Bibliography for Music, Theatre and Performance - (DRA020N233S) BETA

Alfreds, Mike. 2007. Different Every Night: Freeing the Actor. London: Nick Hern Books.

Anon. 1994. ‘The Sondheim Review’. International Bibliography of Theatre&Dance with Full Text.

Anon. 2006. ‘Phantom of the Opera: Behind the Mask’.

Anon. 2008. ‘The Stephen Sondheim Collection’.

Anon. 2012. ‘Glee: Season 3’.

Anon. 2016. 21st Century Musical Theatre : 50 Songs from Shows since 2000. Women’s edition. Milwaukee, WI: Hal Leonard Corporation.

Attenborough, Richard and Dante, Nicholas. 2008. ‘A Chorus Line’.

Atypon Systems. n.d. ‘Studies in Musical Theatre’. Atypon Link.

Baker, Annie. 2013. Circle Mirror Transformation. London: Faber and Faber.

Banfield, S. 1996. ‘Company’. Pp. 147–76 in Sondheim’s Broadway musicals. Vol. The Michigan American music series. Ann Arbor, Mich: University of Michigan Press.

Burger, A. 2010. ‘Wicked and Wonderful Witches : Narrative and Gender Negotiations from The Wizard of Oz to Wicked’. Pp. 123–32 in Beyond adaptation: essays on radical transformations of original works. Jefferson, N.C.: McFarland & Co.

Caldarone, Marina, and Maggie Lloyd-Williams. 2004. Actions: The Actors’ Thesaurus. London: Nick Hern.

Cannon, Dee, and Pierce Brosnan. 2012. In-Depth Acting. London: Oberon Books.

Casado, Denver. 2017. Teaching Musical Theatre : The Essential Handbook: 16 Ready-To-Go Lesson Plans to Build a Better Actor. Beat by Beat Press.

Churcher, Mel. 2011. Screen Acting Workshop. London: Nick Hern Books.

Cramer, Lyn. 2013. Creating Musical Theatre : Conversations with Broadway Directors and Choreographers. London: Bloomsbury Methuen Drama.

Deer, Joe. 2013. Directing in Musical Theatre: An Essential Guide. London: Routledge.

Deer, Joe. 2015. Acting in Musical Theatre : A Comprehensive Course. 2nd ed. London: Routledge.

Del Deo, Adam, and James D. Stern. 2008. ‘Every Little Step: The Journey of “A Chorus Line”’.

Donnellan, Declan. 2005. Actor and the Target. Declan Donnellan. Rev. ed. London: Nick Hern.

Draper, Natalie. 2010. ‘Concept Meets Narrative in Sondheim’s “Company”: Metadrama as a Method of Analysis’. Studies in Musical Theatre 4(2):171–83. doi: 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. doi: 10.1386/smt.5.2.195_1.

Esper, William. 2009. Actor’s Art and Craft : William Esper Teaches the Meisner Technique. William Esper, Damon DiMarco. New York: Anchor.

Everett, William A. 2004. The Musical: A Research and Information Guide. New York: Routledge.

Everett, William A., and Paul R. Laird, eds. n.d.-a. ‘From Hair to Rent: Is €˜rockâ€^TM a Four-Letter Word on Broadway?’ Pp. 235–49 in The Cambridge companion to the musical. [Cambridge, U.K.]: Cambridge University Press.

Everett, William A., and Paul R. Laird, eds. n.d.-b. ‘The Creation of a Broadway Musical: Stephen Schwartz, Winnie Holzman, and Wicked’. Pp. 340–52 in The Cambridge companion to the musical. [Cambridge, U.K.]: Cambridge University Press.

Fleming, John (Author). 2017. Davies and Penhall’s Sunny Afternoo+. Abingdon, Oxon: Routledge.

Franceschina, John Charles. 2015. Putting It Together : Music Theorythrough Musical Theatre. New York: Oxford University Press.

Garland, Judy, Baum, L. Frank, and Fleming, Victor. 2001. ‘The Wizard of Oz’.

Gelles, Barrie. 2011. ‘Glee and the “Ghosting” of the Musical Theatre Canon’. Popular Entertainment Studies 2(2):89–111.

Gordon, Robert, Olaf Jubin, and Millie Taylor. 2016. British Musical Theatre since 1950. London: Bloomsbury Methuen Drama.

Greif, Michael and Warren, Michael John. 2009. ‘Rent’.

Harvard, Paul. 2013. Acting through Song : Techniques and Exercises for Musical-Theatre Actors. London: Nick Hern.

