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date: 07 March 2021

(p. 457) Index

(p. 457) Index

Page numbers in italics indicate illustrations. Numbers followed by “n” or t indicate notes or tables.

“A-1 March” (Anyone Can Whistle), 439t, 442, 449n24
AABA patterns, 41
ABAC patterns, 41
ABBCA patterns, 41, 42
Abbott, George, 101, 137
ABC Stage 67, 241
Academy Award, 287
actor-musician shows, 157–158, 445
actors. see also specific actors: doubling of actors and roles, 185–202;
Onagatas, 230
Adams, Michael C., 447n3, 449n23
Adamson, Harold, 391–392
adaptations. see also specific productions: orchestratal, 154, 156;
stage, 258–277, 274n1;
of theatrical musicals, 242–243
Addison, John, 279
“Addison’s City” (Road Show), 177
“Addison’s Trip” (Road Show), 173
Adelphi Theatre, 216
Adler, Thomas P., 338
Adorno, Theodor, 386
“The Advantages of Floating in the Middle of the Sea” (Pacific Overtures), 409
The Advocate, 429
Aeschylus, 322–323
“The After Hours” (Twilight Zone), 254–255
Agon (Stravinsky), 255–256
“Agony” (Into the Woods), 144, 354
“Ah, but Underneath” (Follies), 219
Ahrens, Lynn, 274n1
“Ain’t We Got Fun” (Satires of 1920), 395–396
Albee, Edward, 103, 376
Alberti bass, 277n46
Albery Theatre, 220
Alexander, Jason, 130n1
alienation, 442–443
All About Eve, 258, 295n5
Allegro, 46–47, 48, 52, 59, 61n33, 101, 146, 232
Allen, Alana, 426
Allen, Debbie, 134
Allen, Lewis, 143
Allen, Robert, 257n11
Allen, Thomas, 216, 236
Allen, Woody, 110
“All I Need Is the Girl” (Gypsy), 2
All That Glitters, 18, 46–47, 329, 404
Altman, Rick, 246
Alvin Ailey American Dance Theatre, 149n51
American Ballet Theatre, 149n51
American Beauty, 166, 219–220
American Dream, 165–168, 432–450, 446n1, 449n29
American Indians, 435
The American Musical and the Performance of Personal Identity (Knapp), 345
American operettas, 115n24
The American Theatre, 135
Andrews’ sisters, 371
And then There Were None, 419
Annie Get Your Gun, 58n6
“Another Hundred People” (Company), 372–373
“Another National Anthem” (Assassins), 209, 236, 444
Anouilh, Jean, 259, 274n5, 318n1
Antigone (Sophocles), 319
antilove songs, 176–177
anti-Semitism, 435
Antonioni, Michelangelo, 259
(p. 458) Anyone Can Whistle, 26–27, 65, 83, 241, 440;
criticism of American Dream, 436–446, 448nn1719, 449nn2021;
experimental elements, 81–94;
as failure, 76;
female characters, 378n2;
revivals, 93n1;
songs, 439–440, 439t;
visuals, 137, 146
“Anyone Can Whistle” (Anyone Can Whistle), 439t, 440
The Apartment, 254, 258
Applause, 258, 274n1
Arabanel, Jonathan, 145–146
“Arabian” (A Funny Thing Happened on the Way to the Forum), 74
archaeology, cultural, 384–403
“Ariadne” (The Frogs), 332
“arioso” style, 40
Aristophanes, 320–323, 328, 332
Arkin, Alan, 279
Arlen, Harold, 44, 388
Armfeld, Neil, 234
Armfeldt, Desirée, 219, 275n9
Armstrong, Alun, 216, 217
Aronson, Boris, 99, 99, 137–141, 147, 379n5
Aronson, Lisa, 146
arranging, 151
“Art” (Sunday in the Park with George), 52
Artaud, Antonin, 84
art forms, 8n2, 8n9;
Gesamtkunstwerk (total work of art), 8n2, 8n9, 235–236;
musicals, 76n1;
nonlinear, 11–94;
thirty-two-bar song form, 41–44
art houses, 233
Arthur Murray Dance Studio, 396
art world, 200–201
Asch, Amy, 60n16
Ashley, Christopher, 127
Assassins, 19, 34, 47;
Broadway run, 445;
California Repertory Company production, 203–213, 206;
central theme, 359, 380n15;
criticism of American Dream, 166–168, 443–444, 449n29;
disenchantment in, 357, 360;
experimental elements, 81, 91;
female characters, 378n2;
London productions, 218, 218–220, 224;
musical numbers, 379n5;
orchestration, 154;
principal characters, 404–405;
revivals, 166;
in subsidized theaters, 228, 235;
visuals, 145
Associated Press, 166
Astaire, Fred, 392, 394
Athens, Greece, 333n11
Atlantic, 139
“Attend the Tale of Sweeney Todd” (Sweeney Todd), 297
Attwood, Colleen, 301
audio: chamber approach, 159;
as lighting for the ears, 153;
orchestration, 151–164, 291;
scaled-back orchestrations, 445
Australian Opera, 236
auteurs, 2, 8n7, 12
authenticity, 433, 446n2
authorship, 13. see also specific authors and collaborators;
auteurs, 2, 8n7, 12;
librettists, 8n6;
primary, 8n7
Avery Fisher Concert Hall, 112, 399
Babani, David, 224
Babbitt, Milton, 44, 152–153, 233
Babes in Arms, 387–388
Babes in Toyland, 397
Babes on Broadway, 397
“Back in Business” (Dick Tracy), 282–283, 282t
Baker, Josephine, 391
The Balcony (Genet), 84, 90
“Bali Ha’i” (South Pacific), 435
Ball, Michael, 216, 222, 340
“Ballad of Booth” (Assassins), 443
“The Ballad of Sweeney Todd” (Sweeney Todd, The Demon Barber of Fleet Street), 345
Bamford, Beadle, 301
Banfield, Stephen, 49, 59n11, 78n12, 85, 107, 110, 123, 186, 202n7, 256, 345, 394, 399, 447n3, 449n20, 449nn2324
“Bang” (A Little Night Music), 263
The Barber Fiend of Fleet Street, 335
Barcarolle (Chopin), 330
“Barcelona” (Company), 374, 419
Barnes, Clive, 109, 367–368, 372, 382n47
Barrie, Barbara, 375, 382n42
Barrit, Desmond, 223–224
Bartlett, Michael, 390
Baryshnikov, Mikhail, 149n51
BBC Television, 220
Beale, Simon Russell, 214, 225
Beatty, Warren, 281, 287, 288
(p. 459) Beaumont, Chrales, 254
“Beautiful” (Sunday in the Park with George), 51
The Beautiful Game, 220
“Beautiful Girls” (Follies), 105, 390
Beauty and the Beast, 258, 274n1
Beckett, Samuel, 230
Bedella, David, 172, 224
The Beggar’s Opera, 16
Behrman, S. N., 165
“Being Alive” (Company), 28, 101, 104, 220–221, 243, 249, 365, 374, 377, 418, 443
Belmondo, Jean-Paul, 290, 291
Benjamin, Richard, 419, 420
Bennett, Michael, 26, 28, 98, 137–139, 146, 381–382n40, 381n38
Bennett, Robert Russell, 13
Bentley, Eric, 338
Bergman, Ingmar, 264, 274n3;
The Magic Lantern, 275n9;
Smiles of a Summer Night, 106, 140, 237, 258–260, 262, 267, 310–312, 317, 318n1, 319
Berkeley, Busby, 388, 391–392
Berlin, Irving, 165, 390, 394
Berne, Eric, 90
Bernstein, Leonard, 11–12, 58n3, 80n40, 80n46, 92, 146, 386
Bertolucci, Bernardo, 259
Bessemer, Hollis, 416, 427
“The Best Things in Life Are Free” (Brown, DeSylva, and Henderson), 285, 395
“The Best Thing that Ever Has Happened” (Road Show), 176–177, 416, 428–429
Bettelheim, Bruno, 350, 350n3
“Bewitched” (Pal Joey), 41
Big, 258
Big Deal, 150n58
Biko, Steve, 204
Billington, Michael, 63, 109
Billy Elliot, 220, 258
Birch, Patricia, 140–141
Bird, Timothy, 144, 224
The Birdcage, 278, 280–281, 425
Bjornson, Maria, 223
Blakeley, Lee, 236
Blank, Larry, 161t, 164n47
Blitzstein, Marc, 446n1
“The Blob” (Merrily We Roll Along), 131n14
Bloomgarden, Kermit, 448n17
Blossom, Henry, 394
The Blue Room, 166
Blyden, Larry, 320
“Bobby, Baby” (Company), 27, 371, 382n45, 383n49
“Bobby and Jackie and Jack” (Merrily We Roll Along), 32, 123, 127, 142
“Boca Raton” (Road Show), 177, 180
Bock, Jerry, 274n1
Bogart, Paul, 241, 243, 256n5, 256n7, 257nn1112
Bolero (Ravel), 396
“Bolero d’Amour” (Follies), 396
Bond, Christopher, 16, 107, 234, 335–337
Bonham Carter, Helena, 216, 299, 299–301, 303, 305
book musicals, 77n3, 135. see also specific works, productions
Boulanger, Nadia, 256
Bounce, 115n47, 129, 167, 167–180, 180n5, 181n9;
visuals, 142, 145–146
“Bounce” (Bounce), 168–169, 179
Boyer, Charles, 290
“The Boy from . . . ” (The Mad Show), 417
Bradbury, Ray, 254
Brantley, Ben, 112, 168
Breathless, 290
Brecht, Bertolt, 76, 80n46, 179, 444
Brechtian musicals, 8n1
Brice, Fanny, 390, 394, 398
The Bride of Frankenstein, 279
Bridewell Theatre, 218, 222, 225
The Bridge on the River Kwai, 287
A Bridge Too Far, 279
Brigadoon, 59n6
Brill Building songwriters, 254
Britannia Theatre, 13, 348n9
British Arts Council, 232–233
British melodrama, 13
Britten, Benjamin, 230
“Broadway Baby” (Follies), 395, 399
Broadway Backwards, 425
Broadway musicals, 103, 242. see also specific works, productions, and theaters;
revivals, 154
(p. 460) Brook, Peter, 90, 387
“Brotherly Love” (Road Show), 171
Brown, Lew, 285
The Brown Derby Restaurant, 427
Bruce, Virginia, 391
Brustein, Robert, 320
Bryant, Louise, 287
“Buddy’s Blues” (Follies), 398
Buntrock, Sam, 224
Buried Child, 103
burlesque, 79n26, 79n30
Burt, Clare, 222
Burton, Tim: Sweeney Todd, 16, 110, 296–305, 298–299, 305n1
Bus Stop, 380n15
Butterell, Jonathan, 145
“Button up Your Overcoat” (Brown, DeSylva, and Henderson), 395
By George! (Sondheim), 12–13, 39
