Theatre Books

Don Greene is good at explaining how to utilize your "right brain" for performance purposes. It's harder to work through the material in book form, but if you can't get his CD or work with him personally, the book is great. I would definitely recommend it.

This book empnasizes on how to manage your fear, stress, emotion and all situations that will not let you perform adequately. Mr.Greene gives some good examples on how to use your right side of the brain, the place where everybody would love to be. Also there is a series of questions that will let you know at what level of performace you are at that moment, and according to the score, he tells you how to improve on it. So all you people out there looking for a book on self control in front of an audience, this is it!

I believe strongly that the key to winning an audition lies in identifying the stresses that affect all musicians and performing artists, and learning how to become more comfortable with your abilities by accepting both your strenths and weaknesses. Winning an audition is a game, and whatever you can do to prepare yourself psychologically is a help. This book categorises the psychological activity that accompanies the lead up to an audition or performance, and allows you to set up a regime of positive thinking and relaxation that will inspire you to achieve more from each of your successive performances. I think it is an absolutely essential addition to any serious musician who really is determined to pursue their dreams. Too many of us engage in "doomsday thinking", and don't allow ourselves to find out what we could really achieve if we just gave ourselves a fighting chance. Obviously you don't have to use everything in the book, but as a professional violinist, i highly recommend it to any of my colleagues who have problems focusing on achieving a good performance in the meager ten munites that we often have to prove ourselves.

This is a very good book for performance artists, not only for musicians. The strategies and exercises for performing at your optimal under situations of high pressure are effective. Nonetheless, sometimes I thought they were oversimplified. The exercises explained in the book DO work, however, I thought that the lenght of time proposed in the book to practice and master them are unrealistic. I don't think that after practicing and performing without an intense focus for many years I could just make it happen in one week by just practicing it a couple of minutes a day. I know it takes (at least to myself) many months even a couple of years to train my mind to be in the "here and now" every single minute I play. What this book did for me was to create a new awareness of how should I approach my practice time, what kind of exercises to do to be better prepared for a big event and what kind of mental state I should be pursuing in the moments leading to and during performance.

After spending my teens and twenties playing rock and roll, I began playing the cello at 29 and a decade later now play at a professional level. Along the way I have experienced plenty of psychological bruises in performance situations--which, thanks to this book, I learned were self-inflicted. "Performance Success" has provided me with plenty of "right-mind" ideas for dealing with performance anxiety, which I have tried out successfully on stage. If you've ever dealt with nerves before performances or auditions, this book is a must-read!

This is an excellent book for the THEATRICAL costumer. It has scaled down patterns. Suggestions on how to design for and work with a production director or producer. Recommendations on how to "fake" a look for a period so that it will appear correct AND be easy to get in and out of. Notations on points to consider.... i.e.: is this a stage production where the garment will only be seen at a distance? is this a screen production where certain portions of a garment will be super sized on a movie screen?...those sort of scenarios are played out and hashed over. For the historian, interested in period accuracy, this will probably not be of any practical use. This does however give insight into how to get modern fabrics and trims to look convincing. For the intermediate or advanced seamstress. For the daring beginner who isn't afraid of a challenge.

I believe that Jean Hunnisett has some of the best resources available to the modern dressmaker. I have been trying to find ways of making dresses of certain periods and this book takes a person step-by-step through how to make clothing; from corsets to crinolines to the actual dresses themselves. She shows how to make a variety of styles from one pattern and actually has scaled models of the patterns that are needed to make the articles of clothing. The only information that is not provided in the book is how and where to modify the pattern to make is fit someone that does not have her size. But with common sense and a little patience a person can figure it out. This book is a must for any costume designer or even the intrigued dressmaker looking for a challenge

I found this book educational and stimulating. Perhaps it's best feature was the combination of historical detail with instructions for practical application. The patterns can be a bit confusing, as can some of her terminology. Both of those hurdles can be overcome with a little patience. This is not a book for the beginning costumer, but I was able to utilize it very well at an intermediate level. For anyone interested in stage costuming technique I'd say this book is a must. It also contains detailed and illustrated instructions for fitting a bodice. WaHey!

i just recieved this book and i love it. I noticed that a couple of things were different because it was an english print but i thought it is one of the most resourcful books to have. i love to make period clothing from the victorian age and this book was a good source for me on clothing from that period.

