The stage musical constitutes a major industry not only in the US and the UK, but in many regions of the world. Over the last four decades many countries have developed their own musical theatre industries, not only by importing hit shows from Broadway and London but also by establishing or reviving local traditions of musical theatre. In response to the rapid growth of musical theatre as a global phenomenon, The Oxford Handbook of the Global Stage Musical presents new scholarly approaches to issues arising from these new international markets.
The volume examines the stage musical from theoretical and empirical perspectives including concepts of globalization and consumer culture, performance and musicological analysis, historical and cultural studies, media studies, notions of interculturalism and hybridity, gender studies, and international politics. The thirty-three essays investigate major aspects of the global musical, such as the dominance of Western colonialism in its early production and dissemination, racism and sexism--both in representation and in the industry itself--as well as current conflicts between global and local interests in postmodern cultures.
Featuring contributors from seventeen countries, the essays offer informed insider perspectives that reflect the diversity of the subject and offer in-depth examinations of specific cultural and economic systems. Together, they conduct penetrating comparative analysis of musical theatre in different contexts as well as a survey of the transcultural spread of musicals.
"Introduction (Robert Gordon and Olaf Jubin) Part I. Theory and praxis 1. Theatre and Globalization: Theoretical and Historical Dimensions (Christopher Balme) 2. Musical Translation and Its Multiple Challenges (Eva Espasa) 3. Training for Writers and Performers (Zachary Dunbar) Part II. Uncharted Territories 4. ""Merrily She Waltzes Along"": Die lustige Witwe/The Merry Widow as Global Hit (John Koegel) 5. Musicals Travials in the British Empire: South Africa and Australia (David Peimer) 6. My Un-Fair Lady? Celebrity Producer Lars Schmidt and the Post-War International Success of Broadway Shows (Dirk Gindt) Part III. Global Production Entities 7. Paving the way: Cameron Mackintosh and the Development and Impact of the Global Musical (Richard M. Shannon) 8. Extending the Brand to the Stage: the Walt Disney Company (Sanne Thierens/Jeroen van Wijhe) 9. Going Dutch: Stage Entertainment (Jonas Menze) Part IV. Good Neighbours? 10. Canadian Musicals and the Commercial Theatre of Broadway and the West End (Mel Atkey) 11. Musicals in Mexico: Borders and Bridges (Emilio Méndez) 12. Studies in contrast: Chile and Brazil (Tiago Mundim) Part V. Popular in Britain 13. That Special Relationship: Dolores Gray, Mary Martin and Elaine Stritch on the postwar London Stage (Robert Gordon) 14. The Most Beloved American Musical: Guys & Dolls in London (John M. Snelson) 15. Beloved in London, Ignored in New York: Starlight Express and We Will Rock You (David Cottis) Part VI. Popular in Germany/Austria? 16. Kurt Weill's American Works in 21st-century Germany (Judith Wiemers) 17. 'Ev'ry Hotsy Totsy Nazi Stand and Cheer': Cultural Sensitivity to Musicals about the Third Reich (Nils Grosch and Susanne Scheiblhofer) 18. Between Starlight Express and My Fair Lady, Frank Wildhorn and Martin Lingnau: Musicals in Contemporary German-language Theatre (Frédéric Döhl) Part VII. Popular in East Asia 19. The Dream Machine: Takarazuka, Japan's All-Female Musical Theatre Extravaganza (Bud Coleman) 20. The Development Process and Characteristics of the South Korean Musical Market (Yongmin Kwon, Hyeyoung Ra and Kangjoo Cho) 21. The Path and Development of the Chinese Musical (Cai Fangtian) VIII. Sondheim Abroad 22. A Little Night Music in Sweden (Renate Stridh) 23. Pacific Overtures: Varied Perspectives (Gary Perlman) 24. From Fleet Street to Broadway and Back: Stages in the Career of Sweeney Todd (Robert Lawson-Peebles) IX. National Genres of Musical Theatre in Western Europe 25. The French Spectacle Musical (Luca Cerchiari) 26. The German/Austrian 'Drama Musical' or 'I Sing Alone' (Olaf Jubin) 27. The Swedish Folk Musical (Mikael Strömberg) Part X. National Traditions of Musical Theatre in Eastern Europe 28. 'They Dated out of Pure Love': A Brief History of the Czech Musical (Jan Sotkovský) 29. Polish Musical Theatre since the 1960s (Aleksandra Zajac-Kiedysz) 30. Entertainment, Propaganda and/or Resistance: Staging Musicals in Hungary after World War II - István, a király/Stephen, the King (1983) and Beyond (Zoltan Imre) Part XI. Outlook or The Road Ahead 31. 'Braen Nue Dae'? Decolonizing the Musical Theatre Curriculum (Pamela Karantonis) 32. 'Who Tells Your Story': A Reflection on Race-Conscious Casting and the Musical (Hannah Marie Robbins) 33. 'Superboy and the Invisible Girl': The Exclusion of the Female Voice from Global Musical Theatre (Grace Barnes)"
Robert Gordon is Professor of Theatre at Goldsmiths, University of London, where he established the first European MA as well as a BA in Musical Theatre. Robert's many scholarly publications include The Purpose of Playing and British Musical Theatre Since 1950, jointly authored with Olaf Jubin and Millie Taylor. He also edited The Oxford Handbook of Sondheim Studies and, together with Olaf Jubin, The Oxford Handbook of the British Musical. Olaf Jubin was Professor of Musical Theatre and Media Studies at Regent's University London, and is currently teaching at Goldsmiths, University of London. In addition to his publications on the mass media and musical theatre, he is joint author of British Musical Theatre since 1950 (with Robert Gordon and Millie Taylor), co-editor of The Oxford Handbook of the British Musical, and editor of Paris and the Musical: The City of Light on Stage and Screen.
Reviews for The Oxford Handbook of the Global Stage Musical
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