S.A.M. Monographs, no. 22.) ISBN 0-914678-24-8. ML410.K385. Detailing Kern’s activities in London between 1905 and 1910, Lamb discusses the theatrical scene in the British capital during the Edwardian era and includes period photographs. 929. Randall, James Kenneth. “Becoming Jerome Kern: The Early Songs and Shows, 1903-1915.” Ph.D. dissertation (Musicology), University of Illinois at Urbana-Champaign, 2004. 343 p. Kern spent over a decade as an interpolator, where he gained technical ﬂuency in a variety of styles and acquired knowledge about associations between speciﬁc styles and genre, gender, race, and social class. The Red Petticoat (1912), Kern’s ﬁrst full score, serves as a template for the composer’s integration of music and drama. LaChiusa, Michael John (b. 1962) 930. Paller, Rebecca. “High Scores: Michael John LaChiusa.” Opera News 64, no. 5 (November 1999): 50–53.

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In an interview shortly before the Broadway opening of Marie Christine, LaChiusa discusses the work and his approach to musical theater composition. Lloyd Webber, Andrew (b. 1948) 931. Brown, Benedict Joseph. “A Study of the Seven Strands of Soul-Making in the Musicals of Andrew Lloyd Webber.” D.Min. dissertation, Fuller Theological Seminary, 1999. 235 p. Brown views Lloyd Webber’s musicals through the “aesthetic strand,” one of the seven strands of the human person used as focal points in pastoral counseling (the other six being human, relational, moral, suffering, reconciling, and spiritual). 932. Citron, Stephen. Sondheim & Lloyd-Webber: The New Musical. New York and Oxford: Oxford University Press, 2001. 452 p. ISBN 0-19-509601-0. ML410. Citron discusses the work of both creators in tandem, and includes a quintuple chronology with columns for Sondheim’s life, Lloyd Webber’s life, US musicals, UK musicals, and world events. 933. Coveney, Michael. Cats on a Chandelier: The Andrew Lloyd Webber Story. London: Hutchinson, 1999. 282 p. ISBN 0-0918-0170-2. ML410. L78. Paperback ed., The Andrew Lloyd Webber Story. London: Arrow, 2000. 392 p. ISBN 0-0992-5719-X. ML410.L78. The Daily Mail critic provides a picture of the complex composer and entrepreneur, drawing connections between his life and art. 934. Mantle, Jonathan. Fanfare: The Unauthorised Biography of Andrew Lloyd Webber. London: Michael Joseph, 1989. 248 p. ISBN 0-71813274-2. ML410.L7. The celebrity-style biography focuses more on Lloyd Webber’s life than on his work. 935. McKnight, Gerald. Andrew Lloyd Webber: A Biography. London: Granada and New York: St. Martin’s, 1984. 278 p. ISBN 0-312-03647-7. ML410. L78M3 1984. McKnight chronicles Lloyd Webber’s career through the eve of Aspects of Love. He includes a great deal of material gleaned from interviews with Lloyd Webber and others, and spends a lot of time discussing problems between Lloyd Webber and Tim Rice. 936. The Really Useful Group’s website. http://www.reallyuseful.com Lloyd Webber’s Really Useful Group has a website that includes information on each Lloyd Webber show, current productions, and casting calls.

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937. Richmond, Keith. The Musicals of Andrew Lloyd Webber. London: Virgin, 1995. 144 p. ISBN 1-8522-7557-X. ML410.L78. The show-by-show treatment of Lloyd Webber’s work includes 150 photographs, many in color, with relatively brief commentaries. 938. Snelson, John. Andrew Lloyd Webber. Yale Broadway Masters. New Haven and London: Yale University Press, 2004. 288 p. ISBN 0-30010459-6. ML410.L78S64 2004. Paperback ed., New Haven and London: Yale University Press, 2009. ISBN 9-780-3001-5113-8. Snelson offers a music-focused study of Lloyd Webber’s output. Opening chapters are devoted to 1) biography; 2) a survey of the shows arranged by theme, rather than chronologically; and 3) musical style emerging from pop, rock, and classical. These are followed by chapters dedicated to The Phantom of the Opera and Lloyd Webber’s work on screen, with particular insights on the ﬁlm version of Evita. The ﬁnal two chapters provide theoretical frameworks for Lloyd Webber’s use of pastiche and allusion and issues of genre. 939. Walsh, Michael. Andrew Lloyd Webber: His Life and Works, A Critical Biography. New York: Abrams, 1989. Rev. and enlarged ed., New York: Abrams, 1997. 287 p. ISBN 0-8109-1275-9. ML410.L78W3 1997. Devoting a chapter to each show through Whistle Down the Wind, Walsh provides solid and detailed information on the composer and his works along with a stunning selection of photographs. Loesser, Frank (1910–69) 940. Buchler, Michael. “Modulation as a Dramatic Agent in Frank Loesser’s Broadway Songs.” Music Theory Spectrum 30, no. 1 (2008): 35–60. Loesser’s use of direct modulation is explored in four songs—“Adelaide’s Lament, “Luck Be a Lady,” “How to Succeed,” and “My Time of Day”— to demonstrate different rhetorical functions and narrative aims. 941. Loesser, Susan. A Most Remarkable Fella: Frank Loesser and the Guys and Dolls in His Life. New York: Donald I. Fine, 1993. 304 p. ISBN 1-55611-364-1. ML410L7984L6 1993. Written by Loesser’s daughter, and the result of many interviews with those who knew and worked with Loesser, the book provides personal insight into the creator’s life and work, including Loesser’s real-life roles as father and family man. The book includes numerous drawings and sketches by Loesser and photographs.

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942. Oteri, Frank J. “Frank and Fierce.” BBC Music Magazine Special Issue (1999): 56–58. Oteri surveys Loesser’s career and output. 943. Riis, Thomas L. Frank Loesser. Yale Broadway Masters. New Haven and London: Yale University Press, 2008. 351 p. ISBN 978-0-300-11-51-7. ML410.L7984R55 2008. Following a biographical introduction, Riis explores each of Loesser’s shows in depth. 944. Sobran, Joseph. “Adult Entertainment.” National Review 44, no. 10 (25 May 1992): 46–48. Discussing the revivals of The Most Happy Fella and Guys and Dolls, Sobran highlights the performances of Spiro Malas in Fella and Faith Prince and Nathan Lane in Guys and Dolls. He mentions the two-piano accompaniment in Fella (authorized by Loesser), and the work of director Jerry Zaks and Christopher Chadman for Guys and Dolls, adding that the burst of revivals on Broadway in the 1990s was a “happy symptom of a craving for adult entertainment” in which the serious side of life could be addressed “allusively and with delicately risqué wit, instead of dragging it into full view on each and every occasion” (p. 48).

Loewe, Frederick (1901–88) Lerner and Loewe 945. Benedict, David. “The Odd Couple.” BBC Music Magazine Special Issue (1999): 52–54. Benedict surveys the partnership and collaborative efforts of Lerner and Loewe. 946. Lees, Gene. Inventing Champagne: The Worlds of Lerner and Loewe. New York: St. Martin’s, 1990. Reprinted as The Musical Worlds of Lerner and Loewe. Lincoln: University of Nebraska Press, 2005. 350 p. ISBN 0-312-05136-0 (original); ISBN 0-8032-8040-8 (reprint). ML410. L7986L4 1990. Lees devotes an early chapter each to Loewe and Lerner before focusing on their collaborations and Lerner’s work without Loewe. Lees integrates aspects of the creators’ private lives with those of their professional careers. A brief bibliography, mainly of performers associated with Lerner and Loewe, is included.

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Mayerl, Billy (William Joseph Mayerl, 1902–59) 947. Dickinson, Peter. Marigold: The Music of Billy Mayerl. Oxford and New York: Oxford University Press, 1999. 302 p. ISBN 0-19-816213-8. ML410.M4526 D53 1999. Mayerl, in addition to being the leading British pianist and composer of novelty piano, composed and conducted musicals during the 1930s. His work for the musical stage did not acquire an independent life, however, and he never wrote a lasting hit song. McHugh, Jimmy (James Francis McHugh, 1894–1969) 948. Shipton, Alyn. I Feel A Song Coming On: The Life of Jimmy McHugh. Music in American Life. Urbana and Chicago: University of Illinois Press, 2009. 287 p. ISBN 978-0-252-03465-7. ML410.M4526.S45 2008. Shipton, a jazz critic for the Times of London, chronicles McHugh’s multifaceted songwriting and performing career and includes discussions of McHugh’s work for musical theater and ﬁlm. Novello, Ivor (1893–1951) 949. Harding, J. Ivor Novello: A Biography. Welsh Academic Press, 1997. 269 p. ISBN 1-8605-7019-4. Harding discusses Novello’s psychological complexities and the deep unhappiness that existed behind his public facade. 950. Napper, Lawrence, and Michael Williams. “The Curious Appeal of Ivor Novello.” In Babington, pp. 42–55. The authors survey Novello’s silent ﬁlm career of the 1920s, before the actor became a stage phenomenon. 951. Noble, Peter. Ivor Novello, Man of the Theatre. London: Falcon, 1951. 307 p. PR6027.07. Appearing the year that he died unexpectedly of a heart attack, Novello, months before his death, wrote the postscript to this book in which he thanked the author for the generous portrayal. This was the ﬁrst full-length biography of Novello and was intended to appear while he was still alive. 952. Webb, Paul. Ivor Novello: A Portrait of a Star. London: Stage Directions, 1999. 157 p. ISBN 0-9536073-0-5. PN2598.N6. Webb gives a solid account of Novello’s life, performing career, and major works.

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953. Williams, Michael. Ivor Novello: Screen Idol. London: British Film Institute, 2003. 256 p. ISBN 0-851-70982-6. PN2598.N6. Williams examines Novello in relation to World War I, gender and sexuality, the development of British cinema, and the creation of screen icons. He investigates the role of British movie magazines and classical Greek imagery and myth in shaping Novello’s persona. 954. Wilson, Sandy. Ivor. London: Michael Joseph, 1975. ISBN 0-7187-1408-6. PN2598.N6. Wilson, himself a composer, writes about his legendary predecessor. Philipp, Adolf (1864–1936) 955. Koegel, John. “Adolf Philipp and Ethnic Musical Comedy in New York’s Little Germany.” American Music 24, no. 3 (fall 2006): 267–319. Philipp was the most proliﬁc creator of German American musical comedy in New York in the late nineteenth and early twentieth centuries. Koegel investigates German American musical theater and Philipp’s place in the tradition, including his adaptability, relationships with other managers, and connections with various American musical theater traditions. Porter, Cole (1891–1964) 956. Forte, Allen. “Secrets of Melody: Line and Design in the Songs of Cole Porter.” Musical Quarterly 77, no. 4 (winter 1993): 604–47. Forte applies Schenkerian principles to Porter’s songs, demonstrating their structural integrity and artistry. 957. Grafton, David. Red, Hot & Rich!: An Oral History of Cole Porter. New York: Stein and Day, 1987. 242 p. ISBN 0-8128-3112-8. ML410. P7844G7 1987. Grafton includes quotes from Porter, his friends and colleagues, reviews, and a multitude of photos in his biography. 958. Howard, Jean. Travels with Cole Porter. Introduction by George Ellis. New York: Abrams, 1991. 216 p. ISBN 0-8109-3408-6. ML410. P7844H7 1991. The chronicle of “Grand Tours” made by Cole Porter and Jean Howard in 1955 and 1956 includes photos taken by Howard, diary entries by both Porter and Howard, and narrative by Howard. The book provides

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great insight into Porter and his personality. Tales of travel adventures in Europe and the Middle East provide the backdrop for this testament of a friendship that lasted more than thirty years. 959. Indiana Historical Society and Koch International Classics. You’re the Top: Cole Porter in the 1930s. Cole Porter Centennial Collection. Indianapolis: Indiana Historical Society, 1992. 108 p. This extensive accompanying book for a 3-CD set of recordings of Porter songs written during the 1930s includes the following essays: “Cole Porter” by Robert Kimball, “The Songs” by Richard M. Sudhalter, and “The Principal Performers” by Richard M. Sudhalter. 960. Johnson, John. “Cole Porter, 1944–1948: Don’t Fence Me In.” In Loney, pp. 257–66. Although Kiss Me, Kate was a huge success, the three shows from Porter’s pen that immediately preceded it, Mexican Hayride, The Seven Lively Arts, and Around the World in Eighty Days, were not. 961. Kimball, Robert, ed. Cole. Biographical essay by Brendan Gill. New York: Holt, Rinehart & Winston, 1971. 283 p. ISBN 0-03-086710-X. ML410.P7844K55. This tribute to Porter is ﬁlled with photographs, drawings, lyrics, copies of letters, memos, and manuscripts, and other material related to Porter’s life and work. A work list and selected discography are included, but not an index. 962. Lahr, John. “King Cole: The Not So Merry Soul of Cole Porter.” New Yorker 80, no. 19 (12–19 July 2004): 100–104. Lahr chronicles Porter’s largely unhappy life. 963. Leon, Ruth. “Bard Over Broadway.” BBC Music Magazine Special Issue (1999): 32–35. Described as “elegant, self-aware, classy” (p. 34), Porter was a singularly precise creator who had an impassioned and tragic life. 964. McBrien, William. Cole Porter: A Biography. New York: Knopf, 1998. Paperback ed., New York: Vintage, 2000. 461 p. ISBN 0-394-58235. (Knopf) ML410.P7844M33 1998. McBrien, in his magisterial biography, focuses on Porter’s life and times and how Porter integrated his experiences and cultural climate into his reference-ﬁlled lyrics. 965. Shaftel, Matthew. “From Inspiration to Archive: Cole Porter’s “Night and Day.” Journal of Music Theory 43, no. 3 (fall 1999): 315–47.

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“Night and Day,” introduced in The Gay Divorce (1932), exhibits a sophisticated compositional technique. Shaftel investigates the intricate musical devices in the song and the composer’s working methods. “Night and Day” is contextualized within Porter’s life, work, and legacy. See 852, 877, 882. Rodgers, Richard (1902–79) 966. Block, Geoffrey. Richard Rodgers. Yale Broadway Masters. New Haven and London: Yale University Press, 2003. 330 p. ISBN 0-300-09747-6. ML410.R6315B56 2003. Block devotes chapters to Rodgers’ life and musical development; the 1927 and 1943 versions of A Connecticut Yankee in King Arthur’s Court; Rodgers and Hart’s collaborations, especially The Boys of Syracuse; South Paciﬁc on stage, screen, and television; the three television versions of Cinderella; and the ﬁve shows that Rodgers wrote after the death of Hammerstein: No Strings, Do I Hear a Waltz?, Two by Two, Rex, and I Remember Mama. 967. Block, Geoffrey. The Richard Rodgers Reader. Oxford and New York: Oxford University Press, 2002. 356 p. ISBN 0-19-513954-2. ML410. R6315 R53 2002. Arranged in four sections—“Rodgers and Hart (1919–1943),” “Rodgers and Hammerstein (1943–1960),” “Rodgers and Hammerstein (1960–1979),” and “The Composer Speaks (1939–1971)”—the anthology of readings by and about Rodgers provides great insight into the man and his work. 968. Cox, Felix. “‘A Faltering Step in a Basically Right Direction’: Richard Rodgers and All Points West.” American Music 23, no. 3 (fall 2005): 355–76. Techniques that Rodgers developed in All Points West, written for the Paul Whiteman Orchestra in 1936, were applied in later stage works, including the “Soliloquy” from Carousel and act 1 of South Paciﬁc. 969. Cushman, Robert. “Richard Rodgers: From Oklahoma to the Alps.” BBC Music Magazine 8, no. 4 (December 1999): 35–39. As a featured “Composer of the Month” in the popular magazine, Rodgers gets a short biographical treatment, a “Life & Times” timeline, and suggestions (CDs and books) for further investigation. 970. Hyland, William G. Richard Rodgers. New Haven and London: Yale University Press, 1998. 362 p. ISBN 0-300-07115-9. ML410.R6315H95 1998. The magisterial comprehensive biography of Rodgers provides a thorough, detailed, and well-conceived treatment of the man and his creative output.

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971. Mason, Keith. “Richard Rodgers: the Man and His Music.” Music Educators Journal 88, no. 6 (May 2002): 17–25, 60. A sample lesson, listening map, and selected resources for teaching students about Rodgers and his work are presented. 972. Michaelis, Arnold, introduction by Margaret Compton. “A Conversation with Richard Rodgers.” American Music 27, no. 3 (fall–winter 2009): 267–301. A transcription of an interview with Rodgers in 1961 for the television program Heritage, the ﬁlm reels of which are in the University of Georgia Libraries Media Archives. 973. Rodgers, Richard. Letters to Dorothy. Excerpts edited by William W. Appleton. With a foreword by Dorothy Rodgers. New York: New York Public Library, 1988. 253 p. ISBN 0-871-04405-6. ML410.R6315. Excerpts from letters written by Richard Rodgers to his ﬁancée, then wife Dorothy from 1926 to 1937 offer glimpses into the composer’s life. The limited-edition volume also includes photographs and other illustrative material. 974. Rodgers, Richard. Musical Stages: An Autobiography. New York: Random House, 1975. 341 p. Richard Rodgers Centennial Edition, with an updated introduction by Mary Rodgers and a new afterword by John Lahr, New York: Da Capo, 1995. 2nd ed., New York: Da Capo, 2002. 349 p. ISBN 0-306-81134-0. ML410.R6315. Rodgers gives insight into not only his own life and work, but also the musical worlds of Broadway and Hollywood, their stars, and creative personalities. 975. Sandla, Robert. “The Double Life of Richard Rodgers.” BBC Music Magazine Special Issue (1999): 40–44. Sandla describes Rodgers’s partnerships with Hart and Hammerstein. 976. Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. New York: Knopf, 2001. 457 p. ISBN 0-375-40164-4. ML410R6315S43 2001. Secrest probes into Rodgers’s psyche and reveals a very complex individual whose public persona differed from the challenges he faced in his private life. Using interviews from Rodgers’s daughters and many of his friends and associates in addition to personal letters and other family items, Secrest presents an image of an extraordinarily generous, witty, and talented man. 977. Stasio, Marilyn. “Milestone: Richard Rodgers Centennial: Daughter Dispels Myths About a Genius.” Variety 387, no. 3 (3–9 June 2002), p. A2.

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Mary Rodgers comments on her father, his imperfections, and their shared love of language and music. 978. Wood, Graham. “The Development of Song Forms in the Broadway and Hollywood Musicals of Richard Rodgers, 1919–1943.” Ph.D. dissertation, University of Minnesota, 2000. 272 p. After a thorough examination of the status of musical theater research in 2000, Wood discusses the components of song form as evident in the work of Richard Rodgers, including: (1) instrumental introduction, (2) verse, and (3) chorus. He discusses the relationships between these components, both in terms of motivic content and tonal relationships. Four case studies demonstrate how Rodgers used speciﬁc forms for speciﬁc dramatic needs: Dearest Enemy (1925), A Connecticut Yankee (1927), Babes in Arms (1937), and The Boys from Syracuse (1938). Wood then discusses Oklahoma!, focusing on its stylized iconography on the model of Thomas Hart Benton, Agnes De Mille’s blend of modern dance and folk ballet in the choreography, and Rodgers’ use of anachronistic song forms (parallel period and lyric binary) to create the musical’s overall dramatic effect. Richard Rodgers and Lorenz Hart 979. Marx, Samuel, and Jan Clayton. Rodgers and Hart: Bewitched, Bothered, and Bedevilled. London: W. H. Allen, 1977. 287 p. ISBN 0-491-02060-0. ML423.H32. Filled with anecdotes assembled by people who worked with one or both of the subjects, the book gives insight into the collaborative process of creating musical theater. Richard Rodgers and Oscar Hammerstein 2nd 980. Bond, Randall Ives. “‘Still Dreaming of Paradise’: Rodgers and Hammerstein’s Oklahoma!, South Paciﬁc, and Postwar America.” Ph.D. dissertation, Syracuse University, 1996. 337 p. Bond ties the two musicals to 1940s views of the American dream of birth and renewal and the geopolitics of an expanding American frontier through ideas of Americanism, consumerism, tourism, racism, and optimism. 981. Goldstein, Richard M. “‘I Enjoy Being a Girl’: Women in the Plays of Rodgers and Hammerstein.” Popular Music and Society 13, no. 1 (spring 1989): 1–8. Rodgers and Hammerstein, though progressive on many social themes, were conservative in their portrayals of women. Women usually appeared

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in one of four guises: (1) the idealistic heroine who will marry and raise children; (2) the realistic secondary-plot heroine whose awareness of her sexuality and passion often leads to tragic consequences; (3) “The Advisor”; and (4) “The Independent Woman,” who is the heroine’s rival in love and usually loses the man. 982. Green, Stanley, ed. Rodgers and Hammerstein Fact Book. New York: Lynn Farnol Group, 1980. 794 p. ISBN 0-88188-508-8. ML128.M78. An indispensable reference guide to the work of Rodgers and Hammerstein, Green includes full treatments of their work with each other as well as with other collaborators, their production activities, a general bibliography, a discography, and a categorical list of works. 983. Lloyd Webber, Andrew. “The Showmen: Rodgers and Hammerstein.” Time, June 8, 1998, pp. 180–83. Lloyd Webber discusses the signiﬁcance of Rodgers and Hammerstein. 984. McConachie, Bruce A. “The ‘Oriental’ Musicals of Rodgers and Hammerstein and the U.S. War in Southeast Asia.” Theatre Journal 46, no. 3 (October 1994): 385–98. Comparing the narrative patterns of musicals and foreign policy statements and investigating Orientalist metaphors in Rodgers and Hammerstein shows, McConachie asserts that the popularity of South Paciﬁc (1949), The King and I (1951), and Flower Drum Song (1958) inﬂuenced the ideas of many Americans concerning the United States’ political involvement in Vietnam during the 1960s. 985. Mordden, Ethan. Rodgers & Hammerstein. New York: Abrams, 1992. 224 p. ISBN 0-8109-2911-2. (paperback ed.) ML410.R6315M7 1992. Mordden devotes a chapter to each Rodgers & Hammerstein show in this oversized, amply illustrated book. He discusses each musical’s creation, casting, story, music, and legacy. 986. Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. London: J. W. Dent, 1978. Paperback ed., London, Boston, and Sydney: Unwin, 1979. 272 p. ISBN 0-04-782003-9. ML410.R6315. Told from a British perspective, Nolan surveys the lives and works of Rodgers and Hammerstein, their collaborators, and their times. 987. Sears, Ann. “The Coming of the Musical Play: Rodgers and Hammerstein.” In The Cambridge Companion to the Musical, 1st ed., pp. 120–36; in The Cambridge Companion to the Musical, 2nd ed., pp. 147–63. Chronicling the creative output of Rodgers and Hammerstein, Sears integrates a discussion of dramatic ends with musical means, including

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the use of reprises, long musical scenes, dance, and characterization through song. 988. Taylor, Deems. Some Enchanted Evenings: The Story of Rodgers and Hammerstein. New York: Harper & Brothers, 1953. 244 p. ML410. R6315. This popular account of the creative team appeared shortly after Me and Juliet. Romberg, Sigmund (1887–1951) 989. Arnold, Elliott. Deep in My Heart. New York: Duell, Sloan and Pearce, 1949. 511 p. ML410.R66. Told in a novelized fashion for a popular rather than a learned audience and supposedly dictated by the composer in 1947, Arnold’s book includes, in addition to the story of Romberg’s life, a chronology and works list. 990. Díaz de Chumaceiro, Cora L. “Sources of Joy: Induced Recall of Sigmund Romberg’s Music.” Journal of Poetry Therapy 14, no. 2 (2000): 97–103. The author, a clinical psychologist in Caracas, Venezuela, discusses how Romberg’s music, including the biopic Deep in My Heart, can be used for the psychotherapeutic inducement of joy in clinical practice. 991. Everett, William A. Sigmund Romberg. Yale Broadway Masters. New Haven and London: Yale University Press, 2007. 383 p. ISBN 978-0-30011183-5. ML410.R66E94 2007. Romberg’s European roots, revues, musical comedies, operetta adaptations, operettas, Hollywood career, tours, and reputation are discussed. 992. Everett, William A. “Sigmund Romberg and the American Operetta of the 1920s.” Arti musices 26, no. 1 (1995): 49–64. Romberg’s work provides a link between Central European operetta and American musicals. 993. Everett, William A. “Sigmund Romberg’s Operettas Blossom Time, The Student Prince, My Maryland, and My Princess.” Ph.D. dissertation, University of Kansas, 1991. 343 p. In this analysis and discussion of the four operettas Romberg wrote to librettos and lyrics by Dorothy Donnelly, aspects of the composer’s style are addressed, including his use of marches and waltzes and the creation of multisection musical scenes.

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994. Koegel, John. “The Film Operettas of Sigmund Romberg.” Master’s thesis, California State University, Los Angeles, 1984. 252 p. Focusing on the music of Romberg’s four ﬁlm operettas— Viennese Nights, Children of Dreams, The Night is Young, and The Girl of the Golden West—Koegel also provides background histories on musical theater and ﬁlm, Romberg’s life, and the role of music in ﬁlm. Ronell, Ann (1906 or 1908–93) 995. Yours for a Song: The Women of Tin Pan Alley (DVD). American Masters. Produced and directed by Terry Benes. 55 minutes. Fox Lorber CenterStage FLV5172 (1999). ISBN 1-57252-720-X. Four women songwriters—Dorothy Fields, Kay Swift, Dana Suesse, and Ann Ronell—are proﬁled in this PBS production. The ﬁlm includes archival footage, including performances. Schwartz, Stephen (b. 1948) 996. De Geire, Carol. Defying Gravity: The Creative Career of Stephen Schwartz from “Godspell” to “Wicked.” New York: Applause, 2008. 535 p. ISBN 978-1-55783-745-5. ML410.S42 D44 2008. Written for a broad audience, Defying Gravity offers insights into Schwartz’s creative process. Among the “extras” at the end of the book are sections on Godspell song stories and an early outline for Wicked. 997. Sebesta, Judith. “Interview with Stephen Schwartz.” Baylor Journal of Theatre and Performance 3, no. 1 (2006): 73–78. Schwartz discusses Godspell and Wicked, among other topics. Sherman, Robert B. (b. 1925) and Richard M. (b. 1928) 998. Sherman, Robert B., Richard M. Sherman, and David Mumford, Jeff Kurtti, and Bruce Gordon, eds. Walt’s Time—From Before to Beyond. Santa Clarita, CA: Camphor Tree, 1998. 252 p. ISBN 0-964-60593-7. ML390. In this scrapbook-style autobiography, the musical creators involved with some of the most popular ﬁlm musicals, including Mary Poppins, Chitty Chitty Bang Bang, and numerous Disney animated features, discuss their lives and work.

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Sondheim, Stephen (b. 1930) 999. Adler, Thomas P. “The Musical Dramas of Stephen Sondheim: Some Critical Approaches.” Journal of Popular Culture 12, no. 3 (winter 1978): 513–25. Adler discusses the sense of purpose and emphasis on the human condition in Sondheim’s work. 1000. Adler, Thomas P. “The Sung and the Said: Literary Value in the Musical Dramas of Stephen Sondheim.” In Goodhart, pp. 37–60. Adler places Sondheim’s work within the American dramatic tradition of playwrights such as Eugene O’Neill, Edward Albee, Harold Pinter, and Arthur Miller. 1001. Banﬁeld, Stephen. Sondheim’s Broadway Musicals. Ann Arbor: University of Michigan Press, 1993. 453 p. ISBN 0-472-10223-0. ML410. S6872B3 1993. Banﬁeld’s brilliant, analytical, and systematic treatment of Sondheim’s Broadway shows focuses on the music itself, drawing in text studies, analyses that range from the smallest parts of speciﬁc numbers to the entire show, and the composer’s creative processes and working methods. The book is replete with charts and graphs that clarify the multiple levels of connectedness and complexity in a Sondheim score. This is a pioneering work not only for Sondheim studies, but for the entire ﬁeld of musical theater scholarship. 1002. Banﬁeld, Stephen. “Sondheim and the Art that Has No Name.” In Lawson-Peebles, pp. 137–60. Employing the theory of melopoetic integration, Banﬁeld discusses the exploitation of ambiguity, the importance of a song’s title, and reﬂexivity in Sondheim songs. 1003. Elson, Gail, producer. “Sondheim.” 60 Minutes Transcripts 20, no. 52 (September 11, 1988): 6–9. Diane Sawyer interviewed Sondheim on the television newsmagazine. 1004. Fraser, Barbara Means. “Revisiting Greece: The Sondheim Chorus.” In Gordon, pp. 223–49. Sondheim integrates the role of the chorus in Greek drama with that of the traditional Broadway musical in his work. 1005. Freedman, Samuel G. “The Creative Mind: The Words and Music of Stephen Sondheim.” New York Times Magazine, 1 April 1984, 22–32, 60.

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This article appeared as Sunday in the Park with George was approaching its Broadway opening. 1006. Gebb, Paul. “The Braggart Soldier: An Archetypal Character found in Sunday in the Park with George.” M.F.A. thesis, University of Central Florida, 2007. 116 p. Investigates, from an actor’s perspective, the “braggart soldier” archetype and how Sondheim treats it not only in Sunday (Soldier) but also in A Funny Thing Happened on the Way to the Forum (Miles Gloriosus), A Little Night Music (Carl Magnus), Into the Woods (the Princes), and Assassins (John Wilkes Booth). 1007. Goodhart, Sandor. “Reading Sondheim: The End of Ever After.” In Goodhart, pp. 3–33. In the introductory essay to his edited book of essays (item 654), Goodhart argues for serious readings of Sondheim’s work, viewing it as commentary on and witness to life crises and responses. 1008. Goodhart, Sandor, ed. Reading Stephen Sondheim: A Collection of Critical Essays. New York and London: Garland, 2000. 280 p. (Studies in Modern Drama, no. 10. Garland Reference Library of the Humanities, vol. 2065.) ISBN 0-8153-2832-X. ML410.S6872R4 1998. The introduction and twelve essays in this volume treat Sondheim’s work from the point of literary criticism and theory. The book includes a solid bibliography. Each essay receives a separate entry in this volume. 1009. Gordon, Joanne. Art Isn’t Easy: The Achievement of Stephen Sondheim. Carbondale and Edwardsville: Southern Illinois University Press, 1990. 343 p. ISBN 0-8083-1407-X. ML410.S6872G7 1988. Gordon discusses Sondheim’s contributions and approach to musical theater before surveying his work from A Funny Thing Happened on the Way to the Forum through Into the Woods. 1010. Gordon, Joanne. Art Isn’t Easy: The Theatre of Stephen Sondheim. New York: Da Capo, 1992. 363 p. ISBN 0-306-80468-9. ML410.S6872. This is an updated version of entry 1009. 1011. Gordon, Joanne, ed. Stephen Sondheim: A Casebook. Casebook on Modern Dramatists, vol. 23. Garland Reference Library of the Humanities, vol. 1916. New York and London: Garland, 1997. 259 p. ISBN 0-8153-2054-X. ML410.S6872S74 1997. This collection of essays focuses on Sondheim’s work as a musical dramatist. Each essay receives a separate entry in the present volume.

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1012. Gottfried, Martin. Sondheim. New York: Abrams, 1993. Rev. and updated ed., New York: Abrams, 2000. 207 p. ISBN 0-8109-4179-1. ML410. S6872G8 1993. The detailed show-by-show discussion of Sondheim’s work is ﬁlled with photographs, many of them in color. 1013. Hanson, Laura. “Broadway Babies: Images of Women in the Musicals of Stephen Sondheim.” In Gordon, pp. 13–33. Hanson traces the evolution of the complex, multidimensional aspects of female characters in Sondheim’s work. Sondheim destroys the stereotypical musical heroine persona in favor of a woman whose life is ﬁlled with difﬁculties, tension, and having to make tough choices. 1014. Hanson, Laura. “Elements of Modernism in the Musicals of Stephen Sondheim.” Ph.D. dissertation, New York University, 2001. 326 p. A study of Modernist elements in Sondheim’s musicals from A Funny Thing Happened on the Way to the Forum to Passion. 1015. Hanson, Laura. “The Sondheim Celebration.” Theatre Journal 55, no. 2 (2003): 334–37. The Kennedy Center’s 2002 Sondheim Celebration is reviewed. 1016. Herbert, Trevor. “Sondheim’s Technique.” Contemporary Music Review 5 (1989): 199–214. Transcription of a 1985 interview for the BBC television program “Composers and Audiences: Tippett and Sondheim” in which text-music relationships are discussed. 1017. Horowitz, Mark Eden. Sondheim on Music: Minor Details and Major Decisions. Lanham, MD, and Oxford: Scarecrow, in association with the Library of Congress, 2003. 401 p. ISBN 0-8108-4437-0. ML410.S6872 A5 2002. Transcripts of video interviews given by Sondheim over three days in October 1997; the exclusive focus is on Sondheim as a composer. Necessarily detailed in the level of musical discourse, Sondheim expands on six shows—Passion, Assassins, Into the Woods, Sunday in the Park with George, Sweeney Todd, and Paciﬁc Overtures—moving from the speciﬁc to the general in his discussion. The interviews were made following Sondheim’s bequeathing of his manuscripts to the Library of Congress. The book also includes information on Sondheim’s seventieth birthday celebration at the Library of Congress, and includes his list of “Songs I Wish I’d Written (At Least in Part)” along with testimonials from his friends and colleagues. The volume includes comprehensive song listings, discography, and publication information.

