"The Broadway Body I lied about my height on my résumé the entire time I was a dancer, though in truth I don't think the extra inch ever actually made a difference. In the US, 5'6" still reads as short for a man no matter how you slice it. The reason for my deception was that height was often the reason I was disqualified: choreographers often wanted taller male dancers for the ensemble and listed a minimum height requirement (often 5'11" and up) in the casting breakdown. Being disqualified before I could even set foot in the audition because I possessed an unchangeable physical characteristic that often made me unemployable in the industry. I was learning an object lesson in Broadway's body politics-and, of course, had I not been a white cisgender nondisabled man, the barriers to employment would have been compounded even further. I wasn't alone in feeling caught in a catch-22. Not being cast because of your appearance, or "type" in industry lingo, is casting's status quo. The casting process openly discriminates based upon appearance. This truism even made its way into a song cut from A Chorus Line (1975) called "Broadway Boogie Woogie," which comically lists all of the reasons one might not be cast: "I'm much too tall, much too short, much too thin/Much too fat, much too young for the role/I sing too high, sing too low, sing too loud." Funny Girl (1964) put it even more bluntly: "If a Girl Isn't Pretty/Like a Miss Atlantic City/She should dump the stage/And try another route"--

TikTok Broadway: Musical Theatre Fandom in the Digital Age explores how TikTok has revolutionized musical theatre fandom and democratized musical theatre fan cultures and spaces. The book argues that TikTok has created a new canon of musical theatre thanks to the way virality works on the app, expanding musical theatre into a purely digital realm that spills into other, non-digital aspects of U.S. popular culture.

Through an examination of plays, actors, reviews, and audience response of the period, this study traces the development of Broadway as a source of 'mature' American drama, and the simultaneous development of Professional-Managerial Class consciousness and habitus.

The Routledge Companion to the Contemporary Musical is dedicated to the musical's evolving relationship to American culture in the late twentieth and early twenty-first centuries. In the past decade-and-a-half, international scholars from an ever-widening number of disciplines and specializations have been actively contributing to the interdisciplinary field of musical theater studies. Musicals have served not only to mirror the sociopolitical, economic, and cultural tenor of the times, but have helped shape and influence it, in America and across the globe: a genre that may seem, at first glance, light-hearted and escapist serves also as a bold commentary on society. Forty-four essays examine the contemporary musical as an ever-shifting product of an ever-changing culture. This volume sheds new light on the American musical as a thriving, contemporary performing arts genre, one that could have died out in the post-Tin Pan Alley era but instead has managed to remain culturally viable and influential, in part by newly embracing a series of complex contradictions. At present, the American musical is a live, localized, old-fashioned genre that has simultaneously developed into an increasingly globalized, tech-savvy, intensely mediated mass entertainment form. Similarly, as it has become increasingly international in its scope and appeal, the stage musical has also become more firmly rooted to Broadway--the idea, if not the place--and thus branded as a quintessentially American entertainment.

A front-row seat for the hottest show in town–Broadway’s finest strip down for a good cause. This is your ticket behind the scenes to see Broadway’s sexiest performers displaying some of their greatest assets. Gorgeous stage idols from the biggest shows strut their stuff as you’ve never seen them before. It’s burlesque naughtiness lit up by the razzle-dazzle of the Great White Way. They tease, they titillate, they tantalize. And boy, do they deliver the goods. By the end of each number they’re wearing little more than a smile. But at the end of the show comes the real payoff; hundreds of thousands of dollars have been raised for Broadway Cares/Equity Fights AIDS, the theatre community’s unique fundraising and grantmaking organization. Backstage Pass peeks behind the curtain at the famous event called Broadway Bares– conceived by Tony Award®—winning director and choreographer Jerry Mitchell–which sets New York City ablaze each summer. The hottest dancers in show business come together for this one-night-only sold-out “Strip-A-Thon”–a fundraising, eye-popping spectacle the likes of which Gypsy Rose Lee could never have dreamed. Now for the first time this luxurious keepsake album brings together all the sizzling posters, scintillating backstage shots, and scorching on-stage photographs from the past seventeen years of Broadway Bares. Sit back and enjoy the show.

“Will hit all the high notes for theater and mystery fans alike.” —Kirkus Reviews Better Nate than Ever meets Love Sugar Magic in this spooky middle grade novel from Hamilton and Broadway star Mandy Gonzalez about a group of young thespians who must face the ghost haunting their theater. Twelve-year-old Monica Garcia has arrived in NYC with her grandmother and a few suitcases to live her dream on Broadway. She’s been chosen as understudy to the star of Our Time, the famed Ethel Merman Theater’s last chance to produce a hit before it shutters its doors for good. Along with her fellow castmates—a.k.a. “the squad”—Monica has a big and very personal reason to want this show to succeed. But rumors of a long-running curse plague the theater. And when strange and terrible things start to threaten their hopes for a successful opening night, Monica and the rest of the squad must figure out how to reverse the curse before their big Broadway debuts. With the help of her new friends, her family, and a little magic, can Monica help save the show—and save their dreams? From Broadway and television star Mandy Gonzalez comes a story about what it means to dream, be yourself, and be fearless.

In Blues Mamas and Broadway Belters, songwriter, scholar, and dramatist Masi Asare explores the singing practice of black women singers in US musical theatre between 1900 and 1970. Asare shows how a vanguard of black women singers including Gertrude “Ma” Rainey, Bessie Smith, Ethel Waters, Pearl Bailey, Juanita Hall, Lena Horne, Eartha Kitt, Diahann Carroll, and Leslie Uggams created a lineage of highly trained and effective voice teachers whose sound and vocal techniques continue to be heard today. Challenging pervasive narratives that these and other black women possessed “untrained” voices, Asare theorizes singing as a form of sonic citational practice—how the sound of the teacher’s voice lives on in the student’s singing. From vaudeville-blues shouters, black torch singers, and character actresses to nightclub vocalists and Broadway glamour girls, Asare locates black women of the musical stage in the context of historical voice pedagogy. She invites readers not only to study these singers, but to study with them—taking seriously what they and their contemporaries have taught about the voice. Ultimately, Asare speaks to the need to feel and hear the racial history in contemporary musical theatre.