The Musical: A Research Guide to Musical Theater and Film (Routledge Music Bibliographics)

THE MUSICAL

Routledge Music Bibliographies SERIES EDITOR: BRAD EDEN COMPOSERS Isaac Albéniz (1998) Walter A. Clark

Christoph Willibald Gluck, 2nd Edition (2003) Patricia Howard

Giuseppe Verdi (1998) Gregory Harwood Tomás Luis de Victoria (1998) Eugene Casjen Cramer

C. P. E. Bach (2002) Doris Bosworth Powers

G.F. Handel, 2nd Edition (2004) Mary Ann Parker

Samuel Barber (2001) Wayne C. Wentzel

Paul Hindemith (2004) Stephen Luttman

Béla Bartók, 2nd Edition (1997) Elliott Antokoletz

Adrian Willaert (2004) David Michael Kidger

Charles Ives (2002) Gayle Sherwood

GENRES

Scott Joplin (1998) Nancy R. Ping-Robbins

Central European Folk Music (1996) Philip V. Bohlman

Vincenzo Bellini (2002) Stephen A. Willier Alban Berg (1996) Bryan R. Simms

Zoltán Kodály (1998) Mícheál Houlahan and Philip Tacka

Leonard Bernstein (2001) Paul F. Laird

Franz Liszt, 2nd Edition (2004) Michael Saffle

Johannes Brahms (2003) Heather Platt

Guillaume de Machaut (1995) Lawrence Earp

Benjamin Britten (1996) Peter J. Hodgson

Felix Mendelssohn Bartholdy (2001) John Michael Cooper

Elliott Carter (2000) John L. Link Carlos Chávez (1998) Robert Parker

Giovanni Pierluigi da Palestrina (2001) Clara Marvin

Frédéric Chopin (1999) William Smialek

Giacomo Puccini (1999) Linda B. Fairtile

Aaron Copland (2001) Marta Robertson and Robin Armstrong

Maurice Ravel (2004) Stephen Zank

Richard Wagner (2002) Michael Saffle

Chamber Music, 2nd Edition (2002) John H. Baron Choral Music (2002) Avery T. Sharp and James Michael Floyd Ethnomusicology (2003) Jennifer C. Post Jazz Research and Performance Materials, 3rd Edition (2004) Eddie S. Meadows Music in Canada (1997) Carl Morey The Musical (2004) William A. Everett

Gioachino Rossini (2002) Denise P. Gallo

North American Indian Music (1997) Richard Keeling

Josquin Des Prez (2004) Carlo Fiore

Alessandro and Domenico Scarlatti (1993) Carole F. Vidali

Opera, 2nd Edition (2001) Guy Marco

Gaetano Donizetti (2000) James P. Cassaro

Camille Saint-Saëns (2003) Timothy S. Flynn

Edward Elgar (1993) Christopher Kent

Heinrich Schenker (2003) Benjamin Ayotte

Gabriel Fauré (1999) Edward R. Phillips

Jean Sibelius (1998) Glenda D. Goss

Frederic Delius (2004) Mary L. Huisman

The Recorder, 2nd Edition (2003) Richard Griscom and David Lasocki Serial Music and Serialism (2001) John D. Vander Weg

THE MUSICAL A RESEARCH GUIDE

AND

INFORMATION

WILLIAM A. EVERETT

ROUTLEDGE MUSIC BIBLIOGRAPHIES ROUTLEDGE NEW YORK & LONDON

Published in 2004 by Routledge 270 Madison Avenue New York, NY 10016 Published in Great Britain by Routledge 2 Park Square Milton Park, Abingdon Oxon OX1 4RN Copyright © 2004 by Routledge Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “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.” 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 publisher. Routledge Music Bibliographies Series. Library of Congress Cataloging-in-Publication Data Everett, William A., 1962The musical : a research and information guide / William A. Everett. p. cm. — (Routledge music bibliography series) Includes discographies (p. ) and index. ISBN 0-415-94295-0 (hardcover : alk. paper) 1. Musicals—Bibliography. 2. Musical films—Bibliography. I. Title. II. Series: Routledge music bibliographies. ML128.M78E84 2004 016.7821'4—dc22 2004016007 ISBN 0-203-32976-7 Master e-book ISBN

To Lynda

Contents

Acknowledgments

ix

List of Abbreviations

xi

Introduction

1

I

General Histories Theater American Opera/Opera in America

5 5 9

II

Musical Theater Dictionaries and Encyclopedias Chronologies General Histories Theoretical and Analytical Studies Sociological Studies Generic Studies Ethnic Genres in North America National Genres and Surveys

11 11 16 18 39 40 45 53 58

III

Film Musicals Dictionaries and Encyclopedias Chronologies General Histories Theoretical and Analytical Studies Sociological Studies Bollywood

65 65 69 69 72 73 75

vii

viii

Contents

IV

V

VI

VII

VIII

IX

X

XI

XII Index

Works

79

Creators Composers Wordsmiths Orchestrators Choreography, Choreographers, and Choreographer-Directors Directors and Producers

123 123 153 162 163 166

Performers General Resources Individual Performers

171 171 172

Performance Acting/Singing Directing/Producing Writing Set Design

193 194 197 199 199

Periodicals Musical Theater Related Subjects

201 201 202

Sets and Series of Printed Material

203

Discography

207

Recorded Anthologies

209

Other Searchable Resources

211 215

Acknowledgments Many individuals helped make 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 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. 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 dog, Bentley, for their unfaltering support of this project.

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. Cambridge Companion to the Musical 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. Cohan Cohan, Steven, ed. Hollywood Musicals: The Film Reader. New York and London: Routledge, 2001. 224 p. ISBN 0-415-23559-6. 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 0-8153-2832-X. ML410.S6872R4 1998. 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.S6872S74 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.

xi

xii

List of Abbreviations

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 investigations 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 Section 1b. Among these authors is John Dizikes, who labels Broadway musicals as “New York operas” in Opera in America: A Cultural History (see entry 21). 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 1

2

The Musical

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. Most of the time it is easy to distinguish operas from musicals—Tosca usually won’t be mistaken for Anything Goes—but it is the gray-area shows, the genrebenders, 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. The organization of the present volume is an attempt to integrate the singularity of various approaches to the musical with an overarching view of staged or filmed combinations of music and drama. In order to understand the complexities of the multifaceted musical genre, it is necessary to categorize some of its most discernible manifestations. Section I: 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. Second II: Musical Theater focuses on the stage musical, beginning with dictionaries and encyclopedias before moving on to chronologies and general histories. The entries under general histories include surveys of any type, from general discussions of the musical theater to detailed studies of specific eras or

Introduction

3

trends. Subsequent subsections focus on individual stylistic manifestations and non-English musical theater in North America. Theoretical and analytical studies investigate the music itself from a technical musical perspective, while sociological studies probe the various relationships between the genre and its cultural and commercial surroundings. Section III: Film Musicals follows the basic format of Section II. Films in languages other than English do not receive a separate heading, except in Section XII: Other Searchable Resources, which includes entries for works on the Bollywood musical. Section IV: 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.) The year given for each work is that of its first performance, regardless of place. 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 V: Creators and Section VI: 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 V 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 VI 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 VII: Performance. A list of periodicals in which articles on musical theater appear is contained in Section VIII: Periodicals, without annotations except in one instance. Section IX: 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

4

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through libraries and music stores. Section X contains discographies, and Section XI lists 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 XII 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 986), 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 Web sites 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 are appearing 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 lesserknown 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 hope that Section XII on other searchable resources will be a valuable section for those interested in pursuing information on the musical. 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), Web sites, 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 General Histories

THEATER 1. 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. 2. 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-OffBroadway, 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. 3. 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.

5

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From the Senior Editor of Playbill comes this lavishly illustrated (with photos from the Museum of the City of New York’s collection and 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. 4. 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. 5. 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. 6. 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. 7. 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 (U.K.). 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). 8. 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.

General Histories

7

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. 9. 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. 10. 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. 11. Kennedy, Kathleen, and Jean Emser Schultz. Playhouse Square Cleveland: An Entertaining History, 1810 to the 21st Century. Cleveland, OH: Playhouse 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. 12. Londré, Felicia Hardison, and Daniel J. Watermeier. The History of North American Theater: The United States, Canada and Mexico: From PreColumbian 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. 13. 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.

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14. 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. 15. Sharland, Elizabeth. The British on Broadway: Backstage and Beyond— The Early Years. London: Barbican Press, 1999. 105 p. ISBN 0-95319301-2 (U.K.). 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. 16. 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 Shuberts’s achievements in American theater, including the musical theater. Focusing on the seventeen houses still owned by the Shubert Organization, the 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. 17. 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!

General Histories

9

18. Wilmeth, Don B., and Christopher Bigsby, eds. The Cambridge History of American Theatre. Volume One: Beginnings to 1870. Cambridge and New York: Cambridge University Press, 1998. 525 p. ISBN 0-521-47204-0. PN2221.C37 1998. The collection of essays includes many references to musical theater. 19. Wilson, Garff B. Three Hundred Years of American Drama and Theatre: From “Ye Bare and Ye Cubb” to “Hair.” Englewood Cliffs, NJ: PrenticeHall, 1973. ISBN 0-13-920314-1. PN2221.W5. Wilson discusses musical entertainments in their various guises throughout his history of American drama and theater. AMERICAN OPERA/OPERA IN AMERICA 20. 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. 21. 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. 502–09), 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. 22. 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. 23. 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 0-31327841-5. ML1711.O88 1994.

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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. 24. 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 0-87855209-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.

II Musical Theater

DICTIONARIES AND ENCYCLOPEDIAS 25. Bloom, Ken. American Song: The Complete Musical Theatre Companion, 1900–1984. 2nd ed. 2 vols. New York: Schirmer, 1996. 2093 p. ISBN 002-870484-3 (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. 26. 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 0415-93704-3. F128.65.T5. Bloom’s encyclopedia includes entries on composers, lyricists, critics, organizations, performers, personalities, playwrights, producers, shows, and theaters. 27. 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 36.

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28. 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. 29. 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 (28), the guide provides sources for synopses of any work for stage or screen that has music as a primary focus. 30. 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. 31. 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. 32. 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. 33. 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.

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34. 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. 35. 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. 36. Kennedy, Michael Patrick, and John Muir. Musicals. Glasgow: Harper Collins, 1997. 416 p. ISBN 0-00-472067-9 (U.K.). ML102.M88. Entries on over 180 musicals include composer, lyricist, first U.K. and U.S. 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 27 for an updated version. 37. 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. 38. Larkin, Colin, ed. The Guinness Who’s Who of Stage Musicals. Enfield, U.K.: Guinness, 1994. 382 p. ISBN 0-85112-756-8 (U.K.). 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 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 276) to form The Virgin Encyclopedia of Stage and Film Musicals (entry 39).

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39. 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 38) and The Guinness Who’s Who of Film Musicals & Musical Films (entry 276) 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). 40. 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. 41. 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. 42. 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. 43. 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 winners for the Tony Awards, Donaldson Awards, and Maharam, American Theater Wing, and Henry Hewes awards. 44. Owen, Bobbi. Costume Design on Broadway: Designers and Their Credits, 1915–1985. Westport, CT: Greenwood, 1987. 269 p. ISBN 0-31-3255245. PN2067.

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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. 45. Owen, Bobbi. Scenic Designers on Broadway: Designers and Their Credits, 1915–1990. Westport, CT: Greenwood, 1991. 320 p. ISBN 0-31-3265348. 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. 46. 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. 47. 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 0-7864-00471. 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 twopage bibliography. 48. 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. 49. 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 0-02-8726251. ML1711.8.N3S9 1990. 50. Suskin, Steven. More Opening Nights on Broadway: A Critical Quotebook of the Musical Theatre 1965 through 1981. New York: Schirmer, 1997. 1141 p. ISBN0-02-864571-5. ML1711.8.N3M8 1997.

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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. 51. 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. ML128.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. CHRONOLOGIES 52. 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,” and “people.” This is an indispensable volume to find quick information about a particular show. 53. 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.

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54. 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 0-32610-140. Z6935.P46. In addition to a master chronology of all performances at the Hippodrome, Epstein provides chronological lists for performances divided by type: allstar variety, concert, film, miscellaneous, opera, spectacle, sports, and vaudeville. 55. 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. 56. Green, Stanley. Broadway Musicals Show by Show. 5th ed. Revised and updated by Kay Green. Milwaukee, Wisconsin: Hal Leonard, 1996. 386 p. ISBN 0-7935-3083-0. ML1711.G735 1987. Chronicling Broadway music from The Black Crook (1886) to Rent (1996), entries on major shows include creator, performer, and song credits, along with 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. If one had to choose a single desktop guide to the Broadway musical, this would be it. 57. 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.

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GENERAL HISTORIES 58. 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). 59. 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. This collection of photographs includes images of over 400 leading American musical theater performers, along with brief commentaries. Many of the photos are signed. 60. 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. 61. 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 0-52145429-8. 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 classic 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. 62. 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

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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. 63. 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 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

64. 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). 65. Bernstein, Leonard. “Leonard Bernstein Explores American Musical Comedy.” Vogue 129 (1 February 1957): 158–59, 208–11.

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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. 66. 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. 67. 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. 68. 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. 69. Borroff, Edith. “Origin of Species: Conflicting Views of American Musical Theater History.” American Music 2, no. 4 (winter 1984): 101–11.

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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. 70. 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 970), 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). 71. 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. 72. Cliffe, Peter. Fascinating Rhythm. With a foreword by Brian Rust. Baldock, U.K.: 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. 73. 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. 74. 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. 75. Cushman, Robert. “A Nation Born of Song.” BBC Music Magazine Special Issue (1999): 14–15.

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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. 76. 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. 77. 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. 78. 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. 79. 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 Englishlanguage 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. 80. Flinn, Denny Martin. Musical! A Grand Tour. New York: Schirmer, 1997. 557 p. ISBN 0-02-864610-X. ML1711.F57 1997.

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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 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. 81. Friedwald, Will. Stardust Memories: The Biography of Twelve of America’s Most Popular Songs. New York: Pantheon, 2002. 397 p. ISBN 0-37542089-4. 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.” 82. 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. 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. 83. 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,

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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 are set off from the main text and provide 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. 84. 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. 85. Gottfried, Martin, Broadway Musicals. New York: Abradale/Abrams, 1979. 352 p. ISBN 0-8109-8060-6. ML1711.8.N3G68. 86. Gottfried, Martin. More Broadway Musicals: Since 1980. New York: Abrams, 1991. 224 p. ISBN 0-8109-3621-6. ML1711.8.N3G69 1993. 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. 87. 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). 88. 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 0-306-80207-4. ML1711.G74 1984.

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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. 89. 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. 90. Hart, Norman Phillip. “Life upon the Wicked Stage: A History of Musical Biographies in America, 1783–1993.” Ph.D. diss., 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. 91. 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. 92. 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.

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93. 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. 94. 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. 95. Jones, Tom. Making Musicals: An Informal Introduction to the World of Musical Theatre. New York: Limelight, 1998. 189 p. ISBN 0-87910-0958. 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. 96. 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. 97. 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 0-521-454298. 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. 98. Kimbrough, Mary. The Muny: St. Louis’ Outdoor Theater. St. Louis: Bethany Press, 1978. 158 p. ISBN 0-8272-2315-3. ML1711.8.S15M85.

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A retrospective for the St. Louis Municipal Opera (Muny)’s sixtieth anniversary, the book traces the history of the outdoor theater known for 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. 99. 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). 100. 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. 101. Krasner, Orly Leah. “Birth Pangs, Growing Pains and Sibling Rivalry: Musical Theatre in New York, 1900–1920.” In The Cambridge Companion to the Musical, pp. 29–46. 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. 102. 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. 103. Lamb, Andrew. “From Pinafore to Porter: United States–United Kingdom Interactions in Musical Theater, 1879–1929.” American Music 4, no. 1 (1986): 34–49.

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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. 104. 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. 105. 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 writing. 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. 106. 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. 107. 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. 108. Lerner, Alan Jay. The Musical Theatre: A Celebration. New York: McGrawHill, 1986. Reprint, New York: Da Capo, 1989. 240 p. ISBN 0-306-80364X. 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

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with the musical theater. His survey of the musical theater is a well-written personal narrative of the development of the genre. 109. 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. 110. 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. 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 thirtynine 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. 111. 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. 112. 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.

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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. 113. 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. 114. 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. 115. 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. 116. 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. 117. 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 like. The indices are indispensable in locating specific shows and people in the volume.

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118. 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 119), 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. 119. 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 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. 120. 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. 121. 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.

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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. 122. 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 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. 123. 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. 124. 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. 125. 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. 126. 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

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remarks provide counterpoint to the factual and anecdotal information about the show, stars, and attitudes of the decade. 127. Mordden, Ethan. One More Kiss: The Broadway Musical in the 1970s. New York: Palgrave, 2003. 264 p. ISBN 0-312-23953-X. ML1711.8.N3. In the culminating 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.” 128. 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. 129. Mordden, Ethan. Sing for Your Supper: The Broadway Musical in the 1930s (forthcoming). Not yet published at the time of this survey (2003), this forthcoming volume will complete Mordden’s decade-by-decade survey of the Golden Age of the Broadway musical. 130. 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. diss., 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. 131. 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. 132. 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.

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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. 133. 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 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). 134. Preston, Katherine K. “American Musical Theatre before the Twentieth Century.” In The Cambridge Companion to the Musical, 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. 135. 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, pp. 137–66. 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, which concludes with a section on recordings (audio, film, and television renderings) and stage revivals of mid-twentieth-century musicals.

