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With chapters on 'The Sound of Music', 'Milk and Honey', 'Fiddler on the Roof', 'Cabaret', 'The Rothschilds', 'Rags', 'Ragtime', and 'The Producers', this book examines both direct and indirect references to, or resonances of, the Holocaust, tracing changing American attitudes through the chronological progression of these musical productions and their subsequent revivals.

Due to the historically commercial nature of the musical theatre form, it offers a particularly potent test case to reveal the implications of this digital shift than other theatrical art forms.