The British musical in its formative years has appeared in strikingly different guises: from the lasting hits of Oliver!, and Me and My Girl, to the successes of The Dancing Years, Bless the Bride and Expresso Bongo. This authoritative study traces what made these shows successes in the West End and how their qualities define a uniquely British interpretation of the genre. Cultural, sociological and political influences entwine with close reading of the dramatic and musical elements of this repertory to reveal a fascinating web of connections and contrasts between the times, the shows and the people who made them. Through detailed case studies, such as of The Boy Friend and Bitter Sweet, the rich individuality of each West End work is spotlighted, posing vital questions and intriguing answers as to what a British musical can be. Interdisciplinary in nature, this study brings together all the core materials to discover this period in the story of the British musical. Reviewing the Situation is insightful and lively, an invaluable resource for students and scholars of musical theatre and all those theatregoers drawn to the power of these classic British shows.

As the publishing sensation of the last half-century, Harry Potter dominates early education in politics. Children, tweens, teens, and adults love it; and most students come to college knowing at least some of it. This dark fantasy analyzes politics in strikingly practical and institutional ways. Like ancient Sophists, modern Machiavellians, and postmodern Nietzscheans, the Potter books treat politics as dark arts and our defenses against them. The Potter saga overflows with drama, humor, and insight into ours as dark times of terrible troubles. These reach from racism, sexism, and specism to fascism, terrorism, autocracy, and worse. Harry and his friends respond with detailed, entertaining takes on many ideologies, movements, and styles of current politics.Defenses Against the Dark Arts argues that Potter performances of magic show us how and why to leap into political action. This includes the high politics of governments and elections, and especially the everyday politics of families, schools, businesses, media, and popular cultures. It explores Potter versions of idealism, realism, feminism, and environmentalism. It clarifies Potter accounts of bureaucracy, nationalism, and patronage. And it analyzes Potter resistance through existentialism and anarchism. The emphasis is on learning to face and defend against dark arts in dark times.

As the publishing sensation of the last half-century, Harry Potter dominates early education in politics. Children, tweens, teens, and adults love it; and most students come to college knowing at least some of it. This dark fantasy analyzes politics in strikingly practical and institutional ways. Like ancient Sophists, modern Machiavellians, and postmodern Nietzscheans, the Potter books treat politics as dark arts and our defenses against them. The Potter saga overflows with drama, humor, and insight into ours as dark times of terrible troubles. These reach from racism, sexism, and specism to fascism, terrorism, autocracy, and worse. Harry and his friends respond with detailed, entertaining takes on many ideologies, movements, and styles of current politics.Defenses Against the Dark Arts argues that Potter performances of magic show us how and why to leap into political action. This includes the high politics of governments and elections, and especially the everyday politics of families, schools, businesses, media, and popular cultures. It explores Potter versions of idealism, realism, feminism, and environmentalism. It clarifies Potter accounts of bureaucracy, nationalism, and patronage. And it analyzes Potter resistance through existentialism and anarchism. The emphasis is on learning to face and defend against dark arts in dark times.

The politics of popular westerns are surprising in substance and significance, especially of late. Cowboy Politics shows how westerns in literature, cinema, and television face the challenges of Western Civilization even more than the perils of American frontiers. Its strategy is to compare key westerns with major theories of modern and postmodern politics. So it analyzes novels from Owen Wister to Zane Grey and Larry McMurtry. It focuses on films from the western revival beginning in the 1990s and featuring Clint Eastwood's Unforgiven, while its interest in TV stretches from singing cowboys and Gunsmoke to David Milch's Deadwood. Critics are apt to find in westerns the modern politics of Thomas Hobbes and John Locke. They tap devices of individuality, rationality, contract, sovereign enforcement, and representation to overcome the chaotic violence of a wild zone. Cowboy Politics examines how westerns often find such measures insufficient to tame the West as a culture of honor and anger that deteriorates into feud-al vengeance. Instead westerns see the West as the sunset land that is already growing old and moving on. So westerns seek fresh starts informed by comparing civilizations more than demonizing savages. Westerns worry that modern politics devolve into exploitation, oppression, spectacle, and terror. So they pursue supplements in such postmodern politics as republicanism, perfectionism, populism, feminism, and environmentalism. Especially westerns explore politics of persuasive speech-in-action-in-public, doing beauty, and self-reliance in the modes of Hannah Arendt and Ralph Waldo Emerson. The first two chapters of Cowboy Politics explain how westerns do political theory for popular audiences by making many of our myths: the symbolic stories of individuals and communities which we live daily. The next three chapters trace the initially modern theories of government in many westerns. Then western turns to republican honor, rhetoric, response-ability, and character tracking occupy the following four chapters. And these set the stage for another four chapters on western attention to postmodern terror, mythmaking, celebrity, spectacle, and forgiveness. The final two chapters analyze how "late," "satirical," and "transformative" westerns develop realist defenses for their surprisingly postmodern politics.

