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This essay is a letter to my younger self a reflection of where I was when I started the journey into being a professional musical theatre performer and of those lessons I can now identify from my past experiences. It offers a glimpse into some of the ups and downs of my performing life as well as some advice for any students considering this path. [ABSTRACT FROM AUTHOR]

The article discusses the influence of Wagnerian themes on various composers and their works, focusing on the interactions between librettists and composers in creating operas. It explores how different composers, such as Henze and Adams, responded to Wagner's legacy, either embracing or rejecting it. The text delves into the complexities of post-Wagnerian opera, highlighting the diverse approaches taken by composers to engage with or move beyond Wagner's musical traditions. The article also touches on the cultural and historical contexts that shaped these composers' perspectives on Wagner and his impact on the evolution of opera. [Extracted from the article]

In the summer of 2022, the author produced a one-woman show that delved into the possibilities of cabaret as a mode of intervention within the genre of musical theatre in Canada. It sheds light on the challenges Black women face, with aspirations of affecting change within the casting practices of the medium. This article serves as the critical component in that thesis, chronicling the author's journey as an accidental scholar and an intentional activist. Using musical theatre as a microcosm of life in Canada, it offers a glimpse into the lives of those who share the author's intersectionality and the injustices they experience at every level. There is a body of research addressing Black women's experiences from first-person accounts: This research extends these discussions with a focus on musical theatre in Canada, instigating a transformation in Canadian musical theatre, for the author's future and the future of other Black women in Canada. [ABSTRACT FROM AUTHOR]

As many scholars of early modern musical theatre certainly know, a careful perusal of literature not specifically meant for music may at times hold pleasant surprises for the discerning musical scholar. This may be particularly rewarding in the study of the first decades of Venetian opera, when librettists were often also active as novelists and/or playwrights and were in any case affiliated to or personally acquainted with members of the most outspoken literary academy of the early seventeenth century, the 'Accademia degli Incogniti', itself very closely involved in the establishment of public opera. Moreover, as several studies have shown, the conception and production of early opera libretti can be better understood if analysed within the context of contemporary purely literary works. And sometimes, as I will try to show here, a literary work, in this case a theatre play, may both have provided inspiration for as well as have been inspired by musical drama. As I hope to demonstrate, the implication of these musico-literary interconnections is the partial disclosure of a tight network of cultural products of the period and the significant role therein played by Claudio Monteverdi's operas, not the least also in providing unconventional and alternative outlooks on gender and gender roles. [ABSTRACT FROM AUTHOR]

Body dissatisfaction is likely to be particularly salient in aesthetically focused professions, including the performing arts. However, there is a paucity of research involving male theatre performers. This study addressed this omission by exploring how male musical theatre actors experience body image. Interviews were conducted with 7 male performers and analysed using reflexive thematic analysis. Findings illustrate the lasting influence that instructors and the training environment have upon the participants' perceptions of their bodies, participants' desire to appear masculine through greater muscularity, and the dissatisfaction that occurs when they perceive that their bodies do not conform to rigid notions of gender and body ideals. This study also provides insight into the nuanced experience of existing within a body of worth, often commodified and sold to audiences. These findings highlight the importance of facilitating a supportive training environment and opening up conversations about body dissatisfaction among male performers. [ABSTRACT FROM AUTHOR]

Nagyvárad is an operetta city. This is a statement that has resurfaced for decades, and many consider it intrinsic to the essence of the town. However, in this study, I do not attempt to unpack the concept of an operetta city; rather, I am interested in a single element of this complex notion: the Nagyvárad Theatre as an “operetta theatre”. My thesis is that operetta (and generally light, entertaining musical theatre) became a defining genre in the Nagyvárad Theatre, thus becoming a symbol that extends beyond itself. Although the Nagyvárad Theatre was known as the “stronghold of operetta” as early as the beginning of the 20th century, I will focus on a later and much shorter period, the years between 1948 and 1956. During this time, I will trace the fate of operetta (and other musical pieces that met the broader demands of the masses), examining the political, institutional, and social factors that ensured the success of this genre (these genres). My investigation begins in 1948, a year that marks a milestone in the early years of the state-communist takeover, as this was when the Nagyvárad Theatre was nationalized. The subsequent period, from 1948 to 1956, includes the years of strict ideological expectations under Stalinist state communism and the “relaxation” that followed Stalin’s death, from 1953 to 1956. [ABSTRACT FROM AUTHOR]

