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008			251219s2023 xx o ||||0 eng d
020			_a9783031146633 _q(electronic bk.)
020			_z9783031146626
040			_aMiAaPQ _beng _cMiAaPQ
100	1		_aQuinn, Arianne Johnson. _968095
245	1	0	_aBritish and American Musical Theatre Exchanges in the West End (1924-1970) : _bThe Americanization of Drury Lane.
250			_a1st ed.
264		1	_aCham : _bSpringer International Publishing AG, _c2023.
264		4	_c©2024.
300			_a1 online resource (293 pages)
336			_aText _btxt _2rdacontent
337			_aComputermedien _bc _2rdamedia
338			_aOnline Resource _bcr _2rdacarrier
341	0		_bNo reading system accessibility options actively disabled _2onix
341	0		_bTable of contents navigation _2onix
341	0		_bSingle logical reading order _2onix
341	0		_bUse of color is not sole means of conveying information _2onix
341	0		_bUse of high contrast between text and background color _2onix
341	0		_bNext / Previous structural navigation _2onix
341	0		_bAll non-decorative content supports reading without sight _2onix
490	0		_aPalgrave Studies in British Musical Theatre Series
500			_aE-Book-ProQuest / Fernzugriff nach Registrierung möglich
505	0		_aIntro -- Acknowledgments -- Contents -- About the Author -- Contents -- Chapter 1: Introduction -- The American and British Musical at the Lane -- Archival Footprint -- Chapters and Case Studies -- Drury Lane's Place as a National Theatre -- References -- Chapter 2: The Arrival of Musical Theatre at the Lane (1924-1934) -- British Cultural Identity and Cosmopolitan Musical Theatre -- The Reputation of the Lane -- The Rise of the Impresario -- Redefining Critical and Commercial Success with Rose-Marie -- Marketing Scandal -- The Desert Song (1927) -- The Politics of Show Boat (1928) -- The Passing Success of The New Moon -- Musical Curiosities and Flops: Kern and Hammerstein, Ball at the Savoy (1933), and Three Sisters (1934) -- The Significance of American Works at the "National Theatre" -- References -- Chapter 3: The Drury Lane Theatre Spectacle (1931-1939): "Hearts Splintering in Waltz Time" -- Noël Coward and Ivor Novello: A New Generation -- Noël Coward as Cultural Icon -- Cavalcade Production History -- Ivor Novello and the Continuation of the English Operetta Tradition -- Glamorous Night -- Careless Rapture -- Crest of the Wave -- The Dancing Years -- Censorship and Critical Response -- The Lane as Cultural Icon on the Cusp of the Second World War -- References -- Chapter 4: The Lane and ENSA Headquarters (1939) -- West End Theatre in 1939 -- Reorganization of Lane Management: Enter Basil Dean -- The Practical Takeover of the Lane -- ENSA and the Growth of Wartime Entertainment -- ENSA Performance Begins -- Entertainment Styles -- Strategic Broadcasting -- Tours as Theatres of War -- Challenges of Travel and Performance -- Practical Challenges -- ENSA Leadership Challenges -- Public Perception and Backlash -- ENSA's Lasting Impact on the Lane -- References -- Chapter 5: Theatre in a Time of War and Rebuilding: The Lane in Flux.
505	8		_aDrury Lane in a Time of Transition -- Political Climate of Wartime and Embracing the American Outsider -- "My British Buddy": This Is the Army as Soft Diplomacy -- Operetta Re-emerges at the Lane: Pacific 1860 -- Backlash to the Presence of Americans in London and the Lane in 1946 -- References -- Chapter 6: Rodger's and Hammerstein's Oklahoma! Carousel and South Pacific: Imported Americana -- London Theatre and Political Influences (1945-47) -- The "Tsars" of Drury Lane -- Political and Cultural Connections -- Perception of Innovation in Oklahoma! -- Ballet in Oklahoma! -- Carousel and Reminders of Operetta at the Lane -- The British Response to Carousel -- Musical Style in Carousel -- South Pacific and American Portrayals of Global Conflict -- Production Management and Commercial Independence -- Muddled Critical Responses to South Pacific -- Martin's "Star Appeal" as Political Currency -- Marketing an American Theatrical Brand at the Lane -- References -- Chapter 7: Rodgers and Hammerstein's The King and I: Ruritanian Imperialism at the Lane -- The Lane in 1953 -- The Rodgers and Hammerstein Brand at Drury Lane -- Production Process -- Musical Style and Production Changes -- Marketing and Reception -- Public Backlash and Perception -- Imperial Politics and the Lane -- References -- Chapter 8: Lerner and Loewe: British Imitations and Fading Empire -- The Lane in the 1950s and 1960s -- Lerner and Loewe in London -- Brigadoon as Scottish Fantasy -- The Fairest Lady -- The Star Power of My Fair Lady -- Critical and Public Reception -- Camelot (1964): Nostalgia for Empire -- Market Forces and Critical Response -- The Lane Tercentenary -- References -- Chapter 9: Hello, Dolly!, Mame, and the Resurgence of the British Musical -- The Lane in the 1960s -- The Boys from Syracuse: A Lane Flop -- Oliver! and the British Musical Abroad.
505	8		_aHello, Dolly! in New York -- Global Marketing -- Hello, Dolly! in London -- A British Work at the Lane: The Four Musketeers -- Mame in New York and London -- The Lane as the Symbolic National Theatre -- References -- Index.
520			_aThis monograph centres on the history of musical theatre in a space of cultural significance for British identity, namely the Theatre Royal, Drury Lane, which housed many prominent American productions from 1924-1970.
532	8		_aPublisher contact for further accessibility information: accessibilitysupport@springernature.com
655			_aFernzugriff _9230
655		4	_aElectronic books.
776	0	8	_iPrint version: _aQuinn, Arianne Johnson _tBritish and American Musical Theatre Exchanges in the West End (1924-1970) _dCham : Springer International Publishing AG,c2023 _z9783031146626
856	4	0	_uhttps://ebookcentral.proquest.com/lib/maxweberstiftung-ebooks/detail.action?docID=30825179 _zVolltext
942			_cEB
999			_c73523 _d73523