Titlebook: British and American Musical Theatre Exchangesin the West End (1924-1970); The “Americanization Arianne Johnson Quinn Book 2024 The Editor(

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Lerner and Loewe: British Imitations and Fading Empire,g . (1958) and . (1964). After a brief comparison to the reception of . (1949) to establish the context of Lerner and Loewe’s reception in Britain, it then turns to the production history of . and . The arrival of Lerner and Loewe at Drury Lane demonstrated a new complexity in terms of the cultural

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, and the Resurgence of the British Musical, of influence intersected with the creation and marketing of the British musical in the 1960s, particularly Lionel Bart’s . (1960), which will be explored here as contextual evidence that allows us to understand the changing strategies of the Lane. These influences include the reverse “invasion” of

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British and American Musical Theatre Exchangesin the West End (1924-1970)The “Americanization

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Book 2024ne, which housed many prominent American productions from 1924-1970. It argues that during this period Drury Lane was the site of cultural exchanges between Britain and the United States that were a direct result of global engagement in two world wars and the evolution of both countries as imperial

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,Rodgers and Hammerstein’s ,: Ruritanian Imperialism at the Lane,ship records and public dialogue. The British storyline presented through American eyes raised questions about the role of American theatre at the Lane and in London as a whole. As we will see, the “safe” commercial choice of an American musical import proved to be a liability for Lane management and their shareholders.