Born into a poor Virginian family, John Treville Latouche (1914-56), in his short life, made a profound mark on America's musical theater as a lyricist, book writer, and librettist. The wit and skill of lyrics elicited comparisons with the likes of Ira Gershwin, Lorenz Hart, and Cole Porter, but he had too, noted Stephen Sondheim, "a large vision of what musical theater could be," and he proved especially venturesome in helping to develop a lyric theater that innovatively combined music, word, dance, and costume and set design. Many of his pieces, even if not commonly known today, remain high points in the history of American musical theater. "A great American genius" in the words of Duke Ellington, Latouche initially came to wide public attention in his early twenties with his cantata for soloist and chorus, Ballad for Americans (1939), with music by Earl Robinson-a work that swept the nation during the Second World War. Other milestones in his career included the all-black musical fable, Cabin in the Sky (1940), with Vernon Duke; an interracial updating of John Gay's classic, The Beggar's Opera, as Beggar's Holiday (1946), with Duke Ellington; two acclaimed Broadway operas with Jerome Moross: Ballet Ballads (1948) and The Golden Apple (1954); one of the most enduring operas in the American canon, The Ballad of Baby Doe (1956), with Douglas Moore; and the operetta Candide (1956), with Leonard Bernstein and Lillian Hellman. Extremely versatile, he also wrote cabaret songs, participated in documentary and avant-garde film, translated poetry, adapted plays, and much else. Meanwhile, as one of Manhattan's most celebrated raconteurs and hosts, he developed a wide range of friends in the arts, including, to name only a few, Paul and Jane Bowles (whom he introduced to each other), Yul Brynner, John Cage, Jack Kerouac, Frederick Kiesler, Carson McCullers, Frank O'Hara, Dawn Powell, Ned Rorem, Virgil Thomson, Gore Vidal, and Tennessee Williams-a dazzling constellation of diverse artists working in sundry fields, all attracted to Latouche's brilliance and joie de vivre, not to mention his support for their work. This book draws widely on archival collections both at home and abroad, including Latouche's diaries and the papers of Bernstein, Ellington, Moore, Moross, and many others, to tell for the first time, the story of this fascinating man and his work.

(Piano/Vocal/Guitar Artist Songbook). Celebrate the wonderful music of the 1998 musical Ragtime with Ragtime the Musical: Vocal Score (Complete) . Now you can play the Tony Award-winning music in your own home with the complete vocal score, professionally arranged for piano/vocal.

First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

Auditioning for Musical Theatre demystifies the process of giving the best possible professional audition for a role in a musical. It is the result of Denny Berry's own experience, sitting "behind the audition desk" for 30 years of professional Broadway auditions, as well as teaching newcomers and coaching established actors. The book coaches performers on how to be their best selves-and avoid the pitfalls of nerves and poor preparation. To do so, it offers: An in-depth, practical approach to a professional audition that gives readers detailed suggestions about how to identify their vocal strengths, choose the material most suited to it, and present the entirety of their "product" with confidence. Rules to guide the actor through the audition process, along with sample homework assignments. A comprehensive list of musical material, genres, and commonly-referred-to categories of songs designed to help auditioners select the right material for any given audition. The book is intended for the talented newcomer as well as the experienced actor who wants to deliver a more effective audition. Ultimately, Auditioning for Musical Theatre takes the reader through the parts of auditioning that they can control, and helps them tailor every situation to show their individual best.

Theater music directors must draw on a remarkably broad range of musical skills. Not only do they conduct during rehearsals and performances, but they must also be adept arrangers, choral directors, vocal coaches, and accompanists. Like a record producer, the successful music director must have the flexibility to adjust as needed to a multifaceted job description, one which changes with each production and often with each performer. In Music Direction for the Stage, veteran music director and instructor Joseph Church demystifies the job in a book that offers aspiring and practicing music directors the practical tips and instruction they need in order to mount a successful musical production. Church, one of Broadway's foremost music directors, emerges from the orchestra pit to tell how the music is put into a musical show. He gives particular attention to the music itself, explaining how a music director can best plan the task of learning, analyzing, and teaching each new piece. Based on his years of professional experience, he offers a practical discussion of a music director's methods of analyzing, learning, and practicing a score, thoroughly illustrated by examples from the repertoire. The book also describes how a music director can effectively approach dramatic and choreographic rehearsals, including key tips on cueing music to dialogue and staging, determining incidental music and underscoring, making musical adjustments and revisions in rehearsal, and adjusting style and tempo to performers' needs. A key theme of the book is effective collaboration with other professionals, from the production team to the creative team to the performers themselves, all grounded in Church's real-world experience with professional, amateur, and even student performances. He concludes with a look at music direction as a career, offering invaluable advice on how the enterprising music director can find work and gain standing in the field.

