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Changed for Good

- A Feminist History of the Broadway Musical

About Changed for Good

From Maria in "West Side Story" to Tracy Turnblatt in "Hairspray" and Elphaba in "Wicked," female characters in Broadway musicals have belted and crooned their way into the American psyche. In this lively book, Stacy Wolf illuminates the women of American musical theater-performers, creators, and characters-from the start of the cold war to the present day, creating a new, feminist history of the genre, which finds often overlooked moments of empowerment for female audience members. Moving from decade to decade, Wolf first highlights the assumptions that circulated about gender and sexuality at the time, and then looks at the leading musicals, stressing the key aspects of the plays as they relate to women. The musicals discussed here are among the most beloved in the canon-"West Side Story," "Guys & Dolls," "Cabaret," "Phantom of the Opera," and many others-with special emphasis on the blockbuster "Wicked." Along the way, Wolf demonstrates how the musical since the mid-1940s has actually been dominated by women-women onstage, women in the wings, and women offstage as spectators and fans.

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  • Language:
  • English
  • ISBN:
  • 9780195378238
  • Binding:
  • Hardback
  • Pages:
  • 320
  • Published:
  • July 27, 2011
  • Dimensions:
  • 239x163x25 mm.
  • Weight:
  • 544 g.
Delivery: 2-3 weeks
Expected delivery: December 18, 2024
Extended return policy to January 30, 2025

Description of Changed for Good

From Maria in "West Side Story" to Tracy Turnblatt in "Hairspray" and Elphaba in "Wicked," female characters in Broadway musicals have belted and crooned their way into the American psyche. In this lively book, Stacy Wolf illuminates the women of American musical theater-performers, creators, and characters-from the start of the cold war to the present day, creating a new, feminist history of the genre, which finds often overlooked moments of empowerment for female
audience members. Moving from decade to decade, Wolf first highlights the assumptions that circulated about gender and sexuality at the time, and then looks at the leading musicals, stressing the key aspects of the plays as they relate to women. The musicals discussed here are among the most beloved
in the canon-"West Side Story," "Guys & Dolls," "Cabaret," "Phantom of the Opera," and many others-with special emphasis on the blockbuster "Wicked." Along the way, Wolf demonstrates how the musical since the mid-1940s has actually been dominated by women-women onstage, women in the wings, and women offstage as spectators and fans.

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