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British and American Musical Theatre Exchangesin the West End (1924-1970)978-3-031-14663-3Series ISSN 2946-4137 Series E-ISSN 2946-4145
矛盾心理
发表于 2025-3-23 20:58:11
Arianne Johnson QuinnProvides an in-depth history of American and British musical theatre at one of the UK‘s most significant theatres.Allows the reader to gain a more complete portrait of the musical’s cultural significa
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BLANK
发表于 2025-3-24 04:43:11
Introduction,ents on Drury Lane’s place as a national theatre, and his desire to see it officially established as such, speak to the significant role that the Lane played in the eye of the British public. With a rich history dating from 1663, Drury Lane has long been revered as one of the most significant nation
NUL
发表于 2025-3-24 07:40:15
,The Arrival of Musical Theatre at the Lane (1924–1934),he United States and Britain dramatically reshaped the identity of British musical theatre in post-World War I London. The works explored in this chapter, created by American librettist Oscar Hammerstein II and his collaborators, each highlight a different aspect of musical theatre at the Lane. The
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ironic
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The Lane and ENSA Headquarters (1939),reputation as a production house. It considers Drury Lane theatre during wartime through an exploration of reception history and critical response to the ENSA, speculating as to the importance of theatre as a symbol of nation during wartime. Charged by the British government with the task of providi
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Sleep-Paralysis
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,Rodger’s and Hammerstein’s , and ,: Imported Americana,included their first three London productions: . (1947), . (1949), and . (1951). The critical reception of these productions illustrates the ways in which their work shaped the tastes of postwar theatregoers in significant ways. The high profile of Rodgers and Hammerstein in the press was a direct r