Laura MacDonald is Assistant Professor in the Residential College in the Arts and Humanities at Michigan State University. With William A. Everett, she edited The Palgrave Handbook of Musical Theatre Producers (2017). She writes about long-running musicals on Broadway, in Europe, and in East Asia. Ryan Donovan is Assistant Professor of Theater Studies at Duke University. He is the author of Broadway Bodies: A Critical History of Conformity (Oxford) and Queer Approaches in Musical Theatre (Bloomsbury), and he co-edited the special issue of Studies in Musical Theatre on musical theatre dance.

• ForewordDiane PaulusPart 1: WhatIntroduction: On MusicalsSan Bao Musical Theater Mobilities: Around the World in Eighty YearsDavid Savran An American in Tokyo? Musical Theatre Dance’s Transnational MovementsRyan Donovan "How a World Can Seem So Vast": The Craft of Musical Theatre DramaturgyLindsey R. Barr and Laura MacDonald The Singing VoiceMasi Asare "The Song Is You": Song Types and Genres in Musical TheatreWilliam A. Everett Part 2: WhenIntroduction: Dark Primal Energy, Ancestor Memory, and American ExceptionalismAndré De Shields with Kenneth J. Cerniglia From Ballad Opera to Minstrelsy and Back: Social Class, Race, and Gender on the North American Musical StageKristin Moriah From the 1870s through World War I: The Spectre and Spectacle of the Human BodyMaya Cantu Boom to Bust: Genre Borders, Color Lines, and Women Stars in the Musical between the World WarsTodd Decker World War II and the Cold War: Reflections and Refractions of Ourselves, Then and NowDominic McHugh Since the 1980s: The Global Musical Theatre EcologyKelsey BlairPart 3: WhoIntroduction: Who Makes a Musical?Georgia Stitt Musical Theatre Training in the Twenty-First Century: A PrimerAmy S. Osatinski and Bud Coleman "Forget About the Boy": Women and Creative Collaborations in Musical Theatre Arianne Johnson Quinn and Clare Chandler Good Gals Wear Black: Offstage Labor and the Musical Christine Snyder Mediated Taste: The Role of CriticsPaul R. Laird From Stage Door to Cyberspace: The Digital Evolution of Musical Theatre FandomAdam Rush and Stephanie LimPart 4: HowIntroduction: How Musicals Work: A Press Representative’s ViewChris Boneau Fitting the Slipper: The Art of Adaptation for the Musical StageWilliam A. Everett Harnessing Technology: The Evolving Labor of Design in Musical TheatreVirginia Anderson Humming the Scenery: The Aesthetics of Musical Theatre SpectacleDouglas L. Reside "That’s Showbiz, Kid": Casting as Process and ProductRyan Donovan The Foundation, Function, and Future of the Musical Theatre DirectorMary Jo Lodge and Anne Healy How Dancers and Choreographers Work: The Laboring Bodies of Musical TheatreJoanna Dee Das "The Name on Everybody’s Lips": Marketing Musical TheatreLaura MacDonald A Critical Guide to Code-Meshing, Multilingualism, and MusicalsSamuel YatesPart 5: WhereIntroduction: Scenes from a Showbiz Couple’s TravelogueKim Varhola Centers of Musical TheatreAlex Bádue, Jennifer C.H.J. Wilson, Laura Milburn, Leesi Patrick, and Sir Anril P. Tiatco Pilots and Petticoats: Original Musicals in Continental Europe Jeroen van Wijhe and Jacek Mikołajczyk The Broadway-Style Musical in/and Global Asias: 1920-2019Sissi Liu and Rina Tanaka "One of the best ways to please the locals is to go to New York": US American Regional Theatres and New Musical Theatre DevelopmentClaudia Wilsch Case "We’re All in This Together": Student and Amateur Performances Kenneth J. Cerniglia Mediated Musical TheatreSam O’ConnellPart 6: WhyIntroduction: Into the Theatre Yilun (Della) Wu Journeys to the Past: The Uses of Memory and Nostalgia in Musical Theatre Bryan M. Vandevender What’s in a Name? The Multiplicities of the MusicalJohn Koegel Interrogating America’s National Myth Onstage: Case Studies on the Individual and the Community in U.S. Musical TheatreKatie Welsh and Stacy Wolf Translating Race in Musical TheatreJi Hon (Kayla) Yuh and Emilio Méndez Rios "Art Isn’t Easy" (and Neither is Commerce): The Musical Stays in the MoneyMichael Schwartz "World"-Traveling, Diversity, Inclusion, and the Making of Musicals in the Twenty-First Century Trevor Boffone