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Broadway Babies Say Goodnight: Musicals Then and Now, by Mark Steyn
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The glorious tradition of the Broadway musical from Irving Berlin to Jerome Kern and Rodgers and Hammerstein to Stephen Sondheim. And then . . . Cats and Les Miz. Mark Steyn's Broadway Babies Say Goodnight is a sharp-eyed view of the whole span of Broadway musical history, seven decades of brilliant achievements the best of which are among the finest works American artists have made. Show Boat, Oklahoma!, Carousel, Gypsy, and more. In an energetic blend of musical history, analysis, and backstage chat, Mark Steyn shows us the genius behind the 'simple' musical, and asks hard questions about the British invasion of Broadway and the future of the form. In this delicious book he gives us geniuses and monsters, hits and atomic bombs, and the wonderful stories that prove show business is a business which -- as the song goes --there's no business like.
- Sales Rank: #923856 in Books
- Color: Black
- Published on: 2000-04-08
- Original language: English
- Number of items: 1
- Dimensions: 8.92" h x .92" w x 6.02" l, 1.06 pounds
- Binding: Paperback
- 352 pages
From Publishers Weekly
Is Broadway musical theater in terminal decline, fed intravenously from London, in headlong retreat to operetta certainties, emotional platitudes and vapidly luxuriant tunes? Almost, but not quite, suggests Steyn in this delightful, irreverent romp through seven decades of American musical theater from Show Boat to Miss Saigon. Taking the pulse of the Great White Way as a theater critic, he finds that Broadway shows have become amorphous creatures, products of the shifting interests of agglomerations of co-producers, fund-raisers, theater owners and provincial tour bookers. His breezy yet substantial surveya spontaneous mix of vibrant history, juicy gossip, plot and song analysis and pungent criticismloses its fizz about halfway through, yet it is filled with gimlet insights into the craft and business of musicals and valuable close-ups of old-timers (Cole Porter, Jerome Kern, Rodgers and Hart and Hammerstein, novelist/lyricist P.G. Wodehouse, the Gershwins, Damn Yankees creator George Abbott, etc.) as well as more recent figures (such as producer David Merrick and choreographer/directors Bob Fosse and Michael Bennett). Separate in-depth chapters cover the massive creative contributions of Jews and gays to the Broadway musical; other chapters offer a scathing look at British musicals and skewer rock musicals from Hair to Rent. Along the way, Steyn memorably tweaks Andrew Lloyd Weber (a classic example of imperial overstretch), Stephen Sondheim and others. With encyclopedic knowledge and unabashed passion for the best of Broadway, Steyn explains how an art form has embedded itself into our cultural vocabulary.
Copyright 1999 Reed Business Information, Inc.
From Library Journal
Steyn, theater critic for the Wall Street Journal, has written a loosely focused set of chapters on various aspects of the musicalAmusic, lyrics, book, proceduresAand on the influence Jews, gays, and the British have had on the form. The best musicals (of which Gypsy, 1959, is his pick for all-time greatest) are like three-piece suits, in which book, lyrics, and music blend as an ensemble. The "invasion" of the British shows of Andrew Lloyd-Webber (Cats, etc.), the "age of the technomusical spectacle," and the increasingly self-referential nature of many recent shows have led to the "death of theatrical culture and its metaphorical power." Although his thesis is too simplistic and his argument poorly constructed, Steyn's extensive knowledge of the musical's history and his provocative commentary will be enjoyed by many musical theater buffs. Recommended for public and graduate-level academic libraries with strong performing arts collections.ARobert W. Melton, Univ. of Kansas Libs., Lawrence
Copyright 1999 Reed Business Information, Inc.
From Booklist
Broadway used to be where the top theatrical talent created the shows and songs everyone else wanted to see and sing. Today almost nothing written for Broadway charts in Billboard. The Great White Way seems to be a museum in which classic shows are repeatedly revived and new writers and lyricists get no chance to develop. Steyn incisively traces the rise and fall of the Broadway musical, from the sometimes haphazard spectacles popular at the turn of the century to the great British spectacles that dominated Broadway in the 1980s and early 1990s. More important, he analyzes, with the keen eye of a passionate critic, the many forces that contributed to the musical's decline. The tightly written book is not without flaws. At times Steyn seems more a crabby old fogy than an informed commentator; for instance, when he complains about the shallowness of rock lyrics and then mocks Paul Simon for writing lyrics with deeper meanings that demand more than one hearing. Mostly, however, Steyn on Broadway is a very compelling autopsy report. Jack Helbig
Most helpful customer reviews
0 of 0 people found the following review helpful.
liked it so much bought it twice
By Keevin Berman
One of my two favorite books. I read this when it first came out, misplaced it and repurchased for my library. I wish he would up date it. Steyn breezy style and interesting anecdotes make this just great. I am reading "The Secret Life of Broadway Musicals" now. Both give great insight.
33 of 34 people found the following review helpful.
Best review of Broadway in years
By Matthew Asnip
The Great White Way is in trouble. It's condition is terminal but not serious, as the Russians say. Whatever you think of the causes for that, you will enjoy this book, if you love theatre. Mr. Steyn provides an excellent, if short history of Broadway, interspersed with lively criticism of the 'state of the stage'. Sondheim, in particular, receives some cutting thrusts. Reading it, I alternatively wanted to shout in Mr. Steyn's face and shake him by the hand. I laughed, I cried, I threw the book across the room at least three times, but I couldn't put it down.
25 of 28 people found the following review helpful.
A history of Broadway as told by one who love's it
By Alan J. Weick
This is one of those gem of a books that come along every once in a while. After the first reading I started all over again. The writing is that good. The book is laid out like a Broadway show, dividing itself into a two act play with scenes. In Act I, Mr. Steyn traces the evolution of the musical from its beginnings in Vienna through its importation to the America by European trained musicians to its eventual takeover and refinement by American composers. We see the beautiful progression from the dance hall Ziegfeld folly to organic synthesis of music and dialog in such wonderful works of art as Show Boat and Fiddler on the Roof. Act II is the decline and fall of this wonderful artform as it reverts back to its operatic beginnings with such good shows like A Chorus Line and Chicago to abominations like Cats and Starlight Express.
This is an author who loves his subject. His first hand interviews with some of the great luminaries of the Broadway theater like Jules Styne, George Abbott, and Cy Coleman bring the backstage evolution of the musical to life. His marvelous command of the English language make the subject matter even more interesting.
The other reviewers who suggest "homophobia" on Steyn's part are way off base. It is his forthright acknowledgement of gay accomplishment in the theater along with the terrible scourge of AIDS that has had a significant impact on the musical because its greatest modern practitioners are dying off without passing on their wisdom. Of what relevance is the fact that Steyn is a political conservative or a sometime writer for the Wall Street Journal have anything to do with the subject of Broadway musicals?
Enjoy this book for what it is; a glorious paean to a great art form.
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