‘She’s (Not) There’: Musical theatre ghosts, Gwen Verdon and the Broadway revivals of Sweet Charity

References

1. Asare, M. (2020), ‘The Black Broadway voice: Calls and responses’, Studies in Musical Theatre, 14:3, pp. 343–59, https://doi.org/10.1386/smt_00047_7.
   [Google Scholar]
2. Austin, J. (1997), ‘Mentors of American jazz dance’, in S. E. Friedler and S. B. Glazer (eds), Dancing Female: Lies and Issues of Women in Contemporary Dance, Amsterdam: Harwood Academic Publishers, pp. 67–81.
   [Google Scholar]
3. Barnes, C. (1986), ‘Something old, something new: Debbie Allen’s Sweet Charity’, Daily News, 28 April, p. 55.
   [Google Scholar]
4. Beaufort, J. (1986), ‘Sweet Charity still winning hearts in traditional ways’, Christian Science Monitor, 30 April, p. 23.
   [Google Scholar]
5. Carlson, M. (2003), The Haunted Stage: The Theatre as Memory Machine, Ann Arbor, MI: University of Michigan Press.
   [Google Scholar]
6. Cohen, R. (1986), ‘Sweet Charity’, Women’s Wear Daily, 28 April, p. 10.
   [Google Scholar]
7. Donovan, R. (2020), ‘Style as star: Bob Fosse and sixty seconds that changed Broadway’, in R. Donovan and L. MacDonald (eds), The Routledge Companion to the Contemporary Musical, New York: Routledge, pp. 48–57.
   [Google Scholar]
8. Donovan, R. (2023), Broadway Bodies: A Critical History of Conformity, New York: Oxford University Press.
   [Google Scholar]
9. Gardner, E. (2005), ‘Sweet Charity is a real kick’, USA Today, 6 May, p. 9E.
   [Google Scholar]
10. Gill, B. (1986), ‘Unhappy Tyrones’, The New Yorker, 12 May, p. 95.
    [Google Scholar]
11. Gottfried, M. (1998), All His Jazz: The Life and Death of Bob Fosse, New York: DeCapo Press.
    [Google Scholar]
12. Gottschild, B. D. (1996), Digging the Africanist Presence in American Performance: Dance and Other Contexts, Westport, CT: Greenwood Press.
    [Google Scholar]
13. Grubb, K. B. (1989), Razzle Dazzle: The Life and Work of Bob Fosse, New York: St. Martin’s Press.
    [Google Scholar]
14. Hartman, S. V. (1997), Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America, New York: Oxford University Press.
    [Google Scholar]
15. Hoffman, B. (2005), ‘Sweet stage – Denzel, Python are coming to Broadway’, New York Post, 5 January, p. 88.
    [Google Scholar]
16. Isherwood, C. (2005), ‘How Broadway lost its footing’, New York Times, 22 May, p. A10.
    [Google Scholar]
17. Johnson, J. H. (1985), ‘Debbie Allen’s career takes a new turn’, Jet, 19 August, pp. 58–60.
    [Google Scholar]
18. Kerr, W. (1966), ‘Sweet Charity’, in J. Marlow and B. Blake (eds), New York Critics’ Theatre Reviews, vol. 27, New York: Critics’ Theatre Reviews Inc, p. 384.
    [Google Scholar]
19. Kessler, K. (2020), Broadway in the Box: Television’s Lasting Love Affair with the Musical, New York: Oxford University Press.
    [Google Scholar]
20. Kirle, B. (2005), Unfinished Show Business: Broadway Musicals as Works-in-Process, Carbondale, IL: Southern Illinois University Press.
    [Google Scholar]
21. Kraut, A. (2016), Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance, New York: Oxford University Press.
    [Google Scholar]
22. Landsburg, A. (2004), Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture, New York: Columbia University Press.
    [Google Scholar]
23. Martincich, D. (2018), ‘Stepping out of line: (Re)claiming the diva for the dancers of Broadway’, Studies in Musical Theatre, 12:1, pp. 79–91, https://doi.org/10.1386/smt.12.1.79_1.
    [Google Scholar]
24. Maslon, L. (2018), Broadway to Main Street: How Show Tunes Enchanted America, New York: Oxford University Press.
    [Google Scholar]
25. McClain, J. (1966), ‘Gwen Verdon in big, fat hit’, in J. Marlow and B. Blake (eds), New York Critics’ Theatre Reviews, vol. 27, New York: Critics’ Theatre Reviews Inc, p. 387.
    [Google Scholar]
26. McKechnie, D. (2006), Time Steps: My Musical Comedy Life, New York: Simon and Schuster.
    [Google Scholar]
27. McPherson, B. (2020), ‘Baudrillard on Broadway: Bio-musicals, the hyperreal and the cultural politics of Simuloquism’, Journal of Interdisciplinary Voice Studies, 5:1, pp. 43–57.
    [Google Scholar]
28. Morgan, T. (1986), ‘Debbie Allen’s “Charity” coached by the original’, New York Times, 28 May, p. C15.
    [Google Scholar]
29. Nadle, N. (1966), ‘Gwen Verdon biggest gift to Sweet Charity’, in J. Marlow and B. Blake (eds), New York Critics’ Theatre Reviews, vol. 27, New York: Critics’ Theatre Reviews Inc, p. 385.
    [Google Scholar]
30. Reside, D. (2023), Fixing the Musical: How Technologies Shaped the Broadway Repertory, New York: Oxford University Press.
    [Google Scholar]
31. Rich, F. (1986), ‘Stage: Sweet Charity, A Bob Fosse revival’, New York Times, 28 April, p. C19.
    [Google Scholar]
32. Rooney, D. (2005), ‘Sweet Charity’, Daily Variety, 5 May, p. 8.
    [Google Scholar]
33. Simon, J. (1986), ‘Speeded-up O’Neill, tarted-up Fellini’, New York, 12 May, pp. 138–40.
    [Google Scholar]
34. Sullivan, D. (1985), ‘Allen puts sweetness back in Charity’, Los Angeles Times, 22 July, p. F1.
    [Google Scholar]
35. Wasson, S. (2013), Fosse, Boston, MA: Houghton Mifflin Harcourt.
    [Google Scholar]
36. Watts Jr., R. (1966), ‘Gwen Verdon does it once again’, in J. Marlow and B. Blake (eds), New York Critics’ Theatre Reviews, vol. 27, New York: Critics’ Theatre Reviews Inc, p. 386.
    [Google Scholar]
37. Winkler, K. (2018), Big Deal: Bob Fosse and Dance in the American Musical, New York: Oxford University Press.
    [Google Scholar]