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Indian subcontinent
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"The Subcontinent" redirects here. For other uses, see Continent § Subcontinents.
Indian subcontinent
Area
4.4 million km2 (1.7 million sq mi)
Population
1.710 billion (2015)[1]
Population density
389/km2
Demonym
Subcontinental
Countries
Bangladesh
Bhutan
India
Maldives
Nepal
Pakistan
Sri Lanka
The Indian subcontinent is a southern region and peninsula of Asia, mostly situated on the Indian Plate and projecting southwards into the Indian Ocean from the Himalayas. Geologically, the Indian subcontinent is related to the land mass that rifted from Gondwana and merged with the Eurasian plate nearly 55 million years ago.[2] Geographically, it is the peninsular region in south-central Asia delineated by the Himalayas in the north, the Hindu Kush in the west, and the Arakanese in the east.[3] Politically, the Indian subcontinent includes Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka.[4][5][6]
Sometimes, the term 'Indian subcontinent' is used interchangeably with South Asia,[7] although that is typically defined to include Afghanistan as well.[8] Which countries should be included in either of these remains the subject of debate.[9][10][11]
Contents
1 Name
2 Definition
2.1 Geology
2.2 Socio-cultural sphere
3 Past and future population
4 Land and water area
5 See also
6 References
Name[edit]
Further information: South Asia and Name of India
According to Oxford English Dictionary, the term "subcontinent" signifies a "subdivision of a continent which has a distinct geographical, political, or cultural identity" and also a "large land mass somewhat smaller than a continent". It is first attested in 1845 to refer to the North and South Americas, before they were regarded as separate continents. Its use to refer to the Indian subcontinent is seen from the early twentieth century. It was especially convenient for referring to the region comprising both British India and the princely states under British Paramountcy.[12][13]
The term Indian subcontinent also has a geological significance. Like the various continents, it was a part of the supercontinent of Gondwana. A series of tectonic splits caused formation of various basins, each drifting in various directions. The geological region called "Greater India" once included Madagascar, Seychelles, Antarctica and Austrolasia along with the Indian subcontinent basin. As a geological term, Indian subcontinent has meant that region formed from the collision of the Indian basin with Eurasia nearly 55 million years ago, towards the end of Paleocene.[2][14]
The Indian subcontinent has been a term particularly common in the British Empire.[7][not in citation given]
The geographical region has historically simply been known as "India" (in antiquity referring to the Indus Valley region, not the entire subcontinent). Other related terms are Greater India and South Asia.[15][16] And the terms "Indian subcontinent" and "South Asia" are sometimes used interchangeably.[7] There is no globally accepted definition on which countries are a part of South Asia or the Indian subcontinent.[9][11][10] The less common term "South Asian subcontinent" has seen occasional use since the 1970s.[17]
Definition[edit]
Orthographic projection of the Indian subcontinent
Geology[edit]
Geologically, the Indian subcontinent was first a part of so-called "Greater India",[14] a region of Gondwana that drifted away from East Africa about 160 million years ago, around the Middle Jurassic period.[2] The region experienced high volcanic activity and plate subdivisions, creating Madagascar, Seychelles, Antarctica, Austrolasia and the Indian subcontinent basin. The Indian subcontinent drifted northeastwards, colliding with the Eurasian plate nearly 55 million years ago, towards the end of Paleocene. This geological region largely includes Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka.[2] The zone where the Eurasian and Indian subcontinent plates meet remains one of the geologically active areas, prone to major earthquakes.[18][19]
The English term "subcontinent" mainly continues to refer to the Indian subcontinent.[20][21] Physiographically, it is a peninsular region in south-central Asia delineated by the Himalayas in the north, the Hindu Kush in the west, and the Arakanese in the east.[3][22] It extends southward into the Indian Ocean with the Arabian Sea to the southwest and the Bay of Bengal to the southeast.[4][23] Most of this region rests on the Indian Plate and is isolated from the rest of Asia by large mountain barriers.[24]
Using the more expansive definition – counting India, Pakistan, Bangladesh, Sri Lanka, Nepal, Bhutan and Maldives as the constituent countries – the Indian subcontinent covers about 4.4 million km2 (1.7 million sq mi), which is 10% of the Asian continent or 3.3% of the world's land surface area.[25][26] Overall, it accounts for about 45% of Asia's population (or over 25% of the world's population) and is home to a vast array of peoples.[25][27][28]
Socio-cultural sphere[edit]
Historical transmission routes of Buddhism from India to Central Asia, East Asia and Southeast Asia.
NASA images of the Indian subcontinent during day and night.
The Indian subcontinent is a natural physical landmass in South Asia, geologically the dry-land portion of the Indian Plate, which has been relatively isolated from the rest of Eurasia.[29] Given the difficulty of passage through the Himalayas, the sociocultural, religious and political interaction of the Indian subcontinent has largely been through the valleys of Afghanistan in its northwest,[30] the valleys of Manipur in its east, and by maritime routes.[29] More difficult but historically important interaction has also occurred through passages pioneered by the Tibetans. These routes and interactions have led to the spread of Buddhism out of the Indian subcontinent into other parts of Asia, while the Islamic expansion arrived into the Indian subcontinent through Afghanistan and to its coasts through the maritime routes.[29]
Whether called the Indian subcontinent or South Asia, the definition of the geographical extent of this region varies. Geopolitically, it had formed the whole territory of Greater India.[15][16] In terms of modern geopolitical boundaries, the Indian subcontinent comprises the Republic of India, Pakistan, Bangladesh, Nepal, Bhutan, besides, by convention, the island nation of Sri Lanka and other islands of the Indian Ocean,[5] such as the Maldives.[6][31][32] The term "Indian continent" is first introduced in the early 20th century, when most of the territory was part of British India.[33]
The Hindu Kush, centered on eastern Afghanistan, is the boundary connecting the Indian subcontinent with Central Asia to the northwest, and the Persian Plateau to the west. The socio-religious history of Afghanistan are related to the Turkish-influenced Central Asia and northwestern parts of the Indian subcontinent, now known as Pakistan.[34][35] Others state Afghanistan being a part of Central Asia is not an accepted practice, and it is "clearly not part of the Indian subcontinent".[9]
The precise definition of an "Indian subcontinent" vs. "South Asia" in geopolitical context is somewhat contested.[9][11][36]
Past and future population[edit]
Main articles: List of countries by past and future population and List of countries by future population (United Nations, medium fertility variant)
The list of countries by past and future population provides 1950, 2000 and 2050 population while List of countries by future population (United Nations, medium fertility variant) provide 2100 population.
