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Boublil and Schnberg
(Applause Books). Two Frenchmen, an idea, and a blank piece of paper. That's how it started. Alain Boublil and Claude-Michel Schonberg are the creators of the multi-award-winning and much-loved musicals Les Miserables, Miss Saigon, Martin Guerre and now an exciting new work The Pirate Queen . Les Miserables alone has been seen by over 53 million people. The Musical World of Boublil and Schonberg is the first book to offer a comprehensive look behind the closed doors of these intensely private musical theatre giants. Boublil and Schonberg take center stage and talk openly about their methods and the creative processes involved in writing the book, the music, and the lyrics. Additional interviews from collaborators such as their co-writers Herbert Kretzmer, Richard Maltby, Stephen Clark, and John Dempsey; their directors Trevor Nunn, John Caird, Nicholas Hytner, Conall Morrison, and Frank Galati; the choreographer of The Pirate Queen , Mark Dendy; and their long-time producer Cameron Mackintosh gives the reader a full view into their successful process. Full-color production photographs tell the story of each musical. Visit www.musicalworld-boublil-schonberg.com for more information!
Adapting Nineteenth-Century France
Adapting Nineteenth-Century France uses the output of six canonical novelists and their recreations in a variety of media to push for a re-conceptualisation of our approach to the study of adaptation. The works of Balzac, Hugo, Flaubert, Zola, Maupassant and Verne reveal themselves not as originals to be defended from adapting hands, but fashioned from the adapted voices of a host of earlier artists, moments and media. The text analyses re-workings of key nineteenth-century texts across time and media in order to underline the way in which such re-workings cast new light on many of their source texts and reveal the probing analysis nineteenth-century novelists undertake in relation to notions of originality and authorial borrowing. Moreover, Adapting Nineteeth-Century France traces their subsequent recreations in a comparable range of genres, encompassing key modern media of the twentieth- and twenty-first-centuries: radio, silent film, fiction, musical theatre, sound film and television.
Changed for Good
From Adelaide in "Guys and Dolls" to Nina in "In the Heights" and Elphaba in "Wicked," female characters in Broadway musicals have belted and crooned their way into the American psyche. In this lively book, Stacy Wolf illuminates the women of American musical theatre - 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 first highlights the assumptions that circulated about gender and sexuality at the time. She then looks at the leading musicals to stress the key aspects of the plays as they relate to women, and often finds overlooked moments of empowerment for female audience members. The musicals discussed here are among the most beloved in the canon--"West Side Story," "Cabaret," "A Chorus Line," "Phantom of the Opera," and many others--with special emphasis on the blockbuster "Wicked." Along the way, Wolf demonstrates how the musical since the mid-1940s has actually been dominated by women--women onstage, women in the wings, and women offstage as spectators and fans.
Songwriters of the American Musical Theatre
From the favorites of Tin Pan Alley to today’s international blockbusters, the stylistic range required of a musical theatre performer is expansive. Musical theatre roles require the ability to adapt to a panoply of characters and vocal styles. By breaking down these styles and exploring the output of the great composers, Songwriters of the American Musical Theatre offers singers and performers an essential guide to the modern musical. Composers from Gilbert and Sullivan and Irving Berlin to Alain Boublil and Andrew Lloyd Webber are examined through a brief biography, a stylistic overview, and a comprehensive song list with notes on suitable voice types and further reading. This volume runs the gamut of modern musical theatre, from English light opera through the American Golden Age, up to the "mega musicals" of the late Twentieth Century, giving today’s students and performers an indispensable survey of their craft.
When the British Musical Ruled the World
For decades, British stage musicals struggled to compete against the dazzling Broadway productions that came roaring in from across the pond. But that tide was turned at last in 1978, when Tim Rice and Andrew Lloyd Webber’s production of Evita brought the West End back into contention with Broadway. It was just the first of several blockbuster productionsthat helped Britain dominate musical theater all over the world. In this revealing behind-the-scenes narrative, journalist and author Robert Sellers gives a definitive account of how Evita, Cats, Starlight Express, Les Misérables, Phantom of the Opera, Chess, and Miss Saigon changed the business of musical theater in the 1980s. These mega...
British Musical Theatre Since 1950
This critical introduction to British musical theatre since 1950 is the first book to discuss its post-war developments from the perspective of British – as opposed to American – popular culture. The genre is situated within the historical context of post-war British society in order to explore the range of forms through which significant sociocultural moments are represented. Introductory chapters analyse the way British musicals have responded to social change, the forms of popular theatre and music from which they have developed and their originality in elaborating new narrative strategies since the seventies. A key feature of the book is its close readings of twelve key works, from Salad Days (1954) and Oliver! (1960) to global smash hits such as Les Misérables (1985) and The Phantom of the Opera (1986) and beyond, including the latest critical and box-office success Matilda (2011). Also analysed are British favourites (Blood Brothers, 1983), cult shows (The Rocky Horror Show, 1975) and musicals with a pre-existing fan-base, such as Mamma Mia! (1999).
The Oxford Handbook of the British Musical
The Oxford Handbook of the British Musical provides a comprehensive academic survey of British musical theatre offering both a historical account of the musical's development from 1728 and a range of in-depth critical analyses of the unique forms and features of British musicals, which explore the aesthetic values and sociocultural meanings of a tradition that initially gave rise to the American musical and later challenged its modern pre-eminence. After a consideration of how John Gay's The Beggar's Opera (1728) created a prototype for eighteenth-century ballad opera, the book focuses on the use of song in early nineteenth century theatre, followed by a sociocultural analysis of the comic o...
