Paris and the Musical : The City of Light on Stage and Screen (Hardcover)

Introduction Part I. Capital Paris1. Paris as Symbol ? Venita Datta2. ‘Yes, I’m a Gay Parisian!’ Establishing the Trope of ‘Gay Paree’: The Merry Widow ? Stefan Frey3. ‘Come and Play Wiz Me in Gay Paree’: Approaching Cole Porter’s Paris ? Hannah Robbins Part II. Broadway Paris4. Dressed by Paris: Mlle Modiste, Roberta and No Strings ? Maya Cantu 5. Liberated by Paris: A Reconsideration of Three Broadway ‘Flops’ ? Miss Liberty, Ben Franklin in Paris and Dear World ? Michael Garber 6. Seduced by Paris: Irma La Douce and Its Journey to Broadway ? Stewart Nicholls Part III. Hollywood Paris7. The Capital of Pre-Code Operettas: Paris at Paramount and MGM ? Marguerite Chabrol8. Paris as Location: Funny Face, Les Girls, Silk Stockings and Gigi ? Julia Foulkes 9. Paris by Hand: Gay Purr-ee and Aristocats ? Daniel Batchelder Part IV. West End Paris10. Shockwaves at a Distance: Ellis and Herbert’s Bless the Bride ? John Snelson 11. Performing Paris. Les Miserables, The Phantom of the Opera and Aspects of Love ? John Snelson 12. The Courtesan and the Collaborator: Marguerite ? Clare Chandler Part V. Naughty Paris13. Gay Shame in Gay Paree: Re-contextualising Gender Progressiveness in Two Film Versions of Victor/Victoria ? Florian Seubert14. A la recherche de quel temps? Can-Can and the Fluidity of Paris perdu ? Raymond Knapp and Mitchell Morris 15. Art, Artifice and Artificiality: the Various Versions of the Musical Gigi ? Olaf Jubin Part VI. Artistic Paris16. ‘Artists in Art’s Capital City’: Americans in Paris on Screen and Stage ? Robert Gordon 17. Paris and the Curse of Chicago in Stephen Sondheim’s Sunday in the Park with George ? Robert Lawson-Peebles 18. The Paradoxical ‘Frenchness’ of an Australian Musical: Baz Luhrmann’s Moulin Rouge! ? Pierre-Olivier Toulza Conclusion