Lahr, John, 20n
Lancaster, Elsa, 26
LaTouche, Jerome, 22
Laurents, Arthur, 48–49, 140
“Laurey Makes Up Her Mind,”
50–51
“Laurey’s Dream,” 93
Lehar, Franz, 13
Lerner, Alan Jay, 23, 48, 66, 91
Les Misérables,13, 170; set changes
in, 160, 160n15
Lessner, Joanne Sydney, 158
Liliom(Molnar), 21, 42, 63, 86, 129,
134–35
“Lion Dance,” 207
Lion King, The,13, 170
lip-synching, 177–78
Little Night Music, A, 8, 72–73,
75–76, 79, 130; purpose of the
waltz in, 75n; set changes in, 159,
159–60n14
“Little Priest, A,” 171, 173, 182–83
“Live, Laugh, Love,” 194
Loesser, Frank, 20, 63, 76
Lohengrin, 150
“Look for the Silver Lining,” 18
“Look on the Bright Side,” 154–55
“Losing My Mind,” 59n, 193, 194
Loewe, Frederick, 48, 66, 91
“Luck Be a Lady Tonight,”
44–45, 107
lyrics: AABA structure of, 35, 39,
56–58, 106, 107, 136–37, 197–98;
mirror of, 191; significance of the
refrain in, 109–12. See alsomusi-
cals, and the two orders of time
(book time and lyric time)
Mackintosh, Cameron, 156
“Make Believe,” 132, 133–34, 139
“Make Our Garden Grow,” 78–79
Making Americans(Most), 85n8
Malneck, Matty, 146
Man of La Mancha, 151
Mandelbaum, Ken, 118
“Many a New Day,” 84
“Maria,” 59, 143, 143n12, 145
Marriage of Figaro, The(Mozart), 75n
“Marry the Man Today,” 7–8, 47,
60, 70
Martin, Mary, 22
McCarty, Mary, 189–90, 191
McCraken, Joan, 26n
McGlinn, John, 114–15
McKechnie, Donna, 141
Me and Juliet, 23, 89
melodrama, 131–32, 132n;
Victorian, 132n
Mendes, Sam, 202n16
Merman, Ethel, 33, 50
Miller, Arthur, 6
Miller, D. A., 181
Miller, Marilyn, 17
“Miller’s Son, The,” 159
“Misery’s Comin’ Round,” 128
Miss Saigon, 156, 170
Molnar, Ferenc, 86, 129
“Money,” 153
Mordden, Ethan, 20n, 54, 92n
Morgan, Helen, 106, 108
Moross, Jerome, 22
Most Happy Fellow, 22n
Mostel, Zero, 26
Moulin Rouge, 177
“Move On,” 119, 124, 163, 163n
music, and real time, 42n
“Music and the Mirror,” 158, 183–84
Music Man, The, 147
“musical comedies,” 12; “musical
play” as replacement for, 20n
“musical narrator,” 128
musicals, 72n11; and African-
American theater, 210–11; back-
stage, 17, 102–3; challenge of to
“rugged individualism,” 76, 81n;
and coherence, 73, 208–9; concept
of, 22–25, 93–98; cultural bias
against as “popular entertain-
ment,” 4–5; and the diegetic num-
ber, 103–5; 104n1; and diegetic