ensemble in, 84–85; and the “for-
getting” of American Indians in,
85; gay and lesbian response to,
85n8; as an integrated musical, 1;
integrated song from, 33–40,
50–51; role of the orchestra in,
126–27. See also specifically listed
individual songs from
“Ol’ Man River,” 198
Old Possum’s Book of Practical Cats
(Eliot), 24
“Oldest Established Permanent
Floating Crap Game in New
York,” 114
“On the Street Where You Live,” 69
“On the Western Circuit” (Hardy),
158n
On Your Toes, 17, 63, 103, 115; dance
scene in, 116–17
“On Your Toes,” 115
“One,” 99–100, 118–19, 185, 185n4
“One Life to Live,” 120
One Touch of Venus, 151
O’Neill, Eugene, 6
opera, 3, 5, 21–22, 22n22, 59, 150,
196; love duets in, 63; and musical
simultaneity, 75n; and the “voice
of the opera,” 68, 69n8
operettas, 10–15, 17, 28, 63, 179; de-
pendence of on narrative events,
11; disguise and mistaken identity
as plot elements in, 12–13; English
model of, 12; French model of, 12;
and popular social dances, 11–12;
and satire, 11–12; Viennese model
of, 12
orchestra, 124–25; defined as “the
place for dancing,” 141; diegetic
nature of, 145–48; and integration,
130; and omniscience of, 127–30,
128n, 149–50, 164, 165; and the
overture, 128–29; performance of
on stage instead of in the orchestra
pit, 146–47, 149; placement of, 77;
power of in musical theater, 124;
singer-actors as members of, 148;
and underscoring, 130–34, 137–38
organic wholeness, 3–4Pacific Overtures, 24, 25, 200, 207–8;
book scene of, 202–4, 206; cake-
walk dance number in, 204–6;
lyric time and progressive time in,
206; political nature of, 204–7; tra-
ditional Japanese culture in,
204–6; use of the narrator in,
155n. See also specifically listed indi-
vidual songs from
Pagnol, Harold, 22
Pal Joey, 102, 115
Passing Shoe, The(1894), 12n
“passing shows,” 11
“People Will Say We’re in Love,”
107; as a “dis-integrated” song,
40–41
performance (theatrical): and dra-
matic significance, 52; doubling of,
52, 54; “phenomenal,” 104n1
Phantom of the Opera,13, 22, 102,
156, 171, 173; Christine’s relation-
ship with the phantom in, 168–70;
as fulfilling the promise of the in-
tegrated musical, 165; importance
of the stage to, 174; and the male
fantasy of being unlovable, 167n;
motif of masks in, 167–68; oper-
atic tendency of, 165–66; stage
technology in, 166–67, 168; and
systems of omniscience, 167; and
the “through-sung” musical, 165,
166, 169, 170; use of mirrors in,
185–86. See also specifically listed in-
dividual songs from
“Pick Yourself Up,” 176
Pinza, Ezio, 22
“Place for Us, A,” 55
Playwright as Thinker, The(Bentley), 4
Poetics(Aristotle), 6, 7
poetry, 4n6
“Point of No Return,” 166