Rank
Country
Area (km2)
1950
2000
2050
2100
1 India 3,287,263 369,881,000 1,006,301,000 1,656,554,000 1,659,786,000
2 Pakistan 881,913 40,383,000 152,430,000 300,848,000 364,283,000
3 Bangladesh 147,570 45,646,000 132,151,000 201,249,000 169,541,000
4 Nepal 147,181 8,990,000 24,819,000 36,107,000 29,677,000
5 Sri Lanka 65,610 7,534,000 19,042,000 25,167,000 14,857,000
6 Bhutan 38,394 164,000 606,000 952,000 793,000
7 Maldives 298 80,000 300,000 445,000 438,000
Total
4,568,229
480,829,000
1,358,111,000
2,294,996,000
2,297,013,000
Land and water area[edit]
Main articles: Exclusive economic zone and Indian Ocean
This list includes dependent territories within their sovereign states (including uninhabited territories), but does not include claims on Antarctica. EEZ+TIA is exclusive economic zone (EEZ) plus total internal area (TIA) which includes land and internal waters.
Rank
Country
Area (km2)
EEZ
Shelf
EEZ+TIA
1 India 3,287,263 2,305,143 402,996 5,592,406
2 Pakistan 881,913 290,000 51,383 1,117,911
3 Bangladesh 147,570 86,392 66,438 230,390
4 Nepal 147,181 0 0 147,181
5 Sri Lanka 65,610 532,619 32,453 598,229
6 Bhutan 38,394 0 0 38,394
7 Maldives 298 923,322 34,538 923,622
Total
4,568,229
4,137,476
587,808
9,300,997
See also[edit]
Geography of South Asia
References[edit]
Jump up ^ "World Population Prospects". United Nations: Population Division. 2017.
^ Jump up to: a b c d Robert Wynn Jones (2011). Applications of Palaeontology: Techniques and Case Studies. Cambridge University Press. pp. 267–271. ISBN 978-1-139-49920-0.
^ Jump up to: a b Baker, Kathleen M.; Chapman, Graham P. (11 March 2002), The Changing Geography of Asia, Routledge, pp. 10–, ISBN 978-1-134-93384-6, This greater India is well defined in terms of topography; it is the Indian sub-continent, hemmed in by the Himalayas on the north, the Hindu Khush in the west and the Arakanese in the east.
^ Jump up to: a b "Indian subcontinent". New Oxford Dictionary of English (ISBN 0-19-860441-6) New York: Oxford University Press, 2001; p. 929: "the part of Asia south of the Himalayas which forms a peninsula extending into the Indian Ocean, between the Arabian Sea and the Bay of Bengal. Historically forming the whole territory of Greater India, the region is now divided into three countries named Bangladesh, India and Pakistan."
^ Jump up to: a b Dhavendra Kumar (2012). Genomics and Health in the Developing World. Oxford University Press. p. 889. ISBN 978-0-19-537475-9.
^ Jump up to: a b Mariam Pirbhai (2009). Mythologies of Migration, Vocabularies of Indenture: Novels of the South Asian Diaspora in Africa, the Caribbean, and Asia-Pacific. University of Toronto Press. p. 14. ISBN 978-0-8020-9964-8.
^ Jump up to: a b c John McLeod, The history of India, page 1, Greenwood Publishing Group, 2002, ISBN 0-313-31459-4; note: McLeod does not include Afghanistan in Indian subcontinent or South Asia;
Jim Norwine & Alfonso González, The Third World: states of mind and being, pages 209, Taylor & Francis, 1988, ISBN 0-04-910121-8
Raj S. Bhopal, Ethnicity, race, and health in multicultural societies, pages 33, Oxford University Press, 2007, ISBN 0-19-856817-7; Quote: "The term South Asian refers to populations originating from the Indian subcontinent, effectively India, Pakistan, Bangladesh and Sri Lanka;
Lucian W. Pye & Mary W. Pye, Asian Power and Politics, pages 133, Harvard University Press, 1985, ISBN 0-674-04979-9
Mark Juergensmeyer, The Oxford handbook of global religions, pages 465, Oxford University Press US, 2006, ISBN 0-19-513798-1
Sugata Bose & Ayesha Jalal, Modern South Asia, pages 3, Routledge, 2004, ISBN 0-415-30787-2
Jump up ^ As for example it is in the South Asian Games and the 8-nation South Asian Association for Regional Cooperation (SAARC), an economic cooperation organisation in the region, established in 1985, and ; SAARC Summit. "SAARC". SAARC Summit. Retrieved 17 December 2013.
^ Jump up to: a b c d Ewan W. Anderson; Liam D. Anderson (2013). An Atlas of Middle Eastern Affairs. Routledge. p. 5. ISBN 978-1-136-64862-5. , Quote: "To the east, Iran, as a Gulf state, offers a generally accepted limit to the Middle East. However, Afghanistan, also a Muslim state, is then left in isolation. It is not accepted as a part of Central Asia and it is clearly not part of the Indian subcontinent".
^ Jump up to: a b Michael Mann (2014). South Asia’s Modern History: Thematic Perspectives. Taylor & Francis. pp. 13–15. ISBN 978-1-317-62445-5.
^ Jump up to: a b c Jona Razzaque (2004). Public Interest Environmental Litigation in India, Pakistan, and Bangladesh. Kluwer Law International. pp. 3 with footnotes 1 and 2. ISBN 978-90-411-2214-8.
Jump up ^ "subcontinent". Oxford English Dictionary (3rd ed.). Oxford University Press. September 2005. (Subscription or UK public library membership required.)
Jump up ^ "Indian subcontinent". Oxford English Dictionary (3rd ed.). Oxford University Press. September 2005. (Subscription or UK public library membership required.)
^ Jump up to: a b Hinsbergen, D. J. J. van; Lippert, P. C.; Dupont-Nivet, G.; McQuarrie, N.; Doubrovine; et al. (2012). "Greater India Basin hypothesis and a two-stage Cenozoic collision between India and Asia". Proceedings of the National Academy of Sciences. 109 (20): 7659–7664, for geologic Indian subcontinent see Figure 1. doi:10.1073/pnas.1117262109. PMC 3356651  . CS1 maint: Explicit use of et al. (link)
^ Jump up to: a b Sushil Mittal and Gene Thursby, Religions of South Asia: An Introduction, page 3, Routledge, 2006, ISBN 9781134593224
^ Jump up to: a b Kathleen M. Baker and Graham P. Chapman, The Changing Geography of Asia, page 10, Routledge, 2002, ISBN 9781134933846
Jump up ^ [ Official Records: Proces-verbaux Officiels. Supplement. Supplement 1624-1683, United Nations, 1972, p. 38.
Jump up ^ Bethany D. Rinard Hinga (2015). Ring of Fire: An Encyclopedia of the Pacific Rim's Earthquakes, Tsunamis, and Volcanoes. ABC-CLIO. pp. 89–90. ISBN 978-1-61069-297-7.
