Abbate, Carolyn, 68
“Adelaide’s Lament,” 70
Adorno, Theodor, 31n
“Advantages of Floating in the
Middle of the Sea, The,” 207n
After the Fair, 158
“Ah, But Underneath,” 194
“Ah, Sweet Mystery of Life,” 116, 124
Ahrens, Lynn, 210
“All er Nothin’,” 61–62, 69; perfor-
mances in front of stage between
scene changes, 62–63
“All I Ask of You,” 168
Allegro, 23, 89
American Musical, The(Knapp), 85n8
“Among School Children,” 141
Aristotle, 6, 6n12; on the compo-
nents of tragedy, 7
Assassins, 154, 197; Lee Harvey
Oswald character in, 155
Astaire, Adele, 15, 21, 79, 157–58,
198
Astaire, Fred, 15, 21, 79, 157–58;
film musicals of with Ginger
Rodgers, 175–76
Auden, W. H., 31, 31n
Babes in Arms, 102
Balanchine, George, 51, 93; on
dance, 140–41
ballet, 80, 80n2
Banfield, Stephen, 55, 58, 163n
Barras, Charles M., 80n2
Behrman, S. N., 22
“Being Alive,” 96, 96n
Bennett, Michael, 24, 210
“Ben’s Folly,” 194
Bentley, Eric, 4; criticism of
musicals, 14
Berlin, Irving, 27
Berlin Stories(Isherwood), 200
Bernstein, Leonard, 20, 22, 56,
93, 143
“Best of All Possible Worlds,
The,” 92
Bjornson, Maria, 156
Black Crook, The, 80, 80n2
Blake, Eubie, 27
Bledsoe, Jules, 107n
Blount, Helon, 189
Bolger, Ray, 63, 117
Bolton, Guy, 17–18
“Boy Like That, A” 72
Boys from Syracuse, 115
Brecht, Bertoldt, 25–30; on the capi-
talist economic system, 26–27;
opinion of Oklahoma!, 26
Broadway Musical, The: A Critical and
Musical Survey(Swain), 20n,
85n9, 133
Burckhardt, Sigurd, 110
“Bushel and a Peck, A,” 113
By Jupiter, 151Cabaret(1966), 14, 22–23, 24, 77,
102, 207; challenging of musical
conventions in, 93–96; character
of Cliff in, 201–2; and the code of
individualism in Sally Bowles, 95;
Master of Ceremonies character
in, 153–54, 154n6; and Nazi ideol-
ogy, 94; orchestra of, 147–48; po-
litical nature of, 200–202; staging
of, 154, 200, 202n16. See also
specifically listed individual songs
from
Candide(1956), 78, 92n, 151–52; fail-
ure of, 92; opening scene of, 92