It began as an artist's desperate desire to express himself inside a worldwide pandemic, but in one year's time it has grown into a theater industry and country-wide outlet for healing, grief, justice, and hope in the theater community. The Covid-19 pandemic revealed what a world without live performance looks and feels like. This book captures a small fraction of the powerful and transcendent internal heartbeat that never went away within the theater community. When the Lights Are Bright Again immortalizes the stories, struggles, and successes of an industry that was the first to be shut down and one of the last to return. Andrew Norlen weaves more than 200 letters from Broadway theater veterans, devout theatergoers, teenage dreamers aching for their day in the spotlight, long-time ushers, designers, creatives, and countless other arts workers with a brand-new, breathtaking photo series by Broadway photographer Matthew Murphy. Not only has the creation of this book allowed the theater community to grieve and express themselves in a new way, but for every copy purchased, a portion of the profits will directly benefit The Actors Fund. This book will continue to help support arts workers to thrive and receive financial stability for decades to come with every copy sold. When The Lights Are Bright Again is a love letter to the arts community and every theatergoer, but, above all else, it is a meditation on the human experience. There is something for every broken, tired, and angry soul inside this book: hope. There is light in all of us-there always has been!

Hamilton opened on Broadway in 2015 and quickly became one of the hottest tickets the industry has ever seen. Lin-Manuel Miranda - who wrote the book, lyrics, and music, and created the title role - adapted the show from Ron Chernow's biography Alexander Hamilton. Although it seems an unlikely source for a Broadway musical, Miranda found a liminal space where the life that Hamilton led and the issues that he confronted came alive more than two centuries later while also commenting on contemporary life in the United States and how we view our nation's history. With a score largely based on rap and drawing on other aspects of hip-hop culture, and staged with actors of color playing the white Founding Fathers, Hamilton has much to say about race in the United States today and in our past, but at the same time it leaves important things insufficiently explained, such as the role of women and people of color in Hamilton's time. Dueling Grounds: Revolution and Revelation in the Musical Hamilton is a volume that combines the work of theater scholars and practitioners, musicologists, and scholars in such fields as ethnomusicology, history, gender studies, and economics in a multi-faceted approach to the show's varied uses of liminality, looking at its creation, casting philosophy, dance and movement, costuming, staging, direction, lyrics, music, marketing, and how aspects of race, gender, and class fit into the show and its production. Demonstrating that there is much to celebrate, as well as challenging issues to confront concerning Hamilton, Dueling Grounds is an uncompromising look at one of the most important musicals of the century.

Dramaturgy is at the heart of any musical theatre score, proving that song and music combined can collectively act as drama. The Musical Theatre Composer as Dramatist: A Handbook for Collaboration offers techniques for approaching a musical with the drama at the centre of the music. Written by a working composer of British musical theatre, this original and highly practical book is intended for composers, students of musical theatre and performing arts and their collaborators. Through detailed case studies, conceptual frameworks and frank analysis, this book encourages the collaboration between the languages of music and drama. It offers a shared language for talking about music in the creation of musical theatre, as well as practical exercises for both composers and their collaborators and ways of analysing existing musical theatre scores for those who are versed in musical terminology, and those who are not. Speaking directly to the contemporary artist, working examples are drawn from a wide range of musicals throughout Part One, before a full case study analysis of Matilda the Musical brings all the ideas together in Part Two. Part Three offers a range of practical exercises for anyone creating new musicals, particularly composers and their collaborators.

One legacy of the 1960s sexual revolution was the "adult" musical of the 1970s. Adult musicals distinguished themselves from other types of musicals in their reliance on strong sexual content, frequent nudity, and simulated sexual activity. Cheap to produce, adult musicals proliferated in New York's theatres at a time when the city was teetering toward bankruptcy and tourism was sharply declining. Influenced by the overwhelming success in 1968 of "Hair"-the first Broadway musical to feature nudity-as well as by a series of legal rulings about the nature of obscenity, adult musicals became faddish in part because they allowed theatre producers to attract audiences at a time of economic crisis while simultaneously slashing budgets typically allotted for scenery, props and, of course, costumes. Typically structured like old-fashioned revues, with thematically interconnected songs and skits, adult musicals like "Stag Movie," "Let My People Come," "The Faggot," and the long-running "Oh! Calcutta!" were reviled by theatre critics, who tended to dismiss them as either going too far in the direction of hard-core pornography or, conversely, of not being erotic enough. But critics, who could typically close a show with a single scathing review, were no match for the public appetite for sex and even the shows that got the worst reviews usually made money. Adult musicals disappeared almost entirely by the early 1980s, as the city's economy improved and the country grew more socio-politically conservative, and they have since been dismissed by writers and critics as a silly fad befitting a silly decade. Author Elizabeth Wollman finds a much richer story in adult musicals, illustrating how they both drew from and reflected aspects of American culture at a particularly tumultuous time: the country's rapidly changing sexual mores, the women's and gay liberation movements, New York City's socioeconomic status, and contemporary debates on the relationship between art and obscenity. She argues that because of their middlebrow appeal and their concentration in a city that experienced the 1970s in especially turbulent ways, adult musicals represent aspects of 1970s American culture at their messiest and most confused, and thus, perhaps, at their most honest.

