Innehåller bibliografiska referenser och index

Paris as a symbol (1852-1914)/ Venita Datta -- "Yes, I'm a gay Parisian": establishing the trope of "gay Paree": The merry widow / Stefan Frey -- "Come and play wiz me in gay Paree": approaching Cole Porter's Paris / Hannah Robbins -- Dressed by Paris. Mlle. Modiste, Roberta and No strings / Maya Cantu -- Liberated by Paris: a reconsideration of three Broadway "flops" - Miss Liberty, Ben Franklin in Paris and Dear world / Michael G. Garber -- Seduced by Paris: Irma la douce and its journey to Broadway / Stewart Nicholls -- The capital of pre-code operettas: Paris and Paramount and MGM / Marguerite Chabrol -- Paris as location: Funny face, Les girls, Silk stockings and Gigi / Julia L. Foulkes -- Paris by hand: Gay Purr-ee and The aristocats / Daniel Batchelder -- Shockwaves at a distance: Ellis and Herbert's Bless the bride ; Performing Paris: Les misérables, The phantom of the opera, and Aspects of love / John Snelson -- The courtesan and the collaborator: Marguerite / Clare Chandler -- Gay shame in "Gay Paree": re-contextualising gender progressiveness in two film versions of Victor/Victoria / Florian J. Seubert -- À la recherche de quel temps? Can-can and the fluidity of Paris perdu / Raymond Knapp and Mitchell Morris -- Art, artifice and artificiality: the various versions of the musical Gigi / Olaf Jubin -- "Artists in art's capital city": Americans in Paris on scree and stage / Robert Gordon -- Paris and the curse of Chicago in Stephen Sondheim's Sunday in the park with George / Robert Lawson-Peebles -- The paradoxical "Frenchness" of an Australian musical: Baz Luhrmann's Moulin rouge! / Pierre-Olivier Toulza

Paris and the Musical explores how the famous city has been portrayed on stage and screen, investigates why the city has been of such importance to the genre and tracks how it has developed as a trope over the 20th and 21st centuries.?From global hits An American in Paris, Gigi, Les Misérables, Moulin Rouge! and The Phantom of the Opera to the less widely-known Bless the Bride, Can-Can, Irma la Douce and Marguerite, the French capital is a central character in an astounding number of Broadway, Hollywood and West End musicals. This collection of 18 essays combines cultural studies, sociology, musicology, art and adaptation theory, and gender studies to examine the envisioning and dramatisation of Paris, and its depiction as a place of romance, hedonism and libertinism or as ‘the capital of the arts’.?The interdisciplinary nature of this collection renders it as a fascinating resource for a wide range of courses; it will be especially valuable for students and scholars of Musical Theatre and those interested in Theatre and Film History more generally