This article amplifies the intersection of musical theatre and political discourse during Donald Trump's presidency by working against Trump's imperative that musical theatre be a 'safe' art form. Rather than evaluating how Trump identifies with and mobilizes musical theatre numbers from Broadway's megamusicals era, I assess how performers and multimedia artists critique Trump through musical theatre citation. In doing so, I argue that musicals, as a pervasive and emotionally resonant art form, serve as an effective vehicle for satire and political commentary in the digital era. This study tracks how Broadway artists like Patti LuPone leveraged community star power to challenge Trump's rhetoric and actions, while performers like Randy Rainbow created online spoofs of well-known musical numbers to chronicle contemporary politics and inspire direct voting action. Finally, it moves to paratheatrical art in the work of graffiti artist TABBY, who used iconic musical imagery in pieces like The Lying King to appraise Trump's political character. By recontextualizing musical numbers within political events and exploring their use in both supportive and critical contexts, I underscore the enduring influence and democratic potential of musical theatre in shaping and reflecting cultural and political narratives. [ABSTRACT FROM AUTHOR]

This article explores Marc Shaiman's use of stylistic pastiche in Catch Me If You Can. Building on previous studies of style imitation in musical theatre, I develop a model for analysing different forms of pastiche. This model categorizes instances of pastiche according to the specificity of the stylistic reference, the function of the pastiche and how the pastiche is integrated into the song. Each component of the model is illuminated through a selection of examples. In Catch Me If You Can, I argue that Shaiman tends to use intra-opus (song) references in order to enhance the lyrical and narrative content, while his broader style references tend to be used for setting and reinforcing aspects of time and place. I conclude with the suggestion that this model could be deployed on other musicals. This will lead to a better understanding of how Shaiman's practices align or deviate from other composers who engage with this widespread technique. [ABSTRACT FROM AUTHOR]

This article reflects on the interplay between voice and the 'racial imagination' in Tina: The Tina Turner Musical. Drawing upon an interpretive study of the play, encompassing both its literary and musical elements, as well as my experience working at Aldwych Theatre in London's West End between late November 2018 and early May 2019, this ethnomusicological study aims to evaluate the reception of the show among the general public and Front-of-House co-workers. The article also considers the notions of 'racialized voice' and 'vocalized race' in order to address some of the challenges that arise from the interpretive discrepancies between voice, timbre and 'racial imagination'. [ABSTRACT FROM AUTHOR]

Research on personality in leadership indicates that self-selection to leadership careers and artistic careers correlates with diverging personality profiles. People in leadership careers traditionally display lower neuroticism and higher conscientiousness than artistic individuals. In between, there are individuals entering arts management careers. To study these individuals directly, we collected Norwegian data from 91 musical theater students and 102 arts management students and compared with 109 business management students. As expected, conscientiousness and neuroticism predicted artistic careers against business management careers, aligned with the "arts for arts' sake" myth of artists. Interestingly, arts management careers were not different from artistic careers. They weren't more motivated to take on leadership roles than performing artists either. However, the Highly Sensitive Person Scale indicated that narrower traits of sensitivity predicted higher levels of motivation to lead in many artists. Some arts and arts management students seem to bring unique talents into forms of leadership particularly useful for artistic organizations. Our findings are discussed in terms of how leadership characteristics operate in the field of art, and the effect of domain-specific characteristics in this setting. [ABSTRACT FROM AUTHOR]

With the advancements of machine learning and AI technologies, robots have been more widely used in our everyday life and they have also been used in education. The present study introduces a 12-week child-robot theater afterschool program designed to promote science, technology, engineering, and mathematics (STEM) education with art elements (STEAM) for elementary students using social robots. Four modules were designed to introduce robot mechanisms as well as arts: Acting (anthropomorphism), Dance (robot movements), Music and Sounds (music composition), and Drawing (robot art). These modules provided children with basic knowledge about robotics and STEM and guided children to create a live robot theater play. A total of 16 students participated in the program, and 11 of them were involved in completing questionnaires and interviews regarding their perceptions towards robots, STEAM, and the afterschool program. Four afterschool program teachers participated in interviews, reflecting their perceptions of the program and observations of children's experiences during the program. Our findings suggest that the present program effectively maintained children's engagement and improved their interest in STEAM by connecting social robots and theater production. We conclude with design guidelines and recommendations for future research and programs. [ABSTRACT FROM AUTHOR]