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1018. Kaiser, Michael M. The Art of the Turnaround: Creating and Maintaining Healthy Arts Organizations. Waltham, MA: Brandeis University Press, 2008. 196 p. ISBN 978-1-58465-735-4. PN1584.K24 2008. Kaiser offers insights on the 2002 Kennedy Center retrospective on Sondheim from his perspective as President of the Kennedy Center (pp. 147–49, 155–58). 1019. Lambert, Josephine Gay. “’Finishing the Hat, Where There Never Was a Hat’: A Critical Analysis of the Words and Music of Stephen Sondheim and Their Relationship to the Development of Musical Theatre as an Art Form.” M.A. dissertation, University of South Africa, 2000. The thematic and prosodic content of the lyrics and the emotional and dramatic role of the music are investigated in four works: A Funny Thing Happened on the Way to the Forum, Sweeney Todd, Into the Woods, and Assassins. 1020. Leithauser, Brad. “A Funny Thing Happened on the Way to Broadway.” New York Review of Books, 10 February 2000, 35–38. In his review-essay of Secrest’s Stephen Sondheim: A Life and the Sondheim revue Putting It Together, the author pays tribute to the composer who he describes as a “solitary monarch.” 1021. Lipton, James. “The Art of the Musical: Stephen Sondheim.” Paris Review 39, no. 142 (spring 1997): 258–78. In an excerpt from an interview, the composer discusses his creative process and how musicals are “presentational plays.” 1022. Lovensheimer, Jim. “Stephen Sondheim and the Musical of the Outsider.” In The Cambridge Companion to the Musical, 1st ed., pp. 181–96; in The Cambridge Companion to the Musical, 2nd ed., pp. 205–19. Lovensheimer discusses how nonconforming outsiders are central to Sondheim’s musicals, and how the composer enhances these characters musically through either short motifs or pastiche techniques. He surveys Company, Anyone Can Whistle, Follies, A Little Night Music, Sweeney Todd, and Into the Woods, before focusing the majority of his discussion on Assassins. 1023. Menton, Allen W. “Maternity, Madness, and Art in the Theater of Stephen Sondheim.” In Goodhart, pp. 61–76. Menton discusses the mother ﬁgure in Sondheim’s work, the various mother-child relationships, the breakdown or madness that often occurs in the mother ﬁgure, and the role of art in mediating parent-child tensions.

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1024. Milner, Andrew. “‘Let the Pupil Show the Master’: Stephen Sondheim and Oscar Hammerstein II.” In Gordon, pp. 153–69. Milner investigates the relationship between Sondheim and his teacher Hammerstein, comparing Sondheim’s Merrily We Roll Along with Rodgers and Hammerstein’s Allegro. 1025. Puccio, Paul M., and Scott F. Stoddart. “‘It Takes Two’: A Duet on Duets in Follies and Sweeney Todd.” In Goodhart, pp. 121–29. Written in the form of a dialogue between the authors, the essay discusses the meaning and use of duets in Sondheim’s work, focusing on Follies and Sweeney Todd. 1026. Rich, Frank. “Conversations with Sondheim.” New York Times Magazine, 12 March 2000, 38–43, 60–61, 88–89. On the eve of his seventieth birthday, Sondheim tells of his life, work, inﬂuences, and Broadway’s past and present. 1027. Rich, Frank. “Side by Side by Side: As the Kennedy Center Lines UP Six Stephen Sondheim Productions in a Star-Spangled Retrospective, the Maestro Candidly Assesses his Accomplishments—and Confesses to Some Aspirations Unfulﬁlled.” American Theatre 19, no. 6 (July–Aug. 2002): 20–24, 68070. Sondheim provided this interview during the Kennedy Center’s 2002 Sondheim Celebration. 1028. Schiff, Stephen. “Deconstructing Sondheim.” New Yorker, 8 March 1993, 76–87. Sondheim provides insight into his creative process. 1029. Secrest, Meryle. Stephen Sondheim: A Life. New York: Knopf, 1998. 461 p. ISBN 0-679-44817-9. ML410.S6872S43 1998. Secrest presents a view of Sondheim, the person, based on interviews with Sondheim and others as well as accounts of productions of his works. 1030. The Sondheim Review. 1994–present. This quarterly publication dedicated to the work of Sondheim, established in 1994, exists in both print and online versions (www.sondheimreview.com). Each issue includes interviews, features, reviews, and other information on Sondheim shows and performers associated with Sondheim’s work. 1031. Stephen Sondheim: The Story So Far. Sony BMG Masterworks B001EKH09E (1998). This 4-CD set includes 81 tracks, 28 of which are previously unreleased. A series of podcasts consisting of interviews with Sondheim and people associated with his work issued in conjunction with the set is available

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on Sony BMG’s website: http://podcasts.sonybmgmasterworks.com/ category/masterworks-broadway-podcast-theatre/stephen-sondheim. 1032. Swayne, Steven Robert. “Hearing Sondheim’s Voices.” Ph.D. dissertation, University of California, Berkeley, 1999. 349 p. Sondheim’s eclecticism appears in part through his use of pastiche. This technique is especially prominent in Follies and Assassins. The composer also employs operatic, dance, and rhythmic conventions to deﬁne characters and dramatic ideas. 1033. Swayne, Steve[n Robert]. How Sondheim Found His Sound. Ann Arbor: University of Michigan Press, 2005. 331 p. ISBN 0-472-11497-2. ML410. S6872S93 2005. Sondheim’s style—musical, nonmusical, and the combination of the two—is examined in detail, as are its multiple inﬂuences, including classical music from 1850 to 1950, songs of Tin Pan Alley, Broadway, and Hollywood, Oscar Hammerstein II and his collaborators, and aspects of ﬁlm music, among others. 1034. Teachout, Terry. “Sondheim’s Operas.” Commentary 115, no. 5 (May 2003): 57–61. Teachout investigates the operatic qualities of Sondheim’s work, focusing on Sweeney Todd and A Little Night Music, both of which have been produced by opera companies. 1035. Young, Kay. “‘Every Day a Little Death’: Sondheim’s Un-musicaling of Marriage.” In Goodhart, pp. 77–88. Sondheim undoes the characteristic happy ending associated with musicals by not having the principals together at the ﬁnal curtain in shows such as A Little Night Music, Sweeney Todd, Sunday in the Park with George, and Into the Woods, among others. 1036. Zadan, Craig. Sondheim & Co. New York: Harper & Row, 1989. 438 p. ISBN 0-306-80601-0. ML410.S6872Z2 1989. Filled with quotes from Sondheim’s collaborators, Zadan’s book provides valuable information on Sondheim’s work and creative process. The volume includes many photographs of signiﬁcant people, rehearsals, and productions. See 866, 932. Strouse, Charles (b. 1928) 1037. Strouse, Charles. Put On a Happy Face: A Broadway Memoir. New York: Union Square Press, 2008. 326 p. ISBN 978-1-4027-5889-8. ML410. S938 P88 2008.

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Strouse’s autobiography, which appeared in conjunction with his eightieth birthday celebrations, includes behind-the-scene stories about the shows he created and the people with whom he worked. Stuart, Leslie (1864–1928) 1038. Lamb, Andrew. Leslie Stuart: The Man Who Composed “Floradora.” Forgotten Stars of the Musical Theatre. New York and London: Routledge, 2002. 295 p. ISBN 0-415-93747-7. ML410.S9413 L35 2002. Stuart was a British songwriter whose most famous work was Floradora. Lamb surveys Stuart’s life and work in both Britain and America. The ﬁnal chapter addresses Stuart’s legacy. The book includes a chronological work list. Suesse, Dana (1909–87) See 995. Sullivan, Arthur (1842–1900) 1039. Hughes, Gervase. The Music of Arthur Sullivan. New York: St. Martin’s, 1960. 180 p. ML410.S95 H8. Sullivan’s musical style is the focus of this study, which includes discussions of rhythm and word setting, harmony, tonality, modulation, chromaticism, counterpoint, vocal writing, orchestration, melody, and allusions to music of other composers. 1040. Jacobs, Arthur. Arthur Sullivan: A Victorian Musician. Oxford and New York: Oxford University Press, 1984. 470 p. ISBN 0-19-315443-9. ML410.S95 J28 1984. Jacobs draws upon primary sources, many of which are quoted in the study, to create a vivid picture of the composer, his professional and personal lives and habits, and his working processes. The book includes illustrations, a complete work list, and a select bibliography. 1041. Young, Percy M. Sir Arthur Sullivan. New York: Norton, 1971. 304 p. ML410.S95Y7. Young portrays the multifaceted nature of Sullivan and his music, and includes quotations from many primary documents and musical examples in his narrative. The book offers a vivid picture of Victorian Britain and contains a large number of illustrations, a detailed work list, an extensive bibliography, and racing records from Sullivan’s career as a racehorse owner.

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Gilbert and Sullivan 1042. Ainger, Michael. Gilbert and Sullivan: A Dual Biography. Oxford and New York: Oxford University Press, 2002. 504 p. ISBN 0-19-514769-3. ML410.S95A77 2002. The ﬁrst joint biography of Gilbert and Sullivan to appear in ﬁfty years— and the ﬁrst in the twenty-ﬁrst century, Ainger draws upon previously unavailable or unassembled materials to create a detailed study of the two men, their lives, and their work. Extremely well documented (with thirty-ﬁve pages of endnotes), the book contains a valuable up-to-date bibliography. 1043. Ayre, Leslie. The Gilbert & Sullivan Companion. Foreword by Martyn Green. London and New York: W. H. Allen, 1972. 485 p. ISBN 0-49100832-5. ML410.S95. The volume includes biographical sketches of Gilbert and Sullivan followed by encyclopedia-type entries, with extended ones for speciﬁc works. 1044. Eden, David, and Meinhard Saremba, eds. The Cambridge Companion to Gilbert and Sullivan. Cambridge: Cambridge University Press, 2009. 287 p. ISBN 978-0-521-88849-3 (hardback), ISBN 978-0-521-71659-8 (paperback). ML410.S95C35 2009. This collection of sixteen essays and four appendices illuminates various aspects of the Gilbert and Sullivan legacy, including social contexts, reception, and performance histories. The chapters and authors are as follows: 1. “Savoy Opera and its Discontents: The Theatrical Background to a Quarrel” by David Eden (pp. 3–21) 2. “Identity Crisis and the Search for English Opera: The Savoy Theatre in the 1890s” by William Parry (pp. 22–35) 3. “Resituating Gilbert and Sullivan: The Musical and Aesthetic Context” by Benedict Taylor (pp. 36–49) 4. “‘We Sing as One Individual’? Popular Misconceptions of ‘Gilbert and Sullivan’” by Meinhard Saremba (pp. 50–66) 5. “The Operas in Context: Stylistic Elements—The Savoy and Beyond” by Richard Silverman (pp. 69–84) 6. “The Librettos in Context: Gilbert’s ‘Fables in Song’” by Horst Dölvers (pp. 85–97) 7. “‘The Particularly Rapid, Unintelligible Patter’: Patter Songs and the Word-Music Relationship” by Laura Kasson Fiss (pp. 98–108) 8. “Standing Still and Moving Forward: The Mikado, Haddon Hall and Concepts of Time in the Savoy Operas” by Michael Beckerman (pp. 109–21) 9. “Musical Contexts I: Motives and Methods in Sullivan’s Allusions” by James Brooks Kuykendall (pp. 122–36)

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10. “Musical Contexts II: Characteristics and Emotion in the Savoy Operas” by Martin T. Yates (pp. 136–49) 11. “Topsy-Turvy: A Personal Journey” by Mike Leigh (pp. 153–76) 12. “Amateur Tenors and Choruses in Public: The Amateur Scene” by Ian Bradley (pp. 177–89) 13. “Champions and Aﬁcionados: Amateur and Listener Experiences of the Savoy Operas in Performance” by Stephanie Pitts (pp. 190–200) 14. “‘How Great Thy Charm, Thy Sway How Excellent!’ Tracing Gilbert and Sullivan’s Legacy in the American Musical” by Raymond Knapp (pp. 201–15) 15. “‘See How the Fates Their Gifts Allot’: The Reception of Productions and Translations in Continental Europe” by Jana Polianovskaia (pp. 216–28) 16. “Adventures in Musical Detection: Scholarship, Editions, Productions and the Future of the Savoy Operas” by David Russell Hulme (pp. 231–42) Appendix 1. “Who Wrote the Overtures?” by David Russell Hulme (p. 243) Appendix 2. “Stage and Choral Works by Arthur Sullivan and W. S. Gilbert” (arranged alphabetically, p. 244) Appendix 3. “Modern Editions of Works by Arthur Sullivan and W. S. Gilbert” (pp. 245–46) Appendix 4. “Sullivan’s Archetypes of English Opera” (p. 247) 1045. Wilson, Robin, and Frederic Lloyd. Gilbert & Sullivan; The Ofﬁcial D’Oyly Carte Picture History. New York: Knopf, 1984. 216 p. ISBN 0-394-54113-8. ML410.S95 W5 1984. A pictorial history arranged chronologically, the text consists almost entirely of captions for the nearly 500 illustrations. 1046. Wren, Gayden. A Most Ingenious Paradox: The Art of Gilbert and Sullivan. Oxford and New York: Oxford University Press, 2001. 396 p. ISBN 0-19-514514-3. ML410.S95 W76 2001. Wren, a director, explores each Gilbert and Sullivan opera in great deal, looking at underlying themes, musical-dramatic structure, characterization, lyrics, libretto, and musical treatment. He discusses connections between works, performance and artistic legacies, and provides a most valuable annotated bibliography. Swift, Kay (1897–1993) 1047. Ohl, Vicki. Fine and Dandy: The Life and Work of Kay Swift. New Haven and London: Yale University Press, 2004. 308 p. ISBN 0-300-10261-5. ML410.S972045 2004.

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Ohl presents the life and work of Kay Swift, including her work as a composer (including the ﬁrst complete Broadway musical written by a woman, Fine and Dandy), pianist, and musical advisor. See 995. Weill, Kurt (1900–50) 1048. Drew, David. Kurt Weill: A Handbook. Berkeley and Los Angeles: University of California Press, 1987. 480 p. ISBN 0-520-05839-9. ML134.W4D7 1987. Drew’s extensive and exhaustive catalog of Weill’s work is prefaced with a chronology and followed by information on Weill’s unrealized projects, an inventory of his Brook House Library, an essay on Weill lacunae, and appendices on the Kurt Weill Foundation for Music, the Weill-Lenya Research Center, and the Weill-Lenya Archive at Yale University. 1049. Farneth, David, with Elmar Juchem and Dave Stein. Kurt Weill: A Life in Pictures and Documents. Designed by Bernard Schleifer. Woodstock, NY: Overlook Press and London: Thames & Hudson, 2000. 312 p. ISBN 0-879-51721-2. (Overlook Press) ML410.W395. The authors assembled an illustrated photographic chronology of Weill’s life. 1050. Hirsch, Foster. Kurt Weill on Stage: From Berlin to Broadway. New York: Knopf, 2002. 404 p. ISBN 0-375-40375. ML410.W395. Hirsch describes Weill’s work, asserting that there are more similarities than differences between his European and American works. 1051. Kilroy, David Michael. “Kurt Weill on Broadway: The Postwar Years (1945–1950).” Ph.D. dissertation, Harvard University, 1992. 525 p. Street Scene, Love Life, and Lost in the Stars are examined against the backdrop of American society and politics. Street Scene emphasizes outsiders and the notion of pastoral space; Love Life includes a variety of meanings and has a mode of presentation approaching that of later concept musicals; and Lost in the Stars demonstrates a tragicomic synthesis. Kilroy provides sections titled “Cultural Vignettes,” “Genesis and Production,” and “Content and Design” for each show. 1052. Kowalke, Kim H., ed. A New Orpheus: Essays on Kurt Weill. New Haven, CT, and London: Yale University Press, 1986. 374 p. ISBN 0-300-03514-4. ML410.W395N5 1986. This collection of essays provides a variety of perspectives on Weill and his work.

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1053. Kowalke, Kim H., and Horst Edler, eds. A Stranger Here Myself: Kurt Weill Studien. Hildensheim, Germany: Olms, 1993. 384 p. ISBN 3-48709-722-2. ML410.W395. This collection of essays provides a variety of perspectives on Weill and his work. 1054. Mercado, Mario R., comp. and ed. Kurt Weill: A Guide to His Works. 2nd ed. New York: Kurt Weill Foundation for Music, 1989. 97 p. ML134. W422M5 1994. For each of Weill’s stage works, Mercado includes information on vocal parts, orchestral parts, performance time, song titles, published editions, performance rights and rental information, translations, and recordings. 1055. Morales, Robin Lee. “A Performer’s Guide to the American Musical Theater Songs of Kurt Weill (1900–1950).” D.M.A. dissertation, University of Arizona, 2008. 103 p. Weill’s American theater songs require a vocal technique grounded in the speech-based lyricism of jazz singers and singing-actors. Operatic lyricism, jazz rhythms, and popular idioms all appear in the songs. 1056. Roth, Marc A. “Kurt Weill and Broadway Opera.” In Loney, pp. 267–72. Weill, who didn’t see the so-called Berlin-Broadway split in his career (p. 268), composed “dramatic musicals” in which he took opera into popular music and popular music into opera. He proved by example that Broadway opera had a place in the American theater. 1057. Sanders, Ronald. The Days Grow Short: The Life and Music of Kurt Weill. New York: Holt, Rinehart and Winston, 1980. 469 p. ISBN 0-03019411-3. ML410.W395S2. Weill collaborated with Bertolt Brecht in Germany and with Ira Gershwin, Alay Jay Lerner, and Maxwell Anderson, among others, in America. Sanders discusses the originality of Weill’s work for the musical stage, tying it to classical roots, Broadway, Jewish cultural history, and Europe of the interwar years. 1058. Schebera, Jürgen. Kurt Weill: An Illustrated Life. New Haven: Yale University Press, 1995. 387 p. ISBN 0-300-06055-6. ML410.W395. This photographic essay chronicles Weill’s life. 1059. Taylor, Ronald. Kurt Weill: Composer in a Divided World. London: Simon & Schuster, 1991. 342 p. ISBN 0-671-71070-2. ML410.W395. Told from a German perspective, this biography of Weill posits the composer within his Jewish roots, interwar Germany, and the various forces that shaped him in both Europe and America.

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1060. Weill, Kurt, and Lotte Lenya. Speak Low (When You Speak Love): The Letters of Kurt Weill and Lotte Lenya. Translated and edited by Lys Symonette and Kim H. Kowalke. Berkeley and London: University of California Press, 1996. 554 p. ISBN 0-520-07853-5. ML410. W395A4 1996. The annotated collection of letters includes seventy-nine photographs, a valuable bibliography, a list of the writers’ pet names and private expressions for each other, and a biographical glossary. See 860, 891. Willson, Meredith (1902–84) 1061. Oates, Bill. Meredith Willson—America’s Music Man: The Whole Broadway-Symphonic-Radio-Motion Picture Story. Bloomington, IN: AuthorHouse, 2005. 242 p. ISBN 1-4208-3524-6. ML410.W714. Interviews and radio shows ﬁgure prominently in this comprehensive biography. 1062. Skipper, John C. Meredith Willson: The Unsinkable Music Man. Mason City, IA: Savas, 2000. 243 p. ISBN 1-882810-78-3. ML422.W63. Anecdotes and personal recollections ﬁll this biography of the composer of The Music Man and The Unsinkable Molly Brown. 1063. Willson, Meredith. And There I Stood with My Piccolo. Garden City, NJ: Doubleday, 1948; Reprint ed., Minneapolis: University of Minnesota Press, 2009. 256 p. ISBN 978-0-8166-6769-7. ML422.W63 A3 2009. Willson’s autobiography appeared nine years before The Music Man. Wilson, Sandy (b. 1924) 1064. Wilson, Sandy. I Could Be Happy. London: Joseph, 1975. 283 p. ISBN 0-71811-370-5. ML410.W716. The autobiography of the composer-lyricist-librettist of The Boy Friend gives insight into the creator’s life, work, and times. Youmans, Vincent (1898–1946) 1065. Bordman, Gerald. Days to Be Happy, Years to Be Sad: The Life and Music of Vincent Youmans. New York and Oxford: Oxford University Press, 1982. 266 p. ISBN 0-19-503026-5. ML410.Y73B7.

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Youmans led an intriguing life as a true child of the Lost Generation who was born into a wealthy New York family, wrote No, No, Nanette for Broadway and Flying Down to Rio for Fred Astaire and Ginger Rogers, suffered because of his accomplishments, and eventually drove himself to despair. Zappa, Frank (1940–93) 1066. Carr, Paul, and Richard J. Hand. “Frank Zappa and Musical Theatre: Ugly Ugly O’phgan Annie and Really Deep, Intense, Thought-Provoking Broadway Symbolism.” Studies in Musical Theatre 1, no. 1 (2007): 41–56. Frank Zappa’s Joe’s Garage Acts I, II and III (1979) and Thing-Fish (1984) collude and subvert mainstream musical theatre conventions. WORDSMITHS 1077. Engel, Lehman. Their Words Are Music: The Great Theatre Lyricists and Their Lyrics. New York: Crown, 1975. 276 p. ISBN 0-517-51682-9. ML54.6.T35. Chronicling the evolution of the Broadway lyric, Engel devotes sections to major lyricists, providing a brief introduction to each person before reprinting selected lyrics with commentary. He gives a full chapter to Kurt Weill’s collaborators, and includes lyrics by people other than those given full sections in “A Bouquet of Lyrics from Successful Musical Shows.” He concludes with a chapter on new lyricists. 1078. Furia, Philip. The Poets of Tin Pan Alley: A History of America’s Great Lyricists. New York and Oxford: Oxford University Press, 1990. 322 p. ISBN 0-195-06488-9. PS309.L8. Furia discusses the art of creating words for Broadway songs. Using leading Broadway lyricists as case studies, he offers a comprehensive chronicle of the art of creating lyrics. 1079. Gottlieb, Robert, and Robert Kimball, eds. Reading Lyrics. New York: Pantheon Books, 2000. 706 p. ISBN 0-375-40081-8. ML54.6.R39 2000. Arranged chronologically by lyricist, this anthology of over 1,000 lyrics includes a brief biographical entry for each writer before the appearance of some of their ﬁnest lyrics. There is also a “coda” with lyrics by composers not included in the main part of the book and a song index. 1080. Hischak, Thomas S. Word Crazy: Broadway Lyricists from Cohan to Sondheim. New York: Praeger, 1991. 241 p. ISBN 0-275-93849-2. PS309. L8H5 1991.

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Discussing ninety years of Broadway lyricists, Hischak devotes single chapters to especially well-known and signiﬁcant lyricists (Cohan, Porter, Hart, Lerner, Comden and Green) and includes chapters surveying their contemporaries. Hischak discusses the changing role of the lyric and lyricist in musical theater. 1081. Hischak, Thomas S. Boy Loses Girl: Broadway’s Librettists. Lanham, MD: Scarecrow, 2002. 288 p. ISBN 0-8108-4440-0. ML403 .H57 2002. Librettists from George M. Cohan through the turn of the twenty-ﬁrst century are chronicled, with information on their careers, lives, and stylistic features and approaches. 1082. Rothman, Korey R. “‘Will You Remember’: Female Lyricists of Operetta and Musical Comedy.” In Coleman and Sebesta, pp. 9–33. The careers and output of Rida Johnson Young, Anne Caldwell, and Dorothy Donnelly are the focus of the essay, which also includes discussions of the overly sentimental reputation of operetta and musical comedy, the contributions of Dorothy Fields, and lyric writing as a way for women to earn money. Berlin, Irving (1888–1989) 1083. Kimball, Robert, and Linda Emmett, eds. The Complete Lyrics of Irving Berlin. New York: Knopf, 2001. 532 p. ISBN 0-679-41943-8. ML54.6.B464K55 2000. Arranged chronologically by show, Berlin’s lyrics appear in their full forms, almost always with brief annotations. The volume includes 72 photos. Black, Don (b. 1938) 1084. Inverne, James. Wrestling with Elephants: The Authorised Biography of Don Black. Foreword by John Barry. London: Sanctuary, 2003. 222 p. ISBN 1-86074-468-0. Black’s lyric credits include the title songs from the ﬁlms Born Free and Diamonds Are Forever, as well as musicals such as Billy, Tell Me on a Sunday, Aspects of Love, Sunset Boulevard, and Bombay Dreams. The book includes a discussion of the 2003 revival and revision of Tell Me on a Sunday. Bolton, Guy (1884–1979) 1085. Wodehouse, P. G., and Guy Bolton. Bring On the Girls! The Improbable Story of Our Life in Musical Comedy with Pictures to Prove It. New York:

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Simon & Schuster, 1953. Reprint, Pleasantville, New York: Akadine, 1997. 279 p. ISBN 1-888173-17-3. ML1711. Two of the most important wordsmiths in the ﬁrst half of the twentieth century tell their tale with plenty of anecdotes about plays and players. See 926. Brougham, John (1814–80) 1086. Plotnicki, Rita M. “John Brougham: The Aristophanes of American Burlesque.” Journal of Popular Culture 12, no. 3 (winter 1978): 422–31. Brougham’s burlesques were extremely popular during the 1840s and 1850s. Caldwell, Anne (1867–1936) 1087. Peck, Ellen Marie. “‘Ah, Sweet Mystery’: Rediscovering Three Female Lyricists of the Early Twentieth-Century American Musical Theater.” Contemporary Theatre Review 19, no. 1 (Feb. 2009): 48–60. Peck explores the careers of Anne Caldwell, Dorothy Donnelly, and Rida Johnson Young and analyzes some of their most famous songs. 1088. Peck, Ellen Marie. “Blossom Time: Three Lyricist-Librettist and the Early Twentieth-Century American Musical Theatre.” Ph.D. Dissertation (Theatre), University of Illinois at Urbana-Champaign, 2009. 224 p. Peck analyzes all known extant scripts by Anne Caldwell, Dorothy Donnelly, and Rida Johnson Young as musical plays, highlighting structure, dialogue, song placement, relationship between music and plot, and overall dramatic effectiveness. See 1082. Comden, Betty (b. 1915) 1089. Comden, Betty. Off Stage. New York: Simon & Schuster, 1995. 272 p. ISBN 0-671-70579-2. ML423.C78A3 1995. In her autobiography, Comden discusses her professional occupations as lyricist, playwright, screenwriter, and performer as well as the highs and lows of her private life. Her reminiscences of a career in both New York and Hollywood, which spanned decades, includes insightful and heartfelt remarks about people such as Leonard Bernstein, Jule Styne, Gene Kelly, Lauren Bacall, and of course Adolph Green.

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Betty Comden and Adolph Green 1090. Baer, William. “Singin’ in the Rain: A Conversation with Betty Comden and Adolph Green.” Michigan Quarterly Review 41, no. 1 (winter 2002): 1–20. In the interview, Comden and Green discuss producer Arthur Freed, their early Hollywood experiences, and their work on the ﬁlm Singin’ in the Rain. 1091. Comden, Betty, and Adolph Green. The New York Musicals of Comden & Green: The Complete Book and Lyrics. With a foreword by Mike Nichols. New York and London: Applause, 1997. 296 p. ISBN 1-55783-242-0. ML48.N49 1996. Although published librettos are not generally included in this bibliography, an exception needs to made here, for the volume includes brief commentary by the creators on their three “New York” musicals—On the Town, Wonderful Town, and Bells Are Ringing—in addition to publicity, rehearsal, and production photos. 1092. Robinson, Alice M. Betty Comden and Adolph Green: A Bio-Bibliography. Westport, CT, and London: Greenwood, 1994. 361 p. (Bio-Bibliographies in the Performing Arts, no. 45.) ISBN 0-313-27659-5. ML134.5.C66R6 1994. In addition to the opening biographical essay, the book focuses on the creative output of Comden and Green. Arranged by category, Robinson includes detailed information about each show or film. The book also includes a chronology, discography, bibliography, and list of awards. Coward, Noël (1899–1973) 1093. Day, Barry, ed. Noël Coward: The Complete Lyrics. Woodstock, NY: Overlook Press, 1998. 367 p. ISBN 0-87951-896-0. ML54.6.C83N64. Accompanied by introductory essays and commentary following each lyric, Coward’s complete lyric output is arranged chronologically. The book includes photographs from many of his shows. Dietz, Howard (1896–1983) 1094. Dietz, Howard. Dancing in the Dark. New York: Quadrangle, 1974. 370 p. ISBN 0-8129-0439-7. ML423.D557 A3 (UMKC). Dietz includes, in addition to reminiscences and anecdotes, many of his lyrics and a large number of photographs with his own captions.

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Donnelly, Dorothy (1880–1928) 1095. McLean, Lorriane Arnal. Dorothy Donnelly: A Life in the Theatre. Jefferson, NC: McFarland, 1999. 223 p. ISBN 0-786-40677-1. PN2287. D523 M39 1999. Donnelly’s signiﬁcant career as an actress and writer for the theater, especially her work as an operetta librettist, are chronicled and critically assessed. See 1082, 1087, 1088. Fields, Dorothy (1905–74) 1096. Greenspan, Charlotte. Pick Yourself Up: Dorothy Fields and the American Musical. Broadway Legacies. New York: Oxford University Press, 2010. 336 p. ISBN 978-0-19-511110-1. ML423.F4 G74 2010. Greenspan traces Fields’ life and work, including her growing up in a theatrical family, her work with Jimmy McHugh, Jerome Kern, and her brother Herbert, and her pioneering work as a lyricist and librettist in a male-dominated ﬁeld. 1097. Winer, Deborah Grace. On the Sunny Side of the Street: The Life and Lyrics of Dorothy Fields. With a foreword by Betty Comden. New York: Schirmer, 1997. 287 p. ISBN 0-02-864730-0. ML423.F4W56 1998. Field’s career spanned six decades. She was one of the few women songwriters during the Golden Age of the musical and American popular music. Her career on Broadway and in Hollywood resulted in lyrics for over 400 songs. Winer’s book chronicles Fields’ life and work and includes selected lyrics, lists of musical numbers and cast lists for several shows on which she worked, photographs, and a song list by Ken Bloom. Gershwin, Ira (1896–1983) 1098. Furia, Philip. Ira Gershwin: The Art of the Lyricist. New York and Oxford: Oxford University Press, 1996. 278 p. ISBN 0-19-508299-0. ML423. G334F87 1995. Furia discusses Gershwin’s craft in creating lyrics, analyzes the intricacies of many of his creations, and investigates his collaborations with composers such as George Gershwin, Vincent Youmans, Harold Arlen, Jerome Kern, Kurt Weill, Burton Lane, Aaron Copland, and Arthur Schwartz. 1099. Gershwin, Ira. Lyrics on Several Occasions. New York: Knopf, 1959. 362 p. ML54.6.G28.

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Gershwin himself arranged a selection of lyrics into self-described arbitrary categories (including “Not for a Musicologist,” “A Set of Sagas,” “Turns with Terpsichore,” and “Euphoria Revisited”) and added commentary ranging widely in length, subject, and approach. 1100. Jablonski, Edward. “What About Ira?” In The Gershwin Style: New Looks at the Music of George Gershwin, edited by Wayne Schneider, pp. 255–77. New York and Oxford: Oxford University Press, 1999. ISBN 0-19509020-9. ML410.G288G49 1999. After his brother’s death in 1937, Ira Gershwin continued writing skillfully crafted lyrics with a number of different composers. 1101. Kimball, Robert, ed. The Complete Lyrics of Ira Gershwin. New York: Knopf, 1993. Reprint, New York: Da Capo, 1998. 414 p. ISBN 0-30680856-0. ML54.6.G28K55 1998. Arranged chronologically, Kimball presents Gershwin’s lyrics with brief annotations and sometimes includes commentary from Gershwin’s Lyrics on Several Occasions. He includes an introductory essay and a chronology. See 906–8. Gilbert, William Schwenck (1836–1911) 1102. Stedman, Jane W. W. S. Gilbert: A Classic Victorian & His Theatre. Oxford and New York: Oxford University Press, 1996. 374 p. ISBN 0-19816174-3. PR4714.S74 1996. Stedman shines light on the personality of W. S. Gilbert, his literary output and relationship with Sir Arthur Sullivan, their collaborations, and the theatrical and literary worlds of Victorian Britain. See 1042–46. Gill, William B. (1842–1919) 1103. Gänzl, Kurt. William B. Gill: From the Goldﬁelds to Broadway. Forgotten Stars of the Musical Theatre. New York and London: Routledge, 2002. 294 p. ISBN 0-415-93767-1. PS1744.G15 Z72 2002. The result of painstaking research, Gänzl’s biography of this heretofore forgotten ﬁgure provides great insight into the life and work of the creator of the burlesque Adonis (1884), one of the most popular musicals of the nineteenth century. He treks the playwright and actor from his early days in Australia and India to the American West and eventually

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to New York. Gänzl chronicles his detective work in unearthing Gill’s biographical details—the process itself makes wonderful reading, as does Gill’s tale.

Grunwald, Alfred (1884–1951) 1104. Grunwald, Henry A. “Count Maritza.” Opera News 60, no. 2 (August 1995): 26–28. Grunwald was one of the leading librettists in ﬁn-de-siècle Vienna, collaborating with composers such as Robert Stolz (Im weiβen Röβl [The White Horse Inn]), Oscar Straus, Franz Lehár, and—most signiﬁcantly— Emmerich Kalman (Gräﬁn Mariza [Countess Maritza] and Die Herzogin von Chicago [The Duchess of Chicago]). Grunwald, being Jewish, was jailed in 1938 during the German takeover of Vienna and eventually immigrated to New York City.

Hammerstein, Oscar, 2nd (1895–1960) 1105. Asch, Amy, ed. The Complete Lyrics of Oscar Hammerstein II. New York: Knopf, 2008. 424 p. ISBN 978-0-375-41358-2. ML49.H12 H28 2008. A beautifully illustrated oversized volume with all of Hammerstein’s lyrics with introductory remarks for each production and song. 1106. Citron, Stephen. The Wordsmiths: Oscar Hammerstein 2nd & Alan Jay Lerner. New York and Oxford: Oxford University Press, 1995. 446 p. ISBN 0-19-508386-5. ML403.C56 1995. In his dual biography, Citron analyses the words of both creators as well as providing biographical contexts for their work. He focuses on how the words of Hammerstein and Lerner were used to dramatic ends. Citron includes a quintuple timeline, paralleling Hammerstein’s life, Lerner’s life, US musicals, UK musicals, and world events. 1107. Fordin, Hugh. Getting to Know Him: A Biography of Oscar Hammerstein II. New York: Random House, 1977. Introduction by Stephen Sondheim. Reprint, New York: Ungar, 1995. 385 p. ISBN 0-8044-6200-3. ML423. H24F7 1986. Fordin’s thorough treatment of Hammerstein’s life and work is based not only on a tremendous knowledge of and respect for his subject, but on Hammerstein’s papers and interviews with his family and colleagues. See 967, 975, 980–88, 1024.

