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THE PALGRAVE HANDBOOK OF
MUSICAL THEATRE PRODUCERS
Edited by
Laura MacDonald and William A. Everett
The Palgrave Handbook of Musical Theatre
Producers
 Laura MacDonald • William A. Everett
Editors

The Palgrave
Handbook of Musical
Theatre Producers
Editors
Laura MacDonald William A. Everett
School of Media and Performing Arts Conservatory of Music and Dance
University of Portsmouth University of Missouri
Portsmouth, United Kingdom Kansas City, Missouri, USA

ISBN 978-1-137-44029-7    ISBN 978-1-137-43308-4 (eBook)

DOI 10.1057/978-1-137-43308-4

Library of Congress Control Number: 2016963272

© The Editor(s) (if applicable) and The Author(s) 2017

This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher,
whether the whole or part of the material is concerned, specifically the rights of translation, reprint-
ing, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other
physical way, and transmission or information storage and retrieval, electronic adaptation, com-
puter software, or by similar or dissimilar methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are exempt
from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this
book are believed to be true and accurate at the date of publication. Neither the publisher nor the
authors or the editors give a warranty, express or implied, with respect to the material contained
herein or for any errors or omissions that may have been made. The publisher remains neutral with
regard to jurisdictional claims in published maps and institutional affiliations.

Cover illustration: Photo by Kenn Duncan © Billy Rose Theatre Division, The New York Public
Library for the Performing Arts

Printed on acid-free paper

This Palgrave Macmillan imprint is published by Springer Nature

The registered company is Nature America Inc.
The registered company address is: 1 New York Plaza, New York, NY 10004, U.S.A.
 Acknowledgements

The genesis of this volume began with a roundtable session, ‘“The Most
Fabulous Producers”: A Re-evaluation of Producers’ Innovations and
Achievements in American Theatre’, which took place at the annual meeting of
the Association for Theatre in Higher Education (ATHE) on 2 August 2012,
in Washington, DC. As the conveners of the roundtable, we remain grateful to
the participants for their involvement and especially for the suggestion and sub-
sequent encouragement that they and numerous attendees gave us to develop
the project further. We didn’t even leave the conference before talking with
Robyn Curtis, former associate editor at Palgrave Macmillan, about co-editing
a collection of essays on the topic of musical theatre producers. Her immediate
reaction that this was something worth pursuing was certainly inspirational,
and we are deeply indebted to her for suggesting the idea of a handbook. We
would like to thank Robyn’s successor, Jen McCall, for her continued support
as we were bringing the volume and its contents into focus.
At Palgrave Macmillan, we must also acknowledge Felicity Plester, publisher
and global head of film, culture and media studies; April James, editorial assis-
tant; and Joanna North, copyeditor for their continued support, expert advice,
and unwavering encouragement for this project.
We are grateful to Jeremy Megraw, Photograph Librarian in the Billy Rose
Theatre Division at the New York Public Library for the Performing Arts for
his help in locating our cover image.
In addition to our colleagues at the University of Portsmouth and the
University of Missouri–Kansas City, we would like to thank our families and
friends for their continued buttressing as this project reached completion. We
would be remiss to not offer our gratitude to our students, who inspire us and
provide tremendous opportunities for our own learning.
Finally, this book simply would not exist without the fine work by its many
contributors. Thank you for responding to our queries and suggestions and for
making the compilation and editing of this volume such a delight.
Laura MacDonald and William A. Everett, February 2016

