Paris and the Musical : The City of Light on Stage and Screen

SUMARIO. Introduction // Part I. Capital Paris / 1. Paris as Symbol; Venita Datta / 2. ‘Yes, I’m a Gay Parisian!’ Establishing the Trope of ‘Gay Paree’: The Merry Widow; Stefan Frey / 3. ‘Come and Play Wiz Me in Gay Paree’: Approaching Cole Porter’s Paris; Hannah Robbins // Part II. Broadway Paris / 4. Dressed by Paris: Mlle Modiste, Roberta and No Strings; Maya Cantu / 5. Liberated by Paris: A Reconsideration of Three Broadway ‘Flops’; Miss Liberty, Ben Franklin in Paris and Dear World; Michael Garber / 6. Seduced by Paris: Irma La Douce and Its Journey to Broadway; Stewart Nicholls // Part III. Hollywood Paris / 7. The Capital of Pre-Code Operettas: Paris at Paramount and MGM; Marguerite Chabrol / 8. Paris as Location: Funny Face, Les Girls, Silk Stockings and Gigi; Julia Foulkes / 9. Paris by Hand: Gay Purr-ee and Aristocats; Daniel Batchelder // Part IV. West End Paris / 10. Shockwaves at a Distance: Ellis and Herbert’s Bless the Bride; John Snelson / 11. Performing Paris. Les Misérables, The Phantom of the Opera and Aspects of Love; John Snelson / 12. The Courtesan and the Collaborator: Marguerite; Clare Chandler // Part V. Naughty Paris / 13. Gay Shame in Gay Paree: Re-contextualising Gender Progressiveness in Two Film Versions of Victor/Victoria; Florian Seubert / 14.À la recherche de quel temps? Can-Can and the Fluidity of Paris perdu; Raymond Knapp and Mitchell Morris / 15. Art, Artifice and Artificiality: the Various Versions of the Musical Gigi; Olaf Jubin // Part VI. Artistic Paris / 16. ‘Artists in Art’s Capital City’: Americans in Paris on Screen and Stage; Robert Gordon / 17. Paris and the Curse of Chicago in Stephen Sondheim’s Sunday in the Park with George; Robert Lawson-Peebles / 18. The Paradoxical ‘Frenchness’ of an Australian Musical: Baz Luhrmann’s Moulin Rouge!; Pierre-Olivier Toulza // Conclusion.