Kirjahaku

The idea of American musical theatre conjures up images of bright lights and big city, but its lifeblood is found in local and amateur productions at schools, community theatres, summer camps, and more. In Beyond Broadway, author Stacy Wolf considers the widespread presence and persistence of musical theatre in U.S. culture, and examines it as a live, pleasurable, participatory experience of creating, watching, and listening. Why does local musical theatre flourish in America? Why do so many Americans passionately engage in a century-old artistic practice that requires intense, person-to-person collaboration? Why do audiences flock to see musicals in their hometowns? How do corporations like Disney and Music Theatre International enable musical theatre's energetic movement through American culture? Touring from Maine to California, Wolf visits elementary schools, a middle school performance festival, afterschool programs, high schools, summer camps, state park outdoor theatres, community theatres, and dinner theatres, and conducts over 200 interviews with practitioners and spectators, licensors and Disney creatives. In Beyond Broadway, Wolf tells the story of musical theatre's abundance and longevity in the U.S. as a thriving, joyful activity that touches millions of lives.

The idea of American musical theatre conjures up images of bright lights and big city, but its lifeblood is found in local and amateur productions at schools, community theatres, summer camps, and more. In Beyond Broadway, author Stacy Wolf considers the widespread presence and persistence of musical theatre in U.S. culture, and examines it as a live, pleasurable, participatory experience of creating, watching, and listening. Why does local musical theatre flourish in America? Why do so many Americans passionately engage in a century-old artistic practice that requires intense, person-to-person collaboration? Why do audiences flock to see musicals in their hometowns? How do corporations like Disney and Music Theatre International enable musical theatre's energetic movement through American culture? Touring from Maine to California, Wolf visits elementary schools, a middle school performance festival, afterschool programs, high schools, summer camps, state park outdoor theatres, community theatres, and dinner theatres, and conducts over 200 interviews with practitioners and spectators, licensors and Disney creatives. In Beyond Broadway, Wolf tells the story of musical theatre's abundance and longevity in the U.S. as a thriving, joyful activity that touches millions of lives.

Subverting assumptions that American musical theater is steeped in nostalgia, cheap sentiment, misogyny, and homophobia, this book shows how musicals of the 1950s and early 1960s celebrated strong women characters who defied the era's gender expectations. A Problem Like Maria reexamines the roles, careers, and performances of four of musical theater's greatest stars-Mary Martin, Ethel Merman, Julie Andrews, and Barbra Streisand-through a lesbian feminist lens. Focusing on both star persona and performance, Stacy Wolf argues that each of her subjects deftly crafted characters (both on and offstage) whose defiance of the norms of mid-twentiethcentury femininity had immediate appeal to spectators on the ideological and sexual margins, yet could still play in Peoria.Chapter by chapter, the book analyzes the stars' best-known and best-loved roles, including Martin as Nellie in South Pacific, Merman as Momma Rose in GypsyAndrews as Eliza in My Fair Lady and Guinevere in Camelot, and Streisand as Fanny Brice in Funny Girl. The final chapter scrutinizes the Broadway and film versions of The Sound of Music, illuminating its place in the hearts of lesbian spectators and the "delicious queerness" of Andrews's troublesome nun. As the first feminist and lesbian study of the American Broadway musical, A Problem Like Maria is a groundbreaking contribution to feminist studies, queer studies, and American studies and a delight for fans of musical theater.Stacy Wolf is Associate Professor of Theatre and Dance, University of Texas, Austin.

Subverting assumptions that American musical theater is steeped in nostalgia, cheap sentiment, misogyny, and homophobia, this book shows how musicals of the 1950s and early 1960s celebrated strong women characters who defied the era's gender expectations. A Problem Like Maria reexamines the roles, careers, and performances of four of musical theater's greatest stars-Mary Martin, Ethel Merman, Julie Andrews, and Barbra Streisand-through a lesbian feminist lens. Focusing on both star persona and performance, Stacy Wolf argues that each of her subjects deftly crafted characters (both on and offstage) whose defiance of the norms of mid-twentiethcentury femininity had immediate appeal to spectators on the ideological and sexual margins, yet could still play in Peoria.Chapter by chapter, the book analyzes the stars' best-known and best-loved roles, including Martin as Nellie in South Pacific, Merman as Momma Rose in GypsyAndrews as Eliza in My Fair Lady and Guinevere in Camelot, and Streisand as Fanny Brice in Funny Girl. The final chapter scrutinizes the Broadway and film versions of The Sound of Music, illuminating its place in the hearts of lesbian spectators and the "delicious queerness" of Andrews's troublesome nun. As the first feminist and lesbian study of the American Broadway musical, A Problem Like Maria is a groundbreaking contribution to feminist studies, queer studies, and American studies and a delight for fans of musical theater.Stacy Wolf is Associate Professor of Theatre and Dance, University of Texas, Austin.