British and American Musical Theatre Exchanges in the West End (1924-1970)

Dr. Arianne Johnson Quinn is an archivist, librarian, and scholar. She is currently the Music Special Collections Librarian at the Warren D. Allen Music Library, Florida State University, USA. She holds a  Ph.D. in Musicology from Princeton University, and has worked as Digital Archivist and Research Associate for the Noël Coward Archive Trust. Arianne has been on the faculty of the Florida State Honors Program, South Georgia State College and Tallahassee Community College. Her research focuses on the intersections between the American and British musical in London’s West End from 1924-1970, particularly the works of Noël Coward, Kurt Weill, Lerner and Loewe, Irving Berlin, Cole Porter and Rodgers and Hammerstein.

• 1. Introduction.- 2. Chapter 1: Cosmopolitan musical theatre styles at the Lane (1918-1934).- 3. Chapter 2: The Drury Lane Musical Theatre Spectacle (1931-1939): “Hearts Splintering in Waltz Time”.- 4. Chapter 3: The Lane and ENSA (Entertainment National Services Association) headquarters (1939).- 5. Chapter 5: Rodger’s and Hammerstein’s Oklahoma! Carousel and South Pacific: Imported Americana.- 6. Chapter 6: Ruritanian Imperialism in The King and I (1953).- 7. Chapter 7: Fading Empire and British imitation: Lerner and Loewe.- 8. Chapter 8: Hello Dolly and the resurgence of the British musical the nostalgia of Lost Empire Word.- 9. Epilogue.