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Harburg, Edgar Yip (1898–1981) 1108. Gentry, Anna Wheeler. “American Lyricist E. Y. Harburg: Origins and Evolution of Russian and Yiddish Inﬂuences.” Master’s thesis, University of Missouri. Kansas City, 1999. 134 p. Russian and Yiddish inﬂuences from his youth played a critical role in Harburg’s style of lyric writing, characteristics of which include an original use of rhyme, onomatopoeia, alliteration, assonant and rhythmic vocalizations, grammar, and comic neologisms. 1109. Lahr, John. “The Lemon-Drop Kid.” New Yorker 72, no. 29 (30 September 1996): 68–74. Best remembered for his 111 songs with Harold Arlen, Harburg wrote lyrics on many topics, including antiwar sentiments, feminism, and civil rights. 1110. Meyerson, Harold, and Ernie Harburg. Who Put the Rainbow in “The Wizard of Oz”?: Yip Harburg, Lyricist. Ann Arbor: University of Michigan Press, 1993. 454 p. ISBN 0-472-10482-9. ML423.H313M5 1993. A magisterial study of the wordsmith and his art, the book focuses on Harburg’s songs for shows on Broadway and in Hollywood. Harburg’s working methods as a song collaborator are addressed, as are his social and political views. Hart, Lorenz (1895–1943) 1111. Hart, Dorothy, and Robert Kimball, eds. The Complete Lyrics of Lorenz Hart. With an appreciation by Alan Jay Lerner. New York: Knopf, 1986. 317 p. ISBN 0-294-54680-6. ML54.6.H4. Offered chronologically with commentary, Hart’s complete lyrics are reproduced in this illustrated volume. 1112. Nolan, Frederick. Lorenz Hart: A Poet on Broadway. New York and Oxford: Oxford University Press, 1994. 390 p. ISBN 0-19-506837-8. ML423.H32N6 1994. Nolan bases his study on interviews, the Richard Rodgers scrapbooks at the New York Public Library, and secondary sources. He surveys Hart’s life and work, dispelling many of the myths surrounding the wordsmith’s work. Nolan includes a note at the beginning regretting that he was unable to secure copyright permission to reprint any of Hart’s lyrics in his study. Appendices include a show-by-show list and an alphabetical list of Hart’s songs. See 967, 975, 979.

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Hart, Moss (1904–61) 1113. Bach, Steven. Dazzler: The Life and Times of Moss Hart. New York: Knopf, 2001. 462 p. ISBN 0-375-41150-X. PS3515.A7943. Moss Hart, as playwright, director, or actor, was a major ﬁgure in musical theater and ﬁlm. Bach’s biography (though not receiving participation from Hart’s widow, Kitty Carlisle) presents a balanced view of the creator who collaborated with the likes of Irving Berlin, Cole Porter, Kurt Weill, and Ira Gershwin. Hart wrote Lady in the Dark and directed My Fair Lady and Camelot. It continues where Hart’s Act One (entry 1114) leaves off. 1114. Hart, Moss. Act One: An Autobiography. New York: Random House, 1959. Reprint, New York: Vintage, 1976. 383 p. ISBN 0-394-71633-7. PS3515.A7943Z52 1976. Moss tells his life story through the opening of his play Once in a Lifetime (1930), focusing on the lure of the theater. Some facts are embroidered, and the book lacks an index. Herman, Jerry (b. 1933) 1115. Herman, Jerry, and Ken Bloom. Jerry Herman: The Lyrics: A Celebration. New York: Routledge, 2003. 252 p. ISBN 978-0-4159-6768-6. ML410.H5624 H46 2003. Lyrics and production photographs from each of Herman’s shows are included, along with the lyricist-composer’s reminiscences and annotations. Kaufman, George S. (1889–1961) 1116. Goldstein, Malcolm. George S. Kaufman: His Life, His Theater. New York and Oxford: Oxford University Press, 1979. 503 p. ISBN 0-19-502623-3. PS3521.A727Z67. Kaufman usually collaborated on his word-related activities, working with the likes of Irving Berlin, the Gershwins, and Moss Hart, along with many others. His multifaceted career included credits as actor, adaptor, director, playwright, and producer. 1117. Teichmann, Howard. George S. Kaufman: An Intimate Portrait. New York: Atheneum, 1972. 372 p. PS3521.A727 Z9. Written by a close friend of the subject, this biography includes material on musicals Kaufman co-wrote (including Of Thee I Sing) or directed (such as Guys and Dolls).

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Laurents, Arthur (b. 1918) 1118. Laurents, Arthur. Original Story by Arthur Laurents: A Memoir of Broadway and Hollywood. New York: Knopf, 2000. 436 p. ISBN 0-375-40055-9. PS3523.A827. Playwright, screenwriter, and director Laurents offers insight into his professional and personal lives. Lerner, Alan Jay (1918–86) 1119. Jablonski, Edward. Alan Jay Lerner: A Biography. New York: Henry Holt, 1986. 345 p. ISBN 0-8050-4076-5. ML423.L3J3 1996. Jablonski discusses the creation, production, and reception of Lerner’s output as well as the writer’s collaborative processes, professional career, and personal life. 1120. Lerner, Alan Jay. The Street Where I Live. New York and London: Norton, 1978. 333 p. ISBN 0-393-07532-X. ML410.L534A2. After an autobiographical chapter, Lerner discusses the creation and realization of My Fair Lady, Gigi, and Camelot. Lyrics for the songs from all three works appear at the end of the book. 1121. Shapiro, Doris. We Danced All Night: My Life behind the Scenes with Alan Jay Lerner. New York: William Morrow, 1990. 245 p. ISBN 0-68808937-2. ML423.L3S5 1990. Written by Lerner’s personal assistant for fourteen years, the book gives insight into the creation of My Fair Lady, Gigi, Camelot, and On a Clear Day You Can See Forever, along with descriptions of various people in Lerner’s life, including Dr. Max Jacobsen, known for his methadone injections. See 945–46, 1106. Loesser, Frank (1910–69) 1122. Kimball, Robert, and Steve Nelson, eds. The Complete Lyrics of Frank Loesser. New York: Knopf, 2003. 352 p. ISBN 978-0-6794-5059-7. ML54.6.L64 K55 2003. The oversized lavishly illustrated book includes all of Loesser’s lyrics, including many long thought lost.

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Mercer, Johnny (1909–76) 1123. Bach, Bob, and Ginger Mercer, collectors and eds. Our Huckleberry Friend: The Life, Times and Lyrics of Johnny Mercer. Secaucus, NJ: Lyle Stuart, 1982. 252 p. ISBN 0-8184-0331-4. ML54.6.M4509. Following a biographical introduction, the authors present many of Mercer’s lyrics in their complete forms along with a selection of sheet music covers, photographs, manuscripts, letters, and other memorabilia associated with Mercer. 1124. Furia, Philip. Skylark: The Life and Times of Johnny Mercer. New York: St. Martin’s, 2003. 328 p. ISBN 0-312-28720-8. ML423.M446F87 2003. Mercer was one of the greatest singer-songwriters of the twentieth century, creating lyrics for some of the greatest songs to appear on stage and screen. Notoriously difﬁcult as a person, his muse was none other than Judy Garland. Furia’s biography discusses the work and life of Mercer, drawing upon interviews and Mercer’s papers, letters, and unﬁnished autobiography as source material. Norman, Marsha (b. 1947) 1125. Stanley, Alessandra. “Marsha Norman Finds Her Lost Key to Broadway.” New York Times, 21 April 1991, H 5, 33. On the eve of the premiere of The Secret Garden, for which Norman wrote the libretto and lyrics, the playwright’s career is surveyed. Porter, Cole (1891–1964) 1126. Kimball, Robert, ed., The Complete Lyrics of Cole Porter. New York: Vintage, 1984. 354 p. ISBN 0-394-72764-9. PS3531.0734125 1983. The oversized coffee-table book includes Porter’s lyrics arranged chronologically by show with brief annotations. Rice, Tim (b. 1944) 1127. Rice, Tim. Oh, What a Circus. London: Hodder and Stoughton, 1999. Paperback ed., London: Hodder and Stoughton, 2000. 456 p. ISBN 0-34065459-7. ML423.R48. Rice chronicles his life through 1978, when Evita opened. He describes his collaborations with Andrew Lloyd Webber prior to Evita, including Joseph and the Amazing Technicolor Dreamcoat and Jesus Christ

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Superstar, and provides insight into the theater and popular music industries. Smith, Harry B. (1860–1936) 1128. Franceschina, John. Harry B. Smith: A Biography. Forgotten Stars of the Musical Theatre. London and New York: Routledge, 2003. 224 p. ISBN 0-4159-3862-7. This biographical treatment of Smith is the ﬁrst on the legendary wordsmith, who collaborated with Reginald de Koven, Victor Herbert, Sigmund Romberg, and others. 1129. Smith, Harry B. First Nights and First Editions. Boston: Little, Brown, and Company, 1931. 325 p. The recollections of the librettist provide insight into the theatrical scene of the late nineteenth and early twentieth centuries. Wodehouse, Pelham Grenville [P. G.] (1881–1975) 1130. Day, Barry, ed. The Complete Lyrics of P.G. Wodehouse. Lanham, MD: Scarecrow, 2004. 544 p. ISBN 978-0-8108-4994-5. ML54.6.W54D29 2004. Day places the lyrics from Wodehouse’s nearly forty theatrical productions from 1904 to 1960 within the context of each show. In addition to including informative commentary, the book is lavishly illustrated. 1131. Day, Barry, and Tony Ring. P.G. Wodehouse In His Own Words. New York: Overlook, 2003. 300 p. ISBN 978-1-5856-7393-3. PR6045.O53A6 2003. Taking excerpts from Wodehouse’s letters and writings, Day and Ring construct a biography of the noted author. See 926, 1085. Young, Rida Johnson (1875–1926) 1132. Engle, Shirley Darlene. “Dramatist, Songwriter, and Lyricist: Rida Johnson Young (1875-1926).” In New Women Dramatists in America, 1890-1920, pp. 149–91. New York: Palgrave Macmillan, 2007. ISBN 978-1-40-397320-7. PS338.W6 E65 2007. In her study of ﬁve women dramatists from the Progressive Era, Engle devotes a chapter to Young, who worked with Victor Herbert and Sigmund Romberg, among others. A work list begins on page 192. See 1082, 1087–88.

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ORCHESTRATORS AND DANCE ARRANGERS 1133. Suskin, Steven. The Sound of Broadway Music: A Book of Orchestrators & Orchestrations. New York: Oxford University Press, 2009. 672 p. ISBN 978-0-19-530947-8. ML455.S87 2008. Suskin, in non-specialist language, describes the art and process of orchestrating for Broadway. He includes information on the role of music publishers, especially Max Dreyfus, brief biographical sketches for many orchestrators and others involved with the creation of Broadway orchestrations, and credits for over 700 musicals. In the section “Twelve Major Orchestrators,” Suskin provides biographical information, stylistic descriptions, and credits for Robert Russell Bennett, Ralph Burns, Robert “Red” Ginzler, Hershy Kay, Irwin “Irv” Kostal, Philip J. Lang, Sid Ramin, Ted Royal, Eddie Sauter, Hans Spialek, Don Walker, and Larry Wilcox. Bennett, Robert Russell (1894–1981) 1134. Bennett, Robert Russell. “The Broadway Sound”: The Autobiography and Selected Essays of Robert Russell Bennett, ed. George J. Ferencz. Rochester: University of Rochester Press, 1999. 357 p. ISBN 1-58046022-4. ML410.B4498A3 1999. Written late in the 1970s, Bennett’s autobiography is published here for the ﬁrst time. As one of Broadway and Hollywood’s most proliﬁc orchestrators, Bennett worked with many of the musical’s greatest composers. Not surprisingly, he has many anecdotes to tell, which he delivers in an entertaining fashion, along with an insider’s view of working in the musical theater industry. The volume also includes eight of Bennett’s essays on orchestration and arranging. 1135. Ferencz, George J. Robert Russell Bennett: A Bio-Bibliography. Westport, CT: Greenwood, 1990. 215 p. (Bio-bibliographies in Music, no. 29.) ISBN 0-313-26472-4. ML134.B4427F4 1990. Ferencz provides information and bibliographic resources on Bennett and his original compositions, recordings (commercial and archival), and orchestrations for stage, ﬁlm, and television. 1136. Hawkins, Roy Benton. “The Life and Work of Robert Russell Bennett.” Ph.D. dissertation, Texas Tech University, 1989. 209 p. Hawkins includes a catalog of Bennett’s works in his study. 1137. Vacha, John E. “The Sound of Musicals.” Opera News 58, no. 1 (July 1993): 22–25. This short article surveys the life and career of Bennett.

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Rittman, Trude (ca. 1908–2005) 1138. Cavenaugh, Jennifer Jones. “A Composer in her Own Right: Arrangers, Musical Directors and Conductors.” In Coleman and Sebesta, pp. 77–91. Cavenaugh focuses on the life and work of Rittman, who worked as a dance and choral arranger on nearly forty Broadway shows. Tunick, Jonathan (b. 1938) 1139. Wood, Mark Dundas. “Jonathan Tunick: Finding the Fit” (appears as “Jonathan Tunick Strikes a Chord” on the issue’s table of contents). American Theatre 19, no. 8 (October 2002): 108–11. Tunick was the ﬁrst winner of a Tony Award for Best Orchestrations (Titanic, 1998), and has orchestrated for Broadway musicals by Stephen Sondheim, Maury Yeston, Marvin Hamlisch, and Michael John LaChiusa, among others. CHOREOGRAPHY, CHOREOGRAPHERS, AND CHOREOGRAPHER-DIRECTORS 1140. Barker, Barbara. “The Ballet Girl: Graceful, Ungraceful, or Disgraceful?” In Loney, pp. 309–14. The perception of the ballet girl had a profound effect on the development of dance in post-Civil War America. 1141. Costonis, Maureen Needham. “The French Connection: Ballet Comes to America.” In Loney, pp. 279–90. Many French dancers immigrated to America in the late eighteenth century and established careers. 1142. De Mille, Agnes. America Dances. New York: Macmillan and London: Collier Macmillan, 1980. 220 p. ISBN 0-02-530730-4. GV1623.D36 1980. The legendary choreographer, in her popular history of American dance, includes several chapters devoted to musical theater and ﬁlm: “Popular Theater before 1900,” “Popular Theater 1900–1930,” “Dance in Early Films,” “Broadway,” and “Dance in Films after 1950.” De Mille places dance on Broadway and in Hollywood in the overall context of dance in America. 1143. Gentry, Anna Wheeler. “Twentieth-Century Women Choreographers: Reﬁning and Redeﬁning the Showgirl Image.” In Coleman and Sebesta, pp. 57–76.

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Gentry discusses the pioneering work of Anna Held, Albertina Rasch, Katherine Dunham, Hanya Holm, and June Taylor. 1144. Grody, Svetlana McLee, and Dorothy Daniels Lister. Conversations with Choreographers. Portsmouth, NH: Heinemann, 1996. 236 p. ISBN 0-435-08697-9. GV1785.A1. The book includes interviews with choreographers Bob Avian, Michael Bennett, Pat Birch, Christopher Chadman, Wayne Cilento, Graciela Daniele, Ron Field, Ernest Flatt, Larry Fuller, Bob Herget, Joe Layton, Hermes Pan, Donald Saddler, Dan Siretta, Lee Theodore, Tommy Tune, and Thommie Walsh. 1145. Laird, Paul R. “Choreographers, Directors and the Fully Integrated Musical.” In The Cambridge Companion to the Musical, 1st ed., pp. 197–211; in The Cambridge Companion to the Musical, 2nd ed., pp. 220–34. In the development of the fully integrated musical, where dance becomes a crucial part of character and dramatic development, visionaries include George Abbott, Agnes De Mille, Jerome Robbins, Bob Fosse, Gower Champion, Hal Prince, Michael Bennett, and Tommy Tune. In addition to surveying individual shows, Laird gives detailed information on the creative processes and integrative properties of West Side Story and A Chorus Line. 1146. Lodge, Mary Jo. “The Rise of the Female Director/Choreographer on Broadway.” In Coleman and Sebesta, pp. 221–43. Graciela Daneile, Patricia Birch, Lynne Taylor-Corbett, Ann Reinking, Susan Stroman, and Kathleen Marshall all performed professionally before becoming choreographers and ultimately director/choreographers. 1147. Long, Robert Emmet. Broadway, The Golden Years: Jerome Robbins and the Great Choreographer-Directors 1940 to the Present. New York and London: Continuum, 2001. 312 p. ISBN 0-8264-1347-1. GV1785.A1 L65 2002. Devoting chapters to Agnes De Mille, Bob Fosse, Gower Champion, Michael Bennett, and Tommy Tune, and three to Jerome Robbins (“Early Fame,” “West Side Story,” and “The Later Career”), Long provides a rich narrative history of Broadway from the viewpoint of the choreographerdirector. An epilogue discusses the impact of these ﬁgures at the end of the twentieth century. 1148. Prevots, Naima. Dancing in the Sun: Hollywood Choreographers, 1915–1937. Ann Arbor: UMI Research Press, 1987. 287 p. (Theater and Dramatic Studies, no. 44.) ISBN 0-835-71825-5. GV1785.A1.

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Prevots divides her study into four parts: (1) “Early Pioneers: Norma Gould and Ernest Belcher,” (2) “The Russian Heritage: Theodore Kosloff, Serge Oukrainsky, and Adolph Bolm,” (3) New Forms and Experiments: Michio Ito and Benjamin Zemach,” and (4) “Hollywood and the Emergence of American Concert Dance: Lester Horton.” She includes a prologue on Hollywood and Los Angeles as dance meccas. 1149. Schlundt, Christena L. “Jerome Robbins and His Contribution to the Theatre of Musical Comedy.” In Loney, pp. 331–38. Schlundt challenges the insistence of evolutionary, linear history in the realm of Broadway choreography, stating that choreographers and works should be viewed as discrete entities. 1150. Sonnenshein, Richard. “Dance: Its Past and Its Promise on Film.” Journal of Popular Culture 12, no. 3 (winter 1978): 500–06. Tracing dance in ﬁlm musicals from 1927 to 1977, the author asserts that because of camera mobility and other technological and directorial possibilities, cinema provided a better forum for dance than live theater. 1151. Theodore, Lee. “Reserving American Theatre Dance: The Work of the American Dance Machine.” In Loney, pp. 275–78. Research, preservation, and reconstruction of dance are at the heart of American Dance Machine’s goals. Balanchine, George (1904–83) 1152. Roper, Susan. “Balanchine in Hollywood.” Ballet Review 23, no. 4 (winter 1995): 48–73. Balanchine choreographed four Hollywood films in which he parodied the Franco-Russian canon: The Goldwyn Follies (1938), On Your Toes (1939), I Was an Adventuress (1940), and Star-Spangled Rhythm (1943). Bennett, Michael (1943–87) 1153. Mandelbaum, Ken. “A Chorus Line” and the Musicals of Michael Bennett. New York: St. Martin’s, 1989. ISBN 0-362-03061-4. PN2287. B4323. Bennett’s career and originality are treated here with a focus on A Chorus Line.

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Berkeley, Busby (1895–1976) 1154. Rubin, Martin. Showstoppers: Busby Berkeley and the Tradition of Spectacle. New York: Columbia University Press, 1993. 249 p. ISBN 0-231-08054-9. PN1998.3.B475. Rubin connects Berkeley’s work for stage with that for screen and in the context of American popular entertainment. 1155. Thomas, Tony, and Jim Terry, with Busby Berkeley. The Busby Berkeley Book. With a foreword by Ruby Keeler. Greenwich, CT: New York Graphic Society, 1973. 192 p. ISBN 0-8212-0514-5. PN1998.A3. This oversized book includes a biographical essay on Berkeley, and chapters on each ﬁlm Berkeley choreographed, all lavishly illustrated. His combination of geometric shapes and the human form created some of the most memorable visual imagery in movie musicals. Cole, Jack (1911–74) 1156. Hill, Constance Valis. “From Bharata Natyam to Bop: Jack Cole’s ‘Modern’ Jazz Dance.” In Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader, edited by Julie Malnig, pp. 234–46. Urbana, University of Illinois Press, 2009. ISBN 978-0-252-03363-6. GV1781.B35 2009. Jack Cole’s 1947 dance to Benny Goodman’s legendary “Sing, Sing, Sing” is informed by American modern, African American, East Indian, Latin American, and Caribbean inﬂuences and danced to swing rhythms in a bop tempo. The style was emulated on Broadway and in Hollywood. De Mille, Agnes (1905–93) 1157. De Mille, Agnes. “Dance to the Piper” and “And Promenade Home”: A Two-Part Biography. With a new preface by Cynthia Gregory. New York: Da Capo, 1980. 301 p. ISBN 0-306-70161-2. GV1785.D36. De Mille’s two autobiographies, Dance to the Piper (1952) and And Promenade Home (1958), are reprinted here in one volume. Fosse, Bob (1927–87) 1158. Gottfried, Martin. All His Jazz: The Life and Death of Bob Fosse. New York: Bantam, 1990. 483 p. ISBN 0-553-07038-X. GV1785.F67. Gottfried chronicles Fosse’s life, career, and style.

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1159. Grubb, Kevin Boyd. Razzle Dazzle: The Life and Works of Bob Fosse. New York: St. Martin’s, 1989. 292 p. ISBN 0-312-03414-8. GV1785. F67G78. 1989. Emphasizing Fosse’s craft and genius as a dancer and choreographer, the book provides valuable information on Fosse’s creations on stage and screen. Holm, Hanya (1893–1992) 1160. Cristofori, Marilyn, ed. “Hanya Holm: A Pioneer in American Dance.” Choreography and Dance 2, part 2 (1992): 1–118. In this special edition of an international dance journal, eight articles explore various dimensions of the choreographer whose Broadway credits include Kiss Me, Kate, The Golden Apple, My Fair Lady, and Camelot. See 1143. Robbins, Jerome (1918–98) 1161. Conrad, Christine. Jerome Robbins: That Broadway Man, That Ballet Man. London: Booth-Clibborn, 2000. 304 p. ISBN 1-86154-173-2. GV1785.R52 C6 2000. This visual essay of Robbins’s work includes production and rehearsal photographs, color facsimiles of pages from Robbins’s journal, newspapers, marquee posters, and other items. Commentaries are taken from Robbins’s own words, although the author provides introductory remarks to each section and captions for the illustrations. 1162. Lawrence, Greg. Dance with Demons: The Life of Jerome Robbins. New York: Putnam, 2001. 622 p. ISBN 0-399-14652-0. GV1785.R52 L39 2001. Lawrence gives a detailed treatment of Robbin’s life and work, and includes quotes from many interviews in his text. The result is a book that vividly portrays the complexities and brilliance of its subject. 1163. Jowitt, Deborah. Jerome Robbins: His Life, His Theater, His Dance. New York: Simon & Schuster, 2004. 630 p. ISBN 978-0-6848-6986-5. GV1785.R52 J69 2004. Jowitt, the dance critic for Village Voice, had full access to the Jerome Robbins Papers in writing this book, which provides detailed information

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on Robbins’s professional accomplishments and insights into aspects of his personal life. 1164. Vaill, Amanda. Somewhere: The Life of Jerome Robbins. London: New York: Broadway Books, 2006. 675 p. ISBN 978-0-2978-4797-7. GV1785. R52 V35 2006. Vaill’s comprehensive study provides many detailed insights into the man and his work, placing both within their New York social and cultural contexts. The author draws heavily on Robbins’s personal and professional papers, to which she was granted full access. DIRECTORS AND PRODUCERS 1165. Coleman, Bud. “Helburn, Dalrymple, and Lortel: A Triumvirate of Great Producers.” In Coleman and Sebesta, pp. 155–73. Coleman discusses the careers of female producers Theresa Helburn (Theatre Guild), Jean Dalrymple (New York City Center of Music and Drama) and Lucille Lortel (the “Queen of Off-Broadway”). 1166. Fliotsos, Anne. “‘Open a New Window, Open a New Door’: Women Directors Take the Stage.” In Coleman and Sebesta, pp. 174–99. Statistical data on the number of women directors according to types of productions is presented, along with information on some of the most inﬂuential women musical theatre directors. 1167. Thelen, Lawrence. The Show Makers: Great Directors of the American Musical Theatre. New York and London: Routledge, 2000. 254 p. ISBN 0-415-92346-8. PN2285.T48 1999. Based on interviews with the subjects, Thelen discusses the careers and creative philosophies of twelve musical theater directors: Martin Charnin, Graciela Daniele, James Lapine, Arthur Laurents, Richard Maltby Jr., Des McAnuff, Mike Ockrent, Tom O’Horgan, Harold Prince, Jerome Robbins, George C. Wolfe, and Jerry Zaks. Abbott, George (1887–1995) 1168. Abbott, George. Mister Abbott. New York: Random House, 1963. 279 p. PN2287.A23A3. Abbott’s colorful autobiography recounts its author’s activities as a director, play doctor, actor, and in other endeavors associated with the stage. It lacks an index.

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Barnet, Robert (1853–1933) 1170. Barnet, Anne Alison. Extravaganza King: Robert Barnet and Boston Musical Theatre. Boston: Northeastern University Press, 2004. 240 p. ISBN 1-555-53611-5. ML423.B26 B36 2004. Barnet created and produced lavish farces and burlesques as fundraisers for a Boston volunteer militia group, many of which toured and some of which played on Broadway. The First Corps of Cadets played all the roles, including the female ones, and Barnet himself starred as Queen Isabella in 1492, his most famous work. Champion, Gower (1920–80) 1171. Gilvey, John Anthony. “Gower Champion as Director: An Analysis of His Craft in Four Broadway Musicals, 1961–1968.” Ph.D. dissertation, New York University, 1996. 600 p. Champion transformed the musical through continuously choreographed stagings that incorporated scene changes into the action, making him one of the most acclaimed directors of the 1960s. Charlot, Andre (1882–1956) 1172. Moore, James Ross. André Charlot: The Genius of the Intimate Revue. Jefferson, NC: McFarland, 2005. 196 p. ISBN 0-7864-1774-9. PN2638. C5455 M66 2005. Charlot’s life and career are chronicled, from his youth in Paris to his years producing revues in London to his later years in Hollywood. Crawford, Cheryl (1902–86) 1173. Cheryl Crawford Collection, Courtesy of Special Collections, University of Houston Libraries. http://www.lib.utexas.edu/taro/uhsc/00017/hsc-00017.html The Cheryl Crawford collection, housed in the Special Collections at the University of Houston Libraries, includes correspondence, production materials, scripts, playbills, sound recordings, and her personal sheet music collection. 1174. Crawford, Cheyl. One Naked Individual: My Fifty Years in the Theatre. New York: Bobbs-Merrill, 1977. 285 p. ISBN 0672521857. PN2287. C665 A35 1977. Crawford recounts her illustrious career as a Broadway producer.

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1175. Fraser, Barbara Means. “Hallie Flanagan and Cheryl Crawford: Women Pioneer Producers of the 1930s.” In Coleman and Sebesta, pp. 34–56. Fraser discusses the contributions of two important female producers of the 1930s, Crawford being one of the founders of the Group Theatre. Disney Theatrical Productions 1176. “Disney on Broadway.” http://www.disney.go.com/disneytheatrical/ index.html The ofﬁcial website for Disney Theatrical Productions provides information on the New Amsterdam Theatre, renovated by Disney, and its three Broadway productions to date (2003): Beauty and the Beast, The Lion King, and Aida. Feuer, Cy (b. 1910) 1177. Feuer, Cy, with Ken Gross. I Got the Show Right Here: The Amazing, True Story of How an Obscure Brooklyn Horn Player Became the Last Great Broadway Showman. New York: Simon & Schuster, 2003. 294 p. ISBN 0-7432-3611-4. ML429.F48 A3 2003. Told with wit and humor, the producer whose credits include Guys and Dolls, How to Succeed in Business without Really Trying, CanCan, The Boy Friend, Where’s Charley?, and Piaf and the ﬁlm versions of Cabaret and A Chorus Line looks back on his illustrious life and career. Fields, Lew (1867–1941) 1178. Fields, Armond, and L. Marc Fields. From the Bowery to Broadway: Lew Fields and the Roots of American Popular Theater. New York and Oxford: Oxford University Press, 1993. 552 p. ISBN 0-19-505381-8. PN2287.F44F54 1993. The life and career of the producer-actor is told in great detail. The book contextualizes Fields’ work in vaudeville (including his legendary partnership with Joe Weber) and on Broadway in the overall history of American musical theater and the development of American tastes. A detailed chronology of Field’s work appears in the volume, including his radio and ﬁlm appearances, as does a selected bibliography. 1179. Rubin, Jason. “Lew Fields and the Development of the Broadway Musical.” Ph.D. dissertation, New York University, 1991. 612 p.

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Rubin covers Fields’ career as a musical theater performer, producer, author, and director between 1876 and 1930. He includes information on Fields’ partnership with Joe Weber and his work in burlesque, vaudeville, and revue.

Flanagan, Hallie (1889–1969) 1180. Bentley, Joanne. Hallie Flanagan: A Life in the Theatre. New York: Knopf, 1988. 436 p. ISBN 978-0-3945-7041-9. PN2287.F53 B46 1988. Flanagan’s extraordinary efforts to bring quality theatre to the masses are vividly told by her stepdaughter. 1181. Fraser, Barbara Means. “Hallie Flanagan and Cheryl Crawford: Women Pioneer Producers of the 1930s.” In Coleman and Sebesta, pp. 34–56. Fraser discusses the contributions of two important female producers of the 1930s, including Flanagan’s work with the Federal Theatre Project.

Hammerstein, Oscar I (1846–1919) 1182. Sheean, Vincent. Oscar Hammerstein I: The Life and Exploits of an Impresario. Preface by Oscar Hammerstein II. New York: Simon and Schuster, 1956. 364 p. ML429.H25. Hammerstein, the New York impresario whose Manhattan Opera House rivaled the Met, was one of the strongest forces in New York theater in the late nineteenth and early twentieth centuries.

Laurents, Arthur (b. 1918) 1183. Green, Jerry. “When You’re a Shark, You’re a Shark All the Way.” New York Magazine, 23 March 2009, 36–41, 80. This proﬁle of Laurents appeared shortly after the opening of his reconceived revival of West Side Story. 1184. Laurents, Arthur. Mainly on Directing. New York: Knopf, 2009. 176 p. ISBN 978-0-307-27088-7. ML1711.5.L38 2009. Also a librettist, Laurents here comments on the shows he has directed, including Gypsy, Anyone Can Whistle, I Can Get It for You Wholesale, La Cage aux Folles, and the 2009 revival of West Side Story. He also offers

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insightful remarks on the collaborative process of musical theater, casting, differences between musical comedy and musical theater, challenges with revivals, and the state of the Broadway musical in the early twenty-ﬁrst century. Sadly, the book lacks an index. Mackintosh, Cameron (b. 1946) 1185. Morley, Sheridan, and Ruth Leon. Hey Mr Producer! The Musical World of Cameron Mackintosh. Preface by Andrew Lloyd Webber. London: Weidenfeld & Nicolson and New York: Backstage Books, 1998. 192 p. ISBN 0-8230-8816-2. PN2598.M14. This coffee-table book is a lavishly illustrated tribute to one of the most important producers during the late twentieth century. His collaborations with the likes of Andrew Lloyd Webber, Trevor Nunn, and Harold Prince have resulted in shows such as Cats, Les Misérables, The Phantom of the Opera, and Miss Saigon. He also produced signiﬁcant revivals of Oliver!, Carousel, and My Fair Lady. Musical Theater Works 1186. Singer, Barry. “An Ample Offer of Help, with Strings Attached.” New York Times, 27 August 2000, AR4. Musical Theater Works, a nonproﬁt organization based in New York, helps new musical theater creators by giving them grants and the opportunity to have their works developed. Recipients of grants in 2000 included Jason Robert Brown, John Bucchino, Kirsten Childs, Zina Goldrich and Marcy Heisler, Ricky Ian Gordon, Adam Guettel, Michael John LaChiusa, Andrew Lippa, Glenn Slater, Grant Stuariale, and Jeanine Tesori. Ostrow, Stuart (b. 1932) 1187. Ostrow, Stuart. Present at the Creation, Leaping in the Dark, and Going Against the Grain: “1776,” “Pippin,” “M. Butterﬂy,” “La Bête” and Other Broadway Adventures. New York: Applause, 2006. 183 p. ISBN 1-5578-3646-9. ML429.O77.A3 2006. The producer’s memoir includes remarks on his work with Frank Loesser, Meredith Willson, Jerry Bock and Sheldon Harnick, John Kander and Fred Ebb and chapters devoted to the musicals 1776, Pippin, Sweet Smell of Success, and Kicks: The Showgirl Musical.

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Prince, Hal (Harold) (b. 1928) 1188. Hirsch, Foster. Harold Prince and the American Musical Theatre. Cambridge and New York: Cambridge University Press, 1989. 187 p. (Directors in Perspective.) ISBN 0-521-33314-8. ML429.P78H6 1989. Hirsch discusses Prince’s inﬂuences, approach to directing, and work with musical theater ﬁgures Stephen Sondheim and Andrew Lloyd Webber. 1189. Ilson, Carol. Harold Prince: From “Pajama Game” to “Phantom of the Opera” and Beyond. With a foreword by Sheldon Harnick. Ann Arbor, MI: UMI Research Press, 1989. New ed., New York: Limelight, 1992. 461 p. ISBN 0-87910-159-8. PN2287.P73I47 1992. The 1992 edition includes a new postscript (the “Beyond” of the title). The book is a chronicle of Prince’s achievements as a director and producer of live musical theater. Shows are discussed from the perspective of their overriding qualities as formed by Prince. The study gives insight into Prince’s aesthetic vision for creating various types of musical theater.

Shuberts (Sam [1875–1905], Lee [1873?–1953], and J. J. [1878?–1963]) 1190. Hirsch, Foster. The Boys from Syracuse: The Shuberts’ Theatrical Empire. Carbondale: Southern Illinois Press, 1998. Paperback ed., New York: Cooper Square, 2000. 343 p. ISBN 0-8154-1103-0. PN2285.H56 2000. Hirsch portrays the theatrical leaders and their various business and artistic dealings in a frank, non-apologetic fashion. 1191. McNamara, Brooks. The Shuberts of Broadway: A History Drawn from the Collections of the Shubert Archive. With a foreword by Beverly Sills. New York and Oxford: Oxford University Press, 1990. 230 p. ISBN 0-19506542-5. PN2285.M335 1990. Using materials from the then newly created Shubert Archive, McNamara presents a history of the legendary brothers Sam, Lee, and J. J. Shubert from their early years in Syracuse through their zenith to their ﬁnal, controversial days in the 1950s and 1960s. The book includes over 200 captioned illustrations. 1192. Stagg, Jerry. The Brothers Shubert. New York: Ballantine Books, 1969. 466 p. PN2266. The Shuberts’ business dealings are the focus of the book.

