The twenty-first century musical is dominated by high-profile adaptations and the recycling of popular texts in a wider trend Graham Allen terms ‘cultural regurgitation’. From Wicked (2003) and Billy Elliot the Musical (2005) to Jersey Boys (2005) and The Book of Mormon (2011), the commercial musical stage is a prominent site of high-profile intertextuality in that it draws from ‘innumerable centres of culture’ to fuel an evening’s entertainment. Given the proliferation of such intertextuality, however, this trend has received little critical attention beyond the detailing of these musicals as ‘safe-bet’ entertainments which attract an audience through the recycling of familiar elements. The primary aim of this thesis is therefore to fill an important gap within existing scholarship by investigating how intertextual references function and operate within contemporary musical theatre. In differentiating the various styles of intertextual reference evidenced within the form, this thesis argues that most twenty-first century musicals either adapt a specific text, capitalise on nostalgia, fashion a bricolage of references or metatheatricalise perceptions of musical theatre as an art form. In doing so, it put forwards the claim that musical theatre invites intertextuality as a diverse layering of textual elements in and of itself. Not only is musical theatre an inherently intertextual form, but it ultimately requires intertextuality to reflect the recycled nature of popular culture more broadly.

The Royal Court Theatre has forged its reputation on its ability to source and produce some of the most important new plays of the last sixty years. Its long-standing identity as a ‘writers’ theatre’ has cemented the Court’s allure to playwrights from across the world. Indeed, it is due to the theatre’s, at times, contentious history and continuous dedication to the playwright that the Court has also received substantial academic attention, which has resulted in extensive scholarship and interrogation of the theatre’s work. However, very little consideration has been given to the Royal Court Young Peoples’ Theatre and it is through engagement with this initiative and its development into the Young Writers’ Programme that this thesis provides a long-overdue assessment of this overlooked strand of the Court’s work. This thesis presents an original account of the Royal Court’s history from the perspective of its work with young people and playwrights. Primary sources of material for this thesis are shared between information gathered from the archive of the Royal Court, housed within the Victoria and Albert Museum’s collections at Blythe House, and interviews conducted by the author with key figures from this part of the Royal Court Theatre’s work. This material is located alongside the changing contexts of education, politics, the Royal Court and British theatre more widely, between 1966 and 2007, and looks to assess how each of these areas came to inform and influence the policy of the Young Peoples’ Theatre (YPT). The thesis proposes that the YPT adopted an unusual and alternative approach to working with young people that was at times both radical in its practice and fiercely political. The nature of its work often saw the Scheme ostracised from both a growing theatre-in-education movement and the Royal Court itself, where its survival is often credited to the tenacity of certain individuals. Indeed, the thesis posits that the YPT, despite its breadth of activity, was most welcomed within the theatre’s eco-system during the periods in its history when it focused its policy on young writers and therefore fed into the Court’s fundamental identity as a writers’ theatre.

This thesis is based on a journey of practice undertaken by emerging theatre company, Massive Owl between 2012 and 2016. The thesis has been written by company member, Jenny Duffy but is reflective of the broader experience of the company as a whole. It exposes and discusses key trends, tactics, strategies and constraints of this journey, generating a unique contextual account of the experience and work of an emerging company working in the field of contemporary performance today. Through this the thesis responds to an identified gap in literature within the field of contemporary performance that examines the work of emerging artists. It analyses select frameworks currently available to and prolifically used by emerging artists including: Arts Council England’s funding programme, Grants for the Arts and ‘Scratch’ and Work-in-Progress events, from the perspective of an emerging company. Through examining the role of the arts within recent cultural policy and surrounding agendas of this policy, the thesis critiques the predominant instrumental and economic rationale for arts funding in relation to the neoliberal capitalist context and the impact this has on emerging artists’ development and their work. The thesis concludes with a call to arms from within the unstable and rapidly changing political climate of 2017, to value artists on their own merits and to not make claims for art within frameworks that place constraint on its wider role and value.