A captivating full account of a vital, exciting, and turbulent cultural moment: the making of ground-breaking classic West Side Story (1961).A major hit on Broadway, on film West Side Story became immortal. Unforgettable songs, an urgent love story, audacious choreography in real New York locations: West Side Story was a movie different from anything that had come before, but this cinematic victory came at a price.The film's enormous budget and complicated logistics made it a difficult production, and massive overruns in both cost and schedule led to tension between co-directors Robert Wise and Jerome Robbins. The result was Robbins being fired midway through the filming, a termination devastating to the film's star, Natalie Wood, who was also shattered upon discovering that she would not be permitted to do her own singing.Over nearly six decades, West Side Story has endured, past its off-screen dramas, as a classic. What other film makes such intrinsically powerful and brilliant use of dance? How many have been so emotionally meaningful, as set to Leonard Bernstein's music and Stephen Sondheim's lyrics? Plus, given its Shakespearean roots (Romeo and Juliet), how often is any film -- let alone a musical -- so simultaneously timeless and current? Small wonder that the film continues to be a favorite.The production and impact of this classic have been recounted, so far, only in vestiges. As written by film historian Richard Barrios, this book is a captivating account of a crucial and exciting cultural moment. West Side Story was a triumph that appeared to be very much of its time; over the years, and especially in this text, it has shown itself to be eternal.

Mixing a Musical: Broadway Theatrical Sound Techniques, Second Edition pulls the curtain back on one of the least understood careers in live theatre: the role and responsibilities of the sound technician. This comprehensive book encompasses every position from shop crew labor to assistant designer to sound board operator and everything in between. Written in a clear and easy to read style, and illustrated with real-world examples of personal experience and professional interviews, Slaton shows you how to mix live theatre shows from the basics of equipment and set ups, using sound levels to creating atmosphere, emotion and tension to ensure a first rate performance every time. This new edition gives special attention to mixing techniques and practices. And, special features of the book include interviews with some of today's most successful mixers and designers.

Most books on the American musical are little more than exercises in nostalgia. The specially commissioned essays that make up Approaches to the American Musical take a different view of the form. Going beyond the common assertion that musicals are simply escapist; these examinations of American stage and film musicals argue that Porgy and Bess, Top Hat, Kiss Me Kate and All That Jazz were popular precisely because they engaged with such important American issues as ethnicity, commerce and international relations.

Stephen Sondheim's Company appeared in 1970, and the American musical theatre has never been the same. The adventures of a bachelor and his married friends, Company exploded the musical's traditional business model of romantic tales with a beginning, middle, and end (in that order) and neatly packaged songs. In Sondheim's shows, the music flows in and out of the stories, often completely taking over, and romance may be overshadowed by doubt. Moreover, Follies (1971) skips the beginning, Sunday in the Park With George (1984) lacks a middle, and Merrily We Roll Along (1981) has an end, a middle, and a beginning in that order. As Ethan Mordden explains it, Stephen Sondheim is a classical composer who happens to write musicals, which explains why the center of gravity in his scores is so elevated. But more: Sondheim has intellectualized the musical by tackling serious content usually reserved for the spoken stage: nonconformism (in Anyone Can Whistle, 1964), history (in Pacific Overtures, 1976), a serial killing spree and cannibalism (Sweeney Todd, 1979). Yet these are above all theatrical shows, produced with flair and brilliance, whether in the lush operetta of A Little Night Music (1973) or the quixotic fairy-tale magic of Into the Woods (1987). Mordden has pitched his tone to address the newcomer and the aficionado alike, with fresh insights and analysis of every single Sondheim show, from his first hits (West Side Story, 1957; Gypsy, 1959) to his most recent titles (Passion, 1994; Road Show, 2008). Each musical gets its own chapter, with articles as well on Sondheim's life and his major influences. Comprehensive bibliographical and discographical essays place the Sondheim literature and recordings in perspective. Writing with his usual blend of the scholarly and the popular-with a wicked sense of humor-Ethan Mordden reveals why Stephen Sondheim has become Broadway's most significant voice in the last fifty years.

