The chapter briefly charts the colonial export of British musical theatre to South Africa and Australia in the first half of the 20th Century. The article then chiefly explores the postcolonial export to the UK and (occasionally) New York of some in¬di¬g¬enous shows from Australia and a comparatively large number from South Africa after King Kong (1961), which depict new representations of identities in contestation with, or an embracing of, the colonial/apartheid era. Overall, Stuart Hall’s insights on identity formation are taken as central in illuminating the interplay between musical theatres and the legacy of the colonial gaze.
|Title of host publication
|Oxford Handbook of the Global Stage Musical
|R Gordon, O Jubin
|Oxford Univesity Press
|Accepted/In press - 7 Feb 2020
- South Africa
- Stuart Hall