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136. 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. 137. 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. 138. 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. 139. 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. 140. 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. 141. 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). 142. Steyn, Mark. Broadway Babies Say Goodnight: Musicals Then & Now. New York: Routledge, 1999. 346 p. ISBN 0-415-92286-0. ML1711.8.N3874 1999.

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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,” etc.) while focusing on individual creators in others (“The Genius”— Sondheim and “The Maximalist”—Lloyd Webber, for example). 143. 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. 144. Swain, Joseph P. The Broadway Musical: A Critical and Musical Survey. New York and Oxford: Oxford University Press, 1990. 384 p. ISBN 0-19505434-2. ML1711.S95 1990. Revised and expanded 2nd ed., 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.

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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. 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.

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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. 145. 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. 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. 146. 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. 147. Tuttle, Raymond. “The Columbia Broadway Masterworks Series: Sony Sets the Stage for Musical Theater Memories.” Fanfare 22, no. 5 (May–June 1999): 100–04. Reissues of classic recordings of Broadway musicals have been digitally remastered and include material not included on the original releases. 148. 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.

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THEORETICAL AND ANALYTICAL STUDIES 149. 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). 150. 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) “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)

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• • • • • • • • • • • • • • • •

“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)

151. 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. 152. 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. SOCIOLOGICAL STUDIES 153. Bartell, Gerald. “Back in Time: Musicals Trace a History of Gay Life at Encores!” New York Blade News, 2 February 2001, 17.

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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. 154. 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. 155. “Broadway v. the West End.” The Economist (US) 326, no. 7798 (13 February 1993): 89–90. 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. 156. 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. 157. 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. 158. 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, gay

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lyrics, gay icons, heterosexuality, divas, drag, chorus boys, Sondheim, and gay musicals. 159. 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. 160. 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. diss., 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. 161. 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 twentiethcentury American musicals and songs exist, the first based on operetta aesthetics (romanticized stately people) and the second as an out-of-theordinary immigrant culture, usually settling in the American Midwest. The ethnic portrayal of Scandinavians was innocent, politically safe, and colorfully exotic (p. 69). 162. 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). 163. “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.

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164. 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. 165. 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. 166. 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. 167. 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. 168. 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. 169. 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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170. 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. 171. 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). 172. 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. 173. 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 0-52141238-2. 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.

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GENERIC STUDIES MINSTRELSY 174. Cockrell, Dale. Demons of Disorder: Early Blackface Minstrels and Their World. Cambridge: Cambridge University Press, 1997. 236 p. ISBN 0-52156074-8. 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. 175. 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. 176. 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 AngloAmerican 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. 177. 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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178. 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. 179. 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. 180. 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. 181. 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,

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182. Rodger, Gillian. “Legislating Amusements: Class Politics and Theater Law in New York City.” American Music 20, no. 4 (winter 2002): 381–98. 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. 183. Rodger, Gillian. “Male Impersonation on the North American Variety and Vaudeville Stage, 1868–1930.” Ph.D. diss., 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’

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performance styles and conventions, vocal ranges, and repertories over a sixty-year period. 184. 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. 185. 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 1-56980-2378. PN 1967. This is a lavishly illustrated history of vaudeville and the people associated with it. 186. Stein, Charles W., ed. American Vaudeville as Seen by Its Contemporaries. New York: Knopf, 1984. 393 p. ISBN 0-394-53743-2. PN1968.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. MELODRAMA

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187. 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. 188. Mason, Jeffrey D. Melodrama and the Myth of America. Bloomington and Indianapolis: Indiana University Press, 1993. 249 p. ISBN 0-253-33686-4. 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.

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189. 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. 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. 190. 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. 191. 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 192. 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. 193. 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.

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194. Davis, Lee. Scandals and Follies: The Rise and Fall of the Great Broadway Revue. New York: Limelight, 2000. 427 p. ISBN 0-87910-274-8. 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, 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. 195. 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. 196. 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) man-made objects, and (3) society’s celebrations. 197. 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. OPERETTA 198. 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. “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. 199. 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.

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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. 200. 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 3-20598930-9. ML1900. In German, this essay discusses sociological and political aspects of Viennese operetta, proving that these works were far from being simply escapist entertainments. 201. Drinkrow, John. The Vintage Operetta Book. Reading, U.K.: 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. 202. Everett, William A. “Romance, Nostalgia and Nevermore: American and British Operetta in the 1920s.” In The Cambridge Companion to the Musical, pp. 47–62. 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. 203. 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. 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). 204. Mullen, Richard. “Viennese Operetta.” Contemporary Review 277, no. 1619 (December 2000): 363–68.

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Mullen praises Camille Crittenden’s book on Strauss operetta (entry 199), cites Vienna’s Volksoper and Baden bei Wein as important centers for operetta, and discusses the legacy and appeal of the genre. 205. 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. 206. 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. 207. “Viennese Operetta Weeping Fans.” The Economist (US) 349, no. 8092 (31 October 1998): 92. 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. 208. 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 Fantastics). Some titles are in English, while others are in German. MUSICAL COMEDY 209. Block, Geoffrey. “The Melody (and Words) Linger On: American Musical Comedies of the 1920s and 1930s.” In The Cambridge Companion to the Musical, pp. 77–97.

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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. 210. Bordman, Gerald. American Musical Comedy: From Adonis to Dreamgirls. New York and Oxford: Oxford University Press, 1982. 244 p. ISBN 0-19503104-0. 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 its representative works. Musical comedies focus on the contemporary and everyday, distinguishing them from the “somewhere else” credo of operetta. ROCK MUSICALS 211. Warfield, Scott. “From Hair to Rent: Is ‘Rock’ a Four-Letter Word on Broadway?” In The Cambridge Companion to the Musical, pp. 231–45. 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. 212. Wollman, Elizabeth L. “The Aesthetic Development of the Rock Musical on the New York Stage.” Ph.D. diss., 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 highrisk ventures by many producers. MEGAMUSICALS 213. 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.

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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. 214. 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. 215. Prece, Paul, and William A. Everett. “The Megamusical and Beyond: The Creation, Internationalization and Impact of a Genre.” In The Cambridge Companion to the Musical, pp. 246–65. 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 ClaudeMichel Schoenberg 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. 216. Sternfeld, Jessica. “The Megamusical: Revolution on Broadway in the 1970s and 1980s.” Ph.D. diss., 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. ETHNIC GENRES IN NORTH AMERICA AFRICAN AMERICAN MUSICAL THEATER 217. 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

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tradition, education, social class, color, black–white relationships, money, power, love, and chicanery. 218. Emery, Lynne. “Black Dance and the American Musical Theatre to 1930.” In Loney, pp. 301–07. Jazz music and dance make the American musical unique, and without black influence, there would not be a specifically American musical theater. 219. 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. 220. Graziano, John. “Images of African Americans: African-American Musical Theatre, Show Boat and Porgy and Bess.” In The Cambridge Companion to the Musical, pp. 63–76. 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. 221. 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 discussed as well. Graziano describes the African American musical theater between 1895 and 1910 and discusses 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. 222. 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

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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. 223. 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. 224. 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 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. 225. 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. 226. 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. 227. 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

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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. 228. 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. 229. 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. 230. 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. 231. 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.

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SPANISH-LANGUAGE MUSICAL THEATER (ZARZUELA) 232. 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. 233. Ramírez, Elizabeth C. Footlights across the Border: A History of SpanishLanguage 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. 234. 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. YIDDISH MUSICAL THEATER 235. 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. 236. 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.

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NATIONAL GENRES AND SURVEYS AUSTRALIA 237. Australia Council. Opera/Music Theatre in Australia: Report to the Australia Council. Sydney: Australia Council, 1980. 149 p. ISBN 0-908024320. The official report from the Committee of Inquiry discusses the status of opera and musical theater in Australia. 238. 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. CROATIA 239. 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. 240. 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 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. 241. 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.

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FRANCE 242. 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 0-60035-4105. ML1727.8.D2. This photographic essay of Paris music hall entertainments and its principal performers is complemented by Damase’s succinct and insightful commentary. 243. 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. 244. 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. 245. 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 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. 246. 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 247. 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.

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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 248. 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 (1839–1870), circus (1870–1895), variety (1895–1920), and revue (1920–1939). Photographs from the exhibition are reproduced in the book. 249. Bredschneyder, Fred. Elseviers Groot Operette- en Musicalboek. Amsterdam and Brussels: Elsevier, 1972. 208 p. ISBN 90-10-010-92-9. MT95.B63. 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. 250. musical.patina.nl This Dutch-language Web site has a search engine and links to shows, theaters, and performers. NEW ZEALAND 251. Harcourt, Peter. Fantasy and Folly: The Lost World of New Zealand Musicals, 1880–1940. Wellington: Steele Roberts, 2002. 170 p. ISBN 1-87722865-6.

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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. SPAIN (ZARZUELA) 252. 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. 253. 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. 254. 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, the 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 lesserknown composers of the nineteenth and twentieth centuries, Catalan sarsuela, Cuban zarzuela, writers, and singers. There is also a selected discography, bibliography, and glossary. UNITED KINGDOM 255. 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. 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.

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256. Bailey, Peter, ed. Music Hall: The Business of Pleasure. Milton Keynes, U.K. 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. 257. 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. 258. 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 0-521-45375-5. PN2595.E35 1996. Looking at women performers who cross-dressed or blacked-up, Bratton asserts that the Music Hall was a forum in which gender formulations were tested and contested. 259. 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. This biographical dictionary of British and American people associated with music halls includes photographs of many of the subjects. 260. 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. 261. Mellor, G. J. The Northern Music Hall. Newcastle upon Tyne: Frank Graham, 1970. 224 p. PN1968.G7MA (UMKC).

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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. 262. 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. 263. 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. 264. 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. 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. 265. Snelson, John. “‘We Said We Wouldn’t Look Back’: British Musical Theatre, 1935–1960.” In Cambridge Companion to the Musical, pp. 101–19. 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.

III Film Musicals

DICTIONARIES AND ENCYCLOPEDIAS 266. Corey, Melinda, and George Ochoa, eds. The American Film Institute Desk Reference. New York: Dorling Kindersley, 2002. 608 p. ISBN 0-78948934-1. 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 fashion, the visual presentation of the book is very user-friendly, with easily readable typeface, text sidebars, and ample photographs. 267. 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). 268. 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.

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Arranged alphabetically by title, basic information on film musicals, including lists of casts and songs and one-paragraph synopses, make this volume a valuable quick-reference source. 269. 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. 270. 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 0-89950764-6. ML128.M7B46 1993. Entries list performers and songwriters. Indices appear for performers, songwriters, and songs. 271. 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. 272. 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 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. 273. 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

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are provided for stars, and entries on the films themselves include production credits, lists of cast and songs, and brief commentaries. 274. 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. 275. 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. 276. Larkin, Colin. The Guinness Who’s Who of Film Musicals & Musical Films. Enfield, U.K.: Guinness, 1994. 351 p. ISBN 0-8511-2787-8. The dictionary, a companion to The Guinness Who’s Who of Stage Musicals (entry 38), 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 39). 277. 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. 278. 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. 279. 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 0-89950-5694. ML128.M7S88 1991.

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Arranged by film title, this list of published sheet music includes composer and song indices. 280. 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. 281. 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. 282. Vallance, Tom. The American Musical. London: Zwemmer and New York: A. S. Barnes, 1970. 192 p. ISBN 489-07653-9. ML102.M88V3 (UMKC). Brief entries on people associated with the film musical (performers, creators, producers, etc.) constitute the body of the volume. 283. 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. 284. 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. 285. 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.

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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 286. 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. 287. 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 0634-00765-3. PN1995.9.M86G74 1999. A companion to the author’s Broadway Musicals Show by Show (entry 56), 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. GENERAL HISTORIES 288. 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. 289. 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. 290. Aylesworth, Thomas. History of Movie Musicals. London: Hamlyn, 1984. 256 p. ISBN 0-600-34754-0 PN1995.M86. PN1995.M86.

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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. 291. Barrios, Richard. A Song in the Dark: The Birth of the Musical Film. New York and Oxford: Oxford University Press, 1995. 493 p. ISBN 0-19-5088107. PN1995.9.M86B37 1995. Barrios investigates many aspects of musical films from 1926 to 1934, including technology, studios, subject matter and style, and stars. 292. 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. 293. 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. 294. 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. 295. 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. 296. Hemming, Roy. The Melody Lingers On: The Great Songwriters and Their Movie Musicals. New York: Newmarket, 1986. 388 p. ISBN0-937858-57-9. ML2075.H4 1986 (UMKC).

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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. 297. 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. 298. 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. 299. 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. 300. Maltin, Leonard. The Disney Films. 4th ed. New York: Disney Editions, 2000. 422 p. ISBN 0-7868-8527-0. PN1999.W27 M36 2000. In this comprehensive guide to the Disney films, a large number of which were musicals, Maltin provides credits, commentary, and stills. 301. 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. 302. 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

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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. 303. 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). 304. 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. 305. 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. 306. 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. THEORETICAL AND ANALYTICAL STUDIES 307. 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. 308. Fischer, Lucy. “Designing Women: Art Deco, the Musical, and the Female Body.” In Music and Cinema, edited by James Buhler, Caryl Flinn, and

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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. 309. 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. 310. Wood, Graham. “Distant Cousin or Fraternal Twin? Analytical Approaches to the Film Musical.” In The Cambridge Companion to the Musical, 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? SOCIOLOGICAL STUDIES 311. Bowles, Stephen E. “Cabaret and Nashville: The Musical as Social Comment.” Journal of Popular Culture 12, no. 3 (winter 1978): 550–56. The films Cabaret (1972) and Nashville (1975) each reflect the values and cultural milieu of a particular time and place: 1930s Berlin in Cabaret and 1970s Nashville in Nashville. 312. 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.

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313. 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. 314. 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. 315. Knight, Arthur. “Dis-integrating the Musical: African American Musical Performance and the American Musical Film, 1927–1959.” Ph.D. diss., 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. 316. 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. 317. 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’s responses directed the audience’s emotional reactions to Astaire. 318. Woll, Allen L. The Hollywood Musical Goes to War. Chicago: Nelson-Hall, 1983. 186 p. ISBN 0-882-29704-X. PN1995.9.M86W64 1983.

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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 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. See also 160, 169. BOLLYWOOD 319. 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. 320. Banker, Ashok. Bollywood. Harpenden, U.K.: Pocket Essentials, 2001. 96 p. (Pocket Essentials Film.) ISBN 1-903047-45-5 (U.K.). 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. 321. Chhabra, Aseem. “Bollywood’s Toast to the World.” India Abroad 32, no. 39 (28 June 2002): M8. (Available through ProQuest.) 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). 322. 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

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• • • • •

“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

323. Joshi, Lalit Mohan. Bollywood: Popular Indian Cinema. 2nd ed. London: Dakini, 2002. 351 p. ISBN 0-953-70322-3. PN1993.5.I8. Mohan surveys the films, stars, and industry of Bollywood. 324. Kaur, Ravinder. “Viewing the West through Bollywood: A Celluloid Occident in the Making.” Contemporary South Asia 11, no. 2 (July 2002): 199–209. Although he does not focus on music per se, Kaur includes references to musical style (notably Bhangra/Indi pop music) in his article about the shifting themes in Hindi cinema and their relationship to middle-class India and the Indian diaspora. 325. Mishra, Vijay. Bollywood Cinema: Temples of Desire. New York: Routledge, 2001. 296 p. ISBN 0-415-93014-6. PN1993.5.I8. 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. 326. 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. 327. 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.

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328. 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. 329. 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.

IV Works

THE AETHIOP (1812) 330. 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. 331. 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) 332. Witchel, Alex. “An Aida Born of Ecstasies and Explosions.” New York Times, 19 March 2000, AR 7, 18. 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.

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ALADDIN (1992 FILM) 333. Culhane, John. Disney’s “Aladdin”: The Making of an Animated Film. New York: Hyperion, 1992. 120 p. ISBN 1-56282-757-X. NC1766.U52D5324 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). 334. 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) 335. 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) 336. 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. 337. 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 selfbetterment. ASPECTS OF LOVE (1989) 338. 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.

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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) 339. 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. 340. 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) 341. 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. BEAUTY AND THE BEAST (1991 FILM, 1994) 342. 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. 343. 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.

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344. 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. BIG (1996) 345. 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. BLUE MONDAY (1922) 346. 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) 347. 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. 348. Bessman, Jim. “Lloyd Webber’s, Rahman’s Dreams Become Reality.” Billboard 114, no. 38 (21 September 2002): 62. Bollywood composer 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.

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349. “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. 350. 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. 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. CABARET (1966, 1972 FILM) 351. 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. 352. 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. 353. Rinaldi, Nicholas George. “Music and Mediator: A Description of the Process of Concept Development in the Musical Cabaret.” Ph.D. diss., 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) 354. Blankenship, Bill. “Dragging up Family Values.” Topeka Capital-Journal, 1 March 2002, 1D.

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People involved with Topeka Civic Theatre’s production of the “genderbending but family-oriented musical” discuss the show. 355. 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. 356. Newmark, Judith. “Crossing over the Straight Line.” St. Louis PostDispatch, 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) 357. Blanchard, Jayne. “A Poignant Rediscovery of Camelot.” Washington Times, 26 November 2003, D8. Molly Smith’s reworking of Camelot is, in the reviewer’s opinion, one of the “most resonant and poignant” stagings of the musical. 358. 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. CATS (1981) 359. Denman, Jeffry. A Year with “The Producers.” With a foreword by Matthew Broderick. New York and London: Routledge, 2002. 187 p. ISBN 0-87830154-2. PN2287.D463. 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.

