William A. Everett is Curators' Distinguished Professor of Musicology at the University of Missouri, Kansas City, Conservatory of Music and Dance. He teaches courses in American musical theatre, nineteenth-century music, and medieval music. His books include Sigmund Romberg (2007), Rudolf Friml (2008), and Music for the People: A History of the Kansas City Philharmonic Orchestra, 1933-82 (2016). With Paul R. Laird, he is the co-author of the Historical Dictionary of the Broadway Musical (2008, 2nd edition 2015), and was co-commissioning editor for musical theatre for The Grove Dictionary of American Music, 2nd edition (2013). Paul R. Laird is Professor at the University of Kansas School of Music. He has published widely on musical theatre and presented papers in the US, Canada, and the UK. His books include Wicked: A Musical Biography (2011), The Musical Theatre of Stephen Schwartz (2014), Leonard Bernstein: A Guide to Research (2002, 2nd edition, with Hsun Lin, 2015), and Leonard Bernstein's Chichester Psalms (2010).

• 1. How to create a musical: the case of Wicked Paul R. Laird; Part I. Adaptations and Transformations: before 1940: 2. American musical theatre before the twentieth century Katherine K. Preston; 3. Non-English-language musical theatre in the United States John Koegel; 4. Birth pangs, growing pains, and sibling rivalry: musical theatre in New York, 1900–20 Orly Leah Krasner; 5. American and British operetta in the 1920s: romance, nostalgia, and adventure William A. Everett; 6. Images of African Americans: African-American musical theatre, Show Boat and Porgy and Bess John Graziano; 7. The melody (and the words) linger on: American musical comedies of the 1920s and 1930s Geoffrey Block; Part II. Maturations and Formulations: 1940–70: 8. 'We said we wouldn't look back': British musical theatre, 1935–69 John Snelson; 9. The coming of the musical play: Rodgers and Hammerstein Ann Sears; 10. The successors of Rodgers and Hammerstein from the 1940s to the 1960s Thomas L. Riis and Ann Sears; 11. Musical sophistication on Broadway: Kurt Weill and Leonard Bernstein Bruce D. Mcclung and Paul R. Laird; Part III. Evolutions and Integrations: after 1970: 12. Stephen Sondheim and the musical of the outsider Jim Lovensheimer; 13. Choreographers, directors, and the fully integrated musical Paul R. Laird; 14. From Hair to Rent and beyond: has 'rock' ever been a four-letter word on Broadway? Scott Warfield; 15. The megamusical: the creation, internationalisation, and impact of a genre Paul Prece and William A. Everett; 16. 'In this England, in these times': redefining the British musical since 1970 Miranda Lundskaer-Nielsen; 17. 'Tonight I will bewitch the world': the European musical Judith Sebesta and Laura MacDonald; 18. New horizons: the musical at the dawn of the twenty-first century Bud Coleman; Part IV. Legacies and Transformations: 19. Why do they start to sing and dance all of a sudden? Examining the film musical Graham Wood; 20. Revisiting classic musicals: revivals, films, television, and recordings Jessica Sternfeld; 21. Big dreams on the small screen: the television musical Mary Jo Lodge.

William A. Everett is Curators' Distinguished Professor of Musicology at the University of Missouri, Kansas City, Conservatory of Music and Dance. He teaches courses in American musical theatre, nineteenth-century music, and medieval music. His books include Sigmund Romberg (2007), Rudolf Friml (2008), and Music for the People: A History of the Kansas City Philharmonic Orchestra, 1933-82 (2016). With Paul R. Laird, he is the co-author of the Historical Dictionary of the Broadway Musical (2008, 2nd edition 2015), and was co-commissioning editor for musical theatre for The Grove Dictionary of American Music, 2nd edition (2013). Paul R. Laird is Professor at the University of Kansas School of Music. He has published widely on musical theatre and presented papers in the US, Canada, and the UK. His books include Wicked: A Musical Biography (2011), The Musical Theatre of Stephen Schwartz (2014), Leonard Bernstein: A Guide to Research (2002, 2nd edition, with Hsun Lin, 2015), and Leonard Bernstein's Chichester Psalms (2010).