Jump up ^ Alexander E. Gates; David Ritchie (2006). Encyclopedia of Earthquakes and Volcanoes. Infobase. pp. 116–118. ISBN 978-0-8160-7270-5.
Jump up ^ McLeod, John (1 January 2002). "The History of India". Greenwood Publishing Group – via Google Books.
Jump up ^ Milton Walter Meyer, South Asia: A Short History of the Subcontinent, pages 1, Adams Littlefield, 1976, ISBN 0-8226-0034-X
Jump up ^ Dhavendra Kumar (2012). Genomics and Health in the Developing World. Oxford University Press. pp. 889–890. ISBN 978-0-19-537475-9.
Jump up ^ John McLeod, The history of India, page 1, Greenwood Publishing Group, 2002, ISBN 0-313-31459-4
Jump up ^ "Asia" > Geologic history – Tectonic framework. Encyclopædia Britannica. Encyclopædia Britannica Online, 2009: "The paleotectonic evolution of Asia terminated some 50 million years ago as a result of the collision of the Indian subcontinent with Eurasia. Asia’s subsequent neotectonic development has largely disrupted the continents pre-existing fabric. The neotectonic units of Asia are Stable Asia, the Arabian and Indian cratons, the Alpide plate boundary zone (along which the Arabian and Indian platforms have collided with the Eurasian continental plate), and the island arcs and marginal basins."
^ Jump up to: a b Desai, Praful B. 2002. Cancer control efforts in the Indian subcontinent. Japanese Journal of Clinical Oncology. 32 (Supplement 1): S13-S16. "The Indian subcontinent in South Asia occupies 2.4% of the world land mass and is home to 16.5% of the world population...."
Jump up ^ "Indian Subcontinent" in Encyclopedia of Modern Asia. Macmillan Reference USA (Gale Group), 2006: "The area is divided between five major nation-states, Bangladesh, India, Nepal, Pakistan and Sri Lanka, and includes as well the two small nations of Bhutan and the Maldives Republic... The total area can be estimated at 4.4 million square kilometres, or exactly 10 percent of the land surface of Asia... In 2000, the total population was about 22 percent of the world's population and 34 percent of the population of Asia."
Jump up ^ "Asia" > Overview. Encyclopædia Britannica. Encyclopædia Britannica Online, 2009: "The Indian subcontinent is home to a vast diversity of peoples, most of whom speak languages from the Indo-Aryan subgroup of the Indo-European family."
Jump up ^ "Indian Subcontinent", in Encyclopedia of Modern Asia. Macmillan Reference USA (Gale Group), 2006: "The total area can be estimated at 4.4 million square kilometres, or exactly 10 percent of the land surface of Asia... In 2000, the total population was about 22 percent of the world's population and 34 percent of the population of Asia."
^ Jump up to: a b c Asher, Catherine B.; Talbot, Cynthia (2006-03-16), India Before Europe, Cambridge University Press, pp. 5–8, 12–14, 51, 78–80, ISBN 978-0-521-80904-7
Jump up ^ John L. Esposito; Emad El-Din Shahin (2016). The Oxford Handbook of Islam and Politics. Oxford University Press. pp. 453–456. ISBN 978-0-19-063193-2.
Jump up ^ John McLeod, The history of India, page 1, Greenwood Publishing Group, 2002, ISBN 0-313-31459-4
Stephen Adolphe Wurm, Peter Mühlhäusler & Darrell T. Tryon, Atlas of languages of intercultural communication in the Pacific, Asia, and the Americas, pages 787, International Council for Philosophy and Humanistic Studies, Published by Walter de Gruyter, 1996, ISBN 3-11-013417-9
Haggett, Peter (2001). Encyclopedia of World Geography (Vol. 1). Marshall Cavendish. p. 2710. ISBN 0-7614-7289-4.
Jump up ^ "the Indian Subcontinent occupies the major landmass of South Asia" John R. Lukacs, The People of South Asia: the biological anthropology of India, Pakistan, and Nepal, page 59, Plenum Press, 1984, ISBN 9780306414077. "the seven countries of South Asia constitute geographically a compact region around the Indian Subcontinent".Tatu Vanhanen Prospects of Democracy: A Study of 172 Countries, page 144, Routledge, 1997, ISBN 9780415144063
Jump up ^ "Indian subcontinent" is used by Henry D. Baker, British India With Notes On Ceylon Afghanistan And Tibet (1915), p. 401.
Jump up ^ Ira M. Lapidus (2014). A History of Islamic Societies. Cambridge University Press. pp. 269, 698–699. ISBN 978-0-521-51430-9.
Jump up ^ Louis D Hayes (2014). The Islamic State in the Post-Modern World: The Political Experience of Pakistan. Ashgate. pp. 55–56. ISBN 978-1-4724-1262-1. ;
Robert Wuthnow (2013). The Encyclopedia of Politics and Religion. Routledge. pp. 11–. ISBN 978-1-136-28493-9.
Jump up ^ Akhilesh Pillalamarri, South Asia or India: An Old Debate Resurfaces in California, The Diplomat, 24 May 2016; Ahmed, Mukhtar (2014), Ancient Pakistan – An Archaeological History: Volume II: A Prelude to Civilization, Foursome, p. 14, ISBN 978-1-4959-4130-6
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Indian_subcontinent&oldid=853987655"
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Man of La Mancha
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For the 1972 film, see Man of La Mancha (film).
