Stacy Wolf: The Role of Christine and Other Megamusical Women as Tools for the Exploration of Male Characters, but Necessarily as Characters Unto Themselves
American, made spectacle, which would be come to be known as the megamusical. The Phantom of the Opera is the most successful version of this type of show on Broadway. Opening on January 26, 1988, The Phantom of the Opera has enjoyed an unprecedented thirty-plus year run in New York City.
She was the editor of Theatre Topics: A Journal of Pedagogy and Praxis in 2001-2003. She also oversees the Lewis Center’s Music Theater Lab and has experience as a director and dramaturg.Recent publications include “Wicked’s Women and Other Queer Conventions in the 21st Century Broadway Musical” ( Theatre Journal, 2008); " Wicked Divas, Musical Theater, and Internet Girl Fans” ( Camera Obscura, 2007); and “In Defense of Pleasure: Musical Theatre History in the Liberal Arts (A Manifesto)” ( Theatre Topics, 2007). Her essay, "'We'll Always Be Bosom Buddies': Female Duets and the Queering of Broadway Musical Theatre" in GLQ ( Gay and Lesbian Quarterly) (2006), won the year’s award for Best Essay in Theatre Studies from the Association for Theatre in Higher Education.Wolf's manuscript-in-progress, The American Musical After Broadway: Dinner Theatres, Road Shows, and Amateur Hours explores the persistence of musical theatre across the country in amateur and semi-professional venues like summer camps, high schools, Jewish Community Centers, African American churches, dinner theatres, and non-Equity touring companies. She is also working a biography of Mary Martin, star of South Pacific, Peter Pan, and The Sound of Music.Wolf teaches courses in American musical theatre history (including a seminar on the musicals of Stephen Sondheim), dramaturgy and dramatic literature, histories of U.S. performance, performance theory, and performance studies.
Women performers like Mary Martin and Ethel Merman were a primary draw for audiences, and they could almost guarantee a certain degree of critical and commercial success. This form of performance places women, as stars, as supporting players, and in the chorus, center stage, creating a place of pleasure and identification for lesbian spectators.
Joyce, Valerie M. “Rodgers and Hammerstein: The Sound of Money.” In The Palgrave Handbook of Musical Theatre Producers, edited by Laura MacDonald and William A. Everett, 173-190. New York: Palgrave Macmillan, 2017.
Kerr, Walter. “Company: Original and Uncompromising.” The New York Times, May 3, 1970.
Lassell, Michael. Disney’s The Little Mermaid: A Broadway Musical – From the Deep Blue Sea to the Great White Way. New York: Disney Editions, 2009