{"product_id":"gender-sex-and-sexuality-in-musical-theatre-he-she-they-could-have-danced-all-night-9781789389548","title":"Gender, Sex, and Sexuality in Musical Theatre:","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eCritics and fans alike often mistake theatrical song and dance as evoking a sweeping sense of simplicity, heteronormativity, and traditionalism. Nothing drove home this cultural misunderstanding for Kelly Kessler as when a relative insisted she watch the Clint Eastwood-Lee Marvin cinematic transfer of Paddy Chayefsky’s \u003cem\u003ePaint Your Wagon\u003c\/em\u003e (1969) with a young niece and nephew because it was a ‘sweet movie.’ In the relative’s memory, good old-fashioned singing and dancing—matched with the power of an assumed hegemonic embrace of social norms—far outweighed the whoremongering, alcoholism, wife-selling, and what appears to be narratively sanctioned polyamory.\u003c\/p\u003e  \u003cp\u003eThis collection seeks to trouble such an over-idealized impression of musical theatre. Tackling Rockettes, divas, and chorus boys; hit shows such as \u003cem\u003eHamilton\u003c\/em\u003e and \u003cem\u003eSpring Awakening\u003c\/em\u003e; and lesser-known but ground-breaking gems like Erin Markey’s \u003cem\u003eA Ride on The Irish Cream\u003c\/em\u003e and Kirsten Childs’s \u003cem\u003eBella: An American Tall Tale\u003c\/em\u003e.\u003c\/p\u003e  \u003cp\u003e\u003cem\u003eGender, Sex and Sexuality in Musical Theatre: He\/She\/They Could Have Danced All Night\u003c\/em\u003e takes a broad look at musical theatre across a range of intersecting lenses such as race, nation, form, dance, casting, marketing, pedagogy, industry, platform-specificity, stardom, politics, and so on. This collection assembles an amazing group of established and emergent musical theatre scholars to wrestle with the complexities of the gendered and sexualized musical theatre form. Gender and desire have long been at the heart of the musical, whether because ‘birds and bees’ (and educated fleas’) were doing it, a farm girl simply couldn’t ‘say no,’ or one’s ‘tits and ass’ were preventing them from landing the part.\u003c\/p\u003e  \u003cp\u003eAn exciting and vibrant collection of articles from the archives of \u003cem\u003eStudies in Musical Theatre\u003c\/em\u003e, with contributions from Ryan Donovan, Michele Dvoskin, Sherrill Gow, Jiyoon Jung, David Haldane Lawrence, Stephanie Lim, Dustyn Martinich, Adrienne Gibbons Oehlers, Deborah Paredez, Alejandro Postigo, George Rodosthenous, Janet Werther, Stacy Wolf, Elizabeth L. Wollman, Bryan Vandevender and Kelly Kessler, brought together with a newly commissioned piece by Jordan Ealey. All set against the backdrop of Kelly Kessler’s scene-setting introduction.\u003c\/p\u003e  \u003cp\u003eExcellent potential for classroom and course use on undergraduate and graduate courses in theatre studies, musical studies, women’s and gender studies.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003e'In addition to the articles published as part of Studies in Musical Theatre, Kessler has included five other articles in her book to include recent developments and shows: new pieces on Spanish musical theatre performance and fandom; historicity and musical stories told through black female authorship, gender-flipped; non binary; and trans narratives, and the negotiated marketing and queerness on Broadway”. [...] Kessler did a fabulous job and presented a technically well-founded book that is very readable. The \"Studies in Musical Theater\" [journal] itself is also highly recommended.'\u003c\/em\u003e\u003c\/p\u003e -- von Martin Bruny, musicals – Das Musicalmagazin [Translated via Google. Original text in German]\u003cbr\u003e\u003cp\u003e\u003cem\u003e'I particularly enjoyed the arc of essays exploring the excesses of the divas (whether stage characters like Ethel Merman’s Rose, Angela Lansbury’s Mame, and Elaine Stritch’s Joanne, or over-thetop female stage personalities like Carol Channing and Tallulah Bankhead) as commentaries on the social constraints placed on women. I appreciated Elizabeth Wollman’s analysis of the paradox that even as the adult musical of the 1960s and ’70s employed nudity and sexual frankness in the attempt to foster both Gay and Women’s Liberation, it relied so heavily on stereotypes and nudity that it devolved into mere exploitation. Likewise, the editor’s own survey of how the visibility of LGBT experience in musicals like La Cage aux Folles, Kiss of the Spider Woman, Fun Home, and The Prom was undercut by marketing campaigns that downplayed the shows’ queerness. Thus, several of this collection’s essays demonstrate just how high toward heaven the musical has allowed gays to kick. '\u003c\/em\u003e\u003c\/p\u003e -- Raymond-Jean Frontain, The Gay \u0026amp; Lesbian Review\/Worldwide\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eList of Figures\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eAcknowledgements\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eIntroduction: Belting Away at Binaries\u003c\/strong\u003e – \u003cem\u003eKelly Kessler\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003ePART 1: EXPLORING AND EXPLODING THE GENDER BINARY ON THE MUSICAL STAGE\u003cbr\u003e \u003c\/strong\u003e\u003cstrong\u003e1.