Man of La Mancha
Original Playbill
Music
Mitch Leigh
Lyrics
Joe Darion
Book
Dale Wasserman
Basis
I, Don Quixote (teleplay) by Dale Wasserman and Don Quixote (novel) by Miguel de Cervantes
Productions
1965 Goodspeed Opera House
1965 Broadway
1968 West End
1972 Broadway
1972 Film
1977 Broadway
1992 Broadway
2002 Broadway
International productions
Awards
Tony Award for Best Musical
Tony Award for Best Score
Man of La Mancha is a 1965 musical with a book by Dale Wasserman, lyrics by Joe Darion, and music by Mitch Leigh. It is adapted from Wasserman's non-musical 1959 teleplay I, Don Quixote, which was in turn inspired by Miguel de Cervantes and his 17th-century masterpiece Don Quixote. It tells the story of the "mad" knight Don Quixote as a play within a play, performed by Cervantes and his fellow prisoners as he awaits a hearing with the Spanish Inquisition.[1] The work is not and does not pretend to be a faithful rendition of either Cervantes' life or of Don Quixote. Wasserman complained repeatedly about taking the work as a musical version of Don Quixote.[2][3]
The original 1965 Broadway production ran for 2,328 performances and won five Tony Awards, including Best Musical. The musical has been revived four times on Broadway, becoming one of the most enduring works of musical theatre.[4]
The principal song, "The Impossible Dream", became a standard. The musical has played in many other countries around the world, with productions in Dutch, French (translation by Jacques Brel), German, Hebrew, Irish, Japanese, Korean, Icelandic, Gujarati, Uzbek, Bulgarian, Hungarian, Serbian, Slovenian, Swahili, Finnish, Ukrainian and nine distinctly different dialects of the Spanish language.[5]
Man of La Mancha was first performed at the Goodspeed Opera House in East Haddam, Connecticut in 1965 and had its New York premiere on the thrust stage of the ANTA Washington Square Theatre in 1965.[6]
Contents
[hide]
1 History
2 Productions
3 Synopsis
4 Musical numbers
5 Foreign language stage adaptations
5.1 Bulgarian
5.2 French
5.3 Hebrew
5.4 Japanese
5.5 Korean
5.6 Spanish
5.7 Swedish
5.8 Chinese
5.9 Others
6 Awards and nominations
6.1 Original Broadway production
6.2 1977 Broadway revival
6.3 2002 Broadway revival
7 References
8 Bibliography
9 External links
History[edit]
Man of La Mancha started as a non-musical teleplay written by Dale Wasserman for CBS's DuPont Show of the Month program. This original telecast starred Lee J. Cobb, Colleen Dewhurst (who replaced Viveca Lindfors), and Eli Wallach and was not performed on a thrust stage but on a television sound stage. The DuPont Corporation disliked the title Man of La Mancha, thinking that its viewing audience would not know what La Mancha actually meant, so a new title, I, Don Quixote, was chosen. The play was broadcast live on November 9, 1959, with an estimated audience of 20 million.[7] The New York Public Library at Lincoln Center, Billy Rose Collection, has a rare tape of this broadcast.
Years after this television broadcast and after the original teleplay had been unsuccessfully optioned as a non-musical Broadway play, director Albert Marre called Wasserman and suggested that he turn his play into a musical. Mitch Leigh was selected as composer, with orchestrations by Carlyle W. Hall. Unusually for the time, this show was scored for an orchestra with no violins or other traditional orchestral stringed instruments apart from a double bass, instead making heavier use of brass, woodwinds, percussion and utilizing flamenco guitars as the only stringed instruments of any sort.[8]
The original lyricist of the musical was poet W. H. Auden, but his lyrics were discarded, some of them considered too overtly satiric and biting, attacking the bourgeois audience at times. Auden's lyrics were replaced by those of Joe Darion.[9]
Productions[edit]
The musical first played at the Goodspeed Opera House in Connecticut in 1965.[10] Rex Harrison was to be the original star of this production, but although Harrison had starred in a musical role in the stage and film versions of My Fair Lady, the musical demands of the role of Don Quixote were too heavy for him.
After 21 previews, the musical opened Off-Broadway at the experimental thrust-stage ANTA Washington Square Theatre in Greenwich Village on November 22, 1965. The show moved to Broadway to the Martin Beck Theatre on March 20, 1968, then to the Eden Theatre on March 3, 1971, and finally to the Mark Hellinger Theatre on May 26, 1971 for its last month, a total original Broadway run of 2,328 performances. Musical staging and direction were by Albert Marre, choreography was by Jack Cole, and Howard Bay was the scenic and lighting designer, with costumes by Bay and Patton Campbell.[4]
Richard Kiley won a Tony Award for his performance as Cervantes/Quixote in the original production, and it made Kiley a bona fide Broadway star.[11] Kiley was replaced in the original Broadway run by first Jose Ferrer on Broadway and in the 1966 National Tour, and then by operatic baritone David Atkinson. Atkinson also performed Cervantes/Quixote in the 1968 National Tour and for all of the matinee performances in the 1972 Broadway revival, which also starred Kiley.[12]
The original cast also included Irving Jacobson (Sancho), Ray Middleton (Innkeeper), Robert Rounseville (The Padre), and Joan Diener (Aldonza). John Cullum, Hal Holbrook, and Lloyd Bridges also played Cervantes and Don Quixote during the run of the production.[4] Keith Andes also played the role.
The musical was performed on a single set that suggested a dungeon. All changes in location were created by alterations in the lighting, by the use of props supposedly lying around the floor of the dungeon, and by reliance on the audience's imagination. More recent productions, however, have added more scenery.[13][14]
The original West End London production was at the Piccadilly Theatre, opening on April 24, 1968 and running for 253 performances. Keith Michell starred, with Joan Diener reprising her original role and Bernard Spear as Sancho.[15][16][17]
The play has been revived on Broadway four times:[4]
1972 – with Richard Kiley as Cervantes/Quixote, running for 140 performances
1977 – with Richard Kiley as Cervantes/Quixote, Tony Martinez as Sancho Panza and Emily Yancy as Aldonza/Dulcinea, running for 124 performances
1992 – with Raúl Juliá as Cervantes/Quixote and Sheena Easton as Aldonza/Dulcinea, running for 108 performances. Easton was replaced, late in the run, by Joan Diener.
2002 – with Brian Stokes Mitchell as Cervantes/Quixote, Mary Elizabeth Mastrantonio as Aldonza/Dulcinea, and Ernie Sabella as Sancho Panza, running for 304 performances; Marin Mazzie took over as Aldonza (Dulcinea) on July 1, 2003. This production featured Scenic and Costume Design by Paul Brown, Lighting Design by Paul Gallo, Sound design by Tony Meola and Projection design by Elaine J. McCarthy.
In the film Man of La Mancha (1972), the title role went to Peter O'Toole (singing voice dubbed by Simon Gilbert), James Coco was Sancho, and Sophia Loren was Aldonza.[18]
Hal Linden played Quixote in the show's 1988 U.S. National tour,[19] and Robert Goulet played Quixote in the 1997–98 U.S. National tour.[20]
A studio-made recording of the score was released in 1996, conducted by Paul Gemignani and starring Plácido Domingo as Quixote, Mandy Patinkin as Sancho, Julia Migenes as Aldonza, Jerry Hadley as the Priest and Samuel Ramey as the Innkeeper.[21]
In 2014, Man of La Mancha featured as part of the Stratford Festival in Stratford, Ontario, Canada.[22]
The Shakespeare Theatre Company produced Man of La Mancha as part of their 2014-2015 season. The production starred Anthony Warlow as Quixote and Amber Iman as Aldonza/Dulcinea.[23]
Synopsis[edit]
In the late sixteenth century, failed author-soldier-actor and tax collector Miguel de Cervantes has been thrown into a dungeon by the Spanish Inquisition, along with his manservant. They have been charged with foreclosing on a monastery. Their fellow prisoners attack them, eager to steal the contents of the large trunk Cervantes has brought with him. However, a sympathetic criminal known as "the Governor" suggests setting up a mock trial instead. Only if Cervantes is found guilty will he have to hand over his possessions. A cynical prisoner, known as "the Duke," charges Cervantes with being an idealist and a bad poet. Cervantes pleads guilty, but then asks if he may offer a defense, in the form of a play, acted out by him and all the prisoners. The "Governor" agrees.