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Theatre Guild 1193. D’Andre, David Mark. “The Theatre Guild, Carousel, and the Cultural Field of American Musical Theatre.” Ph.D. dissertation, Yale, 2000. 275 p. The Theatre Guild produced Oklahoma!, Carousel, and Allegro, and played a large role in the development of My Fair Lady. 1194. Nadel, Norman. A Pictorial History of the Theatre Guild. With special material by Lawrence Langner and Armina Marshall. Introduction by Brooks Atkinson. New York: Crown, 1969. 320 p. PN2295.T5 N3. The copiously illustrated volume chronicles the activities of the Theatre Guild, including its musical productions. Appendices include chronological lists of Theatre Guild plays, productions on radio, and productions on television. Wise, Robert (b. 1914) 1195. Thompson, Frank. Robert Wise: A Bio-Bibliography. Westport, CT: Greenwood, 1995. 184 p. (Bio-Bibliographies in the Performing Arts, no. 62.) ISBN 0-313-27812-1. PN1998.3.W569. The book provides an overview of Wise’s career as a ﬁlm director (which included the ﬁlm versions of West Side Story and The Sound of Music) through credits, critical responses, awards and nominations, production notes, and Wise’s own comments. It includes an annotated bibliography of books, articles, and interviews by or about Wise. Ziegfeld, Florenz (1867–1932) 1196. Higham, Charles. Ziegfeld. Chicago, IL: Henry Regnery, 1972. 245 p. PN2287.Z5H5. Higham portrays the duality of Ziegfeld’s existence—the public persona that was larger than life, like his productions, and the private being that was run by an insatiable libido, evident on stage by his characteristic choruses of beautiful, scantily dressed women. 1197. Lasser, Michael. “The Gloriﬁer: Florenz Ziegfeld and the Creation of the American Showgirl.” American Scholar 63, no. 3 (summer 1994): 441–48. Ziegfeld is credited with creating the iconic image of the American showgirl. 1198. Mordden, Ethan. Ziegfeld: The Man Who Invented Show Business. New York: St. Martin’s, 2009. 348 p. ISBN 978-0-312-37543-0. PN2287. Z5M67 2008.

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Ziegfeld’s life, loves, stars, shows, and legacy are vividly explored. A useful bibliographic essay, including archival resources, appears at the end of the book. DESIGNERS 1199. Dace, Tish. “Designing Women.” In Coleman and Sebesta, pp. 130–54. Dace provides a survey of the many women who have been active in various aspects of musical theatre design, including costume, lighting, scenic, sound, and costume.

VII Performers

GENERAL RESOURCES 1200. Banﬁeld, Stephen. “Stage and Screen Entertainers in the Twentieth Century.” In The Cambridge Companion to Singing, edited by John Potter, pp. 63–82. Cambridge: Cambridge University Press, 2000. ISBN 0-521-62225-5. ML1460.C28 2000. Fundamental styles in singing for musicals have undergone two major shifts in the twentieth century: (1) moving from opera toward belt; and (2) infusing pop or rock components into “Broadway” singing. Within this framework, there are a number of distinct styles, such as the female belt, the male comic, cantorial singing, crooning, classical singing, ampliﬁcation, and accommodation. 1201. Hood, Woodrow. “From Revolution to Revelation: Women Performance Artists and the Transformation of American Musical Theatre.” In Coleman and Sebesta, pp. 244–61. Laurie Anderson, Meredith Monk, and Diamanda Galás are three women performance artists who include dimensions of musical theater in their work and conversely inﬂuence many musical theater performers and creators. 1202. Ramczyk, Suzanne Mary. “A Performance Demands Analysis of Six Major Female Roles of the American Musical Theatre.” Ph.D. dissertation, University of Oregon, 1986. 401 p. The author discusses performance demands of six roles and famous interpreters of those roles: Rose-Marie in Rose-Marie (Mary Ellis), Reno Sweeney in Anything Goes (Ethel Merman), Nellie Forbush in South 239

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Paciﬁc (Mary Martin), Dolly Levi in Hello, Dolly! (Carol Channing), Cassie in A Chorus Line (Donna McKechnie), and Mrs. Lovett in Sweeney Todd (Angela Lansbury). INDIVIDUAL PERFORMERS Andrews, Julie (b. 1935) 1203. Andrews, Julie. Home: A Memoir of My Early Years. Weidenfeld & Nicholson, 2008. 384 p. ISBN 0-2976-4357-6. New York: Hyperion, 2008. 352 p. ISBN 0-7868-6565-2. PN2598.A65 A3 2008. Dame Julie Andrews’s revelatory autobiography begins with her early years in England, continues through her successes in the West End and on Broadway, and concludes with her move to Hollywood to star in Mary Poppins. 1204. Babington, Bruce. “Song, Narrative and the Mother’s Voice: A Deepish Reading of Julie Andrews.” In Babington, pp. 192–204. Andrew’s most famous persona is that of a surrogate mother in ﬁlm musicals (Mary Poppins, The Sound of Music), and this mythical image is what audiences expected and received of her in later ﬁlms (Darling Lily, S.O.B., Victor Victoria, Our Sons) in various forms, including self-parody. 1205. Farmer, Brett. “Julie Andrews Made Me Gay.” Camera Obscura 65, vol. 22, no. 2 (May 2007): 144–53. Transformational empowerment, a central feature of Andrews’s star image, is a key source of her queer appeal. 1206. Gruen, John. “Julie Andrews: My Fair Victor/Victoria.” Dance Magazine 69, no. 9 (September 1995): 48–51. Andrews gave this interview shortly before her return to Broadway in Victor/Victoria after a thirty-four-year absence. 1207. Spindle, Les. Julie Andrews: A Bio-Bibliography. Greenwood BioBibliographies in the Performing Arts, no. 6. Westport, CT: Greenwood, 1989. 168 p. 168 p. ISBN 0-313-26223-3. PN2598.A65. The book includes a biographical essay, a chronology, a detailed ﬁlmography, a list of stage and television appearances, a discography, and a 185-item bibliography. Appendices list awards and nominations, roles considered but not played, and information on Andrews’s two children’s books. 1208. Stirling, Richard. Julie Andrews: An Intimate Biography. London: Portrait, 2007. New York: St. Martin’s Grifﬁn, 2009. 384 p. ISBN 978-0312-38025-0. PN2598.A65 S75 2007.

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Stirling traces Andrews’s career from her childhood in London through her voice work in the Shrek series and the ﬁlm Enchanted. 1209. Walker, Tim. “Julie Andrews: She’s Climbed Every Mountain.” The Independent, 8 May 2010. A brief retrospective on Andrews’s professional and personal life that appeared on the day Andrews appeared at the O2 in London, her ﬁrst appearance on a British stage in thirty years. 1210. Windeler, Robert. Julie Andrews: A Biography. New York: Putnam, 1970. 253 p. ISBN 0-49100-295-5. PN2598.A65W3. 1211. Windeler, Robert. Julie Andrews: A Biography. New York: St. Martin’s, 1983. 223 p. ISBN 0-312-44848-1. PN2598.A65W3 1983. 1212. Windeler, Robert. Julie Andrews: A Life on Stage and Screen. New York: Citadel, 1997. 262 p. ISBN 1-55972-391-2. PN2598.A65W32 1997. Windeler’s three books on Andrews appeared in three successive decades— the 1970s, 1980s, and 1990s—and all address the perception and reputation of the actress during the time they were written. All contain biographical information on Andrews’s early years (largely the same tale, though refashioned from book to book), personal life, and professional career on stage and screen. Windeler does not focus on details of the shows in which Andrews appeared but rather on her involvement with them. Photos appear in each book: some are duplicated or triplicated between the books, while others appear in only one publication. Arnaz, Desi (1917–86) 1213. Sandoval-Sánchez, Alberto. “Carmen Miranda and Desi Arnaz: Foundational Images of “Latinidad” on Broadway and in Hollywood.” In José, Can You See?: Latinos On and Off Broadway, pp.21–61. Madison: University of Wisconsin Press, 1999. ISBN 0-299-16200-1. PN2270.H57 S26 1999. The careers of Carmen Miranda and Desi Arnaz are contextualized in terms of the “Good Neighbor Policy” and the Latin music craze of the 1930s and 1940s. Miranda, “The Brazilian Bombshell,” and Arnaz, “The Latin Lover,” are discussed in terms of Latin stereotypes and their reductionist formulations, “authenticity,” the “artiﬁciality of authenticity,” and the propagation of cultural representations. Astaire, Fred (1899–1987) 1214. Astaire, Fred. Steps in Time. With a foreword by Ginger Rogers. New York: Harper & Brothers, 1959. Reprint, with new introduction by

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Jennifer Dunning. New York: Cooper Square, 2000. 376 p. ISBN 0-81541058-1. GV1785.A83. Astaire gives insight into his life, professional and personal, and his career on stage and screen. The book has a particularly good index. 1215. Billman, Larry. Fred Astaire: A Bio-Bibliography. Westport, CT: Greenwood, 1997. 424 p. (Bio-Bibliographies in the Performing Arts, no. 76.) ISBN 0-313-29010-5. GV1785.A83. The book includes a biographical survey, a chronology, performance credits, detailed information on the shows in which Astaire appeared, excerpts from reviews, a discography, a list of awards, honors, and tributes, and an extensive annotated bibliography. 1216. Goldensohn, Lorrie. “Watching Fred.” Yale Review 96, no. 4 (Oct. 2008): 59–85. Goldensohn details Astaire’s illustrious career, especially his work on ﬁlm. 1217. Mueller, John E. Astaire Dancing: The Musical Films. New York: Knopf, 1985. 440 p. ISBN 978-0517-06075-9. GV1779.M84 1985. The classic study, meticulous in detail, covers all of Astaire’s ﬁlm and includes analyses of each of his dances with over 2400 stills and frame enlargements. 1218. Thomas, Bob. Astaire: The Man, The Dancer. New York: St. Martin’s Press, 1984. 340 p. ISBN 0-312-05783-0. GV1785.A83T46 1984. Written by a longtime friend of Astaire, Thomas’s biography gives great insight into the dancer and his art. It includes numerous ﬁrsthand remarks from Astaire and those who worked with and knew him. Fred Astaire and Ginger Rogers 1219. Croce, Arlene. The Fred Astaire & Ginger Rogers Book. New York: Galahad, 1972. 191 p. ISBN 0-88365-099-1. GV1785.A83C76 1974. Arranged chronologically by ﬁlm, Croce gives production credits and narrative sections on “The Film,” “The Numbers,” and “Production.” The book includes a number of stills but no index. 1220. Gallafent, Edward. Astaire & Rogers. Moffat, Scotland: Cameron & Hollis, 2000 and New York: Columbia University Press, 2002. 256 p. ISBN 0-231-12626-3. GV1785.A3G35 2002. Gallafent interprets the ﬁlms of Astaire and Rogers as a series of musicals, demonstrating how they relate to one another and to other ﬁlm musicals of their time. He also shows how the music and dance routines advance the

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plot in each ﬁlm. In addition to the ten ﬁlms they made together, Gallafent also discusses the ﬁlms each star made without the other. Baker, Josephine (1906–75) 1221. Kalinak, Kathryn. “Disciplining Josephine Baker: Gender, Race, and the Limits of Disciplinarity.” In Music and Cinema, edited by James Buhler, Caryl Flinn, and David Neumeyer, pp. 316–35. Hanover, NH: Wesleyan University Press, 2000. ISBN 0-8195-6410-9. ML2075.M875 2000. Using a nondisciplinary approach, Kalinak investigates issues of race and gender in Josephine Baker’s career and her ﬁlm Princess Tam Tam, incorporating discussions of Orientalism, narrativity, ethnography, dance, and cinematography. Barrowman, John (b. 1967) 1222. Barrowman, John. With Carole E. Barrowman. Anything Goes: The Autobiography. London: Michael O’Mara Books, 2008; paperback ed. 2009. 256 p. ISBN 978-1-84317-289-5. PN2598.B432. In his fan-focused autobiography, Barrowman discusses, among other things, his career as a musical theater performer and reminiscences about productions of Anything Goes and Putting It Together, among others; the ﬁlm version of The Producers; and the BBC television reality shows Any Dream Will Do and How Do You Solve a Problem Like Maria? Bikel, Theodore (b. 1924) 1223. Bikel, Theodore. Theo: The Autobiography of Theodore Bikel. New York: HarperCollins, 1994. 440 p. ISBN 0-060-19044-2. PN2287.B4545. Bikel’s autobiography gives insight into the life and career of the folk singer and actor whose credits include creating the role of Captain von Trapp in The Sound of Music and playing Zoltan Karpathy in the ﬁlm version of My Fair Lady. Blyth, Ann (b. 1928) 1224. Hellow, Brian. “The Lost Metro Girls.” Opera News 67, no. 2 (August 2002): 38–44. MGM singing sopranos Ann Blyth, Kathryn Grayson, and Jane Powell were among the studio’s most famous stars during the 1940s and 1950s.

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Brice, Fanny (1891–1951) 1225. Goldman, Herbert G. Fanny Brice: The Original Funny Girl. New York and Oxford: Oxford University Press, 1992. 308 p. ISBN 0-19-505725-2. PN2287.B69G65 1992. Goldman discusses the career, life, and legacy of Brice, the real-life inspiration for Funny Girl. He includes lists of her stage works, ﬁlms, radio appearances, and recordings as appendices. 1226. Grossman, Barbara W. Funny Woman: The Life and Times of Fanny Brice. Bloomington and Indianapolis: Indiana University Press, 1991. 287 p. ISBN 0-253-32653-2. PN2287.B69G76 1991. A thorough investigation of Brice’s career, the study provides a great deal of information on the actress’s involvement with Ziegfeld’s Follies, her radio personality “Baby Snooks,” the longevity of her career, and her legendary comedic talent. 1227. Katkov, Norman. The Fabulous Fanny: The Story of Fanny Brice. New York: Knopf, 1953. 337 p. PN2287.B69. An early biography of Brice, it includes excerpts from the actress’s unpublished memoirs. Brynner, Yul (1920–85) 1228. Brynner, Rock. Yul: The Man Who Would Be King. New York: Simon and Schuster, 1989. 252 p. ISBN 0-671-69006-X. PN2287.B74B78 1989. Written by his only son, the biography renders the extravagant life of one of the stage and screen’s legendary icons. Cantor, Eddie (1892–1964) 1229. Cantor, Eddie. As I Remember Them. New York: Duell, Sloan and Pearce, 1963. PN2287.C26A35 1963. Cantor reminisces about his career, the people he knew, and the places where he performed. 1230. Cantor, Eddie, with David Freedman and Jane Kesner Ardmore. “My Life Is in Your Hands” and “Take My Life”: The Autobiographies of Eddie Cantor. With a foreword by Will Rogers, new introduction by Leonard Maltin, and a new preface and addendum by Brian Gari. New York: Cooper Square, 2000. 650 p. ISBN 0-8154-1057-3. PN2287.C26 A3 2000.

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Published together for the ﬁrst time, Cantor’s two autobiographies, each written with a ghostwriter, provide insight into the performer’s extensive and varied career. The texts of My Life Is in Your Hands (1928, with David Freedman) and Take My Life (1957, with Jane Kesner Ardmore) are complemented by the inclusion of a “lost” ﬁnal chapter to My Life Is in Your Hands (published here for the ﬁrst time), photos, a ﬁlmography, a discography, and an integrated index to both autobiographies. 1231. Fisher, James. “The Depression Kid: The Recorded Legacy of Eddie Cantor.” ARSC Journal 31, no. 2 (fall 2000): 190–223. One of the most popular stars in the early twentieth century, Eddie Cantor was a signiﬁcant personality in vaudeville, Ziegfeld’s Follies, musical comedy, radio, and 1930s Hollywood. He was best at playing an ordinary individual who ends up in extraordinary circumstances, the epitome of a musical comedy character. Cantor was also a strong humanitarian, as is evident by his founding of the March of Dimes. His success came as a result of his honesty, enthusiasm, and compassion, which came through strongly in his performances and endeared him to his audiences. Fisher cites the ﬁlm Whoopee! (1930) as a visual record of Cantor at the height of his abilities. 1232. Fisher, James. Eddie Cantor: A Bio-Bibliography. Bio-Bibliographies in the Performing Arts, no. 73. Westport, CT, and London: Greenwood, 1997. 297 p. ISBN 0-313-29556-5. PN2287.C26F57 1997. Fisher includes a biography, a chronology, lists of appearances in various media (stage, ﬁlm, radio, and television), a discography, a list of sheet music bearing Cantor’s name or likeness, and a bibliography. He includes excerpts from reviews for the performance entries, and does not include annotations for bibliographic entries. Appendices include appearances of Cantor on newsreels and depictions or satirizing of Cantor in cartoons. 1233. Koseluk, Gregory. Eddie Cantor: A Life in Show Business. Jefferson, NC, and London: McFarland, 1995. 430 p. ISBN 0-7864-0096-X. PN2287. C26K67 1995. Koseluk arranges his biography around Cantor’s vehicles, focusing on the actor’s professional career. The author neither ignores nor emphasizes aspects of Cantor’s private life and escapades, but concentrates instead on his talent and contributions to the entertainment industry. His career on stage, screen, record, and television is succinctly summarized in an appendix. Channing, Carol (b. 1921) 1234. Channing, Carol. Just Lucky I Guess: A Memoir of Sorts. New York: Simon and Schuster, 2002. 262 p. ISBN 0-743-21606-7. PN2287.C494A3 2002.

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Channing reminisces about her life, career on stage and screen, friends, fellow actors, and celebrities. Photographs are included, but there is neither a table of contents nor an index. Chevalier, Maurice (1888–1972) 1235. Chevalier, Maurice. I Remember It Well. Translated by Cornelia Higginson. Preface by Marcel Pagnol. New York: Macmillan, 1970. 221 p. ML420. C473A383. Chevalier recounts his eightieth birthday tour in 1967 and 1968 and the early years of his retirement. He not only gives insight into his own life and career but also the people, places, and times of the late 1960s. 1236. Chevalier, Maurice, as told to Eileen and Robert Mason Pollock. With Love. Boston and Toronto: Little, Brown and Company, 1960. 424 p. ML420.C473A39. Chevalier’s autobiography from 1960 is told with the familiarity and charm associated with the singer-actor’s work. 1237. Freedland, Michael. Maurice Chevalier. New York: Morrow, 1981. 287 p. ISBN 0-688-00652-3. ML420.C473F7. Freedland focuses on Chevalier’s life in a popular biography replete with created conversations but no index. Crosby, Bing (1901–77) 1238. Giddins, Gary. Bing Crosby: A Pocketful of Dreams—The Early Years, 1903–1940. Boston: Little, Brown and Company, 2001. 728 p. ISBN 0-316-88188-0. ML420.C93G53 2001. The detailed text with a discussion and analysis of Crosby’s singing style and career to 1940 is complemented by a discography, a ﬁlmography, and an extensive selected bibliography. 1239. Shepherd, Donald, and Robert F. Slatzer. Bing Crosby: The Hollow Man. New York: St. Martin’s, 1981. 326 p. ISBN 0-312-07866-8. ML420. C93S5. The biography focuses on Crosby’s life and personality. 1240. Thompson, Charles. Bing: The Authorized Biography. New York: David McKay, 1976. ISBN 0-679-50590-3. ML420.C93T5 1976. Crosby himself supplied the many photographs for the authorized biography that appeared prior to his death.

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Dietrich, Marlene (1901–92) 1241. Spoto, Donald. Blue Angel: The Life of Marlene Dietrich. New York: Doubleday, 1992. 335 p. ISBN 0-385-42553-9. PN2658.D5S59 1992. Spoto’s thorough and vivid treatment of Dietrich’s life and work on stage and screen is the result of meticulous archival research and many interviews with those who knew and worked with the German star. The volume includes a number of photos and a valuable bibliography. Donovan, Jason (b. 1968) 1242. Donovan, Jason. Between the Lines: My Story Uncut. London: HarperCollins, 2007. 304 p. ISBN 978-0-0072-6441-4. In his fan-focused autobiography, Donavan discusses the 1991 London Palladium production of Joseph and the Amazing Technicolor Dreamcoat, in which he played the title role and mentions other stage productions in which he appeared, including the UK tour of The Rocky Horror Picture Show and the London production of Chitty Chitty Bang Bang. Dunne, Irene (1901–90) 1243. Schultz, Margie. Irene Dunne: A Bio-Bibliography. Westport, CT: Greenwood, 1991. 336 p. (Greenwood Bio-Bibliographies in the Performing Arts, no. 19.) ISBN 0-313-27399-5. PN2287.D85. The book includes a biographical essay, details of Dunne’s work on stage, screen, radio, and television, a discography, an annotated bibliography, and other information. Eddy, Nelson (1901–67) 1244. Lulay, Gail. Nelson Eddy: America’s Favorite Baritone. San Jose: Authors Choice Press, 1992, 2000. 227 p. ISBN 0-595-13879-9. ML420.E33. This tribute to Nelson Eddy provides numerous anecdotes and stories about the singer, along with photocopies of photographs, ﬁlm stills, newspaper clippings, and other memorabilia. Jeanette MacDonald and Nelson Eddy 1245. Castanza, Philip. The Complete Films of Jeanette MacDonald and Nelson Eddy. With an introduction by Eleanor Powell. New York: Citadel Press, 1978, 1990. 224 p. ISBN 0-8065-0771-3. ML420.M135C4.

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After introductory biographical essays, letters from friends of MacDonald and Eddy, and a “portrait gallery,” the body of the book chronicles their ﬁlms, both as individuals and as a team. Production credits, lists of songs and cast members, a synopsis, comments, and stills are included for each ﬁlm. 1246. Rich, Sharon. Sweethearts: The Timeless Love Affair—Both On-Screen and Off—Between Jeanette MacDonald and Nelson Eddy. New York: Donald I. Fine, 1994. 478 p. ISBN 1-55611-407-9. ML420.M135. Based on interviews, newspaper reports, and other sources, Rich’s dual biography of both Eddy and MacDonald chronicles their relationship, both professional and personal. Eggerth, Marta (b. 1912) 1247. Kellow, Brian. “Marta’s Waltz.” Opera News 60, no. 2 (August 1995): 30–34. Soprano Marta Eggerth was one of the most famous stars of Austrian and German ﬁlm operetta during the 1930s. Nazism drove her from Europe, but she continued her career on Broadway and in Hollywood. Among her greatest triumphs was the title role in the 1943 Broadway revival and subsequent tour of The Merry Widow. Elliott, Celeste Keppler (1810–?) 1248. Swift, Mary Grace. “Celestial Queen of the Dumb Shows.” In Loney, pp. 291–99. Madame Elliott, a mime who starred in many melodramas including The French Spy (1834), was one of the most famous and popular stage personalities of the nineteenth century. Ellis, Mary (1897–2003) 1249. Ellis, Mary. Those Dancing Years. London: John Murray, 1982. 182 p. ISBN 0-7195-3984-6. PN2598.E47. Ellis’s autobiography provides reminiscences of her life and work. Feinstein, Michael (b. 1956) 1250. Feinstein, Michael. Nice Work If You Can Get It: My Life in Rhythm and Rhyme. New York: Hyperion, 1995. 406 p. ISBN 0-7868-6093-6. ML420. F332A3 1995.

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Feinstein recalls his meetings and friendships with people such as Ira Gershwin, Harry Warren, Tommy Tune, and others. He discusses his work with the Gershwin estates and the Secaucus cache of musical theater materials, and gives personal insights into song interpretation, lyrics, and performance. Fields, Gracie (1898–1979) 1251. Landy, Marcia. “The Extraordinary Ordinariness of Gracie Fields: The Anatomy of a British Film Star.” In Babington, pp. 56–67. The “rags to riches” British musical comedy ﬁlm star was extremely popular with audiences in the 1930s and 1940s. This article surveys Fields’ career and ﬁlms. Fields, W. C. (1879–1946) 1252. Curtis, James. W. C. Fields: A Biography. New York: Knopf, 2003. 593 p. ISBN 0-375-40217-9. PN2287.F45 C87 2003. An impressive and sympathetic account of the great performer, Curtis describes Field’s work in burlesque, minstrelsy, vaudeville, Ziegfeld’s Follies, and ﬁlm. 1253. Monti, Carlotta, with Cy Rice. W. C. Fields and Me. Englewood Cliffs, NJ: Prentice-Hall, 1971. 227 p. ISBN 0-13-944454-8. PN2287.F45M6. Penned by Fields’ mistress of fourteen years, the book is told in the ﬁrst person and includes many created conversations. Gardner, Ava (1922–90) 1254. Fowler, Karin G. Ava Gardner: A Bio-Bibliography. Greenwood BioBibliographies in the Performing Arts, no. 14. Westport, CT: Greenwood, 1990. 256 p. ISBN 0-313-26776-6. PN2287.G37. The biographical section comprises most of the book, which also includes a complete listing of Gardner’s appearances and recordings and a bibliography. Garland, Judy (1922–69) 1255. Clarke, Gerald. Get Happy: The Life of Judy Garland. New York: Random House, 2000. 510 p. ISBN 0-375-50378-1. ML420.G253C58 2000. Clarke focuses on the tragedies and triumphs of Garland’s life.

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1256. Edwards, Anne. Judy Garland: A Biography. New York: Simon and Schuster, 1974. 349 p. ISBN 0-671-21845-X. ML420.G253E3. Focusing on Garland’s life, the book includes appendices that contain Garland’s poetry, a ﬁlmography, a discography, lists of television and radio appearances, major concerts, and a list of vaudeville circuits and venues in which Garland appeared as a child. 1257. Finch, Christopher. Rainbow: The Stormy Life of Judy Garland. Designed by Will Hopkins. New York: Grosset & Dunlap, 1975. ISBN 0-448-11731-2. ML420.G253F56. The oversized tribute to Garland includes many anecdotes and photographs. 1258. Frank, Gerold. Judy. New York: Harper & Row, 1975. 654 p. ISBN 0-06011337-5. ML420.G253F7. Based on ﬁrsthand information from family, friends, and coworkers, the celebrity biography centers on Garland’s personal life, insecurities, traumas, behavior, and reactions to struggles and successes. 1259. Wayne, Jane Ellen. “Judy Garland.” In The Golden Girls of MGM, pp. 199–227. New York: Carroll & Graf, 2003. ISBN 0-7867-1117-5. PN1998.2.W396 2003. Wayne gives a heartfelt treatment of Garland’s tragic and troubled life. Garrett, Betty (b. 1919) 1260. Garrett, Betty, with Ron Rapoport. Betty Garrett and Other Songs: A Life on Stage and Screen. Lanham, MD, New York, and Oxford: Madison Books, 1998. 307 p. ISBN 1-56833-098-7. PN2287.G388A3 1997. Garrett’s recollections and anecdotes of her career on Broadway (Of V We Sing, Call Me Mister) and in Hollywood (On the Town, Take Me Out to the Ballgame, Words and Music, My Sister Eileen) form the basis of her book. She also recounts, with loving admiration, the career of her husband, Larry Parks (The Jolson Story), and gives a candid view of the adverse effects to their careers brought on by the House Un-American Activities Committee. Grayson, Kathryn (1922–2010) 1261. “Obituaries: Kathryn Grayson.” Opera News 74, no. 11 (May 2010): 77. Grayson’s career in Hollywood is highlighted, along with information on her work in nightclubs, television, theater, and opera. See 1224.

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Hanson, John (1922–98) 1262. Hanson, John. Me and My Red Shadow: An Autobiography. London: W. H. Allen & Co., 1980. 218 p. ISBN 0-352-30879-6. ML420.H14. One of the most popular operetta stars in Britain during the third quarter of the twentieth century, Hanson recalls some of his most memorable experiences in productions of The Desert Song, The Student Prince, The Vagabond King, and other revivals in London and on tour. Harrison, Rex (1908–90) 1263. Garland, Patrick. The Incomparable Rex: The Last of the High Comedians. London: Macmillan, 1998 and New York: Fromm International, 2000. 259 p. ISBN 0-88064-216-5. PN2598.H336. Director Patrick Garland’s memoir of Rex Harrison in the 1980s illustrates the complexities of the actor’s personality and temperament. Held, Anna (ca. 1870–1918) 1264. Golden, Eve. Anna Held and the Birth of Ziegfeld’s Broadway. Lexington: The University Press of Kentucky, 2000. 304 p. ISBN 978-0-81312-153-6. PN2287.H42 G65 2000. Golden draws upon extensive primary source material in her biography of Held and provides insights into historical events and individuals associated with her subject. Hope, Bob (1903–2003) 1265. Faith, William Robert. Bob Hope: A Life in Comedy. New York: Putnam, 1982. Reprint, New York: Da Capo, 2003. 474 p. ISBN 0-306-81207-X. PN2287.H63. Filled with anecdotes, Hope’s public relations representative’s biography traces the many aspects of its subject’s career: vaudeville, Broadway, radio, television, ﬁlm, and USO tours. The volume includes sixteen pages of photographs, a ﬁlmography, bibliography, and index comprised almost entirely of people. 1266. Quirk, Lawrence J. Bob Hope: The Road Well-Traveled. New York and London: Applause, 1998. 327 p. ISBN 1-55783-353-2. PN2287. H63Q85 1998.

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Filled with anecdotes and reminiscences, the book provides insight into Hope’s life, performing style, and attitudes toward and responses to social issues. Hyers Sisters—Anna Madah (1853?–1930S) and Emma Louise (1855?–c. 1899) 1267. Hill, Errol. “The Hyers Sisters: Pioneers in Black Musical Comedy.” In The American Stage: Social and Economic Issues from the Colonial Period to the Present, edited by Ron Engle and Tice L. Miller, pp. 115–30. Cambridge: Cambridge University Press, 1993. ISBN 0-521-41238-2. PN2226.A5 1993. The Hyers Sisters were among the most important African American performers during the late nineteenth century. Their professional career had three components that sometimes overlapped: (1) concert tours from coast to coast (1867–76); (2) touring productions of musical comedies (1876–91); and (3) appearances, either individually or together, as featured performers with minstrels or other variety troupes (after 1883). Jolson, Al (1886–1950) 1268. Fisher, James. Al Jolson: A Bio-Bibliography. Bio-Bibliographies in the Performing Arts, no. 48. Westport, CT, and London: Greenwood, 1994. 321 p. ISBN 0-313-28620-5. ML134.5.J65F57 1994. Fisher’s bio-bibliography includes the standard biographical chapter, chronology, performance credits (divided into appearances on stage, ﬁlm, discography, and radio and television), and bibliography. Fischer also includes a list of sheet music covers with Jolson’s image and appendices that list stage shows based on Jolson’s life, newsreels that featured Jolson, references to Jolson in cartoons, awards, and Jolson’s product endorsements. The bibliography is divided into four sections: books, periodicals/ magazines, New York Times, and Variety. Brief annotations appear for book entries. 1269. Freedland, Michael. Jolson. New York: Stein and Day, 1972. ISBN 0-8128-1523-8. ML420.J74F7 1972. The popular biography emphasizes events in Jolson’s life. 1270. Goldman, Herbert G. Jolson: The Legend Comes to Life. New York and Oxford: Oxford University Press, 1988. 411 p. ISBN 0-19-505505-5. ML420.J74G6 1988.

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The book gives a solid account of Jolson’s career, life, and times. Lists of Jolson’s work on stage, screen, radio, and record are included. 1271. Kiner, Larry F. and Philip R. Evans. Al Jolson: A Bio-Discography. With a foreword by Leonard Maltin. Metuchen, NJ: Scarecrow, 1992. 808 p. ISBN 0-81082-633-X. ML156.7.J64K4 1992. Basically a discography, the book includes some short biographical annotations, photographs, and other illustrative material. Jones, Matilda Sissieretta (1868–1933) 1272. Graziano, John. “The Early Life and Career of the ‘Black Patti’: The Odyssey of an African American Singer in the Late Nineteenth Century.” Journal of the American Musicological Society 53, no. 3 (fall 2000): 543–96. Jones, known as the “Black Patti,” was an African American singer known for attracting large mixed-race audiences. Graziano documents the singer’s early life in Portsmouth, Virginia and Providence, Rhode Island, her tours (Caribbean, 1888 and South America, 1890), and her concert appearances in the United States and Europe prior to the formation of the Black Patti Troubadours in fall 1896. Graziano received the Society for American Music’s Irving Lowens Award for the Best Article on an American music topic published in 2000 for this article. Keel, Howard (1919–2004) 1273. Leiby, Bruce R. Howard Keel: A Bio-Bibliography. Westport, CT: Greenwood, 1995. 344 p. (Bio-Bibliographies in the Performing Arts, no. 67.) ISBN 0-313-28456-3. PN2287.K46. The book includes a biographical essay, sections on Keel’s work on stage and screen, broadcast credits, discography, videography, and performances in nightclubs, and an annotated bibliography. Keeler, Ruby (1909–93) 1274. Bubbeo, Daniel. “Ruby Keeler: ‘Those Dancing Feet.’” In The Women of Warner Brothers, pp. 102–15. Jefferson, NC, and London: McFarland, 2002. ISBN 0-7864-1137-6. PN1998.2.B82 2002. Bubbeo provides an overview of Keeler’s life, emphasizing her work at Warner Brothers and three ﬁlms from 1933: 42nd Street, Gold Diggers of 1933, and Footlight Parade.

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Lansbury, Angela (b. 1925) 1275. Gottfried, Martin. Balancing Act: The Authorized Biography of Angela Lansbury. Boston, New York, and London: Little, Brown and Company, 1999. 338 p. ISBN 0-316-32225-3. PN2287.L2845G68 1998. Written with the support and help of Lansbury, Gottfried chronicles the life and work of the star of ﬁlm, stage, and television, providing insight into how she created many of her most memorable roles. Lawrence, Gertrude (1898–1952) 1276. Aldrich, Richard Stoddard. Gertrude Lawrence as Mrs A: An Intimate Biography of the Great Star. New York: Greystone, 1954. Reprint ed., New York. Greenwood, 1969. 414 p. ISBN 8-3712-469-7. PN2598. L28A7. Lawrence’s husband chronicles their life together, including Lawrence’s professional activities, from 1939 through her death. The book lacks an index. 1277. Lawrence, Gertrude. A Star Danced. Garden City, NY: Doubleday, Doran, and Co., 1945. 238 p. PN2598.L28A3. Lawrence recounts her life from her early years through her work with ENSA (the British equivalent of the USO) on the Western Front during World War II and her marriage to Richard Aldrich. It is less than reliable for factual data. 1278. Morley, Sheridan. Gertrude Lawrence. New York: McGraw-Hill, 1981. 228 p. ISBN 0-07-043149-3. PN2598.L28M67 1981. Morley’s biography delves into Lawrence’s life and is ﬁlled with quotations about her from people who knew and worked with her. Laye, Evelyn (1900–96) 1279. Laye, Evelyn. Boo, to My Friends. London: Hurst & Blankett, 1958. 180 p. PN2598.L29. The autobiography of the British star of stage and screen is ﬁlled with recollections of Laye’s long and illustrious career. Lenya, Lotta (1898–1981) 1280. Spoto, Donald. Lenya: A Life. Boston: Little, Brown and Company, 1989. 371 p. ISBN 0-316-80725-7. PN2658.L39S66 1989.

