- The Oxford Handbook of Faust in Music
- Musical Examples
- Selected Settings from “Auerbachs Keller”
- Musical Remembering in Schubert’s Faust Settings
- Berlioz, Faust, and the Gothic
- Schumann’s Struggle with Goethe’s Faust
- Ideas of Redemption and the Total Artwork in Wagner’s Encounters with Faust
- Liszt’s Faust Complexes
- Gounodian Fausts by Pablo de Sarasate, Joan Baptista Pujol, and Felip Pedrell i Sabaté
- Mahler’s Eighth and the Faust Symphonic Tradition
- Hanns Eisler and Faust in the German Democratic Republic
- The Paradoxical Faust Cantatas of Adrian Leverkühn and Alfred Schnittke
- Louis Spohr’s Tragic Faust
- The Genesis, Transformations, Sources, and Style of Gounod’s Faust
- Mefistofele Triumphant—From the Ideal to the Real
- Extending the Reach of Ferruccio Busoni’s Doktor Faust
- The Faustian and Mephistophelean Worlds in Stravinsky’s The Rake’s Progress
- Havergal Brian’s Gothic Opera Faust
- The Serial Concept in Pousseur’s Votre Faust
- Reflections of the Contemporary Schizophrenia in Josef Berg’s Two Versions of Johanes doktor Faust
- History and Faust in Doctor Atomic
- Pascal Dusapin’s New Lyrical Style in Faustus, the Last Night
- Faust Goes Dancing
- Heinrich Heine’s Faust Ballet Scenario, 1846–1948
- The American Musical and the Faustian Bargain
- Faust Rocks the Stage (Not)
- Helen Gifford’s Marlovian Regarding Faustus
Abstract and Keywords
This chapter considers commercial rock musicals with Faustian themes that have been staged or workshopped in New York City between the mid-1960s and mid-1990s. Emphasis is placed on the ways in which rock music’s evolving relationship with philosophical notions of authenticity—often involving Faustian theme—stends to complicate such projects. Variations on the authenticity myth in rock music are examined and applied to several musicals: Tom Sankey’s The Golden Screw, which ran Off-Off-Broadway at Theatre Genesis in 1966; Joseph M. Kookoolis and Scott Fagan’s Soon, which premiered on Broadway at the Ritz (now Kerr) in 1971; and Randy Newman’s Faust, which was workshopped in New York and produced at the La Jolla in California and the Goodman in Chicago with the aim of a Broadway run that was ultimately deemed unwise.
Elizabeth L. Wollman is Associate Professor of Music at Baruch College, City University of New York. She specializes in the contemporary American stage musical. She is the author of The Theater Will Rock: A History of the Rock Musical from Hair to Hedwig (Michigan, 2006) and Hard Times: The Adult Musical in 1970s New York City (Oxford, 2012), and editor of A Critical Companion to the American Stage Musical (Methuen, 2016).
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