Talkin’ Broadway: Book Reviews – On Sondheim: An Opinionated Guide by Ethan Mordden

Originally published on TalkinBroadway.com.

On SondheimIn Passion, Fosca sings, “If you have no expectations, you can never have a disappointment.” These are wise words to bring with you to Ethan Mordden’s latest book, On Sondheim: An Opinionated Guide. Judging by its title, you might expect the book to provide a complete listing of Sondheim’s output with the author’s assessments of same, but it is oddly inadequate as both opinion and guide. The book immediately shirks its guide obligations by referring readers on the very first page to SondheimGuide.com (without a mention of Michael H. Hutchins, the man responsible for putting it together). It falls short in the opinion arena as well, offering far fewer than the title implies and hardly any that might register as controversial. And yet, taken on its own terms it offers pleasures for both the Sondheim expert and newbie alike.

Mordden knows his subject well, but he occasionally lets that get the better of him. Acknowledging in his preface that he generally did not consult other books on his subject in the writing of this one, he lets the occasional misstatement slip through. Mordden’s prose style is characterized by an awkward combination of SAT words (“manumission,” “equiponderant”) and slang (relating an artistic disagreement as a “hard-on contest,” or describing the opening scene of My Fair Lady as “an Instagram of the show’s analysis of class”). A quick poll of acquaintances who have read other Mordden uncovers that this is a common quirk of his writing about musicals, and the percentage of those who hate it is fairly close to those who adore it.  Continue reading

Talkin’ Broadway: Book Reviews – The Great White Way: Race and the Broadway Musical by Warren Hoffman and Black Broadway: African Americans on the Great White Way by Stewart F. Lane

Originally published on TalkinBroadway.com.

The Great White WayIf you dive into Warren Hoffman’s The Great White Way: Race and the Broadway Musical expecting it to be a catalog of minorities on stage, you might want to take a second look at the title. Hoffman’s book does indeed cover shows like Show Boat and Flower Drum Song, which focus on the experience of minorities in this country, and it takes a look at all-black productions of traditionally white shows like Hello, Dolly! and Guys and Dolls. But Hoffman is quick to point out that an understanding of race and the Broadway musical can’t possibly be complete without an attempt to understand Whiteness on stage as well. Hoffman asks readers to consider not only what shows like West Side Story (which place white characters in opposition to characters of other races) might have to say about being white, but also to focus on shows like The Music Man and 42nd Street, which white audiences have typically seen as “not about race.” The Great White Way provides an enlightening experience with the potential to open the reader to radical reconsideration of classic and contemporary shows alike. Continue reading

Heeb Reviews That Gay Erotic Hanukkah Fiction You Were Probably Looking For

Originally published on Heeb.

Look, I’m a defender of the Chanukkah Bush, the Mench on the Bench, or any other stupid crap that makes our sorry little holidays feel a little more festive. (I mean, I actually think the Mench on the Bench / Elf on the Shelf is the creepiest surveillance state for kids bullshit ever, but you know what I mean.) But you know what exactly zero Jewish people put on their wish lists? Chanukkah-themed gay erotic fiction. And yet, it turns out that Loose Id, a California-based publisher of sexy eBooks, has been churning out exactly that for a number of years, boasting a collection of ten titles that are currently on sale for 18% off (get it?) now through Christmas.

To be perfectly fair to Loose Id, despite being a gay Jewish dude, I am not the target audience for these books, which were all written by women and seem to be intended for a female audience. So when I tell you that I read all or part of books by five different writers and didn’t so much as pop a boner (do people still say that in 2014?) once, take that in stride. For comparison, I have been known to feel my pants tighten at a well-shot car insurance commercial.

“But how do you know these stories aren’t intended for gay dudes?” I hear you ask. Continue reading

Talkin’ Broadway: Book Reviews – The Untold Stories of Broadway

Originally published on TalkinBroadway.com.