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Spoto’s detailed biography of Lenya is based on archival research, personal papers and letters, and interviews. He includes extensive information on her performing career, marriage to Kurt Weill, life, and personality. Photographs, a selected discography, and a detailed index to Lenya’s career and Weill’s work are included. Leslie, Joan (b. 1925) 1281. Bubbeo, Daniel. “Joan Leslie: ‘The Girl Next Door.’” In The Women of Warner Brothers, pp. 141–54. Jefferson, NC, and London: McFarland, 2002. ISBN 0-7864-1137-6. PN1998.2.B82 2002. Leslie was Warner Brothers’ “all-American girl next door” and appeared in many of the studio’s musical ﬁlms. Bubbeo surveys her life and ﬁlm career. LuPone, Patti (b. 1949) 1282. Driscoll, F. Paul. “Going to the Opera with Patti LuPone.” Opera News 64, no. 5 (November 1999): 46–48. LuPone comments on the Met’s production of Susannah and the roles and styles of directors and actors/singers. MacDonald, Jeanette (1903–65) 1283. Driscoll, F. Paul. “I Dream of Jeanette.” Opera News 60, no. 2 (August 1995): 50. Tracing MacDonald’s career, Driscoll describes the “titian-haired and shapely” actress with the “stylish light touch necessary for operetta.” He considers The Merry Widow (1934) to be her ﬁnest ﬁlm, although her collaborations with Nelson Eddy brought her greater fame. 1284. Parish, James Robert. The Jeanette MacDonald Story. New York: Mason/ Charter, 1976. 181 p. ISBN 0-88405-360-1. ML420.M135P4. Filled with stories and anecdotes, this book gives glimpses into MacDonald’s personality, sense of humor, and work ethic. Photographs and ﬁlm stills provide a visual documentary of her life and career. 1285. Turk, Edward Baron. “Deriding the Voice of Jeanette MacDonald: Notes on Psychoanalysis and the American Film Musical.” In Embodied Voices: Representing Female Vocality in Western Culture, edited by Leslie C. Dunn and Nancy A. Jones, pp. 103–19. Cambridge and New York: Cambridge University Press, 1994. ISBN 0-521-46012-3. ML82.E55 1994.

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Turk explores the concept of authority in the female operatic voice on screen, including dimensions of acoustic (rather than orgasmic) climaxes in MacDonald-Eddy ﬁlms and how these stimulate unconscious responses. 1286. Turk, Edward Baron. Hollywood Diva: A Biography of Jeanette MacDonald. Berkeley, Los Angeles, and London: University of California Press, 1998. 467 p. ISBN 0-520-21202-9. M420.M135T87 1988. This outstanding biography not only details MacDonald’s life and career but also provides insight into her character, personality, and ethics. The book contextualizes MacDonald’s work in the complex web of American culture and discusses her ability to transverse the gulfs between the various forms of musical and popular expression (opera, ﬁlm, concert hall, radio, etc.) of the mid-twentieth century. Stage and ﬁlm credits, a list of principal recording sessions, and an extensive bibliography are included. 1287. Wayne, Jane Ellen. “Jeanette MacDonald.” In The Golden Girls of MGM, pp. 1–32. New York: Carroll & Graf, 2003. ISBN 0-7867-1117-5. PN1998.2.W396 2003. Wayne gives a bittersweet account of MacDonald’s life, including her love affair with Nelson Eddy. See 1245–46. MacRae, Gordon (1921–86) 1288. Leiby, Bruce R. Gordon MacRae: A Bio-Bibliography. Greenwood BioBibliographies in the Performing Arts, no. 17. Westport, CT: Greenwood. 248 p. ISBN 0-313-26633-6. ML134.5.M3. Following a biographical essay are separate sections on each of MacRae’s credits, a complete log of the Railroad Hour radio program, and an annotated bibliography. Martin, Mary (1913–90) 1289. Davis, Ronald L. Mary Martin: Broadway Legend. Norman: University of Oklahoma Press, 2008. 328 p. ISBN 978-0-8061-3905-0. ML420. M332 D38 2008. In addition to a thorough account of Martin’s life, career, and legacy, Davis offers insights on the development of productions in which she appeared.

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1290. Martin, Mary. My Heart Belongs. New York: William Morrow, 1976. 320 p. ISBN 0-688-03009-2. ML420.M369A3. The legendary star recollects her life and career. 1291. Rivadue, Barry. Mary Martin: A Bio-Bibliography. Greenwood BioBibliographies in the Performing Arts, no. 18. Westport, CT: Greenwood. 272 p. ISBN 0-313-27345-6. ML134.5.M37. In addition to a biographical essay and annotated bibliography, the book includes a detailed list of Martin’s performances. Entries, arranged chronologically, give full credits for all stage productions. Subsequent sections include a discography, broadcast appearances on radio and television, and a ﬁlmography. Appendices include a chronology, a list of awards, endorsements, and locations of archival material. 1292. Wolf, Stacy. “The Queer Pleasures of Mary Martin and Broadway: The Sound of Music as a Lesbian Musical.” Modern Drama 39, no. 1 (spring 1996): 51–63. Wolf offers a queer reading of Mary Martin and subsequently her role as Maria in The Sound of Music. May, Alice (ca. 1847–1887) 1293. Simpson, Adrienne. Alice May: Gilbert and Sullivan’s First Prima Donna. Forgotten Stars of the Musical Theatre. New York and London: Routledge, 2003. 223 p. ISBN 0-415-93750-7. ML420.M3368.S56 2003. May created the role of Aline in Gilbert and Sullivan’s The Sorcerer and later toured America in various G&S productions. McDonald, Audra (b. 1970) 1294. Dyer, Richard. “Busy Broadway Diva Has Her Act Together.” Boston Globe, 27 May 2003, F6. In preparation for a concert in Boston, McDonald gave a phone interview in which she discussed her career and current projects. 1295. Green, Jesse. “Diva of the Difﬁcult Song.” New York Times Magazine, 7 November 1999. Available at http://www.audra-mcdonald.com/ article-11.html. This feature article on McDonald appeared while the actress was preparing the title role in LaChiusa’s Marie Christine.

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1296. Kellow, Brian. “Under Her Spell.” Opera News 64, no. 5 (November 1999): 54–59. This feature article on McDonald appeared while the actress was preparing the title role in LaChiusa’s Marie Christine and includes material on her Juilliard studies and professional career. Merman, Ethel (1912–1984) 1297. Bryan, George B. Ethel Merman: A Bio-Bibliography. Bio-Bibliographies in the Performing Arts, no. 27. Greenwood, CT: Greenwood, 1992. 298 p. ISBN 0-313-27975-6. ML134.5.M47 B8 1992. Bryan includes a prose biography, chronology, ﬁlmography, list of stage appearances, list of radio and television appearances, discography, and bibliography. Reviews of appearances are referenced to the corresponding bibliographic entries. Annotations appear for all entries in the discography and for selected ones in the bibliography. 1298. Dienstfrey, Sherri Robin. “Ethel Merman: Queen of Musical Comedy.” Ph.D. dissertation, Kent State University, 1986. 234 p. Merman broke the mold of the 1920s musical comedy ingénue and had an incomparably successful career. 1299. Flinn, Caryl. Brass Diva: The Legend and Lives of Ethel Merman. Berkeley: University of California Press, 2007. 556 p. ISBN 978-052022942-6. ML420.M39.F55 2007. Flinn’s meticulous researched and documented scholarly biography includes personal reminiscences and anecdotes about Merman’s life and career (many drawn from Merman’s more than ﬁfty scrapbooks), provides a psychologically complex portrait of its subject, analyzes her work both on Broadway and in Hollywood, and includes useful appendices (including a discography by Al F. Koenig, Jr., a ﬁlmography, and a list of stage works). 1300. Kellow, Brian. Ethel Merman: A Life. New York: Viking, 2007. 326 p. ISBN 978-0-6700-1829-1. ML420.M39.K45 2007. Kellow’s biography, which appeared the same year as Caryl Flinn’s (entry 1299), provides a more general view of Merman’s life and contextualizes her career on Broadway. Kellow includes material from interviews with people who knew her in her later years that add to the book’s emotional intensity. The book lacks a table of contents, but does include notes.

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1301. Mark, Geoffrey. Ethel Merman: The Biggest Star on Broadway. Fort Lee, NJ: Barricade Legend, 2006. 288 p. ISBN 978-1-5698-0293-9. ML420. M39 M37 2006. Mark emphasizes Merman’s appearance and behavior and offers analyses of her performances. 1302. Thomas, Bob. I Got Rhythm!: The Ethel Merman Story. New York: Putnam, 1985. 239 p. ISBN 0-399-13041-1. ML420.M39T5 1985. Thomas explores Merman’s personality, life, and work, focusing on biographical elements. As far as her professional work is concerned, Thomas concentrates more on her involvement with shows rather than the shows themselves. He includes appendices that list the actress’s theatrical appearances and feature ﬁlms. 1303. Zolotow, Maurice. “Ethel Merman: Call Her Woman.” In No People Like Show People, pp. 287–305. New York: Random House, 1951. PN2285.Z6 (UMKC). Zolotow provides an adoring array of anecdotes concerning Merman’s major shows, including Call Me Madam, Girl Crazy, DuBarry Was a Lady, Annie Get Your Gun, and Anything Goes. Miranda, Carmen (1909–55) 1304. Clark, Walter Aaron. “Doing the Samba on Sunset Boulevard: Carmen Miranda and the Hollywoodization of Latin American Music.” In From Tejano to Tango: Latin American Popular Music, pp. 252–76. New York: Routledge, 2002. ISBN 0-8153-3640-3. ML3475.F76 2002. Carmen Miranda’s career was part of the construction of a homogeneous view of Latin Americans, their culture, and their music. Her musical numbers fostered “the creation of a hybrid and fundamentally mythological image of Latin America” (p. 253). 1305. Coelho, Jose Igiero. “Carmen Miranda: An Afro-Brazilian Paradox.” Ph.D. dissertation, New York University, 1998. 227 p. Coelho discusses Carmen Miranda’s career in Brazil and America, her baiana costume, the transformation of her performance style, and her self-awareness. See 1213. Mostel, Zero (1915–77) 1306. Brown, Jared. Zero Mostel: A Biography. New York: Atheneum, 1989. 334 p. ISBN 0-689-11955-0. PN2287.M77B76 1989.

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Mostel, whose Broadway credits included the original productions of A Funny Thing Happened on the Way to the Forum and Fiddler on the Roof, was a complex and contradictory person whose career survived blacklisting and a crippling physical injury. Neagle, Anna (1904–86) 1307. Neagle, Anna. Anna Neagle Says “There’s Always Tomorrow”: An Autobiography. London: W. H. Allen, 1974. 224 p. ISBN 0-7088-1616-9. PN2598.N35. Neagle was one of Britain’s most famous actresses on stage and screen. Her career included musicals. Paige, Elaine (b. 1948) 1308. Paige, Elaine. Memories: Celebrating 40 Years in the Theatre. Foreword by Andrew Lloyd Webber. London: Oberon Books, 2008. 144 p. ISBN 1-8400-2852-1. ML420.P26A3. Arranged by show, this career chronicle is ﬁlled with color and black-andwhite photos. Peters, Bernadette (b. 1948) 1309. Gans, Andrew. “Lost in Her Charms.” Playbill 99, no. 3 (April 1999): 10, 12. Appearing while Peters was playing Annie Oakley in the 1999 revival of Annie Get Your Gun, the article asserts that Peters’s name is synonymous with the best that musical theater can offer. 1310. Green, Jesse. “Her Stage Mother, Herself.” New York Times, 27 April 2003, AR 1,5. Appearing while Peters was playing Rose in the Broadway revival of Gypsy, the article explores the actress’s relationship with her own mother, Marguerite. 1311. Miller, Marc. “Shooting Star: She Can’t Get a Man with a Gun, but Bernadette Peters Can Get an Audience with a Wink or Giggle: A Cozy Chat with a Legend.” InTheater 77 (15 March 1999): 18–23. The interview includes information on Peter’s career, her close association with Sondheim roles, and her vocal and physical training. Powell, Jane (b. 1929) See 1224.

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Prince, Faith (b. 1957) 1312. Richards, David. “Faith Prince, How Does Your Garden Grow?” New York Times, 31 May 1992: H5. Faith Prince gave this interview while playing Adelaide in the Broadway revival of Guys and Dolls. Rogers, Ginger (1911–95) 1313. Faris, Jocelyn. Ginger Rogers: A Bio-Bibliography. Bio-Bibliographies in the Performing Arts, no. 49. Westport, CT: Greenwood, 1994. 312 p. ISBN 0-313-29177-2. PN2287.R72. The book includes a biographical essay, a chronology, annotated entries for Rogers’ performances on stage, ﬁlm, radio, and television, and an extensive annotated bibliography. See 1219–20. Rogers, Will (1879–1935) 1314. Rollins, Peter C. Will Rogers: A Bio-Bibliography. Popular Culture Bibliographies. Westport, CT: Greenwood, 1984. 282 p. ISBN 0-0-31322633-4. PN2287.R74. Rollins includes three essays—“The Life of Will Rogers (1879–1935)—A Brief Sketch,” “The Profound Appeal of Will Rogers, 1920–1935,” and “The Vision of Will Rogers: An Intellectual Montage”—in addition to a bibliographical essay, a checklist of sources, synopses of Rogers’ programs on screen and on radio, and information on archival sources. Rooney, Mickey (b. 1920) 1315. Marill, Alvin H. Mickey Rooney: His Films, Television Appearances, Radio Work, Stage Shows, and Recordings. Jefferson, NC: McFarland, 2005. 208 p. ISBN 0-7864-2015-4. PN2287.R75 M36 2005. Part biography and part reference work, Rooney’s multifaceted career and personal life are discussed. Russell, Lillian (1861–1922) 1316. Schwartz, Donald Ray, and Anne Aull Bowbeer. Bio-Bibliographies in the Performing Arts, no. 77. Lillian Russell: A Bio-Bibliography. Westport, CT: Greenwood, 1997. 328 p. ISBN 0-313-27764-8. PN2287.R83.

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Russell was an extraordinary performer and writer. The bio-bibliography includes a biographical essay, a chronology, her credits on stage and screen, a discography, television appearances, an annotated bibliography, and appendices that list stage shows, ﬁlms, recordings, radio shows, and sheet music related to Russell and her life. Sinatra, Frank (1915–98) 1317. Furia, Philip. “Sinatra on Broadway.” In Frank Sinatra and Popular Culture: Essays on an American Icon, edited by Leonard Mustazza, pp. 162–73. Westport, CT: Praeger, 1998. ISBN 0-275-96495-7. ML420.S565. Although he never appeared in a Broadway show, Sinatra included many musical theater songs from the 1920s and 1930s in his repertory, even though these songs were not easily transferable out of their original contexts. Smith, Kate (1907–86) 1318. Pitts, Michael R. Kate Smith: A Bio-Bibliography. Westport, CT: Greenwood, 1988. 276 p. (Bio-Bibliographies in the Performing Arts, no. 2.) ISBN 0-313-25541-5. ML134.5.S65. The book includes a biographical essay, a discography, lists of stage and broadcast appearances, a ﬁlmography, and an annotated bibliography. Streisand, Barbra (b. 1942) 1319. Considine, Shaun. Barbra Streisand: The Woman, the Myth, the Music. New York: Delacorte, 1985. 335 p. ISBN 0-385-29390-9. ML420. S915C6. The popular-audience biography of Streisand includes information on and photos from her life and work, but does not have an index. 1320. Edwards, Anne. Streisand: A Biography. Boston: Little, Brown and Company, 1997. 600 p. ISBN 0-316-21138-9. ML420.S915E4 1997. Edwards discusses Streisand’s professional and personal lives and includes the actress’s stage and ﬁlm credits as well as a discography. 1321. Pohly, Linda. The Barbra Streisand Companion: A Guide to Her Vocal Style and Repertoire. Westport, CT: Greenwood, 2000. 271 p. (Companions to Celebrated Musicians.) ISBN 0-313-30414-9. ML420. S915P64 2000.

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Focusing on Streisand’s vocal style, Pohly chronicles the star’s performance practice, addressing aspects such as instrumentation and orchestration, interpretation, and timbre. The annotated discography provides an in-depth guide to Streisand’s recordings. Tempest, Marie (1864–1942) 1322. Bolitho, Hector. Marie Tempest. London: Cobden-Sanderson, 1936; London and Philadelphia: J.P. Lippincott, 1937. 320 p. PN2598 T25 B6 1936 (Washington University Library). Bolitho openly admits his admiration for his subject, who was a star on London and New York musical stages in the 1880s and 1890s before securing fame in comic roles, and interviewed her numerous times while writing his hagiographic account. Temple, Shirley (b. 1928) 1323. Black, Shirley Temple. Child Star: An Autobiography. New York: McGraw-Hill, 1988. 546 p. ISBN 0-446-35792-8. PN2287.T33. Temple’s account of her life until 1953 provides insight into the world of Hollywood child stars in the 1930s and 1940s. 1324. Burdick, Loraine. The Shirley Temple Scrapbook. Middle Village, NY: Jonathan David, 2001. 312 p. ISBN 0-8246-0440-7. PN2287. T33 B8 2001. The ﬁrst part of the book is a lavishly illustrated biographical account of Temple, while the second is a visual chronology of her ﬁlms. 1325. Edwards, Anne. Shirley Temple: American Princess. New York: Morrow, 1988. 444 p. ISBN 0-688-06051-X. PN2287.T33. A highly researched biography, the book includes 85 photos. 1326. Hammontree, Patsy Guy. Shirley Temple Black: A Bio-Bibliography. Westport, CT: Greenwood, 1998. 304 p. (Popular Culture Bio-bibliographies.) ISBN 0-31324-848-1. PN2287.T33. The biographical segment of this volume is the largest and chronicles the subject’s various careers as a child star, businesswoman, activist, and diplomat. The book includes a bibliographical essay and ﬁlmography. 1327. Vered, Karen Orr. “White and Black in Black and White: Management of Race and Sexuality in the Coupling of Child-Star Shirley Temple and Bill

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Robinson.” Velvet Light Trap—A Critical Journal of Film and Television 39 (spring 1997): 52–65. Vered investigates how racist ideology prompted the general press of the 1930s to suppress or ignore Temple’s association with Robinson, and how recent histories have emphasized this relationship. Thompson, Lydia (1836?–1908) 1328. Gänzl, Kurt. Lydia Thompson: Queen of Burlesque. Forgotten Stars of the Musical Theatre. New York and London: Routledge, 2002. 236 p. ISBN 0-415-93766-3. GV1785.T47 G36 2002. Thompson was one the legendary stars of Victorian musical theater. She was a superb actress, dancer, and singer, and starred with her own popular touring company, “British Blondes.” Gänzl describes her magniﬁcent stage career as well as her difﬁcult private life.

Tibbett, Lawrence (1896–1960) 1329. Farkas, Andrew, ed. Lawrence Tibbett: Singing Actor. Portland, OR: Amadeus Press, 1989. 160 p. ISBN 0-931340-17-9. ML420T52L4 1988. As the star of six ﬁlm musicals in the 1930s, the Metropolitan Opera baritone was a signiﬁcant presence in the early days of sound motion pictures. This collection includes essays by and about Tibbett, including a reprint of his 1933 autobiography, The Glory Road, along with an extensive twenty-eight-page discography and many photographs and stills. 1330. Weinstat, Hertzel, and Bert Wechsler. Dear Rogue: A Biography of the American Baritone Lawrence Tibbett. Portland, OR: Amadeus Press, 1996. 283 p. (Opera Biography Series, no. 6.) ISBN 1-57467-008-5. ML420.T52. The full-length biography includes information about Tibbett’s ﬁlm career, especially The Rogue Song (1930).

Travis, Doris Eaton (1904–2010) 1331. Blumenthal, Ralph. “Still Kicking Up Her Heels on 42nd Street.” New York Times, 27 April 2009. Doris Eaton Travis is interviewed.

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1332. Lunden, Jeff. “The Oldest Living Ziegfeld Girl.” NPR, 24 April 2005. http://www.npr.org/templates/story/story.php?storyid=4617064. Jeff Lunden interviews the then 101-year-old Travis. 1333. Martin, Douglas. “Doris E. Travis, Last of the Ziegfeld Girls, Dies at 106.” New York Times, 11 May 2010. The New York Times obituary provides highlights of Eaton Travis’s career, including her performance at the annual Broadway Cares/Equity Fights AIDS fundraiser a little more than two weeks before her death. 1334. Redniss, Lauren. Century Girl: 100 Years in the Life of Doris Eaton Travis, Last Living Star of the Ziegfeld Follies. Los Angeles: Regan, an imprint of New York: HarperCollins, 2006. 208 p. ISBN 978-0-06124150-5. GV1785.T69 R43 2006. This oversized coffee table book is in the form of a collage scrapbook, with copious images, quotes, newspaper clippings, and narrative remarks. 1335. Travis, Doris Eaton, with Joseph and Charles Eaton as told to J. R. Morris. The Days We Danced: The Story of My Theatrical Family from Florenz Ziegfeld to Arthur Murray and Beyond. Seattle: Marquand Books; Norman: University of Oklahoma Press, 2003. 279 p. ISBN 978-0-80619-950-4. GV1785.E27 T72 2003. Travis, who joined Ziegfeld’s Follies at age fourteen, recalls her life on Broadway, in Hollywood, and after. Waters, Ethel (1896–1977) 1336. Bourne, Stephen. Ethel Waters: Stormy Weather. Lanham, MD: Scarecrow Press, 2007. 184 p. ISBN 978-0-8108-5902-9. ML420.W24 B68 2007. Bourne documents Waters’ career on stage, screen, radio, and television. Welch, Elisabeth (1904–2003) 1337. Bourne, Stephen. Elisabeth Welch: Soft Lights and Sweet Music. Lanham, MD: Scarecrow Press, 2005. ISBN 978-0-8108-5413-0. ML420.W36 B68 2005. Bourne illuminates the life and art of the genre-deﬁning African American popular singer who appeared on Broadway and in Hollywood as well as on radio.

VIII Performance

1338. “American Musical Theater Reference Library.” http://www.american musicals.com This Internet directory includes links and contact information for theater professionals arranged by specialty. It focuses on the greater Los Angeles area, but also includes material of interest to those outside the LA area. 1339. Bawtree, Michael. The New Singing Theatre: A Charter for the Music Theatre Movement. New York: Oxford University Press and Bristol: The Bristol Press, 1991. 232 p. ISBN 0-19-385867-3. (OUP) ML1700. B24 1991. A manifesto for music theater, Bawtree divides his discourse into four large areas: (1) “Deﬁnitions, Origins and the Way Things Are,” (2) “Goals and Training,” (3) “Thoughts on the New Singing Theatre,” and (4) “What Is to Be Done?” Bawtree calls singing theater “the art of theatrical presentation in which one or more of the acting performers sing some or all of their role(s)” (p. 11). His deﬁnition includes opera, musicals, and other forms of staged drama with music, and he discusses the Music Theatre Studio Ensemble at Banff in Canada, a program he launched in 1981, as a paradigm for the movement. Bawtree also provides an inventory of requisite skills and knowledge for singer-actors, composers, and writers (pp. 134–46). 1340. Citron, Stephen. The Musical from the Inside Out. Chicago, IL: Ivan R. Dee, 1991. 336 p. ISBN 0-929587-79-0. MT67.C54 1991.

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In his guide to the creation of musicals, Citron deﬁnes various types of musical theater before discussing what it takes to assemble a musical. He lists basic skills for the librettist, lyricist, composer, director, and producer, in addition to providing information on the various components and processes involved in the genesis of a musical. Appendices include sources of support in musical theater development along with other practical material. 1341. Laster, James H. So, You’re the New Musical Director! An Introduction to Conducting a Broadway Musical. Lanham, MD: Scarecrow, 2001. 176 p. ISBN 978-0-8108-4001-0. MT955.L339 S6 2001. This guide offers practical information for new music directors and those new to conducting musicals, from selecting a work and auditions through the ﬁnal performance. 1342. Loney, Glenn (moderator), and David Black, Betty Comden, Adolph Green, Joe Layton, Oliver Smith, Charles Strouse, and Gwen Verdon (panelists). “Putting It All Together: The Synthesis of a Musical as a Work of Art.” In Loney, pp. 337–75. This is a transcript of a panel discussion in which some of the most signiﬁcant creators in the American musical theater offer insights and reminiscences on the origin of ideas for musicals, the collaborative process, producing a show, raising money, compromise, the role of the director, choreographer, or director-choreographer, dance, and design. The overall picture is one of a large-scale collaborative process. 1343. McGlinn, John. “Settling Old Scores.” BBC Music Magazine Special Issue (1999): 60–62. Noted conductor John McGlinn offers insights into performance practice (original orchestrations, rhythm, vocal style) of early twentieth-century musicals. 1344. Sansom, Rockford A. “The Development and Evaluation of a Musical Theatre Master Class Curriculum.” Ph.D. dissertation, Capella University, 2009. 184 p. This phenomenological study addresses the educational experience of musical theater master classes in order to develop a university-based musical theater master class curriculum and assessment processes. 1345. Troop, Meagan. “Developing Artistic Identity in a Post-Secondary Musical Theatre Program.” M.Ed. dissertation, Queen’s University (Canada), 203 p. “Triple threat” program components, the relationship between the studio voice teacher and the student, and a rigorous, professional training program had positive effects on musical theater students’ self-constructions of identity.

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ACTING/SINGING 1346. Allen, Michael. How to Make It in Musicals: The Insider’s Guide to a Career as a Singer-Dancer. With a foreword by Donna McKechnie. New York: Back Stage, 1999. 246 p. ISBN 0-823-08815-4. ML3795. Allen offers vocational guidance for those interested in musical theater. 1347. Alper, Steven M. Next! Auditioning for the Musical Theatre. Portsmouth, NH: Heinemann, 1995. 105 p. ISBN 0-435-08686-3. MT892.A46 1995. Written by an audition accompanist, composer, and musical director, the book covers all aspects of preparing a musical audition. 1348. Balk, H. Wesley. The Complete Singer-Actor: Training for Music Theater. 2nd ed. Minneapolis: University of Minnesota Press, 1985. 251 p. ISBN 0-8166-1417-2. MT955.B213 1986. In his holistic approach to musical theater performance, Balk outlines the form’s implications and requisite skills before offering exercises to develop the practical abilities necessary for success. This volume became the ﬁrst part of a trilogy with entries 1349 and 1350. 1349. Balk, H. Wesley. Performing Power: A New Approach for the Singer-Actor. With a foreword by John M. Ludwig. Minneapolis: University of Minnesota Press, 1985. 375 p. ISBN 0-8166-1366-4. MT955.B216 1986. Balk examines the duality of external performance and internal motivation through a description of various modes that lead to synergy. This book is the second of a trilogy with entries 1348 and 1350. 1350. Balk, H. Wesley. The Radiant Performer: The Spiral Path to Performing Power. With a foreword by Meredith Monk, Andrew Foldi, and Joan Susswein Barber. Minneapolis and Oxford: University of Minnesota Press, 1991. ISBN 0-8166-1867-4. MT956.B34 1991. In the third book of his trilogy (along with entries 1348 and 1349), Balk addresses the performer directly as to the need for a full-spectrum approach to musical theater realization. 1351. Balog, Julie E. “Popular Song and Music Theater: A Guide to Evaluating Music Theater Singing for the Classical Teacher. Journal of Singing—The Ofﬁcial Journal of the National Association of Teachers of Singing 61, no. 4 (Mar–Apr 2005): 401–6. Ideas on how to evaluate good non-classical singing, including aesthetics, styles, and technique, are presented for the classically trained voice teacher. 1352. Bell, Jeffery Eugene. “American Musical Theater Songs in the Undergraduate Vocal Studio: A Survey of Current Practice, Guidelines for

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Repertoire Selection, and Pedagogical Analyses of Selected Songs.” D. A. dissertation, Ball State University, 1996. 172 p. Pedagogical applications of musical theater songs are discussed. 1353. Craig, David. On Performing: A Handbook for Actors, Dancers, Singers on the Musical Stage. With a foreword by Robert Lewis. New York: McGraw-Hill, 1987. 298 p. ISBN 0-07-013341-7. MT956.C7 1987. Craig discusses the performance of songs on stage, especially in musical theater. He includes theoretical abstractions, a short history and chronology, “The Twenty Most Often Asked Questions . . . Answered,” and transcripts of interviews with Robert Preston, Lena Horne, Tony Roberts, Bernadette Peters, Richard Kiley, Nancy Walker, George Hearn, Lee Remick, and Gene Kelly. 1354. Craig, David. On Singing Onstage. Rev. ed. New York: Schirmer, 1978. With an introduction by Lee Grant. New York: Applause, 1990. 209 p. ISBN 1-55783-043-6. MT820.C788 1990. The ﬁrst part of the book addresses the various practical techniques necessary for musical theater, while the second, much briefer, concerns the performance itself. 1355. Craig, David. On Singing Onstage. Produced by Lee productions. New York: Applause, 2002. 6 videocassettes and 64-page study guide. ISBN 1-557-83568-3. Produced by Lee Productions in association with the UCLA School of Theatre and Television, the six videos introduce the world of musical theater as envisioned and taught by Craig. 1356. Craig, David. A Performer Prepares: A Guide to Song Preparation for Actors, Singers and Dancers. New York: Applause, 1993. 311 p. ISBN 1-55783-133-5. MT892.C73 1993. In what constitutes a third volume of a trilogy (along with entries 1354 and 1355), Craig discusses the interpretation and performance of thirteen types of songs: show ballad, narrative show ballad, dramatic show ballad, true blues, pop blues, theater blues, swinging ballad, up-tempo, waltz, patter song, showstopper, catchall, and contemporary. 1357. Deer, Joe and Rocco Dal Vera. Foreword by Lynn Ahrens. Acting in Musical Theatre: A Comprehensive Course. London and New York: Routledge, 2008. 480 p. ISBN 978-0-415-77318-9 (hardback). ISBN 978-0-415-77319-5 (paperback). MT956.D44 2008. Filled with practical information, exercises, and additional resources, this comprehensive and integrative guide to acting, singing, and dancing

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is arranged in six major sections: 1) Fundamentals of Acting in Musical Theatre; 2) Score and Libretto Analysis and Structure; 3) The Journey of a Song; 4) Making It a Performance; 5) Style in Musical Theatre; and 6) The Profession. 1358. DeVenney, David P. The New Broadway Song Companion: An Annotated Guide to Musical Theatre Literature by Voice Type and Song Style, 2nd ed. Lanham, MD: Scarecrow, 2009. ISBN 0-8108-6943-8. ML128.M857 D 48 2009. Designed for the performer, the book is arranged by show, with annotations for each song in the show. Various indices allow access to the material. 1359. Edwin, Robert. “A Broader Broadway.” Journal of Singing—The Ofﬁcial Journal of the National Association of Teachers of Singing 59, no. 5 (May–June 2003): 431–32. Four basic categories of Broadway singing in 2003 are presented: (1) traditional legit, (2) contemporary legit, (3) traditional belt, and (4) contemporary belt. Voice teachers are encouraged to develop these various styles in interested students. 1360. Flom, Jonathan. Get the Callback: The Art of Auditioning for Musical Theatre. Lanham, MD, Toronto, and Plymouth, UK: Scarecrow, 2009. 161 p. ISBN 978-0-8108-6398-9. MT956.F56 2009. Flom offers practical advice on the audition process, including preparation, repertory, the audition itself, callbacks, auditioning for college and university programs, job offers, headshots, resumes, and cover letters. 1361. Hammond, Mary. Thank You That’s All We Need for Today . . . A Practical Guide to Musical Theatre Auditions. London: Edition Peters, 2009. 164 p. ISBN 978-1-84367-030-8. Noted London-based singing teacher and vocal coach Mary Hammond offers practical advice on every aspect of an audition, including repertory, appearance, C.V., photos, and what to expect. The book includes a CD of vocal warm-ups. 1362. Hardesty, Tamara Gavrielle. “Classical Training for Musical Theater Singing: Registration Issues in the Female Voice.” D.M.A. dissertation, University of Connecticut, 2009. 60 p. Hardesty discusses registration issues in the female voice, particularly belting, and analyzes various vocal exercises for their effectiveness. She also addresses the healthy use of head voice, chest voice, and mix and the avoidance of register breaks.

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1363. McWaters, Debra. Musical Theatre Training: The Broadway Theatre Project Handbook. Gainesville: University Press of Florida, 2009. 166 p. ISBN 978-0-8130-3357-0. MT956.M38 2009. The Broadway Theatre Project’s guide for training musical theater performers includes advice of co-founder Ann Reinking and past instructors (including Julie Andrews, Terrence Mann, and Tommy Tune, among others) on topics including dance, voice, acting, the creative process, auditions, stress management, collaboration, and ﬁnances. A history of BTP is included, as are many photographs. 1364. Moore, Tracey. “Teaching the Broadway Singing Style in the Era of American Idol.” Studies in Musical Theatre 1, no. 1 (2007): 85–95. Moore offers practical advice on training young singers who emulate the pop style of American Idol to sing musical theater. 1365. Moore, Tracey, and Allison Bergman. Acting the Song: Performance Skills for the Musical Theatre. New York: Allworth, 2008. 319 p. ISBN 978-1-58115-505-1. MT956.M67 2008. An integrated approach to singing in musicals that addresses topics such as warm-ups, body movement, ﬁnding subtexts, creating characters, interpretation, memorization, risks, and collaboration. The book is divided into three sections: 1) The Elements, 2) The Classroom, and 3) Practical Use. 1366. Napier, Kate. “Integration and Performance: The Usefulness of Books in Musical Theatre Training.” Studies in Musical Theatre 2, no. 3 (2008): 283–93. With the publication of three musical theater training books in 2008 (entries 1357, 1365, and 1374), Napier considers the relationship between book learning and professional training. 1367. Novak, Elaine Adams. Performing in Musicals. New York: Schirmer, 1988. 306 p. ISBN 0-02-871731-7. MT955.N7 1988. Following chapters on various aspects of the history and anatomy of a musical, Novak offers chapters devoted to movement exercises, vocal exercises, acting techniques, preparation of a musical role, behavior at rehearsals and performances, and preparing a musical audition. She includes sixteen scenes from musicals for rehearsal purposes. 1368. Oliver, Donald. How to Audition for the Musical Theatre: A Step-by-Step Guide to Effective Preparation. New York: Drama Book Publishers, 1985. Rev. ed., Lyme, NH: Smith and Kraus, 1995. 141 p. ISBN 1-880399-58-X. MT892.

