Oxford Reference Browse

(1887–1995).

Stage and film director, writer, and producer. One of Broadway's most successful and durable directors, his

Stage songwriting team. A short-lived but potent collaboration, they were unusual in that both wrote music and lyrics. Adler (

Opera in four acts by Francesco Cilea to a libretto by Arturo Colautti after Eugène Scribe and Ernest Legouvé's play

(Longacre Theatre 1978). Arguably the finest musical revue seen on Broadway since the last holdouts of the genre in

Comic opera in three acts, op.39, by Benjamin Britten to a libretto by Eric Crozier, after Guy de Maupassant's

Italian version: Tragedia in three acts by Christoph Willibald Gluck to a libretto by Ranieri de' Calzabigi after Euripides; Vienna,

(Fox 1938). The first of a handful of nostalgic films utilizing the vast Irving Berlin song catalog, this musical

(b Ashton-under-Lyne, 19 Nov 1884; d Hereford, 27 Oct 1973).

English bass. He studied

Opera for television in one act by Gian Carlo Menotti to his own libretto; NBC, New York, 24 December 1951

(MGM 1951). Perhaps the most arty of all MGM musicals, and not just because it is about artists, the

(1935– ).

Stage, film, and television performer. One of America's favorite leading ladies, she appeared in landmark musicals

(Imperial Theatre 1946). The most durable and most revived of Irving Berlin's musicals, this biographical show about sharpshooter

(Alvin Theatre 1934). The most popular and oft-revived Broadway musical of the 1930s, the show captures all the wit,

Oper by Richard Strauss to a libretto by Hugo von Hofmannsthal, existing in two versions: ‘Ariadne I’, in one

Tale in three acts by Paul Dukas to a libretto by Maurice Maeterlinck after Charles Perrault; Paris, Opéra‐Comique (Salle

Tragédie en musique in a prologue and five acts by Jean‐Baptiste Lully to a libretto by Philippe Quinault after Torquato

Drame héroïque in five acts by Christoph Willibald Gluck to a libretto by Philippe Quinault after Torquato Tasso's epic poem

(1899–1987).

Stage, film, and television performer. Arguably the most graceful, original, and sophisticated song-and-dance man in Hollywood

Tragédie en musique in a prologue and five acts by Jean‐Baptiste Lully to a libretto by Philippe Quinault after Ovid's

(Shubert Theatre 1937). The quintessential “let's put on a show” musical that has often been imitated and parodied, this