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One More Kiss: The Broadway Musical in the 1970s

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There's plenty to admire in Ethan Mordden's series of books about the art and craft of American musical theatre, and examples of some of the best of it can be found in his most recent volume, One More Kiss: The Broadway Musicals of the 1970s. In discussing some of the biggest hits (A Chorus Line, 1975), biggest flops (1600 Pennsylvania Avenue), and most groundbreaking (Follies, from which he derived the title of the book), Mordden provides a wild ride through a difficult decade in which the very nature of what made a musical--and what about the musical appealed to the theatregoing public--was changing irrevocably. His writing style is opinionated, yes, but also neat, with an incredible number of facts, and plenty of references to his exquisite knowledge of matters both musical and theatrical.

The book, however, reads very quickly, and is almost over before it's begun. While the length of the book cannot rightly be considered Mordden's fault, still greater detail about the decade's shows would have improved the overall flow of the book, as would have more of the social and showbiz atmosphere that made his earlier books (particularly <i>Comin' Up Roses: The Broadway Musicals in the 1950s</i>) such a joy. He also runs out of steam right at the end, when he really needs to wrap things up and not just... stop. As this is his last planned volume (chronologically), to let so much just drop is somewhat irresponsible, and prevents the book from achieving its full dramatic power and usefulness as a reference book.

Still, it's a highly entertaining read, and a must-have for those who have followed Mordden through previous decades in the Broadway musical's Golden Age.

There have been numerous histories of the American Musical and, like that unique art form itself, their quality has varied. Some have been excellent such as Gerald Bordman's "The American Musical", some dreadful (kindness forbids naming names, but you know who you are Mr. Flinn!). And then there is one that is sui generis. Actually, that one is six. Ethan Mordden's six volumes, each covering a decade from the '20 when what we define as American musicals began through the '70's when, as Mr. Mordden mordantly beilieves, it ended. The genius of these works (really only one long work) lies in both its completeness (what other work on the subject would include "Smith", a Don Murray starring fiasco of the early '70's?) and the brilliant evocation of each show in its time and place in American theater and culture. Mordden manages this feat even for shows he couldn't possibly have seen unless he's old enough to make Bob Hope seem a comparative teen-ager. I am not stating anything radical when I say that this is NOT a book to everyone's taste. We can't get people to GO to musicals anymore, let alone READ about them. But for those who care, this is THE one to read.

Ethan Mordden has added another volume to his valuable series of books covering Broadway musicals, decade-by-decade, from the twenties to the seventies. One More Kiss, the Broadway musical in the 1970s, is the most personal of all the volumes. In many ways, this is one of its strong features as the author has personally seen all of the shows and can give an impression of it beyond what the critics have left. This strength, though, can often be the book's weakness as the author's personal feelings spill over all the pages. His political conservatism often shadows his opinions in ways that tell one more about the author than about the shows he is discussing. Still, it is an interesting book, sometimes fascinating and informative, sometimes shrill and bitchy, but always well-informed and particularly strong in its analysis of the major hits (Chorus Line, Chicago, Annie, etc.) and the Sondheim shows. A fascinating, frustrating addition to this series.

Ethan Mordden knows everything about opera and Broadway musicals. If you don't believe him, just ask him. This volume continues his series into the 1970s, and it's a must-read for anyone who has ever wondered which forgotten musical failed out-of-town because the second ingenue's song got moved from the second act to the first, then cut completely.

Mordden is like one of those naughty boys who kills and dissects his new puppy because he wants to know what makes the puppy work inside. He ends up knowing what he set out to know, but he is left with no living puppy to enjoy. Mordden knows why this musical failed and why that one barely passed muster and he will devote long paragraphs to telling us. But we are often left with the feeling that we should not be enjoying something because we don't know everything about it. Mordden knows, and he's not obliged to enjoy. Sometimes too much gossip can make you lose sight of the real reason a musical triumphed or failed. Which choreographer replaced whom out of town? Which director was an alcoholic? Which song had to be totally rewritten because (fill in the blank). One can almost hear Mordden's editor saying, "Bud, this nugget of info is interesting, but it has nothing to do with the paragraph. Let's put it in a footnote." So we get footnotes that are so funny we should call them snarknotes. The groaner about Patti LuPone's real name deserves a Mack and Mabel custard pie in the face, as long as the thrower is humming a Jerry Herman tune.

I really admire him for his early Christopher Street stories about Little Kiwi. And his writings about opera are brilliant. But it's here in the realm of Broadway musical arcana that he knows everything...and is willing to share it. Sometimes he seems like that drunk know-it-all at the crowded cocktal party who insists on being the only one allowed to talk. But you have to admire someone who doesn't insist "I'm Still Here" is the best song in Follies. (I couldn't even name the ones he champions.) And I always thought "The Ladies Who Lunch" from Company was Sondheim's greatest achievement, but Mordden is able (and willing) to tell us about dozens of others that merit that honor. Good for him, I say. After reading about each obscure musical, I really wanted to hear it. I am now haunting YouTube, hoping to find clips of the little-known songs he raves about.

So many failed musicals are analyzed, ones I had never even heard of, so it's fun to read about them in great gossipy detail. What I find most interesting is that Mordden will suggest that an E-major diminished 7th chord played on the offstage piano is what separates a masterpiece from a merely-good musical. (Okay, so I exaggerate, but that does often seem to be the case.) Mordden knows more than you do, so respect him. And read this book.

One More Kiss: The Broadway Musical in the 1970s is the 6th of Ethan Mordden's 7 volumes reviewing the history of Broadway musicals. Mordden has had an eclectic career as writer and composer from novels, to other non-fiction books, and whole off-broadway musicals. Mordden's familiarity with theatre makes him more than qualified to write about the subject matter but I'm surprised that a publisher would be so committed, volume after volume, to one person's idiosyncratic style, or that an editor would let the infusion of the author's personality overwhelm the history. These historical essays account for just about everything that ever lasted a day or more on Broadway, but they are also outlets for the author's unsolicited opinions. Unfortunately along with opinion comes the author's voice and an irritating sense of humor. I want to read something that is comprehensive about the shows of 70s. Why is this guy here? There are actually occasions when Mordden tells the reader what their favorite show is. I find it invasive. The volume is a treasure chest of information but it's wrapped around an authorial style that I can't abide.