THEATRE 350: AMERICAN MUSICAL THEATRE HISTORY

Class Time: MWF 2:00 – 2:50

Class Room: PLS 1140

Co-Instructor: Chrystyna Dail

Co-Instructor: Dr. Korey Rothman

Office: 2825 C-SPAC Office: 1733 C-SPAC

Phone: Phone:

Office Hours: M/11:00-1:00 Office Hours: M/12:30-1:30, W/11:30-12:30

Email: Email:

Class Objective:

Welcome! This class is an introduction to American musical theatre focusing on the shifts in style and content over the past two hundred years. Our discussion includes European and American theatrical influences, methods of analysis, influential artists throughout history, and the current state of the American musical. Additionally, this course examines the ways in which musical theatre deals with issues such as racism, sexuality, gender, economics and politics and how those issues, woven together through song, dialogue and dance, create a uniquely American theatrical art form.

Textbooks, Readings, and Productions Required:

►The Musical, by Richard Kislan (ISBN 1-55783-217-X) and readings on reserve at CPSAC and on E-reserve.

►Attend a performance of Anything Goes at Olney Theatre Center for the Arts between March 29 and April 16, 2005. Buy your ticket as soon as possible, in case they sell out. Students (with valid student ID) receive $5 off (excludes Saturdays; subject to availability). A limited number of $10 Student Rush Tickets are available the day of

the performance. Reservations are recommended. Olney Box Office: 301-924-3400. Website: http://www.olneytheatre.org/

►Listening to musical recordings placed on reserve in the CSPAC library and watching films at Hornbake library.

►Reading articles assigned from various journals available through online databases.

REQUIRED FILM VIEWINGS

All Films are on reserve for viewing in the Nonprint Media Services Room located on the Ground floor of Hornbake Library.

Gypsy – with Bette Midler

Showboat [Call # PN1997.S479 1989] -- with Irene Dunne and Paul Robeson

Oklahoma! -- with Hugh Jackman

West Side Story [Call # PN1997 .W445 1990]

My Fair Lady [Call # PN1997 .M895 1990]

Sweeney Todd [Call # PN6120.T4S94 2004]

Chicago [Call # PN1997.2 .C54 2003]

REQUIRED AUDIO RECORDINGS

All Audio Recordings are on reserve for listening in the Michelle Smith Performing Arts Library located on the main floor in the Clarice Smith Performing Arts Center.

Porgy and Bess [Call # MD2528]

Shuffle Along [Call # M1505.S54S42]

A Chorus Line (cast recording) [Call # M1505.H248C46]

Hair (cast recording) [Call # MCD 7105]

Rent (cast recording) [Call # MCD 4688]

Class Rules:

►We do not accept late papers. Papers handed in late are deducted 10% for each hour they are late.

►Show respect for the opinions and backgrounds of your fellow classmates.

►Arrive to class on time.

►You are allowed two unexcused absences during the semester; any absence past the second results in the loss of five participation points per absence.

►Bring your adventurous spirit, sense of humor, and open mind to every class.

You will be graded on the following:

► One critical review (three pages in length) on Anything Goes. (50 points)

► One short research paper (three pages in length) on either a pre-Show Boat musical or a musical “flop” or “turkey” from 1960 to 1990. (50 points)

►Research Paper, Creative Prototype and Oral Presentation for the Final Project. (150 points)

►Two exams (midterm and final) on homework assignments and lecture. (75 points each)

The midterm and final exams consist of a combination of objective and essay questions. It should be noted that exams cannot be made up, except in emergency situations which involve a Dean’s excuse or a letter from a physician.

►Ten weekly quizzes on homework assignments and class lecture (10 points each)

Quiz dates are assigned, and it should be noted that quizzes cannot be made up, except in emergency situations which involve a Dean’s excuse or a letter from a physician. We will drop your lowest quiz grade, but please note that you must take the quiz in order for the grade to be dropped. Quizzes missed due to unexcused absences will receive a grade of zero, which will be factored into your final grade.

►Participation (100 points)

A regular and respectful contribution to our ongoing exploration of the theatrical experience is a crucial part of this class. Participation encompasses both asking questions and participating in discussions and will contribute to your final grade. Attendance is a part of participation. Failure to attend class will lower your final grade. Please note that attendance will be taken at every class meeting. Please note that consistent tardiness will also affect your participation grade.

