Alan Edelstein, Molly Bernstein, and Molly Bernstein. 2012. ‘Deceptive Practice: The Mysteries And Mentors Of Ricky Jay’.
Bailey, Peter. 1998. ‘Business and Good Fellowship in the London Music Hall’. in Popular culture and performance in the Victorian city. Cambridge: Cambridge University Press.
Bamboozled (2000). n.d.
Bhikhari Thakur and Meenu Gupta. 2000. ‘Gabar Ghichor’. Indian Literature 44(1):127–40. http://www.jstor.org/stable/23343020?Search=yes&resultItemClick=true&searchText=sn:00195804&searchText=AND&searchText=sp:127&searchText=AND&searchText=vo:44&searchText=AND&searchText=year:2000&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dsn%253A00195804%2BAND%2Bsp%253A127%2BAND%2Bvo%253A44%2BAND%2Byear%253A2000%26amp%3D%26ymod%3DYour%2Binbound%2Blink%2Bdid%2Bnot%2Bhave%2Ban%2Bexact%2Bmatch%2Bin%2Bour%2Bdatabase.%2BBut%2Bbased%2Bon%2Bthe%2Belements%2Bwe%2Bcould%2Bmatch%252C%2Bwe%2Bhave%2Breturned%2Bthe%2Bfollowing%2Bresults.&seq=1#page_scan_tab_contents.
Bill Irwin Clown Prince on Vimeo. n.d.
Biting the Hand That Leads Us: Humor & Social Change. 12 AD.
Braun, Kwame. 2001. ‘Stage-Shakers!: Ghana’s Concert Party Theatre’.
Buffalo Bill and the Indians (1976). n.d.
Cabaret (1972). n.d.
Chaffee, Judith. 2015. The Routledge Companion to Commedia Dell’Arte. edited by O. Crick. Abingdon, Oxon: Routledge.
Chilton, Charles and Theatre Workshop. 1965. Oh What a Lovely War. London: Methuen.
Cole, Catherine M. 2001. Ghana’s Concert Party Theatre. Bloomington: Indiana University Press.
Comedy Genius -- The Regard of Flight -- 1983 -- Bill Irwin in performance. 13 AD.
Cook, James W. 2001. The Arts of Deception: Playing with Fraud in the Age of Barnum. Cambridge, Mass: Harvard University Press.
DesROCHERS, RICK. 2013. ‘Destabilizing Vaudeville: The Marx Brothers and the Party of the Third Part’. The Journal of Popular Culture 46(3):524–44. doi:10.1111/j.1540-5931.2011.00873.x.
Dickens, Charles, and Michael Slater. 1996. The Amusements of the People: And Other Papers: Reports, Essays and Reviews, 1834-51. Vol. The Dent uniform edition of Dickens’ journalism. London: Dent.
Dong, Arthur E., Lorraine Dong, and Lisa See. 2014. Forbidden City, USA: Chinese American Nightclubs, 1936-1970. Los Angeles, CA: DeepFocus Productions.
Erlingsson, Benedikt. 2015. ‘The Show of Shows: A History of Circus, Cabaret and Vaudeville’.
Etchells, Tim and Forced Entertainment. 2001. ‘First Night’.
Forbidden City. n.d.
Funny Girl (1968). n.d.
Gardner, Martin A. 2009a. The Marx Brothers as Social Critics: Satire and Comic Nihilism in Their Films. Jefferson, N.C.: McFarland & Co.
Gardner, Martin A. 2009b. The Marx Brothers as Social Critics: Satire and Comic Nihilism in Their Films. Jefferson, N.C.: McFarland & Co.
Gems from Cocoanuts, Irving Berlin songs in Marx Brothers show Victor 35769 (1926) Billy Murray. 2013.
Gordon, Mel. 1997. The Grand Guignol: Theatre of Fear and Terror. Rev. ed. New York: Da Capo.
Gordon, Robert, Olaf Jubin, and Millie Taylor. 2016a. British Musical Theatre since 1950. Vol. Critical companions. London: Bloomsbury Methuen Drama.
Gordon, Robert, Olaf Jubin, and Millie Taylor. 2016b. British Musical Theatre since 1950. Vol. Critical companions. London: Bloomsbury Methuen Drama.
Gregory Laski. 2011. ‘Falling Back into History: The Uncanny Trauma of Blackface Minstrelsy in Spike Lee’s Bamboozled’. Callaloo 33(4):1093–1115. https://muse.jhu.edu/article/407670.
Gussow, Mel. n.d. ‘Profiles: Clown’.
Hancock, Tony. 2003. ‘The Rebel / The Punch and Judy Man’.
Ince, Bernard. 2015. ‘The Neglected Art: Trends and Transformations in British Concert Party Entertainment, 1850–1950’. New Theatre Quarterly 31(01):3–16. doi:10.1017/S0266464X15000019.
Jenkins, Henry. 1992. What Made Pistachio Nuts?: Early Sound Comedy and the Vaudeville Aesthetic. Vol. Film and culture. New York: Columbia University Press.
