Kooperativer Bibliotheksverbund

UID:

Umfang: 1 online resource (293 pages)

Ausgabe: 1st ed.

ISBN: 3-031-14663-8

Serie: Palgrave Studies in British Musical Theatre Series

Anmerkung: Intro -- Acknowledgments -- Contents -- About the Author -- Contents -- Chapter 1: Introduction -- The American and British Musical at the Lane -- Archival Footprint -- Chapters and Case Studies -- Drury Lane's Place as a National Theatre -- References -- Chapter 2: The Arrival of Musical Theatre at the Lane (1924-1934) -- British Cultural Identity and Cosmopolitan Musical Theatre -- The Reputation of the Lane -- The Rise of the Impresario -- Redefining Critical and Commercial Success with Rose-Marie -- Marketing Scandal -- The Desert Song (1927) -- The Politics of Show Boat (1928) -- The Passing Success of The New Moon -- Musical Curiosities and Flops: Kern and Hammerstein, Ball at the Savoy (1933), and Three Sisters (1934) -- The Significance of American Works at the "National Theatre" -- References -- Chapter 3: The Drury Lane Theatre Spectacle (1931-1939): "Hearts Splintering in Waltz Time" -- Noël Coward and Ivor Novello: A New Generation -- Noël Coward as Cultural Icon -- Cavalcade Production History -- Ivor Novello and the Continuation of the English Operetta Tradition -- Glamorous Night -- Careless Rapture -- Crest of the Wave -- The Dancing Years -- Censorship and Critical Response -- The Lane as Cultural Icon on the Cusp of the Second World War -- References -- Chapter 4: The Lane and ENSA Headquarters (1939) -- West End Theatre in 1939 -- Reorganization of Lane Management: Enter Basil Dean -- The Practical Takeover of the Lane -- ENSA and the Growth of Wartime Entertainment -- ENSA Performance Begins -- Entertainment Styles -- Strategic Broadcasting -- Tours as Theatres of War -- Challenges of Travel and Performance -- Practical Challenges -- ENSA Leadership Challenges -- Public Perception and Backlash -- ENSA's Lasting Impact on the Lane -- References -- Chapter 5: Theatre in a Time of War and Rebuilding: The Lane in Flux. , Drury Lane in a Time of Transition -- Political Climate of Wartime and Embracing the American Outsider -- "My British Buddy": This Is the Army as Soft Diplomacy -- Operetta Re-emerges at the Lane: Pacific 1860 -- Backlash to the Presence of Americans in London and the Lane in 1946 -- References -- Chapter 6: Rodger's and Hammerstein's Oklahoma! Carousel and South Pacific: Imported Americana -- London Theatre and Political Influences (1945-47) -- The "Tsars" of Drury Lane -- Political and Cultural Connections -- Perception of Innovation in Oklahoma! -- Ballet in Oklahoma! -- Carousel and Reminders of Operetta at the Lane -- The British Response to Carousel -- Musical Style in Carousel -- South Pacific and American Portrayals of Global Conflict -- Production Management and Commercial Independence -- Muddled Critical Responses to South Pacific -- Martin's "Star Appeal" as Political Currency -- Marketing an American Theatrical Brand at the Lane -- References -- Chapter 7: Rodgers and Hammerstein's The King and I: Ruritanian Imperialism at the Lane -- The Lane in 1953 -- The Rodgers and Hammerstein Brand at Drury Lane -- Production Process -- Musical Style and Production Changes -- Marketing and Reception -- Public Backlash and Perception -- Imperial Politics and the Lane -- References -- Chapter 8: Lerner and Loewe: British Imitations and Fading Empire -- The Lane in the 1950s and 1960s -- Lerner and Loewe in London -- Brigadoon as Scottish Fantasy -- The Fairest Lady -- The Star Power of My Fair Lady -- Critical and Public Reception -- Camelot (1964): Nostalgia for Empire -- Market Forces and Critical Response -- The Lane Tercentenary -- References -- Chapter 9: Hello, Dolly!, Mame, and the Resurgence of the British Musical -- The Lane in the 1960s -- The Boys from Syracuse: A Lane Flop -- Oliver! and the British Musical Abroad. , Hello, Dolly! in New York -- Global Marketing -- Hello, Dolly! in London -- A British Work at the Lane: The Four Musketeers -- Mame in New York and London -- The Lane as the Symbolic National Theatre -- References -- Index.

Weitere Ausg.: ISBN 9783031146626

Sprache: Englisch

UID:

Umfang: 1 online resource (293 pages)

Ausgabe: 1st ed. 2024.

