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Boy Loses Girl: Broadway's Librettists
 
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Boy Loses Girl: Broadway's Librettists [Hardcover]

Thomas S. Hischak (Author)
2.0 out of 5 stars  See all reviews (1 customer review)

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Book Description

October 2002
Whenever the distinguished Broadway songwriter Stephen Sondheim is asked what comes first, the music or the lyrics, he always answers, "the book." All theater lovers know that Irving Berlin wrote the score for Annie Get Your Gun, that Rodgers and Hammerstein did the songs for The Sound of Music, and that Frank Loesser penned the musical numbers for Guys and Dolls. But who wrote the librettos for these Broadway classics? The libretto is the script of a musical, what the characters say and do when they are not singing or dancing. It is the backbone of every musical play yet too few theatergoers know who these important librettists are.


Boy Loses Girl is the first book to look at the careers, works and characteristics of Broadway's most important libretto writers during the past one hundred years. Here are all the major authors, from George M. Cohan, who wrote the librettos for all his musicals, to Mel Brooks and Thomas Meehan who scripted The Producers. Meet Otto Harback, Alan Jay Lerner, Dorothy Fields, Abe Burrows, Peter Stone, George S. Kaufman, Guy Bolton, Dorothy Donnelly, Joseph Fields, Betty Comden, Adolph Green, Arthur Laurents, George Abbot and others. Current and up-and-coming writers like Terrence McNally, Lynn Ahrens, William Finn, and Michael John LaChiusa are also covered. One hundred years of libretto writing are explored as the growth and changes in the Broadway musical are charted through the work of these important writers. Boy Loses Girl presents a whole new perspective for looking at the American musical theater.

For scholars and enthusiasts of the American musical theatre; frequent theater goers.

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Editorial Reviews

Review

A major achievement is the recognition the book gives to writers heretofore ignored, e.g. Otto Harbach, Peter Stone, George Furth, Michael Stewart, and to the lengthy careers of Joseph, Herbert, and Dorothy Fields....Large academic research collections and performing arts collections... (Choice )

A fascinating and knowledgeable account of the way American musicals were and are developed — collaboratively to be sure, but seen from the viewpoint of librettists. (Neil Novelli Syracuse Post-Standard/Stars )

About the Author

Thomas S. Hischak is professor of theatre, State University of New York College at Cortland. In 1996 he received the Stanley Drama Award (playwriting) for his screenplay Cold War Comedy. He has published numerous plays and books including The Tin Pan Alley Song Encyclopedia.

Product Details

  • Hardcover: 288 pages
  • Publisher: Scarecrow Press (October 2002)
  • Language: English
  • ISBN-10: 0810844400
  • ISBN-13: 978-0810844407
  • Product Dimensions: 8.9 x 5.8 x 0.8 inches
  • Shipping Weight: 15.8 ounces (View shipping rates and policies)
  • Average Customer Review: 2.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #1,611,142 in Books (See Top 100 in Books)

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3 of 3 people found the following review helpful:
2.0 out of 5 stars Hischak Confuses Synopsis With Analysis, October 17, 2005
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This review is from: Boy Loses Girl: Broadway's Librettists (Hardcover)
Boy Loses Girl allows Hischak to continue his uninterrupted writing of exceedingly mediocre books on musical theatre. In this book, he purports to celebrate the often-unsung writers of Broadway's greatest book musicals, but he doesn't seem to understand that merely synopsizing their work won't make us like them any more.

As Hischak explains, he has organized the librettists into roughly chronological order (even though the chapter on Dorothy Donnelly and other early women librettists comes after the chapters on Harbach, Hammerstein, and Kaufman), and a standard chapter gives a little biographical information on the writer and then delves briefly into each show he worked on. Any analysis Hischak offers is extremely shallow and is usually limited to a sentence or two. Sometimes Hischak repeats himself several times, as when he talks about George M. Cohen's innovations to the libretto after just about every Cohen show he talks about, or when discussing Harburg's love of satire after every Harburg show. Couldn't Hischak have given a few in-depth examples, rather than glossing over everything?

An even bigger problem with this book is Hischak's confused premise. He wants to celebrate the libretto of the Broadway musical. That's fine. But sometimes, it seems he wants to do this independently of the score, and that is just wrongheaded thinking. As any Broadway scholar knows, the book of a musical is there to structure and support the score. It is incredibly important, yes, but it was never meant to be taken apart from the score. That doesn't mean that some librettos don't bear scrutiny apart from the score; merely, that one shouldn't try to analyze the innovation in the libretto seperate from the rest of the show.

In Hischak's defense, sometimes he realizes this. Which makes me wonder if this book was a rush job, and he just didn't get around to adding all the insightful commentary he had prepared. Unfortunately, I don't have the space that Hischak had in his book, so I can't offer many specific examples that I spoke of in my criticisms. But look through the book in a bookstore or a library, and you'll soon understand why I can't recommend this book. It's a shame, too, because I think that analyzing the great librettists of the American Musical Theatre is a great idea (much like Hischak's Through The Screen Door was a great idea poorly realized, but that's another subject.) Really, this book is simply a missed opportunity. The great book on Broadway librettists has yet to be written.
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