This thesis interrogates the various constructions of the gendered body within the rebooted Doctor Who (1963- ). To do this, this thesis contends that Doctor Who occupies something of a contradictory position with regard to gender and the body, seemingly acknowledging the need for equality and feminism as ‘common sense’ whilst simultaneously denying true realisation of these aims by retreat to universal (patriarchal) concepts of goodness, humanity, and benevolence. In addition to this, whilst, at present, our definitions of the gendered body appear to be becoming ever more fluid and abstract, something that is aided by the increasing encroachment of technology in our everyday lives, there remains a limit to this bodily fluidity, a limit heavily informed by recourse to the ‘natural’ and, therefore, the ‘acceptable’. Science fiction’s interest in the body is clear and well documented; science fiction landscapes are frequently populated by bodies that have been mutated, enhanced and cloned. Hence, there is scope for a mutually beneficial discourse between theoretical constructions of the body, evolving technology and science fiction narratives, a discourse that this thesis will ground within the narrative of Doctor Who. In doing this, this thesis will intervene within these debates by deconstructing representations of the gendered body within the rebooted Doctor Who, constructing a continuum of ‘acceptable’ bodily expressions that will offer insight into the limits of our apparent gendered bodily fluidity. Using a methodological approach that involves textual analysis informed by social, cultural, and technological theory, this thesis begins by foregrounding the mutual areas of interest between the various theoretical concepts. From this, the thesis contains three broad thematic chapters discussing the topics of reproduction, monstrosity and technology with the selection of these topics being attributable to them representing convergence points of interest for the given theoretical areas. These themes are then grounded and discussed within Doctor Who, with the programme’s popularity, longevity, long form narrative structure, and political reflexivity all making it an appropriate lens for analysis. This thesis argues that these debates are ones Doctor Who both acknowledges and embodies, yet Who appears to remain hamstrung by a resort to tradition that prevents true radicalism and subversion. By using Doctor Who as an accessible point of reference for these potentially abstract and emotive debates, this thesis aims to question the extent to which we are now, or may ever consider ourselves, truly ‘postgender’; whether our ‘choices’ are as freely made as they appear, or whether we remain constricted by residual patriarchal mores.

This thesis examines the presentation and functions of Protestant Christianity in cinematic depictions of the American South, focusing primarily on Hollywood’s civil rights narratives, from the 1960s to the present. It argues that religion is an understudied signifier of the South on film, used to define the region’s presumed exceptionalism. Rooted in close textual analysis and primary research into the production and reception of over a dozen films, the thesis deploys methodologies drawn from history, film, literary, and cultural studies. It questions why scholars have seldom acknowledged the role of religion in popular, especially cinematic, constructions of the South, before providing detailed case studies of specific films that utilize southern religiosity to negotiate regional and national anxieties around race, class, and gender. Though scholars have recognized the intersections of race, class, and gender evident in the media’s construction of southern white segregationist, this thesis contends that religion adds further interrogative value to existing analyses of civil rights cinema in particular, and of Hollywood’s representations of southern race, class, and gender identities more generally. The thesis argues that the perceived religious zealotry of many segregationists supports Hollywood’s recurring presentation of the South as an irrational region, where religiosity and rabid racism cloud all judgment. The perceived ‘southernization’ of America through the culture wars of the late twentieth-century encouraged many Americans to reconsider the legacy of the civil rights era, a movement that was being concurrently reshaped in the popular imagination by Hollywood dramas such as Mississippi Burning, A Time to Kill, and Ghosts of Mississippi among many other films. Examining the presentation of both white and black Christianity in these films, the thesis illuminates how cinema has routinely fabricated a simplistic binary of good and evil that pits a noble, yet reductive and static, religious African American community against zealous white trash and fundamentalists operating on the margins of society. So often to blame for the incendiary racial violence that marks such movies, these white villains are often associated with fundamentalism, in both rhetoric and actions, enabling filmmakers to offer a clear culprit for the South’s, and therefore the nation’s, legacy of racial intolerance and violence.