Traces the American musical from its rich beginnings in European opera. This book talks about the infancy of the musical - the revues, operettas, and early musical comedies, as well as the groundbreaking shows like "Oklahoma!" and "Show Boat", with references to how history, literature, fashion, popular music and movies influenced musical theater.
For Surveys of Musical Theater, Music Appreciation courses and Popular Culture Surveys. This unique historical survey illustrates the interaction of multiple artistic and dramatic considerations with an overview of the development of numerous popular musical theater genres. This introduction provides more than a history of musical theater, it studies the music within the shows to provide an understanding of the contributions of musical theater composers as clearly as the artistry of musical theater lyricists and librettists. The familiarity of the musical helps students understand how music functions in a song and a show, while giving them the vocabulary to discuss their perceptions.
An unforgettable portrait of an exuberant yet troubled artist who so enriched the American songbook “Blue Moon, ” “Where or When, ” “The Lady Is a Tramp,” “My Funny Valentine,” “Isn’t It Romantic?,” “My Romance,” “There’s a Small Hotel,” “Falling in Love with Love,” “Bewitched, Bothered and Bewildered”—lyricist Lorenz Hart, together with composer Richard Rodgers, wrote some of the most memorable songs ever created. More than half a century after their collaboration ended, Rodgers & Hart songs are indispensable to the repertoire of nightclub singers everywhere. A Ship Without a Sail is the story of the complicated man who was Lorenz Hart. His lyrics spin with brilliance and sophistication, yet at their core is an unmistakable wistfulness. The sweetness of “My Romance” and “Isn’t It Romantic?” is unsurpassed in American song, but Hart’s lyrics could also be cynical, funny, ironic. He brought a unique wit and elegance to popular music. Larry Hart and Richard Rodgers wrote approximately thirty Broadway musicals and dozens of songs for Hollywood films. At least four of their musicals—On Your Toes, Babes in Arms, The Boys from Syracuse, and Pal Joey— have become classics. But despite their prodigious collaboration, Rodgers and Hart were an odd couple. Rodgers was precise, punctual, heterosexual, handsome, and eager to be accepted by Society. Hart was barely five feet tall, alcoholic, homosexual, and more comfortable in a bar or restaurant than anywhere else. Terrified of solitude, he invariably threw the party and picked up the check. His lyrics are all the more remarkable considering that he never sustained a romantic relationship, living his entire life with his mother, who died only months before he died at age forty-eight. Gary Marmorstein’s revelatory biography includes many of the lyrics that define Hart’s legacy—those clever, touching stanzas that still move us or make us laugh.
A revelatory portrait of the creative partnership that transformed musical theater and provided the soundtrack to the American Century They stand at the apex of the great age of songwriting, the creators of the classic Broadway musicals Oklahoma!, Carousel, South Pacific, The King and I, and The Sound of Music, whose songs have never lost their popularity or emotional power. Even before they joined forces, Richard Rodgers and Oscar Hammerstein II had written dozens of Broadway shows, but together they pioneered a new art form: the serious musical play. Their songs and dance numbers served to advance the drama and reveal character, a sharp break from the past and the template on which all future musicals would be built. Though different in personality and often emotionally distant from each other, Rodgers and Hammerstein presented an unbroken front to the world and forged much more than a songwriting team; their partnership was also one of the most profitable and powerful entertainment businesses of their era. They were cultural powerhouses whose work came to define postwar America on stage, screen, television, and radio. But they also had their failures and flops, and more than once they feared they had lost their touch. Todd S. Purdum’s portrait of these two men, their creative process, and their groundbreaking innovations will captivate lovers of musical theater, lovers of the classic American songbook, and young lovers wherever they are. He shows that what Rodgers and Hammerstein wrought was truly something wonderful.