Grading System:

There is a possibility of 600 points

600 – 540 = A

539 – 480 = B

479 – 420 = C

419 – 360 = D

359 – 0 = F

Assignments:

All assignments must by typed using twelve point Times New Roman font and double-spaced. As with any written assignment in any class, how you express your thoughts is as important as the thoughts themselves. You will be graded for both style and substance. If you have questions concerning a writing assignment, you are welcome to bring a draft of the material to office hours. You will not have the opportunity to rewrite after the grade is given, therefore, if you have concerns related to the material or your writing style, we urge you to contact us before handing in the assignment.

►Critical Review: You are required to write a three-page critique/review of Anything Goes at the Olney Theatre Center for the Arts (Possible Dates: March 29 – April 23). In the review we will look for consideration of the following questions:

1. Did the composition succeed? Or in other words, did each component (libretto, composer, lyricist, director, choreographer, designers and performers) contribute to the whole production? Why or why not?

2. Did you enjoy the musical? Why or why not? Was it the written text (meaning the libretto/score) or the production values, or both? Or was it your personal taste?

3. Did the musical succeed in accomplishing Richard Kislan’s definition of “total theatre”? (Page 4 of The Musical)

4. Lastly, illustrate that you have researched the background of the production itself or the creators of this specific production.

You must attach the ticket stub from the performance to your review. Feel free to look at other examples of theatre reviews from either The Washington Post or The New York Times; however do not consult another review of Anything Goes.

►Short Research Paper: Pre-Show Boat Musical: Choose an American musical or revue from the list at the end of the syllabus and prepare a three-page paper on its composer and lyricist, star performer(s), length of run and major musical numbers. Was this particular musical a reaction to its historical moment? Did it influence a major dance craze? What do you believe is the significance of this musical or revue? Your choice must be cleared with Chrystyna via email prior to February 3rd and the paper is due on February 15th.

1960 to 1990 “Flop”: Choose a “flop” from the list at the end of the syllabus and prepare a three-page paper on it, analyzing why the piece did not succeed. Be sure to read critical reviews of the piece and include the opinion of a professional critic. Consider whether it was the performances of the actors, the direction, the libretto/score, the design, the historical moment or a combination of some or all of these elements that led to the production’s failure. Also be sure to inform the reader if the musical has since been revived. Your choice must be cleared with Chrystyna via email prior to March 3rd and the paper is due on March 13th.

*** You must hand in a properly formatted (MLA or Turabian style) bibliography of at least three sources for each of the papers. You may not use general encyclopedias or webpages for your research. Failure to turn in a bibliography results in an automatic zero.

►Final Project: Your final project is a combined group and solo project that is a culmination of the knowledge you gain throughout the semester in THET 350. The paper must include proper MLA or Turabian style citations, a properly formatted bibliography, and must utilize at least five sources, none of which may be a general encyclopedia or webpage.

Description of the Final Project: The final project for THET 350 offers each student an opportunity to research one aspect of musical theatre production as well as create or design a portion of a production. The class will be broken up into groups of four people who will act as the Book Writer (Librettist), Composer/Lyricist, Director/Choreographer, and Set or Costume Designer for a new musical production. Together the group must develop a new musical from a non-musical movie produced in the past five years (Examples: Brokeback Mountain, The Hours, Hustle and Flow, A Series of Unfortunate Events, The Pianist, etc.) and “pitch” this new musical idea to the class in a 15-minute oral presentation at the end of the semester. Separately, each group member must research an artist/creator/designer they feel would suit their musical idea best and produce both a 5 to 7 page research paper on their artist/creator/designer as well as create a prototype for the new musical.

*** TIPS FOR ORAL PRESENTATIONS: Remember your audience! Try to present the material in as engaging a manner as possible. You may use note cards, but you may not read directly from them. In order to make your presentation go as smoothly as possible, practice, practice, practice and practice as a group. Stay within time limits! Everyone in your group must speak. Your group should speak for no more than 15 minutes. We will stop groups that go over the allotted time. Part of your grade will be based on the consideration and respect that you show for your listeners in making your talk as concise and focused as possible. Offer your audience a blend of information and analysis--don’t tell everything you know. Pick and choose your arguments and points carefully. Lastly, everyone loves “show and tell,” so bring visual aids.

BOOK WRITER: Your responsibilities include a 5 to 7 page research paper on a well-known American musical theatre librettist, including a justification for why this librettist is an appropriate choice for this project. Your creative aspect of the final project includes writing a broad sketch of the act/scene breakdown in paragraph form for the musical production, including stage directions, places for songs, and complete dialogue for two scenes.

