This handbook is the first to provide a systematic investigation of the various roles of producers in commercial and not-for-profit musical theatre. Featuring fifty-one essays written by international specialists in the field, it offers new insights into the world of musical theatre, its creation and its promotion. Key areas of investigation include the lives and works of producers whose work is part of a US and worldwide musical theatre legacy, as well as the largely critically-neglected role of the musical theatre producer in the making, marketing, and performance of musicals. Also explored are the shifting roles of producers in musical theatre and their popular portrayals, offering a reader-friendly collection for fans, scholars, students, and practitioners of musical theatre alike.

Laura MacDonald is Senior Lecturer in Musical Theatre at the University of Portsmouth, UK, where she teaches musical theatre, dramaturgy, and critical theory. Her articles and reviews have appeared in Studies in Musical Theatre, The Journal of American Drama and Theatre, New England Theatre Journal, Theatre Research International, the SDC Journal, Theatre Journal and Theatre Survey.

William A. Everett is Curators' Professor of Musicology at the University of Missouri-Kansas City Conservatory of Music and Dance, USA, where he teaches courses on a variety of subjects, including musical theatre and nineteenth-century music. He is author, editor, or co-editor of numerous books on musical theatre and various other topics.

Autorentext

Laura MacDonald is Senior Lecturer in Musical Theatre at the University of Portsmouth, UK, where she teaches musical theatre, dramaturgy, and critical theory. Her articles and reviews have appeared in Studies in Musical Theatre, The Journal of American Drama and Theatre, New England Theatre Journal, Theatre Research International, the SDC Journal, Theatre Journal and Theatre Survey.

William A. Everett is Curators' Professor of Musicology at the University of Missouri-Kansas City Conservatory of Music and Dance, USA, where he teaches courses on a variety of subjects, including musical theatre and nineteenth-century music. He is author, editor, or co-editor of numerous books on musical theatre and various other topics.

Inhalt

Prologue.- 1. Overture;.- 2. Actors Act, Directors Direct, ProducersProduce?; Kathryn Edney.- Act 1. To the 1940s.- 3. Tony Pastor; Gillian Rodger.- 4. Adolf Philipp and the German-American Musical Comedy; John Koegel.- 5. George Edwardes; William A. Everett.- 6. Charles Frohman; Brian D. Valencia.- 7. Aggressive, Beleaguered, Commercial, Defiant; Marlis Schweitzer.- 8. Did the Shuberts Save Broadway?; Anthony Vickery.- 9. Sam Harris; Alisa Roost .- 10. Florenz Ziegfeld Jr.'s Simple Idea; Todd Decker.- 11. Feather-Footed Impresario; Maya Cantu.- 12. Alexander A. Aarons and Vinton Freedley; Jennifer Ashley Tepper and William A. Everett.- 13. Coherency; Dominic Symonds.- 14. Firm Foundations; Frank Van Straten.-15. Japanese Women's Popular Musicals; Nobuko Anan.- Act 2. From the 1940s through the 1970s.- 16. Refining the Tastes of Broadway Audiences; Claudia Wilsch Case.- 17. More than a Producer; Paul R. Laird.- 18. Rodgers and Hammerstein; Valerie Joyce.- 19. The Nice One; Michael Schwartz.- 20. The Sparkplug and the Engineer; Dominic McHugh.- 21. Roger L. Stevens; Karen Patricia Heath.- 22. He Could Get It for You Wholesale; Ryan McKinney.- 23. Stuart Ostrow; Elissa Harbert.- 24. Hal Prince; Paul R. Laird.- 25. Korean Musical Theatre's Past; Ji Hyon (Kayla) Yuh.- 26. Joseph Papp and the Public Theater; Elizabeth L. Wollman.- 27. Giora Godik; Shiraz Biggie.- 28. The West End (and Broadway) Head East; Kevin J. Wetmore, Jr..- Act 3. Since the 1970s.- 29. The Shubert Organization; Mark E. Swartz.- 30. Emanuel Azenberg's Life in Theatre; Sarah Taylor Ellis.- 31. Cameron Mackintosh; Jessica Sternfeld.- 32. Laying Down the RUG; Kyle A. Thomas.- 33. My American Dream; Sir Anril Tiatco.- 34. Trading Globally in Austrian History; Laura MacDonald.- 35. Stage Entertainment's Global Success; Sanne Thierens.- 36. West Side Story; Doug Reside.- 37. Making Musicals that Matter; Donatella Galella .- 38. Broadway Bound;Claudia Case.- 39. Our Brand Is Revival; Bryan M. Vandevender.- 40. Reclaiming, Restoring, and Reviving the American Musical; Bryan M. Vandevender.- 41. Garth Drabinsky's Grand Moves; Todd Decker.- 42. Disney Theatrical Productions; Amy S. Osatinski.- 43. Against All Odds; Chris McCoy.- 44. I am them; Rashida Shaw.- 45. Between Broadway and the Local; Hyunjung Lee.- 46. Performing Like a Concert King or a Queen; Sir Anril Tiatco.- 47. Producing Musicals in Russia at the Turn of the Twenty-First Century; Art Babayants.- 48. David Stone; David Carlyon.- 49. ART for ART's Sake; Stuart Hecht.- 50. Roth and Son; Laura MacDonald.-Curtain Call.- 51. New Paradigms for Broadway Producers in Popular Culture and Beyond; Mary Jo Lodge.- Biblibography.- Index.