In her spirited, witty and vastly entertaining memoir, Helene Hanff recalls her ingenuous attempts to crash Broadway in the early forties as one of “the other 999.” Naive, nearsighted, frequently penniless but hopelessly stagestruck, she found her life governed by Flanagan’s Law: “No matter what happens to you, it’s unexpected.” Therefore, as a prize-winning Theatre Guild protégée with a brilliant future, Helene naturally found that all the producers who were going to produce her plays didn’t, and all the agents who were going to sell her plays couldn’t. Together with her best friend Maxine, an aspiring actress consigned to playing the comedy-ingénue in plays that regularly folded after five performances, she cultivated the “delicate, illegal art of getting everything for nothing”—from free seats to every Broadway show and neighborhood movie and borrowed outfits from Saks to voice lessons for Maxine and Greek lessons for Helene. To keep body and soul together until Broadway fame arrived, they devised an economic survival system that embraced such unlikely jobs as taking street-corner. Reviews — “Miss Hanff, having a good memory and a lively sense of humor, has composed a theater sketch that is realistic as well as hilarious....One of the most amusing recent theater books about the Broadway theater.”—Brooks Atkinson “A delightful book by an irrepressible author....What really lifts the book to a high level of entertainment is the sparkling humor. To describe the incidents wouldn’t do justice to the book’s charm which comes from the style of writing and Miss Hanff’s boundless optimism.”—Library Journal “A gay and entertaining book which also has substance.”—Boston Herald “Hilarious and highly successful. If you need cheering up, this is it. Here’s hoping Miss Hanff finds more failures to write books about.”—Columbus Dispatch
In A Fine Romance, David Lehman looks at the formation of the American songbook—the timeless numbers that became jazz standards, iconic love songs, and sound tracks to famous movies—and explores the extraordinary fact that this songbook was written almost exclusively by Jews. An acclaimed poet, editor, and cultural critic, David Lehman hears America singing—with a Yiddish accent. He guides us through America in the golden age of song, when “Embraceable You,” “White Christmas,” “Easter Parade,” “Bewitched, Bothered and Bewildered,” “Can’t Help Lovin’ Dat Man,” “My Romance,” “Cheek to Cheek,” “Stormy Weather,” and countless others became nothing less than the American sound track. The stories behind these songs, the shows from which many of them came, and the shows from which many of them came, and the composers and lyricists who wrote them give voice to a specifically American saga of love, longing, assimilation, and transformation. Lehman’s analytical skills, wit, and exuberance infuse this book with an energy and a tone like no other: at once sharply observant, personally searching, and attuned to the songs that all of us love. He helps us understand how natural it should be that Wizard of Oz composer Harold Arlen was the son of a cantor who incorporated “Over the Rainbow” into his Sabbath liturgy, and why Cole Porter—the rare non-Jew in this pantheon of musicians who wrote these classic songs shaped America even as America was shaping them. (Part of the Jewish Encounter series)
Now in its 3nd edition, we've expanded this book's size by a third with more great quotes! The Audience Book of Theater Quotations is a lifelong labor of love by Professor Phillips. If you have anything to do with the theater, buy this book. "I've been fortunate to spend many an afternoon with author Louis Phillips, sharing his insightful appreciation of movies, plays and poetry. Luck has come your way! Here you have it: Theatre treasures from A to Z. You pick the time (lots or little) and let Louis be your tour guide into this wondrous chronicle. "The Audience Book of Theatre Quotations" commemorates recitals both malicious and hilarious. You won't be able to resist prolonged applause and a standing ovation!" --Richard D. Pepperman; Film editor, teacher, and author of The Eye is Quicker Film Editing: Making a Good Film Better; Setting Up Your Scenes: The Inner Workings of Great Films; Film School: How to Watch DVDs and Learn Everything About Filmmaking "There are so many great quotes, it is a fascinating read." --William E. Cooper, Reader Views "... this book will inspire the inner theatre lover in us all." --Vianna Renaud, TCM Reviews “You read through The Audience Book of Theatre Quotes and it's like taking a trip through theatre-time superimposed on your own personal life-in-the-theatre time. Quotes from the likes of Dorothy Parker, Laurence Olivier, David Mamet, Hume Cronyn, Robert Benchley, Ben Hecht, Basil Rathbone and hundreds of others, always intriguing, mostly funny, sometimes filled with almost scriptural vision/insight. A book to be read slowly, maybe a page a day, either when you first get up or before you go to bed, letting the wisdom/humor either seep through your whole day, or ease you through your dreams.” –-Hugh Fox, professor, author of numerous books, poet, critic, playwright
"A spirited spin through some of the most intriguing factoids in show business, offering up an unconventional history of the theatre in all its idosyncratic glory. From the cantakerous retorts of George Abbott to the literally show-stopping antics of Katherine Hepburn, you'll learn about the adventures and star turns of some of Broadway's biggest personalities, and discover little-known tidbits about beloved plays and musicals."--
I call this exposition Why Me? because in a sense, I consider myself just about the luckiest person ever born. Just about everything that has happened to me has been to my benefit. I have made what I thought at the time were just random decisions, yet they almost always turned out to be acts of true genius. I would like to take credit, but in all honesty, most of these were just the events that were determined by local circumstances.
