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OverviewFull Product DetailsAuthor: Robert Gordon (Professor of Theatre and Performance, Professor of Theatre and Performance, Goldsmiths College) , Olaf Jubin (Reader in Media Studies and Musical Theatre, Reader in Media Studies and Musical Theatre, Regents University)Publisher: Oxford University Press Inc Imprint: Oxford University Press Inc Dimensions: Width: 24.10cm , Height: 4.30cm , Length: 16.80cm Weight: 1.202kg ISBN: 9780190943516ISBN 10: 0190943513 Pages: 776 Publication Date: 25 April 2019 Audience: Professional and scholarly , Professional & Vocational Format: Paperback Publisher's Status: Active Availability: To order  Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us. Table of Contents"Introduction I. Britannia Rules: the Early British Musical and Society Chapter 1. Ballad Opera: Commercial Song in Enlightenment Garb Berta Joncus Chapter 2. Between Opera and Musical: Theatre Music in Early Nineteenth-Century London Christina Fuhrmann Chapter 3. Comic Opera: English Society in Gilbert and Sullivan Carolyn Williams Chapter 4. English Musical Comedy, 1890-1924 Stephen Banfield Chapter 5. English West End Revue: World War I and after David Linton II. British or American: Artistic Differences Chapter 6. Musical Comedy in the 1920s and 1930s: Mr. Cinders and Me and My Girl as Class- Conscious Carnival George Burrows Chapter 7. West End Royalty: Ivor Novello and English Operetta, 1917-1951 Stewart Nicholls Chapter 8. The American Invasion: the Impact of Oklahoma! and Annie Get Your Gun Dominic Symonds Chapter 9. ""Ordinary People"" and British Musicals of the Post-War Decade John Snelson III. New Approaches to Form and Subject Matter Chapter 10. After Anger: the British Musical of the late 1950s Elizabeth Wells Chapter 11. ""I'm Common and I Like 'Em"": Representations of Class in the Period Musical after Oliver! Ben Francis Chapter 12. Towards a British Concept Musical: the Shows of Anthony Newley and Leslie Bricusse David Cottis Chapter 13. The Pop Music Industry and the British musical Ian Sapiro IV. ""The British Are Coming!"" Chapter 14. ""Everybody's Free to Fail"": Subsidized British Revivals of the American Canon Sarah Browne Chapter 15. Les Misérables: from Epic Novel to Epic Musical Kathryn M. Grossman and Bradley Stephens Chapter 16. ""Humming the Sets"": Scenography and the Spectacular Musical from Cats to The Lord of the Rings Christine White Chapter 17. Billy Elliot and Its Lineage: the Politics of Class and Sexual Identity in British Musicals since 1953 Robert Gordon V. Trailblazers Chapter 18. Noel Coward: Sui Generis Dominic McHugh Chapter 19. Joan Littlewood: Collaboration and Vision Ben Macpherson Chapter 20. Lionel Bart: British Vernacular Musical Theatre Millie Taylor Chapter 21. Tim Rice: the Pop Star Scenario Olaf Jubin Chapter 22. Cameron Mackintosh: Control, Collaboration and the Creative Producer Miranda Lunskaer-Nielsen Chapter 23. Andrew Lloyd Webber: Haunted by the Phantom David Chandler VI. ""The Art of the Possible"": Alternative Approaches Musical Theatre Aesthetics Chapter 24. The Beggar's Legacy: Playing with Music and Drama, 1920-2003 Bob Lawson-Peebles Chapter 25. Mamma Mia! and the Aesthetics of the 21st Century Jukebox Musical George Rodosthenous Chapter 26. Attracting the Family Market: Shows with Cross-generations Appeal Rebecca Warner Chapter 27. Genre Counterpoints: Challenges to the Mainstream Musical David Roesner Chapter 28. Some Yesterdays Always Remain: Black British and Anglo-Asian Musical Theatre Ben Macpherson"Reviews"""The Oxford Handbook of the British Musical as a whole represents a highly distinguished level of scholarship and acumen. This is a volume that demonstrates the diversity, inherent social awareness, and musical and dramatic distinctiveness of the British musical."" --NABMSA Reviews ""The editors provide an extensive introduction to help the reader identify trends and patterns within the development of the art form, including the effect that London's West End has had on Broadway (and vice versa). To its credit, the book also explores the development of black musicals, Asian musicals, and experimental works. Of special note are essays about producer Cameron Macintosh, Noel Coward, and marketing trends targeting multiple generations of theatergoers. Though the level of writing varies greatly from essay to essay, the book as a whole provides an excellent examination of a monumental theatrical form."" --E.C. Skiles, Lone Star College-Kingwood, Choice" The Oxford Handbook of the British Musical as a whole represents a highly distinguished level of scholarship and acumen. This is a volume that demonstrates the diversity, inherent social awareness, and musical and dramatic distinctiveness of the British musical. --NABMSA Reviews The editors provide an extensive introduction to help the reader identify trends and patterns within the development of the art form, including the effect that London's West End has had on Broadway (and vice versa). To its credit, the book also explores the development of black musicals, Asian musicals, and experimental works. Of special note are essays about producer Cameron Macintosh, Noel Coward, and marketing trends targeting multiple generations of theatergoers. Though the level of writing varies greatly from essay to essay, the book as a whole provides an excellent examination of a monumental theatrical form. --E.C. Skiles, Lone Star College-Kingwood, Choice The Oxford Handbook of the British Musical as a whole represents a highly distinguished level of scholarship and acumen. This is a volume that demonstrates the diversity, inherent social awareness, and musical and dramatic distinctiveness of the British musical. --NABMSA Reviews The editors provide an extensive introduction to help the reader identify trends and patterns within the development of the art form, including the effect that London's West End has had on Broadway (and vice versa). To its credit, the book also explores the development of black musicals, Asian musicals, and experimental works. Of special note are essays about producer Cameron Macintosh, Noel Coward, and marketing trends targeting multiple generations of theatergoers. Though the level of writing varies greatly from essay to essay, the book as a whole provides an excellent examination of a monumental theatrical form. --E.C. Skiles, Lone Star College-Kingwood, Choice Author InformationAs Professor of Theatre and Performance at Goldsmiths, University of London, Robert Gordon established the first MA in Musical Theatre for writers and producers in Europe. He has worked as a playwright, director, actor and critic and is author of Pinter's Theatre of Power, Stoppard: Text and Performance, The Purpose of Playing, co-author of British Musicals since 1950 and editor of the Oxford Handbook of Sondheim Studies. Olaf Jubin is Reader in Media Studies and Musical Theatre at Regent's University London; he has written, co-written and co-edited several books in the area of popular culture, the mass media and musical theatre, both in English and in German, among them studies on the dubbing and subtitling of Hollywood musicals for the German market and a comparative analysis of American, British, German and Austrian reviews of the musicals of Stephen Sondheim and Andrew Lloyd Webber. 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