This article explores collaborative songwriting as a form of artistic activism – the creation, performance and/or distribution of art to advance social justice – and demonstrates its potential both in terms of the process of songwriting and the songs that result from it. In doing so, it compares two songwriting workshops facilitated as part of Sex Worker's Opera (SWO), a grassroots musical theatre project by and for sex workers, drawing on participant observation, archival research and music elicitation interviews. In unpacking the contingent nature of this potential, it evaluates the practical significance of different intentions and material constraints, approaches to fostering ownership and solidarity, and the balance between structure and freedom in facilitating the workshops. Critically, the findings suggest that public engagement, alongside a commitment to community leadership, can help to harness the activist potential of the practice. Looking at how collaborative songwriting can function as and for artistic activism – through creative processes and cultural products – the article emphasizes the opportunity this practice offers for marginalized groups to reclaim cultural space and to challenge norms of silencing in both the cultural and political spheres. [ABSTRACT FROM AUTHOR]

This paper examines the evolutionary process of moving from traditional styles to pioneering directions in the opera genre. This phenomenon expressed itself in a mixture of styles and forms of language, in the integration of different types of artistic means of expression. Another issue would be related to the nature of the lyrical tradition, its need for preservation and continuity, and the extent to which innovation is tolerated in opera to ensure that artistic works do not cross genre boundaries. It is a new phenomenon for contemporary actors and audiences, the one present in the theater today. By examining the evolution of the art of opera, it was possible to identify the general pattern of development of innovative opera and to argue that artistic integration is the source of diversity on stage and the basis of innovation in opera production. For this purpose, a cultural-historical and historical-artistic approach was used. The academic novelty of the study consists, first of all, in the complex analysis of the sources related to the translation of metalanguage in lyrical art, and secondly, the incorporation of these sources in the academic circulation as important and significant for the recognition of the reform of the opera genre. [ABSTRACT FROM AUTHOR]

Theatre can be a powerful tool for exploring social justice issues, but it can also reproduce whiteness, ableism, and other systemic oppressions. As theatre educators--constrained by many competing demands on our time, resources, and energy--we want to know: how can we leverage our teaching artistry to authentically explore social justice issues with the young people and adults in our communities? Speaking from our experiences at a nonprofit theatre in a majoritywhite, upper-middle-class community, we offer creative drama as a model for integrating this kind of social justice education into youth musical theatre production camps. We explore the tools that creative drama offers for supporting youth and teaching artists in exploring issues related to inclusion, diversity, equity, and accessibility; understanding our relationships with oppressive systems; and taking action to transform them. Then, we demonstrate how this can look in practice. We outline a process through which we developed two creative drama adventures and share stories of how these dramas unfolded. Finally, we surface some lingering tensions about our and our students' identities and how they inform our ongoing work. In sharing these stories and tensions, we invite you to consider how creative drama might support you and your communities. [ABSTRACT FROM AUTHOR]

The article in the Wagner Journal compares recent Wagner productions at the Deutsche Oper to those of the past, particularly under the influence of Götz Friedrich. The article discusses various productions, highlighting successes and shortcomings, such as the Tannhäuser production under Kirsten Harms and the Holländer production by Christian Spuck. It also evaluates productions of Tristan und Isolde, Lohengrin, Parsifal, and Die Meistersinger von Nürnberg, noting changes in direction and musical interpretation over the years. [Extracted from the article]

Victorians on Broadway: Literature, Adaptation, and the Modern American Musical, by Sharon Aronofsky Weltman; pp. ix + 321. Charlottesville and London: University of Virginia Press, 2020, $75.00, $37.50 paper, $37.50 [...]

