This article investigates the ambivalent relationship between Andrew Lloyd Webber’s 1986 megamusical The Phantom of the Opera and its 1910 source novel, Gaston Leroux’s Le Fantôme de l’Opéra. Lloyd Webber and his collaborators initially differentiated the megamusical from previous adaptations by heralding a return to the spirit of Leroux’s narrative. In doing so, however, Lloyd Webber lay down the limitations of his own creative authority over the material by establishing a ‘knowing audience’ primed to experience both the ‘hypotext’ of the novel and the ‘hypertext’ of the musical through the prism of the other. This article demonstrates how Leroux’s novel was subsequently marginalized via a strategic project of displacement in the megamusical’s ‘paratexts’, such as programme notes and media interviews. Examining these paratexts and Lloyd Webber’s later reworkings of the material (as seen in its 2004 film adaptation and its 2010 sequel), this article argues that the composer-producer’s attempts to appropriate the ‘phantom’ legend have been repeatedly disrupted by the novel’s spectral resurgences in the public imagination.
本文研究了安德鲁·劳埃德·韦伯1986年的巨作《歌剧魅影》和1910年的原著小说加斯顿·勒鲁的《Fantôme de l ' opra》之间的矛盾关系。劳埃德·韦伯(Lloyd Webber)和他的合作者最初通过预告回归勒鲁(Leroux)的叙事精神，将这部巨型音乐剧与之前的改编作品区分开来。然而，在这样做的过程中，劳埃德·韦伯通过建立一个“知情的观众”，通过另一个棱镜来体验小说的“假文”和音乐剧的“超文本”，从而奠定了他自己对材料的创作权威的局限性。这篇文章展示了Leroux的小说后来是如何被边缘化的，通过一个战略项目的转移，在超级音乐剧的“准文本”中，如节目注释和媒体采访。通过研究这些文本和劳埃德·韦伯后来对材料的重新创作(如2004年的电影改编和2010年的续集)，本文认为，作曲家兼制片人试图利用“幽灵”传说的努力一再被公众想象中小说中幽灵的复活打乱。
{"title":"‘Perhaps we may frighten away the ghost of so many years ago’: Gaston Leroux’s haunting of Andrew Lloyd Webber’s The Phantom of the Opera","authors":"R. Shah","doi":"10.1386/SMT_00040_1","DOIUrl":"https://doi.org/10.1386/SMT_00040_1","url":null,"abstract":"This article investigates the ambivalent relationship between Andrew Lloyd Webber’s 1986 megamusical The Phantom of the Opera and its 1910 source novel, Gaston Leroux’s Le Fantôme de l’Opéra. Lloyd Webber and his collaborators initially differentiated\u0000 the megamusical from previous adaptations by heralding a return to the spirit of Leroux’s narrative. In doing so, however, Lloyd Webber lay down the limitations of his own creative authority over the material by establishing a ‘knowing audience’ primed to experience both\u0000 the ‘hypotext’ of the novel and the ‘hypertext’ of the musical through the prism of the other. This article demonstrates how Leroux’s novel was subsequently marginalized via a strategic project of displacement in the megamusical’s ‘paratexts’,\u0000 such as programme notes and media interviews. Examining these paratexts and Lloyd Webber’s later reworkings of the material (as seen in its 2004 film adaptation and its 2010 sequel), this article argues that the composer-producer’s attempts to appropriate the ‘phantom’\u0000 legend have been repeatedly disrupted by the novel’s spectral resurgences in the public imagination.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"255-272"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42062248","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: The Routledge Companion to the Contemporary Musical, Jessica Sternfeld and Elizabeth L. Wollman (eds) (2020)New York: Routledge, 486 pp.,ISBN 978-1-13868-461-4, eBook, £171.00
{"title":"The Routledge Companion to the Contemporary Musical, Jessica Sternfeld and Elizabeth L. Wollman (eds) (2020)","authors":"R. Mann","doi":"10.1386/SMT_00048_5","DOIUrl":"https://doi.org/10.1386/SMT_00048_5","url":null,"abstract":"Review of: The Routledge Companion to the Contemporary Musical, Jessica Sternfeld and Elizabeth L. Wollman (eds) (2020)New York: Routledge, 486 pp.,ISBN 978-1-13868-461-4, eBook, £171.00","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"361-363"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46219361","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: The Works of Arthur Laurents: Politics, Love, and Betrayal, John M. Clum (2014)New York: Cambria Press, 214 pp.,ISBN 978-1-60497-884-1, £66.99Terrence McNally and Fifty Years of American Gay Drama, John M. Clum (2016)New York: Cambria Press, 236 pp.,ISBN 978-1-60497-922-0, £69.99
