"This dynamic mixture of rock, calypso and ballads features a dozen singer-dancers in 20 numbers. In revue-style format, Don't Bother Me ... explores the African American experience through vibrant song and dance."--Publisher
(Applause Books). What does a "producer" actually do? How does one travel from that great idea for a show to a smash hit opening night on Broadway? John Breglio cannot guarantee you a hit, but he does take the reader on a fascinating journey behind-the-scenes to where he himself once stood as a child, dreaming about the theatre. Part memoir, part handbook, I Wanna Be a Producer is a road map to the hows and wherefores, the dos and don'ts of producing a Broadway play, written by a Broadway veteran with more than 40 years of experience. This comprehensive and highly informative book features practical analysis and concepts for the producer and is filled with entertaining anecdotes from Breglio's illustrious career as a leading theatrical lawyer and producer. Breglio recounts not only his first-hand knowledge of the crucial legal and business issues faced by a producer, but also his experiences behind the scenes with literally hundreds of producers, playwrights, composers, and directors, including such theatre luminaries as Michael Bennett, Joe Papp, Stephen Sondheim, Andrew Lloyd Webber, Patti Lupone, August Wilson, and Mel Brooks. Whether you are a working or aspiring producer, an investor, or are just curious about the backstage reality of the theater, Breglio shares his knowledge and experience of the industry, conveying practical information set against the real-life stories of those who have devoted their lives to the craft.
'Hairspray', the hit musical, is based on John Waters' affectionately subversive homage to his Baltimore youth and the biggest hit musical on Broadway. This is a complete book of lyrics from the Broadway musical.
"A seamless pairing of March of the Falsettos and Falsettoland, acclaimed off Broadway musicals written nearly a decade apart. It is the jaunty tale of Marvin who leaves his wife and young son to live with another man. His ex wife marries his psychiatrist, and Marvin ends up alone. Two years later, Marvin is reunited with his lover on the eve of his son's bar mitzvah, just as AIDS is beginning its insidious spread"--Publisher
‘Tempest has a gift for shattering and transcending convention.’ New York Times Philoctetes lives in a cave on a desolate island: the wartime hero is now a wounded outcast. Stranded for ten years, he sees a chance of escape when a young soldier appears with tales of Philoctetes’ past glories. But with hope comes suspicion – and, as an old enemy emerges, he is faced with an even greater temptation: revenge. Kae Tempest is now widely acknowledged as a revolutionary force in contemporary British poetry, music and drama; they continue to expand the range of their work with a new version of Sophocles’ Philoctetes in a bold new translation. Like Brand New Ancients before it, Paradise shows Tempest’s gift for lending the old tales an immediate contemporary relevance – and will find this timeless story a wide new audience.
Stephen Schwartz is among the rare American composer-lyricists whose Broadway musicals have inspired passionate followings, resulting in blockbuster hits like Wicked, Godspell, and Pippin. In the revised and updated second edition of Defying Gravity, biographer Carol de Giere reveals how Schwartz’s beloved musicals came to life, adding four new chapters that shed light on the continuing Wicked phenomenon and exciting projects that include stage adaptations of The Hunchback of Notre Dame with Alan Menken and The Prince of Egypt. A popular feature of the first edition remains intact for the second: the story of Schwartz’s commercially unsuccessful shows, how he coped, and how he gave himself another chance. The new edition also features an acclaimed series of “Creativity Notes” with insights about the creative process. Wicked enthusiasts are treated to a revealing, in-depth account of the show’s evolution that takes readers from developmental workshops, to the pre-Broadway tryout in San Francisco, through the arguments over changes for Broadway, and finally to productions around the world. Movie musical fans know that Disney’s pairing of Stephen Schwartz (for lyrics) with composer Alan Menken (for music) led to award-winning movie musicals “Pocahontas, The Hunchback of Notre Dame, and Enchanted. Menken’s revelatory “Foreword” that introduces the second edition of Defying Gravity explores their “wonderful chemistry” and creative challenges. The abundance of behind-the-scenes stories in this Stephen Schwartz biography came by way of the author’s unprecedented access to this legendary songwriter for interviews. She also drew from conversations with his family members, friends, and colleagues (librettists, composers, directors, producers, and actors) to render a rich portrait of this complex and gifted artist. She rounds out the book with photographs, Schwartz’s handwritten notes, and highlighted quotations. Performers and others involved in productions of Godspell, Pippin, Children of Eden, Working, Rags, and The Hunchback of Notre Dame, will discover the intentions of the shows’ creators. Singers, writers, fans, and anyone interested in the development of stage and film musicals will enjoy multiple insights from this backstage journey, from Godspell to Wicked, and beyond.
"In this two-man musical spoof, a pair of aspiring playwrights perform a backers' audition for their new, ill-advised project -- a bit, splashy musical about printing press inventor Johann Gutenberg. With an unending supply of enthusiasm, Bud and Doug sing all the songs and play all the parts in their crass historical epic, with the hope that one of the producers in attendance will give them that elusive Broadway contract." --
Storytelling in Opera and Musical Theater is the first systematic exploration of how sung forms of drama tell stories. Through examples from opera's origins to contemporary musicals, Nina Penner examines the roles of character-narrators and how they differ from those in literary and cinematic works, how music can orient spectators to characters' points of view, how being privy to characters' inner thoughts and feelings may evoke feelings of sympathy or empathy, and how performers' choices affect not only who is telling the story but what story is being told. Unique about Penner's approach is her engagement with current work in analytic philosophy. Her study reveals not only the resources this philosophical tradition can bring to musicology but those which musicology can bring to philosophy, challenging and refining accounts of narrative, point of view, and the work-performance relationship within both disciplines. She also considers practical problems singers and directors confront on a daily basis, such as what to do about Wagner's Jewish caricatures and the racism of Orientalist operas. More generally, Penner reflects on how centuries-old works remain meaningful to contemporary audiences and have the power to attract new, more diverse audiences to opera and musical theater. By exploring how practitioners past and present have addressed these issues, Storytelling in Opera and Musical Theater offers suggestions for how opera and musical theater can continue to entertain and enrich the lives of 21st-century audiences.