By Stacy Wolf
From Adelaide in "Guys and Dolls" to Nina in "In the Heights" and Elphaba in "Wicked," girl characters in Broadway musicals have belted and crooned their approach into the yankee psyche. during this vigorous booklet, Stacy Wolf illuminates the ladies of yank musical theatre - performers, creators, and characters -- from the beginning of the chilly conflict to the current day, making a new, feminist heritage of the style. relocating from decade to decade, Wolf first highlights the assumptions that circulated approximately gender and sexuality on the time. She then seems on the prime musicals to emphasize the main elements of the performs as they relate to girls, and sometimes unearths ignored moments of empowerment for lady viewers participants. The musicals mentioned listed here are one of the such a lot liked within the canon--"West facet Story," "Cabaret," "A refrain Line," "Phantom of the Opera," and lots of others--with specific emphasis at the blockbuster "Wicked." alongside the best way, Wolf demonstrates how the musical because the mid-1940s has truly been ruled via women--women onstage, ladies within the wings, and ladies offstage as spectators and fans.
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Additional resources for Changed for Good: A Feminist History of the Broadway Musical
Television became ubiquitous and its influence expanded through symbiotic advertising and network shows. 9 Messages about gender were both direct and indirect in their persuasiveness. Advertisements for the newly invented and aggressively promoted Bett y Crocker cake mixes interrupted programs like The Goldbergs, where Mama Berg controlled the Bronx neighborhood as well as the family with Jewish wit and determination. If not a wife or mother, then a woman might be a pinup girl, exemplified by Marilyn Monroe, or a young, lively teenager, like Gidget or Patt y Duke.
How could the Broadway musical be so much the same and yet so different fi ft y-three years later? Th is book attempts to answer these questions. CHAPTER 1 The 1950s: “Marry the Man Today” By the time My Fair Lady opened at the Mark Hellinger Theatre on March 15, 1956, audiences knew what to expect from a Broadway musical destined to become among the most famous and beloved musicals of all time. They knew that an overture would play snippets of all of the songs, beautifully flowing from one to the next.
The listener hears how 34 Changed for Good they are the same and different simultaneously, their voices marking a refusal to be only one or only two. The erotic charge of such intertwined voices is unmistakable, palpable; they give voice to what Suzanne G. ”21 In arguing for casting women in formerly castrati roles in opera, Dame notes how, when two women sing together, “melodies [are] twirling around each other,” and the “dissonances are very close and cause frictional moments of [an] almost physical nature.