ISBN: 9783031146633 , 3031146638

Serie: Palgrave Studies in British Musical Theatre,

Inhalt: This monograph centres on the history of musical theatre in a space of cultural significance for British identity, namely the Theatre Royal, Drury Lane, which housed many prominent American productions from 1920-1970. It argues that during this period Drury Lane was the site of cultural exchanges between Britain and the United States that were a direct result of global engagement in two world wars and the evolution of both countries as imperial powers. The critical and public response to works of musical theatre during this period, particularly the American musical, demonstrates the shifting response by the public to global conflict, the rise of an American Empire in the eyes of the British government, and the ongoing cultural debates about the role of Americans in British public life. By considering the status of Drury Lane as a key site of cultural and political exchanges between the United States and Britain, this study allows us to gain a more complete portrait of the musical'scultural significance in Britain. Dr. Arianne Johnson Quinn is an archivist, librarian, and scholar. She is currently the Music Special Collections Librarian at the Warren D. Allen Music Library, Florida State University, USA. She holds a Ph.D. in Musicology from Princeton University, and has worked as Digital Archivist and Research Associate for the Noël Coward Archive Trust. Arianne has been on the faculty of the Florida State Honors Program, South Georgia State College and Tallahassee Community College. Her research focuses on the intersections between the American and British musical in London's West End from 1920-1970, particularly the works of Noël Coward, Kurt Weill, Lerner and Loewe, Irving Berlin, Cole Porter and Rodgers and Hammerstein. .

Anmerkung: 1. Introduction -- 2. Chapter 1: Cosmopolitan musical theatre styles at the Lane (1918-1934) -- 3. Chapter 2: The Drury Lane Musical Theatre Spectacle (1931-1939): "Hearts Splintering in Waltz Time" -- 4. Chapter 3: The Lane and ENSA (Entertainment National Services Association) headquarters (1939) -- 5. Chapter 5: Rodger's and Hammerstein's Oklahoma! Carousel and South Pacific: Imported Americana -- 6. Chapter 6: Ruritanian Imperialism in The King and I (1953) -- 7. Chapter 7: Fading Empire and British imitation: Lerner and Loewe -- 8. Chapter 8: Hello Dolly and the resurgence of the British musical the nostalgia of Lost Empire Word -- 9. Epilogue.

Weitere Ausg.: ISBN 9783031146626

Sprache: Englisch

DOI: 10.1007/978-3-031-14663-3

UID:

Umfang: XIII, 283 p. , online resource.

Ausgabe: 1st ed. 2024.

ISBN: 9783031146633

Serie: Palgrave Studies in British Musical Theatre,

Inhalt: This monograph centres on the history of musical theatre in a space of cultural significance for British identity, namely the Theatre Royal, Drury Lane, which housed many prominent American productions from 1920-1970. It argues that during this period Drury Lane was the site of cultural exchanges between Britain and the United States that were a direct result of global engagement in two world wars and the evolution of both countries as imperial powers. The critical and public response to works of musical theatre during this period, particularly the American musical, demonstrates the shifting response by the public to global conflict, the rise of an American Empire in the eyes of the British government, and the ongoing cultural debates about the role of Americans in British public life. By considering the status of Drury Lane as a key site of cultural and political exchanges between the United States and Britain, this study allows us to gain a more complete portrait of the musical'scultural significance in Britain. Dr. Arianne Johnson Quinn is an archivist, librarian, and scholar. She is currently the Music Special Collections Librarian at the Warren D. Allen Music Library, Florida State University, USA. She holds a Ph.D. in Musicology from Princeton University, and has worked as Digital Archivist and Research Associate for the Noël Coward Archive Trust. Arianne has been on the faculty of the Florida State Honors Program, South Georgia State College and Tallahassee Community College. Her research focuses on the intersections between the American and British musical in London's West End from 1920-1970, particularly the works of Noël Coward, Kurt Weill, Lerner and Loewe, Irving Berlin, Cole Porter and Rodgers and Hammerstein. .

Anmerkung: 1. Introduction -- 2. Chapter 1: Cosmopolitan musical theatre styles at the Lane (1918-1934) -- 3. Chapter 2: The Drury Lane Musical Theatre Spectacle (1931-1939): "Hearts Splintering in Waltz Time" -- 4. Chapter 3: The Lane and ENSA (Entertainment National Services Association) headquarters (1939) -- 5. Chapter 5: Rodger's and Hammerstein's Oklahoma! Carousel and South Pacific: Imported Americana -- 6. Chapter 6: Ruritanian Imperialism in The King and I (1953) -- 7. Chapter 7: Fading Empire and British imitation: Lerner and Loewe -- 8. Chapter 8: Hello Dolly and the resurgence of the British musical the nostalgia of Lost Empire Word -- 9. Epilogue.

In: Springer Nature eBook

Weitere Ausg.: Printed edition: ISBN 9783031146626

Weitere Ausg.: Printed edition: ISBN 9783031146640

Weitere Ausg.: Printed edition: ISBN 9783031146657

Sprache: Englisch

DOI: 10.1007/978-3-031-14663-3

URL: https://doi.org/10.1007/978-3-031-14663-3