21st Century Musical Theatre : 50 Songs from Shows since 2000. Women’s edition. Milwaukee, WI: Hal Leonard Corporation, 2016. Print.
Alfreds, Mike. Different Every Night: Freeing the Actor. London: Nick Hern Books, 2007. Print.
Attenborough, Richard and Dante, Nicholas. ‘A Chorus Line’. 2008 : n. pag. Print.
Atypon Systems. ‘Studies in Musical Theatre’. Atypon Link n. pag. Print.
Baker, Annie. Circle Mirror Transformation. London: Faber and Faber, 2013. Print.
Banfield, S. ‘Company’. Sondheim’s Broadway Musicals. The Michigan American music series. Ann Arbor, Mich: University of Michigan Press, 1996. 147–176. Print.
Burger, A. ‘Wicked and Wonderful Witches : Narrative and Gender Negotiations from The Wizard of Oz to Wicked’. Beyond Adaptation: Essays on Radical Transformations of Original Works. Jefferson, N.C.: McFarland & Co, 2010. 123–132. Print.
Caldarone, Marina, and Maggie Lloyd-Williams. Actions: The Actors’ Thesaurus. London: Nick Hern, 2004. Web. <https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=5149866>.
Cannon, Dee, and Pierce Brosnan. In-Depth Acting. London: Oberon Books, 2012. Print.
Casado, Denver. Teaching Musical Theatre : The Essential Handbook: 16 Ready-To-Go Lesson Plans to Build a Better Actor. Beat by Beat Press, 2017. Print.
Churcher, Mel. Screen Acting Workshop. London: Nick Hern Books, 2011. Print.
Cramer, Lyn. Creating Musical Theatre : Conversations with Broadway Directors and Choreographers. London: Bloomsbury Methuen Drama, 2013. Print.
Deer, Joe. Acting in Musical Theatre : A Comprehensive Course. 2nd ed. London: Routledge, 2015. Print.
---. Directing in Musical Theatre: An Essential Guide. London: Routledge, 2013. Print.
Del Deo, Adam, and James D. Stern. ‘Every Little Step: The Journey of “A Chorus Line”’. 2008 : n. pag. Print.
Donnellan, Declan. Actor and the Target. Declan Donnellan. Rev. ed. London: Nick Hern, 2005. Web. <https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=1128729>.
Draper, Natalie. ‘Concept Meets Narrative in Sondheim’s “Company”: Metadrama as a Method of Analysis’. Studies in Musical Theatre 4.2 (2010): 171–183. Web.
Ellis, Sarah, T. ‘“No Day but Today”: Queer Temporality in Rent’. Studies in Musical Theatre 5.2 (2011): 195–207. Web.
Esper, William. Actor’s Art and Craft : William Esper Teaches the Meisner Technique. William Esper, Damon DiMarco. New York: Anchor, 2009. Print.
Everett, William A. The Musical: A Research and Information Guide. New York: Routledge, 2004. Web. <https://roe.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Roehampton&isbn=9780203891193&uid=^u>.
Everett, William A., and Paul R. Laird, eds. ‘From Hair to Rent: Is €˜rockâ€TM a Four-Letter Word on Broadway?’ The Cambridge Companion to the Musical. Third edition. [Cambridge, U.K.]: Cambridge University Press. 235–249. Print.
---, eds. ‘The Creation of a Broadway Musical: Stephen Schwartz, Winnie Holzman, and Wicked’. The Cambridge Companion to the Musical. Third edition. [Cambridge, U.K.]: Cambridge University Press. 340–352. Print.
Fleming, John (Author). Davies and Penhall’s Sunny Afternoo+. Abingdon, Oxon: Routledge, 2017. Print.
Franceschina, John Charles. Putting It Together : Music Theorythrough Musical Theatre. New York: Oxford University Press, 2015. Print.
Garland, Judy, Baum, L. Frank, and Fleming, Victor. ‘The Wizard of Oz’. 2001 : n. pag. Print.
Gelles, Barrie. ‘Glee and the “Ghosting” of the Musical Theatre Canon’. Popular Entertainment Studies 2.2 (2011): 89–111. Print.
‘Glee: Season 3’. 2012 : n. pag. Print.
Gordon, Robert, Olaf Jubin, and Millie Taylor. British Musical Theatre since 1950. London: Bloomsbury Methuen Drama, 2016. Print.
Greif, Michael and Warren, Michael John. ‘Rent’. 2009 : n. pag. Print.
Harvard, Paul. Acting through Song : Techniques and Exercises for Musical-Theatre Actors. London: Nick Hern, 2013. Print.
Hausam, Wiley. New American Musical : An Anthology from the End of the Century. 1st ed. New York, NY: Theatre Communications Group, 2003. Print.
Henshall, Ruthie. So You Want to Be in Musicals? London, UK: Nick Hern Books, 2012. Print.