Untold StoriesHistory, as we all learned from Stephen Sondheim’s “Someone in a Tree,” is shaped as much by the storytellers as it is by the story. Herein lies both the charm and the challenge of The Untold Stories of Broadway by Jennifer Ashley Tepper, the first in a projected four volumes of “tales from the world’s most famous theaters.” Tepper, armed with little more than a tape recorder and chutzpah, interviewed over 200 Broadway professionals, including actors, writers, musicians, designers, stagehands, producers, ushers and doormen, to create this oral history of Broadway organized by theater.

For those unfamiliar with Ms. Tepper, she is the 28-year-old director of programming at 54 Below, and the Millennial most likely to be dubbed Mayor of Broadway when it’s time for that title to pass to her generation. Between assisting Michael Berresse on the Broadway production of [title of show], working for Davenport Theatricals on shows such as Godspell and Macbeth, and producing a variety of beloved concert series including If It Only Even Runs A Minute (celebrating Broadway’s flops), Once Upon a Time in New York City (featuring new songs by Broadway composers reflecting on their relationship with the city), and the Joe Iconis & Family shows, it seems like Jennifer is everywhere and knows everybody.  Continue reading

The Sondheim Review: It’s Their Time – Author Weaves ‘Merrily’ Into A Young Adult Novel

Originally published in The Sondheim Review, Spring 2014

The Reece Malcolm ListStephen Sondheim’s influence occasionally pops up in the most surprising of places. Having already made an impression on punk music (e.g. the album Punk Side Story), Ben Affleck (who performs “God, That’s Good” in the film Jersey Girl), and My Little Pony (which features numbers that resemble Sondheim’s work), a Sondheim-infused young adult novel is hardly surprising, but in the form of The Reece Malcolm List by Amy Spaulding, it’s unquestionably delightful.

Readers of The Sondheim Review are likely to recognize the book’s heroine and narrator: a teen more familiar with the ins and outs of high school show choir than athletics, with an iPod full of original cast albums and more Playbills than friends. Devan Mitchell has always been a bit of an outsider, with only one close friend and a strained relationship with her dad and step-mother. Having stumbled onto her mother’s identity when reading the dedication of author Reece Malcolm‘s first New York Times bestseller – clearly aimed at her – Devan begins the titular list to uncover whatever she can about her famous (and famously “un-Googleable”) mother. When Devan’s father dies in a car accident and she’s shipped off to Burbank, CA to live with the mother she’s never met, the quest to know more about the mysterious Reece Malcolm intensifies. Continue reading

Talkin’ Broadway: Book Reviews – Nothing Like a Dame

Originally published on TalkinBroadway.com

Nothing Like A DameEddie Shapiro is best known for bringing out the gaiety at the Happiest Place on Earth as the co-author of Queens in the Kingdom: The Ultimate Gay and Lesbian Guide to the Disney Theme Parks and the producer of Gay Days at Disneyland. His latest book, Nothing Like A Dame, focuses on a different kind of royalty: twenty-one of Broadway’s leading ladies, every one of them a Tony Award winner, encompassing over sixty years of Broadway history, from Carol Channing, whose debut was in Let’s Face It in 1941, to those opening in shows this season like Idina Menzel and Sutton Foster. (Twenty interviews appear in the book proper. A bonus chapter about Tonya Pinkins is available as a download from the book’s website.)

Subtitled “Conversations with the Great Women of Musical Theater,” Shapiro’s book delivers exactly what the title promises: interviews with (mostly) above-the-title stars, presented as straightforward Q&As. While there are only a couple of notable omissions (Bernadette Peters being the most obvious), the book makes no attempt to be encyclopedic. In fact, in his introduction, Shapiro acknowledges that many of these women have written their own memoirs (or, in the case of Elaine Stritch and Chita Rivera, performed in autobiographical Broadway shows) and, rather than attempt to retell the same stories, he hoped to complement and expand upon what they’ve already offered about themselves. Given that approach, this book might not be the most accessible to casual theatergoers. If shows like Call Me Madam and Kiss of the Spider Woman or names like Graciela Daniele and Gwen Verdon send you running to Google, you may find the reading experience challenging. Continue reading

Talkin’ Broadway: Book Review – Newsies: Stories of the Unlikely Broadway Hit

Originally published on TalkinBroadway.com.

