The Musical: Race, Gender and PerformanceThis study explores one of the most popular and successful of genres, yet one that has not fully enjoyed critical recognition to match. Combining a detailed analysis of individual musicals with an in-depth consideration of racial and gender issues, Susan Smith examines the rich interactions that occur between music, performance and narrrative, as well as the use of the female voice and the female singer in certain 'Pygmalion'/'Svengali'-style narratives. Films studied include Show Boat (1936, 1951), Cabin in the Sky (1943), Singin' in the Rain (1952), A Star Is Born (1954), West Side Story (1961), My Fair Lady (1964) and Funny Girl (1968). |
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ability African American all-black musical Angela Bassett Anna Mae argues attempt backstage musical blackface Bogle Cabin Cagney's career Chance on Love cinema club complex couple's crucial culture dance display Doris Day Dyer earlier effect Eliza Esther's singing Ethel Waters expression Fair Lady female singer female singer's voice female singing voice film film's final number further Gaylord gender genre George Cukor Higgins highlight Hollywood musical identity Jean Hagen Joe's Lina male mentor figure male protagonist movie musical number musical's narrative nightclub Norman offers Old Man River oppression overall performance persona Petunia Pygmalion racial reinforce relationship release rendition Rogin role Ruth Ruth Etting scene sense sequence Show Boat shown Shrine auditorium Singin Snyder song stage Star is Born stereotyped strategies Svengali Taking a Chance tendencies tends Tina Turner tion utopian Vincente Minnelli vocal What's Love white characters woman's voice