William A. Everett - The Cambridge Companion to the Musical

www.cambridge.org

Information on this title: www.cambridge.org/9781107114746

DOI: 10.1017/9781316335468

Library of Congress Cataloging-in-Publication Data

Names: Everett, William A., 1962 | Laird, Paul R.

Title: The Cambridge companion to the musical / edited by William A. Everett,

Paul R. Laird.

Description: Third edition. | Cambridge ; New York, NY : Cambridge University Press,

2017. | Includes bibliographical references and index.

Identifiers: LCCN 2017018419 | ISBN 9781107114746 (alk. paper)

Subjects: LCSH: Musicals History and criticism. | Musical theater History.

Classification: LCC ML2054 .C35 2017 | DDC 782.1/4dc23

LC record available at https://lccn.loc.gov/2017018419

ISBN 978-1-107-11474-6 Hardback

ISBN 978-1-107-53529-9 Paperback

Katherine K. Preston

John Koegel

Orly Leah Krasner

William A. Everett

John Graziano

Geoffrey Block

John Snelson

Ann Sears

Thomas L. Riis and Ann Sears

bruce d. mcclung and Paul R. Laird

Jim Lovensheimer

Paul R. Laird

Scott Warfield

Paul Prece and William A. Everett

Miranda Lundskaer-Nielsen

Judith Sebesta and Laura MacDonald

Bud Coleman

Graham Wood

Jessica Sternfeld

Mary Jo Lodge

Geoffrey Block , Distinguished Professor of Music History at the University of Puget Sound, is the author of Charles Ives: A Bio-Bibliography (1988), Ives: Concord Sonata (1996), Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim and Lloyd Webber (1997, 2nd edn, 2009), Richard Rodgers (2003), Experiencing Beethoven: A Listeners Companion (2017) and Schuberts Reputation from His Time to Ours (2017); the editor of The Richard Rodgers Reader (2002); and coeditor of Charles Ives and the Classical Tradition (1996). He is also General Editor of Yale Broadway Masters and Series Editor of Oxfords Broadway Legacies.

Bud Coleman, Roe Green Professor of Theatre at the University of Colorado at Boulder, is Chair of the Department of Theatre and Dance. A former dancer with Les Ballets Trockadero de Monte Carlo, Fort Worth Ballet, Kinesis and Ballet Austin, he has directed/choreographed Rent, The Producers, Little Shop of Horrors, Seussical, A Grand Night for Singing, Pippin, Wonderful Town, Songs in the Key of Caffeine (also librettist) , A Funny Thing Happened on the Way to the Forum, The Mikado, Into the Woods, Merrily We Roll Along, Lysistrata, Dames at Sea, Hair, Six Degrees of Separation , the opera Being of Sound Mind and numerous other productions. Coleman has a PhD in Theatre History and Criticism from the University of Texas at Austin, and his publications have appeared in the St. James Press Gay & Lesbian Almanac , qlbtq.com, New York Native, Theatre History Studies, The Austin American-Statesman, Theatre InSight and Choreography and Dance . With coeditor Judith Sebesta, he published Women in American Musical Theatre: Essays on Lyricists, Writers, Arrangers, Choreographers, Designers, Producers and Performance Artists (2007) and coauthored with Pamyla Stiehl, Back Stage Pass, A Survey of American Musical Theatre (2013).

William A. Everett is Curators Professor of Musicology at the University of MissouriKansas City Conservatory of Music and Dance. His research interests include the American musical theatre, particularly operetta, and the relationship between music and national identity. He is the author of The Musical: A Research and Information Guide (2004, 2011), Sigmund Romberg (2007), Rudolf Friml (2008) and Music for the People: A History of the Kansas City Philharmonic Orchestra, 193382 (2015). He coauthored, with Paul R. Laird, The Historical Dictionary of the Broadway Musical (2007, 2016).