1. Introduction: Shakespeare as Jukebox Musical Section One: Historical Forebears 2. Shakespeare as Eighteenth-century Ballad Opera 3. Shakespeare as Nineteenth-century Musical Spectacular and Burlesque Section Two: Reception and Structure 4. Song placement and the Carnivalesque: Barrie Kosky’s King Lear and the Troubadour Theater Company 5. Layered Allusions, Genre and Medium: The Scottish Falsetto Sock Puppet Theatre’s Romeo & Juliet Section Three: Modes of Reception 6. The Shakespearean Jukebox Musical as Interrogative Text: Kenneth Branagh’s Love’s Labour’s Lost Section Four: Engaging with Twelfth Night’s Unstable Identities 7. Play On! and its Ghosts 8. All Shook Up and the Unannounced Adaptation 9. Conclusion
Biography
John R. Severn is a Macquarie University Research Fellow at Macquarie University, Sydney. His research focuses on theatre, opera, musical theatre, adaptation and community, with a particular interest in the ways that musical and operatic adaptations of Shakespeare and other playwrights for the spoken stage have been used to create and maintain various forms of local, national and international community, both in the past and today.
