Review of: From Camelot to Spamalot: Musical Retellings of Arthurian Legend on Stage and Screen, Megan Woller (2021) New York: Oxford University Press, 248 pp., ISBN 978-0-19751-103-9, p/bk, GBP £22.99
{"title":"From Camelot to Spamalot: Musical Retellings of Arthurian Legend on Stage and Screen, Megan Woller (2021)","authors":"Adam Rush","doi":"10.1386/smt_00090_5","DOIUrl":"https://doi.org/10.1386/smt_00090_5","url":null,"abstract":"Review of: From Camelot to Spamalot: Musical Retellings of Arthurian Legend on Stage and Screen, Megan Woller (2021) New York: Oxford University Press, 248 pp., ISBN 978-0-19751-103-9, p/bk, GBP £22.99","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46211903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editorial","authors":"Elizabeth Wollman, J. Sternfeld","doi":"10.1386/smt_00082_2","DOIUrl":"https://doi.org/10.1386/smt_00082_2","url":null,"abstract":"","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42553197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the development of operetta and musicals in East and West Germany from 1949 until the reunification in 1989–90. It focuses on the special ideological requirements of popular musical entertainment in the socialist east, discusses how works by Offenbach and Strauss were adapted, considers how works from the Soviet Union were imported and examines how new works were created to fulfil the ideal of ‘socialist realism’. The arrival of Broadway musicals in East Germany in the 1960s were typically made to fit into the system of state subsidized theatre.
{"title":"Musicals, operettas and Heiteres Musiktheater in East Germany 1949–89","authors":"Kevin Clarke","doi":"10.1386/smt_00084_1","DOIUrl":"https://doi.org/10.1386/smt_00084_1","url":null,"abstract":"This article examines the development of operetta and musicals in East and West Germany from 1949 until the reunification in 1989–90. It focuses on the special ideological requirements of popular musical entertainment in the socialist east, discusses how works by Offenbach and Strauss were adapted, considers how works from the Soviet Union were imported and examines how new works were created to fulfil the ideal of ‘socialist realism’. The arrival of Broadway musicals in East Germany in the 1960s were typically made to fit into the system of state subsidized theatre.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42750265","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Original Cast Album: Company, D. A. Pennebaker (dir.) (1970) 53 minutes (52:56), ISBN 978-1-68143-868-9, Streaming on the Criterion Channel, available on (1K) DVD, $23.95 and Blu-Ray (4K) DVD, USD $31.96
{"title":"Original Cast Album: Company, D. A. Pennebaker (dir.) (1970)","authors":"A. Buchman","doi":"10.1386/smt_00087_5","DOIUrl":"https://doi.org/10.1386/smt_00087_5","url":null,"abstract":"Review of: Original Cast Album: Company, D. A. Pennebaker (dir.) (1970)\u000053 minutes (52:56), ISBN 978-1-68143-868-9, Streaming on the Criterion Channel, available on (1K) DVD, $23.95 and Blu-Ray (4K) DVD, USD $31.96","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47935084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Beyond Broadway: The Pleasure and Promise of Musical Theatre Across America, Stacy Wolf (2020) New York: Oxford University Press, 382 pp., ISBN 978-0-19-063953-2, p/bk, USD $99.00
{"title":"Beyond Broadway: The Pleasure and Promise of Musical Theatre Across America, Stacy Wolf (2020)","authors":"Barrie Gelles","doi":"10.1386/smt_00088_5","DOIUrl":"https://doi.org/10.1386/smt_00088_5","url":null,"abstract":"Review of: Beyond Broadway: The Pleasure and Promise of Musical Theatre Across America, Stacy Wolf (2020) New York: Oxford University Press, 382 pp., ISBN 978-0-19-063953-2, p/bk, USD $99.00","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42269702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The widespread use of audio technology in musical theatre – and, in particular, how the use of this audio technology interfaces with the presence of live musicians – complicates the sonic notion of liveness in the theatrical setting. This article will delve into the more complex details of what we call liveness in mainstream musical theatre, with special attention paid to live musicians in this highly mediated environment. The first half of the article explores the roots of contemporary audio technology norms for musical theatre and argues that they have developed in part to maximize the sonic similarity of the live performance to its mediatized forms (primarily cast recordings). The second section explores the impact of audio mediation norms on pit musicians and features comments drawn from interviews with a number of Broadway musicians. The use of audio technology in contemporary musical theatre performance, while perhaps making it easier to align mediatized and live performance forms for audience consumption, results in complex notions of quasi-liveness with respect to the live musicians.
