Index

Abbate, Carolyn, 23, 42 governess, image of, 209–12, 214 Acker, Kathy, 63 “hypothetical lesbian heroine,” 40 Adams, Edith (Edie), 145 “lesbian body,” markers of, 38, Adrien, Gilbert, 83 211–12 See also Gaynor, Janet marriage to Blake Edwards, 171 Allen, Robert, Horrible Prettiness, Mary Poppins, performance in, 124 132, 170, 207, 208 Allen, Woody, 179 Mary Poppins, performance of, Allers, Franz, Camelot, music direc- 131–32 tor, 149 My Fair Lady, performance in, 8, Allison, June, 15 11, 12, 140, 153–60, 184, 207 Altman, Rick, 223 Eliza, performance of, 6, 139, Andrews, Julie, viii, x, 3, 5, 7, 10, 149, 150, 185 22, 86, 90, 97, 129, 131–72, performance with Carol Burnett, 176, 204, 205, 206, 209, 211, 133–35 212, 213, 235, 236 See also butch: butch-femme Camelot, performance in, xi, 11, couples 140, 160–69, 207 The Sound of Music, performance Guenevere, performance of, 37, in, xii, 16, 140, 171, 203–33 150, 161, 167–69 Maria, performance of, xii, 131, Cinderella, performance in, 11, 170, 185, 204, 205–8, 216 140, 142–49 Star!, performance in, 170–72 creation of feminist Cinderella, star persona, 35, 42, 170–72, 147–49, 207 247n.101 Cinderella image, 150–53 Victor/Victoria, performance femme, performance of, ix, xi, 39, in, 131–32, 171 132, 150, 152, 170, 172, 216 voice, 42–43, 102, 140, 167–69 276 Index

anti-Semitism. See Funny Girl; Jew- See also musicals, American: jazz ishness; 1950s America and blues, in›uence of Arthur, Jean, 55, 79, 82–84 Bock, Jerry, 17 See also Martin, Mary: friend- bodies ships with women class, performance of, 81, 157–60, 200–202, 223 Bailey, Maureen, 65, 73, 75, 76 racialized, 62–63, 69–70, 223, Ballard, Kaye, 143 228–29 Bancroft, Anne, 184 women’s, 123–25, 181–82, 192 Ban‹eld, Stephen, 29, 119 Booth, Shirley, 22 Barrie, J. M., 8 Borgnine, Ernest, 34, 98 latent homosexuality, 64 See also Merman, Ethel: mar- See also Peter Pan riages Bechdel, Alison, 211–12 Boyarin, Daniel, 182 Belafonte, Harry, 90 Boyarin, Jonathan, 182 belting voice. See Merman, Ethel; Bradbury, Lane, 105 Streisand, Barbra Brandy, 141, 142 Benny, Jack, 61 Brantley, Ben, 104, 107 Berg, Gertrude, 113–14 Brecht, Bertolt See also television shows: The Brechtian moments in perfor- Goldbergs mance, 147, 190–91 Bergen, Polly, 129–30 use of music, 247n.98 See also Merman, Ethel: perfor- See also musicals, American: mance with Bergen Brechtian Alienation effects Bergman, Ingrid, 12 breeches role. See cross-dressing Berkeley, Busby, 28 Brice, Fanny, 179, 182–83, 192–93, Berlin, Irving, 2, 17, 19, 28, 103 270n.63 See also musicals, American: See also Funny Girl; star persona; titles: Annie Get Your Gun; Streisand, Barbra Call Me Madam Britton, Andrew, 50 Bernhardt, Sarah, 64–65, 201–2 Broadway. See musicals, American See also Streisand, Barbra Bronski, Michael, 64, 226 Bernstein, Leonard, 27 Culture Clash, 180 Bikel, Theodore, 35, 80–81 Brooks, Mel, 179 blackface, Jewish performance of, Brynner, Yul, 12 179 Burnett, Carol, xi, 22, 133, 184 Block, Geoffrey, 154, 158 See also Andrews, Julie: perfor- blues, 19 mance with Carol Burnett; Jewish and African American butch: butch-femme couples musicians, connections of, Burt, Ramsey, 72 102, 187 Burton, Richard, 8, 150, 161–62, women blues singers, 19–20, 187 164, 168, 183 Index 277 butch comparisons of televised