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scapegoatee in belated response to our conversation about musicals awhile back. I'm skimming through D.A. Miller's Place For Us: Essay on the Broadway Musical and it reminded me of your interest in the tension between narrative realism and the explicitly staged musical numbers. In the early part of his book, Miller addresses this tension, this rift, as a defining aspect of the Broadway musical's appeal to and hold on a formative gay male youth's relation to sexuality and self. You might find the book interesting, though I'm finding that once you get past the first section, the revelations and analysis about the complex relationship of gay men to Broadway musicals seem to breakdown and disappear altogether. (You might recognize D.A. Miller as the source of Eve Sedgwick's citation of the term "open secret," by the way. Miller wrote a work on policing that discussed how knowledge and secrets circulate or circumscribe power relations.)
scapegoatee in belated response to our conversation about musicals awhile back. I'm skimming through D.A. Miller's Place For Us: Essay on the Broadway Musical and it reminded me of your interest in the tension between narrative realism and the explicitly staged musical numbers. In the early part of his book, Miller addresses this tension, this rift, as a defining aspect of the Broadway musical's appeal to and hold on a formative gay male youth's relation to sexuality and self. You might find the book interesting, though I'm finding that once you get past the first section, the revelations and analysis about the complex relationship of gay men to Broadway musicals seem to breakdown and disappear altogether. (You might recognize D.A. Miller as the source of Eve Sedgwick's citation of the term "open secret," by the way. Miller wrote a work on policing that discussed how knowledge and secrets circulate or circumscribe power relations.)
