This monograph centres on the history of musical theatre in a space of cultural significance for British identity, namely the Theatre Royal, Drury Lane, which housed many prominent American productions from 1920-1970. It argues that during this period Drury Lane was the site of cultural exchanges between Britain and the United States that were a direct result of global engagement in two world wars and the evolution of both countries as imperial powers. The critical and public response to works of musical theatre during this period, particularly the American musical, demonstrates the shifting response by the public to global conflict, the rise of an American Empire in the eyes of the British government, and the ongoing cultural debates about the role of Americans in British public life. By considering the status of Drury Lane as a key site of cultural and political exchanges between the United States and Britain, this study allows us to gain a more complete portrait of the musicals cultural significance in Britain.
1. Introduction.- 2.
Chapter 1: Cosmopolitan musical theatre styles at
the Lane (1918-1934).- 3.
Chapter 2: The Drury Lane Musical Theatre Spectacle
(1931-1939): Hearts Splintering in Waltz Time.- 4.
Chapter 3: The Lane and
ENSA (Entertainment National Services Association) headquarters (1939).- 5.
Chapter 5: Rodgers and Hammersteins Oklahoma! Carousel and South Pacific:
Imported Americana.- 6.
Chapter 6: Ruritanian Imperialism in The King and I
(1953).- 7.
Chapter 7: Fading Empire and British imitation: Lerner and
Loewe.- 8.
Chapter 8: Hello Dolly and the resurgence of the British musical
the nostalgia of Lost Empire Word.- 9. Epilogue.
Dr. Arianne Johnson Quinn is an archivist, librarian, and scholar. She is currently the Music Special Collections Librarian at the Warren D. Allen Music Library, Florida State University, USA. She holds a Ph.D. in Musicology from Princeton University, and has worked as Digital Archivist and Research Associate for the Noėl Coward Archive Trust. Arianne has been on the faculty of the Florida State Honors Program, South Georgia State College and Tallahassee Community College. Her research focuses on the intersections between the American and British musical in Londons West End from 1924-1970, particularly the works of Noėl Coward, Kurt Weill, Lerner and Loewe, Irving Berlin, Cole Porter and Rodgers and Hammerstein.
Daugiau apie elektronines knygas