{"title":"The Works of Arthur Laurents: Politics, Love, and Betrayal, John M. Clum (2014)","authors":"G. Gowland","doi":"10.1386/SMT_00049_5","DOIUrl":"https://doi.org/10.1386/SMT_00049_5","url":null,"abstract":"Review of: The Works of Arthur Laurents: Politics, Love, and Betrayal, John M. Clum (2014)New York: Cambria Press, 214 pp.,ISBN 978-1-60497-884-1, £66.99Terrence McNally and Fifty Years of American Gay Drama, John M. Clum (2016)New York: Cambria Press,\u0000 236 pp.,ISBN 978-1-60497-922-0, £69.99","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"364-367"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47467955","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}
As the Women’s Liberation Movement developed in the 1970s, women challenged society’s limited female representation as either the Madonna or the whore. Musicals in the 1970s, including Grease (1972), Chicago (1975) and Evita (1979), complicated the female image through the juxtaposition of feminine stereotypes in the heroine’s persona. With each of the shows centralizing the plot around analysing the contradictory feminine image, the women perform in both public and private settings, along with other characters critiquing their personas. From feminist protesters to the writings of Simone de Beauvoir and Betty Friedan, Sandy, Roxie and Eva reflect the requests of contemporary women to display their gender as something beyond the perceived dichotomy of Madonna or whore in their music performances.
随着20世纪70年代妇女解放运动的发展，妇女们以麦当娜或妓女的身份挑战了社会上有限的女性代表性。20世纪70年代的音乐，包括《油脂》（1972年）、《芝加哥》（1975年）和《埃维塔》（1979年），通过将女性刻板印象并置在女主人公的角色中，使女性形象变得复杂。每一部电视剧都将情节集中在分析矛盾的女性形象上，女性在公共和私人环境中表演，其他角色也在批评她们的角色。从女权主义抗议者到西蒙娜·德·波伏娃（Simone de Beauvoir）和贝蒂·弗里丹（Betty Friedan。
{"title":"‘Look at Me’, I’m femininity: The female persona in 1970s musical theatre","authors":"Samantha Lampe","doi":"10.1386/SMT_00045_1","DOIUrl":"https://doi.org/10.1386/SMT_00045_1","url":null,"abstract":"As the Women’s Liberation Movement developed in the 1970s, women challenged society’s limited female representation as either the Madonna or the whore. Musicals in the 1970s, including Grease (1972), Chicago (1975) and Evita (1979), complicated the female\u0000 image through the juxtaposition of feminine stereotypes in the heroine’s persona. With each of the shows centralizing the plot around analysing the contradictory feminine image, the women perform in both public and private settings, along with other characters critiquing their personas.\u0000 From feminist protesters to the writings of Simone de Beauvoir and Betty Friedan, Sandy, Roxie and Eva reflect the requests of contemporary women to display their gender as something beyond the perceived dichotomy of Madonna or whore in their music performances.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"321-330"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46987187","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 musical Six has taken the United Kingdom by storm, earning five Olivier nominations in 2019 and crossing the pond, previewing on Broadway in the spring of 2020. Six tells the story of Henry VIII’s six wives in what the musical portrays as their own words, with a twist ‐ the six wives form a girl group performing a concert for their audience. Through a rhetorical analysis of the musical’s script, cast recording, piano/vocal score, and field notes from two performances, I argue that Six creates public memory of Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard and Catherine Parr, focusing on their individual personalities and accomplishments, rather than simply on their relationship to Henry VIII, as documented history describes them. I suggest that by doing so, Six minimizes the role of place and time in the creation of public memory. Furthermore, I argue that this creation of public memory is intertwined with Burkean identification, as theatregoers find themselves connecting with one or more of the queens as they are portrayed in Six. By combining twenty-first-century language with the stories of sixteenth-century women, Six builds consubstantiality between its characters and its audiences. This article also explores how the final number, Six, reinvents the women’s stories as they might have been if they had lived in the twenty-first century and the impact that this has on public memory. Finally, I suggest that Six is a feminist text, advocating for solidarity and the individually defined empowerment of all women.