Byrds, 374
Byrne, Barbara, 187t, 190
“By the Sea” (Sweeney Todd, The Demon Barber of Fleet Street), 107
Caan, James, 281
Cabaret, 13, 101–103, 137, 166, 379nn45, 387, 449n29
Cafe La Mama, 81
Caffe Cino, 81
Cahn, Sammy, 394
Caine, Michael, 11
California National Guard, 204–205
California Repertory Company, 203–213, 206
California Suite, 103–104
Camp, 425
Campion, Carlotta, 395
Camp Ovation, 425
Candide, 97
Cannes Film Festival, 290, 421
Canon, Dyan, 419
“Can that Boy Foxtrot” (The Birdcage), 281, 425
Cantor, Eddie, 390–391
capitalism, 172, 448n18
Cariou, Len, 216
Carmen, 234–235
Carousel, 8n2, 39, 43–47, 58n6, 170, 176, 326, 393, 435;
disenchantment in, 357;
experimental elements, 65, 84
Carr, Charmian, 241, 246, 252, 253
Carr, Jason, 154–156, 162t, 164n48
Casey, Anna-Jane, 225
Casino, 301
cast-as-orchestra versions, 157–158, 445
censorship, 210–211, 391
Central Park (New York), 219
Centre International de Formation en Arts du Spectacle (CIFAS), 236–237
Cerveris, Michael, 170, 172, 177–178
chamber musicals, 159, 168
Champion, Gower, 146
Chaney, Lon, 269
Chapman, John, 136
Chariots of Fire, 287
Chee Chee, 40, 61n33
Chekhov, Anton, 368
Chicago, 103
Chicago Lyric Opera, 233–234
Chicago Shakespeare Theatre, 221
Chichester Festival Theatre, 216
“Children and Art” (Sunday in the Park with George), 51
“Children Will Listen” (Into the Woods), 359
Chopin, Frédéric, 330
chords, 295n13
choreography, 144, 146
A Chorus Line, 91, 139–140, 381n38
Christie, Agatha, 419
Chronicle of a Death Foretold, 150n58
Church of the Heavenly Rest, 226n2
CIFAS. see Centre International de Formation en Arts du Spectacle
Cincinatti Playhouse in the Park, 237
Cinderella, 242
Cino, Joe, 81
Circle in the Square, 142, 226n2
City Center Encores!, 93n1
City of Angels, 258, 274n1
“City on Fire” (Sweeney Todd, The Demon Barber of Fleet Street), 304, 343t
Civic Theatre, 203
Clair, Rene, 419
Climax!, 251
Climb High, 46–47
Clum, John, 417
Coburn, James, 419
Coco, 137
(p. 461) Cohan, George M., 102
Cohen, Sacha Baron, 301
Cold Mountain, 301
Cole, Jack, 137
Coleman, Cy, 274n1
Cole Style, 137
Coliseum, 223, 229, 229–230, 234–235
Collier, John, 241, 244–245, 253–254
Collins, Dick, 335, 347n8
Columbia Records, 437
Columbia University, 12–13
comedy: English, 79n32;
English Restoration, 79n27;
musical, 8n1, 84;
New Comedy, 319–321;
Old Comedy, 321
“Comedy Tonight” (A Funny Thing Happened on the Way to the Forum), 68, 73, 75
Come Fly Away, 150n58
“Come Home” (Allegro), 357
“Come Play with (wiz) Me” (Anyone Can Whistle), 439t, 449n23
Comfort, Jane, 145
commercialization, 49, 236, 238
Company, 47, 59n6, 241, 260, 406;
attack against, 212;
autobiographical aspects, 128–129;
awards, 378n2;
cast-as-orchestra version, 445;
as concept musical, 104;
criticism of American Dream, 167–168, 177, 442–443;
experimental elements, 46–47, 66, 76, 81, 91;
female characters, 365–383, 375, 378n2, 381n22;
Kennedy Center production, 444;
London stage productions, 218, 220;
male characters, 379n3, 380n15;
musical numbers, 379n5;
postmodernism, 26–28;
Prince-Sondheim legacy, 97–98, 101, 110;
relevance, 381n25;
revivals, 1–2, 166, 221, 380n7, 418;
as revue, 368–369;
set design, 99, 99;
sexuality in, 417–419, 426;
structure, 368–369;
in subsidized theaters, 235, 237;
suggestions for reduced orchestrations, 160t–162t;
visuals, 137–138
Company (Furth), 26, 99
“Company” (Company), 99
composition, 202n12
computer animation, 224–225
con artists, 177
concept musicals, 1–2, 60n30, 65, 78n14, 104, 379n5, 406
conceptual productions, 231–232
concert versions, 445
Congreve, 77n8
Constructivism, 137–138
Contact, 150n58
contemporary narrative, 413–414
contemporary sound, 151–164
“The Cookie Chase” (Anyone Can Whistle), 137, 439t
costume design, 136–139, 141, 143, 145, 301
“Could I Leave You?” (Follies), 105, 397
“Country House” (Follies), 219
Covent Garden, 110
The Cradle Will Rock, 446n1
creative correspondences, 50
Cregar, Laird, 18
cricket, 204–205
Critics’ Circle Award, 219
Crosby, Bing, 166, 173, 394
Crouse, Russell, 435
Crowley, John, 220
Crucible Theatre, 221
cultural adoption, 236
cultural archaeology, 384–403
cultural differentiation, 227
Curse of the Starving Class, 103
Cymbeline (Shakespeare), 332
cynical operettas, 309–318
Dahl, Roald, 254
Dahlbeck, Eva, 262
Daily News, 136, 140–141
dance, 144–146, 250, 381–382n40;
Cole Style, 137;
as medium, 134, 134–135
“Dance at the Gym” (West Side Story), 136
dance shows, 146
Dancin’, 149n58
Dangerous Games, 150n58
Daniele, Graciela, 146, 150n58
dansicals, 149n58
D’Arcy, Mary, 187t, 194–195
“Dark Men” (Evening Primrose), 244
“The Day Off” (Sunday in the Park with George), 49
The Days of Wine and Roses, 251, 254
A Day Well Spent (Oxenford), 13
Dearest Enemy, 40
(p. 462) Death Takes a Holiday, 221
Defending Your Life, 326
de Jesus, Robin, 426
Delacorte Theatre, 219
De Main, John, 233
de Mille, Agnes, 78n19, 146
Dench, Judi, 100, 214, 222, 225
Depp, Johnny, 297–298, 298, 301
Der blaue Engel, 398
The Desert Song, 115n24
De Sica, Vittorio, 259
desire: trajectory of, 50–51, 57
Desmond, Norma, 389
DeSylva, Buddy, 285
Deutches Regietheater, 234
Dialectics of Sex (Firestone), 367
“Diamonds are a Girl’s Best Friend” (Gentlemen Prefer Blondes), 287, 391
Dibdin Pitt, George, 13–14, 335, 347n8
Dickens, Charles, 16
Dicks, John, 347n8
Dick Tracy, 278, 281–287, 282t, 283, 285t–286t, 425
didacticism, 76, 209, 213
Die Fledermaus, 309–310, 317
Die Hard 2, 394
Dies Irae symbols, 345
Die tote Stadt (Korngold), 385
Dietrich, Marlene, 398
director-choreographers, 146
disenchantment, 350–361
dissociation, 78n12
“Dîtes-Moi” (South Pacific), 51
The Divided Self (Laing), 84
Dixon, Don, 426
d’Obici, Valeria, 269, 270
Doctor Zhivago, 287
Do I Hear a Waltz?, 49, 416, 448n16
A Doll’s House (Ibsen), 368
Donaldson, Walter, 391–392
Donmar Warehouse, 110, 145, 166, 218–223, 228, 380n7, 418, 421
Donnellan, Declan, 110, 142, 216–217, 236
“Don’t Look At Me” (Follies), 395
Doyle, John, 34, 110, 117, 142, 237, 300, 445;
and female characters, 377, 380n7;
London stage productions, 217–218, 223–225;
orchestrations, 154, 156–159;
Road Show revision, 168, 170, 177, 179–180, 181n11
Dr. Strangelove, 90
“Dream Ballet” (Oklahoma!), 65, 78n19
DreamWorks, 296
“Dress Big” (The Frogs), 332
dual-focus narratives, 246
du Bois, Raoul Pène, 136
Durang, Christopher, 320
Durham, David, 223
Dürrenmatt, Friedrich, 84
Duvall, Robert, 279
The Earl Carroll Vanities, 390
Ebb, Fred, 274n1
Ebert, Roger, 421
The Egg and I, 254
8½, 258, 387
Eine Kleine Nachtmusik (Mozart), 319
Einstein, Alfred, 387
Either/Or (Kierkegaard), 396
Elder, Mark, 229
Elfman, Danny, 281
Ellington, Duke, 398
Ellis, Scott, 236
Elsaesser, Thomas, 345
Emmons, Beverly, 145
enchantment. see Disenchantment
Engel, Lehman, 58n6
England: London stage performances, 214–226
English comedy, 79n32
English National Opera (ENO), 229, 229–231, 234–235, 238n1
English Restoration comedy, 79n27
ENO. see English National Opera
epics, 287–288
“Epiphany” (Sweeney Todd, The Demon Barber of Fleet Street), 107, 337, 341–342, 343t, 346–347
epistolary musicals, 277n52
Esparza, Raùl, 127, 218, 418
Esslin, Martin, 84
etude, 268
Eugene O’Neill Theatre, 158
“Eulogies” (Sunday in the Park with George), 52
Euripides, 321
(p. 463) European operettas, 115n24
Eustis, Oskar, 181n11
Evans, Daniel, 220–221, 225
Evans, Kathryn, 223
Evening Primrose, 80n42, 241–257, 252
“Evening Primrose” (John Collier), 241, 244–247, 253
“Everybody Ought to Have a Maid” (A Funny Thing Happened on the Way to the Forum), 72–73, 225
“Everybody Says Don’t” (Anyone Can Whistle), 439t, 440
“Everybody’s Got the Right” (Assassins), 209
“Every Day a Little Death” (A Little Night Music), 265, 268, 313–314, 370, 381n29
“Everything’s Coming up Roses” (Gypsy), 65–66
Evita, 226n8, 300
The Exception and the Rule (Brecht), 80n46
Exodus, 287
experimental theater, 46–47, 392–393;
Anyone Can Whistle, 81–94;
A Funny Thing Happened on the Way to the Forum, 63–80;
A Little Night Music, 275n10
Expressionism, 104
Facebook, 209
Fail-Safe, 90
fairytale musicals, 242–243, 350–361, 350n3. see also specific works, productions
“Falling in Love Again (Can’t Help It),” 398
