Abstract:The introduction lays out the key questions, terms, methods, structure, and interdisciplinary concerns of the book. The definitive black musical theatre actress is often thought of in terms of The Wiz (1975) and Dreamgirls (1980), obscuring black women who starred in US musical theatre in prior decades. Similarly, the twenty-first century casting director’s shorthand for a reductive demand of black vocality—"Take me to church!”—disavows ideas of expansion, change, and vocal co-presence for black singers. By co… Show more
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