This is a lively provocative book about the offstage drama and onstage triumphs of a little theater that folded because of the funding crisis in the American theater. As the National Endowment of the Arts all but folds, this book couldn't be more relevant today.
Author Davi Napoleon takes us behind the scenes--into rehearsal rooms, board rooms, and scene shops. We watch the Chelsea mount some of the most exciting productions in American theater history, including the first U.S. production of Genet's The Screens, and the original productions of Yentl (based on a story by Isaac Singer) and Kaddish (based on a poem by Alan Ginsberg). We watch conflicts between artists over art and politics and conflicts between those responsible for the financial health of the institution (headed by Michael David, who now runs Dodger Theatricals on Boradway) and those responsible for its artistic integrity (headed by Robert Kalfin, now a freelance director with numerous Broadway, off-Broadway and regional credits.)
The black flap quotes Glenn Close, Frank Langella, and a New York Times critic, all of whom loved the book. There is a foreword by Broadway producer/director Hal Prince who directed a couple of shows at Chelsea.
This is also a beautifully written book. It feels like you're reading a novel. I loved it!
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A powerful book, relevant today.
This is a lively provocative book about the offstage drama and onstage triumphs of a little theater that folded because of the funding crisis in the American theater. As the National Endowment of the Arts all but folds, this book couldn't be more relevant today.Author Davi Napoleon takes us behind the scenes--into rehearsal rooms, board rooms, and scene shops. We watch the Chelsea mount some of the most exciting productions in American theater history, including the first U.S. production of Genet's The Screens, and the original productions of Yentl (based on a story by Isaac Singer) and Kaddish (based on a poem by Alan Ginsberg). We watch conflicts between artists over art and politics and conflicts between those responsible for the financial health of the institution (headed by Michael David, who now runs Dodger Theatricals on Boradway) and those responsible for its artistic integrity (headed by Robert Kalfin, now a freelance director with numerous Broadway, off-Broadway and regional credits.)The black flap quotes Glenn Close, Frank Langella, and a New York Times critic, all of whom loved the book. There is a foreword by Broadway producer/director Hal Prince who directed a couple of shows at Chelsea.This is also a beautifully written book. It feels like you're reading a novel. I loved it!
Top review from the United States
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Reviewed in the United States on July 16, 2007
This is a lively provocative book about the offstage drama and onstage triumphs of a little theater that folded because of the funding crisis in the American theater. As the National Endowment of the Arts all but folds, this book couldn't be more relevant today.
Author Davi Napoleon takes us behind the scenes--into rehearsal rooms, board rooms, and scene shops. We watch the Chelsea mount some of the most exciting productions in American theater history, including the first U.S. production of Genet's The Screens, and the original productions of Yentl (based on a story by Isaac Singer) and Kaddish (based on a poem by Alan Ginsberg). We watch conflicts between artists over art and politics and conflicts between those responsible for the financial health of the institution (headed by Michael David, who now runs Dodger Theatricals on Boradway) and those responsible for its artistic integrity (headed by Robert Kalfin, now a freelance director with numerous Broadway, off-Broadway and regional credits.)
The black flap quotes Glenn Close, Frank Langella, and a New York Times critic, all of whom loved the book. There is a foreword by Broadway producer/director Hal Prince who directed a couple of shows at Chelsea.
This is also a beautifully written book. It feels like you're reading a novel. I loved it!
Author Davi Napoleon takes us behind the scenes--into rehearsal rooms, board rooms, and scene shops. We watch the Chelsea mount some of the most exciting productions in American theater history, including the first U.S. production of Genet's The Screens, and the original productions of Yentl (based on a story by Isaac Singer) and Kaddish (based on a poem by Alan Ginsberg). We watch conflicts between artists over art and politics and conflicts between those responsible for the financial health of the institution (headed by Michael David, who now runs Dodger Theatricals on Boradway) and those responsible for its artistic integrity (headed by Robert Kalfin, now a freelance director with numerous Broadway, off-Broadway and regional credits.)
The black flap quotes Glenn Close, Frank Langella, and a New York Times critic, all of whom loved the book. There is a foreword by Broadway producer/director Hal Prince who directed a couple of shows at Chelsea.
This is also a beautifully written book. It feels like you're reading a novel. I loved it!
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