- Page 1: LEWIS, ANNE, D.M.A. An Examination
- Page 5 and 6: TABLE OF CONTENTS iv Page ACKNOWLED
- Page 7 and 8: for research, this paper will explo
- Page 9 and 10: MacDonald, labeled musical theatre
- Page 11 and 12: The musicals that have entered the
- Page 13 and 14: and individually as handwriting.”
- Page 15 and 16: Methodology The base of research fo
- Page 17 and 18: Feminine Character in Selected Libr
- Page 19 and 20: from the 1920s, they are timeless i
- Page 21 and 22: e helpful to recognize the specific
- Page 23 and 24: as a Cinderella-type heiress who ma
- Page 25 and 26: Vereen described the “blackface c
- Page 27 and 28: Casino Theatre in Manhattan. The re
- Page 29 and 30: functional sets, and an eleven-piec
- Page 31 and 32: The History of the Musical, Show Bo
- Page 33 and 34: amount of instrumental music, the d
- Page 35 and 36: Ferber’s novel begins with the na
- Page 37 and 38: Act II begins four years later as G
- Page 39 and 40: CHAPTER III SOCIETAL STEREOTYPES OF
- Page 41 and 42: communion.” 5 This bias continued
- Page 43 and 44: children, however, did allow mother
- Page 45 and 46: unhealthy, sub-human environments.
- Page 47 and 48: dominated by masculine traits in ap
- Page 49 and 50: magazines, including Ladies Home Jo
- Page 51 and 52: Nineteenth Century Stereotypes of W
- Page 53 and 54:
usiness. She was responsible for th
- Page 55 and 56:
gender) inequality forced them inst
- Page 57 and 58:
The 1920s was the Jazz Age, a time
- Page 59 and 60:
CHAPTER IV THEATRICAL STEREOTYPES O
- Page 61 and 62:
peoples . . . to save us from our o
- Page 63 and 64:
separate seating arrangements). The
- Page 65 and 66:
Feminine Aesthetic in Theatre Any a
- Page 67 and 68:
gossip columns. 17 Exploitation on
- Page 69 and 70:
means to economic or career advance
- Page 71 and 72:
Florenz Ziegfeld, reportedly, was q
- Page 73 and 74:
in a subservient role as a domestic
- Page 75 and 76:
looked, Magnolia decided, as if the
- Page 77 and 78:
When he holds me close, Close as we
- Page 79 and 80:
In the novel, Parthy Ann is a three
- Page 81 and 82:
opens her handbag and takes out a p
- Page 83 and 84:
“hero”) and the piano player (t
- Page 85 and 86:
the nineteenth century’s gender r
- Page 87 and 88:
of that time. Performance practice
- Page 89 and 90:
possibilities for manipulation and
- Page 91 and 92:
order while the musical number repr
- Page 93 and 94:
“Finding in that sound all the ki
- Page 95 and 96:
often distorts vibrant voices, rend
- Page 97 and 98:
elationships with other characters
- Page 99 and 100:
Finally, the process includes a mus
- Page 101 and 102:
any other theater music heard up to
- Page 103 and 104:
een presented in previous chapters,
- Page 105 and 106:
“Though the cold and brutal fact
- Page 107 and 108:
[Bridge]: When he goes away dat’s
- Page 109 and 110:
angelically while caught in the act
- Page 111 and 112:
The song appears twice more as a pl
- Page 113 and 114:
CHAPTER VI CURTAIN CALL The musical
- Page 115 and 116:
theatre performance practice. They
- Page 117 and 118:
BIBLIOGRAPHY General Sources Burkho
- Page 119 and 120:
Long, Mary Anne. “‘All Our Girl
- Page 121 and 122:
Kerber, Linda K., and Jane Sherron
- Page 123 and 124:
Levine, Lawrence W. The Opening of
- Page 125 and 126:
Song Title: Show Title: Lyricist: C