v
 Contents

Overture1

1 A Ballyhoo for Producers3

Laura MacDonald, William A. Everett

2 Actors Act. Directors Direct. Producers … Produce? Mel

Brooks’s The Producers and the Creation of an Archetype11
Kathryn Edney

Act 1. To the 1940s19

3 Tony Pastor: The Father of Vaudeville21

Gillian M. Rodger

4 Adolf Philipp and the German American Musical Comedy29

John Koegel

5 George Edwardes: The Guv’nor of Late Victorian Musical

Theatre39
William A. Everett

6 Charles Frohman: King of the Star-Makers47

Brian D. Valencia

vii
viii CONTENTS

7 Aggressive, Beleaguered, Commercial, Defiant: Marc Klaw

and Abraham Erlanger59
Marlis Schweitzer

8 Did the Shuberts Save Broadway? The Corporate Producers69

Anthony Vickery

9 Sam Harris: A Producing Patron of Innovation83

Alisa Roost

10 Florenz Ziegfeld Jr.’s ‘Simple Idea’: Girls and Music in

Tastefully Extravagant Settings95
Todd Decker

11 Feather-Footed Impresario: The Scandals of George White107

Maya Cantu

12 Alexander A. Aarons and Vinton Freedley: The Smart

Sophisticates119
Jennifer Ashley Tepper, William A. Everett

13 Coherency: Lew Fields, the Performer-Producer and

Experimenter in Integration127
Dominic Symonds

14 Firm Foundations: James Cassius Williamson and ‘The Firm’137

Frank Van Straten

15 Japanese Women’s Popular Musicals: The Takarazuka Revue145

Nobuko Anan

Act 2. From the 1940s through the 1970s151

16 Refining the Tastes of Broadway Audiences: The Theatre

Guild and American Musical Theatre153
Claudia Wilsch Case

17 More than a Producer: ‘George Abbott Presents’163

Paul R. Laird
 CONTENTS ix

18 Rodgers and Hammerstein: The Sound of Money173

Valerie M. Joyce

19 The Nice One: The Productions of Robert Griffith191

Michael Schwartz

20 The Sparkplug and the Engineer: Balancing Art and

Business in the Collaboration of Cy Feuer and
Ernest Martin199
Dominic McHugh

21 Roger L. Stevens: The Great Facilitator207

Karen Patricia Heath

22 ‘He Could Get It for You Wholesale’: The Producing

Genius of David Merrick217
Ryan McKinney

23 Stuart Ostrow: Experiments in Independence231

Elissa Harbert

24 Hal Prince: Artistry in Producing239

Paul R. Laird

25 Korean Musical Theatre’s Past: Yegrin and the Politics of

1960s Musical Theatre253
Ji Hyon (Kayla) Yuh

26 Joseph Papp and the Public Theater261

Elizabeth L. Wollman

27 Giora Godik: The ‘Showporter’ Turned Artistic Producer267

Shiraz Biggie

28 The West End (and Broadway) Head East: Tō hō

International and Gekidan Shiki277
Kevin J. Wetmore Jr.
x CONTENTS

Act 3. Since the 1970s289

29 The Shubert Organization: One Singular Sensation,

Now and Forever291
Mark E. Swartz

30 Emanuel Azenberg’s Life in Theatre: ‘Happiness Is

Equilibrium. Shift Your Weight’303
Sarah Taylor Ellis

31 Cameron Mackintosh: Modern Global Impresario311

Jessica Sternfeld

32 Laying Down the RUG: Andrew Lloyd Webber, the Really

Useful Group, and Musical Theatre in a Global Economy325
Kyle A. Thomas

33 ‘My American Dream’: Dreaming of Broadway and the

West End in the Philippines333
Sir Anril Pineda Tiatco

34 Trading Globally in Austrian History: Vereinigte

Bühnen Wien343
Laura MacDonald

35 From Amsterdam With Love: Stage Entertainment’s

Global Success351
Sanne Thierens

36 West Side Story: The Journey to Lincoln Center Theater359

Doug Reside

37 Making Musicals that Matter: George C. Wolfe and

Oskar Eustis at the Public Theater369
Donatella Galella

38 Broadway-Bound: La Jolla Playhouse as a Laboratory

for New American Musical Theatre377
Claudia Wilsch Case
 CONTENTS xi

39 Our Brand Is Revival: The Roundabout Theatre Company385

Bryan M. Vandevender

40 Reclaiming, Restoring, and Reviving the American Musical:

City Center Encores!393
Bryan M. Vandevender

41 Garth Drabinsky’s ‘Grand Moves’: Artistic Ambition and

Commercial Illusions in the 1990s405
Todd Decker

42 Disney Theatrical Productions: Anything Can Happen

If You Let It413
Amy S. Osatinski

43 Against All Odds: Kevin McCollum, Creating Communities

Through Theatre427
Chris McCoy

44 ‘I Am Them’: Tyler Perry’s Black Musical Theatre for

the Masses433
Rashida Z. Shaw

45 Between Broadway and the Local: Arts Communication

International (ACOM), Seol & Company, and the
South Korean Musical Industry441
Hyunjung Lee

46 Performing Like a Concert King or a Queen: Producing

Original Filipino Musicals449
Sir Anril Pineda Tiatco

47 Producing Musicals in Russia at the Turn of the

Twenty-First Century: Navigating Across Socialism,
Capitalism, Occidentalism, and Nostalgia459
Art Babayants

48 David Stone: Defying the Gravity of Expectations467

David Carlyon
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