Candide(Voltaire), 22, 79, 91
“Can’t Help Lovin’ Dat Man”: and
the chorus as a melody, 107; as a
diegetic number, 105–9; refrain
of, 109
capitalism, 27–29
Carousel, 20–21, 42, 70, 83, 143, 151,
179; ballet in, 93; Bench Scene of,
20n, 134–39; individualistic ethic
of, 85–86; Julie and Nettie’s duet
in, 86, 88
“Carousel Waltz,” 85, 128–29
Carson, Doris, 63
Cats, 11
Channing, Carol, 157
Chapin, Ted, 59n
characters in musicals, and reality,
54–55, 56n3, 60, 71; and deepen-
ing of character, 59n; as an effect
of song character and book char-
acter, 61; and Maria in West Side
Story, 55–58
Chicago, 23–24, 158; editing of dance
scenes in, 177; film version of,
176–77; and lip-synching, 177–78
Chorus Line, A(1975), 14, 24, 25,
102, 103, 185n4, 207; book of, 98;
and the convention of ensemble
performance in, 98–101; dance in,
139; as example of the drama of
the completed dance, 117–18; and
individualism, 98–99; lack of a set
in, 158; and simultaneity, 99; use
of extra dancers in, 184–85, 185n3;
use of mirrors in, 183–85, 198;
Zach and Cassie relationship in,
99–101, 100n, 184–85. See also
specifically listed individual songs from
Clum, John, 181
“Cockeyed Optimist, A,” 88
Cohen, George M., 145
Cole, Stephen, 158
Coleman, Cy, 76
Collins, Dorothy, 189–91, 193–94
“Color and Light,” 163
Colt, Ethel Barrymore, 189, 190
Comedy of Errors, The(Shakespeare),
116
“Company,” 97
Company(1970), 24, 197; challenging
of the ensemble tendency of the
musical in, 96–98
Complete Phantom, The(Perry), 166
Composer’s Voice, The(Cone), 68n8
Cone, Edward, 68n8
“Cool,” 175
“Cotton Blossom,” 71–72
Culler, Jonathan, 128ndance, 139–41, 143–45; and the
drama of the completed dance,
116–17; social, 11–12; unison
dancing, 118n11. See alsoballet;
Little Night Music, A, purpose of
the waltz in
Dancer in the Dark, 177
de Mille, Agnes, 93
DeCarlo, Yvonne, 189–90
“Diamonds Are a Girl’s Best
Friend,” 157
Die Meistersinger, 116
diegetic, definitions of: in film the-
ory, 104n1; as narrative, 104n1; in
opera, 104n1. See alsomusicals,
and the diegetic number
“Dites-Moi,” 88
“Don Juan Triumphant,” 166
Dowson, Ernest, 111
Doyle, John, 148
drama, 52; African-American, 6n11;
and the completion of song or
dance numbers, 116–19; of differ-
ence, 210; of disjunction, 25; Eliz-
abethan, 25; Greek, 192; “legiti-
mate,” 89–91; musical, 55, 68. See
alsodrama, political; melodrama
drama, political, 198–200, 210; and
coherence, 208–9; and political re-
alism, 72; responsibilities of, 14
Duchess of Malfi, The, 26