Hausam, Wiley. 2003. New American Musical : An Anthology from the End of the Century. 1st ed. New York, NY: Theatre Communications Group.

Henshall, Ruthie. 2012. So You Want to Be in Musicals? London, UK: Nick Hern Books.

Henson, David, and Kenneth Pickering. 2013. Musical Theatre: A Workbook. Basingstoke, Hampshire: Palgrave Macmillan.

Hurwitz, Nathaniel. 2014. A History of the American Musical Theatre: No Business like It. New York: Routledge.

Hurwitz, Nathaniel. 2017. Songwriters of the American Musical Theatre : A Style Guide for Singers. London, [England: Routledge.

Ian Bradley. n.d. You’ve Got to Have a Dream. SCM Press.

Jubin, Olaf. 2018a. Sondheim and Lapine’s Into the Wood+. London: Routledge.

Jubin, Olaf. 2018b. Sondheim and Lapine’s Into the Wood+. London: Routledge.

Kayes, Gillyanne. 2004. Singing and the Actor. 2nd ed. London: A. & C. Black.

Kemp, Rick. 2012. Embodied Acting : What Neuroscience Tells Us about Performance. London: Routledge.

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. doi: 10.1386/smt.5.1.35_1.

Lehman, Engel and Kissel, Howard. 2004. ‘Romance’. Pp. 106–19 in Words with music. New York: Roundhouse [distributor].

Lloyd Webber, Andrew. 2018. Unmasked. London: HarperCollinsPublishers.

Lodge, Mary Jo. 2007. ‘Beyond “Jumping the Shark”: The New Television Musical’. Studies in Musical Theatre 1(3):293–305. doi: 10.1386/smt.1.3.293_1.

Lundskaer-Nielsen, Miranda. 2008. Directors and the New Musical Drama. Palgrave Macmillan.

McCarter, Jeremy. 2016. Hamilton, the Revolution : Being the Complete Libretto of the Broadway Musical, with a True Account of Its Creation, and Concise Remarks Onhip-Hop, the Power of Stories, Andthe New America. by Lin-Manuel Miranda and Jeremy McCarter. London: Little, Brown.

McLamore, Alyson. 2018. Musical Theater : An Appreciation. Second edition. New York: Routledge.

McMillin, Scott. 2006. The Musical as Drama: A Study of the Principles and Conventions behind Musical Shows from Kern to Sondheim. Oxford: Princeton University Press.

McMillin, Scott. 2006. The Musical as Drama: A Study of the Principles and Conventions behind Musical Shows from Kern to Sondheim. Princeton, N.J.: Princeton University Press.

Meisner, Sanford, and Dennis Longwell. 1987. Sanford Meisner on Acting. New York: Vintage Books.

Mendes, Sam. 1997. ‘Company’. Performance.

Miller, Scott. 2007. Strike up the Band: A New History of Musical Theatre. Portsmouth, NH: Heinemann.

Moseley, Nick. 2012. Meisner in Practice : A Guide for Actors, Directors and Teachers. London, UK: Nick Hern Books.

Moseley, Nick. 2016. Actioning - and How to Do It. London: Nick Hern Books.

O’Brien, Nick. 2016. Stanislavski in Practice : The Film Part Two : Work on a Role. Abingdon, Oxon: Routledge.

O’Brien, Nick. 2017. Stanislavski in Practice : Exercises for Students. Second edition. New York: Routledge.

Osatinski, Amy S. 2019. Disney Theatrical Productions: Producing Broadway Musicals the Disney Way. London: Routledge.

Prece, Paul, and Everett William A. 2008. ‘The Megamusical: The Creation, Internationalisation and Impact of a Genre’. Pp. 250–69 in The Cambridge Companion to the Musical. Vol. Cambridge Companions to Music. Cambridge: Cambridge University Press.

Price, Lonny. 2011. ‘Sondheim: The Birthday Concert: The Birthday Concert’.

Purdy, Stephen. 2016. Musical Theatre Song : A Comprehensive Course in Selection, Preparation and Presentation for the Modern Performer. London: Bloomsbury Methuen Drama.

Rapaport, Pola and Held, Wolfgang. 2007. ‘Hair: Let the Sun Shine in : The Musical That Transformed a Generation’.

Riedel, Michael. 2015. Razzle Dazzle: The Battle for Broadway. First Simon&Schuster hardcover edition. Simon & Schuster.

Rodosthenous, George. 2017. Twenty-First Century Musicals: From Stage to Screen. London: Taylor & Francis Ltd.