No musical partnership has enjoyed greater success during its time span, or bequeathed a more powerful and enduring legacy, than that of Gilbert and Sullivan in the later nineteenth century. Even before their first successful collaboration in 1875, both William Schwenk Gilbert (1836-1911) and Arthur Seymour Sullivan (1842-1900) had already forged considerable reputations for themselves. Thereafter, between 1877 and 1896, Gilbert wrote the librettos, and Sullivan the music, for no fewer than a dozen Savoy operas, among them the still regularly performed 'H.M.S. Pinafore' (1878), 'The Pirates of Penzance' (1879), 'Iolanthe' (1882), 'The Mikado' (1885), 'The Yeomen of the Guard' (1888) and 'The Gondoliers' (1889). Not only are the plots ingenious, the lyrics witty and the music compelling, the operas also present modern audiences with splendidly rich and satirical evocations of Victorian England and its society: the prime subject matter of this book!

In a Maine coastal village toward the end of the 19th century swaggering carefree carnival barker Billy Bigelow captivates and marries naive millworker Julie Jordan. Billy loses his job just as he learns that Julie is pregnant and a desperately intent upon providing a decent life for his family a he is coerced into being an accomplice to a robbery. Caught in the act and facing the certainty of prison he takes his own life and is sent up there. Billy is allowed to return to earth for one day 15 years later and he encounters the daughter he never knew. She is a lonely friendless teenager her father's reputation as a thief and bully having haunted her throughout her young life. How Billy instills a sense of hope and dignity in both the child and her mother is a dramatic testimony to the power of love. It's easy to understand why of all the shows they created ECarouselE was Rodgers and Hammerstein's personal favorite.

Auditioning for Musical Theatre demystifies the process of giving the best possible professional audition for a role in a musical. It is the result of Denny Berry's own experience, sitting "behind the audition desk" for 30 years of professional Broadway auditions, as well as teaching newcomers and coaching established actors. The book coaches performers on how to be their best selves-and avoid the pitfalls of nerves and poor preparation. To do so, it offers: An in-depth, practical approach to a professional audition that gives readers detailed suggestions about how to identify their vocal strengths, choose the material most suited to it, and present the entirety of their "product" with confidence. Rules to guide the actor through the audition process, along with sample homework assignments. A comprehensive list of musical material, genres, and commonly-referred-to categories of songs designed to help auditioners select the right material for any given audition. The book is intended for the talented newcomer as well as the experienced actor who wants to deliver a more effective audition. Ultimately, Auditioning for Musical Theatre takes the reader through the parts of auditioning that they can control, and helps them tailor every situation to show their individual best.

The 1950s saw an explosion in the American musical theater. The Broadway show, catapulted into the limelight in the 20s and solidified during the 40s thanks to Rodgers and Hammerstein, now entered its most revolutionary phase, brashly redefining itself and forging a new kind of storytelling. In Coming Up Roses: The Broadway Musical in the 1950s, Ethan Mordden gives us a guided tour of this rich decade.

With loving detail, Mordden highlights the shift in Broadway from shows that were mere star vehicles, showcasing a big-name talent, to the bolder stories, stuffed with character and atmosphere. During this period, subject matter became more intricate, even controversial, and plots more human and complex; Mordden demonstrates how, in response, musical conventions were polished, writing became more finely crafted, and dance became truly indispensable. Along the way we meet the key players: such greats as Ethel Merman, George Abbott, Jerome Robbins, Gwen Verdon, Bob Fosse, Stephen Sondheim, Frank Loesser, Cole Porter, Leonard Bernstein, and many others. We get the backstage scoop on why Guys and Dolls is so well-made, why West Side Story is so timeless, why The King and I and Gypsy pushed the envelope, and why no one ever talks about Ankles Aweigh. All this is peppered with a dash of industry gossip--the directorial struggles, last-minute script rewrites and cast replacements, the power of the poster listings--that made Broadway so nerve-wrackingly vibrant.

This passionate and informed study illuminates a crucial period in American musical theater and shows us the origins of many of the musicals recently revived to huge success on Broadway.

Here for the first time is the whole history of the musical, on Broadway and off. Stempel combines original research including a wealthy of primary sources and archival holdings with deft and insightful analysis, and explores the rich strands of musical theater by genre and type, looking at not only how musicals work but also how they serve as barometers of social concerns and bearers of cultural values. Beginning with the scandalous Astor Place Opera House riot of 1849, Stempel traces the growth of musicals from minstrel shows and burlesques, through the golden age of Show Boat and Oklahoma , to such groundbreaking works as Company and Rent. Stempel examines musicals in their cultural and historical context and includes detailed portraits of all the influential figures the creators, directors, and performers who made it all possible."

