Dominic Broomfield-McHugh is Professor in Musicology at the University of Sheffield and the author or editor of ten books on musicals. He is Series Editor of Oxford University Press's Guides to Film Musicals and the winner of a regional Emmy for the documentary Meredith Willson: America's Music Man. William A. Everett is Curators' Distinguished Professor of Musicology Emeritus at the University of Missouri-Kansas City. He is the co-editor of The Cambridge Companion to the Musical (2017), editor of The Cambridge Companion to Rodgers and Hammerstein (2026) and author of The Year that Made the Musical (2024). He also edits the Cambridge series Elements in Musical Theatre.

• Figures; Table; Contributors; Acknowledgements; Chronology; Introduction: Situating Rodgers and Hammerstein Dominic Broomfield-McHugh and William A. Everett; Part I. Family Matters: 1. Oscar the first: a Namesake grandfather's legacy Jeffrey Magee; 2. Tastemakers: The Dorothys Rodgers and Hammerstein Julianne Lindberg; 3. Protegés and descendents: Stephen Sondheim, Mary Rodgers and Adam Guettel Alex Bádue; 4. Rodgers and Hammerstein and the family musical James Leve and Donelle Ruwe; 5. The homes they made Jake Johnson; Part II. The Age of Rodgers and Hammerstein: 6. Wartime musicals, hot and cold Todd Decker; 7. The civil rights movement, second-wave feminism and Rodgers and Hammerstein Elizabeth T. Craft; 8. Rodgers and Hammerstein's masculinities Broderick D. V. Chow; 9. Racial lessons in and from musicals Donatella Galella; Part III. Creative Cultures and Processes: 10. Adaptation Geoffrey Block; 11. Querying integration: the modernist musical dramaturgy of Rodgers and Hammerstein Brian D. Valencia; 12. Rodgers, Hammerstein and the Waltz William A. Everett; 13. Normativity and the broadway performer's Body Ryan Donovan; 14. Behind the scenes: back-page labour Tim Carter; Part IV. The People: 15. The producers Samantha Lampe; 16. The choreographers, Phoebe Rumsey; 17. The directors Anne Healy; 18. The orchestrators Elizabeth Sallinger; 19. The set designers Sophie Redfern; 20. The leading ladies Masi Asare; 21. The leading men Sylvia Stoner-Hawkins; Part V. Geographies: 22. Rodgers and Hammerstein's New York Paul R. Laird; 23. Rodgers and Hammerstein's London John Snelson; 24. The American musical in cold war Europe Susanne Scheiblhofer; 25. The American musical in Australia and New Zealand Julie Jackson Tretchikoff; Part VI. Performing a Legacy: 26. Cast and studio recordings Dominic Broomfield-McHugh; 27. The songs of Richard Rodgers and their jazz reception Luca Cerchiari; 28. Broadway in/and Hollywood Hannah Lewis; 29. American television and the cross-generational omnipresence of Rodgers and Hammerstein Kelly Kessler; 30. Performing Rodgers and Hammerstein musicals on television Mary Jo Lodge; 31. Rodgers and Hammerstein and the world of opera Naomi Graber; 32. The musicals of Rodgers and Hammerstein in revival Bryan M. Vandevender; 33. Licensing musical theatre for amateur performance John Graziano; Epilogue: Rodgers and Hammerstein then and now Dominic Broomfield-McHugh and William A. Everett; Select bibliography; Index.

Dominic Broomfield-McHugh is Professor in Musicology at the University of Sheffield and the author or editor of ten books on musicals. He is Series Editor of Oxford University Press's Guides to Film Musicals and the winner of a regional Emmy for the documentary Meredith Willson: America's Music Man. William A. Everett is Curators' Distinguished Professor of Musicology Emeritus at the University of Missouri-Kansas City. He is the co-editor of The Cambridge Companion to the Musical (2017), editor of The Cambridge Companion to Rodgers and Hammerstein (2026) and author of The Year that Made the Musical (2024). He also edits the Cambridge series Elements in Musical Theatre.