{"title":"Examining the ‘histo-remix’: Public memory, Burkean identification and feminism in the musical Six","authors":"Valerie Lynn Schrader","doi":"10.1386/SMT_00041_1","DOIUrl":"https://doi.org/10.1386/SMT_00041_1","url":null,"abstract":"The musical Six has taken the United Kingdom by storm, earning five Olivier nominations in 2019 and crossing the pond, previewing on Broadway in the spring of 2020. Six tells the story of Henry VIII’s six wives in what the musical portrays as their own words, with\u0000 a twist ‐ the six wives form a girl group performing a concert for their audience. Through a rhetorical analysis of the musical’s script, cast recording, piano/vocal score, and field notes from two performances, I argue that Six creates public memory of Catherine of Aragon,\u0000 Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard and Catherine Parr, focusing on their individual personalities and accomplishments, rather than simply on their relationship to Henry VIII, as documented history describes them. I suggest that by doing so, Six minimizes the\u0000 role of place and time in the creation of public memory. Furthermore, I argue that this creation of public memory is intertwined with Burkean identification, as theatregoers find themselves connecting with one or more of the queens as they are portrayed in Six. By combining twenty-first-century\u0000 language with the stories of sixteenth-century women, Six builds consubstantiality between its characters and its audiences. This article also explores how the final number, Six, reinvents the women’s stories as they might have been if they had lived in the twenty-first\u0000 century and the impact that this has on public memory. Finally, I suggest that Six is a feminist text, advocating for solidarity and the individually defined empowerment of all women.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"273-292"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46112017","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}
Black musical theatre artists in New York City share and theorize their experiences with industry expectations around racialized vocal performance. Musical director John Bronson, actor/singer Jamal James, composer/music director Dionne McClain-Freeney, composer/writer Khiyon Hursey, actor/singer Rheaume Crenshaw, actor/singer/voice teacher Elijah Caldwell, and actor/singer Zonya Love Johnson comprise the group. The artists grapple with the conundrum of sounding ‘Black enough’, how the demand for uniform Black vocalization confounds historical accuracy in period shows, and the fantasy of the generic, idealized ‘Black Broadway voice’. The group details unspoken, misguided industry assumptions that Black singers do not produce multiple kinds of belt sounds, do not use the vocal mix sound, and sing only in a heavy (power) sound virtuosically ornamented with riffs that evokes for (white) listeners a misleadingly monolithic idea of ‘the Black church’. As these artists point out, ‘We do not all go to the same church’; in fact, the ability to fluidly move between more classical (legit) and gospel vocal sounds may actually arise from a singer’s training in the church choir. Collectively these artists have worked on multiple Broadway and off-Broadway shows from The Color Purple to Hamilton and A Strange Loop, major tours and regional productions of shows such as Hair, Ain’t Misbehavin’, and Waitress, and hold songwriting credits from the prestigious BMI musical theatre writing workshop to Netflix. This conversation took place in October 2019.