Popular movies can be surprisingly smart about politics - from the portentous politics of state or war, to the grassroots, everyday politics of family, romance, business, church and school. Politics in Popular Movies analyses the politics in many well-known films across four popular genres: horror, war, thriller and science fiction. The book's aims are to appreciate specific movies and their shared forms, to understand their political engagements and to provoke some insightful conversations. The means are loosely related 'film takes' that venture ambitious, playful and engaging arguments on political styles encouraged by recent films. Politics in Popular Movies shows how conspiracy films expose oppressive systems; it explores how various thrillers prefigured American experiences of 9/11 and shaped aspects of the War on Terror; how some horror films embrace new media, while others use ultra-violence to spur political action; it argues that a popular genre is emerging to examine non-linear politics of globalisation, terrorism and more. Finally it analyses the ways in which sci-fi movies reflect populist politics from the Occupy and Tea Party movements, rethink the political foundations of current societies and even remake our cultural images of the future.

Popular movies can be surprisingly smart about politics - from the portentous politics of state or war, to the grassroots, everyday politics of family, romance, business, church and school. Politics in Popular Movies analyses the politics in many well-known films across four popular genres: horror, war, thriller and science fiction. The book's aims are to appreciate specific movies and their shared forms, to understand their political engagements and to provoke some insightful conversations. The means are loosely related 'film takes' that venture ambitious, playful and engaging arguments on political styles encouraged by recent films. Politics in Popular Movies shows how conspiracy films expose oppressive systems; it explores how various thrillers prefigured American experiences of 9/11 and shaped aspects of the War on Terror; how some horror films embrace new media, while others use ultra-violence to spur political action; it argues that a popular genre is emerging to examine non-linear politics of globalisation, terrorism and more. Finally it analyses the ways in which sci-fi movies reflect populist politics from the Occupy and Tea Party movements, rethink the political foundations of current societies and even remake our cultural images of the future.

The US military faces new strategic challenges in the 21st Century. Amongst them is the ability to rapidly project sufficient force to address these challenges. This monograph researches the potential deployment of a US Army heavy force package from Kuwait to India and Pakistan to conduct a stability operation in Kashmir. This fictional scenario provides a vehicle to introduce and discuss the challenges to the military as it pertains to force projection and strategic deployment. The purpose of this monograph is to address the fundamental question: Is it feasible to re-deploy a US Army heavy force package from Kuwait to India and Pakistan (South Asia) to support a stability operation in Kashmir. Furthermore, it will use this scenario to demonstrate the complexities and contemporary challenges associated with strategically moving a force inter-theater. This monograph examines four components of strategic mobility to determine feasibility: Airlift, Sealift, Army Prepositioned Sets of equipment Afloat (APS-A), and Infrastructure. This paper utilizes the Joint Flow and Analysis System for Transportation (JFAST, v.8.0) and a Time Phased Force Deployment Data List (TPFDDL) for a fictional US Army heavy division (-) to run in simulation. This data will add credibility to the issues and validate the recommendations and conclusions. Moreover, this monograph looks at recent deployments and the statistics associated. Both the simulation results and the statistics from recent deployments allow the author to draw conclusions for each facet of the four strategic mobility components in the final chapter. Ultimately, the author concludes that re-deploying a US Army heavy force package inter-theater from Kuwait to India/Pakistan is feasible, but inefficient.

In this volume, the author aims to apply rhetorical analysis first to political theory, and then to politics in practice. He offers an examination of political science and political theory as fields of study, and undertakes a series of creative examinations of political rhetoric.

From Glyndebourne to the King’s Head, in the flesh and streamed online: opera is reaching a broader audience than ever before. With over 400 years of history, and a beguiling mix of musical motifs, costumes, storytelling and song, opera has fascinated and enthralled audiences for centuries. However it can also cast the impression of an intimidating high-art form, inaccessible to the uninitiated. How to Enjoy Opera is an engaging, illuminating primer which will demystify the world of opera. John Snelson, who has worked at London’s world-famous Royal Opera House in Covent Garden for over 15 years, gives his expert insight into how to absorb an opera and understand its inner workings. Aimed at newcomers to the art form as well as long-time fans, this book will help the reader to absorb and understand any opera: with examples drawn from more than 45 composers and just over 100 operas included. There are references to some of the most famous of all opera moments, sometimes from less familiar perspectives, but also to lesser-known works. This book decodes many of the elements that opera composers and librettists put into their operas that give enjoyment to audiences, in the hope that readers can gain greater enjoyment from their future viewing and listening too.

The first comprehensive survey of the works of Andrew Lloyd Webber, the best-known composer of musical theater of our generation Andrew Lloyd Webber is the most famous-and most controversial-composer of musical theater alive today. Hundreds of millions of people have seen his musicals, which include Cats, The Phantom of the Opera, Starlight Express, Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, Evita, and Sunset Boulevard. Even more know his songs. Lloyd Webber's many awards include seven Tonys and three Grammys-but he has nonetheless been the subject of greater critical vitriol than any of his artistic peers. Why have both the man and his work provoked such extreme responses? Does he challenge his audiences, or merely recycle the comfortable and familiar? Over three decades, how has Lloyd Webber changed fundamentally what a musical can be? In this sustained examination of Lloyd Webber's creative career, the music scholar John Snelson explores the vast range of influences that have informed Lloyd Webber's work, from film, rock, and pop music to Lloyd Webber's own life story. This rigorous and sympathetic survey will be essential reading for anyone interested in Lloyd Webber's musicals and the world of modern musical theater that he has been so instrumental in shaping.