The Disney Musical: Critical Approaches on Stage and Screen is the first critical treatment of the corporation's hugely successful musicals both on screen and on the stage. Its 13 articles open up a new territory in the critical discussion of the Disney mega-musical, its gender, sexual and racial politics, outreach work and impact of stage, film and television adaptations. Covering early 20th century works such as the first full-length feature film Snow White and the Seven Dwarfs (1937), to The Lion King - Broadway's highest grossing production in history, and Frozen (2013), this edited collection offers a diverse range of theoretical engagements that will appeal to readers of film and media studies, musical theatre, cultural studies, and theatre and performance. The volume is divided into three sections to provide a contextual analysis of Disney's most famous musicals: * DISNEY MUSICALS: ON FILM * DISNEY ADAPTATIONS: ON STAGE AND BEYOND * DISNEY MUSICALS: GENDER AND RACE The first section employs film theory, semiotics and film music analysis to explore the animated works and their links to the musical theatre genre. The second section addresses various stage versions and considers Disney's outreach activities, cultural value and productions outside the Broadway theatrical arena. The final section focuses on issues of gender and race portraying representations of race, hetero-normativity, masculinity and femininity in Newsies, Frozen, High School Musical, Aladdin and The Jungle Book. The various chapters address these three aspects of the Disney Musical and offer new critical readings of a vast range of important works from the Disney musical cannon including Enchanted, Mary Poppins, Hunchback of Notre Dame, The Lion King and versions of musicals for television in the early 1990s and 2000s. The critical readings are detailed, open-minded and come to surprising conclusions about the nature of the Disney Musical and its impact.

Acclaimed for his good looks as much as his searing acting ability, Canadian actor Ryan Gosling first came to attention, aged 12, as a Mouseketeer in Disney's Mickey Mouse Club. After the show ended, Ryan spent his teenage years acting in television, landing the lead role in the TV show Young Hercules. Wanting to move into film, he made his feature debut in Remember the Titans, found acclaim in The Believer, and landed a major role alongside Sandra Bullock in Murder By Numbers. The 2004 hit The Notebook was so romantic that Ryan and his co-star, Rachel McAdams, ended up falling in love off-screen as well. The film turned Ryan into a Hollywood pin-up, after which he spent six months working in an L.A. sandwich shop, to regain a sense of perspective. He has since played one challenging role after another, in films such as Stay, Half Nelson, and Lars and the Real Girl, while inching towards mainstream success with acclaimed performances in films like Blue Valentine, Drive, Crazy Stupid Love, and Gangster Squad. Enigmatic and humble, with a legendary compulsion to lose himself in every role he takes on, this is the story of an actor who is incredibly close to his mother, plays in a band, co-owns a Moroccan restaurant in Beverly Hills, laughs off those who tag him a sex symbol, and shrugs at the widespread conviction that he's this generation's Marlon Brando.

Mo is 31. He works in an immigration removal centre. He's a Detention Officer. He wears a shirt, a tie, and sometimes even trousers. He's from Bishops Stortford. Mo's in trouble. Mo's in love. Dangerous and unsettling, beautiful and hilarious, Removal Men is a play with live music and songs. It tells the story of a fragmented 21st century Britain, trying to be powerful, trying to love, trying to escape.

An all-singing, all-dancing celebration of ordinary life and death. Single mum Emma confronts the highs and lows of life with a cancer diagnosis; that of her son and of the real people she encounters in the daily hospital grind. Groundbreaking performance artist Bryony Kimmings creates fearless theatre to provoke social change, looking behind the poster campaigns and pink ribbons at the experience of serious illness.

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 Miserables (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).

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 Miserables (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).

EThe King and IE opened on Broadway on March 29 1951. The musical is based on a 1944 novel by Margaret Landon EAnna and the King of SiamE which in turn was adapted from the real-life reminiscences of Anna Leonowens as recounted in her own books EThe English Governess at the Siamese CourtE and EThe Romance of the HaremE.THIt is 1862 in Siam when an English widow Anna Leonowens arrives with her young son at the Royal Palace in Bangkok having been summoned by the King to serve as tutor to his many children and wives. The King is largely considered to be a barbarian by those in the West and he seeks Anna's assistance in changing his image if not his ways. With both keeping a firm grip on their respective traditions and values Anna and the King grow to understand and eventually respect one another in a truly unique love story. Along with the dazzling score the incomparable Jerome Robbins ballet EThe Small House of Uncle ThomasE is one of the all-time marvels of the musical stage.