Cervantes takes out a makeup kit and costume from his trunk, and transforms himself into Alonso Quijano, an old gentleman who has read so many books of chivalry and thought so much about injustice that he has lost his mind and set out as a knight-errant. Quijano renames himself Don Quixote de La Mancha, and goes off to find adventures with his "squire", Sancho Panza. ("Man of La Mancha (I, Don Quixote)")
Don Quixote warns Sancho that they are always in danger of being attacked by Quixote's mortal enemy, an evil magician known as the Enchanter. Suddenly he spots a windmill, mistakes it for a four-armed giant, attacks it, and receives a beating from the encounter. Quijote decides that he lost the battle because he was never properly knighted. He then mistakes a rundown inn for a castle and orders Sancho to announce their arrival by blowing his bugle.
Cervantes talks some prisoners into assuming the roles of the inn's serving wench and part-time prostitute Aldonza, and a group of muleteers who are propositioning her. Aldonza fends them off sarcastically ("It's All The Same"), but eventually deigns to accept their leader, Pedro, who pays in advance.
Don Quixote enters with Sancho, asking for the lord of the castle. The Innkeeper (played by The Governor) humors Don Quixote as best he can. Quixote sees Aldonza and declares that she is his lady, Dulcinea, to whom he has sworn eternal loyalty ("Dulcinea"). Aldonza, used to rough treatment, is first flabbergasted and then annoyed at Quixote's kindness, and is further aggravated when the Muleteers turn Quixote's tender ballad into a mocking serenade.
Meanwhile, Antonia, Don Quixote's niece, has gone with Quixote's housekeeper to seek advice from the local priest, who realizes that the two women are more concerned with the embarrassment Quixote's madness may bring them, than with his actual welfare ("I'm Only Thinking of Him").
Cervantes chooses "the Duke" to play Dr. Sanson Carrasco, Antonia's fiancé, a man just as cynical and self-centered as the prisoner who is playing him. Carrasco is upset at the idea of marrying into the family of a madman, but the priest convinces Carrasco that it would be a worthy challenge to use his abilities to cure his prospective uncle-in-law. Carrasco and the priest set out to bring Don Quixote back home ("I'm Only Thinking of Him [Reprise]").
Back at the inn, Sancho delivers a missive from Don Quixote to Aldonza courting her favor and asking for a token of her esteem. Aldonza provides the requested token: an old dishrag. She asks Sancho why he follows Quixote, but he can come up with no explanation other than "I Really Like Him". Alone, Aldonza ponders Quixote's behavior and her inability to laugh at him ("What Do You Want of Me?") In the courtyard, the muleteers once again taunt Aldonza with a suggestive song ("Little Bird, Little Bird"). Pedro makes arrangements with her for an assignation later.
The priest and Dr. Carrasco arrive, but cannot reason with Don Quixote. Quixote becomes distracted by a barber who passes by the inn, wearing his shaving basin on his head to ward off the sun's heat ("The Barber's Song"). Quixote threatens the barber with a sword and snatches the basin, declaring it is the "Golden Helmet of Mambrino", which makes its wearer invulnerable. Dr. Carrasco and the priest leave, with the priest impressed by Don Quixote's view of life and wondering if curing him is really worthwhile ("To Each His Dulcinea").
Quixote still wishes to be officially dubbed a knight: he plans to stand vigil all night over his armor in the inn's courtyard, and then have the Innkeeper (whom he mistakes for a nobleman) grant him knighthood the following morning. Aldonza encounters Quixote in the courtyard and confronts him; Quixote does his best to explain the ideals he follows and the quest he is on ("The Impossible Dream"). Pedro enters, furious at being kept waiting, and slaps Aldonza. Enraged, Don Quixote takes him and all the other muleteers on in a fight ("The Combat"). Don Quixote has no martial skill, but by luck and determination – and with the help of Aldonza and Sancho – he prevails, and the muleteers are all knocked unconscious. But the noise attracts the attention of the Innkeeper, who tells Quixote that he must leave. Quixote apologizes for the trouble but reminds the Innkeeper of his promise to dub him knight. The Innkeeper does so ("Knight of the Woeful Countenance").
Quixote then declares that he must comfort the wounded muleteers, because chivalry requires kindness to one's enemies. Aldonza, impressed, says that she will help the muleteers instead. But when she comes to them with bandages, they beat her, rape her, and carry her off ("The Abduction"). Quixote, unaware of this, contemplates his recent victory and new knighthood ("The Impossible Dream" – first reprise).
At this point, the Don Quixote play is brutally interrupted when the Inquisition enters the dungeon and drags off an unwilling prisoner to be tried. The Duke taunts Cervantes for his look of fear, and accuses him of not facing reality. This prompts Cervantes to passionately defend his idealism.
The Don Quixote play resumes ("Man of La Mancha" – first reprise). Quixote and Sancho have left the inn and encounter a band of Gypsies ("Moorish Dance") who take advantage of Quixote's naiveté and steal everything they own, including Quixote's horse Rocinante and Sancho's donkey Dapple. [24] Quixote and Sancho are forced to return to the inn. Aldonza also shows up at the inn, bruised and ashamed. Quixote swears to avenge her, but she tells him off, flinging her real, pitiful history in his face and blaming him for allowing her a glimpse of a life she can never have. She begs him to see her as she really is but Quixote can only see her as his Dulcinea ("Aldonza").
Suddenly, another knight enters. He announces himself as Don Quixote's mortal enemy, the Enchanter, in the form of the "Knight of the Mirrors". He insults Aldonza, so Quixote challenges him to combat. The Knight of the Mirrors and his attendants bear huge mirrored shields, and as they swing them at Quixote ("Knight of the Mirrors"), the glare blinds him. The Knight taunts Quixote, forcing him to see himself as the world sees him: a fool and a madman. Don Quixote collapses, weeping. The Knight of the Mirrors removes his helmet – he is really Dr. Carrasco, returned with his latest plan to cure Quixote.
Cervantes announces that the story is finished, but the prisoners are dissatisfied with the ending. They prepare to burn his manuscript when he asks for the chance to present one last scene. The governor agrees.
Quixote is back at home, and has fallen into a coma. Sancho tries to cheer him up ("A Little Gossip"), and Alonso opens his eyes. He is now sane: he gives his name as Alonso Quijano and thinks his knightly career was just a dream. However, he feels close to death, and asks the priest to help him make out his will. Aldonza suddenly forces her way into the room. She has come to visit Quixote because she can no longer bear to be anyone but Dulcinea. When he does not recognize her, she sings a reprise of "Dulcinea" and tries to help him remember the words of "The Impossible Dream." Suddenly, he remembers everything and rises from his bed, calling for his armor and sword so that he may set out again ("Man of La Mancha" – second reprise). But it is too late – in mid-song, he cries out and falls dead. The priest sings "The Psalm" (Psalm 130 in Latin) for the dead. Sancho is distraught at his friend's death. Aldonza tries to comfort him, saying that Alonso Quijano may be dead but Don Quixote lives on. When Sancho addresses her as Aldonza, she replies, "My name is Dulcinea."