This in-depth and original study examines 100 productions and analyses why George Abbott's name became synonymous with the 'golden age' of Broadway. What did Abbott contribute? How did he work? How did he innovate the industry? How did he survive so long? All of these inquiries, and more, lead to the most fundamental question of all: what exactly was the famous "Abbott touch"? For sixty years, George Abbott was a vital force in the American theatre. As an actor, playwright, director, librettist, play doctor, and producer, he laid his "touch" on approximately 100 New York productions, from The Pajama Game and Damn Yankees through to Once Upon a Mattress and A Funny Thing Happened on the Way to the Forum. Spanning this incredible figure's work chronologically, each chapter of The Abbott Touch examines a period of creativity in his life, culminating in how he became the famous multi-hyphenate artist he is now celebrated as. Beginning with his early career in 1913 through to his work on the 1994 revival of Damn Yankees, this book analyses his key contributions to his primary works, all of which have relied on his genius. The first study of its kind, The Abbott Touch provides key insights into the working life of one of the 20th Century's most prolific theatre practitioners, as well as a vital history for theatre scholars and fans alike.

In recent years there has been a remarkable resurgence in the success of film musicals. Since the turn of the millennium, films such as Chicago (2002) and Phantom of the Opera (2004) have restated the close connections between the stage and screen. This edited collection will look at the breadth and diversity of recent film musicals, including adaptations from the stage such as Mamma Mia! (2008), Tim Burton's Sweeny Todd: The Demon Barber of Fleet Street (2007) and Rock of Ages (2012). This collection will also look at films that owe less of a direct debt to stage musicals, such as Julie Taymor's Across the Universe (2007) and Lars von Trier's Dancer in the Dark (2000).

'The Woods are just Trees. The Trees are just Wood.' - All together In 1987, Stephen Sondheim and James Lapine combined several classic fairy tales including Little Red Riding Hood, Cinderella, and Jack and the Beanstalk to create Into the Woods. Funny and heartfelt, this musical explores what it might mean to act responsibly in society, both as a parent and as a child. Situating the work within Sondheim's oeuvre and the Broadway canon, Olaf Jubin first offers a detailed reading of the show itself, before discussing key productions in New York and London, and 2014's Oscar-nominated screen adaptation. The radically different approaches to staging Into the Woods are testament to how open the musical is to re-interpretation for new audiences. A combination of critical explication with performance and film analysis, as well as an overview of popular and critical reception, this book is meant for anyone who has enjoyed Into the Woods, be it as a musical theatre fan, an enchanted audience member, a student or a dedicated theatre professional.

Richard Dyer's In the Space of a Song takes an in-depth look at the use of songs in film. Songs take up space and time in film and the way they do so indicates a great deal about the songs themselves, the nature of the feelings they present, and who is allowed to present feelings how, when and where. In the Space of a Song explores this perception through a range of examples, from classic MGM musicals to blaxploitation cinema, with the career of Lena Horne providing a turning point in the cultural dynamics of the feeling. Chapters include: The Perfection of Meet Me in St. Louis A Star Is Born and the Construction of Authenticity 'I Seem to Find the Happiness I Seek': Heterosexuality and Dance in the Musical The Space of Happiness in the Musical Singing Prettily: Lena Horne in Hollywood Is Car Wash a Musical? Music and Presence in Blaxploitation Cinema In the Space of a Song is ideal for both scholars and students of film studies.

