musicals (continued)
sophistication, 114–16; and dra-
matic and recognitions, 41–43, 47,
52; as farces, 17–18; forerunners
of, 10; future of, 209–11; incon-
gruity in, 179, 197; intellectuals’
discomfort with, 196–97; and the
love duet, 63, 69, 115–16; “mir-
roring” in, 182–87, 198–99, 208;
and the omniscience of the set in,
155–60; and opera, 5, 21–22, 22n;
and “out of the blue” numbers,
112–14; and performance, 52; and
the projection of musical ability,
66–67; as a quasi-operatic form,
21–22; realism and character
depth in, 192; and reversal, 43–46,
47–49; and romantic comedy,
179–80; solos in, 52; sources of,
160–64; technological, 173; topi-
cality of, 18; and the two orders of
time (book time and lyric time),
6–10, 31–33, 31n, 42, 52–53,
66–67, 119, 191, 199; and the use
of mirrors in, 182–87, 187n; and
the “voice of the musical,” 67–72,
75–76. See alsocharacters in musi-
cals, and reality; drama; drama,
political; ensemble numbers; film
musicals; musicals, books of; musi-
cals, and integration; popular
(pop) songs
musicals, books of, 15, 17–22, 41–42;
coherence of the book and musical
numbers, 123–25; differences be-
tween the book and musical num-
bers, 2–3, 49–50; and integration,
129–30; tensions between the
book and musical numbers, 6, 13,
191–95, 196
musicals, and integration, 141, 165,
209; and the book of the musical,
129–30; doubt concerning, 2–3,
3n4; high-tech integration,
209–10; integration theory of, 1–6,
13, 73; and plot advancement, 7–8;
and sets, 156–57. See also Okla-
homa!,integrated song from
My Fair Lady(1956), 7, 47–49,
91–92, 210; Arthur Doolittle char-
acter in, 68–69; film version of,
175; Henry Higgins character in,
7, 64–67; and “legitimate” drama,
89–91; relationship of Higgins and
Eliza in, 67–68; romantic ending
of, 91, 91n
“My Ship,” 119–20, 123; as a
diegetic number, 122–23
“My Time of Day,” 60, 69, 70, 113
Mysteries, The(2002), 151n
mystery plays, musical versions of,
151nNapier, John, 156, 160n15
narration/narrators: the narrator
who knows nothing, 151–55; the
omniscient narrator, 149–51; and
the role of God as in musicals,
150–51, 151n
Nash, Ogden, 151
Naughty Marietta(1910), 116
Neptune’s Daughter, 156
new criticism, 3–4
“Next,” 207, 207n
“Nothing,” 99O’Brien, Timothy, 156
Of Thee I Sing, 8
Offenbach, Jacques, 13
“Officer Krupke,” 49
“Oh, What a Beautiful Morning,”
83–84; as a diegetic number,
104–5, 104n2; refrain of, 110
“Oklahoma!” 85, 85n8
Oklahoma!(1943), 5–6, 14, 15, 20n,
83, 103, 179; and the aesthetics of
form, 29–30; ballet in, 93; book of,
19–21; dis-integrated song from,
40–41; dream-ballet scene from,
51–52; and the expansion of