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Subverting assumptions that American musical theater is steeped in nostalgia, cheap sentiment, misogyny, and homophobia, this book shows how musicals of the 1950s and early 1960s celebrated strong women characters who defied the era's gender expectations. A Problem Like Maria reexamines the roles, careers, and performances of four of musical theater's greatest stars-Mary Martin, Ethel Merman, Julie Andrews, and Barbra Streisand-through a lesbian feminist lens. Focusing on both star persona and performance, Stacy Wolf argues that each of her subjects deftly crafted characters (both on and offstage) whose defiance of the norms of mid-twentiethcentury femininity had immediate appeal to spectators on the ideological and sexual margins, yet could still play in Peoria.
Chapter by chapter, the book analyzes the stars' best-known and best-loved roles, including Martin as Nellie in South Pacific, Merman as Momma Rose in GypsyAndrews as Eliza in My Fair Lady and Guinevere in Camelot, and Streisand as Fanny Brice in Funny Girl. The final chapter scrutinizes the Broadway and film versions of The Sound of Music, illuminating its place in the hearts of lesbian spectators and the "delicious queerness" of Andrews's troublesome nun. As the first feminist and lesbian study of the American Broadway musical, A Problem Like Maria is a groundbreaking contribution to feminist studies, queer studies, and American studies and a delight for fans of musical theater.
Stacy Wolf is Associate Professor of Theatre and Dance, University of Texas, Austin.
- Sales Rank: #591975 in Books
- Published on: 2002-07-09
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.00" w x 6.00" l, 1.15 pounds
- Binding: Paperback
- 312 pages
From Publishers Weekly
American musical theater has long been considered integral to gay male culture, but what does it have to offer lesbian viewers? Plenty, argues Wolf, an English professor at the University of Texas at Austin and a self-confessed "feminist musical theater fan." While many people generally think of 1950s musicals as having a conservative slant and upholding conventional social norms, Wolf argues that the myriad "funny girls" of the '50s and '60s specifically Ethel Merman, Julie Andrews, Mary Martin and Barbra Streisand repeatedly appeared in roles that explicitly critiqued postwar gender norms. Wolf frequently insists she's not concerned with figuring out the actual sexual orientation of these actresses (though she often pauses to do so, decoding the Hollywood gossip surrounding Martin's marriage to gay actor Richard Halliday with obvious glee). Nor does she argue that they actually "played" lesbians on stage or in film. Rather, she's interested in using the tools of feminist and queer theory to examine the women's performances and public images. Her analysis of Martin's "tomboy" star persona (particularly as it is presented in South Pacific and Peter Pan) is shrewd, as is her discussion of Streisand's unconventional beauty and her explicit Jewishness. Unfortunately, Wolf only briefly considers why the genre of the musical itself might lend itself to such interpretive practice, and some readers may wish for a more general analysis of musical theater rather than such close attention to the minute details of these four individuals' performance histories.
Copyright 2002 Cahners Business Information, Inc.
About the Author
wolf is assistant professor of theater, university of texas, austin.
Most helpful customer reviews
2 of 5 people found the following review helpful.
Interesting for hardcore musical fans
By A Customer
This isn't the most exciting book I've read but if you're a hardcore musical theatre fan, it's worth a read. Many of the author's arguments -- pretty much seeing lesbian overtones EVERYWHERE -- are a bit silly, but she also makes some good points. It's a point of view we rarely hear so that's worth something, and may get some people thinking about musicals differently, which is worthwhile...
7 of 8 people found the following review helpful.
Musical Theatre Scholarship Grows Up
By Bruce Kirle
With Stacy Wolf's A Problem Called Maria, musical theatre scholarship finally grows up. Wolf's study of four female icons of the musical stage (Mary Martin, Ethel Merman, Julie Andrews, and Barbra Streisand) is rooted squarely in performance, something many musical theatre historians claim but seldom accomplish. Not only will the book fascinate musical theatre buffs, it will also appeal to a wider audience interested in twentieth century popular culture. Wolf's slant here is the exploration of these female stars through a feminist lens, which offers new insights into the appeal of the mid-century Broadway musical, a genre that until recently has often been associated with gay men, at least in terms of gender studies. Wolf makes clear that the musical, as a cherished American art form, rightly belongs to everyone. More than that, her approach extends beyond the usual emphasis on the written text and score to discuss what these great performers actually did onstage, which is a refreshing approach, to say the least. I would recommend this book without reservation to anyone interested in the golden age of the Broadway musical, and, more broadly, to those interested in the performance of gender within a cultural studies context.
1 of 1 people found the following review helpful.
Looking at the Theatre with a Different Lens
By John Matlock
I am reminded of the old story that a man who only has a hammer sees every problem as a nail. When you view the American musical theater through a lesbian lens you come up with some decidedly different views of Maria in the Sound of Music. Professor Wolf concentrates her study on four actresses of the 50's and early 60's: Mary Martin as Nellie in 'South Pacific,' Ethel Merman as Momma Rose in 'Gypsy,' Julie Andrews in 'My Fair Lady' and Guenevere in 'Camelot,' and Barbra Streisand as Fanny Brice in 'Funny Girl.' Obviously she finds lesbian tendancies in these performances, and her analysis is most interesting to follow.
The musical theatre scene is constantly changing. I would be most interested in her analysis of more current plays such as Les Miz, Phantom of the Opera, and Wicked -- where the two female leads are friends, but in which I do not see lesbian tendancies or messages. Can't two women just be friends?
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