“Falling in Love with Love” (Rodgers-Hart), 398
Fancies and Goodnights (Collier), 254
Farber, Stephen, 421
Farley, David, 144, 224
“Fascinatin’ Rhythm” (Gershwin), 286, 399
Faulkner, William, 387
“Fear no More” (The Frogs), 326, 332
Federal Theatre Project, 446n1
Fellini, Federico, 139, 258–259, 387
female characters, 365–383, 375, 381n22
Fenton, James, 110
Ferretti, Dante, 301
Feydeau, Georges, 68
Fiddler on the Roof, 59n6, 101, 137, 379n5
Fielding, Scott, 207
film. see also specific films and productions: original music for movies, 278–295;
“road” movies, 166, 173;
stage adaptations, 258–277, 274n1
film noir, 337–338
film scores, 278–295
film thrillers, 337
finances, 227–238
Finian’s Rainbow, 84
Finishing a Hat (Sondheim), 8n6
“Finishing the Hat” (Sunday in the Park with George), 49
Fiorello!, 448n14
Firestone, Shulamith, 367
The Fisher King, 425
Fitzgerald, Ella, 394
Fitzgerald, F. Scott, 389
“Fix it up fast, please” (Assassins), 210
“Flag Song” (Road Show), 170
Flaherty, Stephen, 274n1
“Flashback Sequence” (Passion), 276nn3334
Fleming, Craig, 206
Flinn, Caryl, 345
Flower Drum Song, 434
“Fogg’s Asylum” (Sweeney Todd, The Demon Barber of Fleet Street), 343t
Follies, 29, 47, 49, 241, 260, 406;
commercial loss, 215;
concert versions, 399, 445;
criticism of American Dream, 166–167, 443;
disenchantment in, 350, 353;
experimental elements, 46–47, 81;
female characters, 370, 378n2, 381n22;
London productions, 219–220, 222–223, 226n4;
metaphor of, 387–388;
as musical pastiche, 384–403;
orchestration, 156;
postmodernism in, 25, 28–31;
Prince-Sondheim legacy, 97–98, 105, 108, 111;
revivals, 1, 215;
sexuality in, 426;
in subsidized theaters, 228;
themes, 177, 380n15;
Follies (Goldman), 28
Follies in Concert, 399, 445
Follow Thru, 395
Footloose, 258
forced perspective, 148n6
Forum Theatre, 230
Fosca (Tarchetti), 258–259, 274n2
Fosse, Bob, 98, 144, 146, 149–150n58
(p. 464) Francis, Matthew, 226n11
Francolini, Anna, 221
Frankenheimer, John, 251, 257n11
“Franklin Shepard, Inc.” (Merrily We Roll Along), 33, 123–124, 423
Frankly Frank, 127
Fraser, 157
“Free” (A Funny Thing Happened on the Way to the Forum), 70–71
Freed, Arthur, 388
French, Dawn, 226n11
French, Samuel, 14–15
Friedan, Betty, 376
Friedman, Maria, 117, 222, 224–225, 226n10
Friml, Rudolf, 115n24
fringe festivals, 228
The Frogs (Aristophanes), 321–324, 328, 333n10
The Frogs (musical), 34, 166, 319–334, 333n12;
Lane revisions, 38n8, 320, 324, 324, 329–330, 332;
London productions, 225, 320;
pool productions, 320, 330
From the Mixed-up Files of Mrs. Basil E. Frankweiler (Konigsburg), 253, 257n12
Frost, Robert, 396
Fugard, Athol, 209
Fuller, Larry, 142
The Full Monty, 258
Funny Girl, 82, 390
A Funny Thing Happened on the Way to the Forum, 63–80, 69, 84, 101, 241, 442;
awards, 437;
central theme, 359;
development of, 319–320;
finale, 357–358;
London productions, 216, 223–224;
orchestration, 151;
postmodernism in, 26–27;
sexuality in, 425;
in subsidized theaters, 236;
success, 76n1, 433;
trajectory of desire, 51;
visuals, 136–137, 146
Furth, George: collaboration with Sondheim, 2, 26, 32, 76, 99, 118–121, 129, 142, 226n7, 238, 305n2, 368, 418, 421–422;
Company, 26, 99;
Merrily We Roll Along, 221
“The Game” (Road Show), 36, 172, 177
Games People Play (Berne), 90
Gandhi, 288
Gangs of New York, 301
Garber, Victor, 166
Garland, Judy, 388, 391–392
Garrick Theatre, 219
Gattelli, Christopher, 143
Gay, Lesbian, Bisexual, and Transgender Center (New York City, NY), 425
Gay Men’s Health Crisis, 93n1
“Gee, Officer Krupke” (West Side Story), 425
Gelbart, Larry, 2, 63–65, 79n26, 319–320, 333n4, 333n7
Gemignani, Paul, 145, 151, 159, 170, 331–332
Gems, Pam, 226n8
Genet, Jean, 84, 90
genres, 307–361. see also specific genres
Gentlemen Prefer Blondes, 391
George White’s Scandals, 390
Gershwin, George, 285, 394, 399
Gershwin, Ira, 174, 394, 399
Gesamtkunstwerk (total work of art), 8n2, 8n9, 235–236
Gestaltism, 318n11
“Get Out” (Road Show), 178
Getting Away with Murder, 226n7, 305n2
“Getting Married Today” (Company), 425
“Getting to Know You” (The King and I), 447n9
“Giants in the Sky” (Into the Woods), 352, 355
Gigi, 394
gigue, 268
Gilliam, Terry, 425
Gillis, Joseph, 389
Gingold, Hermione, 263
Giraudeau, Bernard, 270
Girl Crazy, 286
“The Girls Upstairs” (Follies), 28–29
The Girls Upstairs, 105
Gish, Sheila, 220
“The Glamorous Life” (A Little Night Music), 262, 265, 267–268
Gleason, Joanna, 226n5
globalization, 236
Glorifying the American Girl, 397
“Go” (Road Show), 178
Gockley, David, 233
“God, that’s Good!” (Sweeney Todd, The Demon Barber of Fleet Street), 19–23, 21, 23, 158, 343, 343t, 344, 346
“God’s Country” (Babes in Arms), 388
“The-God-Why-Don’t-You-Love-Me- Oh-You-Do-I’ll-See-You-Later Blues” (Follies), 398
(p. 465) Goffman, Erving, 90
Gold, 171
Gold, Louise, 223
“Gold!” (Road Show), 171
Goldberg, Whoopi, 425
Golden Age musicals, 103, 177, 446n1;
book musicals, 77n3, 80n37;
female characters of, 366–367
Golden Palm Award, 290
Goldman, James: collaboration with Sondheim, 2, 28, 105, 241–257, 387, 392–393;
Evening Primrose, 80n42;
Follies, 28;
on A Funny Thing Happened on the Way to the Forum, 63–64, 77n6;
The Lion in Winter, 226n6
“Goodbye for Now” (Reds), 288, 289, 289t
Goodhart, Sandor, 397
Goodman, Henry, 219, 223
Goodman Theatre, 145–146, 167, 167
“Good Morning” (Babes in Arms), 388
Good News, 395
Good Thing Going, 225
“Good Thing Going” (Merrily We Roll Along), 32–33, 123–124, 127
Gorbman, Claudia, 19
Gordon, Joanne, 203–213, 206, 395, 397
Gottfried, Martin, 78n14, 140–141
Gould, Chester, 282
Graff, Tod, 425
Grandage, Michael, 220, 226n8
Grand Guignol, 338
Grand Hotel, 274n1
Gray, Dolores, 223
The Great Gatsby (Fitzgerald), 389, 391, 396
The Great Ziegfeld (Cantor), 391
Greek New Comedy, 319–321
Greek Old Comedy, 321
Green, William, 135
Greenawald, Sheri, 236
Green Grow the Lilacs (Riggs), 435
Greenwood, Jane, 145
Grey, Joel, 279
Griffin, Gary, 221
Grimes, Peter, 216
Groenendahl, Cris, 187t, 193
“Growing Up” (Merrily We Roll Along), 119, 123–124
Guardino, Harry, 83, 83, 90
Guare, John, 80n46, 276n34
Gubbay, Raymond, 222–223
Guettel, Adam, 113
Guiteau, Charles, 145
Guys and Dolls, 59n6, 110
Gwynne, Haydn, 220
Gypsy, 2, 11–12, 59n6, 66, 101;
central theme, 359;
criticism of American Dream, 436–437;
experimental elements, 63–67, 77n3, 78n18;
orchestration, 151;
postmodernism, 26–27;
sexuality, 425;
visuals, 135–136, 146
Hackett, Joan, 419
Hackman, Gene, 280, 287
“Hades” (The Frogs), 332
Hagberg, Gun, 275n9
Hair, 91, 102
Hairspray, 258
Hall, Edward, 224, 236
Hammerstein, Oscar II, 8n2, 12–13, 115n24, 326, 434–436. see also specific works;
collaborations with Rodgers, 39–44, 42, 49, 60n22, 242, 387–388, 434;
influence on Sondheim, 12–13, 39–62, 77n11, 101, 447n9
Hammerstein compromise, 444
Hancock, Sheila, 216
Hangover Square, 16–18, 18, 19, 107, 259, 337–338
“Happily Ever After” (Company), 27–28, 101, 317, 443
“Happiness” (Passion), 272–273
Harbarch, Otto, 115n24
Harburg, E. Y., 388
Harnick, Sheldon, 274n1
Hart, Lorenz, 40–41, 44, 60n15, 268
Hart, Moss, 32, 78n19, 118–119, 422
The Hartford Courant, 144
“Have I Got a Girl for You” (Company), 371, 374
Hawks, Howard, 391
Hawn, Goldie, 381n39
Haworth, Jill, 379n4
Hayden, Michael, 127, 132n43
Haymarket Theater, 130n1, 224
Healy, David, 223
Hearn, George, 300–301
Heller, Adam, 127
Hello, Dolly!, 13, 82, 98, 102
(p. 466) Henderson, Ray, 285
Henry, William A. III, 145
Henze, Hans Werner, 230
Herbert, Victor, 386, 394
Herman, Jerry, 102, 274n1, 280
Herrmann, Bernard, 19, 103, 107, 259, 299
The Hidden Persuaders (Packard), 448n18
“The Hills of Tomorrow” (Merrily We Roll Along), 422
Hilsdorf, Dietrich, 234
Hiroshima Mon Amour, 290
historical narratives, 405
historicity, 406
Hodge, Patricia, 219
Hodgins, Eric, 254
Hoffman, Dustin, 281
Holden, Stephen, 141
Hollaender, Friedrich, 398
Holmes, Sherlock, 278–279
The Homecoming (Pinter), 383n53
homosexuality, 416–431
“Honey” (Merrily We Roll Along), 123–124
Hooray for What!, 388
Hope, Bob, 166, 173
Horne, Geoffrey, 122
Horowitz, Mark, 128–129, 146, 266, 269, 368
The Hostage, 105
Hould-Ward, Ann, 143, 145
Houseman, John, 241
“The House of Marcus Lycus,” 71
Houston Grand Opera, 142, 233, 236