"DPR - Musikal" is a highly acclaimed and ambitious musical theater video created by SkinnyIndonesian24 (Jovial da Lopez & Andovi da Lopez) that features a compelling environmental message. This piece depicts the contested meaning of nature and how it is influenced by different interests in the DPR. This research will examine the environmental politics discourses present in "DPR - Musikal" as an artistic creation that establishes a connection between environmental concerns and the notion of power. The research employed a qualitative approach and utilized Critical Discourse Analysis (CDA) by Norman Fairclough. Data was gathered through video transcripts, direct interviews with informants (Jovial da Lopez), and additional documents. This research identifies two discourses in the piece: (1) sustainable development which reconciles the objectives of development agenda and environmental conservation, and (2) anti-capitalism which is identified through the narratives of land privatization, natural resources exploitation, and capitalism's dominance in policymaking within the Indonesian parliament. These two discourses represent contrasting political thoughts, hence confirming incohesive solutions to the environmental problems. Although the producers condemn the dominance of business power and the exploitation of nature, they do not present a radical opposition to capitalism. Instead, they exhibit a lenient stance towards the development agenda, thus exemplifying the dominant influence of capitalist ideology within the musical theater production. [ABSTRACT FROM AUTHOR]

The article focuses on the exploration of modern adaptations of classical myths in musical theater, particularly comparing two works: "The Frogs" and "Hadestown." Topics include the evolution of these adaptations to reflect contemporary political and social themes, the use of mythology as a lens for understanding present-day concerns, and the enduring relevance of classical myths in inspiring artistic interpretations across different eras.

In 2018, against a backdrop of post-truth politics, celebrity culture and shock journalism, Chris Bush and Matt Winkworth premiered their fake verbatim musical, The Assassination of Katie Hopkins. This musical explored the ramifications of the fictionalized death of the notorious tabloid-topper Hopkins, while questioning the authenticity of the verbatim form. In doing so, the creators considered new possibilities for musical theatre. This article will explore Bush and Winkworth's attempt to critique the cultural and political landscape, using the already ethically complex vehicle of verbatim theatre. It will consider the musical in relation to the political promiscuity of performance and slippage between the polarities of an ever-changing political spectrum. It will consider Jannerone's concept of vanguard performance and explore the performative responses to the musical about Hopkins in the alt-right press. As we question dominant ideologies within musical theatre and embrace the sense of being, at all times, 'post-something', this article considers how writers can document this time of interregnum to reflect a world where 'change is the only permanence, and uncertainty the only certainty'. [ABSTRACT FROM AUTHOR]

Careers in musical theatre necessarily require not only a set of discipline-specific skills but also a range of supplementary, supporting skills. Curricula also must adapt to current industry needs and conventions. To address the breadth of requisite skills and maintain currency, a process of regular curriculum review is implemented by universities and conservatoires offering musical theatre degree programmes. In this article, I offer a framework based on concepts from creative career theory and field research as a possible approach to curriculum renewal and development in musical theatre degree programmes. [ABSTRACT FROM AUTHOR]

This article sets out a methodology for performance meteorology by analysing the weather in the urban pastoral imagery of diegetic and non-diegetic 'open-air performances' in three screen musicals set in New York City: Steven Spielberg's remake of West Side Story, Jon M. Chu's adaptation of In the Heights and Lin-Manuel Miranda's adaptation of Tick, Tick... BOOM!. Together, these films depict the aerial environment of New York as the context for open-air performances, generating distinct representations of how the weather conditions life in the cultural home of musical theatre. The New York performers and performances represented in these pieces cultivate their identities with the weather, as do the creatives who represent them. They indicate the growing climate anxieties that came to substrate the COVID-19 pandemic, when the premium on access to the open air was brought into renewed focus. Crucially, these iterations of West Side Story, In the Heights and Tick, Tick... BOOM! do more than use the medium of film to record how bodies respond to the weather. They capture the cultural zeitgeist of the New York climate at a crucial juncture between environmental and social history. Beyond the record that they will long provide of the prevailing sense of the city's climate as culture, they attest to adaptive practices of weathering the city in their expressions of performance in the open air. [ABSTRACT FROM AUTHOR]

