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In this paper, I will focus on the reconstruction of the history of operetta companies established in interwar Belgrade. I gave priority to those ensembles that held regular performances for a longer period of time in the late 1920s and late 1930s. Aside from making a detailed overview of several more stable operetta theatres in Belgrade at the time, including their repertoire and leading artists, the attention will also be paid to uncovering the broader context of their work. The issues of state cultural policy and the rise of competitiveness inside the local spheres of culture and entertainment will also be discussed.

Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age ofGiselleat the Paris Opéra (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opéra during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The \"divorce\" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score forGiselle.

Koegel discusses the life and career of Adolf Philipp, the most prolific and successful of all German American playwrights. Though Philipp did not attempt to create high art, he nonetheless promoted up-to-date popular musical theater and attempted to meet his audiences' expectations, especially with regards to their thirst for entertainment and their desire both to support German culture and assimilate.

Warnke explores the changing dynamics of transatlantic theatrical interaction between American Yiddish plays and players on the Yiddish stage in Czarist Russia in 1890-1914 and examines the mechanics of transmission and distribution of repertoire from the New World to the Old. This study also contributes to a renewed assessment of the theatrical situation in Imperial Russia.

Preston examines the unknown, and somewhat paradoxical, place of English-language of opera continued to function, as it had before the Civil War, as an important part of the American popular stage, and that its growing identification as opera for the people was a deliberate response to the increasing perception of foreign-laguage opera as aristocratic.

\"When you've got 100 dancers, water fountains shooting into the sky and fireworks,\" he says, \"you have to adopt a Las Vegas attitude to Viennese operetta!\"

In the third article in a series, the life and work of dancer and choreographer Robert Helpmann are examined.

Choreographer Michel Fokine's collaboration with the Warsaw Ballet to produce \"Eunice\" and the second version of \"Chopiniana\" in the early 1900s is discussed.

Ohio Light Opera's twenty-fourth season, which runs from June 13 through August 10, is typical of the diversity the company long has espoused: along with Gilbert & Sullivan's H.M.S. Pinafore and Ruddigore, the programming ventures into audacious realms with Emmerich Kalman's Autumn Maneuvers, Franz von Suppe's Boccaccio and Eduard Kunneke's The Cousin from Batavia.