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Aimed primarily at professional performers, Oliver provides practical information on auditioning for musicals, including a list of overdone songs. 1369. Popeil, Lisa. “Popular Song and Musical Theater: The Multiplicity of Belting.” Journal of Singing—The Ofﬁcial Journal of the National Association of Teachers of Singing 64, no. 1 (Sept.–Oct. 2007): 77–80. Belting is described for classical voice teachers. Listening recommendations are included as are examples of the ﬁve main types of belting: 1) heavy, 2) twangy, 3) nasal, 4) brassy, and 5) speech-like. 1370. Robison, Kevin. The Actor Sings. Portsmouth, NH: Heinemann, 2000. 107 p. ISBN 0-325-00177-4. MT956.R63 2000. The book offers practical advice for actors with little or no singing experience on how to overcome fears and sing successfully on stage. The author provides concrete explanations, exercises, and practical advice. 1371. Scammon, Howard. “Acting Techniques of the Eighteenth Century.” In Loney, pp. 59–65. Several theories of acting were prevalent in eighteenth-century America, including those of James Quin, Aaron Hill, Charles Macklin, David Garrick, the Hallam Company, and David Douglass. 1372. Silver, Fred. Auditioning for the Musical Theatre. New York: Newmarket, 1988. 205 p. ISBN 0-937858-49-8. MT820.S657 1985. The New York vocal coach covers all aspects of the audition process and includes a compendium of audition songs arranged according to role and style: juveniles, romantic leads, character actors and actresses, character actors and actresses 40 and over, belt songs, songs for dancers, and comedy songs. 1373. Symonds, Dominic. “The Corporeality of Musical Expression: ‘The Grain of the Voice’ and the Actor-Musician.” Studies in Musical Theatre 1, no. 2 (2007): 167–81. Corporeality is an essential part of the genotextual potential of performance. 1374. Taylor, Millie. Singing for Musicals: A Practical Guide. Ramsbury, UK: Crowood, 2008. 144 p. ISBN 9-781-86123-993-5. MT 825. Taylor explains good physical and vocal health practices and genreappropriate vocal technique. 1375. Young, Arabella Hong. Singing Professionally: Studying Singing for Actors and Singers. Portsmouth, NH: Heinemann, 1995. 129 p. ISBN 0-435-08677-4. MT820. Drawing upon her own approach, Young provides a concise guide to singing in the musical theater.

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DIRECTING/PRODUCING 1376. Beach, Frank A. Preparation and Presentation of the Operetta. Boston and New York: Oliver Ditson, 1930. 212 p. MT75. This production guide from 1930 gives period information on all aspects of mounting an operetta, from choosing a work, making necessary changes, auditions, the roles of principals and chorus, scenery, costumes, stage effects, etc. It provides great insight into period performance practice. 1377. Boland, Robert, and Paul Argentini. Musicals!: Directing School and Community Theatre. Lanham, MD: Scarecrow, 1997. 202 p. ISBN 0-8108-3323-9. MT955. This practical guide to directing musical theater includes a focus on the preparation of the director’s promptbook. 1378. Engel, Lehman. Getting the Show On: The Complete Guidebook for Producing a Musical in Your Theater. New York: Schirmer, 1983. 226 p. ISBN 0-02-870680-3. MT955.E55 1983. Engel’s how-to book includes descriptions of the various individuals needed to produce a musical and their responsibilities. He includes lists of musicals available for production in 1983, less frequently produced musicals, and published librettos for musicals. 1379. Filichia, Peter. Let’s Put on a Musical!: How to Choose the Right Show for Your Theater. New York: Back Stage Books, 1997. 360 p. ISBN 0-82308817-0. ML955. Filichia groups musicals by practical threads, such as showcases for certain performers, shows for predominantly male or female casts, shows for speciﬁc age groups, and so forth. 1380. Laughlin, Haller, and Randy Wheeler. Producing the Musical: A Guide for School, College, and Community Theatres. Westport, CT, and London: Greenwood, 1984. 151 p. ISBN 0-313-24100-7. MT955.L38 1984. The authors address the practical aspects of musical production, including money, people, scheduling, approach, choosing a show, casting, directing, sets, publicity and rehearsals. The list of musicals according to type (standard, children’s, young persons, and retired persons) includes brief annotations. The section on production sources includes contact information for providers of performance rights, costumes, sets, and the like. 1381. Novak, Elaine A., and Deborah Novak. Staging Musical Theatre. Cincinnati, OH: Betterway, 1996. 186 p. ISBN 1-55870-407-8. MT955.N75. This self-described “complete guide for directors, choreographers, and producers” covers all aspects of musical production, including the roles

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of the various people involved with a musical production. The book covers interpretation, technical elements, managers, auditions, rehearsals and staging. Scenes from Gilbert and Sullivan’s The Pirates of Penzance and The Mikado are included for practice. Appendices list musicals according to category; some sections are annotated. The book includes a classiﬁed bibliography and glossary. 1382. Peithman, Stephen, and Neil Offen, eds. Stage Directions Guide to Musical Theater. Portsmouth, NH: Heinemann, 2002. 154 p. ISBN 0-325-00349-1. MT955.S69 2001. Drawn from Stage Directions magazine, this collection of essays addresses various aspects of musical theater direction and production, focusing on community theater. It offers practical advice on all aspects of the collaborative elements in musical theater: production, direction, performance, musical direction, choreography, and technical support. 1383. Vogel, Frederic B. and Ben Hodges, editors. The Commercial Theater Institute Guide to Producing Plays and Musicals. Forewords by Gerald Schoenfeld and Jed Bernstein. New York: Applause, 2006. 288 p. ISBN 1-55783-652-3. PN2053 .C618 2006. The Commercial Theater Institute sponsors a program for those interested in producing theater, including musical theater. Interviews from thirty theater professionals, many of whom won Tony Awards, are presented on topics including publicity, advertising, the role of a producer, legal aspects, regional theater, and the role of an agent. 1384. White, Matthew. Staging a Musical. New York: Routledge, 1999. 142 p. ISBN 0-8283-0108-9. MT955.W584 S83 1999. White offers advice on all aspects of staging a musical, including stage management, budgets, casting, rehearsals, the ﬁrst night, and licensing. 1385. Young, David. How to Direct a Musical: Broadway—Your Way! New York: Routledge, 1995. 161 p. ISBN 0-87830-052-X. MT955. Young describes the difference between directing a musical and a straight play, emphasizing the issues particular to the musical. He includes speciﬁc material for working with youth, teens, and disabled, challenged, and retired people.

WRITING 1386. Engel, Lehman. Words with Music: The Broadway Musical Libretto. New York: Schirmer, 1972. Paperback ed., New York: Schirmer, 1981. 358 p. ISBN 0-02-870370-7. ML2110.E6 1980.

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Engel discusses the importance of the libretto in a successful musical, citing six needs the book must provide: (1) feeling, (2) subplot, (3) romance, (4) lyrics and particularization, (5) music, and (6) comedy. He addresses other aspects of the libretto, including the art of adaptation, using West Side Story as a case study. 1387. Frankel, Aaron. Writing the Broadway Musical. New York: Drama Book Specialists, 1977. Millennium ed., New York: Da Capo, 2000. 182 p. ISBN 0-306-80943-5. MT67. Frankel details the formation of book, music, and lyrics, making this a practical book for those interested in creating musical theater. 1388. Hammerstein, Oscar, II. “Notes on Lyrics” in Lyrics, pp. 3–48. Milwaukee: Hal Leonard, 1985 (originally published in 1949). ISBN 0-88188-379-4. ML49.H12. In his classic introductory essay to a collection of his own lyrics, Hammerstein offers insight into his craft. He cites the importance of rhyme, phonetics, and semantics in creating a song. He details aspects of the collaborative process and how the librettist was a kind of “stable boy”—seldom mentioned if the show succeeded but blamed if it failed (p. 41). 1389. Oland, Pamela Phillips. The Art of Writing Great Lyrics. New York: Allworth, 2001. 255 p. ISBN 1-58115-093-8. MT67.O4 2001. Oland provides valuable insight into the nature and creation of lyrics as well as on collaboration, rewrites, and the music business. SET DESIGN 1390. Reid, Francis. Designing for the Theatre. London: A & C Black: Theatre Arts Books and London and New York: Theatre Arts Books/Routledge, 1989. 106 p. ISBN 0-87830-045-7. PN2091.S8 R37 1989. This practical guide to set and costume design includes information on such factors as theater design, dramatic style and appropriate visual complements, and costume design. Several photos from opera productions are included, as is a costume design and realization for the Folies-Bergère. 1391. Smith, Ronn. American Set Designs 2. With an introduction by Ming Cho Lee. New York: Theatre Communications Group, 1991. 210 p. ISBN 1-55936-017-8. PN2096.A1S65 1991. The book consists of interviews with various set designers and includes interviews with and photos of the work of Adrianne Lobel (Into the Woods and The Secret Garden), Tony Straiges (Sunday in the Park with George), and Michael Yeargan (The Frogs).

IX Historiography

1392. Jenkins, Jeffrey Eric. “Through a Glass, Nostalgically: The Death and Life of Broadway.”American Literary History 19, no. 1 (2007): 190–210. In his review article of Steven Adler’s On Broadway: Art and Commerce on the Great White Way, Jerome Charyn’s Gangsters and Gold Diggers: Old New York, the Jazz Age, and the Birth of Broadway, Myrna Katz Frommer and Harvey Frommer’s It Happened on Broadway: An Oral History of the Great White Way, Laurence Maslon’s Kaufman & Co.: Broadway Comedies, George S. Kaufman with Edna Ferber, Moss Hart, Ring Lardner and Morrie Ryskind, and Daniel R. Schwarz’s Broadway Boogie Woogie: Damon Runyon and the Making of New York City Culture, Jenkins explores the construction of “Broadway,” including musical theater. 1393. Koger, Alicia Kae. “Trends in Musical Theatre Scholarship: An Essay in Historiography.” New England Theatre Journal 3 (1992): 69–85. The survey of forty years of books written on the American musical examines various methodologies and approaches. Koger identiﬁes two distinct periods of activity: 1950–1961 and 1976–1990. 1394. Kowalke, Kim. Reviews of A Chronology of American Musical Theater by Richard C. Norton, Broadway Musicals, 1943–2004 by John Stewart, Unﬁnished Show Business: Broadway Musicals as Works-in-Progress by Bruce Kirle, Musical Theater and American Culture by David Walsh and Len Platt, Our Musicals, Ourselves: A Social History of the American Musical Theatre by John Bush Jones, The American Music and the Formation of National Identity by Raymond Knapp, The American Musical 276

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and the Performance of Personal Identity by Raymond Knapp, The Musical as Drama: A Study of the Principles and Conventions behind Musical Shows from Kern to Sondheim by Scott McMillin, and The Rise and Fall of the Broadway Musical by Mark N. Grant. Journal of the American Musicological Society 60, no. 3 (fall 2007): 688–714. In his review essay of nine books on the musical theater, Kowalke investigates the substantial shift in the ﬁeld of musical theater scholarship and the various approaches that the study of the musical, which he calls “arguably the most representative and pervasive international musico-dramatic genre of the twentieth century” (691), can embrace. 1395. Reside, Doug. “Byte by Byte, Putting It Together: Electronic Editions and the Study of Musical Theatre.” Studies in Musical Theatre 1, no. 1 (2007): 73–83. Electronic editions of musicals would beneﬁt not only scholars but also those interested in more artistically minded (rather than commercially driven) shows. The author details his experiences in developing an AJAX-based electronic edition of Parade. 1396. Savran, David. “Toward a Historiography of the Popular.” Theatre Survey 45, no. 2 (Nov. 2004): 211–17. Savran focuses on musical theater in his essay that advocates a setting aside of Eurocentrism and cultural elitism in theater studies. He identiﬁes ﬁve issues or questions regarding musical theater studies: 1) interdisciplinarity, 2) genre, 3) “the politics of pleasure,” 4) identity politics, and 5) antitheatricality. 1397. Symonds, Dominic, and George Burrows. “Out of the Underworld.”Studies in Musical Theatre 1, no. 1 (2007): 3–6. In the editorial introduction to the ﬁrst issue ofStudies in Musical Theatre, Symonds and Burrows express their multidisciplinary aims for the journal. 1398. Symonds, Dominic, and Dan Rebellato. “Editorial.” Contemporary Theatre Review 19, no. 1 (2009): 3–7. In the editorial introduction to their special issue dedicated to musical theater, Symonds and Rebellato trace trends in musical theater scholarship in the 1990s and early 2000s, drawing on examples from both musicology and theater history. 1399. Wells, Elizabeth A. Reviews of Jerome Kern by Stephen Banﬁeld, Oklahoma! The Making of an American Musical by Tim Carter, Sigmund Romberg by William A. Everett, and Frank Loesser by Thomas L. Riis. Journal of the American Musicological Society 63, no. 1 (spring 2010): 159–68.

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Wells offers insights into approaches and audiences for musicological-based musical theater scholarship. 1400. Wittke, Paul. “The American Music Theater [The New Grove].” Musical Quarterly 68, no. 2 (April 1982): 274–82. The review of musical theater coverage in The New Grove Dictionary of Music focuses on the musical comedy and popular music articles and biographical articles on seminal musical theater composers. 1401. Wolf, Stacy. “Introduction to Bruce Kirle Memorial Panel Debut Papers in Music-Theatre-Dance.” Studies in Musical Theatre 3, no. 3 (2009): 273–76. Wolf addresses ideas of moving between stage and ﬁlm and ﬂuency in multiple discourses in her introduction to a panel of papers at the 2009 Association for Theatre in Higher Education (ATHE) conference.

X Periodicals

MUSICAL THEATER 1402. Happy Talk: News of the Rodgers & Hammerstein Foundation 1403. Musical Stages (British, also available online at http://www.musicalstages. co.uk) 1404. Musicals: Das Musicalmagazin (German language) 1405. Newsletter of the Stephen Sondheim Society (American) 1406. Show Music: The Musical Theatre Magazine (ceased publication in 2002) 1407. The Sondheim Review (British; see entry 1030 for more details) 1408. Studies in Musical Theatre PERIODICALS THAT INCLUDE ARTICLES ON MUSICAL THEATER 1409. American Music 1410. American Theatre 1411. Broadway Yearbook series Written by Steven Suskin and published by Oxford University Press, the season-by-season volumes offer Suskin’s critical commentary on each Broadway production. Suskin includes a scorecard of reviews (rave, favorable, mixed, unfavorable, pan) for each show. The ﬁrst volume appeared for the 1999–2000 theater season. 279

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1412. Cambridge Opera Journal 1413. Contemporary Theatre Review 1414. In Theater 1415. New Theatre Quarterly 1416. Opera Quarterly 1417. Passing Show: The Newsletter of the Shubert Archive 1418. Playbill (also available online at http://www.playbill.com) 1419. Popular Music and Society 1420. Theatre Journal In addition to articles, the Performance Reviews often include material on musical theater. 1421. Theatre Research International 1422. Theatre Survey 1423. Theatre World 1424. Theatregoer Magazine

XI Sets and series of printed material

The following items are collected sets and series. In addition to what appears below, published vocal scores, vocal selections, and libretti (books) exist for many musicals. 1425. Broadway Musicals Show by Show. Milwaukee: Hal Leonard, 1991. M1507. In seven volumes, though not labeled as a series, these piano-vocal anthologies are based on Stanley Green’s Broadway Musicals Show by Show (entry 60) and include reprints of Green’s remarks followed by a song or songs from selected shows. 1891–1916. 159 p. ISBN 0-7935-0777-4. 1917–29. 176 p. ISBN 0-7935-0778-2. 1930–39. 192 p. ISBN 0-7935-0779-0. 1940–49. 136 p. ISBN 0-7935-0780-4. 1950–59. 191 p. ISBN 0-7935-0781-2. 1960–71. 189 p. ISBN 0-7935-0808-8. 1972–88. 158 p. ISBN 0-7935-0782-0. 1426. Hollywood Musicals Year by Year. Milwaukee: Hal Leonard, 1995. M1507. A parallel series to that for Broadway musicals (entry 1425), these volumes are based on Green’s Hollywood Musicals Show by Show (entry 64) and include reprints of Green’s remarks followed by a song or songs from selected shows. Vol. 1: 1927 to 1939. 168 p. ISBN 0-7935-3206-X. Vol. 2: 1940 to 1948. 152 p. ISBN 0-7935-3207-8. 281

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Vol. 3: 1949 to 1955. 160 p. ISBN 0-7935-3208-6. Vol. 4: 1956 to 1964. 136 p. ISBN 0-7935-3209-4. Vol. 5: 1965 to 1977. 144 p. ISBN 0-7935-3210-8. Vol. 6: 1978 to 1994. 176 p. ISBN 0-7935-4479-3. 1427. Hollywood Musicals Year by Year: 1995–2001. Milwaukee: Hal Leonard, 2001. 200 p. ISBN 0-6340-3169-4. M1507. Continuing where the six-volume series Hollywood Musicals Year by Year (entry 1426) left off, this anthology—a seventh volume—includes twenty-nine songs from screen musicals that appeared between 1995 and 2001. 1428. Root, Deane L., ed. Nineteenth-Century American Musical Theater. 16 vols. New York: Garland. M1503 N622 G36. (WU). This facsimile edition with introductory essays written by leading musicologists provides source material for investigating the diversity of nineteenth-century American musical theater. 1429. Porter, Susan L., ed. British Opera in America: “Children in the Wood” (1795) and “Blue Beard” (1811). Vol. 1 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 220 p. ISBN 0-8153-1365-9. 1430. Kroeger, Karl and Victor Fell Yellin, eds. Early Melodrama in America: “The Voice of Nature” (1803) and “The Aethiop” (1813). Vol. 2 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 272 p. ISBN 0-8153-1374-8. 1431. Graziano, John, ed. Italian Opera in English: “Cinderella” (1831). Vol. 3 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 330 p. ISBN 0-8153-1372-1. 1432. McLucas, Anne Dhu, ed. Later Melodrama in America: “Monte Cristo” (ca. 1883). Vol. 4 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1995. 151 p. ISBN 0-8153-1377-2. 1433. Riis, Thomas, ed. Uncle Tom’s Cabin. Vol. 5 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 101 p. ISBN 0-8153-1366-7. 1434. Orr, N. Lee and Lynn Wood Bertrand, eds. The Collected Works of John Hill Hewitt. Vol. 6 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 296 p. ISBN 0-8153-1370-5. 1435. Meckna, Michael, ed. The Collected Works of Alfred B. Sedgwick. Vol. 7 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 461 p. ISBN 0-8153-1369-1.

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1436. Cockrell, Dale, ed. Pasticcio and Temperance Plays in America: “Il Pesceballo” (1862) and “Ten Nights in a Bar-Room” (1890). Vol. 8 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 181 p. ISBN 0-8153-1380-2. 1437. Southern, Eileen, ed. African American Theater: “Out of Bondage” (1876) and “Peculiar Sam, or The Underground Railroad” (1879). Vol. 9 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 205 p. ISBN 0-8153-1367-5. 1438. Preston, Katherine K., ed. Irish American Theater: “The Mulligan Guard Ball” (1879) and “Reilly and the Four Hundred” (1891). Vol. 10 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 417 p. ISBN 0-8153-1376-4. 1439. Slobin, Mark, ed. Yiddish Theater in America: “David’s Violin” (1897) and “Shloyme Gorgl” (189–). Vol. 11 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 175 p. ISBN 0-8153-1381-0. 1440. Kaufman, Charlotte. Early Operetta in America: “The Doctor of Alcantara” (1879). Vol. 12 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 143 p. ISBN 0-8153-1375-6. 1441. Jackson, Richard, ed. Early Burlesque in America: “Evangeline” (1877). Vol. 13 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 207 p. ISBN 0-8153-1371-3. 1442. Bierley, Paul, ed. Later Operetta in America, Part I: “El Capitan” (1896). Vol. 14 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 305 p. ISBN 0-8153-1378-0. 1443. Krasner, Orly Leah, ed. Later Operetta in America, Part II: “The Highwayman” (1897). Vol. 15 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 327 p. ISBN 0-8153-1379-9. 1444. Kirk, Elise K., ed. Grand Opera in America: “The Scarlet Letter” (1896). Vol. 16 of Nineteenth-Century American Musical Theater, edited by Deane L. Root. New York: Garland, 1994. 355 p. ISBN 0-8153-1373-X. 1445. Walters, Richard, compiler and editor. The Singer’s Musical Theater Anthology. Milwaukee, WI: Hal Leonard, 1987. As of 2010, this multi-volume anthology of musical theater selections includes ﬁve volumes each for soprano, mezzo-soprano/belter, tenor, and baritone/bass. The series also includes two volumes of duets—one for male/female and the other for mixed voices. In the foreword to volume 5, editor Richard Walters articulates his aims for the series: (1) “To provide

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an interesting variety of musical theatre literature for an assortment of tastes and talents”; (2) “To deliberately represent songs from various eras and styles”; (3) “Beyond the most prominent songs, also to present intriguing songs that are not often encountered in other collections, and may not be available elsewhere in print”; (4) “To present the music in a responsible, faithful edition”; (5) “To categorize songs by voice type for practical use”; and (6) “Overall to continue to value musical theatre as a body of vocal literature.” CD piano accompaniments are available for each volume.

XII Discographies

Many older discographies exist for the musical theater; the following have all appeared since 1989. 1446. Gänzl, Kurt. The Blackwell Guide to the Musical Theatre on Record. Oxford, UK and Cambridge, MA: Blackwell, 1990. 547 p. ISBN 0-631-16517-7. ML156.9. A stunning work, Gänzl’s comprehensive discography includes American, German, Austrian, British, and French musicals recorded prior to 1988. Comparisons are given when more than one recording exists of a particular show. Gänzl also gives his recommendations for a core collection of 100 recordings. 1447. Lynch, Richard Chigley, comp. Broadway, Movie, TV, and Studio Cast Musicals on Record: A Discography of Recordings, 1985–1995. Westport, CT, and London: Greenwood, 1996. 255 p. (Discographies, no. 68.) ISBN 0-313-29855-6. ML156.4.M8L96 1996. In addition to the discography proper, the book includes a chronology, a performer index, and a technical index. 1448. Seeley, Robert, and Rex Bunnett. London Musical Shows on Record 1889–1989. Harrow, UK: General Gramophone Publications, 1989. 457 p. ISBN 0-902470-30-2. ML156.4.046. In addition to an alphabetical list of shows (including theater and opening date) with discographical information, the volume contains indices for collections, artists, and songs. A brief Gilbert & Sullivan appendix appears as well. 285

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1449. Walker, Mark, ed. Gramophone Musicals Good CD Guide. Rev. ed., Harrow, UK: Gramophone, 1998. 263 p. ISBN 0-902470-98-1. ML156.4.M8. This well-researched, annotated, and insightful discography of available recordings is especially useful for its comparisons of multiple recordings of the same show. The main part is arranged by composer, followed by sections on collections and singers. The guide includes a list of recording companies and distributions, along with addresses. 1450. Wildbihler, Hubert. Musicals! Musicals! Ein international Führer zu 850 Musicals und 300 Tonträgern. Passau: Musicalarchiv Wildbihler, 1992. 308 p. ISBN 3-928979-10-8. ML156.4.M8. Original cast recordings are featured in this discography, which is arranged by show title and includes an index of people.

XIII Recorded anthologies

1451. American Musical Theater. Smithsonian Collection of Recordings. RD 036. 4 CDs. This anthology of original cast recordings includes works from as early as The Fortune Teller (1898, recorded 1906) toFiddler on the Roof (1964). The accompanying book (entry 110) offers outstanding commentary on the recordings. 1452. Broadway through the Gramophone. Pearl/Pavilion Records. Volume 1. New York in European Footsteps, 1844–1909. GEMS 0082. 2 CDs. Volume 2. Broadway Prior to World War I, 1909–1914. GEMS 0083. 2 CDs. Volume 3. The Musical Stage in the War Years, 1914–1920. GEMS 0084. 2 CDs. Volume 4. From the Great War to the Talkies, 1920–1929. GEMS 0085. 2 CDs. This anthology of early recordings focuses on the shows and scores and is a tremendous resource for period performances. 1453. Music from the New York Stage, 1890–1920. Pearl/Pavilion Records. Volume 1. 1890–1908. GEMM CDS 9050-52. 3 CDs. Volume 2. 1908–1913. GEMM CDS 9053-55. 3 CDs. Volume 3. 1913–1917. GEMM CDS 9056-58. 3 CDs. 287

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Volume 4. 1917–1920. GEMM CDS 9059-61. 3 CDs. This anthology of early recordings stresses the entertainers and is a tremendous resource for hearing the styles of historic performers. 1454. Original Cast! 100 Years of the American Musical Theater. Metropolitan Opera Guild Curtain Up! Overtures of the American Musical Theater. MET 800CD. The Early Years: 1891–1929. MET 801CD. 2 CDs. The Thirties. MET 802CD. 2 CDs. The Forties: Part One. MET 803CD. 2 CDs. The Forties: Part Two. MET 804CD. 2 CDs. The Fifties: Part One. MET 805CD. 2 CDs. The Fifties: Part Two. MET 806CD. 2 CDs. The Sixties: Part One. MET 807CD. 2 CDs. The Sixties: Part Two. MET 808CD. 2 CDs. The Seventies. MET 809CD. 2 CDs. Completing the Century. MET 810CD. 2 CDs. Visitors from Abroad: 1900–94. MET 811CD. 2 CDs. The comprehensive anthology of original cast performances features songs from well-known and less familiar musicals. An illustrated booklet appears with each volume.

XIV Video anthologies

1455. The Best of Broadway Musicals: Original Cast Performances from “The Ed Sullivan Show.” DVD. 56 minutes. Good Times 05-81543 (2003). ISBN 0-7662-1571-7. Many Broadway performers appeared on CBS’s The Ed Sullivan Show. Excerpts from musicals that appeared on the series from 1955 to 1967 are featured on the DVD. 1456. Blue Gobo. www.bluegobo.com This treasure trove of video excerpts from musicals, drawn from television performances (e.g. Tony Awards and talk shows) and elsewhere, is easy to navigate and includes original Broadway and London casts, revivals, and other productions. 1457. Broadway’s Lost Treasures. DVD. 110 minutes. Acorn Media AMP-6706 (2003). ISBN 1-56938-670-6. Broadway’s Lost Treasures II. DVD. 90 minutes. Acorn Media AMP-7303 (2004). ISBN 1-56938-730-3. Broadway’s Lost Treasures III. DVD. 95 minutes. Acorn Media AMP-8008 (2005). ISBN 1-56938-800-8. These three compilations of musical performances from the Tony Awards® were initially shown on PBS and include performances not included on those broadcasts.

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XV Other searchable resources

1458. American Theater Web. http://www.americantheaterweb.com A guide to contemporary theater in America, the database allows users to search by theater or by show. Using the advanced search feature, one can search by author, the ﬁeld for which includes composers. New clippings, reviews, and announcements are also on the website. 1459. Catron, Louis E. Theater Sources Dot Com: A Complete Guide to Online Theatre and Dance Resources. Portsmouth, NH: Heinemann, 2001. 215 p. ISBN 0-325-00382-3. PN2052.C38 2001. The annotated list of theater-related websites includes more than 750 entries on a variety of topics. 1460. Everything I Know I Learned from Musicals. www.everythingmusicals.com Christopher Caggiano, who teaches musical theater history at the Boston Conservatory, writes this theater blog. 1461. FirstOnStage. www.FirstOnStage.com Wayne Hamilton’s site is based on historical ﬁrsts in American musical theater and can be searched by people, groups, and organizations, shows, songs, theaters, and special topics. Results lead the user to prose entries, many with photographs. 1462. Internet Broadway Database. http://www.ibdb.com The searchable database of Broadway, sponsored by the League of American Theatres and Producers, is a valuable tool for obtaining data on runs, performers, production team, and relevant information. 290

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291

1463. Internet Movie Database. http://www.imdb.com A commercial site, this database includes bibliographic information, plot summaries, commentary, and availability of ﬁlms at Amazon.com. 1464. Musical Heaven. http://www.musicalheaven.com This site features synopses of musicals, MIDI ﬁles, and links. 1465. Musical Theater Online. http://mith.umd.edu/mto Based at the Maryland Institute for Technology in the Humanities, this digital archive of texts, images, video, and audio ﬁles includes an everincreasing number of shows, both historical (e.g. The Black Crook) and new (e.g. Glory Days, 2008). 1466. Musicals 101. http://www.musicals101.com This encyclopedic site is ﬁlled with articles, photos, news and reviews, and other resources related to the musical on stage and screen. 1467. New York Times Index. The New York Times is a leading newspaper for musical theater news and reviews, and has a searchable index. 1468. Performing Arts in America, 1875–1923. http://digital.nypl.org/lpa/nypl/ lpa_home4.html The searchable database from the New York Public Library contains about 16,000 items from the library’s archives. 1469. Playbill. http://www.playbill.com The online version of the important theater magazine includes a search engine. 1470. The Playgoer. http://playgoer.blogspot.com Theater critic Garrett Eisler’s blog is ﬁlled with information, reviews, and links to theater-related articles. 1471. SIBMAS, International Association of Libraries and Museums of the Performing Arts. http://www.theatrelibrary.org SIBMAS publishes a directory, available online, of performing arts collections and institutions. 1472. Studwell, William E. “Foreigners and Patriots: The American Musical, 1890–1927—An Essay and Bibliography.” Music Reference Services Quarterly 3, no. 1 (1994): 1–10. Studwell provides an overview and bibliography of musicals by Herbert, Friml, Romberg, and Cohan.

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1473. Studwell, William E. “From the Mountain Top to the Foothills: The American Musical, 1943–1990—An Essay and Bibliography.” Music Reference Services Quarterly 3, no. 3 (1995): 15–28. Studwell provides an overview and bibliography of musicals by Rodgers and Hammerstein, Lerner and Loewe, Loesser, Weill, Bernstein, Styne, Sondheim, and Lloyd Webber through 1990. 1474. Wildbihler, Hubert, and Sonja Völklein. The Musical: An International Annotated Bibliography. Munich: K. G. Saur, 1986. 320 p. ISBN 3-598-10635-1. ML128.M78 W56. This volume, though now dated, provides substantial information on the musical theater, especially in Europe. The 3,629 entries are classiﬁed according to the following categories: general reference works, the stage musical (with subsections by era, among other divisions), the stage musical outside North America, the ﬁlm musical, and people. Very few entries have annotations.