ver- butch-femme couples, 94, sions, 142–49 125–26, 133–35 feminist critique of, 143–49 de‹nitions of, 39, 59, 93–99 See also Andrews, Julie; Brandy; ‹lm characters, 97 Warren, Lesley Ann style, 95–96 “Cinderella” stories, xi, 140–42 See also femme; lesbian; Merman, civil rights movement, 10, 15 Ethel class, issues of. See bodies Clinton, Kate, 212, 216 Camelot, xi, 8, 139, 140, 141, Clum, John M., 22, 106 142, 149, 150, 160–69, 171, Colbert, Claudette, 55 183 Cole, Jack, Kismet, choreography of, cast album, 11, 150 28 Guenevere, character of, 9, 153, Coleman, Robert, 117 167–69 Comden, Betty, 27, 63 homosociality, dominance of, See also Peter Pan 152, 166–69 Cook, Barbara, 22 See also Andrews, Julie Coombe, Rosemary, 34 camp, 21, 180, 194, 221 Coontz, Stephanie, 15 See also musicals, American Coote, Robert, 149, 163 Carr, Charmian, 229 Cornell, Katherine, 81 Case, Sue-Ellen, 96 Coward, Noel, 81, 90, 170 cast albums, 7, 11–12, 149, 184 Crawford, Joan, 98 Castle, Terry, 68, 76 Creekmur, Corey, 31–32 Cat on a Hot Tin Roof (Williams), Crocker, Elizabeth, 135 16 cross-dressing, 64–65, 73, 85 Chafe, William H., 14–15 The Crucible (Miller), 16 Channing, Carol, 22 Cushman, Charlotte, 64–65 Chaplin, Saul, The Sound of Music, producer of, 221 dame roles. See cross-dressing Charlap, Moose, 63, 64 Davis, Angela, 19–20 See also Peter Pan Davis, Madeline, 94–95 Charnin, Martin, 238 Davis, Sammy, Jr., 200 See also musicals, American: Davy, Kate, 63 titles: Annie Day, Doris, 15, 50 Chase, Ilka, 143 Death of a Salesman (Miller), 16 Christ, Judith, 178 de Beauvoir, Simone, 157 Church, Sandra, 105, 127 DeGeneres, Ellen, 210–11 Cinderella, xi, 2, 139, 140, 142–49, de Lauretis, Teresa, 24 151 de Mille, Agnes, Oklahoma, chore- Cinderella, character of, 1, ography of, 28 146–49 Dettmer, Roger, 56 278 Index

Deutsch, Helen, Psychology of performance of; butch; les- Women: A Psychoanalytic bian Interpretation, 55 ‹lm titles Dietrich, Marlene, 47, 97 Aliens, 97 See also lesbian: icons Anastasia, 12 Donohue, Vincent, 64, 84, 206 Around the World in Eighty Days, Doty, Alexander, 21–22, 23, 31–32 12 Douglas, Susan, 144 Baby Doll, 12 dramatic realism, 16 Beautiful Thing, 121 Dunne, Irene, 50 Calamity Jane, 50 Dyer, Richard, 63, 104, 177, 230 Clueless, 21, 179–80 The Diary of Anne Frank, 12 Echols, Alice, Daring to Be Bad, 95 Giant, 12 Edwards, Anne, 184 Gone with the Wind, x, 12 Edwards, Blake, 171 In and Out, 21, 180 See also Andrews, Julie The Killing of Sister George, 97 Ehrenreich, Barbara, 120 The King and I (adaptation of Ellis, Havelock, 122–23 musical), 12 Ellsworth, Elizabeth, 25–26 The Lion in Winter, 183 Engel, Lehman, 30–31, 119, 151, Marjorie Morningstar (adaptation 154, 165, 167 of book), 114, 199–200 Equal Rights Amendment, 14 Molly, 113 See also women’s liberation My Fair Lady (adaptation of musi- movement cal), 208 Erdman, Harley, 192 The Next Best Thing, 21 Erens, Patricia, 107, 116 Personal Best, 25 Evans, Caroline, 26 Peyton Place (adaptation of book), Ewen, David, 176 x, 12 Pretty Woman, 141 Faderman, Lillian, The Well of Prince of Tides, 202 Loneliness, 53, 96 Queen Christina, 50 Fassbaender, Brigitte, 68 Star!, 170 feminism Sylvia Scarlett, 50 cultural politics, 221 Victor/Victoria (adaptation of lesbian feminism, development musical), 236 of, 95–97, 212 Yentl (adaptation of musical), 237 See also spectator Foster, Susan Leigh, 72 femme, 94, 169 Freud, Sigmund, use of theories, de‹nitions of, 39, 135–38, 170 123, 210 “The Femme Tapes,” 136–38 Friedberg, Ann, 213 visibility of, 172 Friedman, Jonathan, 214 See also Andrews, Julie: femme, Frith, Simon, 42 Index 279

