Books
Theatre Music and Sound at the RSC: Macbeth to Matilda. (Basingstoke: Palgrave Macmillan, 2018). ISBN 978-3-319-95221-5. Click here to go to publisher’s website
Gordon, Robert, Olaf Jubin and Millie Taylor British Musical Theatre Since 1950 (London: Methuen, 2016). ISBN 978-1-4725-8436-6. Click here to go to publisher’s website
Taylor, Millie and Dominic Symonds, Studying Musical Theatre (Basingstoke: Palgrave Macmillan, 2014). ISBN Hardback 978-1-137-27095-5 Paperback 978-1-137-27094-8. Click here to go to publisher’s website
Musical Theatre, Realism and Entertainment (Ashgate Press, 2012/ Routledge 2016). ISBN 978-0-7546-6670-7 E-Book ISBN 978-1-4094-3832-8. Click here to go to publisher’s website
Singing For Musicals: A Practical Guide (Marlborough, The Crowood Press, 2008). ISBN 978-1-86126-993-5 [144 pages]
British Pantomime Performance, (Bristol and Chicago: Intellect Books, 2007). ISBN 978-1-84150-174-1 [208 pages]
Edited Collections
Symonds, Dominic and Millie Taylor (eds), Gestures of Music Theatre: The Performativity of Song and Dance (Oxford University Press, 2014). ISBN 978-0-19-999715-2
If I Sing: Voice and Excess Studies in Musical Theatre 6.1 (2012) [142 pages]
Programme Notes
‘Playing with Meaning in the Opera House’ Programme Note. Carmen Royal Opera House Covent Garden, February/March 2018.
Public Talks
‘Man of La Mancha’ Chair of panel for pre-show conversation. English National Opera: London Coliseum, 4th May 2019.
‘Histories of the American Musical’ Cottesloe Room: National Theatre, 30th November 2018.
‘Follies: Sondheim and the concepts of time and memory’ National Theatre Education Day, 28 November 2017.
Keynote Lectures
‘Practice as Research at the University of Winchester’ in actu – theatrale Praxis als Methode und Objekt der Forschung. Ludwig Maximilen’s Universitat, Munich. 26-27th October 2018.
‘British Musical Theatre’ BMTRI Symposium Portsmouth University. 15 December 2017.
‘Integration and Intertextuality: The provocation of Into the Hoods.’ The Role of the Choreographer in the Stage and Screen Musical Society for Dance Research/DANSOX. St Hilda’s College, Oxford University. 28th November 2015.
‘Title of Keynote’ Song, Stage and Screen XI. City University New York, 27th June 2016.
Chapters
‘Title of Chapter’ in Jessica Sternfeld and Elizabeth L. Wollman (eds), The Routledge Companion to the American Stage Musical (London and New York: Routledge, forthcoming 2019).
‘Lionel Bart’ in Robert Gordon and Olaf Jubin (eds), Oxford Handbook of the British Musical (Oxford University Press, 2016): pp. 483-506. ISBN 978-0-1999-8874-7.
‘Sweeney Todd: From Melodrama to Musical Tragedy’ in Robert Gordon (ed.), The Oxford Handbook of Sondheim Studies (Oxford University Press, 2014), pp. 335-349. ISBN 978-0-19-539137-4
‘From Screen to Stage: Dirty Dancing Live’ in Yannis Tzioumakis and Siân Lincoln (eds), The Time of Our Lives: Dirty Dancing and Popular Culture (Detroit: Wayne State University Press, 2013), pp. 281-296. ISBN 978-0-8143-3624-3
‘Singing and Dancing Ourselves: The Politics of the Ensemble in A Chorus Line (1975)’ in Symonds, D and Taylor, M (eds), Gestures of Music Theatre: The Performativity of Song and Dance (New York: Oxford University Press, 2013) pp. 276-92. ISBN 978-0-19-999715-2
‘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-
‘Oh No it isn’t: Audience Participation and Community Identity’ in TRANS Internet-Zeitschrift fuer Kulturwissenschaften 15 (2004) 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.
‘“Evil” as a Musical Theatrical Convention’. Signs, Music, Society III – European Journal for Semiotic Studies, Proceedings of a transdisciplinary conference in Vienna, March 1999. Vol 13 – 3,4 (2001), pp. 673-686.
‘Conventions in Contemporary Pantomime Music’. Studies in Theatre Production July (1999), pp. 139–158.
(with Towse, R.) ‘The Value of Performers’ Rights: An Economic Approach’. Media, Culture and Society 20/ 4 (1998), pp. 631–652.
‘Intellectual Property Rights in Cultural Industries: How they work and what they pay’. June 1997. Commissioned by The Arts Council of England
‘Rights in Sight’. Artists’ Newsletter. September (1996), pp. 19–20
Reviews
‘What the eye sees, what the ear hears: A review of Laurie Anderson by RoseLee Goldberg’ Contemporary Theatre Review Vol 14:1, (2004)
‘Putting on Panto to pay for the Pinter Chris Abbott (Hobnob Press), 2012.’ Theatre Notebook 68/2, (2014), pp. 122-3.
Inaugural Lecture
Humanity, Community and Excess: ‘Feel the flow’ in musical theatre performance. University of Winchester, 29 April 2013.
Presented at Conferences / Symposia
‘Macbeth to Matilda: Musical collaborations at the Royal Shakespeare Company.’ Theatre and Stratification, IFTR World Congress, Warwick University, 28 July – 1 Aug 2014.
‘Macbeth to Matilda: Musical collaborations at the Royal Shakespeare Company.’ The Art of Collaboration in Musical Theatre, Song, Stage and Screen IX, Sheridan College, Toronto Canada, 24 – 26 June 2014.
‘Reviewing the Situation : Exploring the Roots/Routes of British Musical Theatre Through the Work of Lionel Bart.’ Re-Routing Performance, IFTR Annual Conference, Barcelona Spain, 22-26 July 2013.
‘Singing and Dancing Ourselves: The politics of the ensemble in A Chorus Line.’ Mediating Performance, IFTR Annual Conference, Santiago Chile, 22-28 July 2012.
‘Singing and Dancing Ourselves: The politics of the ensemble in A Chorus Line.’ The Musical’s Global Quest, Song Stage and Screen 7, Groningen The Netherlands, 2-5 July 2012.
‘Hybrid Voices of Music Theatre: Deep Blue, Bombay Dreams and London Road.’ Performance Culture Industry, PSI Annual Conference Leeds, 27 June – 1 July 2012.
‘Innovation and Tradition in Musical Theatre Singing.’ Tradition, Innovation, Community, IFTR Annual Conference Osaka, 7-12 August, 2011.
‘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.’ Cultures of Modernity, IFTR Annual Conference Munich, 26-31 July, 2010.
‘Liveness in Musical Theatre.’ Silent Voices, Hidden Lives. IFTR Annual Conference Lisbon, 13-18 July 2009.
‘Using theory and practice in the creation of original work.’ ‘Putting 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, IFTR Annual Conference Seoul, 14-19 July 2008.
‘A British Tar is a Soaring Soul.’ West End Musical Theatre 1880-1930, Goldsmiths University of London, 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, 17 March 2007.
‘Exploring evaluative, empathetic and representation responses to the sound world of The Rocky Horror Show.’ Song, Stage and Screen, Portsmouth University, May 2006.
‘Integration and Distance in the works of Stephen Sondheim’ Studying Sondheim, 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 University, 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
Millie Taylor 