{"title":"Audio mediation technology and liveness in modern musical theatre performance","authors":"Makulumy Alexander-Hills","doi":"10.1386/smt_00083_1","DOIUrl":"https://doi.org/10.1386/smt_00083_1","url":null,"abstract":"The widespread use of audio technology in musical theatre – and, in particular, how the use of this audio technology interfaces with the presence of live musicians – complicates the sonic notion of liveness in the theatrical setting. This article will delve into the more complex details of what we call liveness in mainstream musical theatre, with special attention paid to live musicians in this highly mediated environment. The first half of the article explores the roots of contemporary audio technology norms for musical theatre and argues that they have developed in part to maximize the sonic similarity of the live performance to its mediatized forms (primarily cast recordings). The second section explores the impact of audio mediation norms on pit musicians and features comments drawn from interviews with a number of Broadway musicians. The use of audio technology in contemporary musical theatre performance, while perhaps making it easier to align mediatized and live performance forms for audience consumption, results in complex notions of quasi-liveness with respect to the live musicians.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44680123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Putting It Together: How Stephen Sondheim and I Created Sunday in the Park with George, James Lapine (2021) New York: Farrar, Straus and Giroux, 416 pp., ISBN 978-0-37420-009-1, h/bk, GBP £32
{"title":"Putting It Together: How Stephen Sondheim and I Created Sunday in the Park with George, James Lapine (2021)","authors":"Lara E. Housez","doi":"10.1386/smt_00089_5","DOIUrl":"https://doi.org/10.1386/smt_00089_5","url":null,"abstract":"Review of: Putting It Together: How Stephen Sondheim and I Created Sunday in the Park with George, James Lapine (2021)\u0000New York: Farrar, Straus and Giroux, 416 pp.,\u0000ISBN 978-0-37420-009-1, h/bk, GBP £32","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44499098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Donatella Galella, Masi Asare, Jordan Ealey, Saj, H. Kim, Matthew D. Morrison, Fred Moten, Karen Shimakawa, C. Shimizu
In this roundtable held at the Association for Theatre in Higher Education conference in 2021, the participants discussed the racialized politics of citation in musical theatre studies. Some of the speakers lifted up anti-racist scholarly pieces that have significantly shaped their work: SAJ considered Douglas Jones Jr’s chapter ‘Slavery, performance, and the design of African American theatre’, Jordan Ealey shared lessons from Matthew D. Morrison’s article ‘The sound(s) of subjection: Constructing American popular music and racial identity through Blacksound’, Masi Asare expanded upon Fred Moten’s essay ‘Taste, dissonance, flavor, escape’ to think through sweeping away and stealing away, Donatella Galella applied Karen Shimakawa’s book National Abjection: The Asian American Body Onstage to contemporary yellowface, and Hye Won Kim talked about the influence of Celine Parreñas Shimizu’s book The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene on her own work. Morrison, Moten, Shimakawa and Shimizu reflected on why they wrote those pieces of scholarship and how they understand their research years later. Finally, the co-authors spoke to reasons why scholars situated in musical theatre studies have so rarely cited research in fields like Black and Asian American performance studies and imagined radical possibilities beyond a racist citation framework.
在2021年高等教育戏剧协会会议上举行的圆桌会议上，与会者讨论了音乐剧研究中引用的种族化政治。一些演讲者提出了对他们的工作有重大影响的反种族主义学术作品:SAJ考虑了道格拉斯·琼斯的章节“奴隶制，表演和非裔美国剧院的设计”，乔丹·埃利分享了马修·d·莫里森的文章“从属之声”中的经验教训:Masi Asare扩展了Fred Moten的文章“Taste, dissonance, flavor, escape”来思考清扫和偷窃，Donatella Galella将Karen Shimakawa的书“National Abjection: The Asian American Body舞台上的亚裔美国人”应用于当代黄脸，Hye Won Kim谈到Celine Parreñas Shimizu的书“The Hypersexuality of Race”的影响:在银幕和舞台上表演亚裔/美国女性。Morrison、Moten、Shimakawa和Shimizu反思他们为什么要写这些学术论文，以及多年后他们是如何理解他们的研究的。最后，共同作者谈到了为什么从事音乐剧研究的学者很少引用黑人和亚裔美国人表演研究等领域的研究，并想象了超越种族主义引用框架的激进可能性。
{"title":"MT/D, or change: An anti-racist musical theatre reading group","authors":"Donatella Galella, Masi Asare, Jordan Ealey, Saj, H. Kim, Matthew D. Morrison, Fred Moten, Karen Shimakawa, C. Shimizu","doi":"10.1386/smt_00085_1","DOIUrl":"https://doi.org/10.1386/smt_00085_1","url":null,"abstract":"In this roundtable held at the Association for Theatre in Higher Education conference in 2021, the participants discussed the racialized politics of citation in musical theatre studies. Some of the speakers lifted up anti-racist scholarly pieces that have significantly shaped their work: SAJ considered Douglas Jones Jr’s chapter ‘Slavery, performance, and the design of African American theatre’, Jordan Ealey shared lessons from Matthew D. Morrison’s article ‘The sound(s) of subjection: Constructing American popular music and racial identity through Blacksound’, Masi Asare expanded upon Fred Moten’s essay ‘Taste, dissonance, flavor, escape’ to think through sweeping away and stealing away, Donatella Galella applied Karen Shimakawa’s book National Abjection: The Asian American Body Onstage to contemporary yellowface, and Hye Won Kim talked about the influence of Celine Parreñas Shimizu’s book The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene on her own work. Morrison, Moten, Shimakawa and Shimizu reflected on why they wrote those pieces of scholarship and how they understand their research years later. Finally, the co-authors spoke to reasons why scholars situated in musical theatre studies have so rarely cited research in fields like Black and Asian American performance studies and imagined radical possibilities beyond a racist citation framework.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46066010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sight & Sound Theatres, a Christian theatre company known for their musical adaptations of stories from the Bible, takes up the mission of evangelizing through musical theatre. While the genre of musical theatre can transform harsh religious messaging into an accessible and entertaining form, it can also undermine religious messaging by introducing camp and trivializing supernatural deities. This article examines how Sight & Sound Theatres’s Noah keeps with and breaks musical theatre conventions effectively to evangelize to their audiences.
{"title":"‘Jesus, the Ark for Today’: Evangelizing through Sight & Sound Theatres’s Noah","authors":"Chelsea Taylor","doi":"10.1386/smt_00075_1","DOIUrl":"https://doi.org/10.1386/smt_00075_1","url":null,"abstract":"Sight & Sound Theatres, a Christian theatre company known for their musical adaptations of stories from the Bible, takes up the mission of evangelizing through musical theatre. While the genre of musical theatre can transform harsh religious messaging into an accessible and entertaining\u0000 form, it can also undermine religious messaging by introducing camp and trivializing supernatural deities. This article examines how Sight & Sound Theatres’s Noah keeps with and breaks musical theatre conventions effectively to evangelize to their audiences.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42176497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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