“How About You ” (Babes on Broadway), 397
Howerd, Frankie, 69, 78n13
Howland, Beth, 375, 382n42
How Sondheim Found his Sound (Swayne), 12
How to Succeed in Business without Really Trying, 446n1
Hudd, Roy, 223
Humbley, Damian, 118
humor: cynical operettas, 309–318;
English comedy, 79n32;
English Restoration comedy, 79n27;
musical comedy, 8n1, 84;
New Comedy, 319–321;
Old Comedy, 321
“Hymnos” (The Frogs), 330
Ibelhaubtaite, Dalia, 237
“Ich bin von Kopf bis Fuss auf Liebe eingestellt” (Hollaender), 398
idealism, 212
identity, 363–450
“I Feel Pretty” (West Side Story), 100, 436, 448n10
“If I Loved You” (Carousel), 176, 393
“If You Can Find Me, I’m Here” (Evening Primrose), 243, 246–250, 248t, 252
“I Got It Bad And That Ain’t Good” (Ellington and Webster), 398
“I Got Plenty of Nothing” (Gershwin), 285
“I Got Rhythm” (Gershwin), 285
“I Know it Can Happen Again” (Allegro), 47, 48
I Love Lucy, 254
“I Love This Town” (Bounce), 181n21
“I Love to Travel” (The Frogs), 323, 332
“I’m Calm” (A Funny Thing Happened on the Way to the Forum), 73
“I’m Here” (Evening Primrose), 247, 249
“I’m Just Wild About Harry” (Babes in Arms), 388
“I'm Like the Bluebird” (Anyone Can Whistle), 439t
imperialism, 204
The Importance of Being Earnest (Wilde), 72–73
“Impossible” (A Funny Thing Happened on the Way to the Forum), 73
“I’m Still Here” (Follies), 30–31, 223, 243, 249, 395, 426
Indian High School, 203–204
Indians, 435
individualism, 85, 406
“I Never Do Anything Twice” (Sondheim), 279–280
Inge, William, 380n15
“In Praise of Women” (A Little Night Music), 263, 265, 268, 316
instrumentation, 164n48
integrated musicals, 39–41, 58n6, 59n11, 135, 392–393
“Internationale,” 289
intertextuality, 9–94
Into the Woods, 34, 46–47, 91, 98, 326, 331, 406, 443;
central theme, 380n15;
disenchantment in, 350–361;
female characters, 378n2, 381n22, 382n42;
London productions, 215, 215, 219–221, 228, 356;
(p. 467) musical numbers, 379n5;
revivals, 219;
in subsidized theaters, 228;
visuals, 144–145
“Into the Woods” (Into the Woods), 331
“I Remember” (Evening Primrose), 244, 246, 252–255
“Isn’t He Something” (Road Show), 175
“Isn’t This a Lovely Day?” (Top Hat), 394
“Is this what you call love?” (Passion), 272
“It’s a Hit!” (Merrily We Roll Along), 123, 127
“It’s Alright with Me” (Porter), 399
“It’s Got to Be Love” (On Your Toes), 268
“It’s Hot up Here” (Sunday in the Park with George), 49
“It’s in Your Hands Now” (Road Show), 170–171, 175
“It’s Only a Play” (The Frogs), 332
“It’s the Little Things You Do Together” (Company), 26
“It Takes All Kinds” (Sondheim), 295n4
“It Would Have Been Wonderful” (A Little Night Music), 264–265, 276n32
“I've Got Rhythm” (Girl Crazy), 286
“I've Got You to Lean On” (Anyone Can Whistle), 439t
Ivey, Dana, 187t, 191
“I Want” (South Pacific), 50
“I Wish I Were in Love Again” (Babes in Arms), 388
James, Henry, 396
Jaspers, Karl, 341
Jerome Robbins’ Broadway, 146
Jibson, Michael, 172, 224, 429
Joddrl, the Barber, 335
“Johanna” (Sweeney Todd, The Demon Barber of Fleet Street), 107, 341
Johannesburg, South Africa, 211–212
Johns, Glynis, 263
Johnson, Ben, 333n4
Johnston, Alva, 165
“The Jolly Corner” (James), 396
Jones, Allan, 391
Jones, John Bush, 102
Jones, Kenneth, 142
Jones, Peter, 416–417
Jones, Richard, 215, 215, 219
Jones, Shirley, 393
“Joseph Taylor Jr” (Allegro), 47, 48
“Journey’s End” (Evening Primrose), 245
“Journey’s End” (Road Show), 178
“The Judge’s Return” (Sweeney Todd, The Demon Barber of Fleet Street), 346
Juliet of the Spirits, 139
June Moon, 320
Kabuki theater, 140–141, 230
Kander, John, 274n1
Katz, Ephraim, 259
Kaufman, George S., 32, 118–119, 320, 422
Keaton, Diane, 287, 288
Kendrick, Anna, 426
Kennedy Center for the Performing Arts, 112, 117, 167–168, 180n5, 421;
“Sondheim Celebration,” 127, 130n2, 444–445
Kent, Jonathan, 216
Kenyon, Sam, 218
Kern, Jerome, 12–13, 40, 128–129, 386, 434. see also specific works
Kerr, Walter, 111, 367, 372, 376–377
Kerryson, Paul, 224
Kidman, Nicole, 166
Kierkegaard, Soren, 396
Kilgarriff, Michael, 335, 348n9
Kill Bill, 279
Kimbrough, Chrles, 187t, 190–191, 382n42
Kind, Richard, 181n9
King, George, 335
King, Olive, 203
The King and I, 59n6, 106, 397, 434–435
Kismet, 74, 79n35
Kiss Me, Kate, 59n6, 264
“Kiss Me” (Sweeney Todd, The Demon Barber of Fleet Street), 341–342, 343t, 344
“Kiss Me Again” (Mlle. Modiste), 394
Kitt, Eartha, 223
Klipspringer, Ewing, 396
Klotz, Florence, 138–139, 141
Knapp, Raymond, 8n7, 90, 102, 338, 345, 381n39
Knudson, Kurt, 187t, 194
Kommische Oper, 234
Konigsburg, E. L., 253
Korngold, Erich Wolfgang, 385
Korogodsky, Danila, 206–207
Kosinski, Jerzy, 397
Kringas, Charley, 221
(p. 468) Kuchwara, Michael, 166
Kummer, Coby, 139–140
La Cage aux Folles, 258, 274n1, 280, 425
“Ladies in their Sensitivities” (Sweeney Todd, The Demon Barber of Fleet Street), 344
“The Ladies Who Lunch” (Company), 66, 104, 368, 376–377, 419, 426
Lady, Be Good!, 398–399
Lady in the Dark, 78n19, 86, 97, 174, 399
“The Lady is a Tramp” (Babes in Arms), 388
La Fitte, Solange, 394–395
Lahr, John, 145, 212
Laing, R. D., 84
La Jolla Playhouse, 111, 144
“Lament” (Into the Woods), 357
“Land Boom!” (Road Show), 175
Landor Thater 223
Lane, Nathan: as actor and performer, 166, 280, 425;
adaptation of The Frogs, 38n8, 320, 324, 324, 329–330, 332
Lansbury, Angela, 66, 81, 90, 217, 299, 313, 440
Lapine, James, 147;
collaboration with Sondheim, 2, 92–93, 98, 102, 119, 133–134, 143–145, 185–186, 201n3, 202n8, 238, 258–259, 268, 350–351, 353, 378n2;
on fairy tales, 350n3;
reworking of Merrily We Roll Along, 111
Lardner, Ring, 320
Lascoe, Henry, 148n15
The Last Emperor, 288
“Last Midnight” (Into the Woods), 357
The Last of Sheila, 16, 294n2, 299, 305n2, 419–421, 420
Last of the Red-hot Lovers, 103
Last Year at Marienbac, 290
“Later” (A Little Night Music), 44–45, 46, 263–264, 268
Laugh-In, 381n39
Laura, 302
Laurents, Arthur, 2, 58n3, 81, 84, 137, 378n2, 436–437, 448n16
La Valse (Ravel), 331, 384–386, 397
Lavin, Linda, 417
Law, Jude, 11
Law of Good Continuation, 318n11
Lawrence, Elliot, 154
Lawrence of Arabia, 287
Lean, David, 287
Lear, Evelyn, 236
Leeds, Michael, 236
Legally Blonde, 258
The Legendary Mizners (Johnston), 165
Lehár, Franz, 393
Leigh, Janet, 302
Lemmon, Jack, 254
Les Misérables, 222, 224, 291
Les Six, 291, 294
“Lesson 8” (Sunday in the Park with George), 51–52
“Lesson Number 8: Pronouns” (Sunday in the Park with George), 51–52
Lester, Adrian, 220, 225
Le Théâtre de la Monnaie, 237
“Let It Snow” (Cahn and Styne), 394
“Let Me Entertain You” (Gypsy), 66–67, 79n22
“Let People Say We’re In Love” (Oklahoma!), 50
“The Letter” (Sweeney Todd, The Demon Barber of Fleet Street), 343
Letterle, Daniel, 426
“Liaisons” (A Little Night Music), 263–268, 275n21, 276n32, 312–314
Library of Congress, 130n2
librettists, 2, 8n6
Lichtefeld, Michael, 144
Life magazine, 139, 388–389
lighting design, 135–139, 141, 144–145, 153
“Like It Was” (Merrily We Roll Along), 123
Linbury Studio, 228
Lincoln Center, 225, 320, 399
L’Incoronazione di Poppea, 314
Lindsay, Howard, 435
The Lion in Winter (Goldman), 226n6
The Lion King, 258
Lithuanian National Opera, 237
“Little Dream” (The Birdcage), 280–281, 425
A Little Night Music, 44, 49, 59n6, 309–318, 406;
commercial success, 140, 260;
criticism of American Dream, 443, 449n23;
as cynical operetta, 317–318;
experimental elements, 275n10;
female characters, 370, 378n2, 381n22, 382n42;
film adaptation, 259;
(p. 469) generic forms, 267–268;
Kennedy Center production, 444;
London productions, 219, 224–225;
lyrics, 312–314;
music, 314–316;
orchestrations, 153–154, 160t162t, 445;
pairs of lovers, 260–262;
postmodernism, 31;
Prince-Sondheim legacy, 97, 100, 106, 110;
revivals, 1, 154, 313;
stage adaptation, 258–277, 263, 274n1, 319;
in subsidized theaters, 236–238;
themes, 350n5, 380n15;
visuals, 140
“A Little Priest” (Sweeney Todd, The Demon Barber of Fleet Street), 107, 343t, 346, 382n42
Little Shop of Horrors, 258, 274n1, 366–367
“The Little Things You Do Together” (Company), 368–369, 371–372
Littlewood, Joan, 103–105
“Live, Laugh, Love” (Follies), 105, 219, 399
“Live Alone and Like It” (Dick Tracy), 282–283, 282t
Lives of the Artists (Vasari), 386
Living Theatre, 81
Lloyd, Edward, 335
