Titlebook: Cultural Identity in British Musical Theatre, 1890–1939; Knowing One’s Place Ben Macpherson Book 2018 The Editor(s) (if applicable) and The

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Femininity: Cinderellas and Caretakers and private (domestic) spaces in Victorian and Edwardian society. Drawing on two contrasting configurations of femininity, the chapter demonstrates the increasing complexity of women’s place in the urban metropolis. First, with reference to the use of the popular Cinderella narrative as a basis for

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Empire: Ornamentalism and Orientalismd a more significant impact on the representation of different cultures than previously realised. Many analyses understand musical?comedy depictions of the Far East on the basis of racial difference, but this chapter offers a revisionary reading based on a world-view determined by social class, offe

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Conflict: Continuity and Changel and patriotic, and yet offer a sense of reassuring continuity—the period surrounding World War I saw the rise of the revue as a form which seemed to embody a fractured society, and the democratising of characters on the musical stage across all classes. Alongside recruiting revues such as . (1914)

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Peace: Nostalgia and Nationhoodo, and Vivian Ellis, which eschewed the urban modernity of the prewar years and offered a romantic idyll of Ruritanian Britishness for a devastated nation, while knowing that such an ideal was irretrievable. The interwar years were marked by the return of intensely hierarchical class structures, and

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The English Musical in Many Storiesmusical comedy—arising from the metropolitan imperatives of late Victorian modernity—configured Britishness as a sprawling, contradictory, paradoxical cultural identity, full of imperial anxieties, domestic uncertainty, and personal challenges. Returning to the definition of Britishness offered in t

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https://doi.org/10.1057/978-1-137-59807-3Cultural identity; British musical theatre; Victorian popular culture; Britishness; Nationhood; Class; Gen