Funny Girl, x, xii, 11, 16, 90, 106, Gold, Michael, Jews without Money, 119, 129, 133, 173–202, 205 188 cast album, importance of, Goldman, William, 235 184 Goldstone, Richard, 153, 154 Fanny Brice, character of, 9, 133, Gomez, Jewel, 137 176 Gordon, Vera, 113 Jewishness, 188–89, 191, 199 Gottfried, Martin, 100 marriage to Nick Arnstein, 176, Gould, Elliot, 201 183, 193 See also Streisand, Barbra See also Brice, Fanny Goulet, Robert, 161, 164 ‹lm adaptation of, 185–202 Graham, Paula, 232 See also Streisand, Barbra Green, Adolphe, 27, 63 Fuss, Diana, 25 See also Peter Pan Gregory, Paul, 84 Gamman, Lorraine, 26 See also Gaynor, Janet Garb, Tamar, 194–95, 197 Gypsy, x, xi, 2, 16, 90, 93, 103, Garber, Marjorie, 74, 75 105–28, 129, 176, 185, 196, 235 Garbo, Greta, 48, 50, 79, 97 gynocentric world of, 122–25 See also lesbian: icons as Jewish musical, 107 Garebian, Keith, 102, 120, 121, 154, lyrics of, 29 159–60 Momma Rose, character of, xi, 5, Garland, Judy, 10, 48, 55, 98, 173, 16, 36, 86, 90, 104, 106, 190 107–11, 114, 128, 173 Gaynor, Janet, 79, 82–84 See also Hovick, Rose Louise See also Martin, Mary: friend- setting, homoeroticism of, 40 ships with women See also Merman, Ethel Gaynor, Mitzi, 185 gay rights movement, 10 Hadleigh, Boze, 98 gender Hagman, Benjamin, 53, 77 ideology of, 76–77 See also Martin, Mary: marriages performance of, 62–63, 67, 69–73, Hagman, Larry, 77 85, 125–29, 195 Halberstam, David, 19 role reversal, 13, 74, 80, 121, 198 Halberstam, Judith, 5, 49–50 transcendence of, 189 Female Masculinity, 97 Gershwin, George, 28, 99 Hale, Wanda, 171 See also musicals, American: Hall, Juanita, 39, 58 titles: Girl Crazy Hall, Stuart, 216 Gilman, Sander, The Jew’s Body, Halliday, Richard, x, 56, 64, 76–82, 182, 186, 187, 191 83, 85, 139, 239n.2 Girard, René, 152, 166 See also Martin, Mary: marriages The Glass Menagerie (Williams), 15 Hammerstein, Oscar, II, 17, 21, 143, Gledhill, Christine, 213 148, 236 280 Index

Hammerstein, Oscar, II (continued) See also Camelot; My Fair Lady; Jerome Kern, collaboration with, Sedgwick, Eve Kosofsky 26–27 Houston, Whitney, 143 See also Rodgers and Hammer- Hovick, Rose Louise (pseud. Gypsy stein Rose Lee), 105, 106 Harris, Barbara, 22 lesbianism, 107 Harris, Laura, 135 See also Gypsy Harrison, Rex, 8, 12, 149, 155, 157, Hurst, Fannie, 113 183 Hart, Lorenz, 17, 21 Istar, Arlene, 137 Camelot, director of, 149–50 Itzkovitz, Daniel, 178, 182 Hart, Moss, 21 My Fair Lady, director of, 155, Jakobsen, Janet, 182 160 Jewishness Hartnick, Sheldon, 17 anti-Semitism, 19, 194–95, Haydn, Richard, 220 201 Head, Edith, 56 belle juive, image of, xii, 194–96, Heckerling, Amy, Clueless, director 197, 201 of, 179–80 Jewish American Princess Hepburn, Audrey, 140, 185, (J.A.P.), xii, 196–200, 201 208 See also Streisand, Barbra Hepburn, Katharine, 48, 50, 97, 140, links to queerness, 182, 202 183 representations of. See Merman, See also lesbian: icons Ethel; 1950s America; queer; Herman, Jerry, 17, 27 Streisand, Barbra heterosexuality