Lloyd, Jamie, 221–223
Lloyd’s People’s Periodical, 335
Lobel, Adrianne, 145, 147
London, England stage performances, 214–226, 215. see also specific theatres
The Lonely Crowd (Riesman), 84
“Lonely Room” (Rodgers and Hammerstein), 41–42, 42, 60n16
Long Beach Armory, 203–213
Loren, Sophia, 259
Los Angeles Opera, 179
“Losing My Mind” (Follies), 105, 177, 370, 398, 425, 426
Louise, Merle, 375
love: ambivalence of, 177
“Love, I Hear” (A Funny Thing Happened on the Way to the Forum), 70
love interests, 197–198
“Love is in the Air” (A Funny Thing Happened on the Way to the Forum), 281
“Loveland” (Follies), 105, 138–139, 219, 397, 398
“Loveland” (Glorifying the American Girl), 397
Love Life, 104
“Lovely” (A Funny Thing Happened on the Way to the Forum), 71–74
The Love of Sunya, 389
love songs, 176–177, 273
“Love Will See Us Through” (Follies), 397
“Loving You” (Passion), 273
Lubovitch, Lar, 144, 149n51
“Lucy and Jessie” (Follies), 398
LuPone, Patti, 157, 217–218, 299–300
Macintosh, Cameron, 111
Mackenzie, Julia, 220
Mackintosh, Cameron, 220
“Madame’s Song” (The Seven-Per-Cent Solution), 279–280
Madonna, 281, 287, 425
The Mad Show, 417
The Magic Lantern (Bergman), 275n9
Magwili, Dom, 208
“Make-Believe” (Show Boat), 393
“Make the Most of Your Music” (Follies), 219
male characters, 379n3, 380n15
Malle, Louis, 276n34
Mamas and the Papas, 374
Mame, 102
The Manchurian Candidate, 251–252, 257n11
“The Man I Love” (Gershwin), 398
The Man in the Gray Flannel Suit, 254
Mankiewicz, Joseph L., 258
Mann, Jack, 120
Mantello, Joe, 145, 218
Marat/Sade (Weiss), 90
Marchesani, Joseph, 341, 349n38
Marcuse, Herbert, 84, 91
“Maria,” 135
Market Theatre, 211
Marshall, Kathleen, 146
Marshall, Rob, 146
Martin, Jill, 223
Martin, Mary, 242–243
Martin, Millicent, 417
masculinity, 379n3
M*A*S*H, 333n4
Mason, James, 419
Mastroianni, Marcello, 259
“Material Girl” (Madonna), 287
Matheson, Richard, 254
Mathias, Sean, 219, 236
Maunder, Stewart, 236
(p. 470) “Maybe They’re Magic” (Into the Woods), 354
Mayer, David, 345
“May We Entertain You?” (Gypsy), 79n22
mazurka, 268
McConachie, Bruce, 106
McDonald, Betty, 254
McDonald, Marianne, 333n10
McGillin, Howard, 167, 181n9
McKechnie, Donna, 138, 381n40, 382n42
McKenzie, Julia, 215–217, 217, 223, 225
McLeod, Debbie, 208
McMillin, Scott, 42, 59n7
McRae, Gordon, 393
McShane, Ian, 419
McVicar, David, 216
McWhir, Robert, 223
“Me and My Town” (Anyone Can Whistle), 439t, 441
megamusicals, 139, 147
melodrama, 13, 335–349
Menander, 64
men characters, 379n3, 380n15
Mendes, Bob, 220
Mendes, Sam, 110, 115n47, 166, 218, 218–220, 380n7, 418
Menier Chocolate Factory, 117, 156, 218–219, 224, 226n10, 237
Menken, Alan, 274n1
Merman, Ethel, 136, 286
Merrick, David, 165
Merrily We Roll Along, 18, 49, 80n43, 260, 406;
criticism of American Dream, 166–167, 443;
episodic structure, 129;
experimental elements, 46–47;
female characters, 378n2;
Kennedy Center production, 444–445;
London productions, 218, 220–222, 224, 226n7, 226n10;
narrative structure, 129–130;
postmodernism, 32–34;
Prince-Sondheim legacy, 97, 108–109;
revisions, 111, 117–132, 118, 122, 422–424;
revivals, 1, 127–128, 421–422;
score, 124, 128, 144, 421–423;
sexuality, 421–425;
Sondheim on, 40;
themes, 380n15;
The Merry Widow, 106, 115n24
metaphors, secret, 228
Meyer, Nicholas, 278–279
Mielziner, Jo, 135–136
Miller, Scott, 447n3, 449n23
“The Miller’s Song” (A Little Night Music), 264–265, 267–268, 275n18, 313
“The Miller’s Son” (A Little Night Music), 275n18
Millett, Kate, 367
Minnelli, Liza, 425
Minnelli, Vincente, 392, 397
minstrel shows, 79n30
“Miracle Song” (Anyone Can Whistle), 439t
“The Mirror Song” (Follies), 139, 396
Miss Saigon, 110
Mitchell, Jerry, 146
Miyamoto, Amon, 111–112, 233
Mizejewski, Linda, 391
Mizner, Addison, 165–166, 416, 426–427
Mizner, Wilson, 165–166, 426–427
Mlle. Modiste, 394
modernism, 405–413
modular system, 46–48, 48, 48–52
Molnar-Szakacs, Istvan, 339
Monaco, James, 290
“Monday, Monday” (Mamas and the Papas), 374
“Mon Homme” (Yvain), 398
Monroe, Marilyn, 391
Monroe, Vaughan, 394
“Montage” (Follies), 394, 396
Moore, Judith, 187t
morality, 360
“More” (Dick Tracy), 282t, 285–287, 286t
Morgan, Dennis, 391
Morgan, Robin, 367
Morley, Sheridan, 109
Most Happy Fella, 203
“Move On” (Sunday in the Park with George), 49, 133, 188
movies. see also specific works: original music for, 278–295;
“road” movies, 173;
stage adaptations, 258–277, 274n1
Moving On, 225
Movin’ Out, 150n58
Mozart, Wolfgang Amadeus, 319
Mr. Blandings Builds his Dream House, 254
The Murderous Barber, 335
Murphy, Donna, 270
(p. 471) music: anempathy of, 19;
chords, 295n13;
film scores, 278–295;
modern, 384;
perception of, 318n11;
quasi-symphonic fabric, 59n11;
scores, 33, 152–153
musical comedy, 8n1, 84
musical drama, 8n9
Musical Husbands, 127, 424
musical orgasms, 13, 269, 277n52
musical pastiche, 384–403
musicals. see also specific works, productions: as art form, 8n2;
Brechtian, 8n1;
Broadway, 103;
chamber, 159, 168;
concept, 1–2, 60n30, 65, 78n14, 104, 379n5, 406;
criticism of American Dream, 165–168, 432–450, 446n1, 449n29;
dansicals, 149n58;
as dual-focus narratives, 246;
epistolary, 277n52;
experimental, 82–85;
as genre, 76n1, 78n19;
Golden Age, 77n3, 80n37, 103, 177, 366–367, 446n1;
integrated, 39–41, 135, 392–393;
megamusicals, 139;
modular system, 46–48, 48, 48–52;
romantic, 318n1;
self-reflexive, 379n5;
Sondheim shows, 1, 433–434;
song placement in, 69–70;
staging, 47, 145, 168, 177, 237;
television, 241–257;
theatrical, 242–243;
thirty-two-bar song form, 41–44;
trajectory of desire, 50–51;
in twenty-first century, 151–164;
as vehicle for ideas, 98;
visuals of, 133–150
musical thrillers, 337
musical tragedy, 335–349
Music in the Air, 40
The Music Man, 84, 146, 177, 366, 436–439, 442, 448nn1213, 449nn2122
Music Theatre International, 154
Musser, Tharon, 138–139, 141
Myers, Pamela, 372
My Fair Lady, 59n6, 109
My Favorite Year, 274n1
“My Friends” (Sweeney Todd, The Demon Barber of Fleet Street), 343, 346
“My Funny Valentine” (Babes in Arms), 388
“My Husband the Pig” (A Little Night Music), 219, 263
mystery parties, 419
Napoléon, 291
narratives: contemporary, 413–414;
dual-focus, 246;
historical, 405;
nonlinear, 120;
progressive, 404–415;
of tragedy, 404–415;
tragic, 406–413
Nationalism, 204
National Theatre, 63, 110, 216, 219–220, 222–224, 234, 236
naturalism, 387
Nelson, Richard, 144–145
neoclassicism, 256
neotonality, 295n12
Nestroy, Johann, 13
New Comedy, 319–321
Newgate Calendar, 335
New National Theatre, 111–112, 233
new wave, 338
New York City Ballet, 149n51
New York City Opera, 110, 142, 233–234, 236
New York Drama Critics, 378n2
New Yorker magazine, 145, 165
New York Magazine, 145, 394
New York Post, 109, 141, 167
New York Public Library at Lincoln Center, 130n1
New York Public Theatre 102
New York Theatre Workshop, 166–167, 180n5, 211
“Next!” (Pacific Overtures), 141, 409–410, 447n9
Nichols, Mike, 280, 425
Nicholson, Jack, 287
Nick and Nora, 274n1
“Night Music” (A Little Night Music), 115n24, 315
“Night Waltz” (A Little Night Music), 265, 268, 315–316
Nine, 258, 274n1
Ninotchka, 258
Nodier, Charles, 336
Noël Coward Theatre, 220
Noh theatre, 230
noir, 337–338
“No Life” (Sunday in the Park with George), 191
“No More” (Into the Woods), 357
nonprofit theater, 168
“No-one Is Alone” (Into the Woods), 358
(p. 472) “Not a Day Goes By” (Merrily We Roll Along), 32, 123
“Not Getting Married” (Company), 373–374
“Not Getting Married Today” (Company), 105
“Nothing’s Gonna Harm You” (Sweeney Todd, The Demon Barber of Fleet Street), 341
“Not While I’m Around” (Sweeney Todd, The Demon Barber of Fleet Street), 343t, 344
nouvelle vague, 338
“Now” (A Little Night Music), 44–45, 45, 264, 268
“Now You Know” (Merrily We Roll Along), 32, 123
Nunn, Trevor, 159, 219, 224–225, 226n6, 313
Nyrőd, Marie, 259
Obama, Barack, 205–206, 210, 212
Obie Award, 181n11
Obsession, 226n9
obsolescence, planned, 448n18
Ockrent, Mike, 223
Oedipus Tyrannus (Sophocles), 319
Off-Broadway, 82, 100–103, 143, 168, 228
Off-Off-Broadway, 143
Of Thee I Sing, 86, 446n1
Oklahoma!, 8n2, 25, 39, 41, 50, 58n6, 65, 78n19, 103, 366, 392, 435
Old Comedy, 321
“Old Friends” (Merrily We Roll Along), 123, 142, 423–424