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360. 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 anecdotes. Several press reviews of Cats appear at the end of the volume. 361. Lloyd Webber, Andrew. “Cats”: The Book of the Musical. San Diego, New York, and London: Harcourt Brace & Company, 1983. 112 p. ISBN 0-15615582-6. 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. 362. 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) 363. 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.” 364. 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. 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

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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. 365. 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. 366. 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. 367. 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) 368. 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. 369. 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

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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. THE CIVIL WAR (1999) 370. 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. COMPANY (1970) 371. 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. 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). 372. 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) 373. 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.”

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THE CRADLE WILL ROCK (1937) 374. 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 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) 375. 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. DANCE OF THE VAMPIRES (2002) 376. 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). 377. 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) 378. Zinoman, Jason. “Debbie’s Doing New York Now, but Rate Her PG.” New York Times, 27 October 2002, AR5. Based on the 1978 porn film of the same title, the Off-Broadway musical is much more restrained and mainstream than its source.

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EFX (1995) 379. 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) 380. 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. EVITA (1978, 1996 FILM) 381. 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). 382. 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.

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FALSETTOS (1992) 383. 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) 384. Farber, Donald C., and Robert Viagas. The Amazing Story of “The Fantasticks.” New York: Citadel, 1991. 241 p. ISBN 0-8065-1214-8 ML410.S2614F4 1991. Paperback ed., “The Fantasticks”: How It All Began. New York: Citadel, 1995. 241 p. ISBN 0-8065-1673-9. ML410.S26143F43 1995. 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) 385. 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. FLOWER DRUM SONG (1958) 386. 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. FOLLIES (1971) 387. Fisher, James. “Nixon’s America and Follies: Reappraising a Musical Theatre Classic.” In Gordon, pp. 69–84.

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Fisher views Follies as strong sociopolitical commentary on America during the Nixon presidency. 388. 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. 389. 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. 42ND STREET (1933 FILM) 390. Fumento, Rocco, ed. 42nd Street. Madison: University of Wisconsin Press, 1980. 198 p. (Wisconsin/Warner Bros. Screenplay Series.) ISBN 0-29908100-1. 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) 391. 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) 392. Sheppard, W. Anthony. Revealing Masks: Exotic Influences and Ritualized Performance in Modernist Musical Theater. Berkeley, Los Angeles, and

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London: University of California Press, 2001. (California Studies in 20thcentury 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) 393. 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. 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. THE GREEN PASTURES (1936 FILM) 394. 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) 395. 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.

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GUYS AND DOLLS (1950, 1955 FILM) 396. 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. 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’s 1992 Broadway revival. GYPSY (1959, 1962 FILM) 397. 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’s 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. 398. 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. HAIR (1968) 399. 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 0313-27564-5. ML410.M117H7 1991.

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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. 400. 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. 401. 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) 402. 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 coffeetable 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. 403. 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) 404. Marks, Peter. “A Harlem Renaissance with Broadway Partners.” New York Times, 30 June 2002, B1, 4.

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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. 405. 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. HOLIDAY INN (1942 FILM) 406. 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 in Holiday Inn. The author also discusses the song’s reception history and popularity. HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING (1961) 407. 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. IN DAHOMEY (1902) 408. 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 0-89579-342-3. 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 piano-vocal score constitute the main part of the volume. Appendices include the operatic

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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. THE INDIAN PRINCESS (1808) 409. 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) 410. 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. 411. 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. THE JAZZ SINGER (1927 FILM) 412. 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. Carringer’s introductory essay to the script of The Jazz Singer traces the history of the film from 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

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source documents about the Vitaphone process and a cue sheet for the musical score. JERRY SPRINGER—THE OPERA (2003) 413. 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.” JESUS CHRIST SUPERSTAR (1971, 1973 FILM) 414. 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. 415. 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. 416. 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. The book chronicles the history of Jesus Christ Superstar on disc, stage, and screen. THE KING AND I (1951, 1956 FILM) 417. Deleyto, Celestino. “The Nun’s Story: Femininity and Englishness in the Films of Deborah Kerr.” In Babington, pp. 120–31.

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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. KISS ME, KATE (1948, 1953 FILM) 418. 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.” 419. 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. 420. 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. LADY DI—DIANA: A SMILE ENCHANTS THE WORLD (2001) 421. “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.

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LADY IN THE DARK (1941) 422. Mcclung, Bruce D., “American Dreams: Analyzing Moss Hart, Ira Gershwin, and Kurt Weill’s Lady in the Dark.” Ph.D. diss., 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.) 423. 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 3-487-097222. 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. 424. 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 LION KING (1994 FILM, 1997) 425. 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 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. LITTLE JOHNNY JONES (1904) 426. Vallillo, Stephen M. “George M. Cohan’s Little Johnny Jones.” In Loney, pp. 233–44.

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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) 427. 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. LITTLE NELL AND THE MARCHIONESS (1867) 428. 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) 429. 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. 430. 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 Midsummmer Night’s Dream as important source material for A Little Night Music and compares the two works. MAYTIME (1917, 1937 FILM) 431. Rodman, Ronald. “Tonal Design and the Aesthetic of Pastiche in Herbert Stothart’s Maytime.” In Music and Cinema, edited by James Buhler, Caryl

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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) 432. 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. 433. 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. MERRILY WE ROLL ALONG (1981) 434. 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. 435. 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.

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THE MERRY WIDOW (1905) 436. 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. 437. 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. A MIGHTY WIND (2003 FILM) 438. Hajdu, David. “A Mighty Wind: Spinal Tap for Folkies?” New York Times, 13 April 2003, B1, 28. 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. LES MISÉRABLES (1985) 439. 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. 440. 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 MeyerDinkgräfe. Amersham, U.K.: Cambridge Scholars Press, forthcoming, 2004. “Les Mis” has multiple identities—French, European, and global—each of which contributes to the musical’s reception history in different ways.

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MISS SAIGON (1989) 441. Behr, Edward, and Mark Steyn. The Story of “Miss Saigon.” New York: Arcade, 1991. 192 p. ISBN 1-55970-124-2. ML410.S286. 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. 442. 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.” 443. 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. THE MOST HAPPY FELLA (1956) 444. 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) 445. 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 with photos from the film, creating a visually dizzying montage that parallels that of the film.

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THE MUSIC MAN (1957) 446. Willson, Meredith. But He Doesn’t Know the Territory. New York: G. P. Putnam’s Sons, 1959. 190 p. ML410.W714A3. Willson discusses The Music Man from its conception through opening night. MY FAIR LADY (1956, 1964 FILM) 447. 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. 448. 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 a musical-dramatic analysis. Appendices include a short history of the Broadway musical genre, and cast and credits for the original production. MY LIFE WITH ALBERTINE (2003) 449. 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) 450. 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

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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) 451. 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 by Ricky Ian Gordon 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). 452. Green, Stanley. “Oklahoma!: Its Origin and Influence.” American Music 2, no. 4 (winter 1984): pp. 88–94 by Ricky Ian Gordon 94. Green chronicles the creation and development of Oklahoma! and the enthusiastic reception of its first performance. 453. White, Richard Kerry. “Historic Festivals and the Nature of American Musical Comedy.” Ph.D. diss., 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. 454. 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 491). Wilk chronicles and discusses the show from its conception through its Broadway premiere. PACIFIC OVERTURES (1976) 455. Fleischer, Leonard. “‘More Beautiful Than True’ or ‘Never Mind a Small Disaster’: The Art of Illusion in Pacific Overtures.” In Gordon, pp. 107–24. Fleischer reveals how the general Sondheim theme of growing from illusionary self-protection to a mature acceptance of reality is reflected in Pacific Overtures.

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PASSION (1994) 456. 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. 457. 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. 458. 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) 459. 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. 460. 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. POCAHONTAS (1855) 461. Brooks, William. “Pocahontas, Her Life and Times.” American Music 2, no. 4 (winter 1984): 19–48.

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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) 462. 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. 463. 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. 464. 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. 465. 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. 466. Shirley, Wayne D. “‘Rotating’ Porgy and Bess.” In The Gershwin Style: New Looks at the Music of George Gershwin, edited by Wayne Schneider,

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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. 467. Starr, Lawrence. “Toward a Reevaluation of Gershwin’s Porgy and Bess.” American Music 4, no. 2 (summer 1984): 25–37. Starr discusses the dramatic work as an opera, looking at character illumination, unifying musical devices, recitative, and arias. THE PRODUCERS (1968 FILM, 2001) 468. 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’s 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. 469. Denman, Jeffry. A Year with “The Producers.” With a foreword by Matthew Broderick. New York and London: Routledge, 2002. 187 p. ISBN 0-87830154-2. 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. 470. 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. 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.

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QUEST FOR CAMELOT (1998 FILM) 471. 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) 472. 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 discoinspired musical score by Debra Barsha. RAGS (1986) 473. 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) 474. 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. RENT (1996) 475. 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.

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476. 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. RHAPSODY IN BLUE: THE STORY OF GEORGE GERSHWIN (1945 FILM) 477. 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. ROBIN HOOD (1890) 478. 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. ROSE-MARIE (1924) 479. Everett, William A. “Formulating American Operetta in 1924: Friml’s RoseMarie 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. Along with The Student Prince, it helped define an American style of operetta in 1924.

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THE ROTHSCHILDS (1970) 480. 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) 481. 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. 482. 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.” SEUSSICAL (2000) 483. 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) 484. 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.

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SHOW BOAT (1927) 485. 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. 486. 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. 487. 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. 488. Traubner, Richard. “Maiden Voyage.” BBC Music Magazine Special Issue (1999): 24–27. Traubner discusses the staying power and legacy of Show Boat. SING FOR YOUR SUPPER (1939) 489. 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) 490. Wollen, Peter. Singin’ in the Rain. London: British Film Institute, 1992. 72 p. (BFI Film Classics.) ISBN 0-85170-3512-8. PN1997.S5133.

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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) 491. 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 454), 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. STREET SCENE (1947) 492. 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. 493. 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 0-300-035144. 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. 494. 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

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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) 495. 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) 496. Everett, William A. “Formulating American Operetta in 1924: Friml’s RoseMarie and Romberg’s The Student Prince.” American Music Research Center Journal 11 (2001): 15–33. Romberg’s score for The Student Prince incorporated European operetta forms such as the waltz and the march, but with American influences. Along with Rose-Marie, it helped define a style of American operetta in 1924. 497. 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. SUNDAY IN THE PARK WITH GEORGE (1984) 498. Bonahue, Edward T., Jr. “Portraits of the Artist: Sunday in the Park with George as ‘Postmodern’ Drama.” In Gordon, pp. 171–85. Bonahue argues that Sondheim’s philosophy of art is essentially conservative and traditional.

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499. 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. SUNSET BOULEVARD (1993) 500. 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. 501. 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) 502. 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. 503. 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). 504. 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.

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505. 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. SWEET SMELL OF SUCCESS (2002) 506. 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) 507. 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. 156–68). Merlin’s music is reminiscent of that of Arthur in Lerner and Loewe’s Camelot. THIS IS SPINAL TAP (1984 FILM) 508. Covach, John. “Stylistic Competencies, Musical Satire, and This Is Spinal Tap.” In Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies, edited by Elizabeth West Marvin and Richard Hermann, pp. 399–421. Rochester: University of Rochester Press, 1995. ISBN 1-87882242-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.

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THOU SHALT NOT (2001) 509. 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) 510. Stephen Hinton, ed. The Threepenny Opera. Cambridge: Cambridge University Press, 1990. 229 p. (Cambridge Opera Handbooks.) ISBN 0-52133026-2. 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 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) 511. 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.

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A TRIP TO CHINATOWN (1890) 512. 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) 513. 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. URBAN COWBOY (2003) 514. 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) 515. 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. 516. 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.

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WATCH YOUR STEP (1914) 517. 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) 518. 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. 519. 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). 520. 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. THE WIZARD OF OZ (VARIOUS VERSIONS, INCLUDING 1939 FILM) 521. 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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522. 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. 523. 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. 524. 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. 525. 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 0-8018-6477-1. 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) 526. 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

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lead role, Cohan’s involvement in its genesis, and reaction 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) 527. 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. ZIEGFELD FOLLIES (VARIOUS) 528. 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. 529. 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 530. 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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COMPOSERS 531. 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 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. 532. 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, 123

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Sammy Cahn, Saul Chaplin, E. Y. Harburg, Stephen Sondheim, Frank Loesser, and Irving Berlin. ARLEN, HAROLD (1905–86) 533. 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. 534. 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 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. BALFE, MICHAEL (1808–70) 535. Tyldesley, William. Michael William Balfe: His Life and His English Operas. Aldershot, U.K.: 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. BERLIN, IRVING (1888–1989) 536. 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. 537. 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.

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538. 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. Furia’s informative biography includes discussions of Berlin’s finest songs, focusing on the particular details that make them exceptional. 539. 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 cultural-sociological 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. 540. 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. 541. 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. 542. 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. 543. 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

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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) 544. 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). 545. 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). 546. Mcclung, Bruce D., and Paul R. Laird. “Musical Sophistication on Broadway: Kurt Weill and Leonard Bernstein.” In Cambridge Companion to the Musical, pp. 167–78. 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 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. 547. 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. 548. Peyser, Joan. Bernstein: A Biography. New York: Beech Tree Books, 1987. Rev. and updated ed, New York: Billboard, 1998. 510 p. ISBN 0-82308259-8. ML410.B566P5 1998.

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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. 549. 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. 550. 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. 551. 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. BLAKE, EUBIE (1883–1983) 552. 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 553. 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.

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BLITZSTEIN, MARC (1905–64) 554. 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. 555. 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) 556. Franceschina, John. David Braham: The American Offenbach. New York and London: Routledge, 2003. 266 p. (Forgotten Stars of the Musical Theatre.) 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). CHAPLIN, SAUL (1912–97) 557. Chaplin, Saul. The Golden Age of Movie Musicals and Me. Norman and London: University of Oklahoma Press, 1994. 262 p. ISBN 0-8061-26523. 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) 558. 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. 559. 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.

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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) 560. 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). COWARD, NOËL (1899–1973) 561. 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. 562. 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. 563. 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

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two books. The book includes an insightful introduction by Sheridan Morley, photographic illustrations, and an index. 564. 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. 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. 565. 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. 566. 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. 567. Payn, Graham, and Sheridan Morley, eds. The Noël Coward Diaries. Boston, MA: Little, Brown, and Company, 1982. 698 p. ISBN 0-316-695505. 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) 568. 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. 569. Krasner, Orly Leah. “Reginald de Koven (1859–1920) and American Comic Opera at the Turn of the Century.” Ph.D. diss., 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) 570. 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) 571. 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. GERSHWIN, GEORGE (1898–1937) 572. Banfield, Stephen. “Gonna Take You Higher.” BBC Music Magazine Special Issue (1999): 28–31. Banfield articulates the similarities and differences between George Gershwin and Kurt Weill and how both creators crossed lines between “high” and “low” art. 573. 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. 574. 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.

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Carnovale presents a thorough annotated bibliographic guide to writings about Gershwin and his works, including those for stage and screen. 575. 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. 576. 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. 577. 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. 578. 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 work. Greenberg devotes a great deal of space to Gershwin’s work for musical theater and film. 579. 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. 580. 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.

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581. 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. 582. 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. 583. Schwartz, Charles. Gershwin: His Life and Music. New York: BobbsMerrill, 1973. Reprint, New York: Da Capo, 1979. 427 p. ISBN0-30680096-9. 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 584. 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. 585. 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

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printed in parallel columns for easy comparison and critical discussion of their shows, films, and songs. GORDON, RICKY IAN (B. 1956) 586. 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) 587. 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. HAMLISCH, MARVIN (B. 1944) 588. 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. HERBERT, VICTOR (1859–1924) 589. 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. 590. Waters, Edward N. Victor Herbert: A Life in Music. New York: Macmillan, 1955. 653 p. ML410.H52W3. Waters’s 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.

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HERMAN, JERRY (B. 1933) 591. 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. KELLEY, EDGAR STILLMAN (1857–1944) 592. 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) 593. 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. 594. Davis, Lee. Bolton and Wodehouse and Kern: The Men Who Made Musical Comedy. New York: Heineman, 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. 595. 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. 596. 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.

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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. LACHIUSA, MICHAEL JOHN (B. 1962) 597. Paller, Rebecca. “High Scores: Michael John LaChiusa.” Opera News 64, no. 5 (November 1999): 50–53. 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) 598. Brown, Benedict Joseph. “A Study of the Seven Strands of Soul-Making in the Musicals of Andrew Lloyd Webber.” D.Min. diss., 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). 599. 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, U.S. musicals, U.K. musicals, and world events. 600. 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. 601. Mantle, Jonathan. Fanfare: The Unauthorised Biography of Andrew Lloyd Webber. London: Michael Joseph, 1989. 248 p. ISBN 0-7181-3274-2. ML410.L7. The celebrity-style biography focuses more on Lloyd Webber’s life than on his work.

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602. 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. 603. The Really Useful Group’s Web site. http://www.reallyuseful.com Lloyd Webber’s Really Useful Group has a Web site that includes information on each Lloyd Webber show, current productions, and casting calls. 604. 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. 605. 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) 606. 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 155611-364-1. 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. 607. Oteri, Frank J. “Frank and Fierce.” BBC Music Magazine Special Issue (1999): 56–58. Oteri surveys Loesser’s career and output. 608. 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

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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 609. Benedict, David. “The Odd Couple.” BBC Music Magazine Special Issue (1999): 52–54. Benedict surveys the partnership and collaborative efforts of Lerner and Loewe. 610. Lees, Gene. Inventing Champagne: The Worlds of Lerner and Loewe. New York: St. Martin’s, 1990. 350 p. ISBN 0-312-05136-0. 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. MAYERL, BILLY (WILLIAM JOSEPH MAYERL, 1902–59) 611. 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. NOVELLO, IVOR (1893–1951) 612. 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.