Newsies: Stories of the Unlikely Broadway HitThere’s an entire genre of books detailing the “making of” Broadway musicals from idea to opening night, and it’s not hard to understand why. Few musicals spring forth fully formed from the minds of their creators, no matter how perfect the final product. The collaborative nature of theater, and musical theater in particular, ensures that the birthing process involves disparate artists hoping to merge their individual visions into one production, and their individual personalities into a team. When the unified vision, or the team, fails to coalesce, you may end up with a Spider-Man: Turn Off the Dark situation, where the creative differences and the backstabbing combined to make a narrative more interesting than the show itself. But as Newsies: Stories of the Unlikely Broadway Hit demonstrates, even a relatively smooth creative process can make for a good read. Taking the form of an oral history, including diverse voices from the property’s history brought together by editor (and Newsies dramaturg) Ken Cerniglia, this new addition to the genre makes an entertaining and informative read, whether you’re a “Fansie” or not.

If the word “Fansie”—that’s what Newsies fandom has dubbed itself—causes you to make involuntary gagging noises, don’t worry. Although this book might look at first glance like an elaborate souvenir program pandering to teenage girls, the “Fansie” content is limited to a few interstitial pages of fan-submitted photos and quotes about how the film or the show affected their lives. Well, that’s only half true, for one of the biggest revelations of the book is how many members of the team that brought Newsies to Broadway, from management to designers to (especially) the dancers, were inspired by the original film to pursue careers in the arts. Continue reading

The Craptacular: Remedial Queens: The Making Of Chronicles

Originally published on The Craptacular.

The Making-Of Chronicles

I’m not sure when gift cards became a controversial gift (are they lazy? are they thoughtless?) because frankly, I think they’re the actual best. Seriously. The only thing better than money, is money that comes with the explicit designation that it can only be used for a particular kind of frivolity. When I was younger, gift cards meant one thing: cast album binge! But as I’ve matured (and acquired a Spotify Premium account), I find myself more and more drawn to filling my bookshelves (and my Kindle library) with books about our collective favorite obsession: Broadway musicals.

Actually, there is a particular sub-genre of books about Broadway that I love most, and that’s the Making-Of Chronicle. (This should come to no surprise, given that you are currently reading a column I write about the history of Broadway musicals.) Like a good Behind the Music episode, the best of these manage to break through the necessary conventions of the form to bring to life the dramas behind the drama and the personalities that gave birth to the shows we love – or occasionally, the shows we love to hate.

Right now, the Making-Of Chronicle spotted most frequently on the subway is Glen Berger’s Song of Spider-Man. Certainly, Spider-Man: Turn Off the Dark has all the elements of a great making-of story: huge personalities, high stakes, and a disastrous journey from idea to opening night. I haven’t seen any version of the Spider-Man musical, but I will admit that reading the book makes me want to try to catch it before it closes on January 4th. Berger, the show’s book writer, acknowledges from the start that he can’t really create any sort of distance from the events he documents, and you may find his editorializing and finger-pointing exciting or exasperating, depending on your tolerance for that sort of thing.

But if you’re like me (or aspire to be), you’re probably more interested in Chronicles of shows long gone than documents of disasters still running (however fleetingly) on Broadway. So here’s five suggestions to add to your Amazon Wish List today, so you can order them with your gift cards on Christmas morning. I can’t claim to have read every “Making-Of” book. Hell, I can’t even claim to have read every “Making-Of” book currently sitting on my bookshelves… or even on this list. But these are the five (plus one honorable mention) that spring to mind first when the subject comes up, and you won’t go wrong starting with any one of them. Continue reading

The Craptacular: Remedial Queens: The Five “Bs” of Bob Fosse

Originally published on The Craptacular.