Oliver!, 82
Olivier, Laurence, 11, 279
Olivier Award, 216–217, 219–221, 224–225
Olson, John, 381n25
Onagatas, 230
One-dimensional Man (Marcuse), 84
“One Foot, Other Foot” (Allegro), 47–48, 48
“One More Kiss” (Follies), 105, 393–394
On the Beach, 90
“On the River Styx” (The Frogs), 332
“On the Steps of the Palace” (Into the Woods), 355–356
On the Town, 110
On the Twentieth Century, 258
Opel, Nancy, 187t, 202n5
Open Air Theatre, Regent’s Park, 219, 223, 228, 356
“Opening Doors” (Merrily We Roll Along), 123–126, 125t–126t, 126–129, 423
Open Theatre, 81
opera, 80n43, 227–228, 233, 274
Opera North, 216, 233–234
Operation Desert Storm, 205
operettas, 13, 115n24;
cynical, 309–318;
European, 115n24
“Opportunity” (Road Show), 170
orchestration, 151–164, 163n19, 291;
cast-as-orchestra versions, 157–158, 445;
reduced orchestrations, 160t162t, 445
“Order” (Sunday in the Park with George), 51–52
Orfeo (Monteverdi), 334n26
The Organization Man (Whyte), 84
orgasms, musical, 13, 269, 277n52
Orientalism, 435
Ornbo, Robert, 137
Oscar Award, 284, 287, 301
“Our Little World” (Into the Woods), 219
“Our Time” (Merrily We Roll Along), 34, 111, 120, 123, 128, 350
Out of Africa, 288
Ovenden, Julian, 214, 221, 225
Overy, Kate, 339
Oxenford, John, 13
Oxford University, 215
Pacific Overtures, 31, 260, 330, 404–413, 407;
criticism of American Dream, 166–167, 435, 443;
experimental elements, 81, 91;
female characters, 378n2;
Kennedy Center production, 444;
London productions, 221, 223, 229, 229, 230;
“The Notion” of, 405, 408;
Prince-Sondheim legacy, 97, 100, 106, 111, 111–113;
principal characters, 404–405;
in subsidized theaters, 229, 229, 233–235;
visuals, 140–141
pacing, 146
Packard, Vance, 448n18
Page, Steven, 216
The Painted Bird, 397
painting, 202n12
The Pajama Game, 110
Pal Joey, 41, 58n6, 97
Palmer, Felicity, 216
(p. 473) Paper Mill Playhouse, 399
Pappano, Antonio, 234
“A Parade in Town” (Anyone Can Whistle), 91–92, 439t, 440
paramnesia, 388
Paris Opera Ballet, 149n51
“Parlor Songs” (Sweeney Todd, The Demon Barber of Fleet Street), 343t
Parry, William, 187t, 192
Pasolini, Pier Paolo, 259
Passage to India, 288
Passion, 19, 34, 80n43, 98, 166;
as epistolary musical, 277n52;
female characters, 378n2;
Kennedy Center production, 443–445;
London productions, 221–223, 222, 226n8;
as love song, 273;
as opera, 274;
score, 273;
sexuality, 417;
stage adaptation, 258–277, 270, 274n1;
in subsidized theaters, 228;
visuals, 145
Passione d’Amore, 258–259, 268, 270, 271
pastorals, urban, 252–255
Patinkin, Mandy, 186, 187t, 201, 224, 281
patriotism, 439
patronage, 176
Paul, Jeff, 208
Pawk, Michele, 167
PBS television, 179
The People’s Periodical, 335
“People Will Say We’re In Love” (Oklahoma!), 50
performance(s), 183–238. see also specific theatres; specific works and productions;
doubling of actors and roles, 185–202;
live theater, 16;
London stage, 214–226;
musicals as form of, 76n1;
stage adaptations, 258–277;
subsidized theater, 227–238;
television musicals, 241–257
Perkins, Anthony: as actor and performer, 241, 243, 245–246, 250, 252, 253, 299;
collaborations with Sondheim, 16, 294n2, 299, 305n2, 419
“Perpetual Anticipation” (A Little Night Music), 264–265
Persona, 259
Peter Pan, 242–243, 255
Peters, Bernadette, 29, 175, 187t, 189, 215
Pet Shop Boys, 425
The Phantom of the Opera, 258, 269, 274n1
Phoenix Theatre, 215
The Physicists (Dürrenmatt), 84
Piaf, 226n8
Picnic, 380n15
The Pied Piper of Hamelin, 438–439
Pied Pipers, 449nn2122
Pimlott, Steven, 224, 234
Pinero, Arthur Wing, 68
Pinter, Harold, 230, 383n53
Pippin, 260
“Pirelli’s Death” (Sweeney Todd, The Demon Barber of Fleet Street), 343t
Piscator, Erwin, 103
planned obsolescence, 448n18
Plautus, 64
Playhouse 90, 251
playwrights, 8n6. see also specific playwrights by name
Playwrights Horizons theater, 102, 143, 145, 168, 186, 228
Plaza Suite, 103
“Please Hello” (Pacific Overtures), 407
Plummer, Amanda, 425
Poiret, Jean, 280
polonaise, 268
Ponsard, François, 336
“Poor Baby” (Company), 368, 374, 375
“Poor Joe” (Allegro), 47, 48
“Poor Thing” (Sweeney Todd, The Demon Barber of Fleet Street), 343
Porgy and Bess, 97
Porter, Cole, 258, 399, 449n23
postmodernism, 25–38, 110
Pountney, David, 229
Powell, Jane, 175
Powell, William, 392
A Pray by Blecht, 76, 80n46
“Precision” (Sunday in the Park with George), 51–52
The Presentation of Self in Everyday Life (Goffman), 90
Prest, Thomas Peckett, 335
“A Pretty Girl is Like a Melody” (Ziegfeld Follies), 390–391
“Pretty Little Picture” (A Funny Thing Happened on the Way to the Forum), 72
(p. 474) “Pretty Women” (Sweeney Todd, The Demon Barber of Fleet Street), 107, 340, 343t
Prince, Daisy, 122
Prince, Harold (Hal), 47, 78n14, 118, 147, 159, 181n9, 379n5. see also specific works;
as Broadway baby, 100–102;
as director, 146, 233–234;
influences on, 102–103;
postmodernism, 26, 28, 32
Prince Igor (Borodin), 79n35
Princess of Wales Theatre, 158
The Producers, 177, 258
production design, 301
production teams, 155–156
profanity, 169–170
progressive narratives, 404–415
“Prologue” (Follies), 384
Promises, Promises (The Apartment), 137, 258
public solitude, 213n1
Public Theatre, 168, 175, 179
Puccio, Paul M., 417–418
“Pudgy Feet” (Allegro), 47
Putting It Together, 225
“Putting it Together” (Sunday in the Park with George), 49, 143–144, 201
Quast, Philip, 224
Queen’s Theatre, 220
queerness, 417–418
queer Sondheim, 416–431
Quilley, Denis, 216–217
Raines, Ron, 29
“Rain on the Roof” (Follies), 394
Ralston, Terri, 375
Ramin, Sid, 151
Ravel, Maurice, 315, 331, 384–387, 396–397
realism, 346
Redgrave, Vanessa, 279
Reds, 278, 287–289, 288, 289, 289t, 294
Reed, Jack, 287
Reed, Rex, 421
Regent’s Park (London), 219, 223, 228, 356
Régine, 279
“Remember” (A Little Night Music), 263, 265, 268, 312–313, 315–316
Remick, Lee, 81, 83, 83, 90, 399, 416
“Reminiscences” (A Little Night Music), 263
repetition, 326, 331
Resnais, Alain, 290, 291
“Resolution Number,” 50
Results, 425
revenge plays, 338
revivals, 1, 231. see also specific productions
revues, 79n30, 392–393. see also specific works, productions
Rich, Frank, 123, 142–143, 146
Richards, David, 128
Rickman, Alan, 301
Riedel, Michael, 167
Riesman, David, 84
Rigg, Diana, 223
Riggs, Lynn, 435
“The Right Girl” (Follies), 397
Rimoldi, Vince, 426
Ring Round the Moon (Anouilh), 259, 274n5, 318n1
The Rise and Fall of the City of Mahagonny (Brecht and Weill), 76, 80n45, 179
Rivera, Chita, 136
“Road” movies, 166, 173
“The Road Not Taken” (Frost), 396
Road Show, 19, 80n45, 165–181, 167, 172, 380n15;
female characters, 378n2;
London productions, 224, 429;
name change, 168;
postmodernism, 34–37;
production history, 166–169;
revision, 181n11;
sexuality, 416, 426–429, 429;
song-by-song analysis, 169–179;
in subsidized theaters, 235,237
“The Road You Didn’t Take” (Follies), 352, 396
Robbins, Jerome, 11–12, 58n3, 68, 76, 78n17, 80n46, 98–99, 134–137, 143, 146, 379n5
Robyns, Jon, 429
“Rock Island” (The Music Man), 449n21
Rockwell, John, 449n31
Rodgers, Mary, 416
Rodgers, Richard, 124, 326. see also specific works;
collaborations, 12–14, 40, 44, 49, 448n16;
collaboration with (p. 475) Hammerstein, 39–44, 42, 49, 60n22, 242, 387–388, 434
Roger, Elena, 222, 226n8
Rogers, Ginger, 394
Rogers, Will, 390
Romaine, Yvonne, 419
A Roman Comedy, 64
romantic musicals, 318n1
Romberg, Sigmund, 115n24
Rooney, David, 377
Rooney, Mickey, 388
Rose Marie, 115n24
Rosenthal, Jean, 135–136
Rosenthal, Manuel, 385–386
“Rose’s Turn” (Gypsy), 65–67, 66, 78n20, 79n22, 135, 425
Rosi, Francesco, 259
Ross, Herbert, 81, 137, 146, 148n15, 279, 419
Rossellini, Roberto, 259
Rosser, Austin, 14–16
rough theater, 168
Roundabout Theatre, 145, 225, 380n7
Roxy Theater, 139, 389, 389
Royal Albert Hall, 214, 399
Royal Danish Ballet, 149n51
Royal Festival Hall, 216, 222–223
Royal National Theatre, 100, 142
Royal Opera House, 110, 158, 216, 228, 234
Royal Shakespeare Company, 90
Royce, Althea, 123
Rudin, Scott, 180n5
Russell, Jenna, 118, 225
Russian Constructivism, 137–138
Russian Expressionism, 104
Russo, Vito, 420
Ryan, D. D., 137
Rymer, James Malcolm, 335
“Saga of Jennie” (Lady in the Dark), 174
sarabande, 268
Saratoga, 448n14
Sartre, Jean Paul, 387
Satie, Eric, 291
