About Sarah


Sarah is a musical theatre researcher, practitioner and academic. She writes about musical theatre history with a particular focus in uncovering the work that women do in the arts and addressing gaps in the history of the musical.

As a dramaturg she has collaborated and advised on a range of projects from site-specific immersive theatre to West End musicals. As a lyricist and librettist, she writes extremely silly songs with James Lovelock.

You can read some of her work here:

(Under contract) (2021) Sean Mayes and Sarah Whitfield, The Inconvenient Black History of British Musical Theatre, Methuen Drama, Bloomsbury

(Forthcoming 2021) ‘Putting Bisexuals in ‘The Room Where it Happens’: the Hamilton fandom’s fight for bisexual+ representation’ in Theatre Fandom ed by Kirsty Sedgman, University of Iowa Press, series: Fandom & Culture series eds. Paul Booth & Kathy Larsen.

(2019) Introduction: Framing and Reframing Existing Ways of Looking (2019), in Re-framing the Musical: Race, Culture and Identity Red Globe (Palgrave Macmillan/Macmillan Education)

(2019) Companion Text to A/AS Level Music WJEC, Atebol Publishers (commissioned by Welsh Government) with Pwyll ap Siôn, James Lovelock, Sarah Whitfield.

(2019) ‘The Women Who Made the Musical’ [online] Available from: https://www.macmillanihe.com/blog/post/women-musical-sarah-whitfield/

(2018) Boublil and Schonberg’s Les Miserables 4THW, Routledge

(2017) – ‘For the First Time in Forever – Locating Frozen as a feminist Disney musical’ for The Disney Musical on Stage and Screen ed. by George Rodosthenous (Bloomsbury Methuen)

(2017) – ‘Jersey Boys (2014): The Contemporary Jukebox Musical and its audience’ for Twenty-First Century Musicals: From Stage to Screen ed. by George Rodosthenous (Routledge)

(2016) ‘‘Next you’re Franklin Shepard Inc.?’: Composing the Broadway musical, a study of Kurt Weill’s working practices’ Studies in Musical Theatre 10 (2), 163-176

(2012) Two different roads to new musicals in 2011 London: London Road and Road Show, Studies in Musical Theatre from: https://doi-org.ezproxy.wlv.ac.uk/10.1386/smt.5.3.305_1