Songs take up space and time in films. Richard Dyer's In the Space of a Song takes off from this perception, arguing that the way songs take up space indicates a great deal about the songs themselves, the nature of the feelings they present, and who is allowed to present feelings how, when and where. In the Space of a Song explores this perception through a range of examples, from classic MGM musicals to blaxploitation cinema, with the career of Lena Horne providing a turning point in the cultural dynamics of the feeling. Chapters include: The perfection of Meet Me in St. Louis A Star Is Born and the construction of authenticity 'I seem to find the happiness I seek': Heterosexuality and dance in the musical The space of happiness in the musical Singing prettily: Lena Horne in Hollywood Is Car Wash a musical? Music and presence in blaxploitation cinema In the Space of a Song is ideal for both scholars and students of film studies.

One of the darker epochs of American history were the years commonly thought of, although misnamed, the McCarthy-Era, where motion picture and television artists, most notably actors and writers were unable to work as they found themselves on "the blacklist." There was, however, a place to go and create and keep your name: theatre.We begin at the turn of the 20th Century when theatre consisted primarily of melodramas, pot-boilers, and drawing room comedies save for the occasional Shakespearean play brought across the ocean by an English company looking for new lands to conquer, The reader is introduced to the Theatre Guild which births the Group Theatre. It looks at the short life and death of the Federal Theatre Project, and the investigations of the motion picture and television industries by the House Committee on Un-American Activities (HUAC). The role the three major performing arts unions played is vital to this story, leading into investigating Broadway and the theatre artists who continue to make work in spite of it all. This book opens the window on an art form that brought light into the darkness, and ends as a simple love letter to theatre and those who create it.

(Applause Libretto Library). The final collaboration between Rodgers & Hammerstein was destined to become the world's most beloved musical. When a postulant proves too high-spirited for the religious life, she is dispatched to serve as governess for the seven children of a widowed naval captain. Her growing rapport with the youngsters, coupled with her generosity of spirit, gradually captures the heart of the stern captain, and they marry. Upon returning from their honeymoon they discover that Austria has been invaded by the Nazis, who demand the captain's immediate service in their navy. The family's narrow escape over the mountains to Switzerland on the eve of World War II provides one of the most thrilling and inspirational finales ever presented in the theatre. The motion picture version remains the most popular movie musical of all time.

Musical theatre students and performers are frequently asked to learn musical material in a short space of time; sight-read pieces in auditions; collaborate with accompanists; and communicate musically with peers, directors, music directors and choreographers. Many of these students and performers will have had no formal musical training. This book offers a series of lessons in music fundamentals, including theory, sight-singing and aural tests, giving readers the necessary skills to navigate music and all that is demanded of them, without having had a formal music training. It focuses on the skills required of the musical theatre performer and draws on musical theatre repertoire in order to connect theory with practice. Throughout the book, each musical concept is laid out clearly and simply with helpful hints and reminders. The author takes the reader back to basics to ensure full understanding of each area. As the concepts begin to build on one another, the format and process is kept the same so that readers can see how different aspects interrelate. Through introducing theoretical ideas and putting each systematically into practice with sight-singing and ear-training, the students gain a much deeper and more integrated understanding of the material, and are able to retain it, using it in voice lessons, performance classes and their professional lives. The book is published alongside a companion website, which offers supporting material for the aural skills component and gives readers the opportunity to drill listening exercises individually and at their own pace. Music Fundamentals for Musical Theatre allows aspirational performers - and even those who aren't enrolled on a course - to access the key components of music training that will be essential to their careers.

Disney Theatrical Productions: Producing Broadway Musicals the Disney Way is the first work of scholarship to comprehensively examine the history and production practices of Disney Theatrical Productions (DTP), the theatrical producing arm of the studio branch of the Walt Disney Corporation. This book uncovers how DTP has forged a new model for producing large-scale musicals on Broadway by functioning as an independent theatrical producer under the umbrella of a large entertainment corporation. Case studies of three productions (The Lion King, Tarzan, and Newsies) demonstrate the flexibility and ingenuity of DTP, and showcase the various production models that the company has employed over the years. Exploring topics such as the history of DTP, its impact on the revitalization of Times Square, and its ability to open up a new audience base for Broadway theatre, this volume examines the impact that DTP has had on American musicals, both domestically and internationally, and how its accomplishments have helped reshape the Broadway landscape. This book is relevant to students in Musical Theatre, History of Musical Theatre, Theatre History, and Arts Management courses, along with general Disney enthusiasts.