LYRICIST: Your responsibilities include a 5 to 7 page research paper on a well-known American musical theatre lyricist, including a justification for why this lyricist is an appropriate choice for this project. Your creative aspect of the final project includes utilizing existing songs/melodies and writing new lyrics for these two songs. Keep in mind you should work closely with the Book Writer in creating the songs, which are appropriate for the story and style of your production.

DIRECTOR AND/OR CHOREOGRAPHER: Your responsibilities include a 5 to 7 page research paper on a well-known American musical theatre director and/or choreographer, including a justification for why this director/choreographer is an appropriate choice for this project. Your creative aspect of the final project includes working with the Book Writer and Lyricist in staging a short scene or musical number for the production. This scene must be performed live or filmed and turned in during your oral presentation.

SET or COSTUME DESIGNER: Your responsibilities include a 5 to 7 page research paper on a well-known American musical theatre set or costume designer, including a justification for why this set or costume designer is an appropriate choice for this project. Your creative aspect of the final project includes working with the Book Writer to create fully developed storyboards/models or costume designs (including fabric swatches) for two scenes. If you choose to design costumes for the project, you must create costumes for two characters in each scene.

Grading Breakdown for the Final Project: The Oral Presentation portion of the project is worth 50 points, 20 of which will be determined by your fellow group members based on your overall contribution to the group. The remaining 100 points are based on your research paper and creative portion of the project.

Due Dates for Final Project: Your 5 to 7 page research paper is due on Friday, April 28th. Your Oral Presentation dates will be assigned and your “pitch” as well as your creative prototypes are due on that day.

EXTRA CREDIT POSSIBILITIES:

1) PROFESSIONAL PRODUCTION: You may earn fifteen (15) points of extra credit for attending a professional musical theatre production and writing a two-page review of the production. You must attend the musical between January 25 and April 23, 2006 and the ticket stub must be attached to the review. No ticket stub, no extra credit.

The following are acceptable productions in the area:

Nevermore at Signature Theatre (www.sig-online.org) Runs Jan. 10 – Feb. 26

Shenandoah at Ford’s Theatre (202-347-4833) Runs Mar. 17 – Apr. 30

Thoroughly Modern Millie at Toby’s Dinner Theatre (http://www.tobysdinnertheatre.com/) Runs Feb.24 – June 18.

Walking the Winds: Arabian Tales at the Kennedy Center (www.kennedy-center.org) Runs Apr. 7 –Apr. 16. This is a Family Theatre performance.

Hot Feet at the National Theatre (www.nationaltheatre.org) Runs Mar. 21 – Apr. 8

Planning a trip to NYC? Any American composed Broadway musical is acceptable for Extra Credit.

2) RE-CREATION OF A PRODUCTION NUMBER: You may earn up to twenty-five (25) extra credit points for the performance of a production number from an American Musical. The performance should be approximately eight to ten minutes in length and must include singing (you may sing over the original voices but you may not lip synch), dialogue (or monologue) and some dance. If you do not have a choreographer in your group, you should attempt to utilize the staging from an available film version of your musical. This should be a serious undertaking. The performance may be a solo or group extra credit project and all production numbers must be performed live in class on Wednesday, April 26th. Please let Chrystyna know by Monday, April 17th if you are participating in this extra credit opportunity.

3) WAPAVA VIEWING: You may earn five (5) extra credit points for watching one of the following WAPAVA (Washington Area Performing Arts Video Archive) recordings in the C-SPAC Library and writing a two page review of the production:

110 in the Shade [Call #: WAP 0146]

Guys and Dolls [Call # WAP 0209]

Merrily We Roll Along [Call #: WAP 0044]

Allegro [Call # WAP 0109]

A Little Night Music [Call # WAP 0043]

Please contact Vincent Novara, the Curator for C-SPAC Media Collections, at 301.405.9220 for questions about viewing one of these productions.

A NOTE ABOUT ACADEMIC INTEGRITY : "The University of Maryland, College Park has a nationally recognized Code of Academic Integrity, administered by the Student Honor Council. This Code sets standards for academic integrity at Maryland for all undergraduate and graduate students. As a student you are responsible for upholding these standards for this course. It is very important for you to be aware of the consequences of cheating, fabrication, facilitation, and plagiarism. For more information on the Code of Academic Integrity or the Student Honor Council, please visit http://www.studenthonorcouncil.umd.edu/whatis.html."

