04337nam a22005295i 4500001001800000003000900018005001700027007001500044008004100059020001800100024003500118050001600153072001500169072001600184072002300200072001500223072001500238100008500253245017400338250001800512264008500530300003500615336002600650337002600676338003600702347002400738490006000762505067000822520176701492650002203259650002103281650002503302650001303327650003903340650002103379650001903400650002203419650005403441650003803495710003403533773002603567776003603593776003603629776003603665830006003701856004603761978-3-031-14663-3DE-He21320251030110825.0cr nn 008mamaa231024s2024    sz |    s    |||| 0|eng d  a97830311466337 a10.1007/978-3-031-14663-32doi 4aPN2100-2193 7aAN2bicssc 7aHBT2bicssc 7aPER0110202bisacsh 7aATD2thema 7aATY2thema1 aQuinn, Arianne Johnson.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut10aBritish and American Musical Theatre Exchanges in the West End (1924-1970)h[electronic resource] :bThe “Americanization” of Drury Lane /cby Arianne Johnson Quinn.  a1st ed. 2024. 1aCham :bSpringer International Publishing :bImprint: Palgrave Macmillan,c2024.  aXIII, 283 p.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda1 aPalgrave Studies in British Musical Theatre,x2946-41450 a1. Introduction -- 2. Chapter 1: Cosmopolitan musical theatre styles at the Lane (1918-1934) -- 3. Chapter 2: The Drury Lane Musical Theatre Spectacle (1931-1939): “Hearts Splintering in Waltz Time” -- 4. Chapter 3: The Lane and ENSA (Entertainment National Services Association) headquarters (1939) -- 5. Chapter 5: Rodger’s and Hammerstein’s Oklahoma! Carousel and South Pacific: Imported Americana -- 6. Chapter 6: Ruritanian Imperialism in The King and I (1953) -- 7. Chapter 7: Fading Empire and British imitation: Lerner and Loewe -- 8. Chapter 8: Hello Dolly and the resurgence of the British musical the nostalgia of Lost Empire Word -- 9. Epilogue.  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 1920-1970. It argues that during this period Drury Lane was the site of cultural exchanges between Britain and the United States that were a direct result of global engagement in two world wars and the evolution of both countries as imperial powers. The critical and public response to works of musical theatre during this period, particularly the American musical, demonstrates the shifting response by the public to global conflict, the rise of an American Empire in the eyes of the British government, and the ongoing cultural debates about the role of Americans in British public life. By considering the status of Drury Lane as a key site of cultural and political exchanges between the United States and Britain, this study allows us to gain a more complete portrait of the musical’scultural significance in Britain. Dr. Arianne Johnson Quinn is an archivist, librarian, and scholar. She is currently the Music Special Collections Librarian at the Warren D. Allen Music Library, Florida State University, USA. She holds a Ph.D. in Musicology from Princeton University, and has worked as Digital Archivist and Research Associate for the Noël Coward Archive Trust. Arianne has been on the faculty of the Florida State Honors Program, South Georgia State College and Tallahassee Community College. Her research focuses on the intersections between the American and British musical in London’s West End from 1920-1970, particularly the works of Noël Coward, Kurt Weill, Lerner and Loewe, Irving Berlin, Cole Porter and Rodgers and Hammerstein. . 0aTheaterxHistory. 0aMusical theater. 0aCultural industries. 0aTheater. 0aTheaterxProduction and direction.14aTheatre History.24aMusic Theatre.24aTheatre Industry.24aGlobal and International Theatre and Performance.24aTheatre Direction and Production.2 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303114662608iPrinted edition:z978303114664008iPrinted edition:z9783031146657 0aPalgrave Studies in British Musical Theatre,x2946-414540uhttps://doi.org/10.1007/978-3-031-14663-3