Even though Bob Fosse’s been dead longer than many of our readers have been alive, I can’t imagine that anyone here doesn’t have at least a passing familiarity with his work. After all, two of his signature shows (Pippin and Chicago) are currently running on Broadway, each in a hit revival received even more enthusiastically than the original. And what do those revivals have in common? Both took great pains to create choreography “in the style of Bob Fosse,” including recreating Fosse’s own steps for big numbers in each – “The Manson Trio” (the dance break in “Glory”) in Pippin and “Hot Honey Rag” in Chicago. With no disrespect to the other great choreographers of Broadway, while original dances from De Mille, Robbins, and Bennett have been recreated, no one else created a style so recognizable and enviable that people today still strive to work (and market their work as) “in the style of” anyone other than Fosse.

Given Fosse’s enduring popularity and fascinating personal life—more on that in a sec—I predict that Sam Wasson’s excellent new biography will be as in demand as Pippin tickets. The 700-page opus takes us from Fosse’s funeral back to his childhood dancing in the slimiest burlesque houses Chicago had to offer, through the romances and bromances of the showman who made history as the first (and still only) to win the best director Oscar, Tony, and Emmy awards all within a year. Continue reading

It’s delightful, it’s delicious, it’s dlevy! Vagina by Naomi Wolf

Originally published on It’s delightful, it’s delicious, it’s dlevy!

 

I’ve started reading Vagina by Naomi Wolf.

Toward the end of her introduction, she offers something of an apology for her handling of the book’s subject matter entirely from a heterosexual point of view. She suggests that it was not a matter of heterosexism (although she doesn’t use that term) as much as it was an acknowledgement that lesbian and bisexual women’s experience of their vaginas (in general) and sex (in particular) merit their own handling rather than being lumped together under one rubric.

I understand what she’s saying here, but I’m not sure if the argument that by lumping them together, lesbian and bisexual women’s experiences would necessarily become the afterthought is accurate. They become the afterthought because the author privileges the heterosexual experience. Is lesbian and bisexual experience of body and sex and sexuality so different that the book would balloon beyond a reasonable scope should they be included? I’m certainly not the one to say.

But even if you accept her argument, I’m not sure that it should give her the free pass to write the rest of the book as though lesbian and bisexual women certainly don’t exist. I am fairly certain that a responsible author can cordon off a section of the topic as out of scope without pretending it doesn’t exist. The heterosexism of the language is incredibly off-putting for me, and the apology in the introduction intensifies my feelings rather than mollifying them.

Wolf’s complete erasure of transgender people (who, surely, have a lot to add to a conversation about vaginas) is further troubling, since she doesn’t even acknowledge their existence. I can absolutely understand why the myriad was vaginas and embodiment in general for transgender people—those of various genders who have vaginas as well as transgender women who don’t have vaginas—interrogate, challenge, and threaten Wolf’s hypotheses. But simply writing them out of existence without so much as a half-assed apology makes me angry, and it makes it difficult for me to read the rest of the book without their absence informing my reading.

I am not the target audience of this book by any measure. I’m only a few chapters in, and it’s already clear that this book is written for the same audience that made Eve Ensler’s The Vagina Monologues a hit. Things that I take for granted as obvious parts of the human experience (e.g. “Women’s bodies are different from each other, so one woman’s experience of her own vagina might not match another woman’s experience of her own vagina.”) are presented as great revelations. Maybe there are a great deal of women in America who just assume that their own experience of, well, anything, can automatically be generalized to all women everywhere ever. But I thought by 2012 we had all moved past that.

There a lot of book left to devour, so stay tuned for further updates. After the first page or two I tweeted that it’s hard to read this book without live-tweeting the experience, and I wasn’t kidding. Whether I’m frustrated or intrigued, this is the kind of book that calls out for the reader to say to anyone who will listen, “would you believe this?!” And isn’t that what Tumblr’s best at anyway?