The Cambridge Companion to the Musical

doi:10.1017/9781316335468

The expanded and updated third edition of this acclaimed Companion provides an accessible, broadly based survey of one of the liveliest and most popular forms of musical performance. It ranges from the American musical of the nineteenth century to the most recent productions on Broadway, in London's West End, and many other venues, and includes key information on singers, audiences, critical reception, and traditions. Contributors approach the subject from a wide variety of perspectives, including historical concerns, artistic aspects, important trends, attention to various genres, the importance of stars, the influence of race, the various disciplines of theatrical production, the musical in varied media, and changes in technology. Chapters related to the contemporary musical have been updated, and two new chapters cover the television musical and the British musical since 1970. Carefully organised and highly readable, it will be welcomed by enthusiasts, students, and scholars alike.

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Contents

The Cambridge Companion to the Musical
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The Cambridge Companion to the Musical - Title page
pp i-iv
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Copyright page
pp i-iv
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Contents
pp i-iv
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Illustrations
pp v-vi
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Contributors
pp vii-viii
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Preface to the Third Edition
pp ix-xiv
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1 - How to Create a Musical: The Case of Wicked
pp xv-xvi
- By Paul R. Laird
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Part I - Adaptations and Transformations: Before 1940
pp 1-18
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2 - American Musical Theatre before the Twentieth Century
pp 19-20
- By Katherine K. Preston
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3 - Non-English-Language Musical Theatre in the United States
pp 21-50
- By John Koegel
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4 - Birth Pangs, Growing Pains and Sibling Rivalry: Musical Theatre in New York, 1900–1920
pp 51-78
- By Orly Leah Krasner
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5 - American and British Operetta in the 1920s: Romance, Nostalgia and Adventure
pp 79-98
- By William A. Everett
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6 - Images of African Americans: African American Musical Theatre, Show Boat and Porgy and Bess
pp 99-116
- By John Graziano
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7 - The Melody (and the Words) Linger On: American Musical Comedies of the 1920s and 1930s
pp 117-131
- By Geoffrey Block
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Part II - Maturations and Formulations: 1940–1970
pp 132-156
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8 - ‘We Said We Wouldn’t Look Back’: British Musical Theatre, 1935–1969
pp 157-158
- By John Snelson
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9 - The Coming of the Musical Play: Rodgers and Hammerstein
pp 159-184
- By Ann Sears
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10 - The Successors of Rodgers and Hammerstein from the 1940s to the 1960s
pp 185-202
- By Thomas L. Riis, Ann Sears
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11 - Musical Sophistication on Broadway: Kurt Weill and Leonard Bernstein
pp 203-229
- By bruce d. mcclung, Paul R. Laird
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Part III - Evolutions and Integrations: After 1970
pp 230-244
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12 - Stephen Sondheim and the Musical of the Outsider
pp 245-246
- By Jim Lovensheimer
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13 - Choreographers, Directors and the Fully Integrated Musical
pp 247-263
- By Paul R. Laird
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14 - From Hair to Rent and Beyond: Has ‘Rock’ Ever Been a Four-Letter Word on Broadway?
pp 264-280
- By Scott Warfield
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15 - The Megamusical: The Creation, Internationalisation and Impact of a Genre
pp 281-300
- By Paul Prece, William A. Everett
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16 - ‘In this England, in these times’: Redefining the British Musical since 1970
pp 301-322
- By Miranda Lundskaer-Nielsen
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17 - ‘Tonight I Will Bewitch the World’: The European Musical
pp 323-338
- By Judith Sebesta, Laura MacDonald
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18 - New Horizons: The Musical at the Dawn of the Twenty-First Century
pp 339-355
- By Bud Coleman
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Part IV - Legacies and Transformations
pp 356-380
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19 - Why Do They Start to Sing and Dance All of a Sudden? Examining the Film Musical
pp 381-382
- By Graham Wood
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