Armed with an eighth-grade education, an inexhaustible imagination, and an innate talent for dancing, Hermes Pan (1909-1990) was a boy from Tennessee who became the most prolific, popular, and memorable choreographer of the glory days of the Hollywood musical. While he may be most well-known for the Fred Astaire-Ginger Rogers musicals which he choreographed at RKO film studios, he also created dances at Twentieth Century-Fox, M-G-M, Paramount, and later for television, winning both the Oscar and the Emmy for best choreography.
In Hermes Pan: The Man Who Danced with Fred Astaire, Pan emerges as a man in full, an artist inseparable from his works. He was a choreographer deeply interested in his dancers' personalities, and his dances became his way of embracing and understanding the outside world. Though his time in a Trappist monastery proved to him that he was more suited to choreography than to life as a monk, Pan remained a deeply devout Roman Catholic throughout his creative life, a person firmly convinced of the powers of prayer. While he was rarely to be seen without several beautiful women at his side, it was no secret that Pan was homosexual and even had a life partner. As Pan worked at the nexus of the cinema industry's creative circles during the golden age of the film musical, this book traces not only Pan's personal life but also the history of the Hollywood musical itself. It is a study of Pan, who emerges here as a benevolent perfectionist, and equally of the stars, composers, and directors with whom he worked, from Astaire and Rogers to Betty Grable, Rita Hayworth, Elizabeth Taylor, Sammy Davis Jr., Frank Sinatra, Bob Fosse, George Gershwin, Samuel Goldwyn, and countless other luminaries of American popular entertainment.
Author John Franceschina bases his telling of Pan's life on extensive first-hand research into Pan's unpublished correspondence and his own interviews. Pan enjoyed one of the most illustrious careers of any Hollywood dance director, and because his work also spanned across Broadway and television, this book will appeal to readers interested in musical theater history, dance history, and film.

This book situates the production of The Boy Friend and the Players' Theatre in the context of a post-war London and reads The Boy Friend, and Wilson's later work, as exercises in contemporary camp. It argues for Wilson as a significant and transitional figure both for musical theatre and for modes of homosexuality in the context of the pre-Wolfenden 1950s. Sandy Wilson's The Boy Friend is one of the most successful British musicals ever written. First produced at the Players' Theatre Club in London in 1953 it transferred to the West End and Broadway, making a star out of Julie Andrews and gave Twiggy a leading role in Ken Russell's 1971 film adaptation. Despite this success, little is known about Wilson, a gay writer working in Britain in the 1950s at a time when homosexuality was illegal. Drawing on original research assembled from the Wilson archives at the Harry Ransom Center, this is the first critical study of Wilson as a key figure of 1950s British theatre. Beginning with the often overlooked context of the Players' Theatre Club through to Wilson's relationship to industry figures such as Binkie Beaumont, Noel Coward and Ivor Novello, this study explores the work in the broader history of Soho gay culture. As well as a critical perspective on The Boy Friend, later works such as Divorce Me, Darling!, The Buccaneer and Valmouth are examined as well as uncompleted musical versions of Pygmalion and Goodbye to Berlin to give a comprehensive and original perspective on one of British theatre's most celebrated yet overlooked talents.

How many hit musicals are based on films that were shot in two days at a budget of $30,000? The answer is one: Little Shop of Horrors. Roger Corman's monster movie opened in 1960, played the midnight circuit, and then disappeared from view. Two decades later, Little Shop of Horrors opened Off-Broadway and became a surprise success. Attack of the Monster Musical: A Cultural History of Little Shop of Horrors chronicles this unlikely phenomenon. The Faustian tale of Seymour and his man-eating plant transcended its humble origins to become a global phenomenon, launching a popular film adaptation and productions all around the world. This timely and authoritative book looks at the creation of the musical and its place in the contemporary musical theatre canon. Examining its afterlives and wider cultural context, the book asks the question why this unlikely combination of blood, annihilation, and catchy tunes has resonated with audiences from the 1980s to the present. At the core of this in-depth study is the collaboration between the show's creators, Howard Ashman and Alan Menken. Told through archival research and eyewitness accounts, this is the first book to make extensive use of Ashman's personal papers, offering a unique and inspiring study of one of musical theatre's greatest talents.

Mike Dixon has been involved in the British music industry for over 40 years and has been Musical Director for more than twenty West End productions including, We Will Rock You, The Bodyguard, Grease, Aspects of Love, Joseph and the Amazing Technicolor Dreamcoat and Jesus Christ Superstar. His TV credits include six Royal Variety Performances, countless light entertainment series and Glastonbury with Shirley Bassey, as well as a huge number of high profile television and radio concerts. His career has taken him all over the world working with some of the most iconic artists of the 20th and 21st centuries, including Dame Shirley Bassey, Lord Lloyd-Webber, Leslie Bricusse, Sir Tim Rice, Don Black, Sir Elton John, Lionel Richie, Sir Tom Jones, Lady Gaga and Queen. The book follows his journey as his exciting and eclectic musical career develops. From his early musical experiences in Plymouth, studying at Trinity College of Music, to conducting in the Royal Albert Hall, with plenty of humour along the way, it is a little peek behind the scenes into the world of entertainment from a unique, hands-on perspective.

