Dan Rubins is a theater writer and critic based in New York City. He contributes reviews and features to Theatermania, Slant Magazine, The New Yorker, and The Brooklyn Rail, and he is the host of the podcast The Present Stage: Conversations with Theater Writers. He also serves as the Executive Director and Co-Founder of Hear Your Song, a national non-profit empowering youth with serious illnesses through song-writing.

• Introduction: “Permission to Sing”Chapter One: “It’s An Old Song, But We’re Gonna Sing It Again”: Orpheus & Operatic Origins-Early Opera & the Orpheus Myth-Operatic Origins of Consciousness of Song-Conscious Music-Making in Gilbert & SullivanChapter Two: “All the Sounds of the Earth Are Like Music”: Rodgers and Hammerstein-Music Is Everywhere: Where Music Appears in Our Lives-Oklahoma!-Carousel-South Pacific-The King and IInterlude: “My Ship” and Lady in the DarkChapter Three: “The Band Begins To Go to Town And Everyone Goes Crazy”: The Backstage Musical-Babes In Arms, On Your Toes, and Me and Juliet-Kiss Me, Kate-42nd Street, Dames at Sea, and On The Twentieth Century-The Producers and CurtainsInterlude: “Anything You Can Do” and Annie Get Your GunChapter Four: “And I’ll Sing Once More”: The Music Man and The Sound of Music-The Music Man-The Sound of MusicInterlude: “Rosemary” and How to Succeed in Business Without Really TryingChapter Five: “You Try Singing Without Music, Sweetheart!”: Complicating Consciousness in Cabaret,Follies, and Pippin-Cabaret and Kander and Ebb-Follies and Stephen Sondheim-PippinInterlude: “Tomorrow” and AnnieChapter Six: “Only You Can Sing It The Way It Should Be”: The Voices of Effie White and Christine Daaé-Dreamgirls-The Phantom of the Opera and PhantomInterlude: “Say It Somehow” and The Light in the PiazzaChapter Seven: “One More Song About Moving Along the Highway”: Rise of the Jukebox Musical-The Gershwin jukebox (An American In Paris, Crazy For You, Girl Crazy, My One and Only, NiceWork If You Can Get It)-The bio-jukebox musical (Beautiful: The Carole King Musical, Jersey Boys, MJ the Musical, Motown,On Your Feet)-The fictional jukebox musical (All Shook Up, Mamma Mia!, We Will Rock You)Interlude: “Something Different” and The Band’s VisitChapter Eight: “One Song To Leave Behind”: Songwriting Characters-Merrily We Roll Along-Rent and tick…tick…BOOM!-A Strange LoopInterlude: “Then I Can Let You Go” and Maybe Happy EndingChapter Nine: “You Hear That Music In The Air?”: Communities and Revolutions-In the Heights-Hamilton

Dan Rubins is a theater writer and critic based in New York City. He contributes reviews and features to Theatermania, Slant Magazine, The New Yorker, and The Brooklyn Rail, and he is the host of the podcast The Present Stage: Conversations with Theater Writers. He also serves as the Executive Director and Co-Founder of Hear Your Song, a national non-profit empowering youth with serious illnesses through song-writing.