Recent television shows and specials, films, and biographical musicals such as SIX the Musical (2017), signal an ongoing preoccupation with the British monarchy, particularly as it intersects with empowering re-tellings of women's herstories. SIX reassesses the wives' relationships to Henry VIII and to each other, and explores how they have been portrayed and mythologised throughout history. It reimagines each of the wives as pop princess characters, giving each queen an amplified and powerful voice and a platform with which to use it. Humour is used to expose the ways in which gender is socially constructed and performed, how it is represented in musical theatre, and to challenge accepted narratives surrounding the six women. SIX demonstrates how women's individual and collective agency can co-exist, and how the solidarity between the wives on stage, and the women playing them, can also extend to the women in the audience. SIX is also distinctive in the majority-female and non-binary practitioners that comprise its creative team, which further challenges the typically male-dominated musical theatre industry. In this short article, I examine the form and function of the feminism promoted by SIX, and in particular its engagement with female joy, frivolity, and love. [ABSTRACT FROM AUTHOR]

This essay assesses the afterlives in film, theatre, and scholarship of a sixteenth-century legal proceeding in which a Basque peasant named Martin Guerre was subject to identity theft. Focusing on the 1996 West End musical, the essay proposes that the conventions of musical theatre allowed this adaptation to revise earlier versions of the story in response to then-current concerns in historiography, in particular, those of new historicist criticism. It argues that the musical's focus on the female lead's knowledge and consent, informed by the cultural context of the 1990s, constituted a key intervention in the adaptive history of the Martin Guerre story. And it examines the musical's engagement with new historicist ideas about the contingency of early modern identity, noting that the lyrics and structure present a contrast between a contingent identity reliant on property ownership, kinship bonds, and religious community with a more 'modern' identity based on psychological continuity and unique selfhood. In conclusion, the essay proposes Martin Guerre as a case study for broader questions about how historical individuals' agency can be represented in adaptation. [ABSTRACT FROM AUTHOR]

The editorial in Studies in Musical Theatre introduces the International Society for the Study of Musicals (ISSM) and highlights the recent Song, Stage and Screen conference. The editorial also previews the content of the current issue, which includes articles on topics such as voice studies, marketing musicals on TikTok, musical influence, and political commentary in musical theatre. Additionally, the issue features reviews of new books and multimedia related to musical theatre. The editorial encourages submissions for future issues and provides contact information for the editors. [Extracted from the article]

Focusing on two iterations of the Anastasia topos – the 1997 animated musical movie produced and released by Fox Animation Studios and Takarazuka Revue’s Japanese theatrical musical live performance from 2020 –, this article analyzes the significance and impact of historical events and their dialectic renegotiation by means of mass entertainment in crosscultural cross-media perspective. Drawing on extensive fieldwork and archive research, the current analysis attempts a realistic diagnosis of future international developments based on live theatrical representations as well as their crucial reformulations of reality resulted from the empathic exchange between performers and audiences. Moreover, Japan’s attempts at reconfiguring geopolitical relations crisscrossing increasingly nationalist discourses in the public sphere during the 2010s are projected on the – likewise increasingly – polarized global narratives juxtaposing individual freedoms, rights, aspirations with collective expectations, pressures, anxieties.

To document and quantify vocal dose and student-singers' self-assessment during rehearsals for a contemporary musical theater production. Six student singers fastened the sensor from the KayPentax APM 3200 dosimeter to the lower neck to capture neck vibration data during their preparation for the musical Wonderland by Frank Wildhorn. Data were collected during 8-hour periods, at four different stages throughout the rehearsal process: beginning (music and choreography learning phase), middle (staging phase), and end (running the entire show/dress rehearsal phase), plus a post-production day once the production had concluded to establish a baseline vocal load. Students concurrently completed the EASE questionnaire 1 after each data collection day. The EASE score (Appendix 1) and demographics/perceptual questionnaire (Appendix 2) revealed that all subjects (three males and three females) found the singing role vocally and physically demanding but only two found the roles to be emotionally challenging. The musical score demanded a higher usage of chest register (judged perceptually) than mixed register from lead singers. All subjects' maximum fundamental frequency range exceeded the pitch range required by the score. The mean daily vibration dose (distance dose, as computed with Kay Pentax Software) of the three individual female singers' during rehearsals, 5,203 meters, was higher than the mean daily dose of the three male singers, 3,766 meters. The subjects' self-ratings on the EASE were not correlated with the distance dose. A review of Wonderland's score and perceptual judgment of the singers' performances revealed extensive use of chest register, with belting and mix vocal strategies being the predominant stylistic choices. Students described the singing roles' vocal and physical requirements as more challenging than the character's emotional components. This pilot study provides information on the vocal dose for lead and ensemble singers in rehearsal for a Contemporary Musical Theatre production. Singers and voice professionals may find dosimetry a valuable tool for monitoring the vocal dose during rehearsals and performances. [ABSTRACT FROM AUTHOR]