• Figures; Table; Contributors; Acknowledgements; Chronology; Introduction: Situating Rodgers and Hammerstein Dominic Broomfield-McHugh and William A. Everett; Part I. Family Matters: 1. Oscar the first: a Namesake grandfather's legacy Jeffrey Magee; 2. Tastemakers: The Dorothys Rodgers and Hammerstein Julianne Lindberg; 3. Protegés and descendents: Stephen Sondheim, Mary Rodgers and Adam Guettel Alex Bádue; 4. Rodgers and Hammerstein and the family musical James Leve and Donelle Ruwe; 5. The homes they made Jake Johnson; Part II. The Age of Rodgers and Hammerstein: 6. Wartime musicals, hot and cold Todd Decker; 7. The civil rights movement, second-wave feminism and Rodgers and Hammerstein Elizabeth T. Craft; 8. Rodgers and Hammerstein's masculinities Broderick D. V. Chow; 9. Racial lessons in and from musicals Donatella Galella; Part III. Creative Cultures and Processes: 10. Adaptation Geoffrey Block; 11. Querying integration: the modernist musical dramaturgy of Rodgers and Hammerstein Brian D. Valencia; 12. Rodgers, Hammerstein and the Waltz William A. Everett; 13. Normativity and the broadway performer's Body Ryan Donovan; 14. Behind the scenes: back-page labour Tim Carter; Part IV. The People: 15. The producers Samantha Lampe; 16. The choreographers, Phoebe Rumsey; 17. The directors Anne Healy; 18. The orchestrators Elizabeth Sallinger; 19. The set designers Sophie Redfern; 20. The leading ladies Masi Asare; 21. The leading men Sylvia Stoner-Hawkins; Part V. Geographies: 22. Rodgers and Hammerstein's New York Paul R. Laird; 23. Rodgers and Hammerstein's London John Snelson; 24. The American musical in cold war Europe Susanne Scheiblhofer; 25. The American musical in Australia and New Zealand Julie Jackson Tretchikoff; Part VI. Performing a Legacy: 26. Cast and studio recordings Dominic Broomfield-McHugh; 27. The songs of Richard Rodgers and their jazz reception Luca Cerchiari; 28. Broadway in/and Hollywood Hannah Lewis; 29. American television and the cross-generational omnipresence of Rodgers and Hammerstein Kelly Kessler; 30. Performing Rodgers and Hammerstein musicals on television Mary Jo Lodge; 31. Rodgers and Hammerstein and the world of opera Naomi Graber; 32. The musicals of Rodgers and Hammerstein in revival Bryan M. Vandevender; 33. Licensing musical theatre for amateur performance John Graziano; Epilogue: Rodgers and Hammerstein then and now Dominic Broomfield-McHugh and William A. Everett; Select bibliography; Index.

Dominic Broomfield-McHugh is Professor in Musicology at the University of Sheffield and the author or editor of ten books on musicals. He is Series Editor of Oxford University Press's Guides to Film Musicals and the winner of a regional Emmy for the documentary Meredith Willson: America's Music Man. William A. Everett is Curators' Distinguished Professor of Musicology Emeritus at the University of Missouri-Kansas City. He is the co-editor of The Cambridge Companion to the Musical (2017), editor of The Cambridge Companion to Rodgers and Hammerstein (2026) and author of The Year that Made the Musical (2024). He also edits the Cambridge series Elements in Musical Theatre.

• Figures; Table; Contributors; Acknowledgements; Chronology; Introduction: Situating Rodgers and Hammerstein Dominic Broomfield-McHugh and William A. Everett; Part I. Family Matters: 1. Oscar the first: a Namesake grandfather's legacy Jeffrey Magee; 2. Tastemakers: The Dorothys Rodgers and Hammerstein Julianne Lindberg; 3. Protegés and descendents: Stephen Sondheim, Mary Rodgers and Adam Guettel Alex Bádue; 4. Rodgers and Hammerstein and the family musical James Leve and Donelle Ruwe; 5. The homes they made Jake Johnson; Part II. The Age of Rodgers and Hammerstein: 6. Wartime musicals, hot and cold Todd Decker; 7. The civil rights movement, second-wave feminism and Rodgers and Hammerstein Elizabeth T. Craft; 8. Rodgers and Hammerstein's masculinities Broderick D. V. Chow; 9. Racial lessons in and from musicals Donatella Galella; Part III. Creative Cultures and Processes: 10. Adaptation Geoffrey Block; 11. Querying integration: the modernist musical dramaturgy of Rodgers and Hammerstein Brian D. Valencia; 12. Rodgers, Hammerstein and the Waltz William A. Everett; 13. Normativity and the broadway performer's Body Ryan Donovan; 14. Behind the scenes: back-page labour Tim Carter; Part IV. The People: 15. The producers Samantha Lampe; 16. The choreographers, Phoebe Rumsey; 17. The directors Anne Healy; 18. The orchestrators Elizabeth Sallinger; 19. The set designers Sophie Redfern; 20. The leading ladies Masi Asare; 21. The leading men Sylvia Stoner-Hawkins; Part V. Geographies: 22. Rodgers and Hammerstein's New York Paul R. Laird; 23. Rodgers and Hammerstein's London John Snelson; 24. The American musical in cold war Europe Susanne Scheiblhofer; 25. The American musical in Australia and New Zealand Julie Jackson Tretchikoff; Part VI. Performing a Legacy: 26. Cast and studio recordings Dominic Broomfield-McHugh; 27. The songs of Richard Rodgers and their jazz reception Luca Cerchiari; 28. Broadway in/and Hollywood Hannah Lewis; 29. American television and the cross-generational omnipresence of Rodgers and Hammerstein Kelly Kessler; 30. Performing Rodgers and Hammerstein musicals on television Mary Jo Lodge; 31. Rodgers and Hammerstein and the world of opera Naomi Graber; 32. The musicals of Rodgers and Hammerstein in revival Bryan M. Vandevender; 33. Licensing musical theatre for amateur performance John Graziano; Epilogue: Rodgers and Hammerstein then and now Dominic Broomfield-McHugh and William A. Everett; Select bibliography; Index.