• Introduction: “Permission to Sing”Chapter One: “It’s An Old Song, But We’re Gonna Sing It Again”: Orpheus & Operatic Origins-Early Opera & the Orpheus Myth-Operatic Origins of Consciousness of Song-Conscious Music-Making in Gilbert & SullivanChapter Two: “All the Sounds of the Earth Are Like Music”: Rodgers and Hammerstein-Music Is Everywhere: Where Music Appears in Our Lives-Oklahoma!-Carousel-South Pacific-The King and IInterlude: “My Ship” and Lady in the DarkChapter Three: “The Band Begins To Go to Town And Everyone Goes Crazy”: The Backstage Musical-Babes In Arms, On Your Toes, and Me and Juliet-Kiss Me, Kate-42nd Street, Dames at Sea, and On The Twentieth Century-The Producers and CurtainsInterlude: “Anything You Can Do” and Annie Get Your GunChapter Four: “And I’ll Sing Once More”: The Music Man and The Sound of Music-The Music Man-The Sound of MusicInterlude: “Rosemary” and How to Succeed in Business Without Really TryingChapter Five: “You Try Singing Without Music, Sweetheart!”: Complicating Consciousness in Cabaret,Follies, and Pippin-Cabaret and Kander and Ebb-Follies and Stephen Sondheim-PippinInterlude: “Tomorrow” and AnnieChapter Six: “Only You Can Sing It The Way It Should Be”: The Voices of Effie White and Christine Daaé-Dreamgirls-The Phantom of the Opera and PhantomInterlude: “Say It Somehow” and The Light in the PiazzaChapter Seven: “One More Song About Moving Along the Highway”: Rise of the Jukebox Musical-The Gershwin jukebox (An American In Paris, Crazy For You, Girl Crazy, My One and Only, NiceWork If You Can Get It)-The bio-jukebox musical (Beautiful: The Carole King Musical, Jersey Boys, MJ the Musical, Motown,On Your Feet)-The fictional jukebox musical (All Shook Up, Mamma Mia!, We Will Rock You)Interlude: “Something Different” and The Band’s VisitChapter Eight: “One Song To Leave Behind”: Songwriting Characters-Merrily We Roll Along-Rent and tick…tick…BOOM!-A Strange LoopInterlude: “Then I Can Let You Go” and Maybe Happy EndingChapter Nine: “You Hear That Music In The Air?”: Communities and Revolutions-In the Heights-Hamilton

Dan Rubins is a theater writer and critic based in New York City. He contributes reviews and features to Theatermania, Slant Magazine, The New Yorker, and The Brooklyn Rail, and he is the host of the podcast The Present Stage: Conversations with Theater Writers. He also serves as the Executive Director and Co-Founder of Hear Your Song, a national non-profit empowering youth with serious illnesses through song-writing.

• Introduction: “Permission to Sing”Chapter One: “It’s An Old Song, But We’re Gonna Sing It Again”: Orpheus & Operatic Origins-Early Opera & the Orpheus Myth-Operatic Origins of Consciousness of Song-Conscious Music-Making in Gilbert & SullivanChapter Two: “All the Sounds of the Earth Are Like Music”: Rodgers and Hammerstein-Music Is Everywhere: Where Music Appears in Our Lives-Oklahoma!-Carousel-South Pacific-The King and IInterlude: “My Ship” and Lady in the DarkChapter Three: “The Band Begins To Go to Town And Everyone Goes Crazy”: The Backstage Musical-Babes In Arms, On Your Toes, and Me and Juliet-Kiss Me, Kate-42nd Street, Dames at Sea, and On The Twentieth Century-The Producers and CurtainsInterlude: “Anything You Can Do” and Annie Get Your GunChapter Four: “And I’ll Sing Once More”: The Music Man and The Sound of Music-The Music Man-The Sound of MusicInterlude: “Rosemary” and How to Succeed in Business Without Really TryingChapter Five: “You Try Singing Without Music, Sweetheart!”: Complicating Consciousness in Cabaret,Follies, and Pippin-Cabaret and Kander and Ebb-Follies and Stephen Sondheim-PippinInterlude: “Tomorrow” and AnnieChapter Six: “Only You Can Sing It The Way It Should Be”: The Voices of Effie White and Christine Daaé-Dreamgirls-The Phantom of the Opera and PhantomInterlude: “Say It Somehow” and The Light in the PiazzaChapter Seven: “One More Song About Moving Along the Highway”: Rise of the Jukebox Musical-The Gershwin jukebox (An American In Paris, Crazy For You, Girl Crazy, My One and Only, NiceWork If You Can Get It)-The bio-jukebox musical (Beautiful: The Carole King Musical, Jersey Boys, MJ the Musical, Motown,On Your Feet)-The fictional jukebox musical (All Shook Up, Mamma Mia!, We Will Rock You)Interlude: “Something Different” and The Band’s VisitChapter Eight: “One Song To Leave Behind”: Songwriting Characters-Merrily We Roll Along-Rent and tick…tick…BOOM!-A Strange LoopInterlude: “Then I Can Let You Go” and Maybe Happy EndingChapter Nine: “You Hear That Music In The Air?”: Communities and Revolutions-In the Heights-Hamilton