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Introduction
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This book examines how Stephen Sondheim’s work with several collaborators has altered the course of musical theater history in the United States. Consisting of twenty-seven chapters, it considers problematic questions of authorship within the framework of Broadway musical theater, focusing on intertextuality, direct influence, and original innovation. It discusses how Sondheim has integrated his aesthetic ideals and the postmodern sensibility informing his musicals, fromCompanytoRoad Show, with the commercial values of the Broadway musical. It also looks at Oscar Hammerstein II’s formative influence as mentor to the young Sondheim, the reorchestration of Sondheim’s musicals for different (and smaller) groups of musicians, the notion of the musical as a performance event, the politics of Sondheim performance in the United States, Sondheim’s interest in and sensitivity to audiovisual media such as cinema and television, and his subtle and often ironic exploitation of pastiche and parody. Furthermore, the book addresses questions of cultural, political, and personal identity posed by Sondheim’s musicals in the context of contemporary American society.
Title: Introduction
Description:
This book examines how Stephen Sondheim’s work with several collaborators has altered the course of musical theater history in the United States.
Consisting of twenty-seven chapters, it considers problematic questions of authorship within the framework of Broadway musical theater, focusing on intertextuality, direct influence, and original innovation.
It discusses how Sondheim has integrated his aesthetic ideals and the postmodern sensibility informing his musicals, fromCompanytoRoad Show, with the commercial values of the Broadway musical.
It also looks at Oscar Hammerstein II’s formative influence as mentor to the young Sondheim, the reorchestration of Sondheim’s musicals for different (and smaller) groups of musicians, the notion of the musical as a performance event, the politics of Sondheim performance in the United States, Sondheim’s interest in and sensitivity to audiovisual media such as cinema and television, and his subtle and often ironic exploitation of pastiche and parody.
Furthermore, the book addresses questions of cultural, political, and personal identity posed by Sondheim’s musicals in the context of contemporary American society.
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