"Why bother to rob a bank, when you can own a bank?" asked Bertold Brecht. The question is reiterated in the very Brechtian "Love, Crime and Johannesburg," the story of Jimmy 'Long Legs' Mangane, a people's poet involved in the struggle, who is accused of robbing a bank. He passionately asserts his innocence, claiming to work for the "secret secret service." Lewis, his old friend and comrade from the struggle, now owns a bank. How did this happen? The man of the struggle is now a man of accounts. A man of the nineties. Part of the cellphone generation. Added to the mix is an old-style gangster, two girlfriends, a Jewish father and a very unusual Chief of Police. Described as one of the first genuine post-apartheid plays, "Love, Crime and Johannesburg" is a witty, lighthearted account of life in the City of Gold at the turn of the millennium. A must for all students of South African theatre. Winner of the 2000 Vita Award for best script of a new South African Play.

Written for London's Theatre Royal, Stratford East, this pantomime combines all the traditional elements with original characterisations, imaginative and innovative staging ideas and witty, melodic songs.Large flexible cast

Carnival, charivari, mumming plays, peasant festivals, and even early versions of the Santa Claus myth - all of these forms of entertainment influenced and shaped blackface minstrelsy in the first half of the nineteenth century. In his fascinating study Demons of Disorder, musicologist Dale Cockrell studies issues of race and class by analysing their cultural expressions, and investigates the roots of still remembered songs such as 'Jim Crow', 'Zip Coon', and 'Dan Tucker'. Also examined is the character George Washington Dixon, the man most deserving of the title 'father of blackface minstrelsy' and surely one of celebrity's all-time heavyweight eccentrics - a bonafide 'demon of disorder'. The first book on the blackface tradition written by a leading musicologist, Demons of Disorder is an important achievement in music history and culture.

(Applause Libretto Library). Rodgers & Hammerstein's first collaboration remains, in many ways, their most innovative, having set the standards and established the rules of musical theatre still being followed today. Set in a Western Indian territory just after the turn of the century, the high-spirited rivalry between the local farmers and cowboys provides the colorful background against which Curly, a handsome cowboy, and Laurey, a winsome farm girl, play out their love story. Although the road to true love never runs smooth, with these two headstrong romantics holding the reins, love's journey is as bumpy as a surrey ride down a country road. That they will succeed in making a new life together we have no doubt, and that this new life will begin in a brand-new state provides the ultimate climax to the triumphant Oklahoma

"I've done everything in the theatre except marry a property man," Fanny Brice once boasted. "I've acted for Belasco and I've laid 'em out in the rows at the Palace. I've doubled as an alligator; I've worked for the Shuberts; and I've been joined to Billy Rose in the holy bonds. I've painted the house boards and I've sold tickets and I've been fired by George M. Cohan. I've played in London before the king and in Oil City before miners with lanterns in their caps." Fanny Brice was indeed show business personified, and in this luminous volume, Herbert G. Goldman, acclaimed biographer of Al Jolson, illuminates the life of the woman who inspired the spectacularly successful Broadway show and movie Funny Girl, the vehicle that catapulted Barbra Streisand to super stardom.
In a work that is both glorious biography and captivating theatre history, Goldman illuminates both Fanny's remarkable career on stage and radio--ranging from her first triumph as "Sadie Salome" to her long run as radio's "Baby Snooks"--and her less-than-triumphant personal life. He reveals a woman who was a curious mix of elegance and earthiness, of high and low class, a lady who lived like a duchess but cursed like a sailor. She was probably the greatest comedienne the American stage has ever known as well as our first truly great torch singer, the star of some of the most memorable Ziegfeld Follies in the 1910s and 1920s, and Goldman covers her theatrical career and theatre world in vivid detail. But her personal life, as Goldman shows, was less successful. The great love of her life, the gangster Nick Arnstein, was dashing, handsome, sophisticated, but at bottom, a loser who failed at everything from running a shirt hospital to manufacturing fire extinguishers, and who spent a good part of their marriage either hiding out, awaiting trial, or in prison. Her first marriage was over almost as soon as it was consummated, and her third and last marriage, to Billy Rose, the "Bantam Barnum," ended acrimoniously when Rose left her for swimmer Eleanor Holm. As she herself remarked, "I never liked the men I loved, and I never loved the men I liked." Through it all, she remained unaffected, intelligent, independent, and, above all, honest.
Goldman's biography of Al Jolson has been hailed by critics, fellow biographers, and entertainers alike. Steve Allen called it "an amazing job of research" and added "Goldman's book brings Jolson back to life indeed." The Philadelphia Inquirer said it was "the most comprehensive biography to date," and Ronald J. Fields wrote that "Goldman has captured not only the wonderful feel of Al Jolson but the heartbeat of his time." Now, with Fanny Brice, Goldman provides an equally accomplished portrait of the greatest woman entertainer of that illustrious era, a volume that will delight every lover of the stage.

