Alston, Joshua. (2012). NBC’s Smash can be the next Glee – by not being the next Glee : Guardian TV and Radio Blog. guardian.co.uk.
Attenborough, Richard & Dante, Nicholas. (2008). A chorus line [Videorecording]. Optimum Home Entertainment.
Atypon Systems. (n.d.). Studies in Musical Theatre [Electronic resource]. Atypon Link.
Auslander, Philip. (2004). Performance Analysis and Popular Music: A Manifesto. Contemporary Theatre Review, 14(1), 1–13. https://doi.org/10.1080/1026716032000128674
Auslander, Philip. (2006). Performing glam rock: gender and theatricality in popular music. University of Michigan Press.
Banfield, S. (1996). Company. In Sondheim’s Broadway musicals: Vol. The Michigan American music series (pp. 147–176). University of Michigan Press.
Bannister, Matthew & ebrary, Inc. (2006). White boys, white noise: masculinities and 1980s indie guitar rock: Vol. Ashgate popular and folk music series [Electronic resource]. Ashgate.
Bennett, Andy. (2004). Remembering Woodstock. Ashgate.
Brecht, Bertolt & Willett, John. (1974). Brecht on theatre: the development of an aesthetic. Eyre Methuen.
Buffy the vampire slayer: Season 6. (2006). [Videorecording]. 20th Century Fox Home Entertainment.
Burger, A. (2010). Wicked and Wonderful Witches : Narrative and Gender Negotiations from The Wizard of Oz to Wicked [Electronic resource]. In Beyond adaptation: essays on radical transformations of original works (pp. 123–132). McFarland & Co.
Cohen, Sara. (2007). Decline, Renewal and the City in Popular Music Culture: Beyond the Beatles. Ashgate.
Collins, Karen. (2008). From Pac-Man to Pop Music: Interactive Audio in Games and New Media. Ashgate.
Del Deo, A., & Stern, J. D. (2008). Every little step: the journey of ‘A Chorus Line’ [Videorecording]. Sony Pictures.
Draper, Natalie. (2010). Concept meets narrative in Sondheim’s ‘Company’: Metadrama as a method of analysis. Studies in Musical Theatre, 4(2), 171–183. https://doi.org/10.1386/smt.4.2.171_1
Ellis, Sarah, T. (2011). ‘No day but today’: Queer temporality in Rent. Studies in Musical Theatre, 5(2), 195–207. https://doi.org/10.1386/smt.5.2.195_1
Everett, W. A., & Laird, P. R. (Eds.). (n.d.-a). From Hair to Rent: is ‘rockâ€TM a four-letter word on Broadway? In The Cambridge companion to the musical (Third edition, pp. 235–249). Cambridge University Press.
Everett, W. A., & Laird, P. R. (Eds.). (n.d.-b). The creation of a Broadway musical: Stephen Schwartz, Winnie Holzman, and Wicked. In The Cambridge companion to the musical (Third edition, pp. 340–352). Cambridge University Press.
Fetterman, William. (1997). John Cage’s theatre pieces. Harwood Academic Publishers.
Fouz-Hernandez, Santiago. (2004). Madonna’s Drowned Worlds. Ashgate Publishing.
Garland, Judy, Baum, L. Frank, & Fleming, Victor. (2001). The wizard of Oz [Videorecording]. Warner Home Video.
Gelles, Barrie. (2011). Glee and the ‘Ghosting’ of the Musical Theatre Canon. Popular Entertainment Studies, 2(2), 89–111.
Glee - Season 1 [DVD]. (n.d.). http://www.amazon.co.uk/Glee-Season-DVD-Lea-Michele/dp/B003O85FAU/ref=sr_1_4?s=dvd&ie=UTF8&qid=1358162938&sr=1-4
Glee - Season 2 [DVD]. (n.d.). http://www.amazon.co.uk/Glee-Season-DVD-Lea-Michele/dp/B00519H2S8/ref=sr_1_9?s=dvd&ie=UTF8&qid=1358162970&sr=1-9
Glee - Season 4 [DVD]. (n.d.). http://www.amazon.co.uk/Glee-Season-DVD-Lea-Michele/dp/B0083UEVNQ/ref=sr_1_1?ie=UTF8&qid=1380794937&sr=8-1&keywords=glee+season+4
Glee: Season 3. (2012). [Videorecording]. 20th Century Fox Home Ent.