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The Asian American Broadway musical continues to be a limited category in which many of its most commercially successful titles have histories mired in stereotype, mockery and erasure. Stephen Sondheim and John Weidman's Pacific Overtures, however, stands apart from most other Broadway musicals written about the Asian and Asian American experience. The positioning of an Asian narrative in a serious and legitimate manner, the effort to incorporate Japanese aesthetic authenticity and the resolve to cast all Asian American talent were central to the creation of Pacific Overtures and were historical firsts for the Broadway stage. Stamped with Sondheim's incomparable quality seal, Pacific Overtures initiated a new and necessary step towards Asian American Broadway inclusivity. But the show's original Broadway run in 1976 was unsuccessful, both critically and commercially, and closed after 193 regular performances. In 2004, a highly anticipated Broadway revival gave the New York theatre world a chance to revisit Pacific Overtures. The revival production also offered a company of Asian American actors, whose community had historically been sidelined on Broadway, the opportunity to deliver a high-profile show about the Asian experience that resisted clichéd gestures of Asian-ness. In this article, I share my personal recollections of my time with Pacific Overtures as a cast member of the 2004 Broadway revival and reflect upon the production as it pertains to a grander collective memory of the Asian American Broadway experience. Cautiously optimistic about the critical and commercial outcome of this new production, our 2004 Pacific Overtures cast took great comfort in an ever-present Sondheim, whose constant proximity and participation during the run of the show served as a reminder that even this lesser-known Sondheim piece is still a Sondheim masterpiece. [ABSTRACT FROM AUTHOR]

'Kaddish for Steve' explores Steven Sondheim's legacy as a Jewish artist after his death, seeking traces of his Judaism in stories of his Jewish collaborators, exploration of his Jewish (and Jew-ish) characters and analysis of his Jewish themes. Using theories of Jewish narrative and Jewishness as articulated by (among others) Dara Horn and Daniel Boyarin, and musical theatre theory as conceived by David Savran, the article closely reads musicals including Merrily We Roll Along, Company, Sunday in the Park with George and Gypsy alongside Sondheim's own memoir, Finishing the Hat. In examining Sondheim's understanding of his own work, 'Kaddish for Steve' discovers a Jewish way of reading and writing within both the musicals and the memoir that closely aligns with Boyarin's concept of 'Jewissance'. The article concludes with a remembrance of Sondheim as spiritual and artistic teacher, honouring his continued influence on contemporary musical theatre and comparing his role in the lives of his many students to that of a rabbi. [ABSTRACT FROM AUTHOR]

This article explores how Jewish American composer and lyricist Stephen Sondheim, in his musical theatre works, engaged in a distinctly Jewish lyrical style that resembles a Talmudic dialectic. The author argues that Sondheim's argumentative, self-referential, quick-moving, pitter-patter lyrics and music, a writing style that values the performance of ambivalence and repeated questioning, resembles contemporary Jewish discourse as influenced by Talmudic dialogue. The author explores Sondheim's work through a reflection of his experience piloting a new two-week musical theatre specialty programme at Ramah Darom, a Jewish summer camp in Clayton, Georgia, in July 2023. The programme, called Ramah Bamah (bamah is a Hebrew word that translates in this context to 'stage'), aimed to teach campers valuable performance skills from professional theatre-makers, while simultaneously encouraging campers to explore their identities as Jewish artists. Ramah Bamah presented Stephen Sondheim's Into the Woods JR. as its premiere production, as programme leaders used Jewish texts, thought and values to help campers connect emotionally and thematically to Sondheim's play-text. This article considers the relationship between Jewish text study, Jewish education, storytelling, youth/amateur theatre-making and Stephen Sondheim. [ABSTRACT FROM AUTHOR]