This and all the other Jean Hunnisett Period Costume titles can be ordered directly from the publisher, Players Press, Inc., Studio City, CA for ONLY $59.00 each.

Despite performing in professional productions from the age of 11, despite a great high school theatre experience (thanks, JMO!), and despite a university degree in theatre, I suddenly realized how much I needed to know (but didn't!) when faced with my first high school directing job! I learned the director's craft and art from hard experience, from consultations with my own high school director (JMO again), and from reading everything I could get my hands on. This book would have saved me YEARS of trouble had it been available 'way back in the late 1970s!

David Grote knows his stuff. He has worked with actors of all ages and appreciates the special problems confronting the high school theatre director. His advice is solid, practical, and workable. He is, in short, eminently qualified to write on this subject.

If you can buy only one book on directing, buy this one. It's great--and a heck of a lot better than the textbook we used in my university-level directing course!

I bought this book the minute I read "The 7 Myths about Musicals. Myth #1: Musicals are fun." (He goes on the qualify that they are fun to watch and be in, but hard hard hard to direct.) I knew then I had found a kindred spirit, someone who loved theater with all his soul but wasn't sugar-coating all of the pettyness and brouhaha that accompany running a program in a high school. This guy is straight forward, no nonsense, and he believes that high school theater directors are real directors and should behave and be treated as such. His advice is smart, sharp, and on the mark. He includes very useful chapters on how to run and maintain a theater program and how to select plays. It is above and beyond better than any other "how to direct a high school play" book. Buy it, then tell all the theater teachers you know to buy it. This is the real thing.

A terrific work that "lays it on the line." I especially liked the sections about dealing with censorship in the high schools and the role of the high school musical in a drama program. An excellent work, worthy of being read by novices and experts alike.

I recently student produced the play Little Women at my high school for my senior project, and I wish that I had read this book before I put on the play. In it there are great suggestions for choosing a play, analyzing the script, prepairing for production, blocking, casting, rehearsal, acting and student actors, recurrent problems, directing the musical, and building a theater program. Everything Grote said I could identify with, and I nearly always agreed. In one section he gives great specific ideas for helping students understand how to portray their part, and I found this section particularly helpful. The only negative thing that I could say about the book is that in the chapter on "recurrent problems" he didn't metion the number one recurrent problem: personality conflicts between cast members! Which anyone ever involved in a drama program would know is nearly always a problem. Overall, however, this book was insiteful, and quite useful. I recommend it for anyone who will be directing a play in a school situation.

I read this book to get some new and different ideas for upgrading the Drama Dept in the HS where I teach, and it did not disappoint. While obviously not every suggestion will work in every school situation, the author's years of experience naturally lend themselves to some excellent advice. Of particular help to me where the chapters on how to run auditions, and how to select a play to perform. I highly recommend this book to all teachers and staff in the school setting who are responsible for theatrical productions.

Obviously, the writer, director, actors, composer, and musicians are in total control of their craft. The Plimoth Adventure seems to be a work of art. The music is a special treat, with a recurring theme, and a feeling distantly reminiscent of Vaughan Williams' "A Sea Symphony," and having the catchy pop sensibilities of Monteverdi's "Vespro della Beata Vergine." The background effects ring true, and these include sounds of ransacking, rowing, water rushing, snapping fires, raising anchors, background conversation in a tavern, seagulls, cannon fire, and a scary thunderstorm. The story, as related by a lively dialogue, concerns efforts of the dissenters to escape to Holland, soldiers in Holland threatening the dissenters, commentary regarding 12 years in Holland, plans to move to Virginia, problems with the Speedwell leaking, attempts to fix the Speedwell, and commentary on where to land in America, e.g., how to avoid shoals. An amusing episode concerns a ship employee who wanted to throw all the dissenters overboard, who got sick onboard and died, and who himself was thrown overboard.

In school, I did not enjoy the chapters about the Pilgrims. They were dry and boring. But, in this show I learned that they really did some brave things and I am kind of proud of them. Americans rock and so did the pigrims at Plymouth rock! (get it?)

I have to admit that I am a real buff of historical fiction. While this tape is historically correct, it remains both exciting and fun. We listened to it over the Thanksgiving holiday, and must admit that it added terrifically to the mood. We all really enjoyed it.

