Abstract
From the 1910s on, America’s Broadway musical was developed primarily by Jews. Reflecting their own adjustments to American life, and that of their increasingly Jewish audience, these artists shaped the musical into a form that illustrated their concerns, promoted their values, and, above all, provided a setting for the ongoing discussion of how outsiders might gain access to America and its “Dream” of acceptance and success.
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Notes
Nahmah Sandrow, Vagabond Stars: A World History of Yiddish Theatre (Syracuse: Syracuse University Press, 1996).
Irving Howe, World of Our Fathers: The Journey of the East European Jews to America and the Life They Found There (New York: Weidenfeld and Nicolson History, 2000).
Armond Fields and L. Marc Fields, From the Bowery to Broadway: Lew Fields and the Roots of American Popular Theatre (New York: Oxford University Press, 1993).
Robert C. Toll, On With the Show: The First Century of Show Business in America (New York: Oxford University Press, 1976).
Harley Erdman, Staging the Jew: ThePerformanceofan American Ethnicity, 1860–1920 (New Brunswick: Rutgers University Press, 1997).
Henry Bial, Acting Jewish: NegotiatingEthnicity on the American Stage and Screen (Ann Arbor: University of Michigan Press, 2005).
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© 2011 Stuart J. Hecht
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Hecht, S.J. (2011). Introduction: Broadway as a Cultural Ellis Island. In: Transposing Broadway. Palgrave Studies in Theatre and Performance History. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137001740_1
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DOI: https://doi.org/10.1057/9781137001740_1
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-29503-6
Online ISBN: 978-1-137-00174-0
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