Henson, David, and Kenneth Pickering. Musical Theatre: A Workbook. Basingstoke, Hampshire: Palgrave Macmillan, 2013. Print.
Hurwitz, Nathaniel. A History of the American Musical Theatre: No Business like It. New York: Routledge, 2014. Web. <https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=1721114>.
---. Songwriters of the American Musical Theatre : A Style Guide for Singers. London, [England: Routledge, 2017. Print.
Ian Bradley. You’ve Got to Have a Dream. SCM Press. Print.
Jubin, Olaf. Sondheim and Lapine’s Into the Wood+. London: Routledge, 2018. Print.
---. Sondheim and Lapine’s Into the Wood+. London: Routledge, 2018. Print.
Kayes, Gillyanne. Singing and the Actor. 2nd ed. London: A. & C. Black, 2004. Web. <http://site.ebrary.com/lib/roehampton/Doc?id=10639168>.
Kemp, Rick. Embodied Acting : What Neuroscience Tells Us about Performance. London: Routledge, 2012. Web. <https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=1024593>.
Laird, Paul, R. ‘“It Couldn’t Happen Here in Oz”: Wicked and the Creation of a “Critic-Proof” Musical’. Studies in Musical Theatre 5.1 (2011): 35–47. Web.
Lehman, Engel and Kissel, Howard. ‘Romance’. Words with Music. New ed. New York: Roundhouse [distributor], 2004. 106–119. Web. <https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=1753156>.
Lloyd Webber, Andrew. Unmasked. London: HarperCollinsPublishers, 2018. Print.
Lodge, Mary Jo. ‘Beyond “Jumping the Shark”: The New Television Musical’. Studies in Musical Theatre 1.3 (2007): 293–305. Web.
Lundskaer-Nielsen, Miranda. Directors and the New Musical Drama. Palgrave Macmillan, 2008. Web. <https://roe.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Roehampton&isbn=9780230611245&uid=^u>.
McCarter, Jeremy. 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. Print.
McLamore, Alyson. Musical Theater : An Appreciation. Second edition. New York: Routledge, 2018. Print.
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. Web. <http://site.ebrary.com/lib/roehampton/Doc?id=10961871>.
McMillin, Scott. 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. Web. <http://site.ebrary.com/lib/roehampton/Doc?id=10961871>.
Meisner, Sanford, and Dennis Longwell. Sanford Meisner on Acting. New York: Vintage Books, 1987. Print.
Mendes, Sam. ‘Company’. 1997 : n. pag. Print.
Miller, Scott. Strike up the Band: A New History of Musical Theatre. Portsmouth, NH: Heinemann, 2007. Print.
Moseley, Nick. Actioning - and How to Do It. London: Nick Hern Books, 2016. Print.
---. Meisner in Practice : A Guide for Actors, Directors and Teachers. London, UK: Nick Hern Books, 2012. Print.
O’Brien, Nick. Stanislavski in Practice : Exercises for Students. Second edition. New York: Routledge, 2017. Web. <https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=5049728>.
---. Stanislavski in Practice : The Film Part Two : Work on a Role. Abingdon, Oxon: Routledge, 2016. Print.
Osatinski, Amy S. Disney Theatrical Productions: Producing Broadway Musicals the Disney Way. London: Routledge, 2019. Web. <https://roe.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Roehampton&isbn=9780429023361&uid=^u>.
‘Phantom of the Opera: Behind the Mask’. 2006 : n. pag. Print.
Prece, Paul, and Everett William A. ‘The Megamusical: The Creation, Internationalisation and Impact of a Genre’. The Cambridge Companion to the Musical. Cambridge Companions to Music. Cambridge: Cambridge University Press, 2008. 250–269. Web. <http://dx.doi.org/10.1017/CCOL9780521862387>.
Price, Lonny. ‘Sondheim: The Birthday Concert: The Birthday Concert’. 2011 : n. pag. Print.
Purdy, Stephen. Musical Theatre Song : A Comprehensive Course in Selection, Preparation and Presentation for the Modern Performer. London: Bloomsbury Methuen Drama, 2016. Print.
Rapaport, Pola and Held, Wolfgang. ‘Hair: Let the Sun Shine in : The Musical That Transformed a Generation’. 2007 : n. pag. Print.
Riedel, Michael. Razzle Dazzle: The Battle for Broadway. First Simon&Schuster hardcover edition. Simon & Schuster, 2015. Print.
Rodosthenous, George. Twenty-First Century Musicals: From Stage to Screen. London: Taylor & Francis Ltd, 2017. Web. <https://roe.idm.oclc.org/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Roehampton&isbn=9781315626123&uid=^u>.
Rosenhaus, Steve, and Allen Cohen. Writing Musical Theater. Basingstoke: Palgrave Macmillan, 2006. Print.