The Inquisition enters to take Cervantes to his trial, and the prisoners, finding him not guilty, return his manuscript. It is his (as yet) unfinished novel, Don Quixote. As Cervantes and his servant mount the staircase to go to their impending trial, the prisoners, led by the girl who played Dulcinea, sing "The Impossible Dream" in chorus.
Musical numbers[edit]
"Overture"
"Man of La Mancha (I, Don Quixote)" – Don Quixote, Sancho
"Food, Wine, Aldonza!" – Muleteers
"It's All the Same" – Aldonza
"Dulcinea" – Don Quixote
"I'm Only Thinking of Him" – Antonia, Padre, Housekeeper
"We're Only Thinking of Him" – Antonia, Carasco, Padre, Housekeeper
"The Missive" – Sancho
"I Really Like Him" – Sancho
"What Does He Want of Me?" – Aldonza
"Little Bird, Little Bird" – Muleteers
"Barber's song" – Barber
"Golden Helmet of Mambrino" – Don Quixote, Sancho & Barber
"To Each His Dulcinea" – Padre
"The Impossible Dream" – Don Quixote
"The Combat (instrumental)" – orchestra
"The Dubbing" – Innkeeper, Aldonza & Sancho
"Knight of the Woeful Countenance" - Innkeeper
"Little Bird, Little Bird (reprise)" leading into an instrumental entitled...
"The Abduction" – Muleteers
"The Impossible Dream (reprise)" – Don Quixote
"Man of La Mancha (reprise)" – Don Quixote
"Moorish Dance (instrumental)" – Moors
"Aldonza" – Aldonza
"Knight of the Mirrors (choreographed instrumental sequence)" – orchestra
"A Little Gossip" – Sancho
"Dulcinea (reprise)" – Aldonza
"The Impossible Dream (reprise)" – Aldonza & Don Quixote
"Man of La Mancha (reprise)" – Don Quixote, Aldonza & Sancho
"The Psalm" – Padre
"Finale Ultimo: The Impossible Dream (reprise)" – Company
Foreign language stage adaptations[edit]
Bulgarian[edit]
A Bulgarian adaptation for television (Bulgarian: Човекът от Ла Манча, translit. Chovekat ot La Mancha) was released in 1968 directed by Asen Trayanov and Grisha Ostrovski, starring Kosta Tsonev, Nikola Anastasov, Grigor Vachkov, Konstantin Kotsev, Vasil Mihaylov and Tatyana Lolova.[25]
A Bulgarian stage adaptation was realized directed by Grisha Ostrovski.
French[edit]
A French adaptation premiered at the Théâtre des Champs-Élysées on December 11, 1968. Belgian singer-songwriter Jacques Brel translated the songs and played the lead (the only time he ever adapted songs written by other writers or appeared in a stage musical). Joan Diener reprised her role as Aldonza (this time singing in French).[17][26] It was recorded and issued in 1968 as the album L'Homme de la Mancha.[27]
Another French version based on Brel's translation was produced in Liège in 1998 and 1999 with José van Dam in the lead role.[28]
In March 2012, French baritone David Serero performed the lead of role of Don Quixote in a new production, produced by himself, in Paris and Deauville.
Hebrew[edit]
A Hebrew-language production was produced by Giora Godik in Tel Aviv, Israel, in 1967.[29][30]
Japanese[edit]
A Japanese-language production entitled The Impossible Dream was produced in Tokyo, Japan, where Matsumoto Kōshirō IX (as Ichikawa Somegorō VI) took the lead role.[30]
Korean[edit]
A Korean production first opened at the Haeorum Theater of the National Theater of Korea in 2005 under the name Don Quixote. Ryu Jung-han and Kim Seong-ki starred as the main characters.
In a 2007 production, this time staged under its original name, Cho Seung-woo and Jung Sung-hwa starred as Quixote/Cervantes. They reprised their roles a year later and in 2010.
Multiple stars played the titular role in the 2012 production, including Hwang Jung-min (who had to step down due to him directing and starring in a production of Sondheim's Assassins and was replaced by Ryu Jung-han), Seo Bum-suk, and Hong Kwang-ho.
Jung Sung-hwa and Cho Seung-woo played the main character in a 2013 production.
In a 2015 production marking the tenth anniversary of the musical's first performance in Korea, Jo and Ryu returned in the lead role.
Spanish[edit]
The first Spanish production opened in 1966 in Madrid, Spain, starring Nati Mistral as Aldonza and the great Spanish baritone Luis Sagi-Vela as Quixote/Cervantes. A cast album was released by Columbia Records featuring four songs, all except the last sung by Sagi-Vela: "The Impossible Dream", "Dulcinea", "Little Bird", and "What Do You Want From Me".
The first Mexican production ran 1969–1970 at Teatro Manolo Fábregas, with Mistral reprising her acclaimed Aldonza, Claudio Brook as Quixote/Cervantes, and Oscar Pulido as Sancho. The best-selling cast recording was issued by MCA/Decca on LP, and was later re-issued on CD by Honda Music International.
the 1969 Peruvian cast (El Hombre de La Mancha) was released as a recording as well.
José Sacristán and Paloma San Basilio starred in an acclaimed Madrid revival, El hombre de La Mancha, in 1998.[31] A 2-disc cast album was issued by EMI-Odeón, recorded live at Teatro Lope de Vega.
A 2004 revival opened at the Teatro Calderón in Madrid and also toured throughout Spain, finishing in Barcelona.
Swedish[edit]
The first Swedish production opened September 1, 1967 at Malmö Stadsteater (now Malmö Opera). Starring in the three lead roles were Lars Ekman, Maj Lindström and K G Lindström.
Chinese[edit]
A Cantonese production entitled "The Heroic Spirit of a Warrior" opened in 1982 in Hong Kong, starred Yiu Tsang-Pak as the leading role. Another Cantonese production with a new title "Sleepwalking Knight of La Mancha" opened in Hong Kong in 2004, with Yiu Tsang-Pak returning as the leading role. The book was re-translated by Rupert Chan.
The first Mandarin Chinese production of the musical opened Dec. 2015 in Shanghai, China, starring Kain Liu as Don Quixote/Cervantes. This production used "I, Don Quixote" as title, and was directed by American director Joseph Graves. In May 2016, the show premiered in Beijing with Kain Liu repeating the title role.
