[1]
C. Svich, Mitchell and Trask’s Hedwig and the Angry Inch. Abingdon: Taylor & Francis Group, 2019 [Online]. Available: https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=5798077
[2]
A. S. Osatinski, Disney Theatrical Productions: producing Broadway musicals the Disney way. London: Routledge, 2019 [Online]. Available: https://roe.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Roehampton&isbn=9780429023361&uid=^u
[3]
N. Hurwitz, A history of the American musical theatre: no business like it. New York: Routledge, 2014 [Online]. Available: https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=1721114
[4]
W. A. Everett, The musical: a research and information guide. New York: Routledge, 2004 [Online]. Available: https://roe.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Roehampton&isbn=9780203891193&uid=^u
[5]
G. Rodosthenous, Twenty-First Century Musicals: From Stage to Screen. London: Taylor & Francis Ltd, 2017 [Online]. Available: https://roe.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Roehampton&isbn=9781315626123&uid=^u
[6]
J. Sternfeld and E. L. Wollman, Eds., The Routledge companion to the contemporary musical. New York, NY: Routledge, 2020.
[7]
R. Kemp, Embodied acting : what neuroscience tells us about performance. London: Routledge, 2012 [Online]. Available: https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=1024593
[8]
A. Baker, Circle Mirror Transformation. London: Faber and Faber, 2013.
[9]
P. J. Walsh and N. O’Brien, Stanislavski in practice - the film: Part one: Work on the actor. London: Routledge, Taylor & Francis Group, 2015.
[10]
N. Moseley, Meisner in practice : a guide for actors, directors and teachers. London, UK: Nick Hern Books, 2012.
[11]
W. Esper, Actor’s art and craft : William Esper teaches the Meisner technique. William Esper, Damon DiMarco. New York: Anchor, 2009.
[12]
M. Alfreds, Different every night: freeing the actor. London: Nick Hern Books, 2007.
[13]
D. Donnellan, Actor and the target. Declan Donnellan, Rev. ed. London: Nick Hern, 2005 [Online]. Available: https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=1128729
[14]
J. Deer, Directing in musical theatre: an essential guide. London: Routledge, 2013.
[15]
S. Purdy, Musical theatre song : a comprehensive course in selection, preparation and presentation for the modern performer. London: Bloomsbury Methuen Drama, 2016.
[16]
R. Henshall, So you want to be in musicals? London, UK: Nick Hern Books, 2012.
[17]
D. Henson and K. Pickering, Musical theatre: a workbook. Basingstoke, Hampshire: Palgrave Macmillan, 2013.
[18]
J. Streeton, P. Raymond, and Royal Academy of Dramatic Art (Great Britain), Singing on stage: an actors’ guide. London: Bloomsbury Methuen Drama, 2014.
[19]
J. C. Franceschina, Putting it together : music theorythrough musical theatre. New York: Oxford University Press, 2015.
[20]
J. Deer, Acting in musical theatre : a comprehensive course, 2nd ed. London: Routledge, 2015.
[21]
G. Kayes, Singing and the actor, 2nd ed. London: A. & C. Black, 2004 [Online]. Available: http://site.ebrary.com/lib/roehampton/Doc?id=10639168
[22]
P. Harvard, Acting through song : techniques and exercises for musical-theatre actors. London: Nick Hern, 2013.
[23]
J. Woolford, How musicals work. London: Nick Hern Books, 2012 [Online]. Available: https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=1184922
[24]
E. L. Wollman, Critical companion to the Americanstage musical. Elizabeth L. Wollman. London: Bloomsbury Methuen Drama, 2017.
