Stacy Wolf

And while I realize that the authors focused on the works themselves and the individuals that they met at these performances, I wonder how-- about how these shows presented themselves within the Jewish cultural landscape in an effort to sell tickets and offer relevance to Jewish populations, not to mention be able to survive to the next performance.

Now, the authors also, as a third, treat theater in its grandest form and with lots of high-level theory, when in fact most theatrical production takes place on a local amateur level and is accompanied by a vast literature on theater and education, and books such as Stacy Wolf's important ethnographic study, Beyond Broadway.

So I'd like, if it's possible as well, my fabulous colleagues, uh, to talk more about their decision to focus on the most cover- commercial, visible, and conceptually elite tip of a much more pervasive body of theatrical activity.

Now, again, these questions are not meant to be critical, since Laura and Sharon's examples of Leopoldstadt and Parade and Sara, Sara Aroeste's event are meaningfully and beautifully presented.

... maybe one of the most masculine eras of musical theater, where, um...

Stacy Wolf is one of my favorite musical theater historians, and she has that great book, Changed for Good, um, which goes into feminist Broadway history, the women characters you see on stage.

And, like, the '80s, they just, they, they, they were...

There was nothing.