Jenkins, Roy. 1988. Acrobats of the Soul: Comedy and Virtuosity in Contemporary American Theatre. New York: Theatre Communications Group.
Jennifer Robertson. 2008. Takarazuka: Sexual Politics and Popular Culture in Modern Japan. University of California Press.
Kaufman, George S. 1979. By George: A Kaufman Collection. St. Martin’s Press.
Kershaw, Baz. 1992a. Politics of Performance: Radical Theatre as Cultural Intervention. London: Routledge.
Kershaw, Baz. 1992b. The Politics of Performance: Radical Theatre as Cultural Intervention. London: Routledge.
Kopit, Arthur. 1970. Indians. London: Eyre Methuen.
Landmarks: Oh What a lovely war. n.d.
Lee, Young Jean. 2010. The Shipment: Lear. 1st ed. New York: Theatre Communications Group.
Longinotto, Kim, and Jano Williams. 2001. ‘Dream Girls’. Under the sun.
Mackenzie, John. 1974. ‘The Cheviot the Stag and the Black Black Oil’.
Man on the Moon (1999). n.d.
McGrath, John. 1985. ‘Popular Theatre and the Changing Perspective of the Eighties’. New Theatre Quarterly 1(04). doi:10.1017/S0266464X00001810.
McGrath, John. 1996. A Good Night out: Popular Theatre : Audience, Class and Form. 2nd ed. London: adHern.
McNamara, Brooks. 1971. ‘The Indian Medicine Show’. Educational Theatre Journal 23(4). doi:10.2307/3205750.
Merrill, Dennis, and Thomas G. Paterson. 2000. Major Problems in American Foreign Relations: Documents and Essays, Vol. 2: Since 1914. Vol. Major problems in American history series. 5th ed. Boston: Houghton Mifflin.
Nina Conti - A Ventriloquist’s Story: Her Master’s Voice. n.d.
Oh! What a Lovely War (1969). n.d.
Oja, Carol J. 2014. Bernstein Meets Broadway: Collaborative Art in a Time of War. Vol. Broadway legacies. New York, New York: Oxford University Press.
On the Town (1949). n.d.
Orenstein, Claudia. 1998. Festive Revolutions: The Politics of Popular Theater and the San Francisco Mime Troupe. Vol. Performance studies. Jackson: University Press of Mississippi.
Parks, Suzan-Lori. 2011. Venus: A Play. First edition. New York: Theatre Communications Group.
Prakash, Brahma. 2016. ‘Performing Bidesiyā in Bihar: Strategy for Survival, Strategies for Performance’. Asian Theatre Journal 33(1):57–81. doi:10.1353/atj.2016.0023.
Price, Jason. 2016. Modern Popular Theatre. Vol. Theatre and performance practices. London: Palgrave.
Review by: James W. Cook. 1999. ‘Review: Mass Marketing and Cultural History: The Case of P.T. Barnum’. American Quarterly 51(1):175–86. http://www.jstor.org/stable/30041638?seq=1#page_scan_tab_contents.
Robertson, Jennifer. 2001. Takarazuka: Sexual Politics and Popular Culture in Modern Japan. Corr. [ed.]. Berkeley: University of California Press.
Rogoff, Gordon. 2000. Vanishing Acts: Theater since the Sixties. New Haven: Yale University Press.
SanSan Kwan. 2011. ‘Performing a Geography of Asian America: The Chop Suey Circuit’. TDR: The Drama Review 55(1):120–36. https://muse.jhu.edu/article/414683.
Santley, Joseph, Robert Florey, Groucho Marx, Harpo Marx, Chico Marx, Zeppo Marx, Margaret Dumont, Oscar Shaw, Mary Eaton, Kay Francis, Gamby-Hale Ballet Girls, Alan K. Foster Girls, Marx Brothers, and Universal Studios Home Entertainment (Firm). 2016. ‘The Marx Brothers Silver Screen Collection’.
Shank, Theodore. 1974. ‘Political Theatre as Popular Entertainment: The San Fransico Mime Troupe’. The Drama Review: TDR 18(1). doi:10.2307/1144869.
Stage to Screen. n.d.
Sullivan, Arthur, W. S. Gilbert, Jonathan Miller, John Michael Phillips, Eric Idle, Susan Bullock, Lesley Garrett, Peter Robinson, and English National Opera. 2005. ‘The Mikado’.
The Elephant Man (1980). n.d.
The End of the Pier Show. n.d.
The Entertainer (1960). n.d.
The Flying Karamazov Brothers (1983) - Part 1 of 8. 12 AD.
The King and I (1956). n.d.
The Real Tom Thumb: History’s Smallest Superstar. n.d.
The Story of Music Hall with Michael Grade. n.d.
Topsy-Turvy (1999). n.d.
Tzu-I Chung. 2011. ‘The Transnational Vision of Miss Saigon: Performing the Orient in a Globalized World’. MELUS 36(4):61–86. http://www.jstor.org/stable/23048513?seq=1#page_scan_tab_contents.
Variety Stage: Vaudeville and Popular Entertainment (short films from the Library of Congress). 18 AD.
Vuadeville. 27 AD.