纽约市的黑人音乐剧艺术家分享他们的经历，并将其与行业对种族化声乐表演的期望理论化。音乐总监约翰·布朗森、演员/歌手贾马尔·詹姆斯、作曲家/音乐总监迪翁·麦克莱恩·弗里尼、作曲家/作家基扬·赫尔西、演员/演唱家瑞奥姆·克伦肖、演员/演奏家/声乐老师伊利亚·考德威尔和演员/演唱者Zonya Love Johnson组成了该组合。艺术家们正在努力解决听起来“足够黑人”的难题，对统一黑人嗓音的需求如何混淆了时代节目的历史准确性，以及对通用的、理想化的“黑人百老汇声音”的幻想。该组织详细描述了行业中未言明的、误导性的假设，即黑人歌手不会发出多种腰带声，不会使用人声混音，只会以一种沉重的（力量）声音演唱，这种声音巧妙地装饰着即兴段，让（白人）听众产生了一种误导性的“黑人教堂”的单一概念。正如这些艺术家所指出的，“我们并不都去同一个教堂”；事实上，在更古典（合法）和福音的人声之间流畅移动的能力实际上可能源于歌手在教堂唱诗班的训练。这些艺术家共同参与了多场百老汇和非百老汇演出，从《紫色》到《汉密尔顿》和《奇怪的循环》，大型巡演和地区演出，如《头发》、《没有不端行为》和《女服务员》，并从著名的BMI音乐剧写作研讨会到Netflix获得歌曲创作学分。这次谈话发生在2019年10月。
{"title":"The Black Broadway voice: calls and responses","authors":"Masi Asare","doi":"10.1386/SMT_00047_7","DOIUrl":"https://doi.org/10.1386/SMT_00047_7","url":null,"abstract":"Black musical theatre artists in New York City share and theorize their experiences with industry expectations around racialized vocal performance. Musical director John Bronson, actor/singer Jamal James, composer/music director Dionne McClain-Freeney, composer/writer Khiyon Hursey,\u0000 actor/singer Rheaume Crenshaw, actor/singer/voice teacher Elijah Caldwell, and actor/singer Zonya Love Johnson comprise the group. The artists grapple with the conundrum of sounding ‘Black enough’, how the demand for uniform Black vocalization confounds historical accuracy in period\u0000 shows, and the fantasy of the generic, idealized ‘Black Broadway voice’. The group details unspoken, misguided industry assumptions that Black singers do not produce multiple kinds of belt sounds, do not use the vocal mix sound, and sing only in a heavy (power) sound virtuosically\u0000 ornamented with riffs that evokes for (white) listeners a misleadingly monolithic idea of ‘the Black church’. As these artists point out, ‘We do not all go to the same church’; in fact, the ability to fluidly move between more classical (legit) and gospel vocal sounds\u0000 may actually arise from a singer’s training in the church choir. Collectively these artists have worked on multiple Broadway and off-Broadway shows from The Color Purple to Hamilton and A Strange Loop, major tours and regional productions of shows such as\u0000 Hair, Ain’t Misbehavin’, and Waitress, and hold songwriting credits from the prestigious BMI musical theatre writing workshop to Netflix. This conversation took place in October 2019.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"343-359"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46706186","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":"Dominic Symonds, G. Burrows","doi":"10.1386/smt_00038_2","DOIUrl":"https://doi.org/10.1386/smt_00038_2","url":null,"abstract":"","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41921660","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}
Dear Evan Hansen, a popular Broadway musical whose narrative centres on connectivity and the protagonist’s social anxiety, offers a disruptive potential to the otherwise standard nostalgic leanings of the contemporary American musical. Operating dramaturgically, nostalgia offers the audience an opportunity to recall an idealized past that imbues the musical they are witnessing with their own positive affect. Dear Evan Hansen’s use of prosthetic memory disrupts the nostalgic tradition of the contemporary musical. Using dramaturgical analysis to identify the narrative operation of nostalgia and prosthetic memory, this article situates the disruptive potential of Dear Evan Hansen as an intervention into the American musical theatre canon writ large.
