Amy Osatinski approaches the theatre the way a good historian approaches anything, which is to say from the wings. Her subject is not the applause but the machinery behind it: how a stage musical is financed, staffed, rehearsed, toured and eventually turned into an institution.
That is a rarer specialism than it sounds. Most writing about musicals is either criticism or nostalgia, and she instead documents production practice, treating a producing house as an organisation worth studying in its own right. The writing is scholarly in its rigour and unfussy in its delivery, which makes it unusually approachable for a book that began life on an academic list.