Abstract
What makes Zora Neale Hurston different as a musical theatre writer is her concern about the creation of safe spaces for black women actors. By looking at the theatrical representation of black women in Hurston and Dorothy Waring’sPolk County, it is possible to see ways in which they resist intersecting oppressions of gender and race. Hurston’s adaptation of the blues and folk music for the musical is also subject to analysis, as is her lasting impact on musical theatre.
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