The American Song Book, Volume I: The Tin Pan Alley Era is the first in a projected five-volume series of books that will reprint original sheet music, including covers, of songs that constitute the enduring standards of Irving Berlin, Jerome Kern, the Gershwins, and other lyricists and composers of what has been called the "Golden Age" of American popular music. These songs have done what popular songs are not supposed to do-stayed popular. They have been reinterpreted year after year, generation after generation, by jazz artists such as Charlie Parker and Art Tatum, Ella Fitzgerald and Louis Armstrong. In the 1950s, Frank Sinatra began recording albums of these standards and was soon followed by such singers as Tony Bennet, Doris Day, Willie Nelson, and Linda Ronstadt. In more recent years, these songs have been reinterpreted by Rod Stewart, Harry Connick, Jr., Carly Simon, Lady GaGa, K.D. Laing, Paul McCartney, and, most recently, Bob Dylan. As such, these songs constitute the closest thing America has to a repertory of enduring classical music. In addition to reprinting the sheet music for these classic songs, authors Philip Furia and Laurie Patterson place these songs in historical context with essays about the sheet-music publishing industry known as Tin Pan Alley, the emergence of American musical comedy on Broadway, and the "talkie" revolution that made possible the Hollywood musical. The authors also provide biographical sketches of songwriters, performers, and impresarios such as Florenz Ziegfeld. In addition, they analyze the lyrical and musical artistry of each song and relate anecdotes, sometimes amusing, sometimes poignant, about how the songs were created. The American Songbook is a book that can be read for enjoyment on its own or be propped on the piano to be played and sung.

Richard Rodgers and Lorenz Hart are one of the defining duos of musical theater, contributing dozens of classic songs to the Great American Songbook and working together on over 40 shows before Hart's death. With hit after hit on both Broadway and the West End, they produced many of the celebrated songs of the '20s and '30s--such as "Manhattan," "The Lady is a Tramp," and "Bewitched"--that remain popular favorites with great cultural resonance today. Yet the early years of these iconic collaborators have remained largely unexamined.
We'll Have Manhattan: The Early Work of Rodgers & Hart provides unprecedented insight into the first, formative period of Rodgers and Hart's collaboration. Author Dominic Symonds examines the pair and their work from their first meeting in 1919 to their brief flirtation with Hollywood in the early 1930s as they left the theater to explore sound film. During this time, their output was prodigious, progressive, and experimental. They developed their characteristic style and a new approach to musical theater writing that provided the groundwork for the development of the Broadway musical. Symonds also analyzes the theme of identity that runs throughout Rodgers and Hart's work, how the business side of the theater affected their artistic output, and their continued experimentation with a song's dramatic role within a narrative.
We'll Have Manhattan goes beyond a biographical or historical look at Rodgers and Hart's early years--it's also an accessible but authoritative study of their material. Symonds documents their early shows and provides deft critical and analytical commentary on their evolving practice and its influence on the subsequent development of the American musical. Fans of musical theater and devotees of Rodgers and Hart will find this definitive exploration of their early works to be an essential addition to their Broadway library.

