Abstract
The term ‘integration’ and the concept of the ‘integrated musical’ are generally taken to imply that songs, dance and narrative work towards the same dramatic end. This may mean that music, dance and book over-code each other, but it is also possible that they present different aspects of a character, atmosphere or situation such that a complex reading is presented. Is this still integrated? Can there be such a thing as a completely integrated musical made up of media that create meaning in different ways? And if a musical is perceived as ‘integrated’, how do the writers and creative teams deal with the problematic leap from speech to song and its distancing effects?
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