Paul R. Laird is professor of Musicology at the University of Kansas, where he teaches courses in music history, musical theater, and directs the Instrumental Collegium Musicum. He is the author of The Baroque Cello Revival: An Oral History (Scarecrow, 2004) and coauthor of Historical Dictionary of the Broadway Musical (Scarecrow, 2007).

This book is a bonanza for those students interested in the step-by-step development of theatrical ventures. They will be gratified and instructed by the creative processes highlighted here. This work is an education. The success of such research ventures rely on the availability of written literary and musical scores source materials, most important of which is the memories of the creative personnel. The author has done well by his sources. Less scientific-oriented musical theater lovers will also enjoy and profit from this work.

Paul R. Laird is professor of Musicology at the University of Kansas, where he teaches courses in music history, musical theater, and directs the Instrumental Collegium Musicum. He is the author of The Baroque Cello Revival: An Oral History (Scarecrow, 2004) and coauthor of Historical Dictionary of the Broadway Musical (Scarecrow, 2007).

This book is a bonanza for those students interested in the step-by-step development of theatrical ventures. They will be gratified and instructed by the creative processes highlighted here. This work is an education. The success of such research ventures rely on the availability of written literary and musical scores source materials, most important of which is the memories of the creative personnel. The author has done well by his sources. Less scientific-oriented musical theater lovers will also enjoy and profit from this work.

Paul R. Laird is professor of Musicology at the University of Kansas, where he teaches courses in music history, musical theater, and directs the Instrumental Collegium Musicum. He is the author of The Baroque Cello Revival: An Oral History (Scarecrow, 2004) and coauthor of Historical Dictionary of the Broadway Musical (Scarecrow, 2007).

This book is a bonanza for those students interested in the step-by-step development of theatrical ventures. They will be gratified and instructed by the creative processes highlighted here. This work is an education. The success of such research ventures rely on the availability of written literary and musical scores source materials, most important of which is the memories of the creative personnel. The author has done well by his sources. Less scientific-oriented musical theater lovers will also enjoy and profit from this work.