Reviewing the Situation: The British Musical from Noël Coward to Lionel Bart

Contents

• Acknowledgements
• 1. Talents to Amuse: Creating the British Musical I. The British Landscape II. Creative Strands III. Looking to Past and Present IV. The West End and Broadway V. Making It Personal
• 2. Bitter Sweet (1929): Noel Coward I. Coward and the Contemporary II. Nostalgia and the Creation of Bitter-Sweet III. Operetta through a Modern Lens IV. Later Works and Influence V. Viewed from a Distance
• 3. Me and My Girl (1937): Noel Gay, Arthur Rose and Douglas Furber I. Noel Gay and the Popular Touch II. The Epitome of British Musical Comedy III. Popularity and Performance IV. A Class Act V. Distilled and Reinvented
• 4. The Dancing Years (1939): Ivor Novello I. The British Musical Romance II. Idol Pursuits III. The Camera and the Stage IV. Melody and Dramatic Expression V. The Glove and the Fist VI. Assessing the Legacy
• 5. Bless the Bride (1947): Vivian Ellis, A.P Herbert and C.B. Cochran I. The Creative Team II. Peace and the Aftermath of War III. Ellis and Elegance IV. Politics and the Personal V. The Perspective Then and Now
• 6. The Boy Friend (1953): Sandy Wilson I. Theatre and authenticity II. Small Is Beautiful III. A Love Letter to the Past V. Contemporary Contrasts VI. Transatlantic Consequences
• 7. Expresso Bongo (1958): David Heneker and Wolf Mankowitz I. Social conformity and challenge II. Making a Point III. Striking a New Tone IV. Soho and the Metropolitan Musical V. Cumulative Innovations
• 8. Oliver! (1960): Lionel Bart I. Hits and Misses II. British Heritage III. Popular to Pop IV. Genre Fusions V. Counterculture Goes Commercial
• 9. 'I Know What I am': the Bigger Picture I. The 3D View II. The Musical as Memory III. The Musical as Message IV. The International Musical V. The End of the Beginning Bibliography Index