Enchanted Evenings:The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber (84 page)

BOOK: Enchanted Evenings:The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber
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———. “The Melody (and the Words) Linger On: Musical Comedies of the 1920s and 1930s.” In
The Cambridge Companion to the Musical
. 2nd ed. William A. Everett and Paul R. Laird, 103–23. Cambridge: Cambridge University Press, 2008.

———. “Revisiting the Glorious and Problematic Legacy of the Jazz Age and Depression Musical.”
Studies in Musical Theatre
2/2 (2008): 127–46.

———. “Integration.” In
Oxford Handbook of the American Musical
, ed. Raymond Knapp, Mitchell Morris, and Stacy Wolf. New York: Oxford University Press, forthcoming.

Block, Geoffrey, ed.
The Richard Rodgers Reader
. New York: Oxford University Press, 2002.

Bloom, Harold.
Shakespeare: The Invention of the Human
. New York: Riverhead, 1998.

Bordman, Gerald.
American Musical Theatre: A Chronicle
. New York: Oxford University Press, 1978; 2nd ed. New York: Oxford University Press; 3rd ed. New York: Oxford University Press, 2001.

———.
Jerome Kern: His Life and Music
. New York: Oxford University Press, 1980.

———.
American Operetta: from “H. M. S. Pinafore” to “Sweeney Todd
.” New York: Oxford University Press, 1981.

———.
American Musical Comedy: From “Adonis” to “Dreamgirls
.” New York: Oxford University Press, 1982.

———.
The Oxford Companion to American Theatre
. New York: Oxford University Press, 1984; 2nd ed. New York: Oxford University Press, 1992; 3rd ed. With Thomas S. Hischak. New York: Oxford University Press, 2004.

———.
American Musical Revue: From “The Passing Show” to “Sugar Babies
.” New York: Oxford University Press, 1985.

Brecht, Bertolt. “The Modern Theatre Is the Epic Theatre.” In
Brecht on Theatre
, ed. and trans. John Willett, 33–42. New York: Hill & Wang, 1964.

———. “On Gestic Music.” In
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, ed. and trans. John Willett, 104–6. New York: Hill & Wang, 1964.

———. “On the Use of Music in an Epic Theatre.” In
Brecht on Theatre
, ed. and trans. John Willett, 84–90. New York: Hill & Wang, 1964.

Breon, Robin. “
Show Boat
: The Revival, the Racism.”
The Drama Review
39/2 (Summer 1995): 86–105.

Bristow, Eugene K., and J. Kevin Butler. “
Company
, About Face! The Show that Revolutionized the American Musical.”
American Music
5/3 (1987): 241–54.

Brown, Gwynne Kuhner. “Problems of Race and Genre in the Critical Reception of
Porgy and Bess
. Ph.D. dissertation, University of Washington, 2006.

Buchman, Andrew. “Tim Burton’s Cinematic
Sweeney Todd
(2007).” Paper presented at the Symposium on the American Musical held at the University of Washington, April 11, 2008.

Burrows, Abe. “The Making of
Guys & Dolls.” Atlantic Monthly
(January 1980): 40–47, 50–52.

Burton, Humphrey.
Leonard Bernstein
. New York: Doubleday, 1994.

Butler, J. Kevin (see Bristow).

Bryer, Jackson R., and Richard A. Davison, eds.
The Art of the American Musical: Conversations with the Creators
. New Brunswick, N.J.: Rutgers University Press, 2005.

Carter, Tim.
“Oklahoma!: The Making of an American Musical
. New Haven: Yale University Press, 2007.

Chapin, Ted.
Everything Was Possible: The Birth of the Musical “Follies
.” New York: Knopf, 2003.

Citron, Marcia.
Opera on Screen
. New Haven: Yale University Press, 2000.

Citron, Stephen.
Noel & Cole
. New York: Oxford University Press, 1993.

———.
The Wordsmiths: Oscar Hammerstein 2nd and Alan Jay Lerner
. New York: Oxford University Press, 1995.

———.
Sondheim and Lloyd-Webber: The New Musical
. New York: Oxford University Press, 2001.

Clum, John M.
Something for the Boys: Musical Theater and Gay Culture
. New York: St. Martin’s Press, 1999.

