Music in Gotham and Song, Stage and Screen III present a conference on American Musical Theater: Program Program Wednesday, April 2 9:45 a.m. Welcome 10:00-11:30 a.m. Text and Event Chair: John Graziano, The City College and Graduate Center, CUNY Doug Reside, University of Maryland, College Park An Electronic Edition of The Black Crook Jonas Westover, The Graduate Center, CUNY Orchestration in the Early Twentieth-Century Revue: Frank Saddler, Sol Levy, and The Passing Show of 1914 Garrett Eisler, The Graduate Center, CUNY Encores! and the Downsizing of the American Musical Theater 11:45 a.m.-12:45 p.m. Duets Chair: John Graziano, The City College and Graduate Center, CUNY Wynn Yamami, New York University Men, Women, and the European Canon on the American Stage Brian Hoffman, University of Cincinnati “If I Loved You”: Problems and Solutions in First-Act Love Songs of Hart and Hammerstein 2:00-3:30 p.m. Musical Theater Orchestrators, Past and Present Chair: William Everett, University of Missouri, Kansas City George Ferencz, University of Wisconsin-Whitewater Jon Alan Conrad, University of Delaware Bruce Pomahac, Rodgers and Hammerstein Organization “Understanding and Preserving the Craft of the Musical Theater Orchestrator 3:45-5:15 p.m. The Canon Chair: William Everett, University of Missouri, Kansas City Katherine Axtell, University of Rochester “Gaudy Name” or Gray Eminence: Florenz Ziegfeld, Jr. and the Genesis of Show Boat Larry Stempel, Fordham University The First History of the American Musical: Text, Context, Subtext bruce mcclung, University of Cincinnati George Gershwin, Kurt Weill, and the Jewish Immigrant Experience Thursday, April 3 9:00-11:00 a.m. Rodgers and Hart and the Integrated Musical Chair: bruce mcclung, University of Cincinnati Larry Bomback, New York Scalar Passages in Rodgers and Hart Dominic Symonds, University of Portsmouth Castration on the Stage: the Integrated Musicals of Rodgers and Hart Paul Christman, University of Oklahoma Pal Joey: Reconstructing a Classic Rodgers and Hart Score Robert Gordon, University of London Golden age and After: the Persistence of Musical Comedy 11:15 a.m.-12:15 p.m. Outside America Chair: bruce mcclung, University of Cincinnati Julie Jackson-Tretchikoff, University of Auckland From Broadway to Auckland: the Key Role Played by Amateur Musical Theatre Tony Castro, Trinity College of Music Any Dream Will Not Do 1:30-3:30 p.m. Inside America: Politics Chair: Paul R. Laird, University of Kansas Orly Leah Krasner, Hofstra University Love, Loyalty, and the Civil War: When Johnny Comes Marching Home Jennifer Jones Cavenaugh, Rollins College Hooray For What!: A Glimpse into the Golden Age of Sexual Harassment Tim Carter, University of North Carolina, Chapel Hill Leftward Leaning, Still Proceeding . . . :”Left-Wing” Musical Theater, 1936-37 Laura MacDonald, Central School of Speech and Drama Selling the “Age of Aquarius” and the Continental Congress: How Draft Dodgers and Presidents Found Themselves SRO on Broadway 3:45-5:15 p.m. Sondheim Chair: Paul R. Laird, University of Kansas Peter Purin, University of Kansas An Analytical Approach to Performing Company: Sondheim’s Musical Roadmap for the Singer-Actor Lara Housez, Eastman School of Music Sunday in the Park with Sondheim, Babbitt, and Seurat Olaf Jubin, Regents College, London One More Folly?: The London Version of Follies Friday, April 4 9:00-11:00 a.m. Stars Chair: David Savran, The Graduate Center, CUNY Margaret Farrell, The Graduate Center, CUNY I’ll Say She Is: The Construction of a Star Vehicle Ann Ommen, Ohio State University Integration in the Revue: Theatrical Functional Music in the Ziegfeld Follies Ben Macpherson, University of Winchester “Eliza, Where the Devil Are My Songs?”: The psychology of voice and performance in Rex Harrison’s “Henry Higgins” John M. Clum, Duke University A Woman’s Touch: Mary Martin and Doris Day and Learning Femininity in the 1950s 11:15 a.m.-12:15 p.m. Orientalism 1 Chair: David Savran, The Graduate Center, CUNY Jennifer CHJ Wilson, The Graduate Center, CUNY “Benevolent Assimilation” on the Great White Way William Everett, University of Missouri, Kansas City Orientalism, World War I Propaganda, and the Musical: The Dual Histories of Katinka and Chu Chin Chow 1:30-2:30 p.m. Orientalism 2 Chair: Dominic Symonds, University of Portsmouth, UK George Burrows, University of Portsmouth Lute Song: Raymond Scott’s Phantasy Rena Charnin Mueller, New York University “Baghdad! Don’t Underestimate Baghdad!”: Kismet and the Orientalist Fantasy 2:45-4:15 p.m. Artist-Identified Approaches Chair: Dominic Symonds, University of Portsmouth, UK Paul R. Laird, University of Kansas Roger Imhof (1875-1958): A Vaudeville and Burlesque “Rube” and Irish Comic on Tour Lisa Gennaro, Barnard College Agnes de Mille and Jerome Robbins Nicole Morton, University of Cincinnati Larson’s “Legacy”: Mis-Reading Rent 4:30-5:30 p.m. Wine and Cheese Reception Saturday, April 5 10:15 a.m.-11:15 a.m. Identity Chair: Stacy Wolf, University of Texas at Austin Elizabeth L. Wollman, Baruch College, CUNY The Gay and Women’s Liberation Movements As Seen Through the Lens of “Adult” Musicals in New York City During the 1970s Hilary Baker, University of Pennsylvania “I’ll Cover You”: Queer Community and Voice in Jonathan Larson’s Rent Aaron C. Thomas, Florida State University The Legacy and Reclamation of the Mammy in Caroline, or Change 1:00-2:00 p.m. Television and Film Chair: Stacy Wolf, University of Texas at Austin Mary Jo Lodge, Lafayette College Viva Laughlin: Cop Rock II or The Coming of Age of the Television Musical? Dana Gorzelany-Mostak, McGill University Two to Tango: Recoding the Discourse of the Tango in the Modern Film Musical 2:15-3:45 p.m. Popular Culture Chair: Larry Stempel, Fordham University Scott Warfield, University of Central Florida Bye Bye Birdie: Rock ‘n’ Roll Comes to Broadway Raymond Knapp, University of California in Los Angeles Performing Authenticity; or, Why the Musical Doesn’t Seem to Count as Popular Music James Lovensheimer, Vanderbilt University L’il Abner: Cornpone and the Cold War 4:00-5:30 p.m. Reception Chair: Larry Stempel, Fordham University David Savran, The Graduate Center, CUNY The Pleasure of the Musical Michael Garber, New York Reception and the “Come On” Gesture in Songs of the American Musical, 1900-1940 Kathryn Edney, Michigan State University The Re-Integrated Musical: Oprah Winfrey Presents The Color Purple