Others[edit]
The musical has been and continues to be produced in many other languages around the world, and in 2012 and 2013 played in Germany, Hungary, Czech Republic, Romania, China, Poland, Dominican Republic, Chile, Russia, and in Rio de Janeiro, Brazil. Cast albums are available in many languages including German from the 1968 Vienna performance (Der Mann von La Mancha) and the 1969 Hamburg cast (Der Mann von La Mancha), the 1969 Dutch cast (De Man van La Mancha), the 1970 Norwegian cast (Mannen frå La Mancha), the 1997 Polish cast (Człowiek Z La Manchy), the 1997 Czech cast (Muž Z la Manchy), the 2001 Hungarian cast (La Mancha Lovagja), and many others.[30]
An Austrian version of the musical, in German, was presented on Austrian television in 1994, with Karl Merkatz (playing Cervantes and Quixote at the age of sixty-four) and Dagmar Hellberg in the leading roles.[32][unreliable source?]
Awards and nominations[edit]
Original Broadway production[edit]
Year
Award Ceremony
Category
Nominee
Result
1966 Tony Award Best Musical Won
Best Performance by a Leading Actor in a Musical Richard Kiley Won
Best Direction of a Musical Albert Marre Won
Best Original Score Mitch Leigh and Joe Darion Won
Best Choreography Jack Cole Nominated
Best Scenic Design Howard Bay Won
Best Costume Design Howard Bay and Patton Campbell Nominated
1977 Broadway revival[edit]
Year
Award Ceremony
Category
Nominee
Result
1978 Drama Desk Award Outstanding Actor in a Musical Richard Kiley Nominated
2002 Broadway revival[edit]
Year
Award Ceremony
Category
Nominee
Result
2003 Tony Award Best Revival of a Musical Nominated
Best Performance by a Leading Actor in a Musical Brian Stokes Mitchell Nominated
Best Performance by a Leading Actress in a Musical Mary Elizabeth Mastrantonio Nominated
Drama Desk Award Outstanding Revival of a Musical Nominated
Outstanding Actor in a Musical Brian Stokes Mitchell Nominated
2004 Grammy Award Best Musical Show Album Nominated
References[edit]
Jump up ^ 'Man of La Mancha' synopsis guidetomusicaltheatre.com. Retrieved January 27, 2010
Jump up ^ "Don Quixote as Theatre", Cervantes (journal of the Cervantes Society of America), vol. 19, number 1, 1999, pp. 125-30, http://users.ipfw.edu/jehle/cervante/csa/artics99/wasserma.htm. Retrieved September 25, 2014.
Jump up ^ "A Diary for I, Don Quixote", Cervantes (journal of the Cervantes Society of America), vol. 21, no. 2, 2001, pp. 117-123, on page 123; http://users.ipfw.edu/jehle/cervante/csa/articf01/diary.pdf. Retrieved September 25, 2014.
^ Jump up to: a b c d 'Man of La Mancha' Broadway listings, 1965, 1972, 1977, 1992, and 2002 Internet Broadway Database. Retrieved January 26, 2010
Jump up ^ "La Mancha" history Archived October 20, 2007, at the Wayback Machine. theatre-musical.com. Retrieved January 27, 2010
Jump up ^ Abbe A. Debolt: Encyclopedia of the Sixties: A Decade of Culture and Counterculture. ABC-CLIO, 2011, ISBN 9780313329449, pp. 389-390 (excerpt, p. 389, at Google Books)
Jump up ^ Wasserman, Dale. The impossible musical (2003). Hal Leonard Corporation. ISBN 1-55783-515-2, pp. 48–53
Jump up ^ Synopsis and song lyrics AllMusicals.com. Retrieved January 27, 2010
Jump up ^ www.Broadway.tv article "Broadway Hidden Treasures Revealed" Archived September 23, 2011, at the Wayback Machine.
Jump up ^ "Goodspeed Musicals – Past productions including Goodspeed original productions; Man of La Mancha, Shenandoah, Annie and many more!". www.goodspeed.org. Retrieved 2017-05-20.
Jump up ^ Gussow, Mel."Richard Kiley, the Man of La Mancha, Is Dead at 76",The New York Times, March 6, 1999
Jump up ^ "Atkinson Rejoins Musical" (PDF). The New York Times. September 8, 1969.
Jump up ^ Guernsey, Otis L. Curtain times: the New York Theatre, 1965–1987 (1987). Hal Leonard Corporation, ISBN 0-936839-24-4, p. 36
Jump up ^ Prideaux, Tom.'Man of La Mancha'Life Magazine, April 8, 1966
Jump up ^ 1968 listing guidetomusicaltheatre.com. Retrieved January 26, 2010
Jump up ^ Green, Stanley. The World of Musical Comedy (1984), Da Capo Press, ISBN 0-306-80207-4, p. 459. Books.google.com. Retrieved January 7, 2013.
^ Jump up to: a b Mordden, Ethan. Broadway Babies: The People Who Made the American Musical (1988). Oxford University Press US, ISBN 0-19-505425-3, p. 157. Books.google.com. June 23, 1988. Retrieved January 7, 2013.
Jump up ^ 'Man of La Mancha' movie listing Internet Movie Database. Retrieved January 26, 2010
Jump up ^ "Listing: 'Man of La Mancha' – stars Hal Linden, July 19–31", Texas Monthly, July 1988
Jump up ^ Theater, Orange Coast Performing Arts Center, Through January 5, 'Man of La Mancha', starring Robert Goulet" Orange Coast Magazine, January 1997
Jump up ^ https://www.amazon.com/Man-La-Mancha-Mitch-Leigh/dp/B00000279J/ref=sr_1_cc_1?s=aps&ie=UTF8&qid=1401294366&sr=1-1-catcorr&keywords=Man+of+la+Mancha+Domingo
Jump up ^ "Man of La Mancha". Stratford Shakespeare Festival. Archived from the original on May 15, 2014. Retrieved May 15, 2014.
Jump up ^ "Man of La Mancha". Shakespeare Theatre Company. Archived from the original on April 6, 2015. Retrieved April 13, 2015.
Jump up ^ The gypsy scene is omitted in some productions.
Jump up ^ "Man of La Mancha as TV musical on the Bulgarian national television". Bnt.bg. March 14, 2011. Archived from the original on March 14, 2012. Retrieved January 7, 2013.
Jump up ^ Wasserman, Dale. The Impossible Musical (2003). Hal Leonard Corporation. ISBN 1-55783-515-2, pp. 163-164
Jump up ^ 'Man of La Mancha' recording, 1968 French Cast Amazon.com. Retrieved January 26, 2010
Jump up ^ van Dam Biography laphil.com, October 1999. Retrieved January 26, 2010
Jump up ^ "Musical Plays on the Hebrew Stage". Mfa.gov.il. July 16, 1998. Retrieved January 7, 2013.
