Thomson, Virgil. “George Gershwin.” Modern Music 13 (November–December 1935): 13–19; reprinted in A Virgil Thomson Reader, 23–27. Boston: Houghton Mifflin, 1981.
———. “In the Theatre.” Modern Music 15 (January–February 1938): 113.
Walsh, David, and Len Platt. Musical Theater and American Culture. Wesport, Conn.: Praeger, 2003.
Walsh, Michael. Andrew Lloyd Webber: His Life and Works. New York: Abrams, 1989; rev. and enl. 2nd ed., 1997.
Weill, Kurt. Notes for the original cast recording of Street Scene. Columbia OL 4139.
———. “Über den gestischen Charakter der Musik.” Die Musik 21 (March 1929): 419–23; English version in Kowalke, Kurt Weill in Europe, 491–96.
Weill, Kurt, and Lotte Lenya. Speak Low (When You Speak Love): The Letters of Kurt Weill and Lotte Lenye, trans. and ed. Lys Symonette and Kim H. Kowalke. Berkeley: University of California Press, 1996.
Welsh, John. “From Play to Musical: Comparative Studies of Ferenc Molnar’s ‘Liliom’ with Richard Rodgers’ and Oscar Hammerstein II’s ‘Carousel’; and Sidney Howard’s ‘They Knew What They Wanted’ with Frank Loesser’s ‘The Most Happy Fella.’” Ph.D. dissertation, Tulane University, 1967.
Wilder, Alex. American Popular Song: The Great Innovators 1900–1950. New York: Oxford University Press, 1972.
Wilk, Max. They’re Playing Our Song. New York: Zoetrope, 1986.
Williams, Linda. Playing the Race Card: Melodramas of Black and White from Uncle Tom to O. J. Simpson. Princeton, N.J.: Princeton University Press, 2001.
Williams, Mary E., ed. Readings on “West Side Story.” San Diego: Greenhaven, 2001.
Wilson, Alexandra. The Puccini Problem: Opera, Nationalism, and Modernity. Cambridge: Cambridge University Press, 2007.
Wolf, Stacy. A Problem Like Maria: Gender and Sexuality in the American Musical. Ann Arbor: University of Michigan Press, 2002.
Woll, Allen. Black Musical Theatre: From “Coontown” to “Dreamgirls.” Baton Rouge: Louisiana State University Press, 1989.
Wood, Graham. “The Development of Song Forms in the Broadway and Hollywood Musicals of Richard Rodgers, 1919–1943.” Ph.D. dissertation, University of Minnesota, 2000.
———. “Distant Cousin or Fraternal Twin? Analytical Approaches to the Film Musical.” In The Cambridge Companion to the Musical. 2nd ed., ed. William A Everett and Paul R. Laird, 305–24. Cambridge: Cambridge University Press, 2008.
Wyatt, Robert, and John Andrew Johnson, eds. The George Gershwin Reader. New York: Oxford University Press, 2004.
Zadan, Craig. Sondheim & Co. New York: Harper & Row, 1974; 2nd ed. 1986.
INDEX
A Guide to the Index
• The Index includes all names and works in the main text and selective entries for names and works that appear in the online website (Synopses, Discography and Filmography, Appendices, and Notes).
• Titles in bold indicate the major shows and films discussed in Enchanted Evenings.
• Titles of musicals, films, plays, operas, novels, and miscellaneous other works are placed in italics.
• Titles of songs are placed in “quotes.”
• Composers and authors are placed in parentheses after the title, and categories of works other than musicals are indicated in [brackets].
• Page numbers in italics indicate musical examples.
• Page numbers in bold indicate drawings and photographs.
• Numbers preceded by a W indicate pages in the online website.