• 1. How to create a musical: the case of Wicked Paul R. Laird; Part I. Adaptations and Transformations: before 1940: 2. American musical theatre before the twentieth century Katherine K. Preston; 3. Non-English-language musical theatre in the United States John Koegel; 4. Birth pangs, growing pains, and sibling rivalry: musical theatre in New York, 1900–20 Orly Leah Krasner; 5. American and British operetta in the 1920s: romance, nostalgia, and adventure William A. Everett; 6. Images of African Americans: African-American musical theatre, Show Boat and Porgy and Bess John Graziano; 7. The melody (and the words) linger on: American musical comedies of the 1920s and 1930s Geoffrey Block; Part II. Maturations and Formulations: 1940–70: 8. 'We said we wouldn't look back': British musical theatre, 1935–69 John Snelson; 9. The coming of the musical play: Rodgers and Hammerstein Ann Sears; 10. The successors of Rodgers and Hammerstein from the 1940s to the 1960s Thomas L. Riis and Ann Sears; 11. Musical sophistication on Broadway: Kurt Weill and Leonard Bernstein Bruce D. Mcclung and Paul R. Laird; Part III. Evolutions and Integrations: after 1970: 12. Stephen Sondheim and the musical of the outsider Jim Lovensheimer; 13. Choreographers, directors, and the fully integrated musical Paul R. Laird; 14. From Hair to Rent and beyond: has 'rock' ever been a four-letter word on Broadway? Scott Warfield; 15. The megamusical: the creation, internationalisation, and impact of a genre Paul Prece and William A. Everett; 16. 'In this England, in these times': redefining the British musical since 1970 Miranda Lundskaer-Nielsen; 17. 'Tonight I will bewitch the world': the European musical Judith Sebesta and Laura MacDonald; 18. New horizons: the musical at the dawn of the twenty-first century Bud Coleman; Part IV. Legacies and Transformations: 19. Why do they start to sing and dance all of a sudden? Examining the film musical Graham Wood; 20. Revisiting classic musicals: revivals, films, television, and recordings Jessica Sternfeld; 21. Big dreams on the small screen: the television musical Mary Jo Lodge.

William A. Everett is Curators' Distinguished Professor of Musicology at the University of Missouri, Kansas City, Conservatory of Music and Dance. He teaches courses in American musical theatre, nineteenth-century music, and medieval music. His books include Sigmund Romberg (2007), Rudolf Friml (2008), and Music for the People: A History of the Kansas City Philharmonic Orchestra, 1933-82 (2016). With Paul R. Laird, he is the co-author of the Historical Dictionary of the Broadway Musical (2008, 2nd edition 2015), and was co-commissioning editor for musical theatre for The Grove Dictionary of American Music, 2nd edition (2013). Paul R. Laird is Professor at the University of Kansas School of Music. He has published widely on musical theatre and presented papers in the US, Canada, and the UK. His books include Wicked: A Musical Biography (2011), The Musical Theatre of Stephen Schwartz (2014), Leonard Bernstein: A Guide to Research (2002, 2nd edition, with Hsun Lin, 2015), and Leonard Bernstein's Chichester Psalms (2010).

• 1. How to create a musical: the case of Wicked Paul R. Laird; Part I. Adaptations and Transformations: before 1940: 2. American musical theatre before the twentieth century Katherine K. Preston; 3. Non-English-language musical theatre in the United States John Koegel; 4. Birth pangs, growing pains, and sibling rivalry: musical theatre in New York, 1900–20 Orly Leah Krasner; 5. American and British operetta in the 1920s: romance, nostalgia, and adventure William A. Everett; 6. Images of African Americans: African-American musical theatre, Show Boat and Porgy and Bess John Graziano; 7. The melody (and the words) linger on: American musical comedies of the 1920s and 1930s Geoffrey Block; Part II. Maturations and Formulations: 1940–70: 8. 'We said we wouldn't look back': British musical theatre, 1935–69 John Snelson; 9. The coming of the musical play: Rodgers and Hammerstein Ann Sears; 10. The successors of Rodgers and Hammerstein from the 1940s to the 1960s Thomas L. Riis and Ann Sears; 11. Musical sophistication on Broadway: Kurt Weill and Leonard Bernstein Bruce D. Mcclung and Paul R. Laird; Part III. Evolutions and Integrations: after 1970: 12. Stephen Sondheim and the musical of the outsider Jim Lovensheimer; 13. Choreographers, directors, and the fully integrated musical Paul R. Laird; 14. From Hair to Rent and beyond: has 'rock' ever been a four-letter word on Broadway? Scott Warfield; 15. The megamusical: the creation, internationalisation, and impact of a genre Paul Prece and William A. Everett; 16. 'In this England, in these times': redefining the British musical since 1970 Miranda Lundskaer-Nielsen; 17. 'Tonight I will bewitch the world': the European musical Judith Sebesta and Laura MacDonald; 18. New horizons: the musical at the dawn of the twenty-first century Bud Coleman; Part IV. Legacies and Transformations: 19. Why do they start to sing and dance all of a sudden? Examining the film musical Graham Wood; 20. Revisiting classic musicals: revivals, films, television, and recordings Jessica Sternfeld; 21. Big dreams on the small screen: the television musical Mary Jo Lodge.