I currently have two children that I am educating at home. There is a significant age spread between the two, but one thing is for certain, both really enjoyed this tape, and both learned allot. This audio tape told a very exciting story of the Pilgrims hardships prior to their sailing to the new world. While most of us know the basics, this tape covered more unknown details. It has a full cast and music score, with lots of sound effects to make it interesting, kind of like how old time radio shows did it. We highly recommend this tape for people who enjoy american history. I only wonder when the colonial radio will continue the story with another tape. It would be great to hear their version of the first thanksgiving and how Squanto effected the first settlement of Plymouth.

The writer, director, actors, composer, and musicians are in total control of their craft. The Plimoth Adventure seems to be a work of art. The actors are articulate, and it is easy to discern or understand every word. The music is a special treat, with a recurring theme, and a feeling distantly reminiscent of Vaughan Williams' "A Sea Symphony," and having the catchy pop sensibilities of Monteverdi's "Vespro della Beata Vergine." The background effects ring true, and these include sounds of ransacking, rowing, water rushing, snapping fires, raising anchors, background conversation in a tavern, seagulls, cannon fire, and a scary thunderstorm. The story, as related by a lively dialogue, concerns efforts of the dissenters to escape to Holland, soldiers in Holland threatening the dissenters, commentary regarding 12 years in Holland, plans to move to Virginia, problems with the Speedwell leaking, attempts to fix the Speedwell, and commentary on where to land in America, e.g., how to avoid shoals. An amusing episode concerns a ship employee who wanted to throw all the dissenters overboard, who got sick onboard and died, and who himself was thrown overboard.

A play written by Niel Simon is always expected to have some kind of comedy characters in them. This play is poisitvely one of those plays. Although, his characters go through struggles: such as keeping his own job, finding a job, or just getting exercise in the park. These characters are very depressing and fun to laugh with. The actual written words aren't funny, just the situations, which makes it that much more hilarious. This play only consists of two main characters and 4 cameo roles. Along with some one liner characters. I, myself, starred as Mr. edison (mel) in the LHHS poduction of The prisoner of second avenue. And let me tell you, the lines are very hard to get down. Although they are very smart, well thought out, and overall a great read/play/performance. GREAT COLLEGE/HIGHSCHOOL material for a festival, competition, or just a play that is going to be reviewed. Although i do warn you, it has A TON of cuss words.

B+ book/play

This is a neat, excellent work by Neil Simon.

For those who may be taking Drama or Theatre courses, if that class requires you to have to analyze or write a synopsis of a play or drama, The Prisoner of 2nd Avenue is a plus. Simon wrote a funny with a dramatic twist and for those who need a monologue, The Prisoner of 2nd Avenue has a ton that work very well with judges as Ive been told, and as Ive learned. ITS A CLASSIC!

I can see why it was nominated for a Grammy!!! I absolutely love Dreyfuss and Mason. I couldn't stop listening to the play and I was so "into" it!!!

I can see why The Prisoner of Second Avenue got a Grammy nomination. Marsha Mason and Richard Dreyfuss have great chemistry and give top notch performances. A fabulous listen with plenty of laughs. Not to be missed!

What sets this autobiography of the great Broadway composer Charles Strouse apart from other "and then I wrote" memoirs, is that although Mr. Strouse gives plenty of fascinating info on the what, who and where of his career, his main focus is on how it felt to create those shows, work with those people, and live that life. So the reader is drawn in and effortlessly identifies with him, coming away with the experience of a life lived in musical theatre. The only curious element is that, although his portraits of famous collaborators like Arthur Laurents, Alan Jay Lerner and Sammy Davis, Jr. are quite vivid, we are left with only a shadowy outline of Lee Adams, who wrote the lyrics to many of his most famous shows, such as "Bye Bye Birdie" and "Applause."

A truly enjoyable and quick read. Many insights are offered into the world of Broadway musicals. Strouse reveals several things about himself that are very interesting. Some Broadway writers,producers, etc. really come off as horse's a---s. Like the bit where he ways he has made more money than he can spend. Was sorry that it wasn't longer!

