Editorial

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Notes

1. Gerald Mast, Can't Help Singin’: The American Musical on Stage and Screen (Woodstock: The Overlook Press, 1987).

2. Richard Dyer, Only Entertainment(London: Routledge, 1992).

3. Richard Rodgers and Oscar Hammerstein II, South Pacific, in Six Plays by Rodgers and Hammerstein (New York: The Modern Library, n. d.), p. 317.

4. ‘Adventures in Music Theatre’, Contemporary Theatre Review, 14.1 (February 2004).

5. Alicia Kae Koger, ‘Trends in Musical Theatre Scholarship: An Essay in Historiography’, New England Theatre Journal, 3.1 (1992), 69–85.

6. Including Stanley Green's The World of Musical Comedy; the Story of the American Musical Stage as told through the Careers of its Foremost Composers and Lyricists (New York: Ziff-Davis Publishing Co., 1960), David Ewen's The Story of America's Musical Theater (Philadelphia: Chilton, 1961) and Gerald Bordman's American Musical Theatre: A Chronicle (New York: Oxford University Press, 1978).

7. Koger, ‘Trends’, p. 78. Amongst those she considers are Julian Mates's The American Musical Stage Before 1800 (New Brunswick: Rutgers University Press, 1962), Mast's Can't Help Singin’, and Joseph P. Swain's The Broadway Musical: A Critical and Musical Survey (New York: Oxford, 1990).

8. Koger, ‘Trends’, p. 83.

9. Swain, The Broadway Musical; Stephen Banfield, Sondheim's Broadway Musicals (Ann Arbor: University of Michigan Press, 1993); Geoffrey Block, Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim (New York: Oxford University Press, 1997).

10. Dyer, Only Entertainment.

11. Jane Feuer's The Hollywood Musical, British Film Institute Cinema Series (London: Macmillan Press Ltd, 1982); Elizabeth Bell, Lynda Haas and Laura Sells, From Mouse to Mermaid: The Politics of Film, Gender and Culture (Bloomington: Indiana University Press, 1995).

12. D. A. Miller, Place for Us: Essay on the Broadway Musical (London: Harvard University Press, 1998).

13. Alberto Sandoval-Sánchez, José can you see? Latinos On- and Off-Broadway (Madison, WI: University of Wisconsin Press, 1999).

14. Raymond Knapp's The American Musical and the Formation of National Identity (Princeton and Oxford: Princeton University Press, 2005) and The American Musical and the Performance of Personal Identity (Princeton and Oxford: Princeton University Press, 2006) are prominent in this area; others include John Bush Jones' Our Musicals, Ourselves: A Social History of the American Musical Theater (Hanover & London: University of New England Press, 2003), Stacy Wolf's A Problem Like Maria: Gender and Sexuality in the American Musical (Ann Arbor: University of Michigan Press, 2002) and Andrea Most, Making Americans: Jews and the Broadway Musical (Cambridge and London: Harvard University Press, 2004).

15. Bruce Kirle, Unfinished Show Business: Broadway Musicals as Works-in-Process (Carbondale, IL: Southern Illinois University Press, 2005); Scott McMillin, The Musical as Drama: A Study of the Principles and Conventions Behind Musical Shows from Kern to Sondheim (Princeton and Oxford: Princeton University Press, 2006).

16. Jonathan Burston, ‘Theatre Space as Virtual Place: Audio Technology, the Reconfigured Singing Body, and the Megamusical’, Popular Music, 17.2 (1998), 205–18 and ‘Spectacle, Synergy and Megamusicals: The Global-Industrialisation of the Live-Entertainment Economy’, in Media Organisations in Society, ed. by James Curran (London: Arnold, 2000), 69–83; Maurya Wickstrom, ‘Commodities, Mimesis, and The Lion King: Retail Theatre for the 1990s’, Theatre Journal, 51.3 (1999), 285–98; Susan Russell, ‘The performance of discipline on Broadway’, Studies in Musical Theatre, 1.1 (2007), 97–108; Dan Rebellato ‘Playwriting and Globalization: Towards a Site-Unspecific Theatre’, Contemporary Theatre Review, 16.1 (2006), 97–113.

17. Block's seminal Enchanted Evenings uses this as its sub-heading, book-ending what is conventionally seen as the Golden Age of Broadway musical theatre.

18. Katherine K. Preston, ‘American Musical Theatre before the Twentieth Century’, The Cambridge Companion to the Musical, ed. by William A. Everett and Paul R. Laird (Cambridge: Cambridge University Press, 2002), p. 4.

19. See Lehman Engel, The American Musical Theatre: A Consideration (New York: Macmillan, 1967); Green, The World of Musical Comedy.

20. See Jerry Herman interviewed in Otis L. Guernsey, Jr., Playwrights, Lyricists, Composers on Theater (New York: Dodd, Mead & Company, 1974), pp. 131–32.

21. See, for example, Sandoval-Sánchez's discussion in José can you see?, pp. 62–82.

22. Sandor Goodhart's Reading Stephen Sondheim: A Collection of Critical Essays, Studies in Modern Drama Vol. 10 (New York: Garland Publishing Inc., 2000) offers a very literary reading of his musicals; Banfield's ostensibly musical study, Sondheim's Broadway Musicals, offers a very thorough critical evaluation of his shows.