Hello, Dolly!, Mame, and the Resurgence of the British Musical

This chapter explores both the triumphs and flops of the 1960s as the Lane sought to find their footing in a new commercial landscape. Several strands of influence intersected with the creation and marketing of the British musical in the 1960s, particularly Lionel Bart’s Oliver! (1960), which will be explored here as contextual evidence that allows us to understand the changing strategies of the Lane. These influences include the reverse “invasion” of American theatre, the end of British theatrical censorship in 1968, and the formation of the National Theatre. As we will see, the once singular Drury Lane hit that provided programming and financial gain for the Lane and its shareholders was now a global icon that benefited from American imports.