Costello, Donald P.
The Serpent’s Eye: Shaw and the Cinema
. Notre Dame, Ind.: University of Notre Dame Press, 1965.

Crawford, Cheryl.
One Naked Individual
. Indianapolis: Bobbs-Merrill, 1977.

Crawford, Richard. “It Ain’t Necessarily Soul: Gershwin’s ‘Porgy and Bess’ as a Symbol.”
Yearbook for Inter-American Musical Research
8 (1972): 17–38.

———. “Gershwin’s Reputation: A Note on
Porgy and Bess
.”
Musical Quarterly
65 (April 1979): 257–64.

———.
The American Musical Landscape
. Berkeley: University of California Press, 1993.

Croce, Arlene.
The Fred Astaire and Ginger Rogers Book
. New York: E. P. Dutton, 1972.

Davis, Lee.
Bolton and Wodehouse and Kern: The Men Who Made Musical Comedy
. New York: James H. Heineman, 1993.

Decker, Todd. “‘Do You Want to Hear a Mammy Song:’ A Historiography of
Show Boat. Contemporary Theatre Review
19/1 (2009): 8-21.

Denkert, Darcie.
A Fine Romance: Hollywood & Broadway
. New York: Watson-Guptill, 2005.

Dietz, Robert James. “Marc Blitzstein and the ‘Agit-Prop’ Theatre of the 1930’s.”
Yearbook for Inter-American Musical Research
6 (1970): 51–66.

———. “The Operatic Style of Marc Blitzstein in the American ‘Agit-Prop’ Era.” Ph.D. dissertation, University of Iowa, 1970.

Drew, David. “Kurt Weill and His Critics.”
Times Literary Supplement
, October 3, 1975, 1142–44; October 10, 1975, 1198–1200.

———. “Weill, Kurt (Julian).”
The New Grove Dictionary of Music and Musicians
. Edited by Stanley Sadie. London: Macmillan, 1980. Vol. 20, 300–310.

———. “Reflections on the Last Years:
Der Kuhhandel
as a Key Work.” In
A New Orpheus: Essays on Kurt Weill
, ed. Kim Kowalke, 217–67. New Haven: Yale University Press, 1986.

———.
Kurt Weill: A Handbook
. Berkeley: University of California Press, 1987.

Dudar, Helen. “George Abbott Dusts Off a Broadway Classic.”
New York Times
, March 6, 1983, sec. 7, 30.

Edler, Horst (see Kowalke).

Eells, George.
The Life That Late He Led: A Biography of Cole Porter
. New York: G. P. Putnam’s Sons, 1967.

Emmet, Linda (see Kimball).

Engel, Lehman.
The American Musical Theater: A Consideration
. New York: Collier, 1967; rev. ed., 1975.

———.
Words with Music: The Broadway Musical Libretto
. New York: Schirmer Books, 1972; Updated and rev. by Howard Kissel as
Words with Music: Creating the Broadway Musical Libretto
. New York: Applause, 2006.

Evans, Peter William (see Babington).

Everett, William A. (see also Prece).
The Musical: A Research and Information Guide
. New York: Routledge, 2004.

———.
Sigmund Romberg
. New Haven: Yale University Press, 2007.

Everett, William A., and Paul R. Laird, eds.
The Cambridge Companion to the Musical
. 2nd ed. Cambridge: Cambridge University Press, 2008.

Ewen, David. “He Passes the Ammunition for Hits.”
Theatre Arts
40/5 (May 1956): 73–75, 90–91.

———.
Richard Rodgers
. New York: Henry Holt, 1957.

———.
George Gershwin: His Journey to Greatness
. New York: Ungar, 1970; 2nd enl. ed., 1986.

———.
New Complete Book of the American Musical Theater
. New York: Holt, Rinehart & Winston, 1970.

Fordin, Hugh.
Getting to Know Him: A Biography of Oscar Hammerstein II
. New York: Ungar, 1977; Da Capo, 1995.

Forte, Allen.
The American Popular Ballad of the Golden Era, 1924–1950
. Princeton: Princeton University Press, 1995.

———.
Listening to Classic American Popular Songs
. New Haven: Yale University Press, 2001.