“Abbondanza” (Loesser), 250, 252
Abbott, George, xviii, xxvi, 47, 86, 87, 89, 90–91, 92, 100, 101, 104, 190, 235, 281, 396
Adams, Franklin P., 46
Addison, Adele, 169
“Adelaide” (Loesser), 322, W111n21
“Adelaide’s Lament” (Loesser), 231, 238, 246, 321, 322
Adler (Richard) and Ross (Jerry), 14, W77n20
Adler, Thomas, P., 336
Adorno, Theodor, xii
“After the Ball” (Harris), 391
“Ah, but Underneath” (Sondheim), 377
“Ah, Miss” (Sondheim), 359, 362
“Ah Still Suits Me” (Kern and Hammerstein), 26, 157, 159, W80n41
“Ah, Sweet Mystery of Life” (Herbert and Young), W98n15
Aida (John and Rice), xxvii
“Alabama-Song” (Brecht and Weill), 141
Aladdin (Porter and Perelman), 152, 232
Alda, Robert, 242
Alexander’s Ragtime Band [film], 156
All About Eve [film], 320
“All I Ask of You” (Lloyd Webber and Hart), 397, 401, 403, 406–7, W133n46
All Quiet on the Western Front [film], 165
“All the Things You Are” (Kern and Hammerstein), 39, 344
“All Through the Night” (Porter), 40, 44, 53, 159, 164, W85n32
Allegro (Rodgers and Hammerstein), 136, 143, 213, 346
All’s Well That Ends Well (Shakespeare) [play], 318
“Alms … alms …” (Sondheim), 358, 360, 362
Alpert, Hollis, W86n6, W123n83
“Always True To You in My Fashion” (Porter), 223, 318
Ameche, Don, 150
“America” (words by S. F. Smith) [same melody as “God Save the King”], 391
“America” (Bernstein and Sondheim), 280, 284, 295, 328, 329, 330, W118n27, W122n75
An American in Paris [film], 190, 263, W125n25
An American in Paris (Gershwin), 59
“Anacreon in Heaven” [same melody as Star Spangled Banner], 391
Anderson, Marian, 169, W87n39
Anderson, Maxwell, 136, 152
Andresen-Thom, Martha, 230
Andrews, Julie, 261, 271, 278, 325, W124n18
Androcles and the Lion (Rodgers), W107n33
“Angel of Music” (Lloyd Webber and Hart), 403, 405
“Angry Tony” (Loesser), 248
Annie Get Your Gun (Berlin and Fields), 14, 216, 243, W77n21, W83n71
“Another Op’nin’, Another Show” (Porter), 219, 221, 222, 315
Anstey, F. [pseudonym of Thomas Anstey Guthrie], 136
“Any Old Place with You” (Rodgers and Hart), 83
Anyone Can Whistle (Sondheim), 308, 335–36, 337
Anything Goes (Porter) [musical], xviii, 6, 7, 10, 11, 12, 13, 40–57 (41), 86, 89, 92, 101, 103, 111, 147, 155, 215, 221, 237, 238, 245, 247, 358, 373, 378
Synopsis (W1)
Discography and Filmography (W11–12)
Appendix A (W26)
Appendix E (W42–44)
Notes (W100n61)
Anything Goes [1936 film], xxiii, xxiv, 51, 155, 158, 163, 163–66, 175, 191, 217, 218, 231, 317
Anything Goes [1956 film], 159
“Anything Goes” (Porter), xi, 53, 55–56, 57, 164, 218, W85n43
Arden, Eve, 188
Arlen, Harold, 5, 14, 136, 152, W77n20
Armitage, Merle, 67
Aronson, Boris, 346
Around the World in Eighty Days (Porter), 215
Arms and the Man (Shaw), 263
Armstrong, Louis, 59
“Art for Art’s Sake” (Blitzstein), 11, 123, 126, 127, 128, 186
As Thousands Cheer (Berlin), 346, W84n27, W126n28
“The Ascot Gavotte” (Lerner and Loewe), 265, 274, 326
Asimov, Isaac, W121n52