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613. 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. 614. 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. 615. 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. 616. 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. 617. Wilson, Sandy. Ivor. London: Michael Joseph, 1975. ISBN 0-7187-14086. PN2598.N6. Wilson, himself a composer, writes about his legendary predecessor. PORTER, COLE (1891–1964) 618. 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. 619. 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 great insight into Porter and his personality. Tales of travel adventures in Europe

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and the Middle East provide the backdrop for this testament of a friendship that lasted more than thirty years. 620. 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. 621. 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. 622. 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. 623. 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. See: 561 RODGERS, RICHARD (1902–79) 624. 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. 625. Cushman, Robert. “Richard Rodgers: From Oklahoma to the Alps.” BBC Music Magazine 8, no. 4 (December 1999): 35–39.

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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. 626. 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. 627. 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. 628. 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 0306-81134-0. 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. 629. 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. 630. 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. 631. Wood, Graham. “The Development of Song Forms in the Broadway and Hollywood Musicals of Richard Rodgers, 1919–1943.” Ph.D. diss., 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

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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’s use of anachronistic song forms (parallel period and lyric binary) to create the musical’s overall dramatic effect. Richard Rodgers and Lorenz Hart 632. 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 633. Bond, Randall Ives. “‘Still Dreaming of Paradise’: Rodgers and Hammerstein’s Oklahoma!, South Pacific, and Postwar America.” Ph.D. diss., 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. 634. 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 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. 635. Green, Stanley, ed. Rodgers and Hammerstein Fact Book. New York: Lynn Farnol Group, 1980. 794 p. ISBN 0-88188-508-8. ML128.M78.

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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. 636. 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. 637. 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. 638. 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. 639. Sears, Ann. “The Coming of the Musical Play: Rodgers and Hammerstein.” In Cambridge Companion to the Musical, pp. 120–36. Chronicling the creative output of Rodgers and Hammerstein, Sears integrates a discussion of dramatic ends with musical means, including the use of reprises, long musical scenes, dance, and characterization through song. 640. 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) 641. Arnold, Elliott. Deep in My Heart. New York: Duell, Sloan and Pearce, 1949. 511 p. ML410.R66.

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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. 642. 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. 643. Everett, William A. “Sigmund Romberg’s Operettas Blossom Time, The Student Prince, My Maryland, and My Princess.” Ph.D. diss., 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. 644. 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. SHERMAN, ROBERT B. (B. 1925)

AND

RICHARD M. (B. 1928)

645. 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. SONDHEIM, STEPHEN (B. 1930) 646. 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. 647. Adler, Thomas P. “The Sung and the Said: Literary Value in the Musical Dramas of Stephen Sondheim.” In Goodhart, pp. 37–60.

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Adler places Sondheim’s work within the American dramatic tradition of playwrights such as Eugene O’Neill, Edward Albee, Harold Pinter, and Arthur Miller. 648. 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. 649. Banfield, Stephen. “Sondheim and the Art that Has No Name.” In LawsonPeebles, 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. 650. Elson, Gail, producer. “Sondheim.” 60 Minutes Transcripts 20, no. 52 (11 September 11, 1988): 6–9. Diane Sawyer interviewed Sondheim on the television newsmagazine. 651. 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. 652. Freedman, Samuel G. “The Creative Mind: The Words and Music of Stephen Sondheim.” New York Times Magazine, 1 April 1984, 22–32, 60. This article appeared as Sunday in the Park with George was approaching its Broadway opening. 653. 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. 654. Goodhart, Sandor, ed. Reading Stephen Sondheim: A Collection of Critical Essays. New York and London: Garland, 2000. 280 p. (Studies in Modern

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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. 655. 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. 656. 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 655. 657. 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 0-81532054-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. 658. Gottfried, Martin. Sondheim. New York: Abrams, 1993. Rev. and updated ed., New York: Abrams, 2000. 207 p. ISBN0-8109-4179-1. ML410.S6872G8 1993. The detailed show-by-show discussion of Sondheim’s work is filled with photographs, many of them in color. 659. 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. 660. 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

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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. 661. 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.” 662. 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.” 663. Lovensheimer, Jim. “Stephen Sondheim and the Musical of the Outsider.” In Cambridge Companion to the Musical, pp. 181–96. 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. 664. 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. 665. 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.

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666. 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. 667. 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. 668. Schiff, Stephen. “Deconstructing Sondheim.” New Yorker, 8 March 1993, 76–87. Sondheim provides insight into his creative process. 669. 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. 670. Swayne, Steven Robert. “Hearing Sondheim’s Voices.” Ph.D. diss., 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. 671. 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. 672. 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. 673. Zadan, Craig. Sondheim & Co. New York: Harper & Row, 1989. 438 p. ISBN 0-306-80601-0. ML410.S6872Z2 1989.

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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: 550, 599 STUART, LESLIE (1864–1928) 674. Lamb, Andrew. Leslie Stuart: The Man Who Composed “Floradora.” New York and London: Routledge, 2002. 295 p. (Forgotten Stars of the Musical Theatre.) 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. SULLIVAN, ARTHUR (1842–1900) 675. 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. 676. 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. Gilbert and Sullivan 677. 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

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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. 678. 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. 679. Wilson, Robin, and Frederic Lloyd. Gilbert & Sullivan; The Official D’Oyly Carte Picture History. New York: Knopf, 1984. 216 p. ISBN 0-394-541138. ML410.S95 W5 1984. A pictorial history arranged chronologically, the text consists almost entirely of captions for the nearly 500 illustrations. 680. Wren, Gayden. A Most Ingenious Paradox: The Art of Gilbert and Sullivan. Oxford and New York: Oxford University Press, 2001. 396 p. ISBN 0-19514514-3. ML410.S95 W76 2001. Wren explores each Gilbert and Sullivan opera in great deal, looking at music, lyrics, structure, character, and plot. He compares works and presents common themes and parallels. In addition to discussing Gilbert and Sullivan performance history, Wren investigates the artistic legacy of the repertory. WEILL, KURT (1900–50) 681. 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. 682. 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 0-87951721-2. (Overlook Press) ML410.W395. The authors assembled an illustrated photographic chronology of Weill’s life. 683. Hirsch, Foster. Kurt Weill on Stage: From Berlin to Broadway. New York: Knopf, 2002. 404 p. ISBN 0-375-40375. ML410.W395.

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Hirsch describes Weill’s work, asserting that there are more similarities than differences between his European and American works. 684. Kilroy, David Michael. “Kurt Weill on Broadway: The Postwar Years (1945–1950).” Ph.D. diss., 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. 685. Kowalke, Kim H., ed. A New Orpheus: Essays on Kurt Weill. New Haven, CT and London: Yale University Press, 1986. 374 p. ISBN 0-300-035144. ML410.W395N5 1986. This collection of essays provides a variety of perspectives on Weill and his work. 686. Kowalke, Kim H., and Horst Edler, eds. A Stranger Here Myself: Kurt Weill Studien. Hildensheim, Germany: Olms, 1993. 384 p. ISBN 3-48709-7222. ML410.W395. This collection of essays provides a variety of perspectives on Weill and his work. 687. 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. 688. 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. 689. Sanders, Ronald. The Days Grow Short: The Life and Music of Kurt Weill. New York: Holt, Rinehart and Winston, 1980. 469 p. ISBN 0-03-0194113. ML410.W395S2. Weill collaborated with Bertolt Brecht in Germany and with Ira Gershwin, Alay Jay Lerner, and Maxwell Anderson, among others, in America.

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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. 690. 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. 691. 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. 692. 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: 546, 572 WILSON, SANDY (B. 1924) 693. 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) 694. 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. 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.

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WORDSMITHS 695. 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. 696. 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. 697. 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. 698. 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. 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. BERLIN, IRVING (1888–1989) 699. 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.

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BLACK, DON (B. 1938) 700. 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) 701. 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: 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: 594 BROUGHAM, JOHN (1814–80) 702. 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. COMDEN, BETTY (B. 1915) 703. 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 704. 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. 705. 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. 706. 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) 707. 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) 708. Dietz, Howard. Dancing in the Dark. New York: Quadrangle, 1974. 370 p. ISBN0-8129-0439-7. 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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FIELDS, DOROTHY (1905–74) 709. 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. Fields’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’s 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) 710. 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. 711. Gershwin, Ira. Lyrics on Several Occasions. New York: Knopf, 1959. 362 p. ML54.6.G28. Gershwin himself arranged a selection of lyrics into self-described arbitrary categories (including “Not for a Musicologist,” “A Set of Sagas,” “Turns with Terspcihore,” and “Euphoria Revisited”) and added commentary ranging widely in length, subject, and approach. 712. 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 0-19-5090209. ML410.G288G49 1999. After his brother’s death in 1937, Ira Gershwin continued writing skillfully crafted lyrics with a number of different composers. 713. 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: 584, 585

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GILBERT, WILLIAM SCHWENCK (1836–1911) 714. Stedman, Jane W. W. S. Gilbert: A Classic Victorian & His Theatre. Oxford and New York: Oxford University Press, 1996. 374 p. ISBN 0-19-8161743. 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: 677–80 GILL, WILLIAM B. (1842–1919) 715. Gänzl, Kurt. William B. Gill: From the Goldfields to Broadway. New York and London: Routledge, 2002. 294 p. (Forgotten Stars of Musical Theatre.) 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 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) 716. 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 weißen Rößl [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) 717. 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

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includes a quintuple timeline, paralleling Hammerstein’s life, Lerner’s life, U.S. musicals, U.K. musicals, and world events. 718. 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: 633–40, 665 HARBURG, EDGAR YIP (1898–1981) 719. 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. 720. 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. 721. 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) 722. 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.

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723. 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. HART, MOSS (1904–61) 724. 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 725) leaves off. 725. 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. KAUFMAN, GEORGE S. (1889–1961) 726. 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. 727. Teichmann, Howard. George S. Kaufman: An Intimate Portrait. New York: Atheneum, 1972. 372 p. PS3521.A727 Z9.

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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). LAURENTS, ARTHUR (B. 1918) 728. Laurents, Arthur. Original Story by Arthur Laurents: A Memoir of Broadway and Hollywood. New York: Knopf, 2000. 436 p. ISBN 0-375-400559. PS3523.A827. Playwright, screenwriter, and director Laurents offers insight into his professional and personal lives. LERNER, ALAN JAY (1918–86) 729. 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. 730. 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. 731. Shapiro, Doris. We Danced All Night: My Life behind the Scenes with Alan Jay Lerner. New York: William Morrow, 1990. 245 p. ISBN 0-688-089372. 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: 609–10, 717 MERCER, JOHNNY (1909–76) 732. 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,

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photographs, manuscripts, letters, and other memorabilia associated with Mercer. 733. 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) 734. 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) 735. 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) 736. 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 Superstar, and provides insight into the theater and popular music industries. SMITH, HARRY B. (1860–1936) 737. Franceschina, John. Harry B. Smith: A Biography. London and New York: Routledge, 2003. (Forgotten Stars of the Musical Theatre.) 224 p. ISBN 0-4159-3862-7.

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This biographical treatment of Smith is the first on the legendary wordsmith, who collaborated with Reginald de Koven, Victor Herbert, Sigmund Romberg, and others. 738. 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) See: 594, 701 ORCHESTRATORS BENNETT, ROBERT RUSSELL (1894–1981) 739. 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 1-58046-022-4. 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. 740. 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. 741. Hawkins, Roy Benton. “The Life and Work of Robert Russell Bennett.” Ph.D. diss., Texas Tech University, 1989. 209 p. Hawkins includes a catalog of Bennett’s works in his study. 742. 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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TUNICK, JONATHAN (B. 1938) 743. 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 744. 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. 745. 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. 746. 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. 747. Grody, Svetlana McLee, and Dorothy Daniels Lister. Conversations with Choreographers. Portsmouth, NH: Heinemann, 1996. 236 p. ISBN 0-43508697-9. 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. 748. Laird, Paul R. “Choreographers, Directors and the Fully Integrated Musical.” In The Cambridge Companion to the Musical, pp. 197–211.

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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. 749. 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. 750. 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. 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. 751. 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. 752. 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. 753. Theodore, Lee. “Reserving American Theatre Dance: The Work of the American Dance Machine.” In Loney, pp. 275–78.

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Research, preservation, and reconstruction of dance are at the heart of American Dance Machine’s goals. BALANCHINE, GEORGE (1904–83) 754. 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) 755. 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. BERKELEY, BUSBY (1895–1976) 756. Rubin, Martin. Showstoppers: Busby Berkeley and the Tradition of Spectacle. New York: Columbia University Press, 1993. 249 p. ISBN 0-23108054-9. PN1998.3.B475. Rubin connects Berkeley’s work for stage with that for screen and in the context of American popular entertainment. 757. 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. DE MILLE, AGNES (1905–93) 758. 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.

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FOSSE, BOB (1927–87) 759. 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. 760. 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) 761. 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. ROBBINS, JEROME (1918–98) 762. 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. 763. Lawrence, Greg. Dance with Demons: The Life of Jerome Robbins. New York: Putnam, 2001. 622 p. ISBN 0-399-14652-0. GV1785.R52L39 2001. Lawrence gives a detailed treatment of Robbins’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. DIRECTORS AND PRODUCERS 764. 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.

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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) 765. 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. CHAMPION, GOWER (1920–80) 766. Gilvey, John Anthony. “Gower Champion as Director: An Analysis of His Craft in Four Broadway Musicals, 1961–1968.” Ph.D. diss., 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. DISNEY THEATRICAL PRODUCTIONS 767. “Disney on Broadway.” http://www.disney.go.com/disneytheatrical/index.html The official Web site 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) 768. 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, Can-Can, 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.

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FIELDS, LEW (1867–1941) 769. 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’s 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 Fields’s work appears in the volume, including his radio and film appearances, as does a selected bibliography. HAMMERSTEIN, OSCAR I (1846–1919) 770. 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. MACKINTOSH, CAMERON (B. 1946) 771. 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 772. 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

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Heisler, Ricky Ian Gordon, Adam Guettel, Michael John LaChiusa, Andrew Lippa, Glenn Slater, Grant Stuariale, and Jeanine Tesori. PRINCE, HAL (HAROLD) (B. 1928) 773. 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. 774. 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]) 775. 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. 776. 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. 777. 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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WISE, ROBERT (B.1914) 778. 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) 779. 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. 780. 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.

VI Performers

GENERAL RESOURCES 781. 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 0-52162225-5. 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. 782. Ramczyk, Suzanne Mary. “A Performance Demands Analysis of Six Major Female Roles of the American Musical Theatre.” Ph.D. diss., 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 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).

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INDIVIDUAL PERFORMERS ANDREWS, JULIE (B. 1935) 783. Babington, Bruce. “Song, Narrative and the Mother’s Voice: A Deepish Reading of Julie Andrews.” In Babington, pp. 192–204. Andrews’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. 784. 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. 785. Spindle, Les. Julie Andrews: A Bio-Bibliography. Westport, CT: Greenwood, 1989. 168 p. (Greenwood Bio-Bibliographies in the Performing Arts, no. 6.) 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 185item bibliography. Appendices list awards and nominations, roles considered but not played, and information on Andrews’s two children’s books. 786. Windeler, Robert. Julie Andrews: A Biography. New York: Putnam, 1970. 253 p. ISBN 0-49100-295-5. PN2598.A65W3. 787. Windeler, Robert. Julie Andrews: A Biography. New York: St. Martin’s, 1983. 223 p. ISBN 0-312-44848-1. PN2598.A65W3 1983. 788. 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.

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ASTAIRE, FRED (1899–1987) 789. Astaire, Fred. Steps in Time. With a foreword by Ginger Rogers. New York: Harper & Brothers, 1959. Reprint, with new introduction by Jennifer Dunning. New York: Cooper Square, 2000. 376 p. ISBN 0-8154-1058-1. 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. 790. 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. 791. 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 792. 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. 793. Gallafent, Edward. Astaire & Rogers. Moffat, Scotland: Cameron & Hollis, 2000 and New York: Columbia University Press, 2002. 256 p. ISBN 0-23112626-3. 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 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) 794. Kalinak, Kathryn. “Disciplining Josephine Baker: Gender, Race, and the Limits of Disciplinarity.” In Music and Cinema, edited by James Buhler,

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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. BIKEL, THEODORE (B. 1924) 795. 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) 796. 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. BRICE, FANNY (1891–1951) 797. 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. 798. 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. 799. 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.

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BRYNNER, YUL (1920–85) 800. 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) 801. 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. 802. 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. 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. 803. 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 abilities. 804. Fisher, James. Eddie Cantor: A Bio-Bibliography. Westport, CT and London: Greenwood, 1997. 297 p. (Bio-Bibliographies in the Performing Arts, no. 73.) ISBN 0-313-29556-5. PN2287.C26F57 1997.

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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. 805. 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) 806. 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. 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) 807. 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. 808. 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. 809. Freedland, Michael. Maurice Chevalier. New York: Morrow, 1981. 287 p. ISBN 0-688-00652-3. ML420.C473F7.

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Freedland focuses on Chevalier’s life in a popular biography replete with created conversations but no index. CROSBY, BING (1901–77) 810. Giddins, Gary. Bing Crosby: A Pocketful of Dreams—The Early Years, 1903–1940. Boston: Little, Brown and Company, 2001. 728 p. ISBN 0-31688188-0. 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. 811. 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. 812. 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. DIETRICH, MARLENE (1901–92) 813. 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. DUNNE, IRENE (1901–90) 814. 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) 815. Lulay, Gail. Nelson Eddy: America’s Favorite Baritone. San Jose: Authors Choice Press, 1992, 2000. 227 p. ISBN 0-595-13879-9. ML420.E33.