Johnson, Mykel, 137 musicals, dominance of, 30–32, 236 Kanin, Garson, Funny Girl, director narratives of, 7, 9, 161–62, of, 184 188–93 Kass, Deborah, 181 relationships of musical charac- Katz, Jonathan Ned, 14–15, 74 ters, 41, 74 Kazan, Elia, 81 representations of, 92, 223 Kennedy, Elizabeth Lapovsky, subversion of, 75, 151–53, 158, 94–95 167, 191, 193–96, 228–33 Kennedy, Jackie, 150, 181 Holland, Bernard, 19 Kennedy, John F., 150, 160–61 Hollibaugh, Amber, 136–37 See also Camelot Holm, Celeste, 145 Kennedy, John F., Jr., 161 Holm, Hanya, Camelot, choreogra- Kern, Jerome, 55 pher of, 149 integrated musical, composition homosociality, 152, 155–57, 228, of, 26–27 266n.81 See also Hammerstein, Oscar, II; Index 281

musicals, American: titles: markers of, 38–39 Showboat narratives, 227–33 Kerr, Walter, 16, 106, 109, 117, 128 readings, 205–33 Kivy, Peter, 29 representational practices in Kline, Kevin, 180 musicals, 40–43, 65, Klugman, Jack, 105 204 Koestenbaum, Wayne, 193 sexuality, development of, Krantz, Judith, 200–201 215–18 Krzywinska, Tanya, 25, 216 stereotypes, 148, 226, 232 See also butch; femme; spectator: Landon, Margaret, Anna and the lesbian King of Siam, 27 Levine, Amy-Jill, 178, 187, 198 See also musicals, American: Lévi-Strauss, Claude, 152 titles: The King and I Lieberman, Rhonda, 181 Lane, Anthony, 237 Lindsay, Howard, 144 Lansbury, Angela, 140 Lipsitz, George, 114 Laurents, Arthur, 21, 93, 105, 107, Litton, Glenn, 174 124 Loewe, Fritz, 17, 27 See also Gypsy See also Lerner and Loewe LaValley, Al, 81 Logan, Joshua, 61 Lawrence, Gertrude, 170–71 Lorde, Audre, Zami, 94–95 See also Andrews, Julie; musi- Love, Valor, Compassion (McNally), cals, American: titles: Star! 20 Lee, Henry, 171 Lee, Sondra, 69 MacCowan, Lyndall, 95, 96 Leigh, Carolyn, 63, 64 MacDonald, Audre, 180 See also Peter Pan Malone, Jacqui, 28 Lerner, Alan Jay, 17, 27, 154, 157, Marjorie Morningstar (Wouk), 158, 160 199–200 See also Lerner and Loewe Martin, Heller, 56 Lerner and Loewe, xi, 2, 12, 43, See also Martin, Mary: relation- 107, 139, 149–53 ship with daughter Camelot, 139, 149–53 Martin, Mary, viii, x, 3, 5, 7, 10, My Fair Lady, 153–60 16, 22, 23, 45–87, 90, 97, See also musicals, American: 98, 134, 141, 176, 183, 204, composition teams 205, 209, 235, 236 lesbian Annie Get Your Gun, perfor- critical de‹nitions of, 3, 23–26, mance in, 56, 86 37–43 Annie Oakley, performance of, cultural politics, 221 ix, 50 icons, 97, 105 Born Yesterday, appearance on, identity, 209–18 56 282 Index

Martin, Heller (continued) McClintic, Guthrie, 81 friendships with women, 79–80, McDowall, Roddy, 151, 161 82–84 McGraw, Ali, 200 See also Arthur, Jean; Gaynor, McNally, Terrance, 20 Janet; Woods, Mildred Medford, Kay, 188 “hypothetical lesbian heroine,” memory, 6–7 40 Mercer, Kobena, 224 “lesbian body,” markers of, 38 Merman, Ethel, viii, x, 5, 7, 10, 16, marriages 22, 23, 50, 56, 89–130, 134, to Benjamin Hagman, 53, 77 138, 141, 176, 184, 196, 235, to Richard Halliday, x, 56, 64, 236 76–82, 83, 239n.2 Annie Get Your Gun, perfor- Music of Mary Martin, 84–86 mance in, 86, 129 performance with Merman, 8, Annie Oakley, performance of, 45–47, 86–87, 133 ix, 9, 36, 103 Peter Pan, performance in, 6, 48, butch, performance of, ix, 87, 90, 53, 56, 63–76, 138, 142, 207 174 Peter Pan, performance