The Cambridge Companion to the Musical Cambridge Companions to Music 2nd Edition by William A Everett, Paul R Laird ISBN 0521862388 9780521862387
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ISBN 10: 0521862388
ISBN 13: 9780521862387
Author: William A Everett, Paul R Laird
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.
The Cambridge Companion to the Musical Cambridge Companions to Music 2nd Table of contents:
Part I – Adaptations and transformations: before 1940
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Select 1 – American musical theatre before the twentieth century
1 – American musical theatre before the twentieth centurypp 1-28
By Katherine K. Preston
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Select 2 – Non-English-language musical theatre in the United States
2 – Non-English-language musical theatre in the United Statespp 29-53
By John Koegel
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Select 3 – Birth pangs, growing pains and sibling rivalry: musical theatre in New York, 1900–1920
3 – Birth pangs, growing pains and sibling rivalry: musical theatre in New York, 1900–1920pp 54-71
By Orly Leah Krasner
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Select 4 – American and British operetta in the 1920s: romance, nostalgia and adventure
4 – American and British operetta in the 1920s: romance, nostalgia and adventurepp 72-88
By William A. Everett
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Select 5 – Images of African Americans: African-American musical theatre, Show Boat and Porgy and Bess
5 – Images of African Americans: African-American musical theatre, Show Boat and Porgy and Besspp 89-102
By John Graziano
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Select 6 – The melody (and the words) linger on: American musical comedies of the 1920s and 1930s
6 – The melody (and the words) linger on: American musical comedies of the 1920s and 1930spp 103-124
By Geoffrey Block
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Select Part II – Maturations and formulations: 1940–1970
Part II – Maturations and formulations: 1940–1970
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Select 7 – ‘We said we wouldn’t look back’: British musical theatre, 1935–1960
7 – ‘We said we wouldn’t look back’: British musical theatre, 1935–1960pp 125-146
By John Snelson
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Select 8 – The coming of the musical play: Rodgers and Hammerstein
8 – The coming of the musical play: Rodgers and Hammersteinpp 147-163
By Ann Sears
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Select 9 – The successors of Rodgers and Hammerstein from the 1940s to the 1960s
9 – The successors of Rodgers and Hammerstein from the 1940s to the 1960spp 164-189
By Thomas L. Riis, Ann Sears
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Select 10 – Musical sophistication on Broadway: Kurt Weill and Leonard Bernstein
10 – Musical sophistication on Broadway: Kurt Weill and Leonard Bernsteinpp 190-202
By Bruce D. McClung, Paul Laird
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Select Part III – Evolutions and integrations: after 1970
Part III – Evolutions and integrations: after 1970
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Select 11 – Stephen Sondheim and the musical of the outsider
11 – Stephen Sondheim and the musical of the outsiderpp 203-219
By Jim Lovensheimer
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Select 12 – Choreographers, directors and the fully integrated musical
12 – Choreographers, directors and the fully integrated musicalpp 220-234
By Paul R. Laird
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Select 13 – From Hair to Rent: is ‘rock’ a four-letter word on Broadway?
13 – From Hair to Rent: is ‘rock’ a four-letter word on Broadway?pp 235-249
By Scott Warfield
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Select 14 – The megamusical: the creation, internationalisation and impact of a genre
14 – The megamusical: the creation, internationalisation and impact of a genrepp 250-269
By Paul Prece, William A. Everett
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Select 15 – ‘Something borrowed, something blue’: the marriage of the musical and Europe
15 – ‘Something borrowed, something blue’: the marriage of the musical and Europepp 270-283
By Judith Sebesta
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Select 16 – New horizons: the musical at the dawn of the twenty-first century
16 – New horizons: the musical at the dawn of the twenty-first centurypp 284-302
By Bud Coleman
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Select Part IV – Legacies and transformations
Part IV – Legacies and transformations
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Select 17 – Why do they start to sing and dance all of a sudden? Examining the film musical
17 – Why do they start to sing and dance all of a sudden? Examining the film musicalpp 303-324
By Graham Wood
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Select 18 – Revisiting classic musicals: revivals, films, television and recordings
18 – Revisiting classic musicals: revivals, films, television and recordingspp 325-339
By Jessica Sternfeld
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Select 19 – The creation of a Broadway musical: Stephen Schwartz, Winnie Holzman, and Wicked
19 – The creation of a Broadway musical: Stephen Schwartz, Winnie Holzman, and Wickedpp 340-352
By Paul R. Laird
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Tags: William A Everett, Paul R Laird, Musical Cambridge, Music