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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 816. 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. 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. 817. 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 dual biography of both Eddy and MacDonald chronicles their relationship, both professional and personal. EGGERTH, MARTA (B. 1912) 818. 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–?) 819. 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) 820. 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.

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FEINSTEIN, MICHAEL (B. 1956) 821. 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. 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) 822. 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’s career and films. FIELDS, W. C. (1879–1946) 823. 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 Fields’s work in burlesque, minstrelsy, vaudeville, Ziegfeld’s Follies, and film. 824. 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’s mistress of fourteen years, the book is told in the first person and includes many created conversations. GARDNER, AVA (1922–90) 825. Fowler, Karin G. Ava Gardner: A Bio-Bibliography. Westport, CT: Greenwood, 1990. 256 p. (Greenwood Bio-Bibliographies in the Performing Arts, no. 14.) 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) 826. Clarke, Gerald. Get Happy: The Life of Judy Garland. New York: Random House, 2000. 510 p. ISBN 0-375-50378-1. ML420.G253C58 2000.

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Clarke focuses on the tragedies and triumphs of Garland’s life. 827. 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. 828. Finch, Christopher. Rainbow: The Stormy Life of Judy Garland. Designed by Will Hopkins. New York: Grosset & Dunlap, 1975. ISBN 0-448-117312. ML420.G253F56. The oversized tribute to Garland includes many anecdotes and photographs. 829. 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. 830. 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) 831. 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 (B. 1922) 832. Hellow, Brian. “The Lost Metro Girls.” Opera News 67, no. 2 (August 2002): 38–44.

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MGM singing sopranos Ann Blyth, Kathryn Grayson, and Jane Powell were among the studio’s most famous stars during the 1940s and 1950s. HANSON, JOHN (1922–98) 833. 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) 834. 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. HOPE, BOB (1903–2003) 835. 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. 836. 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. 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) (1855?–C. 1899)

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837. 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.

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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) 838. Fisher, James. Al Jolson: A Bio-Bibliography. Westport, CT and London: Greenwood, 1994. 321 p. (Bio-Bibliographies in the Performing Arts, no. 48.) 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. 839. Freedland, Michael. Jolson. New York: Stein and Day, 1972. ISBN 0-81281523-8. ML420.J74F7 1972. The popular biography emphasizes events in Jolson’s life. 840. 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. 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. 841. 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) 842. Graziano, John. “The Early Life and Career of the ‘Black Patti’: The Odyssey of an African American Singer in the Late Nineteenth Century.”

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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 (B. 1917) 843. 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) 844. 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. LANSBURY, ANGELA (B. 1925) 845. 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) 846. 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.

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Lawrence’s husband chronicles their life together, including Lawrence’s professional activities, from 1939 through her death. The book lacks an index. 847. 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. 848. 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 (B. 1900) 849. 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) 850. Spoto, Donald. Lenya: A Life. Boston: Little, Brown and Company, 1989. 371 p. ISBN 0-316-80725-7. PN2658.L39S66 1989. 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) 851. 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.

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LUPONE, PATTI (B. 1949) 852. 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) 853. 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. 854. 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. 855. 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. 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. 856. 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.

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857. 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: 816–17. MACRAE, GORDON (1921–86) 858. Leiby, Bruce R. Gordon MacRae: A Bio-Bibliography. Westport, CT: Greenwood. 248 p. (Greenwood Bio-Bibliographies in the Performing Arts, no. 17.) 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) 859. 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. 860. Rivadue, Barry. Mary Martin: A Bio-Bibliography. Westport, CT: Greenwood. 272 p. (Greenwood Bio-Bibliographies in the Performing Arts, no. 18.) 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. MCDONALD, AUDRA (B. 1970) 861. 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. 862. Green, Jesse. “Diva of the Difficult Song.” New York Times Magazine, 7 November 1999. Available at http://www.audra-mcdonald.com/ article11html.

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This feature article on McDonald appeared while the actress was preparing the title role in LaChiusa’s Marie Christine. 863. 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) 864. Bryan, George B. Ethel Merman: A Bio-Bibliography. Greenwood, CT: Greenwood, 1992. 298 p. (Bio-Bibliographies in the Performing Arts, no. 27.) 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. 865. Dienstfrey, Sherri Robin. “Ethel Merman: Queen of Musical Comedy.” Ph.D. diss., Kent State University, 1986. 234 p. Merman broke the mold of the 1920s musical comedy ingénue and had an incomparably successful career. 866. 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. 867. 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. MOSTEL, ZERO (1915–77) 868. 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) 869. 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 and whose career included musicals. PETERS, BERNADETTE (B. 1948) 870. 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. 871. 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. 872. 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 Peters’s career, her close association with Sondheim roles, and her vocal and physical training. POWELL, JANE (B. 1929) 873. 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. PRINCE, FAITH (B. 1957) 874. Hellow, Brian. “The Lost Metro Girls.” Opera News 67, no. 2 (August 2002): 38–44.

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MGM singing sopranos Ann Blyth, Kathryn Grayson, and Jane Powell were among the studio’s most famous stars during the 1940s and 1950s. ROGERS, GINGER (1911–95) 875. Faris, Jocelyn. Ginger Rogers: A Bio-Bibliography. Westport, CT: Greenwood, 1994. 312 p. (Bio-Bibliographies in the Performing Arts, no. 49.) ISBN 0-313-29177-2. PN2287.R72. The book includes a biographical essay, a chronology, annotated entries for Rogers’s performances on stage, film, radio, and television, and an extensive annotated bibliography. See: 792–93. RUSSELL, LILLIAN (1861–1922) 876. Schwartz, Donald Ray, and Anne Aull Bowbeer. Lillian Russell: A BioBibliography. Westport, CT: Greenwood, 1997. 328 p. (Bio-Bibliographies in the Performing Arts, no. 77.) ISBN 0-313-27764-8. PN2287.R83. 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) 877. 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) 878. 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.

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STREISAND, BARBRA (B. 1942) 879. 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. 880. 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. 881. 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. 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. TEMPLE, SHIRLEY (B. 1928) 882. Black, Shirley Temple. Child Star: An Autobiography. New York: McGrawHill, 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. 883. 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. 884. Edwards, Anne. Shirley Temple: American Princess. New York: Morrow, 1988. 444 p. ISBN 0-688-06051-X. PN2287.T33. An impeccably researched biography, the book includes 85 photos. 885. 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.

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886. 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 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) 887. Gänzl, Kurt. Lydia Thompson: Queen of Burlesque. New York and London: Routledge, 2002. 236 p. (Forgotten Stars of Musical Theatre.) ISBN 0-41593766-3. 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) 888. Farkas, Andrew, ed. Lawrence Tibbett: Singing Actor. Portland, OR: Amadeus Press, 1989. 160 p. ISBN0-931340-17-9. 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. 889. 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).

VII Performance

890. “American Musical Theater Reference Library.” http://www.americanmusicals.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. 891. 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 theatre “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). 892. 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. 893. 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. 894. 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. ACTING/SINGING 895. 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. 896. 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. 897. Balk, H. Wesley. The Complete Singer-Actor: Training for Music Theater. 2nd ed. Minneapolis: University of Minnesota Press, 1985. 251 p. ISBN 08166-1417-2. 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

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the practical abilities necessary for success. This volume became the first part of a trilogy with entries 898 and 899. 898. 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 897 and 899. 899. 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 897 and 898), Balk addresses the performer directly as to the need for a full-spectrum approach to musical theater realization. 900. 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. 901. 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. 902. Craig, David. On Singing Onstage. Produced by Lee productions. New York: Applause, 2002. 6 videocassettes and 64-page study guide. ISBN 1557-83568-3. 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.

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903. Craig, David. A Performer Prepares: A Guide to Song Preparation for Actors, Singers and Dancers. New York: Applause, 1993. 311 p. ISBN 155783-133-5. MT892.C73 1993. In what constitutes a third volume of a trilogy (along with entries 900 and 901), 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. 904. 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. 905. 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. 906. 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 1-880399-58X. MT892. Aimed primarily at professional performers, Oliver provides practical information on auditioning for musicals, including a list of overdone songs. 907. 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 as how to overcome fears and sing successfully on stage. The author provides concrete explanations, exercises, and practical advice. 908. 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.

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909. 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. 910. Young, Arabella Hong. Singing Professionally: Studying Singing for Actors and Singers. Portsmouth, NH: Heinemann, 1995. 129 p. ISBN 0-43508677-4. MT820. Drawing upon her own approach, Young provides a concise guide to singing in the musical theater. DIRECTING/PRODUCING 911. 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. 912. Boland, Robert, and Paul Argentini. Musicals!: Directing School and Community Theatre. Lanham, MD: Scarecrow, 1997. 202 p. ISBN 0-8108-33239. MT955. This practical guide to directing musical theater includes a focus on the preparation of the director’s promptbook. 913. 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. 914. 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.

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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. 915. 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. 916. 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 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. 917. 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. 918. 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.

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WRITING 919. 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. 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. 920. 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. 921. 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). 922. 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 923. 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.

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924. 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).

VIII Periodicals

Although a scholarly journal devoted exclusively to the musical theater does not exist in 2003, there are several periodicals that feature musical theater-related information. While the periodicals devoted to musical theater are more popular than academic, they are valuable resources, especially for contemporary musicals. MUSICAL THEATER 925. Happy Talk: News of the Rodgers & Hammerstein Foundation 926. Musical Stages (British, also available online at http://www.musical stages.co.uk) 927. Musicals: Das Musicalmagazin (German language) 928. Newsletter of the Stephen Sondheim Society (American) 929. Show Music: The Musical Theatre Magazine (ceased publication in 2002) 930. The Sondheim Review (British)

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RELATED SUBJECTS 931. American Music 932. American Theatre 933. 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. 934. Cambridge Opera Journal 935. In Theater 936. New Theatre Quarterly 937. Opera Quarterly 938. Passing Show: The Newsletter of the Shubert Archive 939. Playbill (also available online at http://www.playbill.com) 940. Popular Music and Society 941. Theatre Research International 942. Theatre Survey 943. Theatre World 944. Theatregoer Magazine

IX 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. 945. 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 56) 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.

203

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946. Hollywood Musicals Year by Year. Milwaukee: Hal Leonard, 1995. M1507. A parallel series to that for Broadway musicals (entry 945), these volumes are based on Green’s Hollywood Musicals Show by Show (entry 287) 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. 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. 947. 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 946) left off, this anthology—a seventh volume—includes twentynine songs from screen musicals that appeared between 1995 and 2001. 948. 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. 949. 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. 950. 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. 951. 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.

Sets and Series of Printed Material

205

952. 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. 953. 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. 954. 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. 955. 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. 956. 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. 957. 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. 958. 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. 959. 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. 960. 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 0-81531375-6. 961. 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.

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962. 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. SBN 0-8153-1378-0. 963. 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. 964. 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.

X Discography

Many older discographies exist for the musical theater; the following have all appeared since 1989. 965. Gänzl, Kurt. The Blackwell Guide to the Musical Theatre on Record. Oxford, U.K. and Cambridge, MA: Blackwell, 1990. 547 p. ISBN 0-63116517-7. 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. 966. 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. 967. Seeley, Robert, and Rex Bunnett. London Musical Shows on Record 1889–1989. Harrow, U.K.: 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 207

208

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collections, artists, and songs. A brief Gilbert & Sullivan appendix appears as well. 968. Walker, Mark, ed. Gramophone Musicals Good CD Guide. Rev. ed., Harrow, U.K.: 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 distributors, along with addresses. 969. Wildbihler, Hubert. Musicals! Musicals! Ein international Führer zu 850 Musicals und 300 Tonträgern. Passau: Muscialarchiv 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.

XI Recorded Anthologies

970. 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) to Fiddler on the Roof (1964). The accompanying book (entry 70) offers outstanding commentary on the recordings. 971. 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. 972. 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. 209

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Volume 3. 1913–1917. GEMM CDS 9056-58. 3 CDs. 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. 973. 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.

XII Other Searchable Resources

974. 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. News clippings, reviews, and announcements are also on the Web site. 975. 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 Web sites includes more than 750 entries on a variety of topics. 976. 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. 977. 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. 978. Musical Heaven. http://www.musicalheaven.com This site features synopses of musicals, MIDI files, and links. 211

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979. 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. 980. New York Times Index. The New York Times is a leading newspaper for musical theater news and reviews, and has a searchable index. 981. 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. 982. Playbill. http://www.playbill.com The online version of the important theater magazine includes a search engine. 983. 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. 984. 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. 985. 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. 986. Wildbihler, Hubert, and Sonja Völklein. The Musical: An International Annotated Bibliography. Munich: K. G. Saur, 1986. 320 p. ISBN 3-59810635-1. 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

Other Searchable Resources

213

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, Geoffrey, 220 Abbott, George, 748, 765 Abyssinia, 221 Adler, Sue, 445 Adler, Thomas P., 646–47 Adonis, 715 Adorno, Theodor, 510 AEthiop, The, 330–31, 950 Aftab, Kaleem, 319 Ahrens, Lynn, 63 Aida, 332, 767 Ainger, Michael, 677 Akerman, Chantal, 312 Aladdin, 333–34 Albini, Srecko (Felix), 239 Aldrich, Richard Stoddard, 846 Algonquin Round Table, 542 All That Jazz, 170 Allegro, 665 Allen, Michael, 895 Alper, Steven M., 896 Alpert, Hollis, 58, 462 Altman, Richard (Rick), 288, 385 American Dance Machine, 753 American Film Institute, 266 American in Paris, An, 557 American Music, 931

American Musical Theater Reference Library (greater L.A. area), 890 American Theater Web, 974 American Theatre, 932 Amour, 335 And the World Goes ’Round, 63 Anderson, Gillian B., 267 Anderson, John Murray, 395 Anderson, Kevin, 500 Anderson, Kurt, 506 Anderson, Maxwell, 689 Andrews, Julie, 171, 783–88 Annees 80, Les, 312 Annie Get Your Gun, 336–37, 867, 870 Anyone Can Whistle, 120, 663 Anything Goes, 67, 782, 867 Applebaum, Stanley, 59 Appleton, William W., 627 Ardmore, Jane Kesner, 802 Argentini, Paul, 912 Arlen, Harold, 135, 149, 152, 296, 523, 532–34, 710, 720 Armstead-Johnson, Helen, 217 Arnold, Elliott, 641 Around the World in Eighty Days, 620 “As Time Goes By,” 81 Aspects of Love, 338, 700 Assassins, 119, 339–40, 660, 663, 670 Astaire, Fred, 306, 317, 694, 789–93

215

216 Atkinson, Brooks, 1 Aumack, Sheryl, 268 Australia Council, 237 Australian Broadcasting Corporation, 238 “Autumn in New York,” 150 Avenue Q, 341 Avian, Bob, 747 Aylesworth, Thomas, 289–90 Ayre, Leslie, 678

B Babes in Arms, 81, 631 Babington, Bruce, 783 Bacall, Lauren, 703 Bach, Bob, 732 Bach, Steven, 724 Bacharach, Burt, 531 Bacon, Lloyd, 390 Baer, William, 704 Bailey, Peter, 255–56 Baker, David J., 436 Baker, Josephine, 308, 794 Balanchine, George, 754 Balfe, Michael, 535 Balk, H. Wesley, 897–99 Ballad of Little Mikey, The, 120 Banfield, Stephen, 61, 572, 648–49, 781 Banker, Ashok, 320 Baral, Robert, 192 Barbarino, Stephen, 247 Barber, Joan Susswein, 899 Barker, Barbara, 744 Barker, J. N., 409 Barrett, Mary Ellin, 536 Barrios, Richard, 291 Barry, John, 700 Barsha, Debra, 472 Bart, Lionel, 265 Bartell, Gerald, 153 Baum, L. Frank, 525 Bawtree, Michael, 891 Baxter, Carol G., 62 Baxter, Joan, 269 Bayard, Emile, 439 Bayes, Nora, 528 Beach, Frank A., 911 Beauty and the Beast, 342–44, 767 Bedell, Geraldine, 347 Behr, Edward, 439, 441

Index Belcher, Ernest, 750 Bell, Marty, 63 Bells Are Ringing, 705 Bend It Like Beckham, 328 Benedict, David, 609 Benjamin, Ruth, 270 Benjamin, Walter, 510 Bennett, Michael, 368, 747–49, 755 Bennett, Robert Russell, 739–42 Benton, Thomas Hart, 631 Bergan, Ronald, 257 Bergreen, Laurence, 537 Berkeley, Busby, 306, 308, 390, 393, 450, 756–57 Berkowitz, Gerald M., 2 Berlin, Irving, 37, 48, 89, 93, 101, 135, 149, 152, 296, 336, 406, 517, 532, 536–43, 699, 724, 726 Bernstein, Leonard, 64–65, 531, 544–51, 703, 985 Bertrand, Lynn Wood, 954 Bessman, Jim, 348 Betsy, 543 Bierley, Paul E., 962 Big, 345 Bigsby, Christopher, 18 Bikel, Theodore, 795 Bilbrough, Miro, 445 Billman, Larry, 790 Billy, 700 Binnema, Celeste-Tina Hernandez, 154 Birch, Pat, 747 Bitter Sweet, 202 Black, David, 893 Black, Don, 700 Black Patti Troubadours, 842 Black, Shirley Temple, 882, 885. See also Temple, Shirley Blake, Eubie, 220, 552–53 Blanchard, Jayne, 357 Bland, James, 513 Blankenship, Bill, 354 Blitzstein, Marc, 374, 474, 554–55 Bloch, Ernst, 510 Block, Geoffrey, 66–68, 209, 444, 573, 624 Blom, Eric, 510 Blom, Paul, 248 Bloom Ken, 25–26, 271, 538, 709 Bloomer Girl, 153 Blossom Time, 643 Blue Beard, 949