Saturday Night, 24n13, 225
Saturday Night Fever, 287–288
scenery, 145
Scheff, Fritzi, 394
Schiller, Heidi, 393
Schulman, Susan H., 142, 144, 226n2
Scola, Ettore, 258–259, 270, 274n4
score(s), 33, 152–153, 278–295
Scorsese, Martin, 301
Scott, George C., 333n4
Screen Actors Guild, 280
screen performances. see also Film; specific films and productions: stage adaptations, 258–277, 274n1
“Searching” (Sweeney Todd, The Demon Barber of Fleet Street), 346
Secrest, Meryle, 137, 416, 447n3
secret metaphors, 228
“See What It Gets You” (Anyone Can Whistle), 439t, 441
Semprún, Jore, 290, 295n7
“Send in the Clowns” (A Little Night Music), 264–267, 276n32
sequencing, 152
Serling, Rod, 254
Seurat, Georges, 34
The Seven-Per-Cent Solution, 278–280
The Seventh Seal, 259
Sewall, Richard B., 341
sexuality, 416–431
Sexual Politics (Millett), 367
Shaftesbury Theatre, 219, 223
Shakespeare, William, 77n8, 77n11, 327–328, 332
Shall We Dance, 397
Shaw, George Bernard, 16, 327
Shea, Jere, 270
Sheader, Timothy, 219
She Loves Me, 258, 274n1
Shepard, Sam, 81, 103
Shevelove, Burt, 2, 63–65, 77n11, 79n26, 319–320, 323–324, 327, 332, 333n3, 333n7
Shire, David, 255–256
The Shop Around the Corner, 258
Shor, Miriam, 127
Show Boat, 8n2, 13, 40, 273, 391–393, 434–435, 446n1
Shrek, 258
Shulman, Milton, 110
(p. 476) Side by Side by Sondheim, 109, 214, 225, 226n11, 279, 281, 417, 445
Silk Stockings, 103, 258
“Silly People” (A Little Night Music), 219, 264
Simon, John, 145, 267
Simon, Neil, 103–104, 110
Simonson, Robert, 142
“Simple” (Anyone Can Whistle), 48, 56, 86–89, 439t, 440–441
Sinatra, Frank, 394
Singer, Paris, 427
Singing out Loud, 294n2
Singin’ in the Rain, 388, 396
Sisterhood is Powerful (Morgan), 367
Skinner, Emily, 127
Slaughter, Todd, 335
Sleuth (Shaffer), 11, 16
Sly Fox, 333n4
Smiles of a Summer Night, 106, 140, 237, 258–260, 262, 267, 310–312, 317, 318n1, 319; musical adaptation (see A Little Night Music)
Smith, Helen, 335
Smith, James, 336
Smith, Oliver, 135
Smith, Sheridan, 220
Smith, Tucker, 148n15
Smith, Wendy, 377
soap operas, 257n11
society, 363–450
Softley, Iain, 299
“Soliloquy,” 43, 43–44, 53–55, 65
“Some Enchanted Evening” (Rodgers), 50, 127
“Someone in a Tree” (Pacific Overtures), 408, 411–412
“Some People” (Gypsy), 425
“Something Just Broke” (Assassins), 210, 212, 219
“Somewhere” (Anyone Can Whistle), 135, 448n19
Sondheim: A Musical Tribute, 445
Sondheim, Stephen. see also specific works, productions: aborted projects, 274n5;
as auteur, 2, 12;
biography, 128–129;
as Broadway baby, 100–102;
cameo appearances, 426;
collaborations, 8nn67, 11–12, 49, 80n46, 92–93, 98–99, 155–158, 238, 257n11, 259, 274–275n5, 305n2, 333n3, 448n16;
collaboration with Furth, 2, 26, 32, 76, 99, 118–121, 129, 142, 226n7, 238, 305n2, 368, 418, 421–422;
collaboration with Goldman, 2, 28, 105, 241–257, 387, 392–393;
collaboration with Lapine, 2, 92–93, 98, 102, 119, 133–134, 143–145, 185–186, 201n3, 202n8, 238, 258–259, 268, 350–351, 353, 378n2;
collaboration with Perkins, 16, 294n2, 299, 305n2, 419;
collaboration with Robbins, 80n46, 135–137;
collaboration with Weidman, 2, 34, 145–146, 166–168, 208, 238, 378n2, 427;
collaboration with Wheeler, 18–19, 238, 258–259, 310;
commitment to drama, 49;
as composer-lyricist, 2, 26–27, 146, 433;
compositional style, 158;
concept musicals, 1–2, 60n30, 65;
contemporary sound of, 151–164;
criticism of American Dream, 432–450;
eightieth birthday celebration, 214, 399;
favorite song, 411;
female characters, 365–383;
as games player, 394;
as genius, 11–24;
across genres, 307–361;
Hammerstein’s influence on, 12–13, 39–62, 77n11, 101;
on Hart, 60n15;
on his career evolution, 37–38;
homosexuality, 416–417;
iconic status, 1–2;
idealism, 238;
and identity, 363–450;
influences on, 12–13, 39–62, 77n11, 101–103;
initiated works, 259;
on integrated musicals, 40;
on London stage, 214–226;
as lyricist, 26–27, 241;
mature works, 255–256;
across media, 239–305;
on melodrama, 337;
on Merrilly We Roll Along, 118–119, 128–129;
modular furniture, 48–52;
motifs or paths, 352;
musicals, 1, 80n37, 133–150;
mystery parties, 419;
as office boy, 46;
on opera, 80n43;
original music for movies, 278–295;
in performance, 183–238;
personal life, 417;
postmodernism, 25–38;
as production assistant, 146;
as puzzle-writer, 394;
queer, 416–431;
Rodger’s influence on, 124;
scores, 33, 152–153;
self-mocking, 180;
sexuality, 416–417;
and society, 363–450;
song form, 44–46;
on song placement, (p. 477) 69–70;
as songwriter-composer, 241, 426;
songwriting, 100;
sound of, 151–164;
stage adaptations, 258–277, 274n1;
as storyteller, 47;
studio representations, 228;
in subsidized theaters, 227–238;
on Sweeney Todd, 305n1;
themes, 359;
Tony Awards, 378n2;
trademarks, 273–274;
Who’s Afraid of Stephen Sondheim? (Shaffer), 11;
at Williams College, 12
“Sondheim at 80,” 214, 399
“Sondheim Celebration” (Kennedy Center), 127, 130n2, 444–445
Sondheim-ness, 127
Sondheim on Music, 269
Sondheim on Sondheim, 154–155
Sondheim Prom, 214, 221, 225, 226n10
Sondheim’s Broadway Musicals (Banfield), 49, 345
Sondheim shows, 433–434
songs. see also specific songs: AABA pattern, 41;
ABAC pattern, 41;
ABBCA pattern, 41, 42;
antilove, 176–177;
placement of, 69–70;
as scenes, 77n11;
Sondheim favorite, 411;
for storytelling, 77n11;
thirty-two-bar form, 41–44, 80n43;
types stock in trade of musical comedy, 84
“Soon” (A Little Night Music), 44–46, 46, 263–264, 268
“Sooner or Later (I Always Get My Man)” (Dick Tracy), 282t, 284–285, 285t, 286, 425
Sophocles, 319
“Sorry-Grateful” (Company), 104, 177, 366, 380n6
sound: chamber approach, 159;
orchestration, 151–164, 291;
scaled-back orchestrations, 445
The Sound of Music, 435, 437, 447n6, 448n14, 449n22
South Africa, 203–204, 211–213
South Pacific, 47, 50–51, 57, 59n6, 61n47, 106, 203, 434–435, 446n1
Spall, Timothy, 301
Spamalot, 258
Spiner, Brent, 187t, 192
Spiro, Samantha, 220–221
stage adaptations, 258–277, 274n1
Stagedoor Camp, 425
staging, 47, 145, 168, 177, 237
Stanley, Kim, 367, 380n15
Stapleton, Maureen, 287
Starobin, Michael, 151–156, 160t
Star Wars, 287–288
Staunton, Imelda, 215, 215, 216–217, 340
Stavisky..., 278, 290–294, 291, 292, 293, 294t
Stavisky, Alexandre, 290, 295n9
Stavisky Affair, 290
Stevens, Brooks, 448n18
Stewart, Ellen, 81
Steyn, Mark, 77n3, 393, 399
Stickney, Dorothy, 241, 252
Stoppard, Tom, 79n32, 110
“The Story of Lucy and Jessie” (Follies), 219
storytelling, 77n11
Stothart, Herbert, 115n24
Straiges, Tony, 143–145, 147
Strauss, Johann, 309, 387, 399
Stravinsky, Igor, 255–256, 291, 330
Streep, Meryl, 320, 326
The String of Pearls (Dibdin Pitt), 13–14, 335–336, 347n8
The String of Pearls (Prest), 335, 348n9
Stritch, Elaine, 100, 220, 375, 377, 399
Stroman, Susan, 146, 150n58, 320
Strouse, Charles, 274n1
Studio 54, 156
studio productions, 237
Stuttgart Ballet, 149n51
Styan, J. L., 338
Styne, Jule, 78n18, 80n40, 146, 394
subsidized theater, 227–238
“Sunday” (Sunday in the Park with George), 49, 52, 176
Sunday Afternoon on the Island of La Grande Jatte (Seurat), 34, 195–196, 199
Sunday in the Park with George, 18, 34, 119, 166–168, 180, 186, 201, 443;
casting schemes, 185–202, 187t, 202n8;
doubling of actors and roles, 185–202, 187t;
dramatic structure, 49, 51–52, 58;
experimental elements, 46–47, 81;
female characters, 370, 378n2, 381n22;
Kennedy Center production, 444–445;
London productions, 221, 224–225;
orchestrations, 154, 156, 160t–162t, 445;
parallel roles in act 1 and act 2, 195–200, 195t;
Prince-Sondheim legacy, (p. 478) 98, 102;
revivals, 1, 144, 154, 225;
same actors in different parts, 187–195, 187t;
structure, 352;
in subsidized theaters, 234;
themes, 176, 185, 350, 380n15;
trajectory of desire, 51;
visuals, 133, 143–144
“Sunday in the Park with George” (Sunday in the Park with George), 49
Sunday News, 421
Sunny, 397
Sunset Boulevard, 258, 274n1, 389
“The Sun Won’t Set” (A Little Night Music), 265, 268
Swain, Joseph, 42
Swanson, Gloria, 139, 388–389, 389, 399, 427
Swayne, Steve, 12, 44, 267
Sweeney Todd (Rosser), 14–15
Sweeney Todd: A Musical Thriller, 107–108
Sweeney Todd, The Barber of Fleet Street, 335, 348n9
Sweeney Todd, The Demon Barber of Fleet Street, 31–32, 81, 166–168, 259–260, 334n27, 443;