Aspects of Love (Lloyd Webber and Hart and Black), 386, 408, 409, W130n2
Assassins (Sondheim), 337, 338, 366, 379, 382
Astaire, Fred, 85, 87, 136, 156, 178, 189, 190
Astaire (Fred and Adele), 60, 190
Astaire (Fred) and Rogers (Ginger), 39, 156, 157
“At the Fair” (Kern and Hammerstein), 27, 160
Atkinson, Brooks, 20, 43–44, 46, 62–63, 86–87, 89, 101, 102, 114, 198–99, 253, 254, 259, 262, 279, W87n25
Australia [film], 314
Avalon Boys quartet, 164, 175
Avenue Q (Lopez and Marx), xxvii,
Ayers, Lemuel, 341<
br />
Azaria, Hank, 181, 182
Babbitt, Milton, 344–46, 347, W126n26, W126n30
Babes in Arms (Rodgers and Hart), 84, 101, 180
Babington, Bruce, and Peter William Evans, 311–12
“Baby, It’s Cold Outside” (Loesser), 235, 244, 250
Bach, J. S., 241, 389
Bacchanale ballet (Weill), 136–37
Bailey, Pearl, 169
Balanchine, George, xxvi, 88, 190
Balcony Scene. See “Tonight”
“Bali Ha’i” (Rodgers and Hammerstein), 84, 108–9, W114n24
“The Ballad of Mack the Knife” (Brecht and Weill), 142, 143
“The Ballad of Sweeney Todd” (Sondheim), 352, 354, 355, 356, 359, 363
Ballet Sequence (Bernstein), 305, 329, 330
The Band Wagon (Schwartz and Dietz) [film], 87
Banfield, Stephen, xiii-xiv, xv, xxi, xxiv, xxvii, 159, 280, 351, 352, 379, 386–88, W76n13, W122n73, W122n 77, W127n48, W130n99–100
Bankhead, Tallulah, 49
Barlow, Samuel, 136
Barnes, Howard, W100n59
Barnett, Etta Moten, 70
Bathing at Asnières [painting] (Seurat), 365–66
Batman films (Burton), 398
“Be Like the Bluebird” (Porter), 53
Bean Theme (Sondheim), 372–73 (372)
Beaton, Cecil, 265, 323, 324, W124n16
The Beautiful Game (Lloyd Webber and Elton), 408, 409
Beauty and the Beast (Ashman, Menken, and Rice), xxi, xxvii
The Beauty Prize (Kern and Wodehouse), 33
“Been a Long Day” (Loesser), 259
Beethoven, Ludwig, 126, 127, 128, 338, 382, W129n78
“Being Alive” (Sondheim), W130n95
“Begin the Beguine” (Porter), 215
Beggar on Horseback (Kaufman and Connelly), 341
The Beggar’s Opera (Gay) [opera], 349
“Being Alive” (Sondheim), 377, 378–79
Belafonte, Harry, 59, 169
Belgrad, Doug, 327
Bell, Michel, 27
Bells Are Ringing (Styne, Comden and Green), 281, W116n2
Bennett, Michael, xxvii, 346, 348, 374, 376, W129n87
Bennett, Robert Russell, 20, 73, W80n47
“Bench Scene” (Rodgers and Hammerstein), 199–206 (203)
Benchley, Robert, W78n12
“Benvenuta” (Loesser), 255, 256
Berg, Alban, 59, 143, 254, 301
Berg, A. Scott, 171, 319
Bergman, Ingrid, 195
Berlin, Irving, 5, 15, 156, 216, 217, 234, 243, 250, W77n20
Berlioz, Hector, 355
Berman, Pandro, W90n7
Bernstein, Aline, W98n17
Bernstein, Felicia, 282, W120n44
Bernstein, Leonard, xii, xxvi, 6, 11, 15, 114, 136, 279–308 (284), 327–32, 335, 336, 342, 348, 350, 351, 365, 382, 392, W115n46, W129n82
“Bess, You Is My Woman Now” (G. and I. Gershwin and Heyward), 59, 66, 67, 69, 75, 76, 79–80, 81
Bess’s theme (Gershwin), 78–80, W89n81
“The Best Years of His Life” (Weill and I. Gershwin), 140, 145
The Best Years of Our Lives [film], 320