Index Blue Monday, 346 Blue Skies, 543 “Blue Skies,” 543 Blyth, Ann, 796 Blyton, Carey, 502 Bock, Jerry, 135, 531 “Body and Soul,” 81 Bogardus, Stephen, 63 Boheme, La, 475 Boland, Robert, 912 Bolcom, William, 553 Bollywood Queen, 328 Bolm, Adolph, 750 Bolton, Guy, 594, 701 Bombay Dreams, 328, 347–50, 700 Bonahue, Edward T., Jr., 498 Bond, Randall Ives, 633 Bondebjerg, Ib, 307 Bordman, Gerald, 52, 193, 198, 210, 593, 694 Born to Dance, 150 Borroff, Edith, 20, 69 Botto, Louis, 3 Boublil, Alain, 215 Bowbeer, Anne Aull, 876 Bowers, Dwight Blocker, 70, 91 Bowles, Stephen E., 311 Boy Friend, The, 693, 768 Boys from Syracuse, The, 631 Brackett, David, 292 Bradley, Edwin M., 272 Braham, David, 556 Brantley, Ben, 4 Bratton, J. S., 258 Bray, John, 409 Brecht, Bertold, 510, 689 Bredschneyder, Fred, 249 Brice, Fanny, 528, 797–99 Bristow, Eugene K., 371 Britton, Andrew, 432 Broadway through the Gramophone (recorded anthology), 971 Broadway Yearbook Series, 933 Brockett, Oscar G., 5 Broderick, Matthew, 407, 469 Broderick, Richard, 416 Brooks, Mel, 468, 470 Brooks, William, 71, 461 Brougham, John, 428, 461, 702 Brown, Benedict Joseph, 598 Brown, Gene, 53 Brown, Jared, 868

217 Brown, Jason Robert, 772 Brown, Nacio Herb, 296 “Brush Up Your Shakespeare,” 419 Bryan, George B., 864 Brynner, Rock, 800 Brynner, Yul, 800 Bubbeo, Daniel, 844, 851 Bucchino, John, 772 Bunnett, Rexton S., 27, 967 Burdick, Loraine, 883 Burke (Ziegfeld), Billie, 528 Burnett, Frances Hodgson, 482 Burston, Jonathan, 213 Burton, Humphrey, 544 Burton, Jack, 286 Busby, Roy, 259 Bussey, William M., 252 Butler, J. Kevin, 371 Butler, Michael, 401 Butler, Peter, 238 “By a Waterfall,” 308 Bye Bye Birdie, 211

C Cabaret, 119, 311, 351–53, 768 Cage aux Folles, La, 354–56, 591 Cagney, James, 526 Cahn, Sammy, 531–32 Call Me Madam, 867 Call Me Mister, 831 Cambridge Opera Journal, 934 Camelot, 118, 144, 357–58, 507, 724, 730–31, 761 Camner, James, 59 Campbell, Alan, 500 Campos, Rubén M., 232 Canby, Vincent, 336, 418 Can-Can, 768 Candide, 544, 550 Cantor, Eddie, 801–05 Capitan, El, 380, 962 Carefree, 150 Carmichael, Hoagy, 149, 296 Carnovale, Norbert, 574 Carousel, 66–67, 119, 144, 493, 771 Carrata, John, 515 Carringer, Robert L., 412 Carter, Marva Griffin, 560 Cassidy, David, 379

218 Castanza, Philip, 816 Castle, Irene, 517 Castle, Vernon, 517 Catron, Louis E., 975 Cats, 7, 63, 216, 359–62, 771 Chach, Maryann, 16 Chadman, Christopher, 305, 608, 747 Champion, Gower, 748–49, 766 “Change Partners,” 150 Channing, Carol, 782, 806 Chaplin, Saul, 305, 532, 557 Charnin, Martin, 764 Charosh, Paul, 539 Chero, Joni Maya, 156 Chevalier, Maurice, 807–09 Chhabra, Aseem, 321 Chicago, 118, 363–67 Children in the Wood, 949 Children of Dreams, 644 Childs, Kirsten, 772 Chitty Chitty Bang Bang, 645 Chorus Line, A, 144, 368–69, 588, 748, 755, 768, 782 Chu Chin Chow, 202 Chute, David, 322 Cilento, Wayne, 747 Cinderella, 951 Citron, Stephen, 561, 599, 717, 892 City of Angels, 63 Civil War, The, 370 Clark, John R., 157 Clarke, Gerald, 826 Clayton, Jan ,632 Cleaver, Hannah, 470 Cliffe, Peter, 72 Clorindy: The Origin of the Cakewalk, 560 Close, Glenn, 500 Clum, John M., 158 Cockrell, Dale, 73, 174, 956 Cocuzza, Ginnine, 395 Cohan, George M., 89, 101, 426, 526, 558–59, 698, 984 Cohan, Steven, 293 Cohen-Stratyner, Barbara Naomi, 530 Cole, Stephen, 562 Colerick, George, 74 Columbia Broadway Masterworks Series, 147 Comden, Betty, 531–32, 698, 703–06, 709, 893 Comer, Irene Forsyth, 428 Company, 119, 371–72, 663 Condon, Bill, 364

Index Connecticut Yankee, A, 153, 373, 631 Connick, Harry, Jr., 509 Conrad, Christine, 762 Considine, Shaun, 879 Cook, Will Marion, 560 Copland, Aaron, 710 Corey, Melinda, 266 Corliss, Richard, 459 Corrs, The, 471 Costonis, Maureen Needham, 745 Cotton Club Parade, 81, 150 Covach, John, 508 Coveney, Michael, 600 Coward, Noël, 242, 265, 561–67, 707 Crabtree, Lotta, 428 Cradle Will Rock, 375 Cradle Will Rock, The, 9, 67, 120, 374 Craig, David, 429, 900–03 Craig, Milton, 63 Crawford, Michael, 247, 376–77, 379 Crawford, Travis, 322 Crazy for You, 63 Cripps, Thomas, 394 Cristofori, Marilyn, 761 Crittenden, Camille, 199 Croce, Arlene, 792 Cronin, Mari, 434 Croom, Gabriel A., 405 Crosby, Bing, 406, 543, 810–12 Crump, Jeremy, 256 Cryer, Gretchen, 531 Csáky, Moritz, 200 Culhane, John, 333 Cumming, Alan, 352 Curtis, James, 823 Cushman, Robert, 75, 625

D Damase, Jacques, 242 Dance of the Vampires, 247, 376–77 Dangerous Games, 63 Daniele, Graciela, 63, 747, 764 Danielle, Marlene, 63 Danish film musicals, 307 Darkydom, 560 David, Hal, 531 David’s Violin, 959 Davis, Christopher, 480 Davis, Lee, 194, 594

Index Day, Barry, 566, 707 “Day of Atonement, The,” 412 Dearest Enemy, 631 Debbie Does Dallas, 378 Deer, Harriett, 159 Deer, Irving, 159 De Koven, Anna, 568 De Koven, Reginald, 101, 478, 568–89, 737 Deleyto, Celestino, 417 De Mille, Agnes, 631, 746, 748–49, 758 Denman, Jeffry, 359, 469 Denmark—film musicals, 307 Desert Song, The, 318, 833 Dickens, Charles, 428 Dickinson, Peter, 611 Diehl, Crandall, 447 Dienstfrey, Sherri Robin, 865 Dietrich, Marlene, 813 Dietz, Howard, 708 Dion, Celine, 471 Dircks, Phyllis T., 76 Diskay, Joseph, 303 Disney, 300, 332–34, 342–44, 427, 507, 527, 645, 767 Disney Theatrical Productions, 767 Dizikes, John, 21 Doctor of Alcantara, The, 960 Domingo, Plácido, 254 Donaldson, Walter, 149 Donnelly, Dorothy, 643 Donovan, Timothy P., 337 Douglass, David, 908 Dresser, Paul, 89 Drew, David, 510, 681 Drinkrow, John, 201 Driscoll, F. Paul, 852–53 Drone, Jeanette Marie, 28, 29 Drukman, Steven, 515 Drunkard, The, 188 Drury Lane’s Phantom of the Opera, 459 DuBarry Was a Lady, 867 Duenna, The, 76 Dufresne, Claude, 243 Duke, Vernon, 149, 152 Dunn, Don, 450 Dunne, Irene, 814 Dunning, Jennifer, 789 Duteurtre, Benoît, 244 Dyer, Richard, 861

219

E Earl, John, 256 Ebb, Fred, 352, 531 Ebbutt, A., 510 Eddy, Nelson, 815–17, 853, 855, 857 Edler, Horst, 686 Edwards, Anne, 827, 880, 884 Edwin, Robert, 475, 904 EFX, 379 Eggerth, Marta, 818 Eliot, Marc, 6 Eliot, T. S., 361 Eliot, Valerie, 361 Ella Fitzgerald Songbooks, 543 Ellington, Duke, 149, 570 Elliott, Celeste Keppler, 819 Ellis, George, 619 Ellis, Mary, 782, 820 Ellis, Vivian, 265 Elorduy, Ernesto, 232 Elson, Gail, 650 “Embraceable You,” 150 Emery, Lynne, 218 Emmett, Dan, 177 Emmett, Linda, 699 Engel, Lehman, 77–78, 695, 913, 919 Epstein, Milton, 54 Evangeline, 961 Evans, Philip R., 841 Everett, William A., 79, 135, 202, 214–15, 239, 358, 373, 440, 471, 479, 496–97, 507, 642–43 Evita, 144, 381–82, 736 “Ev’ry Time We Say Goodbye,” 150 Ewen, David, 30, 31 Eyen, Tom, 531 Eyre, Richard, 7

F Faith, William Robert, 835 Falsettoland, 383. See also Falsettos Falsettos, 63, 383, 571. See also March of the Falsettos Fantasticks, The, 95, 384 Farber, Donald C., 384 Faris, Jocelyn, 875 Farkas, Andrew, 888 Farneth, David, 682

220 Farnsworth, Marjorie, 528 “Fascinating Rhythm,” 150 Federal Theatre Project, 62, 489 Feder-Kane, Abigail Miriam, 160 Feinstein, Michael, 821 Feltenstein, George, 305 Ferber, Edna, 486 Ferencz, George, 739–40 Feuer, Cy, 768 Feuer, Jane, 294–95 Fiddler on the Roof, 144, 385, 868 Field, Ron, 747 Fields, Armond, 769 Fields, Dorothy, 532, 709 Fields, Gracie, 822 Fields, L. Mark, 769 Fields, Lew, 101, 769 Fields, W. C., 823–24 Filichia, Peter, 914 Filmer, Paul, 451 Finch, Christopher, 828 Fine and Dandy, 150 “Fine and Dandy,” 150 Finn, William, 531, 571 Fischer, Lucy, 308, 312 Fisher, James, 387, 803–04, 838 Fitzgerald, Ella, 543 Five Guys Named Moe, 63 Flaherty, Stephen, 63 Flatt, Ernest, 747 Fleischer, Leonard, 455 Fletcher, Reagan, 16 Flinn, Danny Martin, 80, 368 Floradora, 674 Flow, 116 Flower Drum Song, 386, 636 Floyd Collins, 120 Flying Down to Rio, 694 Foldi, Andrew, 899 Follies, 387–89, 663, 666, 670 Follow the Fleet, 150 Footlight Parade, 308, 844 Foradori, Anne Bill, 474 Fordin, Hugh, 718 Forte, Allen, 149–51 42nd Street, 390, 844 Fosca, 457 Fosse, Bob, 306, 367, 748–49, 759–60 Foster, Stephen, 513 Fowler, Karin G., 825 Franceschina, John, 556, 570, 737

Index Frank, Gerold, 829 Frankel, Aaron, 920 Fraser, Barbara Means, 651 Freed, Arthur, 704 Freedland, Michael, 595, 809, 839 Freedman, David, 802 Freedman, Samuel G., 652 French Spy, The, 819 Frick, John W., 8 Fricke, John, 521 Friedwald, Will, 81 Friml, Rudolf, 202, 984 Frogs, The, 924 Frommer, Harvey, 82 Frommer, Myrna Katz, 82 Fuller, Larry, 747 Fuller, Loie, 512 Fumento, Rocco, 390 Funny Face, 150 Funny Girl, 797 Funny Thing Happened on the Way to the Forum, A, 391, 868 Furia, Philip, 538, 696, 710, 733, 877

G Gallafent, Edward, 793 Gans, Adnrew, 870 Gänzl, Kurt, 32, 55, 83–84, 260, 338, 715, 887, 965 Gardner, Ava, 825 Gardner, Elysa, 376 Gardner, Gerald, 588 Garebian, Keith, 350, 396–97, 448, 518 Gari, Brian, 802 Garland, Judy, 733, 826–30 Garland, Patrick, 834 Garnett, David, 338 Garrett, Betty, 831 Garrick, David, 908 Garrick Gaities, The, 17, 150 Gartner, Zsuzsi, 414 Gay Divorce, The, 81 Gay Divorcee, The, 81 Gay, Noel, 265 Gentry, Anna Wheeler, 719 George, Alan, 369 Georgia Minstrels, 179 Gershwin, George, 37, 89, 93, 149, 152, 209, 296, 346, 477, 572–85, 710, 726

Index Gershwin, Ira, 37, 209, 532, 584–85, 689, 710–13, 724, 726, 821 Giddins, Gary, 810 Giel, Kate, 476 Gigi, 302, 730–31 Gilbert, James, 265 Gilbert, Stephen, 575–76 Gilbert, W. S. (William Schwenck), 677–80, 714 Gill, Brendan, 621 Gill, William B., 715 Gillingham, Karen, 421 Gilvey, John Anthony, 766 Girl Crazy, 81, 150, 582, 867 Girl of the Golden West, The, 644 Glöckner der Notre Dame, Der (The BellRinger of Notre Dame), 115 Godspell, 119, 144, 211, 393 Gold Diggers of 1933, 308, 393, 844 Goldberg, Isaac, 577 Golden Apple, The, 761 Goldfaden, Abraham, 236 Goldman, Herbert G., 797, 840 Goldrich, Zina, 772 Goldstein, Malcolm, 9, 726 Goldstein, Richard M., 634 Goldwyn Follies, The, 754 Goodhart, Sandor, 456, 653–54 Gorbman, Claudia, 309 Gordon, Eric A., 554 Gordon, Joanne, 655–57 Gordon, Ricky Ian, 449, 586, 772 Gottfried, Martin, 85–86, 658, 759, 845 Gottlieb, Robert, 697 Gould, Norma, 750 Gräfin Mariza (Countess Maritza), 716 Grafton, David, 618 Grand Hotel, 63 Grant, Micki, 531 Gray, Kevin, 63 Grayson, Kathryn, 832 Graziano, John, 219–21, 842, 951 Green Grow the Lilacs, 17 Green, Adolph, 531, 698, 703–06, 893 Green, Jesse, 514, 587, 862, 871 Green, John, 149 Green Pastures, The, 394 Green, Stanley, 33, 56, 87–88, 195, 273, 287, 452, 635, 945–47 Greenberg, Rodney, 578 Greenspan, Charlotte, 477 Greenwich Village Follies of 1919, 395

221 Gregory, Cynthia, 758 Greif, Michael, 476 Griffith, Melanie, 363 Grimstead, David, 187 Grody, Svetlana McLee, 747 Gross, Ken, 768 Grossman, Barbara W., 798 Grubb, Kevin Boyd, 760 Gruen, John, 784 Grunwald, Alfred, 716 Grunwald, Henry A., 716 Guest, Christopher, 438 Guettel, Adam, 587, 772 Guys and Dolls, 7, 63, 66–67, 396, 608, 727, 768, 874 Gypsy 119, 397–98, 871

H Hair, 19, 120, 153, 211, 399–401 Hairspray, 402–03 Hajdu, David, 438 Haley, Jack Jr., 305 Hall, Carol, 531 Hall Johnson Choir, 394 Hallam Company, 908 Hamilton, Margaret, 522 Hamlisch, Marvin, 531, 588, 743 Hamm, Charles, 89, 463, 539 Hammerstein, Oscar, I, 770 Hammerstein, Oscar, 2nd, 48, 135, 532, 624, 629, 633–40, 665, 717–18, 770, 921, 925, 985 Hammontree, Patsy Guy, 885 Hanan, Stephen Mo, 360 Hanson, John, 833 Hanson, Laura, 659 Happy Talk: News of the Rodgers & Hammerstein Foundation, 925 Harburg, Ernest (Ernie), 166, 721 Harburg, E.Y. (Edgar Yip), 523, 532, 719–21 Harcourt, Peter, 251 Harding, J., 612 Harding, James, 245 Hardy, Camille, 512 Haring, Keith, 472 Harlem Song, 404–05 Harmetz, Aljean, 522 Harnick, Sheldon, 531, 774 Harrigan and Hart, 556