Tim Burton’s film version, 16, 110, 216, 296–305, 298–299, 305n1;
cast-as-orchestra version, 157–158, 445;
characters, 339–342, 404–405;
concert versions, 300, 445;
dramatic sources, 13–19;
female characters, 378n2, 381n22, 381n28, 382n42;
homosexuality in, 417;
Kennedy Center production, 444;
London stage productions, 216, 217, 217–218, 220, 223, 225, 340;
as melodrama, 335–349;
music, 345–346;
musical numbers, 379n5;
as musical thriller, 337;
as musical tragedy, 335–349;
orchestrations, 154, 156–159, 160t–162t, 445;
performance history, 300;
Prince-Sondheim legacy, 97, 101, 109;
revivals, 1;
as stage musical, 296–305;
structure, 342–345, 343t;
in subsidized theaters, 233–238;
themes, 359, 380n15;
visuals, 141–142
Sweet Charity, 274n1, 366
Sweet Smell of Success, 258
Symphony of Psalms (Stravinsky), 330
synthestration, 152
Taganka Theatre, 104
Take a Left, 424
“Take Me to the World” (Evening Primrose), 244, 246, 252–255, 350
Talbot, Ian, 223
“Talent” (Road Show), 175, 427
Tales of Hoffmann, 104
The Tales of Hoffmann (Offenbach), 330
Tallmer, Jerry, 76n1
Tarchetti, Iginio Ugo, 258–259, 274n2
Taubman, Howard, 136–137
“Tchaikovsky (and Other Russians)” (Lady in the Dark), 394
Teeny Todd, 226n2
television musicals, 241–257. see also specific works
The Tell Tale, 335
The Tempest (Shakespeare), 351
Ten Little Indians (Christie), 419
Terence, 64
Terfel, Bryn, 214, 225
Terry, Water, 134–135
Te Wiata, Inia, 203
Tharp, Twyla, 146, 150n58
“That Dirty Old Man” (A Funny Thing Happened on the Way to the Forum), 74
“That Frank” (Merrily We Roll Along), 33, 131n14, 422–423
“That’ll Show Him” (A Funny Thing Happened on the Way to the Forum), 74
“That’s the Song of Paree” (Love Me Tonight), 394
“That Was a Year” (Road Show), 36–37, 174–175
Thaxton, David, 222, 225
The Theatre, Inc., 333n10
The Theatre and Its Double (Artaud), 84
Théâtre du Châtelet, 236
The Theatre of the Absurd (Esslin), 84
Theatre Roayl Stratford, 105
theatrical musical adaptations, 242–243
themes, 176
“There’s a hole in the world” (Sweeney Todd, The Demon Barber of Fleet Street), 346
“There’s No Place Like London” (Sweeney Todd, The Demon Barber of Fleet Street), 297, 342, 346
“There was a barber and his wife” (Sweeney Todd, The Demon Barber of Fleet Street), 347
(p. 479) “There Won’t Be Trumpets” (Anyone Can Whistle), 439t, 440
39 Steps, 258
thirty-two-bar song form, 41–44, 80n43
“This Can’t Be Love” (The Boys from Syracuse), 268
“This Nearly Was Mine” (South Pacific), 51
Thompson, Sophie, 220
Thoroughly Modern Millie, 258
Three Sisters (Chekhov), 368
thrillers, 337
“Tick Tock” (Company), 381–382n40
Time magazine, 145, 386
Titanic, 295n5
Todd, Sweeney, 335
Tom Jones, 279
“Tonight in Your Room” (A Little Night Music), 264
Tony Award, 158, 217–218, 226n3, 226n5, 260, 274, 378n2, 436–437, 448n12
“Too Many Mornings” (Follies), 396–397, 399
Top Hat, 394
“Toyland” (Babes in Toyland), 397
traditional theater, 63–80
tragedy, 404–415;
musical, 335–349;
tragic narratives of modernization, 406–413
“Transitions” (Merrily We Roll Along), 423
“Travelling Music” (The Frogs), 323
Travers, Ben, 68
Travis, Doris Eaton, 390, 396
Travis, Sarah, 154, 156–158, 161t
treasure hunts, 419
triads, 295n13
Trotsky, Leon, 290
Trovajoli, Armando, 273
Tuckett, Will, 228
Tune, Tommy, 146
Tunick, Jonathan, 119, 127–128, 145, 151–155, 267–268, 320, 331–332;
definition of orchestration, 153;
orchestrations, 316, 384
“Turn, Turn, Turn” (Byrds), 374
Twelve Dreams, 143
twenty-first century, 151–164
Twilight Zone, 254–255
“Twin Soliloquies” (South Pacific), 50
“Two Fairy Tales” (A Little Night Music), 264
Umbers, Mark, 118
Una giornata particolare (A Special Day), 259
“Under the Boardwalk” (Young and Resnick), 254
United States National Guard, 204–205
University of Witwatersrand, 204
“Up on the Roof ” (Goffin and King), 254
Up Pompeii!, 78n13
Urban Cowboy, 258
urban pastorals, 252–255
Urie, Michael, 425
Uris Theatre, 141–142
The Uses of Enchantment (Bettelheim), 350, 350n3
Valses nobles et sentimentales (Ravel), 315
Van Dyke, Dick, 281
Variety, 377, 421
vaudeville, 79n26, 79n30
Vaughn, Melanie, 187t
Venuti, Lawrence, 274n2
Victor, Victoria, 258
videotape, 243
Viertel, Jack, 113–114
Visconti, Luchino, 259
visuals, 133–150
Vivian Beaumont Theatre, 320, 324
Volpone (Johnson), 333n4
von Stade, Frederica, 236
von Trapp, Maria, 435
Waddingham, Hannah, 219
Wagner, Richard, 8n9, 235
“Wait” (Sweeney Todd, The Demon Barber of Fleet Street), 343–344, 343t, 346
“Waiting for the Girls Upstairs” (Follies), 395, 399
Walker, Don, 84
Walker, Hattie, 395
Wall Street Journal, 141
Walsh, Barbara, 377
Walton, J. Michael, 333n10
Walton, Jim, 122, 122
Walton, Tony, 136, 237
waltz, 268
Ward, Anthony, 145
Warner, Keith, 223, 227–238, 229
Washington Post, 144
(p. 480) Wasserstein, Wendy, 320, 329
“Waste” (Road Show), 35, 169, 179
The Waste Makers (Packard), 448n18
Watermill Theatre, 110, 117, 156–157, 218
“Water under the Bridge” (Singing out Loud), 294n2
Watt, Douglas, 140–141
Weaver, Sigourney, 320
Webber, Andrew Lloyd, 214, 220, 274n1
Webster, Ben, 398
“We Do Not Belong Together” (Sunday in the Park with George), 49, 370, 381n29
“A Weekend in the Country” (A Little Night Music), 263–265, 267–268, 318n4
Weidman, John, 100, 106, 115n47, 140, 145, 166;
collaboration with Sondheim, 2, 34, 145–146, 166–168, 208, 238, 378n2, 427
Weill, Kurt, 76, 80n44, 92, 174, 179, 394
Weiss, Peter, 90
Weissenbach, James, 122
Welch, Raquel, 419
“We’re Going to the Country” (A Little Night Music), 264
“We’re Off for a Weekend in the Country” (A Little Night Music), 263
Westenberg, Robert, 187t
West Side Story, 11–12, 26–27, 39, 59n6, 77n3, 101;
awards, 448n12;
box office success, 133;
criticism of American Dream, 167, 436–437, 446n1;
dramatic structure, 404;
London stage performance, 215–216;
orchestration, 151;
revivals, 134;
themes, 359;
trajectory of desire, 51;
visuals, 133–135, 134, 136, 146;
West End premiere, 215–216
“What Can You Lose?” (Dick Tracy), 282t, 283, 283–284
“What’s Your Rush” (Road Show), 171
“What Would We Do without You?” (Company), 26–27
Wheeler, Hugh, 2, 18–19, 140, 238, 258–259, 310. see also specific works
“When” (Evening Primrose), 250–253
“Where or When” (Babes in Arms), 387–388
Whistle, 90
Whistle Down the Wind, 274n1
White Oak Dance Project, 149n51
Whitman, Emily, 394
Whitman, Teddy, 394
“Who” (Sunny), 397
Who’s Afraid of Stephen Sondheim? (Shaffer), 11
Who’s Afraid of Virginia Woolf? (Albee), 103, 376
“Who’s That Woman?” (Follies), 105, 139, 396
“Who Wants to Live in New York?” (Merrily We Roll Along), 124–126
Whyte, William H., 84
Wiefstrand, Nina, 262
Wikipedia, 130n3
Wilde, Oscar, 72–73, 77n8
Wilder, Billy, 258
Wilder, Thornton, 13
Williams, Bert, 390
Williams, Robin, 280
Williams College, 12
Williamson, Nicol, 279
The Will Rogers Follies, 146
Willson, Meredith, 436, 448n13
Wilson, Edwin, 141
Wilson, Emma, 295n11
Wilson, Lanford, 81
Wine, Women and Song (Strauss), 399
The Wings of the Dove, 299
“Winters Go By” (Allegro), 47
Wise Guys, 115n47, 166–167, 170–172, 180
The Witches of Eastwick, 220
“With So Little to be Sure Of” (Anyone Can Whistle), 83, 439t, 440–441, 448n19
The Wiz, 258
The Wizard of Oz, 358
Wolski, Darius, 300–301
Woman of the Year, 258, 274n1
women characters, 365–383
Women’s Wear Daily, 140
“The Worst Pies in London” (Sweeney Todd, The Demon Barber of Fleet Street), 343, 343t
Yale Repertory Theatre, 320
Yale University, 117, 320
Yeston, Maury, 221, 274n1
York Theatre Company, 142, 144
“You” (Road Show), 173–174, 176
“You Can Drive a Person Crazy” (Company), 370–371
(p. 481) “You Could Drive a Person Crazy” (Company), 368–369
“You’ll Never Walk Alone” (Road Show), 170
“You Must Meet My Wife” (A Little Night Music), 264, 267–268, 311
“You Never Looked So Beautiful Before” (Donaldson and Adamson), 391–392
“You’re Gonna Love Tomorrow” (Follies), 397
“Your Fault” (Into the Woods), 356
youth, 433
YouTube, 209
“You’ve Got to Be Taught” (Assassins), 203–204
Yvain, Maurice, 398
Z, 295n7
Zadan, Craig, 130n1, 447n3
Zaks, Jerry, 145, 207
Zeta-Jones, Catherine, 226n3, 313
Ziegfeld, Florenz, 390–391
Ziegfeld Follies, 390–392, 397
Ziegfeld Girl, 391–392
Zorba, 78n14, 115n26, 137