of, 8, Gypsy, performance in, 16, 103, 35, 47, 50, 53, 86, 205, 206, 105–29 224 “hypothetical lesbian heroine,” relationship with daughter, 56 40 See also Martin, Heller Jewish, (mis)conceptions of, xi, The Sound of Music, performance 92–93, 101, 133, 175 in, xii, 16, 53, 56, 64, 106–7, “lesbian body,” markers of, 38 205 Momma Rose, performance of, xi, Maria, performance of, 47, 50, 5, 16, 36, 86, 90, 104, 107–11, 60, 185, 204, 205–9, 239n.2 114, 128, 173, 185 South Paci‹c, performance in, 48, as Jewish mother, 113–15 56, 57–63 as butch Jewish mother, Nellie Forbush, performance of, 115–17, 121 39, 47, 50, 57–63, 185 as queer Jewish mother, star persona, 35, 42, 48, 52–57, 118–22 78–80, 247n.101 as stage mother, 111–13 tomboy, performance of, ix, 48, marriage to Ernest Borgnine, 49–57, 58, 65, 84, 87, 97, 205, 98–99 225 performance with Bergen, 129–30 voice, 42–43, 67–69 performance with Martin, 8, mass culture, 12 45–47, 86–87, 133 Mast, Gerald, 21, 58, 61–62, 103, performance with Sinatra, 89–91, 154, 214, 218 133 May, Elaine Tyler, 14, 124 star persona, 34, 35, 42, 89, 92, McCarthy, Joseph, 15 99–101, 104, 247n.101 Index 283

Streisand, Barbra, comparison integrated musicals, structure of, with, 173–75 26–33, 235 voice (belting), 42–43, 101–5, jazz and blues, in›uence of, 19 140, 174, 187, 190 Jewish artists, in›uence of, 17–19 working-class background, mainstream culture, fascination 100–101 with, 8–20 Mesta, Perle, 103 racial politics of, 9–10 Method acting, 16 representation of women, 16–17 Michener, James, Tales of the South structure of, 9, 32–33 Paci‹c, 27, 57 titles See also South Paci‹c Annie, 238 Miller, Alan, 184 Annie Get Your Gun, ix, 2, 9, See also Streisand, Barbra 16, 50, 86, 103, 205, 235 Miller, Arthur, 12, 15 Anything Goes, 34, 46, 91, 92, The Crucible, 16 98, 103, 142, 235 Death of a Salesman, 15 The Apple Tree, 22 Miller, D. A., 21–22, 106, 109, 119, Babes in Arms, 28 122, 169 The Boyfriend, 10, 139 Molnar, Ferenc, Liliom, 27 By the Beautiful Sea, 22 See also Carousel Cabaret, 236 Monroe, Marilyn, 15, 50, 55, 181 Cabin in the Sky, 9 Moraga, Cherrie, 136 Call Me Madam, 6, 36, 47, 103, Mordden, Ethan, 6, 17, 45, 56, 63, 235 103, 106, 115, 126, 147 Candide, 22 Most, Andrea, 18, 32 Carmen Jones, 9 Murphy, Agnes, 115 Carousel, 8, 9, 16, 60–62 Murrow, Edward R., 35, 91 Cats, 236 musicals, American Dames at Sea, 106 Brechtian Alienation effects, 32 Damn Yankees, 8, 16 See also Brecht, Bertolt Evita, 183 Broadway Fade In—Fade Out, 22 Golden Age of, viii, 11, 17, 26, Fiddler on the Roof, 236 105, 106, 152, 235 Flower Drum Song, 10 history of, 8–20 42nd Street, 106 camp, elements of, 21–23 Gentlemen Prefer Blondes, 22 composition teams Girl Crazy, 46, 99, 129, 235 Lerner and Loewe, xi, 43, 107 Guys and Dolls, 8 Rodgers and Hammerstein, xi, Hallelujah, Baby!, 22 1, 43, 107 Hello, Dolly!, ix, 16, 22, 86 Rodgers and Hart, 28 I Can Get It for You Wholesale, Styne and Sondheim, 107, 196 xi, 11 concept musicals, 236 I Do! I Do!, 56, 86, 205 284 Index