222 Harris, Charles K., 89 Harrison, Rex, 834 Harsh, Edward, 492 Hart, Dorothy, 722 Hart, Lorenz, 37, 48, 209, 532, 624, 629, 632, 698, 722–23 Hart, Moss, 422, 435, 724–26 Hart, N., 355 Hart, Norman Phillip, 90 Harvey, Anne-Charlotte Hanes, 161 Hasbany, Richard, 313 Hatch, James V., 224 Haunted Tower, The, 76 Hawkins, Roy Benton, 741 Hays, Nancy, 238 Hearn, George, 900 Hebrew Publishing Company, 235 Hedwig and the Angry Inch, 211 Heinsheimer, Hans, 510 Heisler, Marcy, 772 Held, Anna, 528 Hello, Dolly!, 356, 591, 782 Hellow, Brian, 796, 832, 873 Hemming, Roy, 296 Henderson, Amy, 91 Heneker, David, 265 Henry, William A., III, 485, 500 Herbert, Victor, 101, 589–90, 737, 984 Herget, Bob, 747 Herman, Jerry, 135, 356, 531, 591 Herzogin von Chicago, Die (The Duchess of Chicago), 716 Heskes, Irene, 235 Hess, Carol A., 380 Hewitt, John Hill, 954 Higginson, Cornelia, 807 High Society, 557 Higham, Charles, 779 Highwayman, The, 569, 963 Hildy, Franklin J., 5 Hill, Aaron, 908 Hill, Ken, 459 Hinton, Stephen, 510 Hippodrome, 54 Hirsch, Foster, 683, 773, 775 Hirsch, John E., 196 Hirschfeld Phantom of the Opera, The, 459 Hirschhorn, Joel, 531 Hirst, David, 92 Hischak, Thomas S., 34–35, 274–75, 698 Hitchcock, H. Wiley, 409

Index Hofmann, Peter, 148 Höher, Dagmar, 256 Holiday Inn, 314, 406 Hollmann, Mark, 515 Holm, Hanya, 447, 761 Hope, Bob, 835–36 Hopkins, Will, 828 Horn, Barbara Lee, 399 Horn, David, 464 Horne, Lena, 900 Horowitz, Mark Eden, 660 Horton, Lester, 750 Hove, Arthur, 393 “How Little We Know,” 150 “How Long Has This Been Going On?” 150 How to Succeed in Business without Really Trying, 119, 170, 407, 768 Howard, George Campbell, 513 Howard, Jean, 619 Huffman, James R., 415 Hughes, Gervase, 203 Hugo, Victor, 439 Hummel, Franz, 247 Hwang, David Henry, 386 Hyers Sisters, 220, 837 Hyland, William G., 93, 626

I “I Didn’t Know What Time It Was,” 150 “I Got Rhythm,” 81, 575 “I Guess I’ll Have to Change My Plan,” 150 I Was an Adventuress, 754 Iceland, 150 Ilson, Carol, 774 Im weißen Rößl (The White Horse Inn), 716 In Dahomey, 221, 226, 408, 560 Inappropriate, 211 Indian Princess, The, 409 Inkle and Yariko, 76 Internet Broadway Database, 976 Internet Movie Database, 977 InTheater, 935 Into the Woods, 119, 410–11, 660, 663, 672, 924 Inverne, James, 700 Irma La Douche, 302 Isenberg, Barbara, 345 Isham, John W., 220 Ito, Michio, 750 “I’ve Got the World on a String,” 150

Index “I’ve Got You under My Skin,” 150

J Jablonski, Edward, 533, 540, 579–80, 584, 712, 729 Jackson, Arthur, 94, 280 Jackson, Richard, 961 Jacobs, Arthur, 94, 675 Jacobsen, Max, 731 Jacques Brel is Alive and Well and Living in Paris, 120 James, Caryn, 413 Jay, Dave, 541 Jazz Singer, The, 303, 412, 543 Jean, 588 Jelly’s Last Jam, 63 Jenkins, Jennifer R., 314 Jerome Robbins’ Broadway, 163 Jerry Springer—The Opera, 413 Jessel, George, 185 Jesus Christ Superstar, 119, 144, 211, 216, 302, 414–16, 736 John, Elton. 332 John Kenley’s Phantom of the Opera, 459 Johnson, Hall, 394 Johnson, John, 620 Johnson, John Andrew, 346 Johnson, Stephen Burge, 10 Jolson, Al, 303, 528, 838–41 Jolson Story, The, 831 Jones, John Bush, 162 Jones, Matilda Sissieretta, 842 Jones, Tom, 95, 384 Joseph and the Amazing Technicolor Dreamcoat, 736 Joshi, Lalit Mohan, 323 Jukem, Elmar, 682

K Kabilo, Alfijo, 241 Kabir, Nasreen Munni, 322 Kalinak, Kathryn, 794 Kalman, Emmerich, 716 Kalmar, Bert, 532 Kander, John, 352, 531 Kasha, Al, 531 Katkov, Norman, 799

223 Katvan, Rivka, 352 Kaufman, Charlotte, 960 Kaufman, George S., 435, 726–27 Kaufman, Gerald, 433 Kaufman, Mervyn, 385 Kaufmann, Anna Maria, 148 Kaur, Ravinder, 324 Kayden, Spencer, 516 Kaye, Joseph, 589 Keel, Howard, 843 Keeler, Ruby, 450, 844 Keller, Hans, 510 Keller, James, 96 Keller, Kate Van Winkle, 97 Kelley, Edgar Stillman, 592 Kellow, Brian, 297, 586, 818, 863 Kelly, Gene, 305, 306, 490, 703, 900 Ken Hill’s Phantom of the Opera, 459 Kenley, John, 459 Kennedy, Kathleen, 11 Kennedy, Michael Patrick, 27, 36 Kern, Jerome, 48, 89, 93, 101, 149, 152, 209, 296, 532, 593–96, 710 Kerr, Deborah, 417 Kiley, Richard, 900 Kilroy, David Michael, 684 Kimball, Robert, 37, 553, 621, 697, 699, 713, 722, 735 Kimbrough, Mary, 98 Kiner, Larry F., 841 King and I, The, 66, 118, 417, 636 Kirk, Elise K., 22, 964 Kislan, Richard, 99 Kismet, 302 Kiss Me Kate, 557 Kiss Me, Kate, 66–67, 144, 302, 418–20, 620, 761 Kivesto, Lois, 391 Knapp, Margaret M., 197, 517 Knapp, Shoshana Milgram, 457 Knight, Arthur, 315–16 Kobal, John, 298 Koegel, John, 97, 644 Kohn, Martin F., 100 Konas, Gary, 458 Koseluk, Gregory, 805 Kosloff, Theodore, 750 Kowalke, Kim H., 424, 492, 510, 685–86, 692 Krasker, Tommy, 37 Krasner, Orly Leah, 101, 437, 569, 963 Kreuger, Miles, 299, 486

224 Krieger, Henry, 531 Kroeger, Karl, 950 Kroll, Jack, 442 Kubie, Lawrence S., 422 Kuchwara, Michael, 363 Kunze, Michael, 247

L “Laceland,” 530 LaChiusa, Michael John, 102, 597, 743, 772, 862–63 Lady, Be Good!, 150 Lady Di—Diana: A Smile Enchants the World, 421 Lady in the Dark, 67, 422–24, 724 Lahr, John, 542, 628, 720 Laird, Paul, 79, 545–46, 748 Lamb, Andrew, 55, 103–04, 596, 674 Landy, Marcia, 822 Lane, Burton, 149, 152, 710 Lane, Nathan, 468, 608 Lansbury, Angela, 397, 782, 845 Lapine, James, 115, 411, 764 Larkin, Colin, 38–39, 276 Larson, Jonathan, 476 Lasser, Michael, 780 Laufe, Abe, 105 Laughlin, Haller, 915 Laurents, Arthur, 397, 728, 764 Lawrence, Gertrude, 846–48 Lawrence, Greg, 763 Lawson-Peebles, Robert, 106–07, 419 Laye, Evelyn, 849 Layton, Joe, 747, 893 League of American Theatres and Producers, 976 Lee, Gypsy Rose, 397 Lee, Joanna, 424, 492 Lees, Gene, 610 Legrand, Michel, 335 Legs Diamond, 163 Lehac, Ned, 489 Lehár, Franz, 716 Leiby, Bruce R., 843, 858 Leithauser, Brad, 407, 661 Lenya, Lotte, 546, 692, 850 Leon, Ruth, 622, 771 Lerner, Alan Jay, 108, 135, 531, 609–10, 689, 698, 717, 722, 729–31, 985

Index Leroux, Gaston, 460 LeRoy, Mervyn, 393 Leslie, Cole, 564 Leslie, Joan, 851 Let ‘Em Eat Cake, 582 “Let Yourself Go,” 150 Levich, Jacob, 322 Levine, Lawrence W., 164 Lewine, Richard, 40 Lewis, David H., 109 Lewis, Robert, 900 Light in the Piazza, The, 587 Liliom, 17 Lion King, The, 425, 767 Lion, Margo, 63 Lippa, Andrew, 772 Lipton, James, 662 Lister, Dorothy Daniels, 747 Little Johnny Jones, 426 Little Mermaid, The, 427 Little Nell and the Marchioness, 428 Little Night Music, A, 429–30, 663, 671–72 Little Show, The, 150 Litton, Glenn, 139 Lloyd, Frederic, 679 Lloyd Webber, Andrew, 15, 215–16, 347–50, 361, 381, 459–60, 501, 598–605, 736, 771, 773, 985 Lobel, Adrianne, 924 Loesser, Frank, 135, 296, 444, 532, 606–08, 985 Loesser, Susan, 606 Loewe, Frederick, 135, 609–10, 985 Londré, Felicia Hardison, 12 Loney, Glenn, 110, 893 Long, Richard A., 222 Long, Robert Emmet, 749 Lost in the Stars, 684 Lott, Eric, 175 Love Life, 684 Lovensheimer, Jim, 663 Lowe, Ruth, 149 Ludwig, John M., 898 Ludwig II. Sehnsucht nach dem Paradies (Ludwig II: Longing for Paradise), 247 Luhrmann, Baz, 445 Lulay, Gail, 815 LuPone, Patti, 500, 852 “Lush Life,” 81 Lynch, Richard Chigley, 966 Lynne, Gillian, 361

Index

M Macdonald, Hugh, 246 MacDonald, Jeanette, 816–17, 853–57 MacDonnell, Evelyn, 476 “Mack the Knife,” 81 Mackintosh, Cameron, 15, 215, 771 Macklin, Charles, 908 MacRae, Gordon, 858 Madame Butterfly, 441, 443 Madison, William V., 473 Madonna, 382 Maeder, James C., 461 Magee, Jeffrey, 543 Mahar, William J., 176 Maid of the Mountains, The, 202 Malas, Spiro, 63, 608 Maltby, Richard, Jr., 764 Maltin, Leonard, 300, 802, 841 Mame, 356, 591 Man of La Mancha, 119, 557 Mandelbaum, Ken, 111, 755 Mandell, Jonathan, 341 “Manhattan,” 150 Mantle, Jonathan, 601 March of the Falsettos, 118, 383. See also Falsettos Marchesani, Joseph, 503 Marie Christine, 597, 862–63 Marks, Peter, 404 Marshall, Rob, 364, 367 Martin, Hugh, 152 Martin, Mary, 1, 171, 782, 859–60 Martland, John, 39 Marx, Samuel, 632 Mary Poppins, 645, 783 Mason, Jeffrey D., 188 Mass (Bernstein), 392 Mast, Gerald, 112 Masteroff, Joe, 352 Mates, Julian, 113–15 Mayer, David, 189 Mayerl, Billy, 265, 611 Maytime, 431 Mazzie, Marin, 418 McAnuff, Des, 764 McBrien, William, 623 McCabe, John, 559 McCarter, Jeremy, 116, 449 McClelland, Kay, 63 Mcclung, Bruce D., 422–24, 546

225 McConachie, Bruce A., 190, 636 McDonald, Audra, 861–63 McEntee, Ann Marie, 388 McGilligan, Patrick, 526 McGlinn, John, 894 McGovern, Dennis, 117 McHugh, Jimmy, 149, 296 McKechnie, Donna, 782, 895 McKinley, Jesse, 516 McKnight, Gerald, 602 McLucas, Anne Dhu, 952. See also Shapiro, Anne Dhu McNamara, Brooks, 776 McSpadden, J. Walter, 41 Me and My Girl, 314 Meckna, Michael, 955 Meehan, Thomas (Tom), 402, 468 Meet Me in St. Louis, 432–33 Mellers, Wilfrid, 443, 519 Mellor, G. J., 261 Melnick, David, 305 Menken, Alan, 115 Menton, Allen W., 664 Mercado, Mario R., 687 Mercer, Ginger, 732 Mercer, Johnny, 532, 732–33 Merman, Ethel, 1, 397, 782, 864–67 Merrily We Roll Along, 119, 434–35, 665 Merry Widow, The, 101, 130, 436–37, 818, 853 Metamora, 188 Metro-Goldwyn-Meyer (MGM), 281, 305, 522 Mexican Hayride, 620 Meyerson, Harold, 721 Midas, 76 Midgette, Anne, 509 Midsummer Night’s Dream, A, 430 Mighty Wind, A, 438 Miller, D. A., 165 Miller, Marc, 872 Miller, Scott, 118–20, 339, 400 Milner, Andrew, 665 Mindlin, Roger, 253 Minnelli, Vincente, 433 Miranda, Carmen, 318 Miranda, Ricardo, 232 Misérables, Les, 7, 63, 119, 144, 214–16, 439–40, 771 Mishra, Vijay, 325 “Miss Linda Brown,” 405 Miss Saigon, 441–43,771 Mitchell, Brian Stokes, 418

226 Mollin, Alfred, 504 Monk, Meredith, 899 Monsoon Wedding, 322 Monte Cristo, 952 Montgomery, Michael, 552 Monti, Carlotta, 824 Morath, Max, 42, 121 Morcom, Anna, 326 Mordden, Ethan, 122–29, 420, 487, 637 Morley, Sheridan, 262–63, 563, 565, 567, 771, 848 Morris, William E., 157 Morrison, William, 13 Mortimer, Harold Roan, 130 Most Happy Fella, The, 63, 66–67, 141, 144, 444, 608 Mostel, Zero, 868 Moulin Rouge, 445 Muir, John, 27, 36 Mullen, Richard, 204 Mulligan Guard Ball, The, 958 Mundy, John, 301 Music from the New York Stage (recorded anthology), 972 Music Man, The, 118, 446 Music Theatre Studio Ensemble (Banff, Canada), 891 Musical Heaven (database), 978 Musical Stages, 926 Musical Theater Works, 772 nusical.patina.nl (database), 250 Musicals: Das Musicalmagazin, 927 Musicals 101 (database), 979 My Fair Lady, 66–67, 119, 130, 141, 144, 302, 447–48, 724, 730–31, 761, 771, 795 My Favorite Year, 63 “My Funny Valentine,” 81 My Life with Albertine, 449 My Maryland, 643 My Partner, 188 My Princess, 643 “My Ship,” 423 My Sister Eileen, 831 Myers, Paul, 547

N Nair, Mira, 322 Napier, John, 361 Napper, Lawrence, 613

Index Nashville, 292, 311, 313 Nassour, Ellis, 416 Nathan, Hans, 177 Nauert, Paul, 465 Neagle, Anna, 869 “Nearness of You, The,” 150 Neeley, Ted, 414 Nelson, Richard, 449 Nelson, Steve 342 Nelson, Willie, 543 New Theatre Quarterly, 936 New York Public Library, 981 New York Times, 980 Newmark, Judith, 356 Newsletter of the Stephen Sondheim Society, 928 Nichols, Mike, 705 Nick & Nora, 63 “Night and Day,” 81 Night is Young, The, 644 Nisse, Jason, 470 No, No, Nanette, 450, 294 Noble, Peter, 614 Nolan, Frederick, 638, 723 Norman, Monty, 265 Norton, Elliot, 14 Norton, Marsha, 481, 734 Norton, Richard C., 57 Novak, Deborah, 916 Novak, Elaine A(dams), 905, 916 Novello, Ivor, 15, 265, 612–17 Nunn, Trevor, 361, 771

O Ochoa, George, 266 Ockrent, Mike, 764 O’Donnell, Mark, 402 Of Thee I Sing, 582, 727 Of V We Sing, 831 Offen, Neil, 917 Ohio Light Opera, 205 O’Horgan, Tom, 401, 764 Oja, Carol J., 374 Oklahoma!, 17, 66, 120, 144, 451–54, 631, 633 “Ol’ Man River,” 81 Oland, Pamela Phillips, 922 Old Curiousity Shop, The, 428 Oliver!, 771 Oliver, Donald, 906 Ollie, Frank, 499

Index Olson, John, 372 Olson, Marcus J., 481 On a Clear Day You Can See Forever, 731 On the Town, 544, 550, 705, 831 On Your Toes, 67, 754 Once on This Island, 63 135th Street, 346 One Touch of Venus, 67 Ooghe, Lydia, 63 Opera Quarterly, 937 Orgill, Roxane, 370 Oriental America, 226 Original Cast! 100 Years of the American Musical Theater (recorded anthology), 973 Orr, N. Lee, 954 Ostrow, Stuart, 131 Oteri, Frank J., 607 Ottenberg, June C., 23 Oukrainsky, Serge, 750 Out of Bondage, 957 Owen, Bobbi, 43–45

P Pacific Overtures, 455, 660 Pagnol, Marcel, 807 Pal Joey, 66–67, 120 Paller, Rebecca, 597 Pan, Hermes, 747 Parish, James Robert, 277, 854 Parker, Alan, 382 Parks, Larry, 831 Pascal, Gabriel, 448 Paskman, Dailey, 178 Passing Show: The Newsletter of the Shubert Archive, 938 Passion, 118, 456–58, 660 Passione d’Amore, 457 Patinkin, Mandy, 208 Payn, Graham, 566–67 Peculiar Sam, or The Underground Railroad, 957 Peithman, Stephen, 917 Pennybacker, Susan, 256 Perry, George (C.), 460, 501 Perry, Steve, 471 Pesceballo, Il, 956 Peters, Bernadette, 336, 411, 870–72, 900 Peters, Monnie, 156