You must fully and accurately cite all sources that you use in assignments. You should refer to one of the following sources for citation guidelines: A Writer’s Reference by Diana Hacker (used in English 101–MLA style), A Manual for Writers by Kate Turabian, or The Chicago Manual of Style. Remember that failure to correctly cite your sources may result in disciplinary action by the university. If you have concerns about your understanding of the proper form for citations, please see me during office hours or the Learning Assistance Center (4-7693) or the Writing Center (5-3785). Please remember, that as far as the university is concerned, “ignorance of the law is no excuse.” Your failure to consult the above sources or

your failure to “understand” them will not excuse you from charges of academic dishonesty.

RELIGIOUS OBSERVANCE POLICY:

The University's policy "Assignments and Attendance on Dates of Religious Observance" provides that students should not be penalized because of observances of their religious beliefs; students shall be given an opportunity, whenever feasible, to make up within a reasonable time any academic assignment that is missed because of individual participation in religious observances. Students have the responsibility to inform the instructor of any intended absences for religious observances in advance. Notice should be provided as soon as possible, but no later than the end of the schedule adjustment period.

For more information: www.inform.umd.edu/EdRes/FacRes/teach/religious.html

ACCOMMODATING INDIVIDUALS WHO HAVE DISABILITIES:

The University is committed to making reasonable accommodations for individuals with disabilities that have been documented by the Disability Support Service (0126 Shoemaker Hall). A disability should be verified and discussed with the Disability Support Service before the student contacts the professors. If you wish to discuss academic accommodations for this class, please contact the professors no later than the end of the schedule adjustment period.

For more information: http://www.counseling.umd.edu/DSS/

SESSION BREAKDOWN*:

* Please note this is subject to change based on the needs of the class, however all quizzes, exams, and due dates will remain as scheduled below.

WEEK ONE

Wednesday, January 25th

In Class: Introduction to class. What is Musical Theatre? Why is it so popular? What are the major components of American Musical Theatre?

Friday, January 27th

In Class: European Influences on American Musical Theatre.

Homework: Read the Preface, Introduction, and Chapter 1 (European Forms in Early America) in your text (Kislan).

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WEEK TWO

Monday, January 30th

In Class: Gilbert and Sullivan.

Homework: Read Chapter 6 (Comic Opera and Operetta) in your text.

Wednesday, February 1st

In Class: Introduction to American Influences: Minstrelsy

Homework: Read Chapter 2 (Minstrelsy) in your text.

Friday, February 3rd

In Class: Vaudeville.

Homework: Read Chapter 3 (Vaudeville) in your text. Watch the film version of Gypsy [Call # PN1997 .G96 1992] in Hornbake Library.

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WEEK THREE

Monday, February 6th

In Class: QUIZ #1. Continuation of American Influences: Burlesque and the Musical Revue.

Homework: Read Chapter 4 (Burlesque) and Chapter 5 (Revue) in your text.

Wednesday, February 8th

In Class: De-Constructing the Musical: Book and Lyrics.

Homework: Read Chapter 10 (The Book) and Chapter 11 (Lyrics) in your text.

Friday, February 10th

In Class: De-Constructing the Musical Continued: The Score

Homework: Read Chapter 12 (The Score) in your text. Read excerpts from Horrible Prettiness on E-Reserve.

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WEEK FOUR

Monday, February 13th

In Class: QUIZ # 2. De-Constructing the Musical Continued: Dance and Design

Homework: Read Chapter 13 (Dance) and Chapter 14 (Design) in your text.

Wednesday, February 15th

Assignment: Research Papers on Pre-Show Boat musical or revue due.

In Class: The beginnings of the book musical: Jerome Kern.

Homework: Watch the film version of Showboat in Hornbake [Call # PN1997.S479 1989] and read Chapter 7 (Jerome Kern) in your text. Read

the article “Show Boat: The Revival, the Racism” in The Drama Review 39.2 (86 – 105) by Robin Breon found online through Academic Search Premiere.

Friday, February 17th

In Class: The Gershwins.

Homework: Listen to Porgy and Bess [Call # MD2528] in the C-SPAC library.

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WEEK FIVE

Monday, February 20 th

In Class: QUIZ # 3. Cole Porter

Homework: Read “Do Do That Voodoo That You Do So Well” from Gerald Mast’s Can’t Help Singin’ on E-Reserve.

Wednesday, February 22nd

In Class: Rodgers and Hart.