titles (continued) cast album, importance of, 7, 8, Into the Woods, 183 11, 149 Jennie, 205 Eliza, character of, 3, 153, Jesus Christ Superstar, 183, 236 157–60, 185, 208 The King and I, 1, 10, 16, 21, homosociality, dominance of, 152 106, 170 troublesome ending of, 154–55 Kismet, 28 See also Andrews, Julie; Martin, Kiss Me, Kate, 106, 142, 205 Mary Leave It to Me, 46, 47, 205 Mame, 17 Navasky, Victor S., 18 The Music Man, 9, 22 Nestle, Joan, 138 Oklahoma!, 1, 16, 26, 27–28, The Persistent Desire, 95 60, 205 A Restricted Country, 94–95, On a Clear Day You Can See 136 Forever, 22 Newton, Esther, 49 Once Upon a Mattress, 22 1950s America, 13–20 One Touch of Venus, 47, 64, anti-Semitism, 18 85, 205 Beat culture, 15 Pal Joey, vii Brown v. Board of Education, 15 Ragtime, 180 See also civil rights movement The Red Shoes, 106 gender dichotomies, 76–77 She Loves Me, 22 See also gender Showboat, 26–27 Hays Code, 242n.39 Sunday in the Park with House Un-American Activities George, 183, 236 Committee, 15 Sweeney Todd, 236 ideas of successful men, 120 There’s No Business Like Show images of Jewish mothers, Business, 139 112–15, 118, 188 A Tree Grows in Brooklyn, 22 Kinsey Report, 15 Victor/Victoria, ix, 131, 171 Montgomery bus boycott, 15 West Side Story, 28, 134, See also civil rights movement 235–36 motherhood, expectations of, Wonderful Town, 142 55–56 Yentl, ix, 200, 202 perversion of homosexuality, translation to television, 46, 14–15 89–90 racism on television, 114 waltzes, prominence of, nostalgia, 213–18, 236 246n.92 My Fair Lady, xi, 2, 3, 12, 16, 107, 129, 141, 142, 149, Ockman, Carol, 178 150, 153–60, 164, 171, 183, O’Connor, John J., 103, 117 185, 205 O’Donnell, Rosie, 233, 237 Index 285

The Once and Future King (White), theory, ix 150, 161 See also Jewishness See also Camelot race, issues of. See bodies: racial- Parker, Eleanor, 220, 221, 226 ized Pascal, Gabriel, 153 Reed, Donna, 50 Peck, Seymour, 109–10 Reid, Beryl, 97 Pellegrini, Ann, 182 Reynolds, Debbie, 50, 140 Penn, Donna, 123 Rice, Tim, 236 Peter Pan, ix, x, xi, 9, 10, 48, 52, See also Weber, Andrew Lloyd 63–76, 205 Rich, Adrienne, 95 composers and lyricists of, 63, 64 Riese, Randall, 179, 180, 184, 191 See also Barrie, J. M.; Martin, Ritchard, Cyril, 70, 72 Mary; Robbins, Jerome Rivadue, Barry, 54, 80 Peters, Lauri, 224 Robbins, Jerome, 21, 86, 105, 129 Phelan, Peggy, 7 Funny Girl, choreography and Pidgeon, Walter, 144 directing of, 178, 184 Pinchot, Ann, 53–54 Gypsy, choreography of, 28 Pinza, Ezio, 57, 58, 62 Peter Pan, choreography and Plummer, Christopher, 208, 212, directing of, 63, 64, 66 220, 223 West Side Story, choreography of, Porter, Cole, 2, 17–18, 28, 34, 43, 28 47, 86, 98, 103, 236 Roberts, Julia, 141 See also musicals, American: Rodgers, Mary, 84 titles: Anything Goes Rodgers, Richard, 17–18, 52, 77, 84, Prell, Riv-Ellen, 196–97, 198 143, 225, 232 Presley, Elvis, 11, 16, 19 See also Rodgers and Hammer- Preston, Robert, 205 stein Probyn, Elspeth, 37–38 Rodgers and Hammerstein, xi, 16, Pygmalion (Shaw), 149, 153–54 28, 43, 86, 107, 139, 141, 142, See also Camelot 146, 214, 236, 237 Cinderella, 142–49, 152 queer, 21 integrated Broadway musical, cre- characters, 41, 58, 218 ation of, 6, 26–33, 105 couples, 59, 70–73, 90, 151, liberal politics of, 10 155–57 1954 television tribute to, 60–63 de‹nitions of, 3, 23–24, 31–32 Oklahoma!, 27–28 musicology, 249n.121 The Sound of Music, 1–3, 218, performances of, 67, 109, 138, 140, 223 169, 176, 193–96, 202, 210 South Paci‹c, 28–29, 57–63 perspective, 152, 165 See also musicals, American: pleasures of, 205, 238 composition teams 286 Index

