“Poor Thing,” 170
popular (pop) songs, 27–28, 28n,
34–35n5, 56, 132; AABA structure
of, 197–98, 198n13; allusion in,
111–12; torch song tradition,
192–94. See alsosong, repetition in
Porgy and Bess, 5, 22n
Porter, Cole, 111, 173
“Pretty Woman,” 8–9, 9n
Prince, Hal, 23–24, 73; and set
changes, 159, 159–60n14; and the
staging of Cabaret, 154, 200,
202n16
Pygmalion(Shaw), 7, 47, 48; and
“legitimate” drama, 89–91
“Rain in Spain, The,” 7, 175
Red Shoes, The, 100
refrains. Seelyrics, significance of the
refrain in
Rent, 78, 78n, 158
repetition. Seemusicals, and the two
orders of time (book time and lyric
time); song, repetition in; song,
and syncopations of repetition
Repetition(Kierkegaard), 180–82
revues, 10–15; dependence of on
performance numbers rather than
narrative events, 11–12; lack of
plots in, 10; popularity of in late
nineteenth century, 11
Reyher, Ferdinand, 24n
Riatt, John, 43
Rice, Elmer, 70, 81, 179
Rice, Tim, 24
Rich, Frank, 98–99
Riggs, Lynn, 19, 34, 126
Rise and Fall of the City of Mahagonny,
The, 26
Robbins, Jerome, 93, 140
Roberts, Flora, 159
Robeson, Paul, 107n
Rodgers, Ginger, 175–76
Rodgers, Richard, 1, 2, 9–10, 11,
21–22, 76, 115, 116, 132, 151; and
concept musicals, 23; criticism of
second-rate musicals, 18–19; and
the ideology of community, 82–86,
85n8, 88–89; and politics, 14–15;
and the principle of difference,
165; and recognition, 41–43; ro-
manticism of, 83; and sentimental-
ity, 210; and set changes, 159. See
alsoensemble numbers, “Clam-
bake” version of
Rome, Harold, 22, 156
Romeo and Juliet(Shakespeare), 22,
47, 48–49, 90, 91
Rose Marie, 2
Rosenbaum, Joshua, 158
“Rose’s Turn,” 49–50
Rousseau, Jean-Jacques, 3, 196
Royal Wedding, 176Sally(1920), 17, 18; revivals of,
18n18
“Sally Bowles” (Isherwood), 94
Seurat, Georges, 161
“Seventy-Six Trombones,” 147
Shakespearean Meanings
(Burckhardt), 110
Shaw, George Bernard, 7
Shepherd, Sam, 6
“Shortest Day of the Year, The,”
115–16
Show Boat, 6, 19, 20n, 71, 102,
114–15, 128, 143; African-
American all male chorus in, 198;
interracial casting of, 107n; Mag-
nolia and Gaylord’s musical rela-
tionship in, 132–34, 133n, 138. See
also specifically listed individual songs
from
Show Boat(Ferber), 108n, 114
Show Boat: The Story of a Classic
American Musical(Kreuger), 114
“Sit Down You’re Rocking the
Boat,” 46–47
“Sitting Pretty,” 153
“Slaughter on Tenth Avenue,” 93, 117