This book situates the production of The Boy Friend and the Players' Theatre in the context of a post-war London and reads The Boy Friend, and Wilson's later work, as exercises in contemporary camp. It argues for Wilson as a significant and transitional figure both for musical theatre and for modes of homosexuality in the context of the pre-Wolfenden 1950s. Sandy Wilson's The Boy Friend is one of the most successful British musicals ever written. First produced at the Players' Theatre Club in London in 1953 it transferred to the West End and Broadway, making a star out of Julie Andrews and gave Twiggy a leading role in Ken Russell's 1971 film adaptation. Despite this success, little is known about Wilson, a gay writer working in Britain in the 1950s at a time when homosexuality was illegal. Drawing on original research assembled from the Wilson archives at the Harry Ransom Center, this is the first critical study of Wilson as a key figure of 1950s British theatre. Beginning with the often overlooked context of the Players' Theatre Club through to Wilson's relationship to industry figures such as Binkie Beaumont, Noel Coward and Ivor Novello, this study explores the work in the broader history of Soho gay culture. As well as a critical perspective on The Boy Friend, later works such as Divorce Me, Darling!, The Buccaneer and Valmouth are examined as well as uncompleted musical versions of Pygmalion and Goodbye to Berlin to give a comprehensive and original perspective on one of British theatre's most celebrated yet overlooked talents.

From the Parisian operettas of Jacques Offenbach in the 1850s to such current blockbuster musicals as Les Miserables and Rent, musical theatre has given joy to audiences throughout the world. This lively book -- an illustrated history of popular musical theatre -- provides a compendium of fascinating details about the origins and development of the genre over a century and a half.

Andrew Lamb moves from country to country, showing how different cultures interpreted and were influenced by different types of musical theatre. He examines, for example, the development of the European operetta style from French and Viennese works to such less-well-known schools as the Spanish zarzuela. He also traces the evolution of English-language works from the comic operas of Gilbert and Sullivan and American vaudevilles and extravaganzas to the latest Broadway and West End musicals. For each significant work he provides a brief description of the plot and references to the principal musical numbers. While his focus is on composers, librettists, and lyricists, he also gives information about principal performers, directors, and other creative influences. In a masterful way he conveys the differences between works of the same composer and works by various composers, and shows how they reflect changing cultural tastes and musical and dramatic conventions. Displaying a deep and wide-ranging expertise, this authoritative book is an invaluable resource for all lovers of the musical theatre.

Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Molnar, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Molnar to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy's "Soliloquy," and "You'll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve.

Throughout his life, German-Jewish composer Kurt Weill was fascinated by the idea of America. His European works depict America as a Capitalist dystopia. But in 1935, it became clear that Europe was no longer safe for Weill, and he set sail for New World, and his engagement with American culture shifted. From that point forward, most of his works concerned the idea of "America," whether celebrating her successes, or critiquing her shortcomings. As an outsider-turned-insider, Weill's insights into American culture were unique. He was keenly attuned to the difficult relationship America had with her immigrants, but was slower to grasp the subtleties of others, particularly those surrounding race relations, even though his works reveal that he was devoted to the idea of racial equality. The book treats Weill as a node in a transnational network of musicians, writers, artists, and other stage professionals, all of whom influenced each other. Weill sought out partners from a range of different sectors, including the Popular Front, spoken drama, and the commercial Broadway stage. His personal papers reveal his attempts to navigate not only the shifting tides of American culture, but the specific demands of his institutional and individual collaborators. In reframing Weill's relationship with immigration and nationality, the book also puts nuance contemporary ideas about the relationships of immigrants to their new homes, moving beyond ideas that such figures must either assimilate and abandon their previous identities, or resist the pull of their new home and stay true to their original culture.

(Applause Libretto Library). The final collaboration between Rodgers & Hammerstein was destined to become the world's most beloved musical. When a postulant proves too high-spirited for the religious life, she is dispatched to serve as governess for the seven children of a widowed naval captain. Her growing rapport with the youngsters, coupled with her generosity of spirit, gradually captures the heart of the stern captain, and they marry. Upon returning from their honeymoon they discover that Austria has been invaded by the Nazis, who demand the captain's immediate service in their navy. The family's narrow escape over the mountains to Switzerland on the eve of World War II provides one of the most thrilling and inspirational finales ever presented in the theatre. The motion picture version remains the most popular movie musical of all time.