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 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.
Instead of the ensemble existing primarily as background support for the principals, the ensemble became the “musical’s principal.” (Kerr, Walter, 1970) This shift in the ensemble – from background to foreground – is paramount, because it affected the Broadway musical on both structural and dramatic levels.
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