
Contents
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Introduction: the Stage Musical as Global Phenomenon Introduction: the Stage Musical as Global Phenomenon
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Globalisation and Its Discontents: The Musical as International Theatrical Form Globalisation and Its Discontents: The Musical as International Theatrical Form
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‘McTheatre’ and Its Myths ‘McTheatre’ and Its Myths
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The ‘Deterritoralisation’ of the Broadway Musical The ‘Deterritoralisation’ of the Broadway Musical
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The Megamusical and Its Discontents: Problems of Categorisation The Megamusical and Its Discontents: Problems of Categorisation
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Culture Wars: Highbrow, Middlebrow, and Lowbrow Culture Wars: Highbrow, Middlebrow, and Lowbrow
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Summary of Contents Summary of Contents
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Part I: ‘Theory and Praxis’ Part I: ‘Theory and Praxis’
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Part II: ‘Uncharted Territories’ Part II: ‘Uncharted Territories’
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Part III: ‘Global Production Entities’ Part III: ‘Global Production Entities’
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Part IV: ‘Good Neighbours?’ Part IV: ‘Good Neighbours?’
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Part V: ‘Popular in Britain’ Part V: ‘Popular in Britain’
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Part VI: ‘Popular in Germany and Austria?’ Part VI: ‘Popular in Germany and Austria?’
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Part VII: ‘Popular in East Asia’ Part VII: ‘Popular in East Asia’
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Part VIII: ‘Sondheim Abroad’ Part VIII: ‘Sondheim Abroad’
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Part IX: ‘National Genres of Musical Theatre in Western Europe’ Part IX: ‘National Genres of Musical Theatre in Western Europe’
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Part X: National Traditions of Musical Theatre in Eastern Europe Part X: National Traditions of Musical Theatre in Eastern Europe
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Part XI: Outlook, or The Road Ahead Part XI: Outlook, or The Road Ahead
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Prospects for Further Research Prospects for Further Research
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Notes Notes
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Bibliography Bibliography
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Preamble
Get accessRobert Gordon is Professor of Theatre and the director of the Pinter Centre for Performance and Creative Writing at Goldsmiths, University of London, where in 2003 he introduced the first European masters degree in musical theatre for producers and writers. He is author of The Purpose of Playing: Modern Acting Theory in Perspective (University of Michigan Press, 2006), Harold Pinter’s Theatre of Power (University of Michigan Press, 2012), and, with Olaf Jubin and Millie Taylor, British Musical Theatre since 1950 (Bloomsbury, 2016). Edited collections include The Oxford Handbook of Sondheim Studies (Oxford University Press, 2014) and, with Olaf Jubin, The Oxford Handbook of the British Musical (Oxford University Press, 2016). His monograph The Theatre of Kander and Ebb (Methuen) will be in print in March 2024. Robert has worked internationally as an actor, director, and playwright and is author of Red Earth (1985) and Waterloo Road (Young Vic Theatre, 1987). In 2012 he devised and co-directed Pinter: In Other Rooms for a tour of Eastern Europe and directed the European première of Kander and Ebb’s Steel Pier at Na Zabradli in Brno, while his musical with Nick Hutson, Five Children and It, received a professional workshop performance in 2015. He is currently engaged as a writer and actor in Shylock Speaks, which premiered in February 2020, and in 2018 he introduced a bachelor of arts in musical theatre programme at Goldsmiths.
Olaf Jubin is currently the primary researcher on a four-year project funded by FWF (Austria) at the University of Salzburg on how musicals represent European history. He also is an associate lecturer in the bachelor’s and master’s of arts programmes in musical theatre at Goldsmiths, University of London. For seventeen years he worked at Regent’s University London, where he was a professor of musical theatre and media studies. He earned his PhD from the Ruhr-Universität Bochum, Germany, and has written and co-edited several books on the mass media and musical theatre, including a study of the German dubbing and subtitling of Hollywood musicals and a comparative analysis of reviews of the musicals of Stephen Sondheim and Andrew Lloyd Webber. He is co-author of British Musical Theatre since 1950 (Bloomsbury, 2016) and co-editor of The Oxford Handbook of the British Musical (Oxford University Press, 2016). In 2017 his monograph on Into the Woods appeared as part of the Routledge Fourth Wall series. He recently edited Paris and the Musical: The City of Light on Stage and Screen (Routledge, 2021) and is preparing a book on the dramaturgy and lyrics of Tim Rice. https://orcid.org/0000-0002-0200-9813.
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Published:23 October 2023
Cite
Abstract
The musical has become the predominant form of theatre all over the world. The genre continues to accrue increasing revenues in the United States and United Kingdom, and other countries have established their own musical theatre industries, partly by importing hit shows from Broadway or the West End and partly by initiating or reviving local traditions of writing and staging. In their introductory chapter, Robert Gordon and Olaf Jubin set out the general outline of the volume, which aims to map this phenomenon from multiple perspectives. They begin by problematising the various terms which have dominated the discussion of the international stage musical for the last four decades, in particular, ‘globalisation’, ‘McTheatre’, ‘deterritorialisation’, and the ‘megamusical’. The text then provides a brief overview of the thirty-three individual essays which comprise the handbook before ending with a list of subjects addressed and issues highlighted by several of the contributors which warrant subsequent in-depth investigation. These subjects are subdivided into four main research areas: (1) the Anglophone musical and its reception, (2) the non-Anglophone musical, (3) production circumstances and other relevant factors, and (4) the reach and transferability of musical theatre.
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