Rosenhaus, Steve, and Allen Cohen. 2006. Writing Musical Theater. Basingstoke: Palgrave Macmillan.

Schuller, Julia Elizabeth, and Valerie Lynn Schrader. 2017. ‘“Beautiful as You Feel”: Feminism and Post-Feminism in Beautiful: The Carole King Musical’. Studies in Musical Theatre 11(1):51–64. doi: 10.1386/smt.11.1.51_1.

Siropoulos, Vagelis. 2010a. ‘Cats, Postdramatic Blockbuster Aesthetics and the Triumph of the Megamusical’. Image & Narrative 11(3):128–45.

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 10:137–50.

Siropoulos, Vagelis. 2011. ‘Megamusicals, Spectacle and the Postdramatic Aesthetics of Late Capitalism’. Studies in Musical Theatre 5(1):13–34. doi: 10.1386/smt.5.1.13_1.

Sondheim, Stephen and Burton, Tim. 2008. ‘Sweeney Todd: The Demon Barber of Fleet Street’.

Sondheim, Stephen, and John Doyle. 2007. ‘Company: A Musical Comedy’.

Sondheim, Stephen and Furth, George. 1996. Company. London: Nick Hern.

Sternfeld, Jessica. 2006. ‘“To Love Another Person Is to See the Face of God” Les Misérables’. Pp. 175–225 in The megamusical. Vol. Profiles in popular music. Bloomington: Indiana University Press.

Sternfeld, Jessica. 2007. The Megamusical. Bloomington, Ind: Indiana University Press.

Sternfeld, Jessica, and Elizabeth L. Wollman, eds. 2020. The Routledge Companion to the Contemporary Musical. New York, NY: Routledge.

Streeton, Jane, Philip Raymond, and Royal Academy of Dramatic Art (Great Britain). 2014. Singing on Stage: An Actors’ Guide. London: Bloomsbury Methuen Drama.

Svich, Caridad. 2019. Mitchell and Trask’s Hedwig and the Angry Inch. Abingdon: Taylor & Francis Group.

Swayne, Steve and ebrary, Inc. 2007. How Sondheim Found His Sound. 1st ed. Ann Arbor [Mich.]: University of Michigan Press.

Taylor, Millie, and Dominic Symonds. 2014. Studying Musical Theatre: Theory and Practice. London: Palgrave Macmillan.

Vandevender, Bryan M. 2009. ‘A Substitute for Love: The Performance of Sex in “Spring Awakening”’. Studies in Musical Theatre 3(3):293–302. doi: 10.1386/smt.3.3.293/1.

Viertel, Jack. 2017. Secret Life of the American Musical: How Broadway Shows Are Built. First paperback edition. New York: Sarah Crichton Books,Farrar, Straus and Grioux.

Walsh, Peter J., and Nick O’Brien. 2015. Stanislavski in Practice - the Film: Part One: Work on the Actor. London: Routledge, Taylor & Francis Group.

Whitfield, Sarah. 2018. Boublil and Schönberg’s Les Misérables. London: Routledge.

Wolf, Stacy. 2011. ‘It’s All about Popular : Wicked Divas and Internet Girl Fans’. Pp. 219–36 in Changed for good: a feminist history of the Broadway musical. New York: Oxford University Press.

Wolf, Stacy Ellen. 2008. ‘“Defying Gravity”: Queer Conventions in the Musical Wicked’. Theatre Journal 60(1):1–21. doi: 10.1353/tj.2008.0075.

Woll, Allen. 1989. Black Musical Theatre: From Coontown to Dreamgirls. Baton Rouge: Louisiana State University Press.

Wollman, Elizabeth. 2010. The Theater Will Rock: A History of the Rock Musical, from Hair to Hedwig. Ann Arbor, Mich: University of Michigan Press.

Wollman, Elizabeth L. 2017. Critical Companion to the Americanstage Musical. Elizabeth L. Wollman. London: Bloomsbury Methuen Drama.

Wollman, Elizabeth and Sternfeld, Jessica. 2011. ‘Musical Theatre and the Almighty Dollar: What a Tangled Web They Weave’. Studies in Musical Theatre 5(1):3–12. doi: 10.1386/smt.5.1.3_2.

Woolford, Julian. 2012. How Musicals Work. London: Nick Hern Books.

Young-Gerber, Christine. 2010. ‘“Attention Must Be Paid”, Cried the Balladeer: The Concept Musical Defined’. Studies in Musical Theatre 4(3):331–42. doi: 10.1386/smt.4.3.331_1.