Rodgers and Hart, 236 Sister Gregory, 83 Babes in Arms, 28 See also Martin, Mary; The See also musicals, American: Sound of Music; von Trapp, composition teams Maria Rogers, Ginger, 144 Slobin, Mark, 179 Rosen‹eld, John, 54 Smith, Liz, 45 Roth, Philip, 116 Smith, Oliver, Camelot, set designer Goodbye Columbus, 200 of, 149 Rothstein, Edward, 117 Smyth, Cherry, 24, 37 Rowe, Kathleen, 177 Sondheim, Stephen, 17, 21, 90, 103, Rubin, Gayle, 96 105, 107, 129, 183, 236 Russell, Rosalind, 55, 105, 185 See also Gypsy; musicals, Ameri- Ryan, Mary, 55 can: composition teams; The Sound of Music, ix, x, xii, Scharf, Walter, Funny Girl, musical 2, 8, 9, 11, 16, 35, 47, 50, director of, 191 60, 64, 80, 83, 85, 106, 119, Schrank, Joseph, 143 131–33, 134, 148, 176, 185, See also Cinderella; Rodgers, 194, 207, 210, 211, 212, Richard 213 Sedgwick, Eve Kosofsky, 182 ‹lm adaptation, 203–33, 237 Between Men, 152, 155, 166, lyrics of, 29 266n.81 Maria, character of, 1–3, 60, 185, See also homosociality 203–33 Shakespeare, William tomboy characteristics of, 222, As You Like It, 65 224 The Merchant of Venice, 143 See also von Trapp, Maria Twelfth Night, 65 setting, homoeroticism of, 40, women characters, 64–65 221 See also cross-dressing Singalong-a-Sound-of-Music, Sharif, Omar, 180, 183, 194, 201 237–38 Shaw, George Bernard, 202 See also Andrews, Julie; Martin, Pygmalion, 149, 153–54 Mary See also Lerner and Loewe; My South Paci‹c, x, xi, 16, 47, 48, 50, Fair Lady 52, 57–63, 83, 107, 129, 185, Shearer, Lloyd, 56 205 Shipman, D., 167 interracial relationships, 10, 18 show queen, 21 music of, 28–29 See also spectator: gay male Nellie, character of, 1, 39, 57, 60, Sinatra, Frank, 89–91 185 See also Merman, Ethel; televi- racism, 39 sion shows: The Frank Sina- See also Martin, Mary tra Show Spada, James, 184 Index 287 spectator belle juive, performance and par- cultural competencies, 26, 212 ody of, xii, 197, 201 feminist, x, xii, 5, 174–76 Bernhardt, Sarah, comparisons gay male, 20–23, 179–81, 242n.39 with, 201–2 See also show queen body, 181–82, 185, 186–87, 189 identi‹catory practices femme fatale, performance of, 174 (identi‹cation), 24–26 Funny Girl, performance in, xii, lesbian, 23–26, 37–43, 174–76, 11, 16, 140, 173–202 212–18, 222 Fanny Brice, performance of, performative spectatorship, xii, 175, 176, 190, 199 de‹nition of, 33 hyperhetosexuality, 175 pleasures of, 76, 109, 238 “hypothetical lesbian heroine,” Spiegel, Alan, 179, 187, 198–99, 40 202 Jewish American Princess Spindle, Lee, 139 (J.A.P.), performance of, xii, Stacey, Jackie, 24–25, 214–15, 196–200, 201 218 Jewishness, 175, 176, 180, 185, Stark, Fran, 183 186–87, 197, 199, 200 See also Brice, Fanny “lesbian body,” markers of, 38 Stark, Ray, Funny Girl, producer of, marriage to Elliot Gould, 201 183, 185 Merman, Ethel, comparison with, See also Stark, Fran 173–75 star persona, 33–37, 42, 78–80, 89, queer Jewess, performance of, ix, 170, 176, 191 177, 202 See also Andrews, Julie; Martin, star persona, 35, 42, 175, 176, Mary; Merman, Ethel; 177–79, 182, 190, 191, Streisand, Barbra 247n.101 Steigerwarld, David, 231 voice (belting), 42–43, 174, 187, Steinem, Gloria, 200 190 Stewart, Susan, 218 Strouse, Charles, 238 Steyn, Mark, 17, 105, 106, 108, 111, See also musicals, American: 163 titles: Annie