Index The index cites entry numbers, not page numbers. A Abbott, George, 1145, 1168 Abyssinia, 332 Adler, Steven, 93 Adler, Thomas P., 999–1000 Adult musicals, 259 Adventures of Priscilla, Queen of the Desert, The, 447 Aethiop, The, 464–65, 1431 African American musical ﬁlm, 433–34 African American musical theater, 328–42, 1437 Aftab, Kaleem, 452 Ahrens, Lynn, 100, 838, 1357 Aida, 468–69 Ainger, Michael, 1042 Aladdin, 468–69 Albini, Srecko (Felix), 355 Aldrich, Richard Stoddard, 1276 Alessandrini, Gerard, 565 All Points West, 968 Allegro, 1024, 1193 Allen, Michael, 1346 Allen, Ray, 711 Allen, Robert C., 290 Alper, Steven M., 1347 Alpert, Hollis, 94, 712 Altman, Richard, 555 Altman, Rick, 410 American Dance Machine, 1151 American Music, 1409 American Musical Theater (recorded anthology), 1451 American Musical Theater Reference Library, 1338 American Theater Web, 1458 American Theatre, 1410 American Vaudeville Museum, 279

Ames (IA) Community Theater, 591 Amour, 470 Anchors Away, 440 And the World Goes Round, 100 Anderson, Alan, 797 Anderson, Gillian B., 36 Anderson, Kurt, 793 Anderson, Laurie, 1201 Andersson, Benny, 646 Andrews, Julie, 257, 1203–12, 1363 Annes 80, Les, 423 Annie, 151 Annie Get Your Gun, 471–72 Anti-Concert Saloon Bill (1862), 283 Anyone Can Whistle, 202 Anything Goes, 105–06, 154, 473, 1202 Applause, 474 Applebaum, Stanley, 95 Appleton, William W., 973 Ardmore, Jane Kesner, 1230 Argentini, Paul, 1377 Arlen, Harold, 165, 264, 267, 427, 842–45 Armstead-Johnson, Helen, 328 Arnaz, Desi, 1213 Arnold, Elliott, 989 Aronstein, Susan, 670 Asch, Amy, 1105 Aspects of Love, 475 Assassins, 126, 201, 476–82, 1017, 1019 Astaire, Fred, 123, 442, 448, 1214–20 Atkinson, Brooks, 65, 1194 Auditions and auditioning, 1347, 1360–61, 1368, 1372 Auckland Musical Theatre, Inc., 368 Aumack, Sheryl, 37 Australia, 325–53 Australia Council, 352 293

294 “Autumn in New York” (Thumbs Up) Avenue Q, 483–84 Avian, Bob, 528, 1144 Axtell, Katherine Leigh, 748 Aylesworth, Thomas, 411–12 Ayre, Leslie, 1043 B Baber, Katherine, 720 Babes in Arms, 134, 978 Babington, Bruce, 1204 Bach, Bob, 1123 Bach, Steven, 1113 Bacharach, Burt, 840 Bacon, R. W., 280 Balanchine, George, 1152 Balk, H. Wesley, 1348–50 Balog, Julie E., 1351 Banff, AB (Canada), 1339 Barker, Barbara, 1140 Barrowman, Carole E., 1222 Barrowman, John, 1222 Bawtree, Michael, 1339 Bear, William, 1090 Bell, Jeffery Eugene, 1352 Bailey, Peter, 376, 386 Bak, John S., 601 Baker, David J., 656 Baker, Josephine, 422, 1221 Baker, Richard Anthony, 387 Balfe, Michael, 846 Ballad of Little Mikey, The, 202 Banﬁeld, Stephen, 97, 891, 924, 1001–02, 1200 Banker, Ashok, 453 Baral, Robert, 296 Bare, 485 Barnet, Anne Alison, 1170 Barnet, Robert, 1170 Barrett, Mary Ellin, 848 Barrios, Richard, 413 Bart, Lionel, 385, 847 Bartell, Gerald, 98 Baxter, Joan, 38, 99 Beach, Frank, 1376 Beauty and the Beast, 486–88 Beckerman, Michael, 660, 1044 Bedell, Geraldine, 492

Index Beerbohm, Max, 388 Beethoven, 262 Beggs, Anne, 596, 805 Behr, Edward, 662, 664 Belcher, Ernest, 1148 Bell, Marty, 100 Belletto, Steven, 498 Bells Are Ringing, 1091 Benedict, David, 945 Benjamin, Ruth, 39 Bennett, Michael, 1144–45, 1147, 1153 Bennett, Robert Russell, 1134–37 Bentley, Joanne, 1180 Bergan, Ronald, 377 Bergman, Allison, 1365 Bergreen, Laurence, 849 Berkeley, Busby, 422, 448, 1154–55 Berkowitz, Gerald M., 66 Berlin, Irving, 19, 31, 156, 165, 261, 263–64, 267, 427, 841–42, 848–57, 1083 Bernstein, Jed, 1383 Bernstein, Leonard, 101–02, 165, 840, 858–66, 1473 Bertrand, Lynn Wood, 1434 Bessman, Jim, 493 Bicât, Tina, 402 Bierley, Paul, 1442 Big, 489 Bigsby, Christopher, 86 Bikel, Theodore, 1223 Bilbrough, Miro, 675 Billman, Larry, 1215 Billy Elliot The Musical, 490 Binnema, Celeste-Tina Hernandez, 103 Biographical musicals, 148 Birch, Patricia (Pat), 1144, 1146 Black, David, 1342 Black, Don, 1084 Black, Shirley Temple, 1323–27 Blake, Eubie, 867–68 Blanchard, Jayne, 507 Blankenship, Bill, 504 Blitzstein, Marc, 869–70 Block, Geoffrey, 104–07, 316–17, 616, 674, 892, 966–67 Blom, Paul, 364

Index Bloom, Ken, 1–3, 40, 108, 1115 Blossom Time, 262, 993 Blue Beard, 1429 Blue Gobo (website), 1456 Blue Monday, 491 Blumenthal, Ralph, 1331 Blyth, Ann, 1224 Blyton, Carey, 784 Bock, Jerry, 840 “Body and Soul” (Three’s a Crowd), 134 Bogardus, Stephen, 100 Boland, Robert, 1377 Bolcom, William, 868 Bolitho, Hector, 1322 Bollywood, 452–63, 494–95 Bolm, Adolph, 1148 Bolton, Guy, 926, 1085 Bombay Dreams, 492–95 Bonahoe, Edward T., Jr., 779 Bond, Randall Ives, 685, 980 Bondebjerg, Ib, 414 Bordman, Gerald, 56, 297, 304, 318, 925, 1065 Born to Dance, 265 Borroff, Edith, 88, 109 Boston, MA, 80, 1170 Botto, Louis, 67 Boublil, Alain, 325 Bounce, 737 Bourne, Stephen, 1336–37 Bowbeer, Anne Aull, 1316 Bowers, Dwight Blocker, 110, 150 Bowles, Stephen E., 415 Boys from Syracuse, The, 236, 966, 978 Brackett, David, 416 Bradley, Edwin M., 41 Bradley, Ian 111, 1044 Braham, David, 871 Brantley, Ben, 68, 476 Brater, Jessica, 757 Bratton, J. S., 389 Bredschneyder, Fred, 365 Breglio, John, 528 Brengel, Linda K., 499 Breon, Robin, 749 Brice, Fanny, 1225–27 Brigadoon, 496, 509

295 Brightman, Sarah, 311 Bristow, Eugene K., 537 Britton, Andrew, 651 Broadbent, R. J., 403 Broadway Musicals Show by Show, 1425 Broadway Theatre Project, 1363 Broadway through the Gramophone (recorded anthology), 1452 Broadway Yearbook series, 1411 Broadway’s Lost Treasures, 1457 Brockett, Oscar G., 69 Broderick, Richard, 614 Brooks, Mel, 721 Brooks, William, 113, 710 Brougham, John, 1086 Brown, Benedict Joseph, 931 Brown, Gene, 57 Brown, Jared, 1306 Brown, Jason Robert, 838 Brown, Nacio Herb, 427 Bruce, Frank, 390 Bryan, George B., 1297 Bryant, Lei Ouyang, 808 Bryer, Jackson R., 838 Brynner, Rock, 1228 Brynner, Yul, 1228 Bubbeo, Daniel, 1274, 1281 Buchler, Michael, 940 Buffy the Vampire Slayer, 437 Bunnett, Rexton S., 4, 1448 Burdick, Loraine, 1324 Burlesque, 281, 290, 1086, 1441 Burn This, 154 Burrows, George, 1397 Burston, Jonathan, 323 Burton, Humphrey, 858 Busby, Roy, 391 Bushard, Anthony, 810 Business and economic aspects of musicals, 228, 258, 260, 635 Bussey, William M., 370 Burton, Jack, 63 “But Beautiful” (Road to Rio), 265 Butler, J. Kevin, 537 Butler, Michael, 581 Butler, Robert, 473 By Jeeves, 497

296 C Cabaret, 201, 415, 498–503, 922 Caffe Cino, 83 Cage aux Folles, La, 504–06 Caggiano, Christopher, 1460 Cahn, Sammy, 840, 842 Calderazzo, Diana, 477 Caldwell, Anne, 1082, 1087–88 Cambridge Companion to the Musical, 129–130 Cambridge History of American Theatre, The, 86 Cambridge Opera Journal, 1412 Camelot, 200, 247, 507–09 Camner, James, 95 Canada, 354, 1339 Canby, Vincent, 471, 623 Candide, 510–13 Cantor, Eddie, 1129–33 Capeman, The, 514 Carefree, 265 Carmen Jones, 515–16 Carmichael, Hoagy, 165, 264, 427 Carmichael, Jessica Hope, 648 Carnovale, Norbert, 893 Carousel, 105–06, 201, 247, 517, 968, 1193 Carr, Paul, 1066 Carringer, Robert L., 609 Carter, Marva Grifﬁn, 875–76 Carter, Tim, 686–87 Case, Claudia Wilsch, 688 Castanza, Philip, 1245 Catron, Louis E., 1459 Cats, 100, 326–27, 518–21 Cavenaugh, Jennifer Jones, 1138 Chadman, Christopher, 1144 Champion, Gower, 1145, 1147, 1171 “Change Partners” (Carefree), 265 Channing, Carol, 1202, 1234 Chantasingh, Chalermsri Thuriyanonda, 617 Chapin, Theodore S., 561 Chaplin, Saul, 842, 872 Charlot, Andre, 1172 Charnin, Martin, 1167 Charyn, Jerome, 70 Chero, Joni Mays, 114

Index Cheshire, David F. (D. F.), 392, 400 Chevalier, Maurice, 1235–37 Chhabra, Aseem, 454 Chicago, 200, 522–27, 922 Children in the Wood, 1429 Children of Dreams, 994 Chinese-language musical theater, 171 Chitty Chitty Bang Bang, 1242 Choi, Jaehee, 263 Choreography and choreographers, 680, 1140–64 Chorus boys, 180 Chorus Line, A, 247, 528–32, 1145, 1153, 1202 Christman, Paul, 699 Chute, David, 455 Cilento, Wayne, 1144 Cincotta, Vincent J., 371 Cinderella (1831), 1431 Cinderella (Rodgers and Hammerstein), 533, 966 Cino, Joseph, 83 Citron, Stephen, 877, 918, 932, 1106, 1340 City of Angels, 100 Civil War, The, 534 Clark, John R., 115 Clark, Randy, 500 Clark, Walter Aaron, 1304 Clarke, Gerald, 1255 Clayton, Jan, 979 Cleaver, Hannah, 724 Cleveland, OH, 77, 84, 252 Cliffe, Peter, 116 Clum, John M., 117 Cockney images in music hall, 399 Cockrell, Dale, 118, 268, 1436 Cocuzza, Ginnine, 572 Coelho, Jose Igiero, 1305 Cohan, George M., 873–74, 1472 Cohan, Steven, 417, 841 Cohen-Stratyner, Barbara, 119, 837 Cole, Christine A., 603 Cole, Jack, 1156 Cole, Stephen, 878 Coleman, Bud, 120, 615, 1165 Colerick, George, 121 Color Purple, The, 535

Index Comden, Betty, 165, 838–40, 842, 1089–92, 1342 “Come Rain and Come Shine” (St. Louis Woman), 265 Comer, Irene Forsyth, 639 Commercial Theater Institute, 1383 Company, 201, 537–38 Compton, Margaret, 972 Condon, Bill, 523 Connecticut Yankee [in King Arthur’s Court], A, 539, 966, 978 Considine, Shaun, 1319 Contemporary Theatre Review, 1413 Contrad, Christine, 1161 Cook, Susan C., 689 Cook, Will Marion, 875–76 Cooke, Mervyn, 418 Cop Rock, 540 Corey, Melinda, 35 Corliss, Richard, 706 Costonis, Maureen Needham, 1141 Costumes, 300 Cote, David, 820 Cotton Club Parade, 134, 265 Covach, John, 796 Coveney, Michael, 669, 933 Coward, Noel (Noël), 385, 877–85, 1093 Cox, Felix, 968 Cradle Will Rock, 542 Cradle Will Rock, The, 105–06, 202, 541 Crabree, Lotta, 639 Craig, David, 640, 1353–56 Craig, Milton, 100 Crawford, Cheryl, 1173–75 Crawford, Michael, 544–45 Crawford, Travis, 455 Craymer, Judy, 646 Crazy for You, 100 Crews, Ruth, 372 Cripps, Thomas, 571 Crist, Elizabeth, 510–11 Cristofori, Marilyn, 1160 Crittenden, Camille, 305 Croatia, 355–57 Croce, Arlene, 1219 Cronin, Mari, 654 Crosby, Bing, 1238–40 Crump, Jeremy, 386

297 Cryer, Gretchen, 232, 840 Csáky, Moritz, 306 Cuba, 346 Culhane, John, 468 Cullen, Frank, 281 Cumming, Alan, 502 Cunningham, George P., 711 Curtis, james, 1252 Cushman, Robert, 122, 969 D Dabholkar, Pratibha A., 760 Dace, Tish, 1199 Dal Vera, Rocco, 1357 Dalrymple, Jean, 1165 Damase, Jacques, 358 Dames at Sea, 83 Damn Yankees, 543 Dance, 119, 329,333, 442, 1140–42 See Choreography Dance of the Vampires, 363, 544–45 D’Andre, David Mark, 1193 Dangerous Games, 100 Daniele, Graciela, 100, 1144, 1146, 1167 Danielle, Marlene, 100 David, Hal, 840 David’s Violin, 1439 Davis, Andrew, 713 Davis, Christopher, 742 Davis, Richard, 372 Davis, Ronald L., 1289 Davis, Lee, 298, 926 Davison, Richard A., 838 Day, Barry, 880, 884, 1093, 1130–31 De Geire, Carol, 996 De Koven, Anna, 886 De Koven, Reginald, 886–87 De Mille, Agnes, 1142, 1145, 1147, 1157 Dearest Enemy, 978 Debbie Does Dallas, 546 Decker, Todd R., 123, 750 Deer, Harriett, 124 Deer, Irving, 124 Deer, Joe, 1357 Del Deo, Adam, 528

298 Del Vecchio, Jessica, 757 Deleyto, Celestino, 618 Denman, Jeffry, 518, 722 Denmark, 414 Depardieu, Benoît, 515 Desi, Thomas, 230 Design and designers, 25–27, 1199 DeVenney, David P., 1358 Diaz de Chumaceiro, Cora L., 990 Dickinson, Peter, 947 Diehl, Crandall, 680 Dienstfrey, Sherri Robin, 1298 Dietrich, Marlene, 1241 Dietz, Howard, 165, 1094 Dircks, Phyllis T., 125 Directing and directors, 188, 1376–85 Discographies, 398, 1446–50 Disney, 45, 438, 466–69, 486–88, 648–49, 1176 Dizikes, John, 89 Doctor of Alcantara, The, 1440 Dodd, Philip, 646 Donaldson, Walter, 264 Donen, Stanley, 440 Donnelly, Dorothy, 993, 1082, 1087–88, 1095 Donovan, Jason, 1242 Donovan, Timothy P., 472 Douglass, David, 1371 Dr. Horrible’s Sing-Along Blog, 547 Dresser, Paul, 841 Drew, David, 1048 Drinkrow, John, 6, 307 Driscoll, F. Paul, 1282–83 Drone, Jeanette Marie, 7–8 Drukman, Steven, 806 Drunkard, The, 292 Dudrah, Rajinder Kumar, 456 Dufresne, Claude, 359 Duke, Vernon, 264, 267 Dunham, Katherine, 1143 Dunn, Don, 684 Dunne, Irene, 1243 Dunne, Michael, 419 Duteurtre, Benoît, 360 Dyer, Richard, 762, 792, 1294 Dölvers, Horst, 1044

Index E Earl, John, 386 Easter Parade, 265 Eaton, Charles, 1335 Eaton, Joseph, 1335 Ebb, John, 165, 502, 838, 840, 921–22 Economics, See Business and economic aspects of musicals Ed Sullivan Show, The, 1455 Eddy, Nelson, 1244–46, 1283, 1287 Eden, David, 1044 Edler, Horst, 1053 Edney, Kathryn A., 126 Edwards, Amber, 919 Edwards, Anne, 1256, 1320, 1325 Edwards, Kim, 587 Edwin, Robert, 730, 1359 EFX, 548 Eggerth, Marta, 1247 Eisler, Garrett, 606, 1470 El Capitan, 549, 1442 Electronic editions, 1395 Eliot, Marc, 71 Ellington, Edward “Duke,” 165, 264, 888 Elliott, Celeste Keppler, 1248 Ellis, George, 958 Ellis, Mary, 1202, 1249 Ellis, Sarah T., 763 Elson, Gail, 1003 “Embraceable You” (Girl Crazy), 265 Emery, Lynne, 329 Emmett, Dan, 271 Emmett, Linda, 1083 Engel, Lehman, 127–28, 1077, 1378, 1386 Engle, Shirley Darlene, 1132 Epstein, Milton 58 Evangeline, 1441 Evans, Philip R., 1271 Evans, Rachel, 636 Everett, William A., 9, 129–30, 225, 308, 324–25, 355, 508, 512, 539, 663, 726, 741, 766, 778, 794, 890, 991–93 Every Good Boy Deserves Favour, 550 Everything I Know I Learned from Musicals (blog), 1460 Evita, 247, 551–52, 938 Ewen, David, 10–11

Index Ewing, Marilyn M., 759 Extravaganza, 369 Eyen, Tom, 840 Eyre, Richard, 72 F Faggot, The, 259 Faith, William Robert, 1265 Falsettoland, 553 Falsettos, 100, 553 Fantasticks, The, 160, 554 Farber, Donald C., 554 Farkas, Andrew, 1329 Farmer, Brett, 1205 Farneth, David, 1049 Farnsworth, Marjorie, 833 “Fascinating Rhythm” (Lady, Be Good!), 265 Fauser, Annegret, 516 Feder-Kane, Abigail Miriam, 131 Fehl, Fred, 73 Feinstein, Michael, 1250 Ferencz, George J., 1134–35 Feuer, Cy, 1177 Feuer, Jane, 421 Fiddler on the Roof, 152, 247, 555–57 Field, Ron, 1144 Fields, Armond, 1178 Fields, Dorothy, 165, 839, 842, 995, 1082, 1096–97 Fields, Gracie, 1251 Fields, L. Marc, 1178 Fields, Lew, 1178–79 Fields, W. C., 1252–53 Filichia, Peter, 1379 Filmer, Paul, 690 Finch, Christopher, 1257 Fine and Dandy, 265 “Fine and Dandy” (Fine and Dandy), 265 Fink, Robert, 661 Finke, Laurie A., 670 Finn, William, 188, 840, 889 Finnish-language musical theater, 171 Fischer, Lucy, 422–23 Fisher, James, 562, 1231–32, 1268 Fiss, Laura Kasson, 1044 Fitzgerald, Jason, 575 Five Guys Named Moe, 100

299 Flaherty, Stephen, 100, 838 Flanagan, Hallie, 1180–81 Flatt, Ernest, 1144 Fleischer, Leonard, 698 Flinn, Caryl, 1299 Flinn, Denny Martin, 132–33, 529 Fliotsos, Anne, 1166 Flom, Jonathan, 1360 Flower Drum Song, 126, 558–60, 984 Floyd Collins, 202 Follies, 561–64, 1025 Follow the Fleet, 265 Footlight Parade, 422 Foradori, Anne Bill, 729 Forbidden Broadway, 565 Ford, Nancy, 232 Fordin, Hugh, 1107 Forte, Allen, 264–65, 956 42nd Street, 566 Fosse, Bob, 448, 1145, 1147, 1158–59 Foster, Stephen, 841 Fowler, Karin G., 1254 France, 358–62 Franceschina, John, 871, 888, 1128 Frank, Gerold, 1258 Frankel, Aaron, 1387 Frantz, Don, 486 Fraser, Barbara Means, 1004, 1175, 1181 Freedland, Michael, 927, 1237, 1269 Freedman, David, 1230 Freedman, Samuel G., 1005 French-language musical theater, 171, 233, 358–62 Frick, John W., 74 Fricke, John, 825 Friedman, Andrew, 757 Friedwald, Will, 134 Friml, Rudolf, 890, 1472 Frogs, The, 1391 Frommer, Harvey, 135 Frommer, Myrna Katz, 135 Frow, Gerald, 404 Fulk, Mark K., 478 Fuller, Larry, 1144 Fullerton, James Graeme, 785 Fumento, Rocco, 566 Funderburg, Lise, 535

300 Funny Face, 265 Funny Girl, 1225 Funny Thing Happened on the Way to the Forum, A, 567, 1019 Furia, Philip, 136, 424, 850, 1078, 1098, 1124, 1317 G Galás, Diamanda, 1201 Gallafent, Edward, 1220 Gans, Andrew, 1309 Garber, Michael G., 139–40 Gardner, Ava, 1254 Gardner, Elysa, 544 Gardner, Gerald, 913 Garebian, Keith, 501, 573, 576, 681, 811 Gari, Brian, 1230 Garland, Judy, 1255–59 Garland, Patrick, 1263 Garrett, Betty, 1260 Garrick, David, 1371 Garrick Gaieties, 265 Gartner, Zsuzsi, 612 Gay Divorce, The, 134, 965 Gay Divorcee, The, 134 Gebb, Paul, 1006 Gender, 259, 389, 442, 444 Gentry, Anna Wheeler, 1108, 1143 George, Alan, 531 Georgia Minstrels, 276 German-language musical theater, 171, 233, 363, 430 Germany, 363, 430 Gershwin, George, 19, 156, 165, 261, 263–64, 267, 427, 491, 841, 891–908 Gershwin, Ira, 19, 261, 842, 906–08, 1098–1101 Giddins, Gary, 1238 Giel, Kate, 731 Gilbert, Stephen, 894–95 Gilbert, William Schwenck [W. S.], 1042–46, 1102 Gill, William B., 1103 Gillingham, Karen, 627 Gilvey, John Anthony, 1171 Girl Crazy, 134, 265 Girl of the Golden West, The, 994 Glassmeyer, Danielle S., 619

Index Glöckner von Notre Dame, Der, 363 Godspell, 201, 247, 568, 996–97 Gold Diggers of 1933, 422, 569 Goldberg, Isaac, 896 Golden, Eve, 1264 Goldensohn, Lorrie, 1216 Goldfaden Abraham, 349 Goldman, Herbert G., 1225, 1270 Goldstein, Malcolm, 75, 1116 Goldstein, Richard M., 981 Goldwyn Follies, The, 1152 Goodhart, Sandor, 702, 1007–08 Gorbman, Claudia, 425 Gordon, Bruce, 998 Gordon, Eric A., 869 Gordon, Joanne, 1009–11 Gordon, Ricky Ian, 909 Gottfried, Martin, 141–42, 1012, 1158, 1275 Gottlieb, Jack, 143 Gottlieb, Robert, 1079 Gould, Neil, 914 Gould, Norma, 1148 Gracewood, Jolisa Margaret, 767 Grafton, David, 957 Grand Hotel, 100 Grant, Mark N., 144 Grant, Micki, 840 Gray, Kevin, 100 Grayson, Kathryn, 1224, 1261 Graziano, John, 330–32, 1272 Grease, 570 Great Waltz, The, 262 Green, Adolph, 165, 838, 840, 1090–92, 1342 Green, Jerry, 1183 Green, Jesse, 804, 910, 1295, 1310 Green, John, 264 Green, Kay, 60 Green, Martyn, 1043 Green Pastures, The, 571 Green, Stanley, 13, 42, 60, 64, 145–46, 299, 691, 982, 1425 Greenberg, Rodney, 897 Greenspan, Charlotte, 736, 1096 Greenwich Follies of 1919, The, 572 Gregory, Cynthia, 1157 Grifﬁth, Melanie, 522

Index Grimsted, David, 291 Grody, Svetlana McLee, 1144 Gross, Ken, 1177 Grossman, Barbara W., 1226 Grubb, Kevin Boyd, 1159 Gruen, John, 1206 Grunwald, Alfred, 1104 Grunwald, Henry A., 1104 Guettel, Adam, 188, 910–12 Guys and Dolls, 100, 105–06, 573–74 Gypsy, 201, 575–77 Gänzl, Kurt, 12, 59, 137–38, 378, 475, 1103, 1328, 1446 H Hackman, Florence, 281 Hair, 201, 578–81 Hairspray, 126, 582–84 Hajdu, David, 659 Hall, Carol, 840 Hallam Company, 1371 Hamilton, Wayne, 1461 Hamlisch, Marvin, 528, 840, 913 Hamm, Charles, 147, 714, 851 Hammerstein, Oscar I, 1182 Hammerstein, Oscar II, 31, 165, 261, 842, 967, 975, 980–88, 1024, 1105–07, 1388, 1473 Hammond, Mary, 1361 Hammontree, Patsy Guy, 1326 Hand, Richard J., 1066 Handy, W. C., 841 Hanna Theatre (Cleveland, OH), 84 Hanon, Stephen Mo, 519 Hanson, John, 1262 Hanson, Laura, 1013–15 Happy Talk, 1402 Harburg, E. Y. “Yip,” 165, 842, 1108–10 Harburg, Ernest [Ernie], 228, 1110 Harcourt, Peter, 367 Hardesty, Tamara Gavrielle, 1362 Harding, J., 949 Harding, James, 361 Hardy, Camille, 802 Harlem Renaissance, 330 Harlem Song, 585–86 Harmetz, Aljean, 826 Harnick, Sheldon, 838, 840, 1189

301 Harris, Paul, 405 Harrison, John, 703 Harrison, Rex, 1263 Harsh, Edward, 774 Hart, Lorenz, 19, 31, 165, 841–42, 966–67, 975, 979, 1111–12 Hart, Moss, 1113–14 Hart, N., 505 Hart, Norman Phillip, 148 Harty, Kevin J., 671 Harvey, Anne-Charlotte Hanes, 149 Harvill, William, 633 Hasbany, Richard, 426 Hass, Richard W., 852 Hawkins, Roy Benton, 1136 He Came from Milwaukee, 139 Hearn, George, 1353 Heavenly Music, 262 Hebrew Publishing Company, 348 Hedwig and the Angry Inch, 447 Heinze, Roxane, 598 Helburn, Theresa, 1165 Held, Anna, 1143, 1264 Held, Wolfgang, 580 Hello, Dolly!, 1202 Hellow, Brian, 1224 Hemming, Roy, 427 Henderson, Amy, 150 Henderson, NV, 588 Henry, William A., 751, 782 Herbert, Trevor, 1016 Herbert, Victor, 914–17, 1472 Herget, Bob, 1144 Herman, Jerry, 165, 840, 918–20, 1115 Heskes, Irene, 348–49 Hess, Carol A., 549 Hess, Earl J., 760 Hewitt, John Hill, 1434 High School Musical, 587–92 Higham, Charles, 1196 Highwayman, The, 1443 Hildy, Franklin J., 69 Hill, Aaron, 1371 Hill, Constance Valis, 1156 Hill, Errol, 1267 Hillman, Jessica, 151, 556 Hillman-McCord, Jessica, 152 Hip-hop musicals, 195

302 Hirsch, Foster, 1050, 1187, 1190 Hirsch, John E., 300 Hirschhorn, Joel, 840 Hirst, David, 152 His Dark Materials, 593 Hischak, Thomas S., 14–16, 43–45, 428, 1080–81 Hitchcock, H. Wiley, 602 Hodges, Ben, 1383 Holiday Inn, 429, 594 Holm, Hanya, 680, 1143, 1160 Holmstrom, Bethany, 757 Home, images of in musicals, 155 Homosexuality and the musical, 83, 98, 117, 180, 254, 257, 259, 447, 1205, 1292 Hood, Woodrow, 1201 Hope, Bob, 1265–66 Horn, Barbara Lee, 578 Horn, David, 715 Hornby, Richard, 154 Horne, Lena, 1353 Horowitz, Mark Eden, 1017 Horton, Lester, 1148 Hove, Arthur, 569 “How Little We Know” (To Have and Have Not), 265 “How Long Has This Been Going On?” (Funny Face, Rosalie), 265 How to Succeed in Business without Really Trying, 201, 595 Howard, Angela, 478 Howard, Jean 958 Huffman, James R., 613 Hughes, Gervase, 309, 1039 Hughes, Maureen, 17 Hulme, David Russell, 1044 Hurwitz, Nathaniel, 155 Hwang, David Henry, 558 Hyers, Anna Madah, 1267 Hyers, Emma Louise, 1267 Hyland, William G., 156, 898, 970 Höher, Dagmar, 386 I “I Didn’t Know What Time It Was” (Too Many Girls), 265 “I Got Rhythm” (Girl Crazy), 134

Index “I Guess I’ll Have to Change My Plan” (The Little Show), 265 I Was an Adventuress, 1152 Iceland, 265 I’d Rather Be Right, 606 Illyria, 596 Ilson, Carol, 1189 In Dahomey, 332, 597 In the Heights, 598–600 In Theater, 1414 India, 590 See Bollywood Indian Princess, The, 601–02 Indiana Historical Society, 959 Ingraham, Mary I., 354 Internet Broadway Database, 1462 Internet Movie Database, 1463 Inverne, James, 1084 Isenberg, Barbara, 489 Italian-language musical theater, 171 Into the Woods, 154, 201, 603–05, 1017, 1019, 1391 Ito, Michio, 1148 “I’ve Got the World on a String” (Cotton Club Parade), 265 “I’ve Got You under My Skin” (Born to Dance), 265 J Jablonski, Edward, 843–44, 853, 899–900, 906, 1100, 1119 Jackson, Arthur, 50, 157 Jackson, Richard, 1441 Jackson-Tretchikoff, Julie, 368 Jacobs, Arthur, 1040 Jacques Brel is Alive and Well and Living in Paris, 202 Jamaica, 607 James, Caryn, 610 Jane Eyre, 608 Jarvis, Martin, 497 Jay, Dave, 854 Jazz Singer, The, 443, 609 Jelly’s Last Jam, 100, 126 Jenkins, Jeffrey Eric, 1392 Jenkins, Jennifer R., 429 Jenness, David, 158 Jerome Robbins’ Broadway, 183

Index Jerry Springer—The Opera, 610–11 Jesus Christ Superstar, 201, 247, 326–27, 612–14 Jeter, Geri, 588 Jewel Box Revue, The, 615 Jewish identity and the musical, 143, 152, 216–17, 261, 556–57, 694–95, 1057 See Yiddish musical theater Joe’s Garage Acts I, II and III, 1066 John, Elton, 466–67 Johnson, Catherine, 647 Johnson, John, 960 Johnson, John Andrew, 491 Johnson, Stephen Burge, 76 Jolson, Al, 1268–71 Jones, John Bush, 159 Jones, Matilda Sissieretta, 1272 Jones, Tom, 160, 554 Joseph and the Amazing Technicolor Dreamcoat, 1242 Joshi, Lalit Mohan, 457 Jowitt, Deborah, 1163 Jubin, Olaf, 430 Juchem, Elmar, 1049 Jumbo, 317, 616 K Kabilo, Alﬁjo, 357 Kabir, Nasreen Munni, 455 Kahn, Gus, 841 Kaiser, Michael M., 1018 Kalinak, Kathryn, 1221 Kalmar, Bert, 842 Kander, John, 165, 502, 838, 840, 921–22 Kansas City, MO, 249, 485 Kantor, Michael, 161 Kapilow, Rob, 641 Kasha, Al, 840 Katkov, Norman, 1227 Katvan, Rivka, 502 Kaufman, Charlotte, 1440 Kaufman, George S., 1116–17 Kaufman, Gerald, 652 Kaufman, Mervyn, 555 Kaur, Ravinder, 458 Kaye, Joseph, 915 Keegan, Rebecca Winters, 431

303 Keel, Howard, 1273 Keeler, Ruby, 1155, 1274 Keller, James, 162 Keller, Kate Van Winkle, 163 Kelley, Edgar Stillman, 923 Kellow, Brian, 432, 909, 1247, 1296 Kelly, Gene, 448, 1353 Kennedy Center, 1015, 1018, 1027 Kennedy, Kathleen, 77 Kennedy, Michael Patrick, 4, 18 Kenrick, John, 164 Kern, Jerome, 31, 156, 165, 261, 263–64, 267, 427, 841–42, 924–29 Kerr, Deborah, 618 Keyser, Herbert, 165 Kicks: The Showgirl Musical, 1187 Kift, Dagmar, 393 Kiley, Richard, 1353 Kilroy, David Michael, 1051 Kimball, Robert, 19, 868, 959, 961, 1079, 1083, 1101, 1122, 1126 Kimbrough, Mary, 166 Kiner, Larry F., 1271 King and I, The, 200, 617–22, 984 King of Jazz, 139 Kirk, Elise K., 90, 1444 Kirle, Bruce, 167, 692 Kislan, Richard, 168 Kiss Me, Kate, 105–06, 236, 247, 623–26 Kiss of the Spider Woman, 922 Kivesto, Lois, 567 Klein, Christina, 559, 620–21, 768 Knapp, Raymond, 169–70, 1044 Knapp, Margaret M., 301, 809 Knapp, Shoshana Milgram, 704 Knight, Arthur, 433–34 Kobal, John, 435 Koegel, John, 163, 171, 955, 994 Koenig, Brian, 1300 Koger, Alicia Kae, 1393 Kohn, Martin F., 172 Konas, Gary, 705, 839 Koseluk, Gregory, 1233 Kosloff, Theodore, 1148 Kowalke, Kim, 631, 774, 1052–53, 1060, 1394 Krasker, Tommy, 19

304 Krasner, Orly Leah, 173, 657, 738, 887, 1443 Kreuger, Miles, 436, 752 Krieger, Henry, 840 Kroeger, Karl, 1430 Kroll, Jack, 665 Kuchwara, Michael, 522 Kunze, Michael, 233 Kurtti, Jeff, 998 Kuykendall, James Brooks, 1044 L LaChiusa, Michael John, 174–75, 930 Lady, Be Good!, 265, 908 Lady Di—Diana: A Smile Enchants the World, 627 Lady in the Dark, 105–06, 628–31 Lahr, John, 632, 845, 855, 962, 1109 Laine, Eero, 757 Laird, Paul R., 9, 129–30, 176, 821, 859–60, 1145 Lamb, Andrew, 59, 177–78, 928, 1038 Lambert, Josephine Gay, 1019 Landau, Diana, 582 Landy, Marcia, 1251 Lane, Burton, 264, 267, 838 Langner, Lawrence, 1194 Lansbury, Angela, 1202, 1275 Lapine, James, 188, 1167 Larkin, Colin, 20–21, 46 Las Vegas, NV, 548 Lassell, Michael, 466, 638, 649, 795 Lasser, Michael, 136, 1197 Laster, James H., 1341 Latino/a musical theatre and characters, 514, 530 Laufe, Abe, 179 Laughlin, Haller, 1380 Laurents, Arthur, 838, 1118, 1167, 1183–84 Lawrence, David Haldane, 180 Lawrence, Gertrude, 1276–78 Lawrence, Greg, 921, 1162 Lawson-Peebles, Robert, 181–82, 624 Laye, Evelyn, 1279 Layton, Joe, 1144, 1342 Lecomte, Jean-Marie, 474

Index Lee, Baayork, 528, 532 Lee, Joanna, 631, 774 Lees, Gene, 946 Legrand, Michel, 470 Legs Diamond, 183 Lehac, Ned, 758 Leiby, Bruce R., 1273, 1288 Leigh, Carolyn, 839 Leigh, Mike, 1044 Leithauser, Brad, 595, 1020 Lenya, Lotte, 1060, 1280 Leon, Ruth, 963, 1185 Lerner, Alan Jay, 165, 184, 840, 945–46, 1106, 1119–21, 1473 Leslie, Cole, 881 Leslie, Joan, 1281 Let My People Come, 259 “Let Yourself Go” (Follow the Fleet), 265 Leve, James, 922 Leveaux, David, 188, 556 Levich, Jacob, 455 Levine, Lawrence W., 185 Levit, Donald, 757 Lewine, Richard, 22 Lewis, Anne, 753 Lewis, David H., 186 Libretto, 1386–87 Lifton, Robert Jay, 479 Light in the Piazza, The, 632 Li’l Abner, 633 Lion King, The, 634–35 Lion, Margo, 100, 188 Lister, Dorothy Daniels, 1144 Liston, Lyn, 911 Little House on the Prairie, The Musical, 636 Little Johnny Jones, 637 Little Mermaid, the, 638 Little Nell and the Marchioness, 639 Little Night Music, A, 640–43 Little Show, The, 265 Litton, Glenn, 240 Lloyd, Frederic, 1045 Lloyd Webber, Andrew, 106, 165, 325, 327, 492–95, 520, 551, 931–39, 983, 1127, 1188, 1308, 1473 Lobel, Adrianne, 1391 Lodge, Mary Jo, 437, 550, 1146