[25]
R. Gordon, O. Jubin, and M. Taylor, British musical theatre since 1950. London: Bloomsbury Methuen Drama, 2016.
[26]
M. Taylor and D. Symonds, Studying musical theatre: theory and practice. London: Palgrave Macmillan, 2014.
[27]
J. E. Schuller and V. L. Schrader, ‘“Beautiful as you feel”: Feminism and post-feminism in Beautiful: The Carole King Musical’, Studies in Musical Theatre, vol. 11, no. 1, pp. 51–64, Mar. 2017, doi: 10.1386/smt.11.1.51_1.
[28]
Burger, A., ‘Wicked and Wonderful Witches : Narrative and Gender Negotiations from The Wizard of Oz to Wicked’, in Beyond adaptation: essays on radical transformations of original works, Jefferson, N.C.: McFarland & Co, 2010, pp. 123–132.
[29]
Laird, Paul, R., ‘“It Couldn’t Happen Here in Oz”: Wicked and the creation of a “critic-proof” musical’, Studies in Musical Theatre, vol. 5, no. 1, pp. 35–47, 2011, doi: 10.1386/smt.5.1.35_1.
[30]
Wolf, Stacy, ‘It’s all about popular : Wicked divas and internet girl fans’, in Changed for good: a feminist history of the Broadway musical, New York: Oxford University Press, 2011, pp. 219–236.
[31]
W. A. Everett and P. R. Laird, Eds., ‘The creation of a Broadway musical: Stephen Schwartz, Winnie Holzman, and Wicked’, in The Cambridge companion to the musical, Third edition., [Cambridge, U.K.]: Cambridge University Press, pp. 340–352.
[32]
Ellis, Sarah, T., ‘“No day but today”: Queer temporality in Rent’, Studies in Musical Theatre, vol. 5, no. 2, pp. 195–207, 2011, doi: 10.1386/smt.5.2.195_1.
[33]
W. A. Everett and P. R. Laird, Eds., ‘From Hair to Rent: is ‘rockâ€TM a four-letter word on Broadway?’, in The Cambridge companion to the musical, Third edition., [Cambridge, U.K.]: Cambridge University Press, pp. 235–249.
[34]
Wolf, Stacy Ellen, ‘“Defying Gravity”: Queer Conventions in the Musical Wicked’, Theatre Journal, vol. 60, no. 1, pp. 1–21, 2008, doi: 10.1353/tj.2008.0075.
[35]
Lehman, Engel and Kissel, Howard, ‘Romance’, in Words with music, New ed., New York: Roundhouse [distributor], 2004, pp. 106–119 [Online]. Available: https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=1753156
[36]
Vandevender, Bryan M, ‘A substitute for love: the performance of sex in “Spring Awakening”’, Studies in Musical Theatre, vol. 3, no. 3, pp. 293–302, 2009, doi: 10.1386/smt.3.3.293/1.
[37]
Gelles, Barrie, ‘Glee and the “Ghosting” of the Musical Theatre Canon’, Popular Entertainment Studies, vol. 2, no. 2, pp. 89–111, 2011.
[38]
Lodge, Mary Jo, ‘Beyond “Jumping the Shark”: the new television musical’, Studies in Musical Theatre, vol. 1, no. 3, pp. 293–305, 2007, doi: 10.1386/smt.1.3.293_1.
[39]
Prece, Paul and E. William A., ‘The megamusical: the creation, internationalisation and impact of a genre’, in The Cambridge Companion to the Musical, vol. Cambridge Companions to Music, Cambridge: Cambridge University Press, 2008, pp. 250–269 [Online]. Available: http://dx.doi.org/10.1017/CCOL9780521862387
[40]
Siropoulos, Vagelis, ‘Cats, Postdramatic Blockbuster Aesthetics and the Triumph of the Megamusical’, Image & Narrative, vol. 11, no. 3, pp. 128–145, 2010.
[41]
Sternfeld, Jessica, ‘“To Love Another Person Is to See the Face of God” Les Misérables’, in The megamusical, vol. Profiles in popular music, Bloomington: Indiana University Press, 2006, pp. 175–225 [Online]. Available: https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=312916
[42]
Siropoulos, Vagelis, ‘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, vol. 10, pp. 137–150, 2010.
