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Our Musicals, Ourselves
Our Musicals, Ourselves is the first full-scale social history of the American musical theater from the imported Gilbert and Sullivan comic operas of the late nineteenth century to such recent musicals as The Producers and Urinetown. While many aficionados of the Broadway musical associate it with wonderful, diversionary shows like The Music Man or My Fair Lady, John Bush Jones instead selects musicals for their social relevance and the extent to which they engage, directly or metaphorically, contemporary politics and culture. Organized chronologically, with some liberties taken to keep together similarly themed musicals, Jones examines dozens of Broadway shows from the beginning of the twen...
Film and Nationalism
This text examines the ways in which conema has been considered an arena of conflict and interaction between nations and nationhood.
Historians on Hamilton
America has gone Hamilton crazy. Lin-Manuel Miranda’s Tony-winning musical has spawned sold-out performances, a triple platinum cast album, and a score so catchy that it is being used to teach U.S. history in classrooms across the country. But just how historically accurate is Hamilton? And how is the show itself making history? Historians on Hamilton brings together a collection of top scholars to explain the Hamilton phenomenon and explore what it might mean for our understanding of America’s history. The contributors examine what the musical got right, what it got wrong, and why it matters. Does Hamilton’s hip-hop take on the Founding Fathers misrepresent our nation’s past, or doe...
Hollywood Goes Oriental
An in-depth look at the portrayal of Asian characters by non-Asian actors in classical Hollywood film. In the "classical" Hollywood studio era of the 1930s to the 1960s, many iconic Asian roles were filled by non-Asian actors and some—like Fu Manchu or Charlie Chan—are still familiar today. In Hollywood Goes Oriental: CaucAsian Performance in American Film, Karla Rae Fuller tracks specific cosmetic devices, physical gestures, dramatic cues, and narrative conventions to argue that representations of Oriental identity by Caucasian actors in the studio era offer an archetypal standard. Through this standard, Fuller shed light on the artificial foundations of Hollywood's depictions of race a...
Changed for Good
In this lively book, Stacy Wolf illuminates the women of American musical theater--performers, creators, and characters--from the start of the cold war to the present day, creating a new feminist history of the genre. Moving from decade to decade, Wolf highlights the assumptions that circulated about gender and sexuality at the time and then looks at the leading musicals, stressing the aspects of the plays that relate to women. The musicals discussed here are among the most beloved in the canon--"West Side Story," "Guys & Dolls," "Cabaret," and many others--with special emphasis on "Wicked."
Enchanted Evenings
This new second edition of Enchanted Evenings offers theater lovers an illuminating behind-the-scenes tour of some of America's best loved, most admired, and most enduring musicals. Readers will find such all-time favorites as Show Boat, Carousel, Kiss Me, Kate, Guys and Dolls, My Fair Lady, West Side Story, Sweeney Todd, Sunday in the Park with George, and Phantom of the Opera. Geoffrey Block provides a documentary history of each of the musicals, showing how each work took shape and revealing, at the same time, how the American musical evolved from the 1920s to today, both on stage and on screen. The book's particular focus is on the music, offering a wealth of detail about how librettist,...
A History of African American Theatre
Table of contents
Bodies in Dissent
Performance and identity in nineteenth and early twentieth-century Arican-American creative work.
Forgeries of Memory and Meaning
Cedric J. Robinson offers a new understanding of race in America through his analysis of theater and film of the early twentieth century. He argues that economic, political, and cultural forces present in the eras of silent film and the early "talkies" firmly entrenched limited representations of African Americans. Robinson grounds his study in contexts that illuminate the parallel growth of racial beliefs and capitalism, beginning with Shakespearean England and the development of international trade. He demonstrates how the needs of American commerce determined the construction of successive racial regimes that were publicized in the theater and in motion pictures, particularly through plan...
America in the Round
2020 Barnard Hewitt Award, honorable mention Washington D.C.’s Arena Stage was the first professional regional theatre in the nation’s capital to welcome a racially integrated audience; the first to perform behind the Iron Curtain; and the first to win the Tony Award for best regional theatre. This behind-the-scenes look at one of the leading theatres in the United States shows how key financial and artistic decisions were made, using a range of archival materials such as letters and photographs as well as interviews with artists and administrators. Close-ups of major productions from The Great White Hope to Oklahoma! illustrate how Arena Stage navigated cultural trends. More than a chronicle, America in the Round is a critical history that reveals how far the theatre could go with its budget and racially liberal politics, and how Arena both disputed and duplicated systems of power. With an innovative “in the round” approach, the narrative simulates sitting in different parts of the arena space to see the theatre through different lenses—economics, racial dynamics, and American identity.
