This dissertation presents an analysis of the musical belt voice, especially the belt sound and its necessary vocal technique, and examines the unique actor’s personage of the elite female Broad- way musical performer.

   Discourses about the status of the Broadway Belt as “star” and “diva,” as well as her public reception, strongly suggest a feminist perspective. Through belting out in feminist roles on stage and speaking out on related issues offstage, she contradicts gender preconceptions.

  A focused discussion on African-American belters and their roles sheds light on the intersectionality of racism and anti-feminism in Broadway musical theatre.

  Finally, the study presents a musical analysis of “Rose’s Turn” in Gypsy alongside a case study of the character Rose, one of the most influential roles for a Broadway Belt.

  This monograph advocates the creation of new musicals as star vehicles for Broadway belters – of any ethnicity and gender – as indispensable to guide Broadway musical theatre into its platinum age.