The American musical has long provided an important vehicle
through which writers, performers, and audiences reimagine who they
are and how they might best interact with the world around them.
Musicals are especially good at this because they provide not only
an opportunity for us to enact dramatic versions of alternative
identities, but also the material for performing such alternatives
in the real world, through songs and the characters and attitudes
those songs project.
This book addresses a variety of specific themes in musicals
that serve this general function: fairy tale and fantasy, idealism
and inspiration, gender and sexuality, and relationships, among
others. It also considers three overlapping genres that are
central, in quite different ways, to the projection of personal
identity: operetta, movie musicals, and operatic musicals.
Among the musicals discussed are "Camelot, Candide; Chicago;
Company; Evita; Gypsy; Into the Woods; Kiss Me, Kate; A Little
Night Music; Man of La Mancha; Meet Me in St. Louis; The Merry
Widow; Moulin Rouge; My Fair Lady; Passion; The Rocky Horror
Picture Show; Singin' in the Rain; Stormy Weather; Sweeney Todd;"
and "The Wizard of Oz."
Complementing the author's earlier work, "The American Musical
and the Formation of National Identity," this book completes a
two-volume thematic history of the genre, designed for general
audiences and specialists alike.
General
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