^ Jump up to: a b c "Man of La Mancha cast albums". Castalbums.org. Retrieved January 7, 2013.
Jump up ^ Poza, JosÉ Alberto Miranda. Anais Do i Congresso Nordestino de Espanhol (date unknown), Editora Universitária UFPE. Books.google.com (in Spanish). p. 52. ISBN 85-7315-504-3. Retrieved January 7, 2013.
Jump up ^ "Der Mann von La Mancha". March 27, 1994. Retrieved March 27, 2018 – via www.imdb.com.
Bibliography[edit]
Wasserman, Dale. The Impossible Musical – The Man of La Mancha Story (2003) Applause Books, New York
Study guide for Man of La Mancha
Synopsis, Man of La Mancha at MusicalHeaven.com
Information about the musical with links to recording and sheet music information
External links[edit]
Wikimedia Commons has media related to Man of La Mancha.
Wikiquote has quotations related to: Man of La Mancha
Man of La Mancha at the Internet Broadway Database
TalkinBroadway review of the 2002 production
New York Times review of the 2002 production
Information about the musical from Stageagent.com
Sony's store info
show
v
t
e
Miguel de Cervantes's Don Quixote (1606/1615)
Characters
Don Quixote
Alonso Quijano
Sancho Panza
Clavileño
Dulcinea del Toboso
Ginés de Pasamonte
Ricote
Rocinante
Stage
The Comical History of Don Quixote (1694 play)
Double Falsehood (1727 play)
Don Quichotte auf der Hochzeit des Comacho (1761 opera)
Don Quixote (1869 ballet)
Don Quixote (1898 opera)
Don Quichotte (1910 opera)
Man of La Mancha (1964 musical)
Film
Don Quixote (1923)
Don Quixote (1933)
Don Quixote (1947)
Don Quixote (1955–1969, unfinished)
Don Quixote (1957)
Dulcinea (1963)
Don Chisciotte and Sancio Panza (1968)
Man of La Mancha (1972)
Don Quijote cabalga de nuevo (1973)
Don Quixote (2000)
Donkey Xote (2007)
Don Quixote (2010)
The Man Who Killed Don Quixote (2018
2002 documentary)
Television
I, Don Quixote (1959 teleplay)
The Adventures of Don Coyote and Sancho Panda
Don Quixote
Related
List of works influenced by Don Quixote
show
Awards for Man of La Mancha
show
v
t
e
Tony Award for Best Musical
1949-1975
Kiss Me, Kate (1949)
South Pacific (1950)
Guys and Dolls (1951)
The King and I (1952)
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Kismet (1954)
The Pajama Game (1955)
Damn Yankees (1956)
My Fair Lady (1957)
The Music Man (1958)
Redhead (1959)
The Sound of Music / Fiorello! (1960)
Bye Bye Birdie (1961)
How to Succeed in Business Without Really Trying (1962)
A Funny Thing Happened on the Way to the Forum (1963)
Hello, Dolly! (1964)
Fiddler on the Roof (1965)
Man of La Mancha (1966)
Cabaret (1967)
Hallelujah, Baby! (1968)
1776 (1969)
Applause (1970)
Company (1971)
Two Gentlemen of Verona (1972)
A Little Night Music (1973)
Raisin (1974)
The Wiz (1975)
1976-2000
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show
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Tony Award for Best Original Score
1947-1975
Street Scene by Kurt Weill (1947)
Kiss Me, Kate by Cole Porter (1949)
South Pacific by Richard Rodgers (1950)
Call Me Madam by Irving Berlin (1951)
No Strings by Richard Rodgers (1962)
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Fiddler on the Roof by Jerry Bock and Sheldon Harnick (1965)
Man of La Mancha by Mitch Leigh and Joe Darion (1966)
Cabaret by John Kander and Fred Ebb (1967)
Hallelujah, Baby! by Jule Styne, Betty Comden, and Adolph Green (1968)
Company by Stephen Sondheim (1971)
Follies by Stephen Sondheim (1972)
A Little Night Music by Stephen Sondheim (1973)
Gigi by Frederick Loewe and Alan Jay Lerner (1974)
The Wiz by Charlie Smalls (1975)
1976-2000
A Chorus Line by Marvin Hamlisch and Edward Kleban (1976)
Annie by Charles Strouse and Martin Charnin (1977)
On the Twentieth Century by Cy Coleman, Betty Comden, and Adolph Green (1978)
Sweeney Todd by Stephen Sondheim (1979)
Evita by Andrew Lloyd Webber and Tim Rice (1980)
Woman of the Year by John Kander and Fred Ebb (1981)
Nine by Maury Yeston (1982)
Cats by Andrew Lloyd Webber and T. S. Eliot (1983)
La Cage aux Folles by Jerry Herman (1984)
Big River by Roger Miller (1985)
Drood by Rupert Holmes (1986)
Les Misérables by Claude-Michel Schönberg, Herbert Kretzmer, and Alain Boublil (1987)
Into the Woods by Stephen Sondheim (1988)
City of Angels by Cy Coleman and David Zippel (1990)
The Will Rogers Follies by Cy Coleman, Betty Comden, and Adolph Green (1991)
Falsettos by William Finn (1992)
Kiss of the Spider Woman by John Kander and Fred Ebb / The Who's Tommy by Pete Townshend (1993)
Passion by Stephen Sondheim (1994)
Sunset Boulevard by Andrew Lloyd Webber, Don Black, and Christopher Hampton (1995)
Rent by Jonathan Larson (1996)
Titanic by Maury Yeston (1997)
Ragtime by Stephen Flaherty and Lynn Ahrens (1998)
Parade by Jason Robert Brown (1999)
Aida by Elton John and Tim Rice (2000)
2001-present
The Producers by Mel Brooks (2001)
Urinetown by Mark Hollmann and Greg Kotis (2002)
Hairspray by Marc Shaiman and Scott Wittman (2003)
Avenue Q by Robert Lopez and Jeff Marx (2004)
The Light in the Piazza by Adam Guettel (2005)
The Drowsy Chaperone by Lisa Lambert and Greg Morrison (2006)
Spring Awakening by Duncan Sheik and Steven Sater (2007)
In the Heights by Lin-Manuel Miranda (2008)
Next to Normal by Tom Kitt and Brian Yorkey (2009)
Memphis by David Bryan and Joe DiPietro (2010)
The Book of Mormon by Trey Parker, Robert Lopez and Matt Stone (2011)
Newsies by Alan Menken and Jack Feldman (2012)
Kinky Boots by Cyndi Lauper (2013)
The Bridges of Madison County by Jason Robert Brown (2014)
Fun Home by Jeanine Tesori and Lisa Kron (2015)
Hamilton by Lin-Manuel Miranda (2016)
Dear Evan Hansen by Benj Pasek and Justin Paul (2017)
The Band's Visit by David Yazbek (2018)
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