227 Peterson, Bernard L., Jr., 223–24 Petkere, Bernice, 149 Peyser, Joan, 548, 573, 581 Phantom, 459 Phantom of the Opera, The, 63, 148, 155, 214, 216, 376, 459–60, 771 Photoplay magazine, 299 Piaf, Edith, 768 Picker, Tobias, 509 Pinchpenny Phantom of the Opera, The, 459 Pippin, 119 Pirie, Joan, 495 Pitts, Michael R., 277–78, 878 Plautus, 391 Playbill, 939, 982 Plimpton, Shelley, 401 Plotnicki, Rita M., 702 Pocahontas, 409, 461 Pocahontas, 461 Pogrebin, Robin, 527 Pohly, Linda, 881 Polanski, Roman, 247 Pollock, Eileen, 808 Pollock, Robert Mason, 808 Pope, Alexander, 542 Popular Music and Society, 940 Porgy and Bess, 17, 66–67, 81, 144, 220, 302, 346, 462–67, 575 Porter, Cole, 37, 93, 149, 151–52, 209, 296, 561, 618–23, 698, 724, 735 Porter, Susan L., 132–33, 949 Powell, Eleanor, 816 Powell, Jane, 873 Power, Will, 116 Prece, Paul, 215 Preston, Katherine K., 134, 958 Preston, Robert, 900 Previn, André, 302 Prevots, Naima, 750 Price, Lonny, 514 Prince, Faith, 63, 608, 874 Prince, Harold (Hal), 353, 485, 748, 764, 771, 773–74 Princess Tam Tam, 308, 794 Producers, The, 468–70 Proust, Marcel, 449 Pryce, Jonathan, 442 Puccini, Giacomo, 441, 443 Puccio, Paul M., 430, 666 Putting It Together, 661 Pygmalion tale, 448

228

Q Quaglia, Serena, 379 Quest for Camelot, 471 Quin, James, 908 Quirk, Lawrence J., 836

R Radiant Baby, 472 Rags, 473 Ragtime, 118 Rahman, A. R., 347–50 Railroad Hour, 858 Rainey, Dana Shavonne, 405 Rainger, Ralph, 296 Ramczyk, Suzanne Mary, 782 Ramírez, Elizabeth C., 233 Rao, Maithili, 322 Raphaelson, S., 412 Rapoport, Ron, 831 Raskin, David, 267 Really Useful Group, 603 Red Moon, The, 221 Regina, 474 Reid, Francis, 923 Reilly and the Four Hundred, 958 Remembrance of Things Past, 449 Remick, Lee, 900 Rent, 120, 211, 475–76 Rhapsody in Blue, 346, 477 Rice, Cy, 824 Rice, Elmer, 494 Rice, Tim, 381, 531, 736 Rich, Frank, 365, 398, 482, 667 Rich, Sharon, 817 Richard Coeur de Lion, 76 Richards, David, 383, 401, 874 Richards, Martin, 364 Richmond, Keith, 604 Rickard, Sue, 317 Riding, Alan, 335 Riedel, Michael, 377 Riis, Thomas L., 135, 225–28, 408, 513, 953 Rimes, Leann, 471 Rimmer, Val, 451 Rinaldi, Nicholas George, 353 Rivadue, Barry, 860 Rivenburg, Leonard L., 592 Rob Roy, 569

Index Robbins, Jerome, 748–49, 751, 762–63 Robbins, Tim, 375 Roberts, Tony, 900 Robin Hood, 478, 569 Robin, Leo, 532 Robinson, Alice M., 706 Robinson, Bill, 886 Robison, Kevin, 907 Rodger, Gillian, 182–83 Rodgers, Dorothy, 627 Rodgers, Mary, 531, 628 Rodgers & Hammerstein Foundation, 925 Rodgers, Richard, 37, 48, 93, 135, 149, 152, 209, 296, 532, 624–40, 925, 985 Rodman, Ronald, 431, 523 Rogers, David A., II, 366 Rogers, Ginger, 306, 308, 317, 694, 789, 792–93, 875 Rogers, Will, 528, 802 Rogue Song, The, 889 Romance in the Dark, 150 Romberg, Sigmund, 202, 431, 641–44, 737, 984 Ronell, Ann, 149 Root, Deane L., 136, 948 Roper, Susan, 754 Ropes, Bradford, 390 Rosalie, 150 Rose, Al, 552 Rose, Billy, 484 Rose-Marie, 479, 782 Rosen, Judy, 406 Rosenberg, Bernard, 166 Rosenberg, Deena, 585 Rosenberg, Donald, 205 Rosenblatt, Arthur, 270 Roth, Marc A., 688 Rothschilds, The, 480 Rothstein, Mervyn, 340 Rubin, Martin, 756 Ruby, Harry, 532 Runyon, Damon, 396 Rushdie, Salman, 524 Russell, Dave, 264 Russell, Lillian, 876 Russell, Rosalind, 397 Rutherford, Lois, 256

S Saddler, Donald, 747

Index Sager, Carole Bayer, 531 “St. Louis Blues,” 81 St. Louis Municipal Opera (Muny), 98 Salonga, Lea, 442 Sanders, Ronald, 689 Sandla, Robert, 629 Saturday Night Live, 313 Sawyer, Diane, 650 Scammon, Howard, 908 Scandals of 1922, 346 Scarfone, Jay, 521 Scarlet Letter, The, 964 Schaffner, Caroline, 184 Schebera, Jürgen, 690 Schiff, Stephen, 668 Schillinger, Joseph, 465–66 Schleifer, Bernard, 682 Schlesinger, Judith, 505 Schlundt, Christena L., 751 Schmidt, Harvey, 384 Schneider, Wayne, 582 Schoenberg, Claude-Michel, 215 Schuermann, Kathleen Rachele, 247 Schultz, Debra A., 334, 343, 427 Schultz, Jean Emser, 11 Schultz, Margie, 814 Schuster-Craig, John, 484 Schwartz, Arthur, 149, 152, 296, 710 Schwartz, Charles, 573, 583 Schwartz, Donald Ray, 876 Schwartz, Stephen, 247, 392, 531 Scott, A. O., 483 Sears, Ann, 135, 639 Secrest, Meryle, 549, 630, 661, 669 Secret Garden, The, 63, 481–82, 734, 924 Sedgwick, Alfred B., 955 Seeley, Robert, 967 Sennett, Ted, 137 Seuss, Dr., 483 Seusse, Dana, 149 Seussical, 483, 527 Seven, The, 116 Seven Brides for Seven Brothers, 557 Seven Lively Arts, The, 150, 484, 620 “Shadow Waltz, The,” 308 Shaiman, Marc, 402 Shakespeare, William, 419–20, 430, 461, 499 Shall We Dance?, 310 Shapiro, Anne Dhu, 191. See also McLucas, Anne Dhu Shapiro, Doris, 731

229 Sharland, Elizabeth, 15 Shaw, George Bernard, 448 Sheean, Vincent, 770 Shenandoah, 188 Shenton, Mark, 60 Shepherd, Donald, 811 Sheppard, W. Anthony, 392 Sheridan, Michael J., 305 Sherman, Richard M., 645 Sherman, Robert B., 645 Shirley, Wayne D., 466 Shloyme Gorgl, 959 Shout, John D., 555 Show Boat, 66–67, 81, 144, 168, 220, 389, 485–88 Show Music: The Musical Theatre Magazine, 929 Shubert Archive, 16, 938 Shubert brothers (Sam, Lee, J. J.), 569, 775–77 Shuffle Along, 219 SIBMAS, 983 Siefert, Marsha, 303 Silberger, Katherine, 476 Silk Stockings, 302 Silver, Fred, 909 Simas, Rick, 46 Simon, Alfred, 40 Simon, Lucy, 481 Simons, Lewis M., 327 Sinatra, Frank, 877 Sing for Your Supper, 489 Singer, Barry, 405, 472, 772 Singin’ in the Rain, 490, 704 Siretta, Dan, 747 Sissle, Noble, 220, 553 1600 Pennsylvania Avenue, 550 Skaggs, Hazel G., 167 Slade, Julian, 265 “Slap that Bass,” 310 Slater, Glenn, 772 Slatzer, Robert F., 811 Slobin, Mark, 959 Smile, 588 Smith, Cecil, 138–39 Smith, Harry B., 478, 517, 737–38 Smith, Helen, 389 Smith, Kate, 878 Smith, Molly, 357 Smith, Oliver, 893 Smith, Ronn, 924 Snelson, John, 265 Snyder, Linda June, 550

230 Sobel, Bernard, 185 Sobran, Joseph, 608 “Something to Live For,” 150 Sondheim Review, The, 930 Sondheim, Stephen, 67, 140, 397, 411, 532, 551, 599, 646–73, 718, 743, 773, 872, 928, 930, 985 Songs for a New World, 120 Sonnenshein, Richard, 752 Sound of Music, The, 491, 557, 778, 783, 795 Sousa, John Philip, 380 South Pacific, 66, 633, 636, 782 Southern, Eileen, 179, 229, 957 Spindle, Les, 785 Spoto, Donald, 813, 850 Stagg, Jerry, 777 Stanley, Alessandra, 734 “Star Dust,” 81 Starlight Theatre (Kansas City, MO), 145 Star-Spangled Rhythm, 150, 314, 754 Starr, Lawrence, 467 Stasio, Marilyn, 591 Stearns, David Patrick, 344, 551 Stedman, Jane, 478, 714 Stein, Charles W., 186 Stein, Dave, 682 Steinman, Jim, 247 Stempel, Larry, 141, 492 Stern, Lee Edward, 304 Sternfeld, Jessica, 216 Stevens, Gary, 369 Stewart, Lawrence D., 584 Steyn, Mark, 142, 441 Stillman, William, 521 Stoddart, S(cott) F., 410, 435, 666 Stolz, Robert, 716 Stone, Peter, 63, 336, 511 “Stormy Weather,” 81 Stothart, Herbert, 431, 523 Straiges, Tony, 924 Stratas, Teresa, 473 Straus, Oscar, 716 Strauss, Johann, 199 Stravinsky, Igor, 484 Street Scene, 492–94, 684 Streisand, Barbra, 171, 879–81 Strike Up the Band, 495 Stroman, Susan, 63 Strouse, Charles, 531, 893 Stuariale, Grant, 772 Stuart, Leslie, 674

Index Stubblebine, Donald J., 47, 279 Student Prince, The, 496–97, 643, 833 Studwell, William E., 984–85 Sturman, Janet L., 234 Styne, Jule, 296, 397, 531–32, 703, 985 Sullivan, Arthur, 675–80 “Summertime,” 81 Sunday in the Park with George, 118, 498–99, 652, 660, 672, 924 Sunset Boulevard, 155, 500–01, 700 Sunshine, Linda, 352 Suri, Sanjay, 328 Suskin, Steven, 48–51, 933 Sutherland, Susan, 143 Swain, Joseph P., 144 Swartz, Mark E(van), 16, 525 Swayne, Steven Robert, 670 Sweeney Todd, The Demon Barber of Fleet Street, 119, 144, 502–05, 660, 663, 666, 671–72, 782 Sweet Smell of Success, 506 Sweeting, Adam, 350 Swift, Kay, 149 Swift, Mary Grace, 819 Swing Time, 150, 308 Swope, Martha, 368 Sword in the Stone, The, 507 Symonette, Lys, 692

T Take Me Out to the Ball Game, 831 Tambling, Jeremy, 168 Tanz der Vampire, 247 Taylor, Deems, 640 Taylor, John Russell, 280 Taylor, Ronald, 691 Taymor, Julie, 425 Teachout, Terry, 367, 671 Teichmann, Howard, 727 Tell Me on a Sunday, 700 Temple, Shirley, 882–86 Ten Nights in a Bar-Room, 956 Terry, Jim, 757 Tesori, Jeanine, 772 “That Old Black Magic,” 150 That’s Entertainment! films, 305 Theatre Guild, 17, 463 Theatre Research International, 941 Theatre Survey, 942

Index Theatre World, 943 Theatregoer Magazine, 944 Thelen, Lawrence, 764 Theodore, Lee, 747, 753 “There Will Never Be Another You,” 150 Thérèse Raquin, 509 They’re Playing Our Song, 588 This Is Spinal Tap, 508 Thomas, Bob,. 791, 866 Thomas, Lawrence B., 281 Thomas, Peter, 421 Thomas, Tony, 757 Thompson, Charles, 812 Thompson, Frank, 778 Thompson, Lydia, 155, 887 Thorne, Kathleen Hegarty, 145 Thornhill, William, 494 Thoroughly Modern Millie, 302 Thou Shalt Not, 509 Thousands Cheer, 314 Three’s a Crowd, 81 Threepenny Opera, The, 81, 510, 546 Thumbs Up, 150 Tibbett, Lawrence, 888–89 Tierney, Tom, 529 Titanic, 511 To Have and Have Not, 150 Toll, Robert, 180 Too Many Girls, 150 Torgovnik, Jonathan, 329 Traubner, Richard, 146, 206, 488 Trip to Chinatown, A, 512 Trouble in Tahiti, 550 Tuksar, Stanislav, 240–41 Tune, Tommy, 379, 747–49, 821 Tunick, Jonathan, 743 Turk, Edward Baron, 855–56 Tuttle, Raymond, 147 Tyldesley, William, 535

U Udell, Peter, 531 Uncle Tom’s Cabin, 188, 226, 513, 953 Urban Cowboy, 292, 514 Urinetown, 515–16

231

V Vacha, John E., 742 Vagabond King, The, 833 Vallance, Tom, 282 Vallillo, Stephen M., 426 Van Heusen, Jimmy, 149, 296 Verdino-Süllwold, Carla Maria, 148 Verdon, Gwen, 893 Vered, Karen Orr, 886 Viagas, Robert, 3, 384 Victor Victoria, 783 Victor/Victoria, 784 Viennese Nights, 644 Vincentelli, Elisabeth, 169 Virginia Minstrels, 177 Voice of Nature, The, 950 Völklein, Sonja, 986 Von Suppé, Franz, 239 Von Tilzer, Harry, 89

W Wake Up and Dream, 150 Waldau, Roy S., 17 Walker, George, 220 Walker, Mark, 968 Walker, Nancy, 900 Wall, Carey, 170 Wallace, Mary Elaine, 24 Walsh, Dave, 451 Walsh, Michael, 605 Walsh, Thommie, 747 Wang, Sylvia, 16 Warfield, Scott, 211 Warner, Alan, 283 Warren, Harry, 149, 296, 532, 821 Watch Your Step, 517 Watermeier, Daniel J.,12 Waters, Chris, 256 Waters, Edward N., 590 Waters, John, 403 Watkins, Dennis, 238 “Way You Look Tonight, The,” 150 Wayburn, Ned, 530 Wayne, Jane Ellen, 830, 857 Webb, Paul, 615 Webber, Christopher, 254 Weber, Bruce, 362 Weber, Joe, 101, 769

232 Wechsler, Bert, 889 Weill, Kurt, 149, 494, 510, 546, 572, 681–92, 710, 724, 850, 985 Weinraub, Bernard, 411 Weinstat, Hertzel, 889 Wells, Elizabeth, 520 Wescott, Steven D., 284 West Side Story, 66–67, 119, 141, 144, 518–20, 544, 550, 557, 748–49, 778 “What Is This Thing Called Love,” 150 Wheeler, Randy, 915 Where’s Charley, 768 “White Christmas,” 406 White, Richard Kerry, 453 Whiting, Richard, 149, 296, 532 Whoopee!, 803 Wiesengrund-Adorno, Theodor, 219 Wildbihler, Hubert, 969, 986 Wilder, Alec, 152 Wildhorn, Frank, 370 Wilk, Max, 454, 491, 532 Willett, Ralph, 306 Williams, Bert, 220 Williams, Michael, 613, 616 Williams, Vanessa, 411 Willson, Meredith, 446 Wilmeth, Don B., 18 Wilson, Garff B., 19 Wilson, Robin, 679 Wilson, Sandy, 265, 617, 693 Winans, Robert B., 181 Windeler, Robert, 786–88 Winer, Deborah Grace, 117, 709 Winkle Town, 150 Wise, Robert, 491, 778 Witchel, Alex, 332, 571 Wittman, Scott, 402 Wizard of Oz, The, 521–25 Wodehouse, P. G., 594, 701 Wolf, Stacy, 171 Wolfe, George C., 764 Woll, Allen L., 230–31, 285, 318 Wollen, Peter, 490 Wollman, Elizabeth L.,172, 212

Index Wonderful Town, 550, 705 Wood, Graham, 310, 538, 631 Woods, Alan, 173 Wopat, Tom, 336 Words and Music, 831 Wren, Gayden, 680 Wright, H. Stephen, 267 Wright, Nicholas, 7 Würz, Anton, 208

Y Yankee Doodle Dandy, 526 Ye Bare and Ye Cubb, 19 Year with Frog and Toad, A, 527 Yeargan, Michael, 924 Yellin, Victor Fell, 330–31, 950 Yeston, Maury, 511, 743 Youmans, Vincent, 149, 152, 532, 694, 710 Young, Arabella Hong, 910 Young, David, 918 Young, Kay, 672 Young, Percy M., 676

Z Zadan, Craig, 673 Zajc, Ivan, 239, 241 Zaks, Jerry, 63, 396, 608, 764 Zemach, Benjamin, 750 Ziegfeld, Florenz, 528, 779–80 Ziegfeld’s Follies, 528–30, 798, 803, 823 Ziegfeld Follies of 1922, 530 Ziémba, Karen, 63 Zinoman, Jason, 378 Zippel, David, 63 Zola, Emile, 509 Zolotow, Maurice, 867 Zulema, 232