A must-read for all fans of musical theatre, this heart-warming candid and funny autobiography provides a fascinating look into the world of showbusiness. Charles Strouse writes candidly about his ups-and-downs in showbusiness, the nagging insecurities that have followed him throughout his career and of course provides juicy tidbits about Teresa Stratas, Arthur Laurents, Leondard Bernstein and more.

Well written, funny as hell, and eminently readable "Put On a Happy Face" is as entertaining as any of Charles Strouse's best shows. In this book, whose title is taken from one of his many standards, Strouse takes us on a journey through the Broadway musical theater of the last fifty years. Along the way we meet the legends with whom he has worked (and with whom he has occasionally battled): David Merrick, Mel Brooks, Lauren Bacall, Dick Van Dyke, Gower Champion, Joshua Logan, Mike Nichols, Arthur Laurents, Alan Jay Lerner. He demonstrates how tough it is to write a musical and how much tougher it is to get it produced, only to have the critics break your heart. But he also shows the exhilaration and thrills when the show is a smash hit, like Bye Bye Birdie, Applause, or Annie.He clears up the confusion regarding his (and Lee Adams') contributions to Hello, Dolly!, especially laying to rest once and for all (one hopes) the rumors concerning the true authorship of "Before the Parade Passes By."
Strouse has had a fabulous career. Besides the hit shows, so many of his songs have become standards: "Tomorrow," "You've Got Possibilities," "Once Upon a Time," "Kids," "A Lot of Livin' To Do," and others. Buffs worship his score for Rags. His title song for Dance a Little Closer is gorgeous. His theme song for All in the Family --- "Those Were the Days" is one of the best known tv themes ever. If you analyze "The Telephone Hour" measure by measure, you will be astonished by the musicianship. In person, Charles Strouse is warm, gracious, and, to borrow the title of one of his songs, a "perfect gentleman." All that talent and honest personality come through in the pages of this book.
Don't miss it.

Charles Strouse is one of the last of a generation of great tune smiths. Broadway composers who could, as Richard Rodgers said, "piss good melodies." No matter what the show, Strouse could be counted upon to come up with great singable, hummable and even memorable tunes. He didn't always have hit shows, but when he did they were shows like Bye Bye Birde and Annie. This book tells a lot about the hits and also offers some wonderful anecdotes and insights into the various flops. Strouse isn't afraid to say what is one his mind and ruffle some feathers. The sections on Golden Boy and Sammy Davis Jr. and especially the Nick and Nora chapter that tells us more than we knew about Arthur Laurents are especially tasty. Unlike many memoirs, Charles personal life is handled very well and I was not bored for a second at the part I usually like to skip: the childhood. Charles ties it all in to his career and how the music was made and where it came from. One of the best memoirs to come down the pike in a while. Highly recommended to anyone interested in theatre, music or film.

This book is brilliant! It is the best acting lesson on interpreting the Bard you could ever receive. And one of the best cases yet for a bucket of cold water in the faces of Oxfordians everywhere. Tucker's approach proves that only an actor could have written these works.

This book explains how to "read" Shakespeare easily. (Actually, it's about how to act his plays, but the ideas can equally well be used to simply read the plays with greater appreciation.) The method presented is quite easy and it makes the plays come to life. I wish I had this book 25 years ago when I studied Shakespeare in school.

I have just started this book, but already I want to read Shakespeare's plays again to see what I missed - and I missed plenty. You also begin to understand why Shakespeare was a great play-writer, why his works have stood the test of time while the other writers of his age have withered away.

Some of the interesting observerations: Thee vs. You has real significance (the former is intimitate while the latter is formal), why he writes in prose sometimes, the significance of the iambic pentameter (di-dum, etc.).

The author also dispels a myth that English spoken in Shakespeare's time was hard compared to today. Rather Shakespeare's words were always harder than the common speak of the day, yet his plays were able to be well understood because of the "clues" presented in the writing, which made the actors act the part correctly, thus making the language easier to understand. Don't worry if you did not fully this last paragraph. The book will explain all.

And, soon you'll be able to turn the pages of a Shakespeare play faster than that of a John Grisham novel.

The most significant aspect of this book is Tucker's imperative respect for the First Folios. These earliest of Shakespearean texts, which feature spelling errors and a messier type set, offer and the book tries and proves over and over, the best acting/performance texts.

