Stacy Wolf is Associate Professor of Theater and Director of the Princeton Atelier, Lewis Center for the Arts, Princeton University.

I found Stacy Wolf's book fascinating and surprising. It not only gave me a fresh perspective on the history of musical theatre, it revealed things to me about my own show I didn't know were there.

• Introduction: Gender, Genre, and Musical TheatreChapter One: 1950s Musicals and Queer Female DuetsChapter Two: The Single Woman and the Active Female Body in 1960s MusicalsChapter Three: The Ensemble as Queer "Family" Chapter Four: Women in the 1980s Megamusicals, Humming the SceneryChapter Five: Musicals in the 1990s-2000s: Female Protagonists, First and Last Numbers, and the Intersectional Performance of Race and GenderChapter Six: Queer Conventions in the Broadway Musical WickedEpilogue: Wicked Divas, Musical Theatre, and Internet Girl FansEndnotes

Stacy Wolf is Associate Professor of Theater and Director of the Princeton Atelier, Lewis Center for the Arts, Princeton University.

I found Stacy Wolf's book fascinating and surprising. It not only gave me a fresh perspective on the history of musical theatre, it revealed things to me about my own show I didn't know were there.

• Introduction: Gender, Genre, and Musical TheatreChapter One: 1950s Musicals and Queer Female DuetsChapter Two: The Single Woman and the Active Female Body in 1960s MusicalsChapter Three: The Ensemble as Queer "Family" Chapter Four: Women in the 1980s Megamusicals, Humming the SceneryChapter Five: Musicals in the 1990s-2000s: Female Protagonists, First and Last Numbers, and the Intersectional Performance of Race and GenderChapter Six: Queer Conventions in the Broadway Musical WickedEpilogue: Wicked Divas, Musical Theatre, and Internet Girl FansEndnotes

Stacy Wolf is Associate Professor of Theater and Director of the Princeton Atelier, Lewis Center for the Arts, Princeton University.

I found Stacy Wolf's book fascinating and surprising. It not only gave me a fresh perspective on the history of musical theatre, it revealed things to me about my own show I didn't know were there.

• Introduction: Gender, Genre, and Musical TheatreChapter One: 1950s Musicals and Queer Female DuetsChapter Two: The Single Woman and the Active Female Body in 1960s MusicalsChapter Three: The Ensemble as Queer "Family" Chapter Four: Women in the 1980s Megamusicals, Humming the SceneryChapter Five: Musicals in the 1990s-2000s: Female Protagonists, First and Last Numbers, and the Intersectional Performance of Race and GenderChapter Six: Queer Conventions in the Broadway Musical WickedEpilogue: Wicked Divas, Musical Theatre, and Internet Girl FansEndnotes