In this colorful volume are exquiste costume and set design sketches and models as well as images of the set in all stages of its development. The book conveys the full beauty of the show's unequalled drama and offers readers unique insight into a process few will ever see.

This collection seeks to understand the long-lasting and global appeal of Tarzan: Why is a story about a feral boy, who is raised by apes in the African jungle, so compelling and so adaptable to different cultural contexts and audiences? How is it that the same narrative serves as the basis for both children’s cartoons and lavish musical productions or as a vehicle for both nationalistic discourse and for light romantic fantasy? Considering a history of criticism that highlights the imperialistic, sexist, racist underpinnings of the original Tarzan narrative, why would this character and story appeal to so many readers and viewers around the world? The essays in this volume, written by scholars living and working in Australia, Canada, Israel, The Netherlands, Germany, France and the United States explore these questions using various critical lenses. Chapters include discussions of Tarzan novels, comics, television shows, toys, films, and performances produced or distributed in the U.S., Canada, Israel, Palestine, Britain, India, The Netherlands, Germany and France and consider such topics as imperialism, national identities, language acquisition, adaptation, gender constructions, Tarzan’s influence on child readers and Tarzan’s continued and broad influence on cultures around the world. What emerges, when these pieces are placed into dialogue with one another, is an immensely complex picture of an enduring, multi-faceted global pop culture icon.

Disney Theatrical Productions: Producing Broadway Musicals the Disney Way is the first work of scholarship to comprehensively examine the history and production practices of Disney Theatrical Productions (DTP), the theatrical producing arm of the studio branch of the Walt Disney Corporation. This book uncovers how DTP has forged a new model for producing large-scale musicals on Broadway by functioning as an independent theatrical producer under the umbrella of a large entertainment corporation. Case studies of three productions (The Lion King, Tarzan, and Newsies) demonstrate the flexibility and ingenuity of DTP, and showcase the various production models that the company has employed over the years. Exploring topics such as the history of DTP, its impact on the revitalization of Times Square, and its ability to open up a new audience base for Broadway theatre, this volume examines the impact that DTP has had on American musicals, both domestically and internationally, and how its accomplishments have helped reshape the Broadway landscape. This book is relevant to students in Musical Theatre, History of Musical Theatre, Theatre History, and Arts Management courses, along with general Disney enthusiasts.

A hair-raising collection of adventure stories that's so big and enthralling if you open it you may never be seen again: enter at your own risk. Everyone loves adventure, and Otto Penzler has collected the best adventure stories of all time into one mammoth volume. With stories by Jack London, O. Henry, H. Rider Haggard, Alastair MacLean, Talbot Mundy, Cornell Woolrich, and many others, this wide-reaching and fascinating volume contains some of the best characters from the most thrilling adventure tales, including The Cisco Kid; Sheena, Queen of the Jungle; Bulldog Drummond; Tarzan; The Scarlet Pimpernel; Conan the Barbarian; Hopalong Cassidy; King Kong; Zorro; and The Spider. Divided into sections that embody the greatest themes of the genre—Sword & Sorcery, Megalomania Rules, Man vs. Nature, Island Paradise, Sand and Sun, Something Feels Funny, Go West Young Man, Future Shock, I Spy, Yellow Peril, In Darkest Africa—it is destined to be the greatest collection of adventure stories ever compiled. Featuring: Lawless open seas Ferocious army ants Deadeyed gunmen Exotic desert islands Feverish jungle adventures Including: The story that introduced The Cisco Kid The complete novel of Tarzan the Terrible

This book argues that the digital revolution has fundamentally altered the way musicals are produced, followed, admired, marketed, reviewed, researched, taught, and even cast. In the first hundred years of its existence, commercial musical theatre functioned on one basic model. However, with the advent of digital and network technologies, every musical theatre artist and professional has had to adjust to swift and unanticipated change. Due to the historically commercial nature of the musical theatre form, it offers a more potent test case to reveal the implications of this digital shift than other theatrical art forms. Rather than merely reflecting technological change, musical theatre scholarship and practice is at the forefront of the conversation about art in the digital age. This book is essential reading for musical theatre fans and scholars alike.

The musical, whether on stage or screen, is undoubtedly one of the most recognizable musical genres, yet one of the most perplexing. What are its defining features? How does it negotiate multiple socio-cultural-economic spaces? Is it a popular tradition? Is it a commercial enterprise? Is it a sophisticated cultural product and signifier? This research guide includes more than 1,400 annotated entries related to the genre as it appears on stage and screen. It includes reference works, monographs, articles, anthologies, and websites related to the musical. Separate sections are devoted to sub-genres (such as operetta and megamusical), non-English language musical genres in the U.S., traditions outside the U.S., individual shows, creators, performers, and performance. The second edition reflects the notable increase in musical theater scholarship since 2000. In addition to printed materials, it includes multimedia and electronic resources.

From its first publication as a fairy tale told by Hans Christian Andersen, The Little Mermaid has been enthralling children and adults alike with its story of the transforming power of love. In 1989, Disney put little Ariel on film, gave her flaming red hair and an Oscar-winning musical score, and, in the process, reinvented the animated feature as a viable art form. Now the creative powers at Disney have reimagined the mermaid and her friends again, bringing one of Disney’s most beloved princesses to the stage. The Little Mermaid: The Story of a Tale is a look at the process of morphing a 19th-century story and a 20th-century film into a stage event for the 21st century. This oversized, profusely illustrated book traces the evolution of The Little Mermaid from its inception in Denmark, through its triumphant animation, to the hit Broadway stage version now playing in New York. In addition to photographs of the show and its rehearsals, the book will explore the creative process with extensive looks behind the scenes. Writer Michael Lassell interviews Francesca Zambello and choreographer Steven Mear, writer Doug Wright and composer Alan Menken, designers George Tsypin and Tanya Noginova as well as all the stars in the show’s extraordinarily talented cast. This is a grown-up book for children of all ages.

This handbook is the first to provide a systematic investigation of the various roles of producers in commercial and not-for-profit musical theatre. Featuring fifty-one essays written by international specialists in the field, it offers new insights into the world of musical theatre, its creation and its promotion. Key areas of investigation include the lives and works of producers whose work is part of a US and worldwide musical theatre legacy, as well as the largely critically-neglected role of the musical theatre producer in the making, marketing, and performance of musicals. Also explored are the shifting roles of producers in musical theatre and their popular portrayals, offering a reader-friendly collection for fans, scholars, students, and practitioners of musical theatre alike.

I have it on the best of authority that neither the police nor the special agents of the general staff have the faintest conception of how it was accomplished. All they know, all that anyone knows, is that Nikolas Rokoff has escaped." John Clayton, Lord Greystoke—he who had been "Tarzan of the Apes"—sat in silence in the apartments of his friend, Lieutenant Paul D'Arnot, in Paris, gazing meditatively at the toe of his immaculate boot. His mind revolved many memories, recalled by the escape of his arch-enemy from the French military prison to which he had been sentenced for life upon the testimony of the ape-man. He thought of the lengths to which Rokoff had once gone to compass his death, and he realized that what the man had already done would doubtless be as nothing by comparison with what he would wish and plot to do now that he was again free. Tarzan had recently brought his wife and infant son to London to escape the discomforts and dangers of the rainy season upon their vast estate in Uziri—the land of the savage Waziri warriors whose broad African domains the ape-man had once ruled. He had run across the Channel for a brief visit with his old friend, but the news of the Russian's escape had already cast a shadow upon his outing, so that though he had but just arrived he was already contemplating an immediate return to London....

Adventure