This piece of autoethnographic writing analyses its author's coming of age as a scholar and connects anecdotes to the history of Black actors in Sondheim's musicals. From Reri Grist and Elizabeth Taylor in West Side Story (Winter Garden Theatre, New York City, 1957) to Francois Batiste, Adante Carter and Amber Gray in Here We Are (The Shed, New York City, 2023), Black actors co-create Sondheim's musicals on and off official theatrical stages even as Sondheim studies as a field erases their labour. By building on Brent Staples's experience of racism and Claude M. Steele's theory of stereotype threat, the offensive mechanisms visited on Black men and boys are considered alongside Sondheim's notable works throughout. Attention is also paid to what musical theatre studies scholars can learn about epistemology and historiography from Black people's experiential knowledge and lived experience. [ABSTRACT FROM AUTHOR]

Stephen Sondheim's 1994 musical Passion is rarely discussed or deconstructed, more often relegated to a footnote within his collected works. However, it poses many important questions about disability and sexuality, which remain largely unexplored as themes within the musical theatre canon. In this article, I consider my own readings and reactions to this text from two moments in time: 2014 and 2023. My approach to this text is framed by my intersectional understanding of the labels I use to identify myself: asexual, disabled and female-presenting. I explore my own response to the musical in relation to these labels, and discuss how my growing understanding of myself was aided by my first viewing and complicated by the second viewing. [ABSTRACT FROM AUTHOR]

The author considers her experience as the lighting designer for John Doyle's production of the Stephen Sondheim and John Weidman's musical Road Show at the Public Theater in New York City in 2008. She reflects on the experience of her life and career as an immigrant designer in the American theatre in relationship to the story of the musical, and relates her experience of the rehearsal and technical process of the production. The author considers her relationship to the American musical through the experience of designing this one particular Sondheim musical and explores various relationships to America, to the musical and to theatre in capitalism in the context of particular songs from the musical. [ABSTRACT FROM AUTHOR]

"Opera for the People: English-Language Opera and Women Managers in Late 19th-Century America" by Katherine K. Preston explores the history of English-language opera in America from the postbellum years to the early 20th century. The book highlights the role of women performers and managers in staging well-known French, Italian, and German operas in vernacular English translations. Preston examines the social and professional obstacles faced by women at the time and showcases the vibrant performance culture of American opera that has been largely overlooked in American social and cultural history. The book provides a chronological account of the development of English-language opera and its eventual merging into American musical comedy. It also includes archival material such as illustrations, theatre programs, images of opera houses, and pages from librettos and prompt scores. The book offers valuable insights into the cultural, social, and gender disparities of 19th-century America and prompts readers to reflect on these issues. [Extracted from the article]

The dissemination and development of musical theater promote each other; smooth dissemination can promote development, and comprehensive development can expand the time and space of dissemination. With the development of time, the effective digital communication strategy of musical theater has gradually become the direction of research. The study utilizes pattern recognition technology to combine sensors for action pattern recognition of musical theater dance and first develops a human motion model that meets the needs of musical theater dance action. The sensor system was designed and developed from three parts, such as acceleration measurement sensors, plantar pressure measurement shoes, and a data acquisition motherboard. On this basis, the pattern recognition method of this paper is combined with the musical to realize the improvement and optimization of the musical stage, and the digital communication strategy of the musical dance is proposed according to the audience communication model. The sensor-based pattern recognition method of this paper has reduced the average output error of accelerometers by another 60%, and the average output error of gyroscopes by 48% after the calibration of its sensors, and the recognition rates of the eight patterns oriented to the musical theater dance are all above 91%. Based on the digital communication strategy of this paper, the communication effect of the musical theater in the digital platform attention to the total number of people, the total number of viewers, and the revenue of the theater company increased by 150,000 people, 53,000 people, and 28,000 yuan, respectively. This study, based on pattern recognition of musical digital communication strategies in practice, achieved good results. It provides an effective path for the development and promotion of musical theater.

