[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-202224-105":59,"doc-detail-202224-en":131},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":124,"head_meta":126,"extra_data":128,"updated_unix":130},105,"en","lady-in-the-dark-critical-report-series-i-volume-16","Lady in the Dark - Critical Report - Series I Volume 16","","This critical edition of Lady in the Dark presents a synthetic, source-based reconstruction because no single source captures all parameters of the work. It compares discrepancies among surviving materials, including sources reflecting how the piece stabilized during the original production and later publications after the Broadway premiere on 23 January 1941. It also explains editorial usage, emphasizing how the “literary versions” published for a reading public differ from production needs such as running time and incidental music.",{"@graph":69,"@context":123},[70,84,106],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/lady-in-the-dark-critical-report-series-i-volume-16/202224/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/lady-in-the-dark-critical-report-series-i-volume-16/202224.png","ImageObject",300,407,{"name":92,"@type":93},"Caleb Sterling","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-22","2026-09-04",true,{"@type":102,"interactionType":103,"userInteractionCount":105},"InteractionCounter",{"@type":104},"ViewAction",13,{"@type":107,"mainEntity":108},"FAQPage",[109,115,119],{"name":110,"@type":111,"acceptedAnswer":112},"Why is the edition of Lady in the Dark described as synthetic?","Question",{"text":113,"@type":114},"No single source transmits all parameters of the work, so the edition reconstructs it by combining and reconciling multiple sources.","Answer",{"name":116,"@type":111,"acceptedAnswer":117},"How do late-April 1941 sources differ from production-focused materials?",{"text":118,"@type":114},"They appear intended for reading (and perhaps piano-playing) and therefore represent “literary versions” not tuned to production concerns such as running time and incidental music.",{"name":120,"@type":111,"acceptedAnswer":121},"What sources are central to understanding the work’s stabilized form?",{"text":122,"@type":114},"Materials reflecting the form of the work as it stabilized during the original production, along with later sources published months after the Broadway premiere, are compared despite discrepancies.","https://schema.org",{"og:url":83,"og:type":125,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":127,"canonical":83},"index,follow",{"doc_id":129,"site_id":62},202224,1788543729,{"code":4,"msg":5,"data":132},{"doc_id":129,"user_id":133,"nickname":92,"user_avatar":134,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":135,"file_id":136,"file_url":137,"file_type":138,"file_size":139,"view_count":105,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":140,"language":141,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":142,"faqs":143,"seo_title":144,"seo_description":67,"update_tm":130,"read_time":145,"preview_page_count":4},962084925290,"https://ap-avatar.wpscdn.com/davatar_085a072bc5b1113ac321206ff7593b45","The Kurt Weill Edition  \nSeries I —Stage  \nSeries II —Concert  \nSeries III—Screen  \nSeries IV—Miscellanea  \nEditorial Board  \nTim Carter Joel Galand Edward Harsh Stephen Hinton  \nKim H. Kowalke Giselher Schubert  \nManaging Editor  \nElmar Juchem  \nLady in the Dark  \nA Musical Play in Two Acts  \nBook by  \nMoss Hart  \nMusic and Lyrics by  \nKurt Weill and Ira Gershwin  \nCRITICAL REPORT  \nSeries I, Volume 16 Edited by bruce d. mcclung and Elmar Juchem  \nKurt Weill Foundation for Music, Inc. / New York European American Music Corporation / New York  \nKurt Weill Foundation for Music, Inc., New York, New York European American Music Corporation, New York, New York  \nLady in the Dark  \nBook by Moss Hart; Music and Lyrics by Kurt Weill and Ira Gershwin  \nThis Critical Edition Copyright © 2017 by The Kurt Weill Foundation for Music, Inc.  \nAll Rights Reserved  \nPublished 2017  \nPrinted in Austria by Plöchl Druck GmbH  \nO The paper in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984 .  \nISBN 978-1-62721-901-3  \nCONTENTS  \nList of Sources and Sigla 7  \nStatement of Source Valuation and Usage 9  \nCommentary:  \nGeneral Issues 17  \nCritical Notes 21  \nSource Descriptions 127  \nAbbreviations 135  \nKurt Weill Edition Personnel 136  \nCredits and Acknowledgments for this Volume 137  \nLIST OF SOURCES AND SIGLA  \nSOURCES  \nFull Score Format  \nFh Holograph full score (1940–41)  \nFh(R) Photostat copy ofFh (before 1948)  \nFh-misc Three items separated from Fh (1940)  \nFm Manuscript full score (1941)  \nPiano-Vocal Format  \nVh Holograph piano-vocal score (1940; incomplete)  \nVhP Holograph piano-vocal score of “The Princess of Pure Delight”(1940)  \nVm Manuscript piano-vocal score (1940)  \nVe Printed piano-vocal score published by Chappell (1941)  \nChoral Parts  \nCm(R) Manuscript choral part, reproduction (1940)  \nInstrumental Parts  \nIm1 Instrumental parts used in original production (1940–41; incomplete)  \nIm2 Second generation of instrumental parts used in original production (ca. 1942; incomplete)  \nIm3 Instrumental parts prepared for later productions (1950s ?; incomplete)  \nText  \nTtb2L Book used by Gertrude Lawrence (1940)  \nTty2L Lyrics used by Gertrude Lawrence (1940)  \nTt-misc Sides for Liza Elliott, used by Gertrude Lawrence (1940)  \nTt3 Assistant stage manager’s script for original produc  \ntion (1940–41) Tt4 Production script (1941)  \nTp1 Printed book and lyrics published by Random House (1941)  \nTpy Selected lyrics in Ira Gershwin, Lyrics on Several Oc  \ncasions published by Alfred Knopf (1959)  \nADDITIONAL MATERIALS  \nDrafts  \nDh Holograph drafts and sketches (1940–41)  \nPiano-Vocal Format  \nVmG Additional piano-vocal score of Glamour Dream (1940; incomplete)  \nVmT Additional piano-vocal score of refrains for “This Is New”(1940)  \nVmP Additional piano-vocal score of “The Princess of Pure Delight”(1940)  \nVeK Copy of Ve annotated by John Kennedy, general stage manager for the original production (1941?)  \nArrangements  \nAe Sheet music for seven extracted songs published by Chappell (1941)  \nText  \nTtb0 Draft versions of book (1940)  \nTtb1 First version of book (1940)  \nTty0 Sketches and drafts of lyrics (1940)  \nTty1 First version of lyrics (1940)  \nTp2 Abridged publication of book and lyrics (1941) Tp3 Reprint ofTp1 (1944)  \nTp4 German-language edition of book and lyrics (1949) Tp5 Acting edition of book and lyrics (1950)  \nCorrespondence  \nLg-w Ira Gershwin to Weill Lw-g Weill to Ira Gershwin  \nLl-w Gertrude Lawrence to Weill Lw-l Weill to Gertrude Lawrence  \nPrograms  \nN1–N7 Programs (1940–43)  \n8 Sources and Sigla  \nRecordings  \nR1 Three discs recorded by Gertrude Lawrence for Victor (1941)  \nR2 Three discs recorded by Danny Kaye for Columbia (1941)  \nInterviews  \nY1–Y11 Interviews with eleven people involved in the original production  \nMiscellaneous  \nM1 Vandamm Studio photographs of original production  \nM2 Gertrud","cbCaihd2UD7W8IKR","https://ap.wps.com/l/cbCaihd2UD7W8IKR","pdf",796056,138,"English","# List of Sources and Sigla\n## Statement of Source Valuation and Usage\n## Commentary: General Issues\n## Critical Notes\n## Source Descriptions\n## Abbreviations\n## Kurt Weill Edition Personnel\n## Credits and Acknowledgments for this Volume","[{\"question\":\"Why is the edition of Lady in the Dark described as synthetic?\",\"answer\":\"No single source transmits all parameters of the work, so the edition reconstructs it by combining and reconciling multiple sources.\"},{\"question\":\"How do late-April 1941 sources differ from production-focused materials?\",\"answer\":\"They appear intended for reading (and perhaps piano-playing) and therefore represent “literary versions” not tuned to production concerns such as running time and incidental music.\"},{\"question\":\"What sources are central to understanding the work’s stabilized form?\",\"answer\":\"Materials reflecting the form of the work as it stabilized during the original production, along with later sources published months after the Broadway premiere, are compared despite discrepancies.\"}]","Lady in the Dark - Critical Report - Series I Volume 16 | PDF",348]