[43]
Siropoulos, Vagelis, ‘Megamusicals, spectacle and the postdramatic aesthetics of late capitalism’, Studies in Musical Theatre, vol. 5, no. 1, pp. 13–34, 2011, doi: 10.1386/smt.5.1.13_1.
[44]
Wollman, Elizabeth and Sternfeld, Jessica, ‘Musical theatre and the almighty dollar: What a tangled web they weave’, Studies in Musical Theatre, vol. 5, no. 1, pp. 3–12, 2011, doi: 10.1386/smt.5.1.3_2.
[45]
Banfield, S, ‘Company’, in Sondheim’s Broadway musicals, vol. The Michigan American music series, Ann Arbor, Mich: University of Michigan Press, 1996, pp. 147–176.
[46]
Draper, Natalie, ‘Concept meets narrative in Sondheim’s “Company”: Metadrama as a method of analysis’, Studies in Musical Theatre, vol. 4, no. 2, pp. 171–183, 2010, doi: 10.1386/smt.4.2.171_1.
[47]
Young-Gerber, Christine, ‘“Attention must be paid”, cried the balladeer: The concept musical defined’, Studies in Musical Theatre, vol. 4, no. 3, pp. 331–342, 2010, doi: 10.1386/smt.4.3.331_1.
[48]
Miller, Scott, Strike up the band: a new history of musical theatre. Portsmouth, NH: Heinemann, 2007.
[49]
J. Sternfeld, The megamusical. Bloomington, Ind: Indiana University Press, 2007 [Online]. Available: https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=312916
[50]
E. Wollman, The theater will rock: a history of the rock musical, from Hair to Hedwig. Ann Arbor, Mich: University of Michigan Press, 2010 [Online]. Available: http://site.ebrary.com/lib/roehampton/Doc?id=10395622
[51]
Swayne, Steve and ebrary, Inc, How Sondheim found his sound, 1st ed. Ann Arbor [Mich.]: University of Michigan Press, 2007 [Online]. Available: https://roe.idm.oclc.org/login?url=https://www.jstor.org/stable/10.3998/mpub.99247
[52]
Sondheim, Stephen and Furth, George, Company. London: Nick Hern, 1996.
[53]
McMillin, Scott, The musical as drama: a study of the principles and conventions behind musical shows from Kern to Sondheim. Oxford: Princeton University Press, 2006 [Online]. Available: http://site.ebrary.com/lib/roehampton/Doc?id=10961871
[54]
Woll, Allen, Black musical theatre: from Coontown to Dreamgirls. Baton Rouge: Louisiana State University Press, 1989.
[55]
Lundskaer-Nielsen, Miranda, Directors and the New Musical Drama. Palgrave Macmillan, 2008 [Online]. Available: https://roe.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Roehampton&isbn=9780230611245&uid=^u
[56]
Greif, Michael and Warren, Michael John, ‘Rent’. Sony Pictures Home Ent, [UK], 2009.
[57]
Garland, Judy, Baum, L. Frank, and Fleming, Victor, ‘The wizard of Oz’. Warner Home Video, [U.K.], 2001.
[58]
S. Sondheim and J. Doyle, ‘Company: a musical comedy’. Image Entertainment, 2007.
[59]
Mendes, Sam, ‘Company’, vol. Performance. BBC, London, 1997.
[60]
Attenborough, Richard and Dante, Nicholas, ‘A chorus line’. Optimum Home Entertainment, [UK], 2008.
[61]
Rapaport, Pola and Held, Wolfgang, ‘Hair: Let the sun shine in : the musical that transformed a generation’. Alive Mind, New York, 2007.
[62]
Price, Lonny, ‘Sondheim: The birthday concert: the birthday concert’. Decca, 2011.
[63]
‘The Stephen Sondheim Collection’. Bmg, 2008.
