Entries by Aaron Thomas

The Routledge Companion to the Contemporary Musical

Chapter 16: The Pink Elephant in the Room   Opening Section The day after the revival of Promises, Promises opened on April 25, 2010, Newsweek posted an article entitled “Straight Jacket” on its website that began with the following provocation: “The reviews for the Broadway revival of Promises, Promises were negative enough, even though most […]

Sondheim and Wheeler’s Sweeney Todd

Part of The Fourth Wall series of books from Routledge   From the Back Cover Sweeney Todd, the gruesome tale of a murderous barber and his pastry chef accomplice, is unquestionably strange subject matter for the musical theatre – but eight Tony awards and enormous successes on Broadway and the West End testify to its enduring […]

The Disney Musical on Stage and Screen: Critical Approaches from Snow White to Frozen

Chapter 9: Dancing toward Masculinity: Newsies, Gender and Desire   Opening Section As the story goes, the 1992 film Newsies, directed by Kenny Ortega and starring Christian Bale, was an attempt by Disney to revitalize the live-action movie-musical genre with a story based on real events from 1899. Impoverished orphan children selling newspapers in New York […]

Making the Radical Palatable by Jacob Juntunen (review)

New Theatre Quarterly, 33.2   Opening section The argument of Jacob Juntunen’s Making the Radical Palatable is simple: that mainstream AIDS theatre—unlike the radical performances described by David Román in Acts of Intervention—was able to effect incremental change in the U.S. by diluting the radical politics of AIDS activism and aiming for ‘assimilation’ instead of […]

My Father’s Pulse

QED: a Journal in GLBTQ Worldmaking, 3.3   Opening Section One of the first things I encountered while scouring news media outlets on the morning of June 12 were the words of a father, Siddique Mateen, outraged and upset over what his son had done, disavowing his child’s actions. “I don’t want any father to […]

Crossing (performance review)

Theatre Journal, 68.1   Opening section Two days before the new opera Crossing had its first performance at the Citi Shubert theatre in Boston, The New York Times published a piece entitled “Matthew Aucoin, Opera’s Great 25-Year-Old Hope.” The article, which introduced Crossing’s composer to Times readers, emphasized Aucoin’s abilities as a musician, conductor, and […]