Sondheim in Our Time and His
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Sondheim in Our Time and His offers a wide-ranging historical investigation of the landmark works and extraordinary career of Stephen Sondheim, a career which has spanned much of the history of American musical theater. Each author uncovers those aspects of biography, collaborative process, and contemporary context that impacted the creation and reception of Sondheim's musicals. In addition, several authors explore in detail how Sondheim's shows have been dramatically revised and adapted over time. Multiple chapters invite the reader to rethink Sondheim's works from a distinctly contemporary critical perspective and to consider how these musicals are being reenvisioned today. Through chapters focused on individual musicals, and others that explore a specific topic as manifested throughout his entire career, plus an afterword by Kristen Anderson-Lopez; by digging deep into the archives and focusing intently on his scores; from interviews with performers, directors, and bookwriters, and close study of live and recorded productions--volume editor W. Anthony Sheppard brings together Sondheim's past with the present, thriving existence of his musicals. Cover Sondheim in Our Time and His Copyright Dedication Contents List of Contributors Introduction: Our Sondheim Part I. Early Stages 1. Williams College Before, During, and After Sondheim 2. Fragments of Fairyland: Sondheim’s Abandoned Adaptation of Mary Poppins 3. “Nearly everything I wrote”: Sondheim and the Actors Studio 4. Breakout from the Asylum of Conformity: Sondheim, Laurents, and the Dramaturgy of Anyone Can Whistle Part II. Staging Identities 5. Sondheim’s Whiteness 6. Politics, Representation, and Collaboration in Pacific Overtures (1976) 7. Sexual Identity in Company, 1969–2019 8. Students Performing Gender with Sondheim’s Musicals in the Age of #MeToo Part III. Versions, Genres, and Collaborations 9. Sweeney’s Identity Crisis and the Dynamic Potential of Generic Hybridity 10. “A sad and listless affair”: The Unsung Film Adaptation of Sondheim’s A Little Night Music Part IV. Reconceived Structures and Techniques 11. Time and Time Again: Temporal Structures in Sondheim’s Musicals 12. Sunday in the Park with Sondheim, Lapine, Seurat, and Babbitt 13. Sondheim and the 11 O’clock Principle 14. Finishing the Line: Wit, Rhythm, and Rhyme in Sondheim Afterword: Moving on with Sondheim Works Cited Index
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