Olaf Jubin is Professor of Musical Theatre and Media Studies at Regent’s University London. He has written, co-written and co-edited several books on popular culture, including British Musical Theatre since 1950, The Oxford Handbook of the British Musical and the forthcoming The Oxford Handbook of the Global Stage Musical.

• Introduction Part I. Capital Paris1. Paris as Symbol – Venita Datta2. ‘Yes, I’m a Gay Parisian!’ Establishing the Trope of ‘Gay Paree’: The Merry Widow – Stefan Frey3. ‘Come and Play Wiz Me in Gay Paree’: Approaching Cole Porter’s Paris – Hannah RobbinsPart II. Broadway Paris4. Dressed by Paris: Mlle Modiste, Roberta and No Strings – Maya Cantu 5. Liberated by Paris: A Reconsideration of Three Broadway ‘Flops’ – Miss Liberty, Ben Franklin in Paris and Dear World – Michael Garber 6. Seduced by Paris: Irma La Douce and Its Journey to Broadway – Stewart NichollsPart III. Hollywood Paris7. The Capital of Pre-Code Operettas: Paris at Paramount and MGM – Marguerite Chabrol8. Paris as Location: Funny Face, Les Girls, Silk Stockings and Gigi – Julia Foulkes 9. Paris by Hand: Gay Purr-ee and Aristocats – Daniel BatchelderPart IV. West End Paris10. Shockwaves at a Distance: Ellis and Herbert’s Bless the Bride – John Snelson 11. Performing Paris. Les Misérables, The Phantom of the Opera and Aspects of Love – John Snelson 12. The Courtesan and the Collaborator: Marguerite – Clare ChandlerPart V. Naughty Paris13. Gay Shame in Gay Paree: Re-contextualising Gender Progressiveness in Two Film Versions of Victor/Victoria – Florian Seubert14. À la recherche de quel temps? Can-Can and the Fluidity of Paris perdu – Raymond Knapp and Mitchell Morris 15. Art, Artifice and Artificiality: the Various Versions of the Musical Gigi – Olaf JubinPart VI. Artistic Paris16. ‘Artists in Art’s Capital City’: Americans in Paris on Screen and Stage – Robert Gordon 17. Paris and the Curse of Chicago in Stephen Sondheim’s Sunday in the Park with George – Robert Lawson-Peebles 18. The Paradoxical ‘Frenchness’ of an Australian Musical: Baz Luhrmann’s Moulin Rouge! – Pierre-Olivier ToulzaConclusion

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Olaf Jubin is Professor of Musical Theatre and Media Studies at Regent’s University London. He has written, co-written and co-edited several books on popular culture, including British Musical Theatre since 1950, The Oxford Handbook of the British Musical and the forthcoming The Oxford Handbook of the Global Stage Musical.

• Introduction Part I. Capital Paris1. Paris as Symbol – Venita Datta2. ‘Yes, I’m a Gay Parisian!’ Establishing the Trope of ‘Gay Paree’: The Merry Widow – Stefan Frey3. ‘Come and Play Wiz Me in Gay Paree’: Approaching Cole Porter’s Paris – Hannah RobbinsPart II. Broadway Paris4. Dressed by Paris: Mlle Modiste, Roberta and No Strings – Maya Cantu 5. Liberated by Paris: A Reconsideration of Three Broadway ‘Flops’ – Miss Liberty, Ben Franklin in Paris and Dear World – Michael Garber 6. Seduced by Paris: Irma La Douce and Its Journey to Broadway – Stewart NichollsPart III. Hollywood Paris7. The Capital of Pre-Code Operettas: Paris at Paramount and MGM – Marguerite Chabrol8. Paris as Location: Funny Face, Les Girls, Silk Stockings and Gigi – Julia Foulkes 9. Paris by Hand: Gay Purr-ee and Aristocats – Daniel BatchelderPart IV. West End Paris10. Shockwaves at a Distance: Ellis and Herbert’s Bless the Bride – John Snelson 11. Performing Paris. Les Misérables, The Phantom of the Opera and Aspects of Love – John Snelson 12. The Courtesan and the Collaborator: Marguerite – Clare ChandlerPart V. Naughty Paris13. Gay Shame in Gay Paree: Re-contextualising Gender Progressiveness in Two Film Versions of Victor/Victoria – Florian Seubert14. À la recherche de quel temps? Can-Can and the Fluidity of Paris perdu – Raymond Knapp and Mitchell Morris 15. Art, Artifice and Artificiality: the Various Versions of the Musical Gigi – Olaf JubinPart VI. Artistic Paris16. ‘Artists in Art’s Capital City’: Americans in Paris on Screen and Stage – Robert Gordon 17. Paris and the Curse of Chicago in Stephen Sondheim’s Sunday in the Park with George – Robert Lawson-Peebles 18. The Paradoxical ‘Frenchness’ of an Australian Musical: Baz Luhrmann’s Moulin Rouge! – Pierre-Olivier ToulzaConclusion

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Olaf Jubin is Professor of Musical Theatre and Media Studies at Regent’s University London. He has written, co-written and co-edited several books on popular culture, including British Musical Theatre since 1950, The Oxford Handbook of the British Musical and the forthcoming The Oxford Handbook of the Global Stage Musical.

• Introduction Part I. Capital Paris1. Paris as Symbol – Venita Datta2. ‘Yes, I’m a Gay Parisian!’ Establishing the Trope of ‘Gay Paree’: The Merry Widow – Stefan Frey3. ‘Come and Play Wiz Me in Gay Paree’: Approaching Cole Porter’s Paris – Hannah RobbinsPart II. Broadway Paris4. Dressed by Paris: Mlle Modiste, Roberta and No Strings – Maya Cantu 5. Liberated by Paris: A Reconsideration of Three Broadway ‘Flops’ – Miss Liberty, Ben Franklin in Paris and Dear World – Michael Garber 6. Seduced by Paris: Irma La Douce and Its Journey to Broadway – Stewart NichollsPart III. Hollywood Paris7. The Capital of Pre-Code Operettas: Paris at Paramount and MGM – Marguerite Chabrol8. Paris as Location: Funny Face, Les Girls, Silk Stockings and Gigi – Julia Foulkes 9. Paris by Hand: Gay Purr-ee and Aristocats – Daniel BatchelderPart IV. West End Paris10. Shockwaves at a Distance: Ellis and Herbert’s Bless the Bride – John Snelson 11. Performing Paris. Les Misérables, The Phantom of the Opera and Aspects of Love – John Snelson 12. The Courtesan and the Collaborator: Marguerite – Clare ChandlerPart V. Naughty Paris13. Gay Shame in Gay Paree: Re-contextualising Gender Progressiveness in Two Film Versions of Victor/Victoria – Florian Seubert14. À la recherche de quel temps? Can-Can and the Fluidity of Paris perdu – Raymond Knapp and Mitchell Morris 15. Art, Artifice and Artificiality: the Various Versions of the Musical Gigi – Olaf JubinPart VI. Artistic Paris16. ‘Artists in Art’s Capital City’: Americans in Paris on Screen and Stage – Robert Gordon 17. Paris and the Curse of Chicago in Stephen Sondheim’s Sunday in the Park with George – Robert Lawson-Peebles 18. The Paradoxical ‘Frenchness’ of an Australian Musical: Baz Luhrmann’s Moulin Rouge! – Pierre-Olivier ToulzaConclusion

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