In this discussion of Ilene Philipson and D. Bradley Jones' paper, "Stephen Sondheim: Relational Psychoanalyst of the American Musical Theater," I contextualize Sondheim's transformative impact on the Broadway musical and delineate his unparalleled gifts as composer, lyricist and dramatist. I join Philipson and Jones in seeking to explicate the unique potency of his work, offering my own analysis of a Sondheim song using the coauthors' astute analytic formulations to help uncover why and how it exerts an unusually strong claim on the psyche. I then introduce some of my own interpretations to amplify and complement their arguments, before engaging with their conceit of Sondheim as playing relational analyst to his audience. [ABSTRACT FROM AUTHOR]

In 1913 Sigmund Freud wrote that he was incapable of obtaining any pleasure from music because his mind rebelled "against being moved by a thing without knowing why I am thus affected." Therefore, it can be argued that Freud bequeathed to us a practice that privileged words, and the necessity to transform affects into words, due, in part, to his own entrenched defenses. This paper seeks to remedy this bequest by asserting the importance of music into the psychoanalytic canon through an appreciation of composer Stephen Sondheim's work. We argue that he is unparalleled in his capacity to immerse his audience in the conflicts, affects, and self-deceptions of the actors on the stage so as to feel into their own desires, longings and defenses. In his willingness to explore the darkest emotions without shame, Sondheim creates, what Stolorow calls, a relational home for all those who feel ashamed, anguished about who they are, or what they feel. [ABSTRACT FROM AUTHOR]

This article investigates the use of the voice by five Black opera and musical theatre performers. The performers discuss the approaches that they take in the representation of music that requires integrated vocality, which amalgamates elements from Western classical vocalism and stylistic genres of traditionally Black forms like gospel, jazz, and blues. Data were collected through audio/visual analysis, interviews, and video stimulated recall. The emergent theme explored is as follows: A singer positions themself at the nexus of their cultural legacy as a learner, exemplar, advocate, and transmitter of culture. A Black singer consciously uses musical strategies when presenting and re-presenting music based in culturally affirming aesthetics. The artist becomes skilled at executing Black vocal aesthetics to encourage other artists and to perpetuate Black culture. [ABSTRACT FROM AUTHOR]

After its establishment, cinema had to compete with other popular forms of entertainment in Spain, such as musical theater and variety shows, in which the cuplé stood out. This article explores the presence and significance of cupletistas in silent films, examining the relationship between cinematic performance and music, the use of the artists' sexualized bodies, and the performative dimension of cuplés to cinematic narrative. [ABSTRACT FROM AUTHOR]

The article present an interview with Kieran Griffiths, director of "The White Handkerchief", play. It discusses the play depicts the Bloody Sunday massacre in Derry, Northern Ireland; its impact on families affected by the tragedy; the play's approach to reframing grief as a way of honoring lost loved ones; the choice of using musical theater to delve into the chaos of the event; and the spiritual significance of elevating the memory of those who died in the tragedy.

The transnational circulation of persistent racial types that are attached to Asian/American women have shaped Asian-focused narratives and roles on Broadway. The King and I (2015) and KPOP (2022) exemplify Asian/American women's performative labor and the tensions embedded in and disruptive of the contested political arena of Broadway musical theatre. [ABSTRACT FROM AUTHOR]

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The article "TikTok Broadway: Musical theater fandom in the digital age" by Trevor Boffone explores how TikTok has transformed musical theater fandom by allowing fans to actively participate in promoting and creating musicals. Through case studies and fan-driven phenomena, the book demonstrates how TikTok empowers fans to shape the future of musical theater. The author discusses how TikTok has influenced marketing, fan engagement, audition processes, drag culture, cosplay, and even the creation of a crowdsourced musical, Ratatouille: The TikTok Musical. The article provides a timely analysis of TikTok's impact on the world of musical theater, highlighting the platform's role in reshaping fan engagement and production processes. [Extracted from the article]

Paul R. Laird's book, "West Side Story, Gypsy, and the Art of Broadway Orchestration," sheds light on the often overlooked field of orchestrators and orchestration in musical theatre. Laird's volume focuses on the orchestration of two iconic musicals, West Side Story and Gypsy, and aims to demonstrate how the orchestration enhances the plot and informs the audience about the characters and situations. The book includes historical context on Broadway musicals, biographies of composers and orchestrators, and detailed explorations of the orchestrations in the two musicals. Laird's primary research, including analysis of archival sources, provides valuable insights into the creative processes and working practices of the orchestrators. The book offers a comprehensive and accessible resource for those interested in the art of Broadway orchestration and encourages further research in this area. [Extracted from the article]