Homework: Read “It Feels Like Neuritis, but Nevertheless It’s Love” from Gerald Mast’s Can’t Help Singin’ on E-Reserve.

Friday, February 24th

In Class: Assign Groups for Final Project. Depression Era Musicals

Homework: Read “Coping with Depression” from Our Musicals, Ourselves by John Bush Jones on E-Reserve.

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WEEK SIX

Monday, February 27th

In Class: QUIZ # 4. The Golden Age of American Musical Theatre: Rodgers and Hammerstein

Homework: Read Chapter Eight (Rodgers and Hammerstein) in your text. Read “As Corny as Kansas in August, As Restless as a Willow in a Windstorm” in Gerald Mast’s Can’t Help Singin’ on E-Reserve. Watch Oklahoma! [Call # PN1997 .O34 1989] in Hornbake Library

Wednesday, March 1st

In Class: Rodgers and Hammerstein Continued.

Homework: Read Andrea Most’s article, “You’ve Got to Be Carefully Taught’: The Politics of Race in Rodgers and Hammerstein’s South Pacific,” Theatre Journal 52 (2000): 307-337, found online through Project Muse.

Friday, March 3 rd

In Class: Review for Mid-term Exam

Homework: Prepare questions you have for Midterm

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WEEK SEVEN

Monday, March 6th

In Class: Mid-term Exam

Wednesday, March 8 th

In Class: The Latino and Hispanic Experience in American Musical Theatre.

Homework: Read Frances Négron-Muntaner, “Feeling Pretty: West Side Story and Puerto Rican Identity Discourses,” Social Text 18.2 (2000): 83-106, available online through Academic Search Premier.

Watch West Side Story [Call # PN1997 .W445 1990] in Hornbake Library

Friday, March 10th

In Class: Asian American Musical Theatre

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WEEK EIGHT

Monday, March 13th

Assignment: Research Reports on “Flops” from 1960 to 1990 due.

In Class: QUIZ # 5. Black American Musical Theatre

Homework: Listen to Shuffle Along [Call # M1505.S54S42] in the C-SPAC Library.

Wednesday, March 15th

In Class: The Golden Age beyond Rodgers and Hammerstein II

Homework: Watch My Fair Lady [Call # PN1997 .M895 1990] in Hornbake Library.

Friday, March 17th

In Class: Concept Musicals.

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WEEK NINE

(March 20th – 24th) HAVE A SAFE AND RELAXING SPRING BREAK!

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WEEK TEN

Monday, March 27th

In Class: QUIZ # 6. Introduction to Stephen Sondheim

Homework: Watch Sweeney Todd [Call # PN6120.T4S94 2004] in Hornbake Library. Read “The State of the Art, My Friend” from Gerald Mast’s Can’t Help Singin’ on E-Reserve and Chapter 9 (Stephen Sondheim) in your text.

Wednesday, March 29th

In Class: Sondheim continued.

Friday, March 31 st

In Class: The Blockbuster Musical.

Homework: Listen to A Chorus Line [Call # M1505.H248C46] in C-SPAC Library.

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WEEK ELEVEN

Monday, April 3rd

In Class: QUIZ # 7. Blockbuster Musicals and Composers Continued.

Homework: Read the chapter “Trouble” in Cecil Smith and Glen Litton’s Musical Comedy In America on E-Reserve.

Wednesday, April 5th

In Class: The Rise of the Director-Choreographer.

Homework: If you haven’t seen it, watch the film version of Chicago [Call # PN1997.2 .C54 2003] and read “Chicago” from Scott Miller’s Deconstructing Harold Hill on E-Reserve.

Friday, April 7th

In Class: The Rock Musical

Homework: Read the chapters on “Hair” and “Rent” in Scott Miller’s Rebels Without Applause on E-Reserve. Listen to either Hair [Call # MCD 7105] or Rent [Call # MCD 4688] in CSPAC.

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WEEK TWELVE

Monday, April 10th

In Class: QUIZ # 8. Who’s Creating Now?

Homework: Read Chapter 15 (Problems and Issues and Epilogue) in your text. Read “The Smart Set” by David Patrick Stearns in American Theatre Feb 2000, 17.2. Available online through Academic Search Premiere.

Wednesday, April 12 th

In Class: Who’s Creating Now Continued.

Homework: Read Reviews of Spamalot, The 25th Annual Putnam County Spelling Bee, and Caroline, or Change on E-Reserve.

Friday, April 14th

In Class: Video Review Day

Homework: Your group should be meeting to discuss the final project.

