'William Everett examines the musical across continents, genres and languages in the seminal year of 1924, when the constellation of current and future stars aligned to create works of artistic brilliance and great popularity. For the rst time in critical musical theatre scholarship equal treatment is given to cultural capitals across the Atlantic such as Madrid, Buenos Aires, New York, London, Berlin, Vienna and Milan, and to the multitude of genres that comprise musical theatre. Everett casts his net widely to include the usual characters - the Astaires, the Gershwins, Coward, Kern, Hammerstein, Romberg - and also less well-known gures, such as Sissle and Blake, Florence Mills, Emmerich Kalman and Amadeo Vives all of whom are part of the history of the musical in 1924. Beautifully researched and engagingly written, this is a virtuosic tour de force.' John Koegel, Professor of Musicology, California State University
'William Everett's decision to cast 1924 as the Wunderjahr of the musical is inspired. What a time it was! He surveys it all: musical comedies, lavish and intimate revues, zarzuelas and operettas, featuring the rise of the Astaires and the Gershwins and the heyday of numerous stars. The shows opened in New York, London, Paris, Madrid, Milan, Vienna, Berlin, and Budapest; their settings ranged from the Canadian Rockies to Damascus by way of Greenwich Village or the Thames; and their improbable but often socially probing plots encompassed indelity, bootlegging, drug dealing, sex working, people tracking, and personal journeys from riches to rags and back again. Everett, duly sensitive to the contexts of both now and then, is an expert guide to all the glamor and a complete master of the literature and such primary sources as still survive.' Stephen Baneld, Stanley Hugh Badock Professor of Music Emeritus, University of Bristol
'In the timeline of musical theatre history, there are certain years that stand out in large, bolded typeface as turning points for the form. In 1957, West Side Story and The Music Man both entered the canon as two very dierent examples of a changing form. In 1964, Funny Girl, Fiddler on the Roof and Hello, Dolly! represented a glorious sunset for the Golden Age of the genre and hinted at the direction it would take in the next decades. In The Year that Made the Musical, William Everett convincingly demonstrates that 1924 has been overlooked as another such pivotal year when the changes and developments that might ordinarily play out over a decade were compressed into a single twelve-month period.' Doug Reside, Curator, Billy Rose Theater Collection, New York Public Library for the Performing Arts
'Musical theatre in 1924, the single year addressed in this innovative book, consisted of comedies, revues, and operettas, and was chara-cterized by transnational inuences, transfers, and migrations. By using a comprehensive approach to a dened period, Everett provides a fascinating cross-sectional perspective on the interactions between countries, politics, and the production of musicals.' Millie Taylor, Van den Ende Chair of the Musical, University of Amsterdam