“Bewitched” (Rodgers and Hart), 98, 104–7 (106), 110, 111, 179, 238
Beymer, Richard, 328
“Bianca” (Porter), 217, 218, 224, 226, 228, 315
“Big D” (Loesser), 252, 253, 254, 255
“Bill” (Kern, Wodehouse, and Hammerstein), 26, W81n52
Bing, Rudolf, W87n39
Björnson, Maria, 387
Blackwell, Harolyn, 177
Blades, Rubén, 184
Blaine, Vivian, 321
Blakemore, Michael, xviii
Blitzstein, Marc, xxvi, 11, 15, 112–28 (113), 136, 144, 180–86, 284, 286, W115n46, W121n67
Block, Geoffrey, W74n12, W76n13, W77n25, W121n63
Bloom, Harold, 277, W76n7, W110n35
Blore, Eric, 156
Blossom Time (Romberg and Donnelly), 390, W131n17
“Blow, Gabriel, Blow” (Porter), 40, 53, 55, 159, 164
Blue Monday (Gershwin), 59
Blues (from “The Dance at the Gym”) (Bernstein), 295, 305, W118n32
Boccherini, Luigi, W103n29
Bock (Jerry) and Harnick (Sheldon), xxvi
Bogin, Abba, W112n43
Boléro (Ravel), 104
Bolger, Ray, 85, 86, 91, 235, 236
Bolton, Guy, 46, 47, 50. See also Wodehouse (P. G.) and Bolton (Guy)
Bombay Dreams (Rahman and Black), 408
“Bon Voyage” (Porter), 44
Bond, Christopher, 349, 352–53
Bordman, Gerald, xiii, xix, 52, W73n4, W78n8, W80n46, W80n47, W98n21
Bordoni, Irene, 42, 49
Boris Gudunov (Musorgsky), 28
Born to Dance [film], 156, 189
Borodin, Alexander, 233
“Boruch attah adonoi” (Jewish prayer), 77
Boswell, John, 211
Boublil (Alain) and Schönberg (Claude-Michel), xxi, xxvi, xxvii, 394
Boulanger, Nadia, 116
Bounce (Sondheim). See Road Show
“A Bowler Hat” (Sondheim), 379
“A Boy Like That / I Have a Love.” See “I Have a Love”
The Boys from Syracuse (Rodgers and Hart), 47, 84, 97, 101
The Boys in the Photograph. See The Beautiful Game
Brando, Marlon, 319, 320–21, 325
Brecht, Bertolt, 112, 116, 117, 120, 124, 131, 140, 141, 142, 143, 147, 183
Breen, Joseph, 164
Brice, Fanny, 105
Bridge, Andrew, 387
Brigadoon (Lerner and Loewe), 14, 263, 278
Brightman, Sarah, 385, 395, W7
Bristow, Eugene K., and J. Kevin Butler, 336–37
Broadway Melody of 1940 [film], 156, 189
Broderick, Matthew, 259
“Brotherhood of Man” (Loesser), 245
Brown, Anne, 175
Brown, Gwynne Kuhner, W88n67, W102n14
Brown, Jason Robert, xxvi
Brown, Joe E., 158
Brown, John Mason, 102
“Brush Up Your Shakespeare” (Porter), 219, 225, 226, 318
Brynner, Yul, 324
Bubbles, John W., 71
Buckley, Betty, W125n1
“Buddie, Beware” (Porter), 45, 46, 50, 358
Bullets over Broadway [film], 180
Burleske for piano and orchestra (R. Strauss), W118n26
Burns (George) and Allen (Gracie), 190
Burton, Humphrey, 294, W118n29, W121n57
Burton, Richard, 278
Burton, Tim, xxiii, 349, 355, 360–61, 363, 364, 365, 398
Burrows, Abe, 237–38, 252, 259, 320
“A Bushel and a Peck” (Loesser), 322
Busoni, Ferruccio, 136, 262
Butler, Gerard, 399
“Buzzard Song” (G. Gershwin and Heyward), 7, 65–69, 75, 76, 81, 170, 175
By George (Sondheim), 340, W125n15
By Jeeves (Lloyd Webber and Ayckbourn), 385
By Jupiter (Rodgers and Hart), 84, 85, 109
Enchanted Evenings:The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber Page 55
