Acknowledgements

This is the second handbook on musical theatre we have jointly edited for the Oxford University Press series: many thanks to the commissioning editor, Norman Hirschy, for his far-sightedness in agreeing to work on what must at the time have seemed the most eccentric proposal, which recent world events have rendered a topic of surprising urgency, and to Oxford University Press’s assistant editors Lauralee Yeary and Rachel Ruisart, who have once again ensured a most constructive collaboration.

We owe a great debt to the various contributors, as many of them helped find and secure the illustrations which enhance this volume. In a project as internationally situated as this, their assistance has been invaluable.

The many images in this volume were photographed by Akihito Abe, Massimo Barbaglia, Clive Barda, Peter Bischoff, Àgata Casanova, Rowena Chowdrey, Matt Crockett, Harry Croner, Tomasz Degórski, Alain Dejean, Marcos Delgado; Grzegorz Haremza, John Haynes, Petra Hellberg, Birgit Hupfelt, Béla Ilovszky, Thomas Jauk, Scott Kowalchyk, Jef Kratochvil, Franziska Krug, Brigitte Lacombe, Michael Le Poer Trench, Grzegorz Lewandowski, Manuel Litran, Joan Marcus, Leonel Martinez, Brendan McDermid, Brannäs Mikael, Luc Monsaert, Alastair Muir, Harry Naltchayan, Nigel Norrington, J. C. Parker, Johan Persson, John Phillips, Kylie Anee Picket, Cata Portin, Marty Reichenthal, Eric Roberts, David Ruano, Kevern Sandalls, Martin Skoog, Vilém Sochůrek, Pawel Sosnowski, Joakim Strömholm, Martha Swope, Deen van Meer, Robert Wallace, Masahiko Yako, and Georg Zimbel.

Our thanks goes to the following copyright holders, both individuals and companies, for permission to use photographs: Christopher Balme, Veronika Hypšová, Tino Kratochvil, and Tiago Mundim as well as Alamy Stock Photo; Allstar Picture Library Ltd.; ArenaPal; Cameron Mackintosh Ltd, Disney Enterprises; EMK Musical Company; Fortepan; Getty Images; Kanagawa Arts Theatre (KAAT); KTV; Kulturhuset Stadteaterns arkiv, Stockholm; Landesbühne Sachsen, Radebeul; Marmalade Ghent 2016; MTVA Archive; Nasjonalbiblioteket Norge; New National Theatre Tokyo; New York Public Library for the Performing Arts; Photostage; Shubert Archive; Shutterstock; and Ullstein Bild.

Special thanks must go to Gary Perlman, who graciously stepped in to analyse the first Japanese production of Pacific Overtures when the author we had originally contracted went incommunicado; we couldn’t be happier with the replacement. We are also extremely grateful to Yongmin Kwon, Hyeyoung Ra, and Kangjoo Cho from the Arts Council Korea (ARKO), who took over at very short notice from a contributor who had fallen ill. It is a testament to their professionalism that they delivered a thoroughly researched essay in such a short time.

As always, our love and gratitude go to Janet, Britta, Susan, Oliver, Joshua, Amira, Helga, Godfrey, Jacqui, Kathy, Harry, and Fjara for their encouragement and support.