[64]
‘Phantom of the opera: behind the mask’. BBC 2, London, 2006.
[65]
Sondheim, Stephen and Burton, Tim, ‘Sweeney Todd: the demon barber of Fleet Street’. Warner Home Video, [UK], 2008.
[66]
‘Glee: Season 3’. 20th Century Fox Home Ent, [UK], 2012.
[67]
A. Del Deo and J. D. Stern, ‘Every little step: the journey of “A Chorus Line”’. Sony Pictures, U.S.A., 2008.
[68]
‘The Sondheim review’, vol. International Bibliography of Theatre&Dance with Full Text, 1994.
[69]
Atypon Systems, ‘Studies in Musical Theatre’, vol. Atypon Link.
[70]
S. Rosenhaus and A. Cohen, Writing musical theater. Basingstoke: Palgrave Macmillan, 2006.
[71]
L. Cramer, Creating musical theatre : conversations with Broadway directors and choreographers. London: Bloomsbury Methuen Drama, 2013.
[72]
J. Viertel, Secret life of the american musical: how broadway shows are built, First paperback edition. New York: Sarah Crichton Books,Farrar, Straus and Grioux, 2017.
[73]
M. Riedel, Razzle Dazzle: The Battle for Broadway, First Simon&Schuster hardcover edition. Simon & Schuster, 2015.
[74]
A. Lloyd Webber, Unmasked. London: HarperCollinsPublishers, 2018.
[75]
D. Casado, Teaching Musical Theatre : The Essential Handbook: 16 Ready-To-Go Lesson Plans to Build a Better Actor. Beat by Beat Press, 2017.
[76]
21st century musical theatre : 50 songs from shows since 2000, Women’s edition. Milwaukee, WI: Hal Leonard Corporation, 2016.
[77]
J. McCarter, 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, 2016.
[78]
S. McMillin, The musical as drama: a study of the principles and conventions behind musical shows from Kern to Sondheim. Princeton, N.J.: Princeton University Press, 2006 [Online]. Available: http://site.ebrary.com/lib/roehampton/Doc?id=10961871
[79]
A. McLamore, Musical Theater : An Appreciation, Second edition. New York: Routledge, 2018.
[80]
S. Whitfield, Boublil and Schönberg’s Les Misérables. London: Routledge, 2018.
[81]
O. Jubin, Sondheim and Lapine’s Into the wood+. London: Routledge, 2018.
[82]
O. Jubin, Sondheim and Lapine’s Into the wood+. London: Routledge, 2018.
[83]
J. (Author) Fleming, Davies and Penhall’s Sunny afternoo+. Abingdon, Oxon: Routledge, 2017.
[84]
N. Hurwitz, Songwriters of the American musical theatre : a style guide for singers. London, [England: Routledge, 2017.
[85]
W. Hausam, New American musical : an anthology from the end of the century, 1st ed. New York, NY: Theatre Communications Group, 2003.
[86]
Ian Bradley, You’ve Got to Have a Dream. SCM Press.
[87]
M. Caldarone and M. Lloyd-Williams, Actions: the actors’ thesaurus. London: Nick Hern, 2004 [Online]. Available: https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=5149866
[88]
S. Meisner and D. Longwell, Sanford Meisner on acting. New York: Vintage Books, 1987.
[89]
N. Moseley, Actioning - and how to do it. London: Nick Hern Books, 2016.
[90]
N. O’Brien, Stanislavski in practice : exercises for students, Second edition. New York: Routledge, 2017 [Online]. Available: https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=5049728
[91]
N. O’Brien, Stanislavski in practice : the film part two : work on a role. Abingdon, Oxon: Routledge, 2016.
[92]
D. Cannon and P. Brosnan, In-depth acting. London: Oberon Books, 2012.
[93]
M. Churcher, Screen acting workshop. London: Nick Hern Books, 2011.