The story of a pivotal 10 years in American musical theater, limned by one of its most skillful historians. The second volume in a decade-by-decade history of the Broadway musical by the prolific film historian and novelist Mordden (The Venice Adriana, 1998, etc.), this account makes an excellent companion to its immediate predecessor, Make Believe: The Broadway Musical in the 1920s (not reviewed). Given the general silliness of the ’20s musical, especially when placed alongside the works of a decade dominated by Rodgers and Hammerstein and such other major voices as Bernstein, Loesser, and Sondheim, the juxtaposition may seem odd. Yet it’s precisely because the music has traveled so far in so little time that Mordden’s analysis in the new book compels and satisfies our craving. The 1950s represents “the fourth decade of [the genre’s] golden age,” and also the last. As Mordden ruefully notes in his concluding chapter, rock music would arrive shortly to displace Broadway as the primary source of the common coin of American popular music. But until then, the Broadway musical enjoyed a glorious ascendancy, buoyed by the freedom hurled into the form by Rodgers and Hammerstein, whose pervasive influence runs through both the book and the decade. As a result, the ’50s was a period when “no one knew what the rules were any more” and theatrical creators were able to experiment with darker materials, adapting such unlikely sources as Sean O’Casey (Juno) and Homer (The Golden Apple). The results weren—t always sparkling, but Mordden grasps why the great ones worked and the lesser ones didn—t. His analysis is always intelligent and well put, although the tone of Roses is a bit less flashy than his very best writing. A must for any fan or student of musical theater.
Pub Date: Sept. 1, 1998
ISBN: 0-19-511710-7
Page Count: 272
Publisher: Oxford Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1998
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.
Pub Date: Feb. 23, 1955
ISBN: 0670717797
Page Count: -
Publisher: Viking
Review Posted Online: Oct. 25, 2011
Kirkus Reviews Issue: Feb. 1, 1955
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