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4.0 out of 5 stars
A great starting point for the Broadway lover's library,
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This review is from: Musical Comedy in America: From The Black Crook to South Pacific, From The King & I to Sweeney Todd (Paperback)
The United States has four great contributions to the arts: jazz, the movies, rock and roll, and the Broadway musical. No other country could have created the musical comedy. Its musical vocabulary comes from the fusion of European song forms, African-American harmony and rhythm, and Jewish irony and wit. This book is comprehensive enough to be a reference work, but it lends itself just as well to dropping in for a quick visit every now and then. Remember, though, that books like this all suffer from their authors' prejudices. Maybe not prejudices, but passions. There are some shows they have seen in person and then love (or hate) for the rest of their lives. The trick is in comparing those shows fairly to ones they have only read about. Honesty is the only answer is matters of passion.
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Inside This Book
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First Sentence:
minstrelsy. From this time onward, the minstrel show enjoyed a life-span of about twenty-five years before fading from the New York scene, outmoded by such white-face variety shows as those presented by Tony Pastor in his Music Hall after 1864, and by the elaborate productions that followed on the heels of the Black Crook. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Winter Garden, Dramatic Mirror, United States, The Merry Widow, Lillian Russell, Humpty Dumpty, Off Broadway, George Abbott, Ethel Merman, South Pacific, Irving Berlin, Ziegfeld Follies, Cole Porter, Greenwich Village Follies, Lydia Thompson, Moss Hart, Oliver Smith, Pal Joey, Richard Rodgers, San Francisco, The Brook, World War, D'Oyly Carte, Jerome Kern New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
minstrelsy. From this time onward, the minstrel show enjoyed a life-span of about twenty-five years before fading from the New York scene, outmoded by such white-face variety shows as those presented by Tony Pastor in his Music Hall after 1864, and by the elaborate productions that followed on the heels of the Black Crook. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Winter Garden, Dramatic Mirror, United States, The Merry Widow, Lillian Russell, Humpty Dumpty, Off Broadway, George Abbott, Ethel Merman, South Pacific, Irving Berlin, Ziegfeld Follies, Cole Porter, Greenwich Village Follies, Lydia Thompson, Moss Hart, Oliver Smith, Pal Joey, Richard Rodgers, San Francisco, The Brook, World War, D'Oyly Carte, Jerome Kern New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 89
books:
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17
books
cite this book:
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- Porgy and Bess: Vocal Score by George Gershwin on 4 pages
- Where's Charley? (Vocal Score) by Frank Loesser on page 210, page 216, and page 316
- Of Thee I Sing (Vocal Score) by Gershwin on page 141, page 160, and page 223
- Guys and Dolls (Vocal Score Series) by Frank Loesser on page 210, page 216, and page 316
- Babes in Toyland (Vocal Score) by Alfred Publishing on page 80, page 82, and page 83
See all 89 books this book cites
- Jazz Dance: The Story Of American Vernacular Dance by Marshall Stearns on 5 pages
- Dancing Till Dawn: A Century of Exhibition Ballroom Dance (Contributions to the Study of Music and Dance) by Julie Malnig on 4 pages
- Somewhere for Me: A Biography of Richard Rodgers by Meryle Secrest in Back Matter (1), Back Matter (2), and Back Matter (3)
- Somewhere for Me - A Biography of Richard Rodgers by Meryle Secrest in Back Matter (1), Back Matter (2), and Back Matter (3)
- Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim by Geoffrey Block on page 20, Back Matter (1), and Back Matter (2)
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