Table of Contents
Introduction
Part I. Capital Paris
1. Paris as Symbol – Venita Datta
2. ‘Yes, I’m a Gay Parisian!’ Establishing the Trope of ‘Gay Paree’: The Merry Widow –
Stefan Frey
3. ‘Come and Play Wiz Me in Gay Paree’: Approaching Cole Porter’s Paris –
Hannah Robbins
Part II. Broadway Paris
4. Dressed by Paris: Mlle Modiste, Roberta and No Strings – Maya Cantu
5. Liberated by Paris: A Reconsideration of Three Broadway ‘Flops’ – Miss Liberty, Ben
Franklin in Paris and Dear World – Michael Garber
6. Seduced by Paris: Irma La Douce and Its Journey to Broadway – Stewart
Nicholls
Part III. Hollywood Paris
7. The Capital of Pre-Code Operettas: Paris at Paramount and MGM –
Marguerite Chabrol
8. Paris as Location: Funny Face, Les Girls, Silk Stockings and Gigi – Julia
Foulkes
9. Paris by Hand: Gay Purr-ee and Aristocats – Daniel Batchelder
Part IV. West End Paris
10. Shockwaves at a Distance: Ellis and Herbert’s Bless the Bride – John Snelson
11. Performing Paris. Les Misérables, The Phantom of the Opera and Aspects of Love – John Snelson
12. The Courtesan and the Collaborator: Marguerite – Clare Chandler
Part V. Naughty Paris
13. Gay Shame in Gay Paree: Re-contextualising Gender Progressiveness in Two Film
Versions of Victor/Victoria – Florian Seubert
14. À la recherche de quel temps? Can-Can and the Fluidity of Paris perdu –
Raymond Knapp and Mitchell Morris
15. Art, Artifice and Artificiality: the Various Versions of the Musical Gigi – Olaf Jubin
Part VI. Artistic Paris
16. ‘Artists in Art’s Capital City’: Americans in Paris on Screen and Stage –
Robert Gordon
17. Paris and the Curse of Chicago in Stephen Sondheim’s Sunday in the Park with George
– Robert Lawson-Peebles
18. The Paradoxical ‘Frenchness’ of an Australian Musical: Baz Luhrmann’s Moulin Rouge! – Pierre-Olivier Toulza
Conclusion