\u003c\/strong\u003e The Radio City Rockettes and the Making of a Sisterhood – \u003cem\u003eAdrienne Gibbons Oehlers\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e2.\u003c\/strong\u003e Billy Elliot the Musical: Visual Representations of Working-Class Masculinity and the All-Singing, All-Dancing Bo[d]y – \u003cem\u003eGeorge Rodosthenous\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e3.\u003c\/strong\u003e Hamilton’s Women – \u003cem\u003eStacy Wolf\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e4.\u003c\/strong\u003e Rewriting the American West: Black Feminist (Re)Vision in Bella: An American Tall Tale – \u003cem\u003eJordan Ealey\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e5.\u003c\/strong\u003e A-List Drag Queens, Accidental Drag Kings and Illegible Gender Rebels: (Mis)Representations of Trans Experience in Contemporary Musicals – \u003cem\u003eJanet Werther\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003ePART 2: EMBODYING AND EXPLOITING SEX AND SEXUALITY ON AND OFF BROADWAY\u003cbr\u003e \u003c\/strong\u003e\u003cstrong\u003e6.\u003c\/strong\u003e Chorus Boys: Words, Music and Queerness (c.1900–36) – \u003cem\u003eDavid Haldane Lawrence\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e7.\u003c\/strong\u003e Emancipation or Exploitation? Gender Liberation and Adult Musicals in 1970s New York – \u003cem\u003eElizabeth L. Wollman\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e8.\u003c\/strong\u003e A Substitute for Love: The Performance of Sex in Spring Awakening – \u003cem\u003eBryan M. Vandevender\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e9.\u003c\/strong\u003e If You Were Gay, That’d Be Okay: Marketing LGBTQ+ Musicals from La Cage to The Prom – \u003cem\u003eRyan Donovan\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003ePART 3: DIVAS DON’T CARE ABOUT NOBODY’S RULES\u003cbr\u003e \u003c\/strong\u003e\u003cstrong\u003e10.\u003c\/strong\u003e Embracing Excess: The Queer Feminist Power of Musical Theatre Diva Roles – \u003cem\u003eMichelle Dvoskin\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e11.\u003c\/strong\u003e Stepping Out of Line: (Re)Claiming the Diva for the Dancers of Broadway – \u003cem\u003eDustyn Martincich\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e12.\u003c\/strong\u003e Diva Relations in The Color Purple, the 2015 Broadway Revival – \u003cem\u003eDeborah Paredez\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e13.\u003c\/strong\u003e How Can the Small Screen Contain Her? Television, Genre and the Twenty-First-Century Broadway Diva Onslaught – \u003cem\u003eKelly Kessler\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003ePART 4: ONSTAGE, OFFSTAGE AND ONLINE: GENDER AND SEXUALITY IN PERSONAL AND PROFESSIONAL \u003c\/strong\u003e\u003cstrong\u003eMUSICAL PRACTICE\u003cbr\u003e \u003c\/strong\u003e\u003cstrong\u003e14.\u003c\/strong\u003e The Queerness of Copla: Musical Hope for the Spanish LGBTQ – \u003cem\u003eAlejandro Postigo\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e15.\u003c\/strong\u003e Queering Brechtian Feminism: Breaking Down Gender Binaries in Musical Theatre Pedagogical Performance Practices – \u003cem\u003eSherrill Gow\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e16.\u003c\/strong\u003e For Progress or Profit: The Possibilities and Limitations of Playing with Gender in Twenty-First-Century Musical Theatre – \u003cem\u003eStephanie Lim\u003c\/em\u003e\u003cbr\u003e \u003cstrong\u003e17.\u003c\/strong\u003e The Right to See and Not Be Seen: South Korean Musicals and Young Feminist Activism – \u003cem\u003eJiyoon Jung\u003c\/em\u003e\u003c\/p\u003e  \u003cp\u003e\u003cstrong\u003eNotes on Contributors\u003c\/strong\u003e\u003c\/p\u003e","brand":"Intellect Books","offers":[{"title":"Default Title","offer_id":51042581184855,"sku":"9781789389548","price":33.2,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781789389548.jpg?v=1750954728","url":"https:\/\/bookcurl.com\/products\/gender-sex-and-sexuality-in-musical-theatre-he-she-they-could-have-danced-all-night-9781789389548","provider":"Book Curl","version":"1.0","type":"link"}