The Cambridge Companion to the Musical

doi:10.1017/CCOL9780521862387

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Crossref Citations

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Taylor, Millie 2006. Don't dream it, be it: exploring signification, empathy and mimesis in relation to The Rocky Horror Show. Studies in Musical Theatre, Vol. 1, Issue. 1, p. 57.

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Dunbar, Zachary 2012. The Cambridge Companion to Theatre History. p. 197.

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Laird, Paul R. 2014. Showtime: A History of the Broadway Musical Theater. By Larry Stempel. New York and London: W.W. Norton and Company, 2010.. Journal of the Society for American Music, Vol. 8, Issue. 1, p. 103.

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2nd edition
Edited by William A. Everett, University of Missouri, Kansas City, Paul R. Laird, University of Kansas

Publisher:: Cambridge University Press
Online publication date:: September 2011
Print publication year:: 2008
Online ISBN:: 9781139001823
DOI:: https://doi.org/10.1017/CCOL9780521862387

Subjects:: Music, Drama and Theatre: General Interest, Drama, Theatre, Performance Studies, Music: General Interest
Collection:: The Cambridge Companions to Music
Series:: Cambridge Companions to Music

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Tracing the development of the musical on both Broadway and in London's West End, this updated Companion continues to provide a broad and thorough overview of one of the liveliest and most popular forms of musical performance. Ordered chronologically, essays cover from the American musical of the nineteenth century through to the most recent productions, and the book also includes key information on singers, audience, critical reception, and traditions. All of the chapters from the first edition remain – several in substantially updated forms – and five completely new chapters have been added, covering: ethnic musicals in the United States; the European musical; Broadway musicals in revival and on television; the most recent shows; and a case study of the creation of the popular show Wicked based on interviews with its creators. The Companion also includes an extensive bibliography and photographs from key productions.

‘This is a work of considerable genius … intelligent, incisive, informed, yet immensely readable.’

Sheridan Morley

'This well-structured, beautifully argued and thought provoking compendium proves itself to be an indispensable guide.'

Source: Classical Music

' … the companion is well written, effectively organized, readable, and visually attractive, punctuated by well-placed photographs and playbills. Footnotes are provided for each essay; the bibliography is extensive; and the index includes a full coverage of shows, songs, dances, lyricists and composers. Because of the updated chapters and the extensive new material included in the later edition, it is well worth having, even if the reader also has the earlier 2002 edition.'

Source: Studies in Musical 4

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Contents

Frontmatter
pp i-xvi
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Part I - Adaptations and transformations: before 1940
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1 - American musical theatre before the twentieth century
pp 1-28
- By Katherine K. Preston
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2 - Non-English-language musical theatre in the United States
pp 29-53
- By John Koegel
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3 - Birth pangs, growing pains and sibling rivalry: musical theatre in New York, 1900–1920
pp 54-71
- By Orly Leah Krasner
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4 - American and British operetta in the 1920s: romance, nostalgia and adventure
pp 72-88
- By William A. Everett
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5 - Images of African Americans: African-American musical theatre, Show Boat and Porgy and Bess
pp 89-102
- By John Graziano
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6 - The melody (and the words) linger on: American musical comedies of the 1920s and 1930s
pp 103-124
- By Geoffrey Block
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Part II - Maturations and formulations: 1940–1970
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7 - ‘We said we wouldn't look back’: British musical theatre, 1935–1960
pp 125-146
- By John Snelson
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8 - The coming of the musical play: Rodgers and Hammerstein
pp 147-163
- By Ann Sears
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9 - The successors of Rodgers and Hammerstein from the 1940s to the 1960s
pp 164-189
- By Thomas L. Riis, Ann Sears
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10 - Musical sophistication on Broadway: Kurt Weill and Leonard Bernstein
pp 190-202
- By Bruce D. McClung, Paul Laird
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Part III - Evolutions and integrations: after 1970
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11 - Stephen Sondheim and the musical of the outsider
pp 203-219
- By Jim Lovensheimer
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12 - Choreographers, directors and the fully integrated musical
pp 220-234
- By Paul R. Laird
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13 - From Hair to Rent: is ‘rock’ a four-letter word on Broadway?
pp 235-249
- By Scott Warfield
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14 - The megamusical: the creation, internationalisation and impact of a genre
pp 250-269
- By Paul Prece, William A. Everett
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15 - ‘Something borrowed, something blue’: the marriage of the musical and Europe
pp 270-283
- By Judith Sebesta
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16 - New horizons: the musical at the dawn of the twenty-first century
pp 284-302
- By Bud Coleman
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Part IV - Legacies and transformations
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17 - Why do they start to sing and dance all of a sudden? Examining the film musical
pp 303-324
- By Graham Wood
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18 - Revisiting classic musicals: revivals, films, television and recordings
pp 325-339
- By Jessica Sternfeld
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19 - The creation of a Broadway musical: Stephen Schwartz, Winnie Holzman, and Wicked
pp 340-352
- By Paul R. Laird
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Notes
pp 353-371
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Select bibliography
pp 372-385
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Index
pp 386-412
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The Cambridge Companion to the Musical

This Book has been cited by the following publications. This list is generated based on data provided by Crossref.

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Contents

Frontmatter
pp i-xvi

Part I - Adaptations and transformations: before 1940

1 - American musical theatre before the twentieth century
pp 1-28

2 - Non-English-language musical theatre in the United States
pp 29-53

3 - Birth pangs, growing pains and sibling rivalry: musical theatre in New York, 1900–1920
pp 54-71

4 - American and British operetta in the 1920s: romance, nostalgia and adventure
pp 72-88

5 - Images of African Americans: African-American musical theatre, Show Boat and Porgy and Bess
pp 89-102

6 - The melody (and the words) linger on: American musical comedies of the 1920s and 1930s
pp 103-124

Part II - Maturations and formulations: 1940–1970

7 - ‘We said we wouldn't look back’: British musical theatre, 1935–1960
pp 125-146

8 - The coming of the musical play: Rodgers and Hammerstein
pp 147-163

9 - The successors of Rodgers and Hammerstein from the 1940s to the 1960s
pp 164-189

10 - Musical sophistication on Broadway: Kurt Weill and Leonard Bernstein
pp 190-202

Part III - Evolutions and integrations: after 1970

11 - Stephen Sondheim and the musical of the outsider
pp 203-219

12 - Choreographers, directors and the fully integrated musical
pp 220-234

13 - From Hair to Rent: is ‘rock’ a four-letter word on Broadway?
pp 235-249

14 - The megamusical: the creation, internationalisation and impact of a genre
pp 250-269

15 - ‘Something borrowed, something blue’: the marriage of the musical and Europe
pp 270-283

16 - New horizons: the musical at the dawn of the twenty-first century
pp 284-302

Part IV - Legacies and transformations

17 - Why do they start to sing and dance all of a sudden? Examining the film musical
pp 303-324

18 - Revisiting classic musicals: revivals, films, television and recordings
pp 325-339

19 - The creation of a Broadway musical: Stephen Schwartz, Winnie Holzman, and Wicked
pp 340-352

Notes
pp 353-371

Select bibliography
pp 372-385

Index
pp 386-412

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The Cambridge Companion to the Musical

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