Schuller, Julia Elizabeth, and Valerie Lynn Schrader. ‘“Beautiful as You Feel”: Feminism and Post-Feminism in Beautiful: The Carole King Musical’. Studies in Musical Theatre 11.1 (2017): 51–64. Web.
Siropoulos, Vagelis. ‘Cats, Postdramatic Blockbuster Aesthetics and the Triumph of the Megamusical’. Image & Narrative 11.3 (2010): 128–145. Print.
---. ‘Megamusicals, Spectacle and the Postdramatic Aesthetics of Late Capitalism’. Studies in Musical Theatre 5.1 (2011): 13–34. Web.
---. ‘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 (2010): 137–150. Print.
Sondheim, Stephen and Burton, Tim. ‘Sweeney Todd: The Demon Barber of Fleet Street’. 2008 : n. pag. Print.
Sondheim, Stephen, and John Doyle. ‘Company: A Musical Comedy’. 2007 : n. pag. Print.
Sondheim, Stephen and Furth, George. Company. London: Nick Hern, 1996. Print.
Sternfeld, Jessica. The Megamusical. Bloomington, Ind: Indiana University Press, 2007. Web. <https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=312916>.
Sternfeld, Jessica. ‘“To Love Another Person Is to See the Face of God” Les Misérables’. The Megamusical. Profiles in popular music. Bloomington: Indiana University Press, 2006. 175–225. Web. <https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=312916>.
Sternfeld, Jessica, and Elizabeth L. Wollman, eds. The Routledge Companion to the Contemporary Musical. New York, NY: Routledge, 2020. Print.
Streeton, Jane, Philip Raymond, and Royal Academy of Dramatic Art (Great Britain). Singing on Stage: An Actors’ Guide. London: Bloomsbury Methuen Drama, 2014. Print.
Svich, Caridad. Mitchell and Trask’s Hedwig and the Angry Inch. Abingdon: Taylor & Francis Group, 2019. Web. <https://roe.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=5798077>.
Swayne, Steve and ebrary, Inc. How Sondheim Found His Sound. 1st ed. Ann Arbor [Mich.]: University of Michigan Press, 2007. Web. <https://roe.idm.oclc.org/login?url=https://www.jstor.org/stable/10.3998/mpub.99247>.
Taylor, Millie, and Dominic Symonds. Studying Musical Theatre: Theory and Practice. London: Palgrave Macmillan, 2014. Print.
‘The Sondheim Review’. International Bibliography of Theatre&Dance with Full Text (1994): n. pag. Print.
‘The Stephen Sondheim Collection’. 2008 : n. pag. Print.
Vandevender, Bryan M. ‘A Substitute for Love: The Performance of Sex in “Spring Awakening”’. Studies in Musical Theatre 3.3 (2009): 293–302. Web.
Viertel, Jack. Secret Life of the American Musical: How Broadway Shows Are Built. First paperback edition. New York: Sarah Crichton Books,Farrar, Straus and Grioux, 2017. Print.
Walsh, Peter J., and Nick O’Brien. Stanislavski in Practice - the Film: Part One: Work on the Actor. London: Routledge, Taylor & Francis Group, 2015. Print.
Whitfield, Sarah. Boublil and Schönberg’s Les Misérables. London: Routledge, 2018. Print.
Wolf, Stacy. ‘It’s All about Popular : Wicked Divas and Internet Girl Fans’. Changed for Good: A Feminist History of the Broadway Musical. New York: Oxford University Press, 2011. 219–236. Print.
Wolf, Stacy Ellen. ‘“Defying Gravity”: Queer Conventions in the Musical Wicked’. Theatre Journal 60.1 (2008): 1–21. Web.
Woll, Allen. Black Musical Theatre: From Coontown to Dreamgirls. Baton Rouge: Louisiana State University Press, 1989. Print.
Wollman, Elizabeth. The Theater Will Rock: A History of the Rock Musical, from Hair to Hedwig. Ann Arbor, Mich: University of Michigan Press, 2010. Web. <http://site.ebrary.com/lib/roehampton/Doc?id=10395622>.
Wollman, Elizabeth L. Critical Companion to the Americanstage Musical. Elizabeth L. Wollman. London: Bloomsbury Methuen Drama, 2017. Print.
Wollman, Elizabeth and Sternfeld, Jessica. ‘Musical Theatre and the Almighty Dollar: What a Tangled Web They Weave’. Studies in Musical Theatre 5.1 (2011): 3–12. Web.
Woolford, Julian. How Musicals Work. London: Nick Hern Books, 2012. Web. <https://ebookcentral.proquest.com/lib/roehampton-ebooks/detail.action?docID=1184922>.
Young-Gerber, Christine. ‘“Attention Must Be Paid”, Cried the Balladeer: The Concept Musical Defined’. Studies in Musical Theatre 4.3 (2010): 331–342. Web.
