Henry Bial is Professor and Chair of the Department of Theatre and Dance at the University of Kansas, USA.Chase Bringardner is Professor and Chair of the Department of Theatre at Auburn University, USA.

Provides a valuable in-depth look into the development of a stage directors’ work and how their efforts affected the development of the performative arts.

• List of FiguresSeries introduction, James Peck (Muhlenberg College, USA)AcknowledgmentsIntroduction. Henry Bial (University of Kansas, USA) & Chase Bringardner (Auburn University, USA)George Abbott1. Speedy Entertainment: How the Abbott Touch Shaped the Mid-Century Musical, Alisa Roost (Hostos Community College, USA)2. The Abbott Legacy, Bud Coleman (University of Colorado at Boulder, USA)3. The Critic’s Darling, Henry Bial (University of Kansas, USA)Vinnette Carroll4. The Remaining One-Third: Vinnette Carroll and the Urban Arts Corps, La Donna L. Forsgren (University of Notre Dame, USA)5. An Architect of Feeling: Vinnette Carroll and Her Broadway Gospel Musicals, Brian Granger (Mary Baldwin University, USA)6. Vinnette Carroll, Langston Hughes, and the Creation of the Gospel Song-Play, Hillary Miller (Queens College, City University of New York, USA)Harold Prince7. Hal Prince Assumes Direction of a Genre, Paul R. Laird (University of Kansas, USA)8. “A Show Every Year Like Clockwork”: Harold Prince’s Illustrious Career as a Revolutionary Musical Theatre Director and Creative Producer, Barbara Wallace Grossman (Tufts University, USA)9. Producing Phantoms: Hal Prince and the Mega in the Mega-Musical, Chase Bringardner (Auburn University, USA) Notes on ContributorsIndex

Henry Bial is Professor and Chair of the Department of Theatre and Dance at the University of Kansas, USA.Chase Bringardner is Professor and Chair of the Department of Theatre at Auburn University, USA.

Provides a valuable in-depth look into the development of a stage directors’ work and how their efforts affected the development of the performative arts.

• List of FiguresSeries introduction, James Peck (Muhlenberg College, USA)AcknowledgmentsIntroduction. Henry Bial (University of Kansas, USA) & Chase Bringardner (Auburn University, USA)George Abbott1. Speedy Entertainment: How the Abbott Touch Shaped the Mid-Century Musical, Alisa Roost (Hostos Community College, USA)2. The Abbott Legacy, Bud Coleman (University of Colorado at Boulder, USA)3. The Critic’s Darling, Henry Bial (University of Kansas, USA)Vinnette Carroll4. The Remaining One-Third: Vinnette Carroll and the Urban Arts Corps, La Donna L. Forsgren (University of Notre Dame, USA)5. An Architect of Feeling: Vinnette Carroll and Her Broadway Gospel Musicals, Brian Granger (Mary Baldwin University, USA)6. Vinnette Carroll, Langston Hughes, and the Creation of the Gospel Song-Play, Hillary Miller (Queens College, City University of New York, USA)Harold Prince7. Hal Prince Assumes Direction of a Genre, Paul R. Laird (University of Kansas, USA)8. “A Show Every Year Like Clockwork”: Harold Prince’s Illustrious Career as a Revolutionary Musical Theatre Director and Creative Producer, Barbara Wallace Grossman (Tufts University, USA)9. Producing Phantoms: Hal Prince and the Mega in the Mega-Musical, Chase Bringardner (Auburn University, USA) Notes on ContributorsIndex

Henry Bial is Professor and Chair of the Department of Theatre and Dance at the University of Kansas, USA.Chase Bringardner is Professor and Chair of the Department of Theatre at Auburn University, USA.

Provides a valuable in-depth look into the development of a stage directors’ work and how their efforts affected the development of the performative arts.

• List of FiguresSeries introduction, James Peck (Muhlenberg College, USA)AcknowledgmentsIntroduction. Henry Bial (University of Kansas, USA) & Chase Bringardner (Auburn University, USA)George Abbott1. Speedy Entertainment: How the Abbott Touch Shaped the Mid-Century Musical, Alisa Roost (Hostos Community College, USA)2. The Abbott Legacy, Bud Coleman (University of Colorado at Boulder, USA)3. The Critic’s Darling, Henry Bial (University of Kansas, USA)Vinnette Carroll4. The Remaining One-Third: Vinnette Carroll and the Urban Arts Corps, La Donna L. Forsgren (University of Notre Dame, USA)5. An Architect of Feeling: Vinnette Carroll and Her Broadway Gospel Musicals, Brian Granger (Mary Baldwin University, USA)6. Vinnette Carroll, Langston Hughes, and the Creation of the Gospel Song-Play, Hillary Miller (Queens College, City University of New York, USA)Harold Prince7. Hal Prince Assumes Direction of a Genre, Paul R. Laird (University of Kansas, USA)8. “A Show Every Year Like Clockwork”: Harold Prince’s Illustrious Career as a Revolutionary Musical Theatre Director and Creative Producer, Barbara Wallace Grossman (Tufts University, USA)9. Producing Phantoms: Hal Prince and the Mega in the Mega-Musical, Chase Bringardner (Auburn University, USA) Notes on ContributorsIndex