| Contents: |
COVER; AGNES DE MILLE: TELLING STORIES IN BROADWAY DANCE; Copyright; Dedication; CONTENTS; FOREWORD; PREFACE; ACKNOWLEDGMENTS; NOTES ON ARCHIVAL SOURCES; AGNES DE MILLE; 1: BRINGING BALLET TO BROADWAY; New York and Los Angeles-Becoming a Professional; Rambert and London; From Rodeo to Oklahoma!; Ballet on Broadway before Oklahoma!; Madame Rasch; Balanchine on Broadway; 2: THE DANCES OF OKLAHOMA!: An Authorship, or Work for Hire?; The Genesis and Style of the Dances in Oklahoma!; "The Farmer and the Cowman": Music and Dance, Adjuncts of the Plot. Who Put the Sex in Oklahoma!? Authoring the Story of the Dream BalletThe Dream Ballet Realized; The Dream Ballet, Hollywood Style; "The Girl Who Falls Down": De Mille's Invention of Secondary Characters; Reviving Oklahoma!; 3: ONE TOUCH OF VENUS: Love among Strangers with Forty Minutes for Lunch; Weill, Crawford, and de Mille Bring the Venus Concept to Fruition; Mary Martin: Becoming Venus; "Like Petipa and Tchaikovsky": The Weill/de Mille Collaboration; Depicting Venus in the Ballets; Sono Osato: De Mille Shapes a Character and Then Creates Another Star; Reception and Legacy. 4: FITTING THE "CIVIL WAR BALLET" INTO BLOOMER GIRLImposing a War Ballet on a Musical Comedy; Digging for the Real Story: The Genesis and Evolution of the Bloomer Girl Civil War Ballet; The Civil War "Interlude" in Bloomer Girl and Its Meanings; Choreographer or Director?; 5: PLAYWRITING THROUGH MOVEMENT: De Mille's Dances for Carousel; Carousel's Dancing Women, Bustin' Out All Over; Creating the Second-Act Ballet; Telling the Story of Louise in Music and Dance; Rodgers and Mamoulian: De Mille's Collaborators, or Rivals?; Choreographer Becomes Activist; 6: SHAPING THE STORY OF BRIGADOON. Brigadoon's GenesisBlending a Diversity of Styles; Creating Harry Beaton; De Mille, Robert Lewis, and New Methods of Staging a Musical; The Rewards of Team Playing; Brigadoon beyond Broadway; 7: STAGING ALLEGRO; The Concept of Allegro; The College Years: Bringing Hammerstein's Vision to Life; Taking the Bite Out of the Wedding Scene; How Do We Solve a Problem Like Jennie?; The Country Is Better Than the City: Conveying the Wrong Message in the Finale; Allegro for Television; De Mille, Rodgers, and Hammerstein after Allegro; 8: DE MILLE'S BROADWAY DECLINE AND HER ACTIVIST LEGACY. Rodgers and Hammerstein Leave Big Ballets, and de Mille, BehindThe Consequences of Creative Control; The Legacy of Kwamina; De Mille's Forgotten Legacy; NOTES; PREFACE; CHAPTER 1: BRINGING BALLET TO BROADWAY; CHAPTER 2: THE DANCES OF OKLAHOMA!: AN AUTHORSHIP, OR WORK FOR HIRE?; CHAPTER 3: ONE TOUCH OF VENUS: LOVE AMONG STRANGERS WITH FORTY MINUTES FOR LUNCH; CHAPTER 4: FITTING THE "CIVIL WAR BALLET" INTO BLOOMER GIRL; CHAPTER 5: PLAYWRITING THROUGH MOVEMENT: DE MILLE'S DANCES FOR CAROUSEL; CHAPTER 6: SHAPING THE STORY OF BRIGADOON; CHAPTER 7: STAGING ALLEGRO. |
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