National Identity and the British Musical
Methuen Drama (Verlag)
978-1-350-24353-8 (ISBN)
Through case studies and analysis of British musicals such as Blood Brothers, Six, Half a Sixpence and Billy Elliot, this book examines the place of the British musical within a text-based theatrical heritage and asks what, or whose, Britain is being represented by home grown musicals. The sheer number of people engaging with shows bestows enormous power upon the genre and yet critics display a reluctance to analyse the cultural meanings produced by new work, or to hold work to account for production teams and narratives which continue to shun diversity and inclusive practices.
The question this book poses is: what kind of industry do we want to see in Britain in the next ten years? And what kind of show do we want representing the nation in the future?
Grace Barnes is an independent scholar, director/playwright who has worked as an associate or resident director on productions of My Fair Lady, Fiddler on the Roof, The Threepenny Opera, Into the Woods, Sunset Boulevard, The Witches of Eastwick, Martin Guerre, West Side Story and Guys and Dolls in the UK, Germany and Australia. She is the author of Her Turn on Stage (2015).
Acknowledgements
Introduction
1. Say It's Just a Show: The Musical as a British Cultural Artefact
2. ‘Kyan Wait to get to Inglan’: National Identity and the British Musical
3. Solidarity Forever!: Depictions of the Class Divide
4. Too Many Years Lost in His Story: The Absent Female Voice
5. A Cat So Clever: Andrew Lloyd Webber and the Reinvention of the British Musical
6. I Can Smile at the Old Days: Nostalgia and the British Musical
7. We Can Turn Over and Start Again…: The Way Forward
Selected Bibliography
| Erscheinungsdatum | 30.07.2022 |
|---|---|
| Verlagsort | London |
| Sprache | englisch |
| Maße | 138 x 216 mm |
| Themenwelt | Kunst / Musik / Theater ► Theater / Ballett |
| ISBN-10 | 1-350-24353-1 / 1350243531 |
| ISBN-13 | 978-1-350-24353-8 / 9781350243538 |
| Zustand | Neuware |
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