Freedman, Samuel G. “After 50 Years, ‘Porgy’ Comes to the Met as a Certified Classic.”
New York Times
, February 3, 1985, sec. 2, 1+.

Furia, Philip.
Poets of Tin Pan Alley: A History of America’s Great Lyricists
. New York: Oxford University Press, 1990.

———.
Ira Gershwin: The Art of the Lyricist
. New York: Oxford University Press, 1995.

Furia, Philip, with the assistance of Graham Wood.
Irving Berlin: A Life in Song
. New York: Schirmer, 1998.

Gänzl, Kurt.
The Encyclopedia of the Musical Theatre
. 2nd ed., 3 vols. New York: Schirmer, 2000.

Gänzl, Kurt, and Andrew Lamb.
Gänzl’s Book of the Musical Theatre
. London: Bodley Head, 1988.

Gates, Henry Louis Jr. “‘Authenticity,’ or the Lesson of Little Tree.”
New York Times Book Review
, November 24, 1991, 1+.

Gershwin, George. “Rhapsody in Catfish Row: Mr. Gershwin Tells the Origin and Scheme for His Music in That New Folk Opera Called ‘Porgy and Bess.’”
New York Times
, October 20, 1935, sec. 10, 1–2; reprinted as “Rhapsody in Catfish Row,
George Gershwin
, ed. Merle Armitage, 72–77. New York: Longmans, Green, 1938.

Gershwin, Ira.
Lyrics on Several Occasions
. New York: Knopf, 1959.

Gilbert, Steven E.
The Music of Gershwin
. New Haven: Yale University Press, 1995.

Goldberg, Isaac.
George Gershwin: A Study in American Music
. New York: Simon &Schuster, 1931; reprinted with an extended supplement by Edith Garson. New York: Frederick Ungar, 1958.

Goldman, William.
The Season: A Candid Look at Broadway
. New York: Harcourt, Brace & World, 1969; Limelight, 1984.

Goldstein, Malcolm.
The Political Stage: American Drama and Theater of the Great Depression
. New York: Oxford University Press, 1974.

Goodhart, Sandor, ed.
Reading Stephen Sondheim: A Collection of Critical Essays
. New York: Garland, 2000.

Gordon, Eric A.
Mark the Music: The Life and Work of Marc Blitzstein
. New York: St. Martin’s, 1989.

Gordon, Joanne.
Art Isn’t Easy: The Theatre of Stephen Sondheim
. New York: Da Capo, 1992.

Gordon, Joanne, ed.
Stephen Sondheim: A Casebook
. New York: Garland, 1997.

Gottfried, Martin.
Broadway Musicals
. New York: Abrams, 1979.

———.
More Broadway Musicals since 1980
. New York: Abrams, 1991.

———.
Sondheim
. New York: Abrams, 1993.

Gottlieb, Jack. “The Music of Leonard Bernstein: A Study of Melodic Manipulations.” DMA dissertation, University of Illinois, 1964.

———.
Funny, It Doesn’t Sound Jewish: How Yiddish Songs and Synagogue Melodies Influenced Tin Pan Alley, Broadway, and Hollywood
. Albany: State University of New York in association with the Library of Congress, 2004.

Gradenwitz, Peter.
Leonard Bernstein: The Infinite Variety of a Musician
. New York: Berg, 1987.

Grant, Mark.
The Rise and Fall of the Broadway Musical
. Boston: Northeastern University Press, 2004.

Green, Benny, ed.
A Hymn to Him: The Lyrics of Alan Jay Lerner
. New York: Limelight, 1987.

Green, Jesse, “Sondheim Dismembers ‘Sweeney.’”
New York Times
, December 16, 2007.

Green, Stanley.
Broadway Musicals of the 30s
. New York: Da Capo, 1971.

———.
Encyclopedia of the Musical Theatre
. New York: Da Capo, 1980.

———.
Rodgers and Hammerstein Fact Book: A Record of Their Works Together and with Other Collaborators
. New York: Lynn Farnol Group, 1980.

———.
The World of Musical Comedy: The Story of the American Musical Stage as Told through the Careers of Its Foremost Composers and Lyricists
. San Diego: A. S. Barnes, 1980; 4th ed., rev. and enl. New York: Da Capo, 1986.

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