Stickney, Dorothy, 144 Styne, Jule, 17, 27, 43, 63, 86, 90, St. John, Betta, 57 93, 103, 104, 105, 107, 129, Stone, Irving, 55, 82 184, 187 Stonewall, 10 See also Gypsy; musicals, Ameri- Straayer, Chris, 40, 231 can: composition teams; Stradling, Harry, Funny Girl, cine- Peter Pan matographer, 201–2 Styne and Sondheim, 196 Streisand, Barbra, viii, x, xi, 5, 7, See also musicals, American: 10, 22, 86, 90, 97, 134, 141, composition teams; Sond- 173–202, 211, 235, 236 heim, Stephen; Styne, Jule 288 Index

Susann, Jacqueline, Valley of the tomboy. See Martin, Mary; The Dolls, 98, 105 Sound of Music: Maria, charac- ter of Tabbert, William, 57 Tucker, Sophie, 102 Taylor, Elizabeth, 12, 50, 140, 200 Tynan, Kenneth, 101–2 television shows All in the Family, 114 Uggams, Leslie, 22 Ally McBeal, 180, 209–10 Bewitched, 144 Van Leer, David, 31 Bonnino, 114 voice. See Andrews, Julie; Martin, Born Yesterday, 56 Mary; Merman, Ethel; Chevy Show, 129 Streisand, Barbra Chico and the Man, 114 von Trapp, Maria, 27, 83, 204 “Color Me Barbra,” xi See also Andrews, Julie; Martin, Dinah Shore Show, 90 Mary; Rodgers and Hammer- Ed Sullivan Show, 8, 45, 150 stein; The Sound of Music Father Knows Best, 13, 114 Ford’s ‹ftieth anniversary show, Wagner, Richard, Gesamtkunst- 8 werk, in›uence on Showboat, The Frank Sinatra Show, 89–91 26 The Goldbergs, 113–14, 186–87, Warhol, Andy, 181–82 188 Warner, Jack, My Fair Lady, pro- I Dream of Jeannie, 140 ducer of, 208 I Love Lucy, x, 13, 91 Warner, Michael, 21 Jack Paar Show, 129 Warren, Lesley Ann, 142–49 Judy Garland Show, 90, 134 See also Cinderella Leave It to Beaver, 114 Watt, Douglas, 174 Life with Luigi, 114 Watts, Richard, Jr., 104, 109 The Mickey Mouse Club, 12 Weaver, Sigourney, 97 Milton Berle’s Texaco Hour, 45 Weber, Andrew Lloyd, 183, 236 Momma, 114 White, Patricia, 40 “My Name Is Barbra,” xi White, T. H., The Once and Future The Nanny, 21, 180 King, 150, 161 Over Easy, 45, 84 See also Camelot Ozzie and Harriet, 114 Whit‹eld, Stephen, 116 Person-to-Person, 35, 91 Williams, Tennessee, 12, 15 Polly Bergen Show, 90, 129 Cat on a Hot Tin Roof, 16 Queen for a Day, x, 12, 16 The Glass Menagerie, 16 Sanford and Son, 114 homosexuality, encodings in Your Show of Shows, 45 plays, 242n.39 Terry, Jennifer, 122–23 Wise, Robert Thompson, Emma, 210–11 The King and I, director of, 170 Index 289

The Sound of Music, director of, See also cross-dressing 207, 208, 220, 221 Wood, Natalie, 200 Wolitzer, Meg, Friends for Life, 211 Woods, Mildred, 82 Women’s Bureau, 14 See also Martin, Mary: friend- women’s liberation movement, 10, ships with women 15 Wouk, Herman, Marjorie Morn- See also Equal Rights Amend- ingstar, 199–200 ment Wyler, William, Funny Girl, direc- Wood, Elizabeth tor of ‹lm version, 191 “Sapphonic voice,” 42–43 Wylie, Philip, Generation of Vipers, “sonic cross-dressing,” 68 112–13, 123

Cover illustrations: Mary Martin as Maria in the Broadway production of Rodgers and Hammerstein’s The Sound of Music (1959). Photo at top cour- tesy of the Harry Ransom Humanities Research Center at The University of Texas at Austin, Production Photographs Collection. Photo at bottom by Fred Fehl, courtesy of the Harry Ransom Humanities Research Center at The University of Texas at Austin, The Performing Arts Collection, Fred Fehl Theater Collection.