¹ See, for example, the varied methodologies in The Oxford Handbook of Musical Theatre Screen Adaptations, ed. Dominic Broomfield-McHugh (Oxford, UK: Oxford University Press, 2019).

² Geoffrey Block, Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim (New York, Oxford University Press, 1997).

³ Richard Barrios, Must-See Musicals: 50 Show-Stopping Musicals We Can't Forget (Philadelphia, PA: Running Press, 2017).

⁴ Ethan Mordden, When Broadway Went to Hollywood (New York, Oxford University Press, 2016).

⁵ See for instance: work on Paul Robeson in Show Boat, see Shana L. Redmond, Everything Man: The Form and Function of Paul Robeson (Durham, NC: Duke University Press, 2020). Deborah Paredez addresses the legacy of the 1961 film adaptation of West Side Story among Latina/o audiences in “‘Queer for Uncle Sam’: Anita's Latina Diva Citizenship in West Side Story,” Latino Studies; London 12, no. 3 (Autumn 2014): 333–52. Juliana Chang considers identity, modernity, and empire in “I Dreamed I Was Wanted: Flower Drum Song and Specters of Modernity,” Camera Obscura 29, no. 3 (87) (2014): 149–83. Raymond Knapp covers several of these musicals in The American Musical and the Formation of National Identity (Princeton, NJ: Princeton University Press, 2005) and The American Musical and the Performance of Personal Identity (Princeton, NJ: Princeton University Press, 2006).