Index Loesser, Frank, 165, 427, 842, 940–44, 1122, 1473 Loesser, Susan, 941 Loewe, Frederick, 945–46, 1473 Londré, Felicia Hardison, 78 Loney, Glenn, 187, 1342 Long, Richard A., 333 Long, Robert Emmet, 1147 Lortel, Lucille, 1165 Los Angeles, CA, 1338 Lost in the Stars, 1051 Lott, Eric, 269 Love Life, 1051 Love Song, The, 262 Lovensheimer, James (Jim), 480, 517, 769–70, 1022 Love’s Labour’s Lost, 644 Lowe, Ruth, 264 Ludwig II. Sehnsucht nach dem Paradies, 363 Lulay, Gail, 1244 Lunden, Jeff, 1332 Lundskaer-Nielsen, Miranda, 188 LuPone, Patti, 1282 Lynch, Richard Chigley, 1447 Lynne, Gillian, 520 Lyrics, 1387–89 M Ma, Sheng-mei, 260 Macdonald, Hugh, 362 MacDonald, Jeanette, 311, 1245–46, 1283–87 MacDonald, Laura, 593 Mack, Robert L., 786–77 “Mack the Knife” (The Threepenny Opera), 134 Mackintosh, Cameron, 1185 Macklin, Charles, 1371 Macpherson, Ben, 682 MacRae, Gordon, 1288 Madison, William V., 728 Magee, Jeffrey, 798, 856–57 Mahar, William J., 270 Maid Marian, 645 Malas, Spiro, 100 Male impersonation, 284 Maltby, Richard, Jr., 188, 1167

305 Maltin, Leonard, 438, 1230 Mamma Mia!, 646–47 Mamoulian, Rouben, 474 Man of La Mancha, 201 Mancoff, Debra N., 671 Mandelbaum, Ken, 189, 1153 Mandell, Jonathan, 483 Mander, Raymond, 302, 379, 394, 406 “Manhattan” (Garrick Gaieties, Winkle Town), 265 Mann, Terrence, 1363 Mantle, Jonathan, 934 March of the Falsettos, 200, 553 Marchesani, Joseph, 788 Margaret Garner, 123 Marie Christine, 1296 Marill, Alvin H., 1315 Mariska, Bradley Clayton, 653 Mark, Geoffrey, 1301 Marks, Peter, 585 Marshall, Armina, 1194 Marshall, Kathleen, 838, 1146 Marshall, Kelli, 644 Marshall, Rob, 523, 527 Martin, Douglas, 1333 Martin, Hugh, 267 Martin, Mary, 257, 1202, 1289–92 Martland, John, 21 Mary Poppins, 648–49, 1204 Maryland Institute for Technology in the Humanities, 1465 Marx, Samuel, 979 Maslon, Laurence, 190 Mason, Jeffrey D., 292 Mason, Keith, 971 Mast, Gerald, 191 Masteroff, Joe, 502 Mates, Julian, 192–94 May, Alice, 1293 May, Theresa Joette, 693 Mayer, David, 293 Mayerl, Billy, 947 Maytime, 650 Mazzei, George, 882 McAnuff, Des, 1167 McBrien, William, 964 McCabe, John, 874 McCarter, Jeremy, 195, 683

306 McClelland, Kay, 100 mcclung, bruce d., 628–31, 860 McConachie, Bruce A., 294, 622, 984 McDonald, Audra, 1294–96 McEntee, Ann Marie, 563 McGilliagan, Patric, 830 McGlinn, John, 1343 McGovern, Dennis, 196 McHugh, Jimmy, 264, 427, 948 McKay, Rick, 197 McKechnie, Donna, 528, 1202 McKinley, Jesse, 807 McKnight, Gerald, 935 McLean, Lorraine Arnal, 1095 McLucas, Anne Dhu, 1432 See Shapiro, Anne Dhu McMillin, Scott, 198, 754 McNamara, Brooks, 1191 McNeilly, Donald, 281 McSpadden, J. Walker, 23 McWaters, Debra, 1363 Me and Juliet, 653 Me and My Gal, 429 Meckna, Michael, 1435 Meehan, Thomas, 583 Meet Me in St. Louis, 651–52 Megamusical, 311, 323–27, 363 Mehan, Tom, 721 Mehler, Charles Eliot, 557 Mellers, Wilfrid, 666, 812 Mellor, G. J., 395 Melodrama, 291–95, 1430, 1432 Menton, Allen W., 1023 Mercado, Mario R., 1054 Mercer, Ginger, 1123 Mercer, Johnny, 165, 842, 1123–24 Merman, Ethel, 257, 1202, 1297–1303 Merrily We Roll Along, 201, 654–55, 1024 Merry Widow, The, 215, 311, 382, 656–58 Metamora, 292 Meyerson, Harold, 1110 Michaelis, Arnold, 972 Midgette, Anne, 799 Mighty Wind, A, 659 Mikado, The, 660–61, 1044 Milk and Honey, 152 Miller, D. A., 199 Miller, Derek, 694, 813

Index Miller, Hillary, 757 Miller, Marc, 1311 Miller, Scott, 200–03, 481, 579 Milner, Andrew, 1024 Mindlin, Roger, 373 Minnelli, Liza, 921 Minstrelsy, 268–78; and opera, 272–73 Miranda, Carmen, 1213, 1304–05 Miranda, Ricardo, 343 Misérables, Les, 100, 201, 237, 311, 324, 326–27, 662–63 Mishra, Vijay, 459 “Miss Linda Brown” (Harlem Song), 586 Miss Saigon, 664–68 Mitchenson, Joe, 302, 379, 394, 406 Mod Donna, 259 Mollenkamp, Julie Rae, 485 Mollin, Alfred, 789 Monk, Meredith, 1201 Monte Cristo, 1432 Monti, Carlotta, 1253 Monty Python’s Spamalot, 669–73 Moore, James Ross, 1172 Moore, Tracey, 204, 1364–65 Morales, Robin Lee, 1055 Morath, Max, 24, 205 Morcom, Anna, 460 Mordden, Ethan, 206–14, 625, 755, 985, 1198 Morella, Joe, 882 Morley, Sheridan, 380–81, 883, 885, 1185, 1278 Morris, Irene, 509 Morris, J. R., 1335 Morris, William E., 115 Morrison, William, 79 Mortimer, Harold Roan, 215 Morton, Carlos, 599 Most, Andrea, 216–17, 695 Most Happy Fella, The, 100, 105–06, 242, 247, 674 Mostel, Zero, 1306 Mott, Alyce, 916 Moulin Rouge, 451, 675 Mueller, John E., 1217 Muir, John, 4, 18 Mullen, Richard, 310 Mulligan Guard Ball, The, 1438

Index

307

Mumford, David, 998 Mundy, John, 439 Muny (St. Louis), 166 Music from the New York Stage, 1890–1920, 1453 Music Hall, 351, 358, 386–401 Music Man, The, 200, 676–79 Musical comedy, 316–18; in Britain, 376 Musical Heaven (website), 1464 Musical Stages, 1403 Musical Theater Online (website), 1465 Musical Theater Works, 1186 Musicals 101 (website), 1466 Musicals: Das Musicalmagazin, 1404 Musicarnival (Warrensville Heights, OH), 252 My Fair Lady, 105–06, 201, 215, 242, 247, 509, 680–82, 1193, 1223 My Favorite Year, 100 “My Funny Valentine” (Babes in Arms), 134 My Life with Albertine, 683 My Maryland, 993 My Partner, 292 My Princess, 993 “My School Rocks,” 590 Myers, Paul, 861 Müller, Ulrich, 723

New Theatre Quarterly, 1415 New York Public Library, 1468 New York Times, The, 1467 New York Times Index, The, 1467 New Zealand, 367–69 Newmark, Judith, 506 Newsletter of the Stephen Sondheim Society, 1405 Nichols, Mike, 1091 Nick & Nora, 100 “Night and Day” (The Gay Divorce, The Gay Divorcee), 134, 965 Night is Young, The, 994 Nisse, Jason, 724 No, No, Nanette, 684 Noble, Peter, 951 Nolan, Frederick, 986 Noonan, Julie A., 570 Nordschow, Randy, 911 Norman, Marsha, 1125 Norris, Renee Lapp, 272–73 Norton, Elliot, 80 Norton, Richard C., 61 Nostalgia and the musical, 126, 152 Novak, Deborah, 1381 Novak, Elaine Adams, 1367, 1381 Novello, Ivor, 385, 949–54 Nunn, Trevor, 473, 520

N Nair, Mira, 455 Napier, John, 520 Napier, Kate, 1366 Napolitano, Marc, 608 Napper, Lawrence, 950 Nash, Paul, 814 Nashville, 415–16, 426 Nassour, Ellis, 614 Nathan, Hans, 271 National Theatre (London), 473 Nauert, Paul, 716 Naughty Marietta, 311 Neagle, Anna, 1307 “Nearness of You, The” (Romance in the Dark), 265 Neeley, Ted, 612 Nelson, Steve, 487, 1122 Netherlands, 364–66

O Oates, Bill, 1061 Oates, Jennifer, 496 O’Brien, John, 407 Ochoa, George, 35 Ockrent, Mike, 1167 O’Donnell, Mark, 583 Offen, Neil, 1382 Oh! Calcutta!, 259 Ohio Light Opera, 312 Ohl, Vicki, 1047 O’Horgan, Tom, 581, 1167 Oja, Carol J., 541, 676 Oklahoma!, 126, 202, 247, 266, 685–97, 978, 980, 1193 “Ol’ Man River” (Show Boat), 134 Oland, Pamela Phillips, 1389 Oliver, Donald, 1368 Olley, Frank, 780

308 Olson, John, 538 Olson, Marcus J., 743 Ommen [van der Merwe], Ann, 834–35 On the Town, 139, 1091 On Your Toes, 105–06, 1152 Once on This Island, 100 One Touch of Venus, 105–06 Ooghe, Lydia, 100 Opera comique, 362 Opera Quarterly, 1416 Operetta, 215, 304–15, 344, 349, 355, 357, 361, 512, 1376, 1440, 1442–43 Orchestration and orchestrators, 1133–39 Orgill, Roxane, 534 Original Cast! 100 Years of the American Musical Theater (recorded anthology), 1454 Orr, N. Lee, 1434 Osborne, John, 385 Ostrow, Stuart, 218–19, 1187 Oteri, Frank J., 911, 942 Ottenberg, June C., 91 Oukrainsky, Serge, 1148 Out of Bondage, 1437 Owen, Bobby, 25–27 P Paciﬁc Overtures, 698, 1017 Pagnol, Marcel, 1235 Paige, Elaine, 1308 Pal Joey, 105–06, 202, 699 Paller, Rebecca, 930 Pan, Hermes, 1144 Pantomime, 390 Parade, 1395 Parish, James Robert, 47–48, 1284 Parker, Alan, 552 Parry, William, 1044 Paskman, Dailey, 274 Passing Show of 1914, The, 700 Passing Show: The Newsletter of the Shubert Archive, 1417 Passing Strange, 701 Passion, 200, 702–05, 1017 Patinkin, Sheldon, 220 Patterson, Laurie, 424 Payn, Graham, 884–85 Pearsall, Ronald, 382, 396

Index Peck, Ellen Marie, 1087–88 Peculiar Sam, or The Underground Railroad, 1437 Pedagogy, 1351–52, 1359, 1362, 1364, 1369 Peithman, Stephen, 1382 Pennybacker, Susan, 386 Performing Arts in America, 1875–1923 (database), 1468 Perry, George, 707, 783 Persley, Nicole Hodges, 536 Pesceballo, Il, 1436 Peters, Bernadette, 83, 1309–11, 1353 Peters, Monnie, 114 Peterson, Bernard L, 334–35 Petkere, Bernice, 264 Peyser, Joan, 862, 901 Phantom of the Opera, The, 100, 106, 112, 253, 311, 324, 326–27, 544, 706–08, 938 Philipp. Adolf, 955 Pincus-Roth, Zachary, 484 Pins and Needles, 709 Pipe Dream, 653 Pippin, 201, 1187 Pirie, Joan, 777 Pitts, Michael R., 47–48, 1318 Pitts, Stephanie, 1044 Plasketes, George, 540 Platt, len, 256 Playbill, 1418, 1469 Playgoer (blog), 1470 Plimpton, Shelley, 581 Plotnicki, Rita M., 1086 Pocahontas, 710 Pogrebin, Robin, 831 Pohly, Linda, 1321 Polianovskaia, Jana, 1044 Pollack, Howard, 713, 902 Pollock, Eileen, 1236 Pollock, Robert Mason, 1236 Popeil, Lisa, 1369 Popular Music and Society, 1419 Porgy and Bess, 105–06, 134, 247, 491, 711–19 Portantiere, Michael, 565 Porter, Cole, 19, 156, 165, 263–64, 267, 427, 841, 956–65, 1126

Index Porter, Susan L., 221–22, 1429 Powell, Eleanor, 1245 Powell, Jane, 1224 Power, Will, 195 Prece, Paul, 325 Predal, Rene, 440 Preston, Katherine K., 223, 1438 Preston, Robert, 1353 Previn, André, 441 Prevots, Naima, 1148 Prince, Faith, 100, 1312 Prince, Harold (Hal), 503, 838, 921, 1145, 1167, 1188–89 Princess Tam Tam, 422, 1221 Princess Theatre Musicals, 928 Producers, The, 126, 152, 720–25 Producing and production See Directing and Directors Puccio, Paul M., 642, 1025 Q Quaglia, Serena, 548 Quest for Camelot, 726 Quin, James, 1371 Quirk, Lawrence J., 1266 R Radiant Baby, 727 Rags, 152, 728 Ragtime, 152, 200 Rahman, A. R., 492–95 Rainger, Ralph, 427 Ramczyk, Suzanne Mary, 1202 Ramirez, Elizabeth C., 344 Randall, James Kenneth, 929 Rao, Maithili, 455 Rapaport, Pola, 580 Rapoport, Ron, 1260 Rapp, Anthony, 723 Rasch, Albertina, 1143 Really Useful Group, The, 936 Rebellato, Dan, 626, 1398 Recordings of musicals, 251 Red Moon, The, 332 Redniss, Lauren, 1344 Reesman, Bryan, 600 Regina, 729 Reid, Francis, 1390

309 Reilly and the Four Hundred, 1438 Reinking, Ann, 1146, 1363 Religion and spirituality in musicals, 111, 231, 931 Remick, Lee, 1353 Rent, 202, 730–35 Repogle, Holley Dawn, 313 Reside, Doug, 1395 Revue, 281, 296–303, 1172 Reynolds, Christopher, 717 Rhapsody in Blue: The Story of George Gershwin (ﬁlm), 491, 736 Rialto (Union Square), 74 Rice, Cy, 1253 Rice, Tim, 466, 551, 840, 1127 Rich, Frank, 524, 577, 744, 1026–27 Rich, Sharon, 1246 Richards, David, 553, 581, 1312 Richards, Martin, 523 Richmond, Keith, 937 Rickard, Sue, 442 Riddle, Peter H., 224 Riding, Alan, 470 Riedel, Michael, 545 Rigney, Mark, 815 Riis, Thomas L., 225, 336–39, 597, 803, 943, 1433 Rimler, Walter, 903 Rimmer, Val, 690 Rinaldi, Nicholas George, 503 Ring, Tony, 1131 Rittman, Trude, 1138 Rivadue, Barry, 1291 Rivenburg, Leonard L., 923 Road Show, 737 Road to Rio, 265 Robbins, Jerome, 183, 1145, 1147, 1161–64, 1167 Robbins, Norman, 408 Robbins, Tim, 542 Roberts, Tony, 1353 Robin Hood, 738–39 Robin, Leo, 842 Robinson, Alice M., 1092 Robinson, Bill, 1327 Robinson, Kevin, 1370 Robinson, Mark A., 45 Rock musicals, 319–22

310 Rocky Horror Show/Rocky Horror Picture Show, 740, 1242 Rodger, Gillian, 282–84 Rodgers, Mary, 839–40, 977 Rodgers, Richard, 19, 31, 156, 165, 261, 264, 267, 427, 841–42, 966–88, 1473 Rodman, Ronald, 650, 827 Rodosthenous, George, 490 Rogers, David A. II, 525 Rogers, Ginger, 422, 442, 448, 1214, 1219–20, 1313 Rogers, Will, 1230, 1314 Rollins, Peter C., 1314 Román, David, 771 Romance in the Dark, 265 Romberg, Sigmund, 841, 989–94, 1472 Ronell, Ann, 264, 995 Roof gardens, 76 Rooney, Mickey, 1315 Roost, Alisa C., 226, 737 Root, Deane L., 227, 1428 Roper, David, 847 Roper, Susan, 1152 Rosalie, 265 Rose, Al, 867 Rose Marie/Rose-Marie, 311, 741, 1202 Rosen, Judy, 594 Rosenblatt, Arthur, 39 Rosenberg, Bernard, 228 Rosenberg, Deena, 907 Rosenberg, Donald, 312 “Rose’s Turn” (Gypsy), 575 Ross, Suzanne, 822 Roth, Marc A., 1056 Rothman, Korey R., 1082 Rothschilds, The, 152, 742 Rothstein, Mervyn, 482 “Roxanne Tango” (Moulin Rouge), 451 Royal Wedding, 440 Rubin, Jason, 1179 Rubin, Martin, 1154 Ruby, Harry, 842 Rudisell, Kristen, 590 Runyon, Damon, 573–74 Rushdie, Salman, 828 Russell, Dave, 397 Russell, Lillian, 1316 Russell, Susan, 229

Index Rust, Brian, 398 Rutherford, Lois, 386 Rutter, Tony, 591 S Saddler, Donald, 1144 Sager, Carol Bayer, 840 St. Louis, 166 St. Louis Municipal Opera (Muny), 166 St. Louis Woman, 265 Salzman, Eric, 230 Sanders, Ronald, 1057 Sandla, Robert, 975 Sandoval-Sánchez, Alberto, 530, 816, 1213 Sandrow, Nahma, 350 Sansom, Rockford A., 1344 Saremba, Meinhard, 1044 Satire in musicals, 226 Saturday Night Fever, 426 Savran, David, 733, 757, 908, 912, 1396 Scammon, Howard, 1371 Scandals of 1922, 491 Scandinavian images in musicals, 149, 171 Scarfone, Jay, 825 Scarlet Letter, The, 1444 Schaffner, Caroline, 285 Schebera, Jürgen, 1058 Schiff, Stephen, 1028 Schillinger, Joseph, 716, 718 Schlesinger, Judith, 790 Schlundt, Christena L., 1149 Schmidt, Harvey, 554 Schneider, Ulrich, 400 Schneider, Wayne, 904 Schoenfeld, Gerald, 1383 Schuermann, Kathleen Rachele, 363 Schulman, Sarah, 734 Schultz, Jean Emser, 77 Schultz, Margie, 1243 Schulz, Debra A., 469 Schuster-Craig, John, 747 Schwarte, Michael, 513 Schwartz, Arthur, 264, 267, 427 Schwartz, Charles, 905 Schwartz, Donald Ray, 1316 Schwartz, Roberta Freund, 677 Schwartz, Stephen, 840, 996–97

Index Schwarz, Daniel R., 574 Schweitzer, Marlis, 658 Schönberg, Claude-Michel, 325 Scotland, 390, 395 Scott, A. O., 746 Scott, Derek B., 275, 399 Scrubs, 437 Sears, Ann, 225, 987 Sebesta, Judith, 231–33, 303, 514, 725, 735, 997 Secrest, Meryle, 863, 976, 1029 Secret Garden, The, 100, 743–45, 1391 Sedgwick, Alfred B., 1435 Seeley, Robert, 1448 Seldes, Barry, 864 “Send in the Clowns” (A Little Night Music), 641 Senelick, Lawrence, 400 Sennett, Ted, 234 Set design, 1390–91 Seussical, 746 Seven Brides for Seven Brothers, 440 Seven Lively Arts, The, 747, 1776, 1187 Shaftel, Matthew, 965 Shaiman, Marc, 583 Shall We Dance?, 450 Shapiro, Anne Dhu, 295 Shapiro, Doris, 1121 Sharland, Elizabeth, 81 Sheean, Vincent, 1182 Sheehan, Jeanne McGowan, 235 Shenandoah (1889 melodrama), 292 Shepherd, Donald, 1239 Sheppard, W. Anthony, 568 Sherman, Richard M., 998 Sherman, Robert B., 998 Shimizu, Celine Parreñas, 667 Shipton, Alyn, 948 Shirley, Wayne D., 718 Shloyme Gorgl, 1439 Shout, John D., 870 Show Boat, 105–06, 123, 134, 247–248, 748–56, 924 Show Music, 1406 Shrek The Musical, 757 Shubert Archive, 82, 1191, 1417 Shuberts, 82, 166, 1190–92

311 Shufﬂe Along, 330 Sibley, Brian, 649 SIBMAS, 1471 Siefert, Marsha, 443 Sills, Beverly, 1191 Silver, Fred, 1372 Silverberg, Carol E., 236 Silverman, Richard, 1044 Simas, Rick, 28 Simeone, Nigel, 817 Simon, Alfred, 22 Simons, Lewis M., 461 Simpson, Adrienne, 1293 Sinatra, Frank, 1317 Sing for Your Supper, 758 Singer, Barry, 237, 586, 727, 1186 Singin’ in the Rain, 759–61, 1090 Siretta, Dan, 1144 Sissle, Noble, 868 Skaggs, Hazel G., 238 Skipper, John C., 1062 Slade, Julian, 385 “Slap that Bass” (Shall We Dance?), 450 Slatzer, Robert F., 1239 Slobin, Mark, 1439 Smith, Adam, 592 Smith, Carly Grifﬁn, 757 Smith, Cecil, 239–40 Smith, Harry B., 1128–29 Smith, Helen, 564 Smith, Kate, 1318 Smith, Moira, 369 Smith, Oliver, 1342 Smith, Ronn, 1391 Smith, Susan, 444 Snelson, John, 383, 938 Snyder, Linda June, 865 Sobel, Bernard, 286 Sobran, Joseph, 944 “Something to Live For,” 265 Sondheim Celebration (2002, Kennedy Center), 1015, 1018, 1027 Sondheim Review, The, 1030, 1407 Sondheim, Stephen, 105–06, 165, 241, 838, 842, 866, 932, 999–1036, 1188, 1473 Songs for a New World, 202 Sonnenshein, Richard, 1150

312 Sotto-Morettini, Donna, 611 Sound of Music, The, 151, 762–65, 1195, 1204, 1223, 1292 Sousa, John Philip, 841 South Paciﬁc, 766–72, 966, 968, 980, 984, 1202 Southern, Eileen, 276, 340, 1437 Spindle, Les, 1207 Spoto, Donald, 1241, 1280 Spring Awakening, 773 Stage Directions, 1382 Staines, Ruth, 402 Stagg, Jerry, 1192 Staniunas, John, 678 Stanley, Alessandra, 1125 Stanley, William T., 28 Starlight Theatre (Kansas City, MO), 249 Starr, Lawrence, 719 Star-Spangled Rhythm, 265, 429, 1152 Stasio, Marilyn, 920, 977 Stearns, David Patrick, 488, 866 Stedman, Jane, 739, 1102 Stein, Charles W., 287 Stein, Dave, 1049 Stempel, Larry, 242, 775 Stephen Sondheim Society, The, 1405 “Steppin’ Out with My Baby” (Easter Parade), 265 Stern, James D., 528 Stern, Lee Edward, 445 Sternfeld, Jessica, 243, 326–27, 543 Stevens, Gary, 531 Stewart, John, 62 Stewart, Lawrence D., 906 Steyn, Mark, 244, 664 Stillman, William, 825 Stirling, Richard, 1208 Stock, Lorraine Kochanske, 645 Stoddart, S. F., 604, 655 Stoddart, Scott F., 1025 Stone, Peter, 100, 801 Stone, Wendell C., 83 “Stormy Weather” (Cotton Club Parade), 134 Stothart, Herbert, 650 Stott, Jane, 73 Stott, William, 73

Index Straiges, Tony, 1391 Strauss, Johann, 305 Street Scene, 774–76, 1051 Streisand, Barbra, 257, 1319–21 Striff, Erin, 526 Strike Up the Band, 777 Stroman, Susan, 100, 838, 1146 Strouse, Charles, 165, 838, 840, 1037, 1342 Stuart, Leslie, 1038 Stubblebine, Donald J., 30, 49 Student Prince, The, 741, 778, 993 Studies in Musical Theatre, 1397, 1408 Studwell, William E., 1472–73 Sturman, Janet L., 345 Styne, Jule, 165, 427, 840, 842, 1473 Sudhalter, Richard M., 959 Suesse, Dana, 264, 995 Sullivan, Arthur, 1039–46 Sullivan, Ed, 1455 Summerﬁeld, Penny, 401 “Summertime” (Porgy and Bess), 134 Sunday in the Park with George, 200, 779–81, 1017, 1391 Sunset Boulevard, 112, 782–83 Sunshine, Linda, 502 Suppé, Franz von, 355 Suri, Sanjay, 462 Suskin, Steven, 31–34, 245, 1133, 1411 Sutherland, Susan, 246 Swados, Elizabeth, 232 Swain, Joseph P., 247 Swain, Steve, 643 Swartz, Mark Evan, 829 Swayne, Steve[n Robert], 1032–33 Sweeney Todd, The Demon Barber of Fleet Street, 201, 247, 784–91, 1017, 1019, 1025, 1202 Sweet Charity, 792 Sweet Smell of Success, 793, 1187 Sweeting, Adam, 495 Swift, Kay, 264, 995, 1047 Swift, Mary Grace, 1248 Swing Time, 265, 422 Sword in the Stone, The, 794 Symonds, Dominic, 266, 781, 1373, 1397–98 Symonette, Lys, 1060

Index T Tab Show, 285 Tambling, Jeremy, 248 Tanz der Vampire, 363 Tarzan, 794 Taylor, Benedict, 1044 Taylor, Deems, 988 Taylor, John Russell, 50 Taylor, June, 1143 Taylor, Millie, 409, 740, 791, 1374 Taylor, Raynor, 464–65 Taylor, Ronald, 1059 Taylor-Corbett, Lynne, 1146 Taymor, Julie, 634 Teachout, Terry, 527, 1034 Teddy and Alice, 154 Teichmann, Howard, 1117 Television musicals and musical episodes, 437 Tempest, Marie, 1322 Temple, Shirley, 1323–27 “Ten Minutes Ago” (Cinderella), 533 Ten Nights in a Bar-Room, 1436 Terni, Jennifer L., 288 Terry, Jim, 1155 “That Old Black Magic” (Star-Spangled Rhythm), 265 That’s Entertainment! series, 446 Thelen, Lawrence, 1167 “There Will Never Be Another You” (Iceland), 265 Theatre Guild, 85, 688, 714, 1193–94 Theatre Journal, 1420 Theatre Research International, 1421 Theatre Survey, 1422 Theatre World, 1423 Theatregoer Magazine, 1424 Theodore, Lee, 1144, 1151 Thing-Fish, 1066 This is Spinal Tap, 796 This is the Army, 797–98 Thomas, Bob, 1218, 1302 Thomas, Lawrence B., 51 Thomas, Susan, 346 Thomas, Tony, 1155 Thompson, Charles, 1240 Thompson, Frank, 1195 Thompson, Lydia, 290, 1328

313 Thorne, Kathleen Hegarty, 249 Thornhill, William, 776 Thou Shall Not, 799 Thousands Cheer, 429 Threepenny Opera, The, 134, 800 Three’s a Crowd, 134 Thumbs Up, 265 Tibbett, Lawrence, 1329–30 Tibbetts, John C., 841 Tierney, Tom, 836 Tip-Toes, 908 To Have and Have Not, 265 Toll, Robert, 278 Too Many Girls, 265 Topsy-Turvy, 1044 Torgovnik, Jonathan, 463 Traubner, Richard, 250, 756 Trav, S. D., 289 Travis, Doris Eaton, 1331–35 Travolta, John, 582 Trip to Chinatown, A, 802 Troop, Meagan, 1345 Tuksar, Stanislav, 356–57 Tune, Tommy, 838, 1144–45, 1147, 1363 Tunick, Jonathan, 1139 Turk, Edward Baron, 1285–86 Tuttle, Raymond, 251 Two Gentlemen of Verona, 236 Tyldesley, William, 846 Tyler, Lisa, 745 Tylor, Marcus, 708 U Udell, Peter, 840 Ulvaeus, Björn, 646 Uncle Tom’s Cabin, 292, 803, 1433 Union Square, 74 United Kingdom, 376–409 Urban Cowboy, 416, 804 Urinetown, 805–07 V Vacha, John, 84, 252, 1137 Vaill, Amanda, 1164 Vallance, Tom, 52 Vallillo, Stephen M., 637 Van Heusen, Jimmy, 264, 427 Vandevender, Bryan M., 773

314 Variety, 282–84, 390 Vaudeville, 279–81, 284–89, 350 Verdon, Gwen, 1342 Velsey, Don, 158 Velvet Goldmine, 447 Verdino-Süllwold, Carla Maria, 253 Vered, Karen Orr, 1327 Viagas, Robert, 532, 554 Victor/Victoria, 1204, 1206 Victoria University (Wellington, New Zealand), 369 Viennese Nights, 994 Viennese operetta, 305–07, 309–10, 313–15 Viertel, Jack, 188 Vincentelli, Elisabeth, 254 Virginia Minstrels, 271 Vlastnik, Frank, 108 Vogel, Frederic B., 1383 Vogel, Shane, 607 Voice of Nature, The, 1430 Völklein, Sonja, 1474 W Wake Up and Dream, 265 Waldau, Roy S., 85 Walden, Joshua S., 832 Walker, Mark, 1449 Walker, Nancy, 1353 Walker, Tim, 1209 Wall, Carey, 255 Wallace, Mary Elaine, 92 Waller, Thomas “Fats,” 165 Walleye Kid: The Musical, The, 808 Walsh, Dave, 690 Walsh, David, 256 Walsh, Michael, 939 Walsh, Thommie, 532, 1144 Walters, Ben, 547 Walters, Richard, 1445 War, theme in musicals, 429, 449 Warﬁeld, Scott, 319 Warner, Alan, 53 Warnke, Nina, 351 Warren, Harry, 165, 264, 427, 842 Warrensville Heights, OH, 252 Watch Your Step, 809 Watchus, Matthew, 188

Index Watermeier, Daniel J., 78 Waters, Chris, 386 Waters, Edward N., 917 Waters, Ethel, 1336 Waters, John, 582, 584 Watt, Kenn, 757 “Way You Look Tonight, The” (Swing Time), 265 Wayne, Jane Ellen, 1259, 1287 Webb, Paul, 952 Webber, Christopher, 374–75 Weber, Bruce, 521 Weber, Joe, 1178 Wechsler, Bert, 1330 Weeks, Jerome, 772 Weidman, John, 838 Weill, Kurt, 264, 860, 891, 1048–60, 1280, 1473 Weinraub, Bernard, 605 Weinstad, Hertzel, 1330 Weitzman, Ita, 188 Welch, Elisabeth, 1337 Wells, Elizabeth, 818–19, 1399 Wescott, Steven D., 54 West Side Story, 105–06, 201, 236, 242, 247, 810–19, 1145, 1195 Westover, Jonas, 700 White, Matthew, 1384 White, Richard Kerry, 696 “What is This Thing Called Love?” (Wake Up and Dream), 265 Wheeler, Bonnie, 673 Wheeler, Randy, 1380 “White Christmas” (Holiday Inn), 594 White Lilacs, 262 Whitehouse, Edmund, 384 Whitesell, Lloyd, 447 Whiting, Richard, 264, 427, 842 Whoopee!, 1231 Wicked, 820–24, 996–97 Wickstrom, Maurya, 635 Wildbihler, Hubert, 1450, 1474 Wilder, Alec, 267 Wilk, Max, 697, 764–65, 842 Willett, Ralph, 448 Williams, Michael, 950, 953 Willson, Meredith, 165, 679, 1061–63

Index Wilmeth, Don B., 86 Wilson, Garff B., 87 Wilson, Robin, 1045 Wilson, Sandy, 385, 954, 1064 Winans, Robert B., 278 Windeler, Robert, 1210–12 Winer, Deborah Grace, 196, 1097 Winkle Town, 265 Winslow, Colin, 402 Wise Guys, 737 Wise, Robert, 1195 Witchel, Alex, 889 Wittke, Paul, 1400 Wittman, Scott, 583 Wizard of Oz, The, 825–29 Wodehouse, Pelham Grenville [P. G.], 926, 1085, 1130–31 Wolf, Stacy, 823–24, 1292, 1401 Wolf, Zachary, 771 Wolfe, George C., 838, 1167 Wolff, Victoria Felice, 347 Woll, Allen L., 55, 341–42, 449 Wollen, Peter, 761 Wollman, Elizabeth, 258–59, 320–22 Womack, Malcolm, 647 Wonderful Town, 1091 Wood, Graham, 450–51, 533, 850, 978 Wood, Mark Dundas, 1139 Woods, Alan, 260 Woolf, Brandon, 701 Wozzeck, 717 Wren, Gayden, 1046 Wright, Adrian, 385 Wright, H. Stephen, 36 Wright, Jill Yvonne Gold, 261 Wright, Nicholas, 72 Wright, Trudi Ann, 709 Würz, Anton, 315 X Xena: Warrior Princess, 437

315 Y Yamami, Wynn T., 262 Yankee Doodle Dandy, 830 Yates, Martin T., 1044 Year with Frog and Toad, A, 831 Yeargan, Michael, 1391 Yellin, Victor Fell, 464–65, 1430 Yeston, Maury, 801 Yiddish musical theater and ﬁlm, 171, 348–51, 832, 1439 Yidl mitn Fild, 832 Yoshikawa, Yoko, 668 Youmans, Vincent, 165, 264, 267, 842, 1065 Young, Arabella Hong, 1375 Young, Catherine, 757 Young, David, 1385 Young, Kay, 1035 Young, Percy M., 1041 Young, Rida Johnson, 1082, 1087–88, 1132 Your Own Thing, 236 Z Zadan, Craig, 1036 Zajc, Ivan, 355, 357 Zaks, Jerry, 100, 1167 Zappa, Frank, 1066 Zarzuela, 343–47, 370–75 Zazzali, Peter, 757 Zemach, Benjamin, 1148 Ziegfeld, Florenz, 1196–98, 1264 Ziegfeld’s Follies, 833–37, 1226, 1252 See Travis, Doris Eaton Ziegfeld’s Follies of 1922, 837 Ziémba, Karen, 100 Zinoman, Jason, 546 Zippel, David, 100 Zola, Emile, 799 Zolotow, Maurice, 1303 Zulema, 343

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