Dr Millie Taylor 

Reader 

Arts 

Millie.Taylor@winchester.ac.uk 

+44 (0) 1962 827446 

The University of Winchester
Winchester
Hampshire
SO22 4NR

Expertise

  • Pantomime
  • Musical Theatre
  • Music Theatre

Publications

Books

  • Musical Theatre, Realism and Entertainment (Basingstoke, Ashgate Press, 2012). ISBN 978-0-7546-6670-7 E-Book ISBN 978-1-4094-3832-8. 
  • Singing for Musicals: A Practical Guide (Marlborough, The Crowood Press, 2008) ISBN 978-1-86126-993-5 
  • British Pantomime Performance, (Bristol and Chicago: Intellect Books, 2007) ISBN 978-1-84150-174-1 

Chapters

 

  • ‘Melodrama or Tragedy: Sondheim’s Sweeney Todd’ in Robert Gordon (ed.), Oxford Handbook to Sondheim (Oxford University Press, Forthcoming 2012).
  • ‘From Screen to Stage: Dirty Dancing Live’ in Yannis Tzioumakis and Sian Lincoln (eds), Dirty Dancing (Wayne State University Press, Forthcoming 2012). 
  • ‘Continuity and Transformation in Twentieth Century Pantomime’ in Jim Davis (ed.), Victorian Pantomime: A Collection of Critical Essays (London: Palgrave Macmillan, 2010), pp. 185-200. ISBN 978-0-230-22159-8 
  • ‘Layers of Representation: Instability in the characterization of Jenny in Aufstieg und Fall der Stadt Mahagonny by Brecht and Weill’ in Gad Kayner and Linda Ben Zvi (eds), Bertolt Brecht: Performance and Philosophy (Tel Aviv: Assaph Book Series, 2005), pp. 159-176. ISBN 9657314100 

Articles


  • ‘Experiencing Live Musical Theatre Performance: La Cage Aux Folles and Priscilla, Queen of the Desert.’ Popular Entertainment Studies 1/1 (2010), pp. 44-58. 
  • ‘Drawing attention to the significant: exploring the functions of music in The Overcoat (1998)’ Studies in Musical Theatre 2/3 (2009), pp. 261-281. ‘Integration and distance in musical theatre: the case of Sweeney Todd’ Contemporary Theatre Review Vol 19/1 (2009), pp. 47-60 
  • ‘“Don’t Dream It, Be It”: exploring signification, empathy and mimesis in relation to The Rocky Horror Show’ Studies in Musical Theatre 1/1 (2007), pp. 57-71 
  • ‘Exploring the Grain: The sound of the voice in Bruce Nauman’s Raw Materials’, Studies in Theatre and Performance 26/3 (2006), pp. 289-296. 
  • ‘Schrödinger’s Research: When does practice as research occur?’ South African Theatre Journal Vol 19 (2005) pp. 183-190 
  • ‘Playing with Distance in Pantoland’ New Theatre Quarterly XXI: 4 (2005), pp. 331-339 Other Articles 
  • ‘Oh No it isn’t: Audience Participation and Community Identity’ in TRANS Internet-Zeitschrift fuer Kulturwissenschaften 15 (2004) http://www.inst.at/trans/15Nr/01_2/taylor15.htm 
  • ‘Collaboration or conflict: Music and Lyrics by Brecht, Weill and Eisler’ Studies in Theatre and Performance Vol 23: 2 (2003), pp. 117-124. 

Reviews

  • ‘What the eye sees, what the ear hears: A review of Laurie Anderson by RoseLee Goldberg’ Contemporary Theatre Review Vol 14:1, (2004) Presented at Conferences / Symposia ‘Innovation and Tradition in Musical Theatre Singing’ Tradition, Innovation, Community IFTR Annual Conference Osaka, August 7-12, 2011. 

Conference Papers

  • ‘Innovation through creative collaboration: Fingerprint by The Shout’ Song, Stage and Screen VI, University of Missouri, Kansas City, 20-23 June, 2011. 
  • ‘The We Will Rock You Factor: Cognitive responses to the performance of well-known songs’ presented to the Musical Theatre working group at Cultures of Modernity IFTR Annual Conference Munich 26-31 July, 2010. 
  • ‘Liveness in Musical Theatre’ presented to Popular Entertainment Working Group at Silent Voices, Hidden Lives IFTR Annual Conference Lisbon 13-18 July 2009 
  • ‘Using theory and practice in the creation of original work’ ‘Putiing it Together’: Teaching musical Theatre in UK Higher Education Palatine Conference, Bath Spa University 27-28 March 2009 
  • ‘Exploring identities in a hybrid music theatre performance: Fingerprint by The Shout’ Music on Stage Rose Bruford College 18-19 October 2008 
  • ‘A British Tar is a Soaring Soul’ Music and the Melodramatic Aesthetic Nottingham University 5-7 September 2008 
  • ‘Exploring identities in a hybrid music theatre performance: Fingerprint by The Shout’ Re-constructing Asian-ness(es) in the Global Age Seoul 14-19 July 2008 
  • ‘A British Tar is a Soaring Soul’ West End Musical Theatre 1880-1930 Goldsmiths College 10-11 April 2008 
  • ‘Illusions of Realism in the Musical’ Song, Stage, Screen II Leeds University 23-25 March 2007 
  • ‘Money Matters: Economic Issues in Contemporary Pantomime’ Victorian Pantomime Warwick University March 17th 2007 
  • ‘Exploring evaluative, empathetic and representation responses to the sound world of The Rocky Horror Show’ at Song, Stage and Screen, Portsmouth University, May 2006 
  • ‘Integration and Distance in the works of Stephen Sondheim’ Sondheim conference, Goldsmith’s College, University of London, Nov 2005 
  • ‘Exploring the Grain: The sound of the voice in performance’ International Conference on Arts and Humanities Hawaii Jan 2005 
  • ‘What’s Behind Them? Distance and Reflexivity in British Pantomime’ International Conference on Arts and Humanities Hawaii Jan 2005 
  • ‘Musicality and Verbal Excess in Pantomime Comedy’ Laughing Matters Portsmouth April 2005 
  • ‘Exploring the hierarchies in contemporary music theatre works: The Overcoat by the Clod Ensemble’ Soundings: Innovations in, and reflections on, Music Theatre Rose Bruford College, London. May 2003 
  • ‘Oh no it isn’t: Audience participation and community identity’ Signs, Texts, Cultures: Conviviality from a Semiotic point of view Conference in Vienna November 2003. 
  • ‘“Evil” as a Musical Theatrical Convention’. Signs, Music, Society Institute of Socio-Semiotic Research Vienna, March 1999.

Research Interests

  • Performance Analysis
  • Dramaturgy
  • Music and Voice in Contemporary Musical Theatre
  • Pantomime
  • Music Theatre

Research Students - Previously Supervised 

  • Benjamin Macpherson PhD Awarded 2011. Thesis Title – the Acting Text, The Dancing Voice, The Singing Body 

Research Students - Currently Supervising

  • Simon Sladen - The role of Celebrity in the British Pantomime Industry: 1980-2010
  • Michael Goron - How has the performance and production of the Gilbert and Sullivan Operas (specifically HMS Pinafore and The Mikado) been affected and determined by changes in social, cultural, and economic contexts? 
  • David Simpkin – Amateur Pantomime as Community Theatre Tiago de Faria - Contemporary performance landscape and rehearsal methodologies in the Lusophone countries.

Funding Awards and Professional Membership

IFTR