The Wizard of Oz, Gigi, Top Hat, High Society - some of the most popular movie musicals ever made were written by Broadway songwriters. The Sound of Music, Chicago, West Side Story, The Music Man, Grease - some of the other most popular movie musicals were adaptations of Broadway shows. From the very first talkies to the present, Broadway's composers and lyricists have given much of their best work to the movies - but with varying results. In the 1930s, Rodgers and Hart's Love Me Tonight, with Maurice Chevalier and Jeanette MacDonald at their sexiest, is a masterpiece of fairytale sophistication. But Hallelujah, I'm a Bum, an Al Jolson vehicle about tramps in Central Park, is one of the outstanding flops, partly because Rodgers and Hart wrote it as a kind of opera that is spoken instead of sung. Or take the big films based on Broadway shows in the 1960s. After The Sound of Music, Hollywood sought to fill the screen with lots of scenery, lots of drama, and lots of Julie Andrews. But Camelot and Hello, Dolly! had too much scenery, Paint Your Wagon was the hippie musical, and Song of Norway was simply loony. Even Julie Andrews couldn't save the Broadway bio film called Star!, all about the adventures of Gertrude Lawrence. Who? As historians have begun to consider the movie musical along with the stage musical, Ethan Mordden explores just how influential such writers as Irving Berlin, George and Ira Gershwin, Cole Porter, Harold Arlen, and Stephen Sondheim have been when they moved from Broadway to Hollywood. Are the welcomed? Do they get to experiment, using the freedom of the camera to expand the very geography of song? Or do movie producers resent that New York sophistication? Broadway excels in the bittersweet "Send in the Clowns." But Hollywood wants it simple: "White Christmas." With his usual combination of scholarship and wicked wit, Ethan Mordden tantalizes us with anecdotes and fresh observations. He discusses many unusual titles as well - Viennese Nights, The Boys From Syracuse, Anything Goes, with Ethel Merman preserving her classic stage part as Reno Sweeney, the swinging evangelist. The first of its kind, this book is made for the moviegoer and theatre buff alike.

Angela Lansbury faced a serious challenge when she was auditioning for the title role in Mame. "I don't know how to sing except in the role. I never knew how to do exercises and I don't to this day. I just stand up and sing," she recalls looking back over half a lifetime. "But there were several people who helped me build my voice and when it came to Mame, and the songs I got to sing, they were natural for me." The part was a perfect fit-and it made her a Broadway superstar. In Nothing Like a Dame, theater journalist Eddie Shapiro opens a jewelry box full of glittering surprises, through in-depth conversations with twenty leading women of Broadway. He carefully selected Tony Award-winning stars who have spent the majority of their careers in theater, leaving aside those who have moved on or occasionally drop back in. The women he interviewed spent endless hours with him, discussing their careers, offering insights into the iconic shows, changes on Broadway over the last century, and the art (and thrill) of taking the stage night after night. Chita Rivera describes the experience of starring in musicals in each of the last seven decades; Audra McDonald gives her thoughts on the work that went into the five Tony Awards she won before turning forty-one; and Carol Channing reflects on how she has revisited the same starring role generation after generation, and its effects on her career. Here too is Sutton Foster, who contemplates her breakout success in an age when stars working exclusively in theater are increasingly rare. Each of these conversations is guided by Shapiro's expert knowledge of these women's careers, Broadway lore, and the details of famous (and infamous) musicals. He also includes dozens of photographs of these players in their best-known roles. This fascinating collection reveals the artistic genius and human experience of the women who have made Broadway musicals more popular than ever-a must for anyone who loves the theater.

A time to learn. A time to rebel. A time to love. A time to burn. A group of teenagers - silenced and controlled by a censorious society - discovers a new world of feeling and freedom, with beautiful and devastating consequences. Inspired by German playwright Frank Wedekind's once-banned and groundbreaking play from 1891, Spring Awakening tells a story of adolescent anarchy, set to one of the best-loved musical scores of the twenty-first century. Steven Sater and Duncan Sheik's musical opened in New York City in 2006, and London in 2009, and won eight Tony Awards and four Olivier Awards, including both prizes for Best New Musical. This new edition of the complete book and lyrics - the first to be published in the UK - features four pages of colour photographs and exclusive bonus material by writers Steven Sater and Duncan Sheik, and members of the original Broadway and West End casts: Aneurin Barnard, Jonathan Groff, Evelyn Hoskins, Lea Michele and Iwan Rheon. It was published alongside the first London revival at the Almeida Theatre in 2021, directed by Rupert Goold, which won the 2022 Critics' Circle Award for Best Musical.

In The Ultimate Musical Theatre College Audition Guide, author, acting teacher, and musical theatre program director Amy Rogers offers an honest, no-nonsense guide to the musical theatre audition. Written for high school students and their parents, teachers, and mentors, the book demystifies what can be an overwhelming process with step-by-step explanations of audition checkpoints to answer every student's question, "where do I begin?" Chapters explore degree types, summer programs and intensives, audition coaches, what to sing, what to wear, headshots, how to prepare your monologue, the dance call, the university and program applications, prescreens, on-campus auditions, Unifides, resumes, acceptances/waitlists/rejections, and more. The book also includes advice from over 10 top-tier program directors and faculty, as well as examples from students, parents, and experts currently working on Broadway. Written with compassion, experience, and a love of the industry, Rogers' essential all-in-one guide is guaranteed to prevent surprise throughout the audition process.