Ideals of ‘Britishness’ reproduced in the musical adaptation of David Walliams’s The Boy in the Dress at the Royal Shakespeare Company

References

1. Billington, Michael (2007), State of the Nation: British Theatre Since 1945, London: Faber & Faber.
   [Google Scholar]
2. Billington, Michael (2019), ‘The Boy in the Dress review: Robbie Williams has a ball with David Walliams’, The Guardian, 28 November, https://www.theguardian.com/stage/2019/nov/28/the-boy-in-the-dress-review. Accessed 20 August 2020.
   [Google Scholar]
3. Boffone, Trevor (2019), ‘Whitewashed Usnavi: Race, power and representation in In the Heights’, Studies in Musical Theatre, 13:3, pp. 235–50.
   [Google Scholar]
4. Bradley, Ian (2004), You’ve Got to Have a Dream: The Message of the Musical, Westminster: John Knox Press.
   [Google Scholar]
5. Brown, Mark (2019), ‘“It’s about celebrating difference”: The Boy in the Dress arrives at the RSC’, The Guardian, 28 November, https://www.theguardian.com/tv-and-radio/2019/nov/28/musical-of-david-walliams-the-boy-in-the-dress-opens-at-rsc. Accessed 20 August 2020.
   [Google Scholar]
6. Butler, Judith (2011), Gender Trouble: Feminism and the Subversion of Identity, New York: Taylor & Francis.
   [Google Scholar]
7. Chambers, Colin (2004), Inside the Royal Shakespeare Company: Creativity and the Institution, London: Routledge.
   [Google Scholar]
8. Dolan, Jill (2005), Utopia in Performance: Finding Hope at the Theater, Ann Arbor: University of Michigan Press.
   [Google Scholar]
9. Dolan, Jill (2013), The Feminist Spectator in Action: Feminist Criticism for the Stage & Screen, London: Palgrave Macmillan.
   [Google Scholar]
10. Harbert, Elissa (2019), ‘Embodying history: Casting and cultural memory in 1776 and Hamilton’, Studies in Musical Theatre, 13:3, pp. 251–67.
    [Google Scholar]
11. Harris, Geraldine and Ashton, Elaine (2012), A Good Night Out for the Girls: Popular Feminisms in Contemporary Theatre and Performance, London: Palgrave Macmillan.
    [Google Scholar]
12. Harvie, Jen (2005), Staging the UK, Manchester University Press.
    [Google Scholar]
13. Herrera, Brian (2020), ‘Gender crossings in the American musical’, Princeton University, online presentation, 25 May, https://telephonehour.wordpress.com/schedule/. Accessed 20 August 2020.
14. Hillman, Jessica (2011), ‘“This Lovely Land Is Mine”: Milk and Honey’s restorative nostalgia for Israel’, TDR/The Drama Review, 55:3, pp. 31–39.
    [Google Scholar]
15. Hoffman, Warren (2014), The Great White Way: Race and the Broadway Musical, New Brunswick, NJ and London: Rutgers University Press.
    [Google Scholar]
16. Holdsworth, Nadine and Hytner, Nicholas (2010), Theatre and Nation, Houndmills: Palgrave Macmillan.
    [Google Scholar]
17. Jones, John Bush (2011), Our Musicals, Ourselves: A Social History of the American Musical Theatre, Waltham: Brandeis University Press.
    [Google Scholar]
18. Knapp, Raymond (2005), The American Musical and the Formation of National Identity, Princeton: Princeton University Press.
    [Google Scholar]
19. Knapp, Raymond (2006), The American Musical and the Performance of Personal Identity, Princeton: Princeton University Press.
    [Google Scholar]
20. Kumar, Krishan (2003), The Making of English National Identity, Cambridge: Cambridge University Press.
    [Google Scholar]
21. Maitland, Sara (1986), Vesta Tilley, London: Virago.
    [Google Scholar]
22. McRobbie, Angela (2007), ‘Postfeminism and popular culture: Bridget Jones and the new gender regime’, in Y. Tasker and D. Negra (eds), Interrogating Postfeminism: Gender and the Politics of Popular Culture, Durham, NC: Duke University Press.
    [Google Scholar]
23. Michael, Kerry K. (2020), online interview, 16 July.
24. Moon, Krystyn R. (2005), Yellowface: Creating the Chinese in American Popular Music and Performance, 1850s-1920s, New Brunswick: Rutgers University Press.
    [Google Scholar]
25. Oates, Jennifer (2009), ‘Brigadoon: Lerner and Loewe’s Scotland’, Studies in Musical Theatre, 3:1, pp. 91–99.
    [Google Scholar]
26. Rebellato, Dan and Ravenhill, Mark (2009), Theatre and Globalization, Houndmills: Palgrave Macmillan.
    [Google Scholar]
27. Rogin, Michael (1996), Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot, Berkeley: University of California Press.
    [Google Scholar]
28. Royal Shakespeare Company (n.d.), https://www.rsc.org.uk/about-us/new-plays-and-writers/. Accessed 18 August 2020.
29. Sierz, Aleks (2011), Rewriting the Nation: British Theatre Today, London: Methuen Drama.
    [Google Scholar]
30. Taylor, Millie (2020), ‘Miss Littlewood and me: Performing ethnography’, Studies in Musical Theatre, 14:1, pp. 65–76.
    [Google Scholar]
31. Wolf, Naomi (1991), The Beauty Myth: How Images of Beauty Are Used against Women, New York: W. Morrow.
    [Google Scholar]
32. Wolf, Stacy (2018), ‘Hamilton’s women’, Studies in Musical Theatre, 12:2, pp. 167–80.
    [Google Scholar]
33. Barnes, Grace (2021), ‘Ideals of “Britishness” reproduced in the musical adaptation of David Walliams’s The Boy in the Dress at the Royal Shakespeare Company’, Studies in Musical Theatre, 15:2, pp. 75–87, https://doi.org/10.1386/smt_00060_1
    [Google Scholar]