{"title":"‘Waving through a window’: Nostalgia and prosthetic memory in Dear Evan Hansen","authors":"L. Barr","doi":"10.1386/SMT_00044_1","DOIUrl":"https://doi.org/10.1386/SMT_00044_1","url":null,"abstract":"Dear Evan Hansen, a popular Broadway musical whose narrative centres on connectivity and the protagonist’s social anxiety, offers a disruptive potential to the otherwise standard nostalgic leanings of the contemporary American musical. Operating dramaturgically, nostalgia\u0000 offers the audience an opportunity to recall an idealized past that imbues the musical they are witnessing with their own positive affect. Dear Evan Hansen’s use of prosthetic memory disrupts the nostalgic tradition of the contemporary musical. Using dramaturgical analysis to\u0000 identify the narrative operation of nostalgia and prosthetic memory, this article situates the disruptive potential of Dear Evan Hansen as an intervention into the American musical theatre canon writ large.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"313-320"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45014745","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 centres on Jeanine Tesori’s Violet (book and lyrics by Brian Crawley) and Caroline, or Change (book and lyrics by Tony Kushner), both of which are set in the American south during a crucial period in American history running between the assassination of John F. Kennedy on 22 November 1963 and the passing of the Civil Rights Act of 1964. Both works musically capture the imaginative traditions of the American south through gospel, country, Motown, and blues in order to detail the complex negotiations of the titular female protagonists through challenges of isolation, entrapment and liberation in the months following Kennedy's assassination. This article argues that the promise and affordance of mobility within these musicals are rooted in an uncanny spiritual fervour expressed by Violet and Caroline, both of whom have defined a distinctive, and, as will be recognized by each musical’s conclusion, mistaken theology of personal devotion and faith that runs precisely counter to the liberating potentials in the world around them.
{"title":"The multiple mobilities of civil rights in Jeanine Tesori’s Violet and Caroline, or Change","authors":"Allan Kilner-Johnson","doi":"10.1386/SMT_00039_1","DOIUrl":"https://doi.org/10.1386/SMT_00039_1","url":null,"abstract":"This article centres on Jeanine Tesori’s Violet (book and lyrics by Brian Crawley) and Caroline, or Change (book and lyrics by Tony Kushner), both of which are set in the American south during a crucial period in American history running between the assassination\u0000 of John F. Kennedy on 22 November 1963 and the passing of the Civil Rights Act of 1964. Both works musically capture the imaginative traditions of the American south through gospel, country, Motown, and blues in order to detail the complex negotiations of the titular female protagonists through\u0000 challenges of isolation, entrapment and liberation in the months following Kennedy's assassination. This article argues that the promise and affordance of mobility within these musicals are rooted in an uncanny spiritual fervour expressed by Violet and Caroline, both of whom have defined a\u0000 distinctive, and, as will be recognized by each musical’s conclusion, mistaken theology of personal devotion and faith that runs precisely counter to the liberating potentials in the world around them.","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"243-253"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44213256","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: Pal Joey: The History of a Heel, Julianne Lindberg (2020)New York: Oxford University Press, 288pp.,ISBN 978-0-19-005120-4, h/bk, £25.99
评论：Pal Joey:The History of a Heel，Julianne Lindberg（2020）纽约：牛津大学出版社，288页。，ISBN 978-0-19-005120-4，h/bk，25.99英镑
{"title":"Pal Joey: The History of a Heel, Julianne Lindberg (2020)","authors":"Katy Jayasuriya","doi":"10.1386/SMT_00050_5","DOIUrl":"https://doi.org/10.1386/SMT_00050_5","url":null,"abstract":"Review of: Pal Joey: The History of a Heel, Julianne Lindberg (2020)New York: Oxford University Press, 288pp.,ISBN 978-0-19-005120-4, h/bk, £25.99","PeriodicalId":41759,"journal":{"name":"Studies in Musical Theatre","volume":"14 1","pages":"368-369"},"PeriodicalIF":0.1,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43657848","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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