Greif, Michael & Warren, Michael John. (2009). Rent [Videorecording]. Sony Pictures Home Ent.
Hawkins, Stan. (2002). Settling the pop score: pop texts and identity politics: Vol. Ashgate popular and folk music series. Ashgate.
Inglis, Ian & ebrary, Inc. (2006). Performance and popular music: history, place and time: Vol. Ashgate popular and folk music series [Electronic resource]. Ashgate.
Isherwood, Charles. (2007). On This Rock, Build a Future for Musicals (p. Sec. AR-5).
Jones, Carys Wyn. (2008). The rock canon: canonical values in the reception of rock albums: Vol. Ashgate popular and folk music series. Ashgate.
Laird, Paul, R. (2011). ‘It Couldn’t Happen Here in Oz’: Wicked and the creation of a ‘critic-proof’ musical. Studies in Musical Theatre, 5(1), 35–47. https://doi.org/10.1386/smt.5.1.35_1
Lamb, Andrew. (2000). 150 years of popular musical theatre. Yale University Press.
Lehman, Engel & Kissel, Howard. (2004). Romance. In Words with music (New ed, pp. 106–119). Roundhouse [distributor]. https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=1753156
Leonard, Marion. (2007). Gender in the Music Industry: Rock, Discourse and Girl Power. Ashgate.
Lodge, Mary Jo. (2007). Beyond ‘Jumping the Shark’: the new television musical. Studies in Musical Theatre, 1(3), 293–305. https://doi.org/10.1386/smt.1.3.293_1
Lundskaer-Nielsen, Miranda. (2008). Directors and the New Musical Drama. Palgrave Macmillan. https://roe.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Roehampton&isbn=9780230611245&uid=^u
McMillin, Scott. (2006). The musical as drama: a study of the principles and conventions behind musical shows from Kern to Sondheim. Princeton University Press. http://site.ebrary.com/lib/roehampton/Doc?id=10961871
McNulty, C. (2008). ‘Spring Awakening’ is all about the strife. latimes.
Meizel, Katherine. (2009). Making the Dream a Reality (Show): The Celebration of Failure in American Idol. Popular Music and Society, 32(4), 475–488.
Mendes, Sam. (1997). Company: Vol. Performance [Videorecording]. BBC.
Miller, Scott. (2007). Strike up the band: a new history of musical theatre. Heinemann.
Moore, Allan F. (2001). Rock, the primary text: developing a musicology of rock: Vol. Ashgate popular and folk music series (2nd ed). Ashgate.
Moore, Tracey. (2006). Teaching the Broadway singing style in the era of American Idol. Studies in Musical Theatre, 1(1), 85–95. https://doi.org/10.1386/smt.1.1.85_1
Peddie, Ian. (2006). The Resisting Muse. Ashgate.
Phantom of the opera: behind the mask. (2006). [Videorecording]. BBC 2.
Prece, Paul, & William A., E. (2008). The megamusical: the creation, internationalisation and impact of a genre [Electronic resource]. In The Cambridge Companion to the Musical: Vol. Cambridge Companions to Music (pp. 250–269). Cambridge University Press. https://doi.org/10.1017/CCOL9780521862387.015
Price, Lonny. (2011). Sondheim: The birthday concert: the birthday concert [Videorecording]. Decca.
Rapaport, Pola & Held, Wolfgang. (2007). Hair: Let the sun shine in : the musical that transformed a generation [Videorecording]. Alive Mind.
Rebellato, Dan. (2011). Does the mega-musical boom mean theatre’s bust?: Guardian Theatre Blog. guardian.co.uk.
