Ebb, Fred, 22–23, 76, 210
Edwards, Cliff, 79
Egoyan, Atom, 59
Eliot, T. S., 4, 4n6
Engel, Lehman, 5, 5n10
ensemble numbers, 76–77, 78–79,
83, 89, 185n4; “Clambake” version
of, 81–82; ensemble as a dramatic
event, 79; inversion of the ensem-
ble ethos in Candideand West Side
Story, 91–93; origins of, 80–81
“Epiphany,” 170, 171–72, 179, 182
“Everybody’s Got the Right to Be
Happy,” 197, 197n13
Everything Was Possible(Chapin), 59n
Everything’s Coming Up Roses
(Mordden), 54, 92n
“Everything’s Up to Date in Kansas
City,” 84
Falsettoland, 158
Falsettos, 78
Fanny(1954), 22
“Fascinating Rhythm,” 79, 80
Fergusson, Francis, 4, 4n8
Fermat’s Last Tango, 158n
Fiddler on the Roof(1964), 152–53
Fields, Lew, 145
film musicals, 14, 173–78; irrele-
vance of the stage in, 174–75; and
spatiality, 176–77; theater and film
differences, 174
finale ultimato, 79
finalettos, 79
Finian’s Rainbow, 148n
Finn, William, 76, 78, 158, 210
Fitzgerald, Ella, 108
Flaherty, Stephen, 210
Folies Bergère, 11
Follies, 17, 24, 25, 102, 195n, 207; as
both a revue a and book show,
187–88; cast of, 189, 189n; flash-
backs in, 188; ghost effect in, 190;
mirror scene in, 187, 188–89, 195,
198; torch songs in, 193–94; use of
lyric time in, 188; vulnerability of
character in, 194–95. See also specif-
ically listed individual songs from
“Follow the Fold,” 112–13
Forbidden Broadwaysatires, 11
Fordin, Hugh, 84
formalism, in music/dance debate,
111n9
Fosse, Bob, 23, 210
Friedman, Michael, 196
Friml, Rudolf, 13
Funny Face(1927), 15, 18,
157–58, 198Galileo(Brecht), 26n
Gardella, Tess, 106
Gentlemen Prefer Blondes, 157
Gerard, Paul, 15
Gershwin, George, 79
Gershwin, Ira, 19, 79, 119–20, 173
Gesamtkunstwerk, 3
Gilbert, William Schwenck, 13
Girl Crazy(1930), 32
“God-Why-Don’t-You-Love-Me
Blues,” 193
Golden Apple(1954), 22
Green, Paul, 19
Green Grow the Lilacs(Riggs), 19, 34,
37–39, 84, 104n2, 126
“Guys and Dolls,” 70
Guys and Dolls(1950), 8, 43–47, 47n,
59–60, 70, 130; and “out of the
blue” numbers, 112–13; song re-
semblances of Sky Masterson and
Nathan Detroit, 69–70. See also
specifically listed individual songs from
Gypsy, 49; use of mirrors in,
186–87, 198Hair, 78, 78n
Hamlisch, Marvin, 118
Hammerstein, Oscar, II, 1, 2, 9–10,
11, 19, 21–22, 63, 76, 151; advice
to Sondheim concerning Gypsy,
50; and concept musicals, 23; and