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WEEK THIRTEEN

Monday, April 17 th

Assignment: Your Critical Review of Olney Theatre Center for the Arts production of Anything Goes is due.

In Class: QUIZ # 9. Discuss Anything Goes

Homework: Prepare your Review of Anything Goes

Wednesday, April 19 th

In Class: Gender and Sexuality in the Musical.

Homework: Read “The Queer Pleasures of Mary Martin and Broadway: The Sound of Music as a Lesbian Musical.” by Stacy Wolf from Modern Drama, 39, no. 1 (Spring 1996): 51-63 on E-Reserve.

Friday, April 21 st

In Class: Invasion of the Brits and the Mouse

Homework: Read “Broadway and the Beast” by Steve Nelson in The Drama Review 39.2 (71 –85) available online through JSTOR.. Read “The Megamusical and Beyond: The creation, internationalism and impact of a genre” from The Cambridge Companion to the Musical on E-Reserve.

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WEEK FOURTEEN

Monday, April 24 th

In Class: QUIZ # 10. Parody and Pastiche

Wednesday, April 26 th

In Class: Last Day to Hand In Extra Credit. Presentation of Extra Credit Performances.

Homework: Finish your Final Project papers.

Friday, April 28 th

Assignment: Turn in your Final Project Paper to Chrystyna in her office (C-SPAC 2825) between 2:00 and 2:50 pm. If you do not hand in your Final Project during this time, you will receive a ZERO for this portion of the Final Project.

In Class: No Official Class Meeting. You should instead meet with your groups to organize your Oral Presentations.

Homework: Work on your Oral Presentations and Creative Prototypes.

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WEEK FIFTEEN:

Monday, May 1 st

In Class: Three Final Projects Presented

Wednesday, May 3 rd

In Class: Three Final Projects Presented

Friday, May 5 th

In Class: Three Final Projects Presented

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WEEK SIXTEEN:

Monday, May 8 th :

In Class: Three Final Projects Presented

Wednesday, May 10 th :

In Class: Final Exam Review

Homework: Prepare questions for the Final Exam Review

YOUR FINAL EXAM WILL TAKE PLACE ON WEDNESDAY, MAY 17 th

FROM 1:30 to 3:30 PM IN PLS 1140

TOPICS FOR RESEARCH REPORT 1: PRE – SHOW BOAT MUSICALS and REVUES *:

Chin-Chin (1914) Watch Your Step (1914)

The Passing Show of 1915 (1915) Very Good Eddie (1915)

Oh, Boy! (1917) The Ziegfeld Follies of 1919 (1919)

Irene (1919) I’ll Say She Is (1924)

Lady, Be Good! (1924) The Garrick Gaieties (1925)

Sunny (1925) The Girl Friend (1926)

Oh, Kay! (1926) Rio Rita (1927)

Good News (1927) Funny Face (1927)

TOPICS FOR RESEARCH REPORT 2: “FLOPS” FROM 1960 to 1990*:

Kelly (1964) Breakfast at Tiffany’s (1966)

Chu Chem (1966) Come Summer (1969)

Dude (1972) Rachel Lily Rosenbloom (1973)

Rockabye Hamlet (1976) Home Sweet Homer (1976)

Musical Chairs (1980) It’s a Bird, It’s a Plane

Marlowe (1981) It’s Superman (1966)

Marilyn- An American Fable (1983) Into the Light (1986)

Carrie (1988) Prince of Central Park (1989)

* No more than two students may work on the same topic for their paper.

Suggested Texts and Sources to for Research:

Love and Theft: Blackface Minstrelsy and the American Working Class

Demons of Disorder: Early Blackface Minstrels and Their World

Rank Ladies: Gender and Cultural Hierarchy in American Vaudeville

Behind the Burnt Cork Mask

Not Since Carrie: 40 Years of Broadway Music Flops

Our Musicals, Ourselves: A Social History of the American Musical Theatre

Musical Comedy in America

Scandals and Follies

American Musical Theatre

New York Theatre Critics’ Reviews

Suggested Web Pages: (Please do not go outside this list. We have found many sites with inaccurate information. You cannot use these as sources on your papers but they will be a good starting place for your research.)

Musicals 101 http://www.musicals101.com/

Library of Congress http://memory.loc.gov/ammem/vshtml/vshome.html

The Stephen Sondheim Stage http://www.sondheim.com/

Internet Broadway Database http://www.ibdb.com/