Reising, Russell. (2006). Speak To Me. Ashgate.
Siropoulos, Vagelis. (2010a). Cats, Postdramatic Blockbuster Aesthetics and the Triumph of the Megamusical. Image & Narrative, 11(3), 128–145.
Siropoulos, Vagelis. (2010b). The Bohemian Iconoclast and the Corporate Giant: Julie Taymor’s Staging of Disney’s The Lion King, or The Portrait of the Avant-Garde Artist as a Corporate Employee. Gramma: Journal of Theory and Criticism, 10, 137–150.
Siropoulos, Vagelis. (2011). Megamusicals, spectacle and the postdramatic aesthetics of late capitalism. Studies in Musical Theatre, 5(1), 13–34. https://doi.org/10.1386/smt.5.1.13_1
Smash - Season 1 [DVD]. (n.d.). http://www.amazon.co.uk/Smash-Season-DVD-Debra-Messing/dp/B0072CM1SI/ref=sr_1_1?s=dvd&ie=UTF8&qid=1358163078&sr=1-1
Sondheim, S., & Doyle, J. (2007). Company: a musical comedy [Videorecording]. Image Entertainment.
Sondheim, Stephen & Burton, Tim. (2008). Sweeney Todd: the demon barber of Fleet Street (Widescreen) [Videorecording]. Warner Home Video.
Sondheim, Stephen & Furth, George. (1996). Company. Nick Hern.
Sternfeld, J. (2007). The megamusical. Indiana University Press. https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=312916
Sternfeld, Jessica. (2006). ‘To Love Another Person Is to See the Face of God’ Les Misérables [Electronic resource]. In The megamusical: Vol. Profiles in popular music (pp. 175–225). Indiana University Press. https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=312916
Swayne, Steve & ebrary, Inc. (2007). How Sondheim found his sound (1st ed) [Electronic resource]. University of Michigan Press. https://roe.idm.oclc.org/login?url=https://www.jstor.org/stable/10.3998/mpub.99247
Tate, Joseph. (2005). Music and Art of Radiohead. Ashgate.
The Sondheim review. (1994). [Electronic resource]. International Bibliography of Theatre&Dance with Full Text.
The Stephen Sondheim Collection. (2008). Bmg.
Vandevender, Bryan M. (2009). A substitute for love: the performance of sex in ‘Spring Awakening’. Studies in Musical Theatre, 3(3), 293–302. https://doi.org/10.1386/smt.3.3.293/1
Whedon, Joss. (2002). Once more with feeling: Buffy the Vampire Slayer script book: Vol. Buffy the Vampire Slayer. Pocket.
Whiteley, Sheila, Bennett, Andy, & Hawkins, Stan. (2004). Music, space and place: popular music and cultural identity: Vol. Ashgate popular and folk music series. Ashgate.
Wolf, Stacy. (2011). It’s all about popular : Wicked divas and internet girl fans [Electronic resource]. In Changed for good: a feminist history of the Broadway musical (pp. 219–236). Oxford University Press.
Wolf, Stacy Ellen. (2008). ‘Defying Gravity’: Queer Conventions in the Musical Wicked. Theatre Journal, 60(1), 1–21. https://doi.org/10.1353/tj.2008.0075
Woll, Allen. (1989). Black musical theatre: from Coontown to Dreamgirls. Louisiana State University Press.
Wollman, E. (2010). The theater will rock: a history of the rock musical, from Hair to Hedwig. University of Michigan Press. http://site.ebrary.com/lib/roehampton/Doc?id=10395622
Wollman, Elizabeth & Sternfeld, Jessica. (2011). Musical theatre and the almighty dollar: What a tangled web they weave. Studies in Musical Theatre, 5(1), 3–12. https://doi.org/10.1386/smt.5.1.3_2
Young-Gerber, Christine. (2010). ‘Attention must be paid’, cried the balladeer: The concept musical defined. Studies in Musical Theatre, 4(3), 331–342. https://doi.org/10.1386/smt.4.3.331_1