The distinction between acting/performance texts and scholastic/reading ones is essential, as Tucker again and again subverts the modern editions of Shakespeare, and the editors, who continually add and make scholastic/academic assumption as to the intent of the texts. These editors reduce the active nature of the texts and "regularize" over and over what the original actors had to work with.

Through the Original Shakespeare Company, which he co-founded, Tucker and his actors approach the texts as the actors who originated them did. This was by using no rehearsal time, and giving each actor only the texts they speak and the appropriate cue lines, allowing for a spontaneous and urgent playmaking which heightens the already heightened Shakespeare.

Through this approach, which originally was one of practicality, the actors tasks are enhanced. Listening becomes that much more important, as do the choices each actor must make based soley on the texts which are devoid of modern directions and edits; such as to who to speak to, whether or not a speech is an aside, particular capitalization and punctuation and stage business.

For anyone who performs Shakespeare this is a terrific book. As well for directors this may even be better. Tucker breaks down the "original approach" in the early part of the book. Then spends the largest chunk detailing the experiments he and his company made with this approach, beginning with scenes through full text performances. There is then a terrific section devoted to particular ways of finding the secrets in the text, and the associated choices one can make on stage.

While the section about the details of the company's performances is too long and sometimes repetative, the book is a revelation. Anyone willing to try this style would surely feel the difference, as an audience would too.By scrapping the modern trappings of what theatre is, to reduce it to it's leanest and most energetic, magnetic form in the use of the phenomenal texts of Shakespeare can realize the power of theatre and clarify it's immortal importance and necessity.

I really wish my teachers had this book when I was in school. It would have made Shakespeare so much more fun to study. Going back to Shakespeare after reading Secrets of Acting Shakespeare, you can actualy see the stage directions with every word Shakespeare writes. When you know the stage directions Shakespeare wrote into his texts, Shakespeare's works become so much more fun to read. Patrick takes you through the way Shakespeare's plays were performed when Shakespeare was still alive, and leads you through the discoveries Patrick's actors made when he and his theater company started performing Shakespeare's plays the way Shakespeare wanted it done. Needless to say, this book is the best book on Shakespearian Acting I've ever read, and would recommend it to anyone who's even slightly interested in the Bard's works. I would also recommend Patrick Tucker's First Folio Monologue books for men and women. They're a crash course in the work Patrick covered in Secrets of Acting Shakespeare, and a great way to sink your teeth into Patrick's ideas.

-Christian, Improvactor.com

This is an exciting book about how Shakespeare's plays actually got on to the stage. The actors then were hardworking, often doing a different play each night, and there was no time for rehearsal as we know it today.
The actors learnt their parts from cue scripts, long scrolls showing the last few words of the previous speech and then their own. They had to be extra attentive or they might miss their entry. The Book-holder, or prompt, was the only person to have the entire text (a valuable document you didn't want anybody else to steal, no copyright in those days) was prominently on stage to see that things went right and, if a prompt was needed, it was given openly. The audience accepted this as part of the performance though anybody needing too many prompts would doubtless get some barracking.
The author, who clearly has a science background and knows how to present a logical case, shows that all the information needed is in the First Folio which is an actors' tool, not a dead piece of Eng Lit. 'you', 'thou' and 'thee' are not interchangeable but actually tell the actor where to stand in relation to others on the stage. Modern editions of Shakespeare have tidied the text up to be read by students; the First Folio had lines, half lines, capital letters in odd places, strange commas; but all actually telling the actor what to do.
The author has been working as a director for the last forty years or so and has refined his theories on the job. He has run The Original Shakespeare Company with many successful productions using his methods. He is wildly popular with his actors and the few productions he was allowed to do at The Globe, London, were sold out and enthusiastically received.
The academic world and theatre establishment are not so happy to see their entrenched theories challenged; and it must be extra annoying that he writes so well and is such a pleasure to read.

On one level this is a carefully researched study of how Shakespeare's plays were translated, adapted, staged and critiqued on American Yiddish stages. For this alone Berkowitz's study is worthwhile, but his passion for his subject, and the wit and flair with which he expresses himself, turn his research into compelling reading. Berkowitz paints the picture of a world in which theater fed the souls not only of intellectuals, but of the working-class spectators who dominated Yiddish audiences. He writes about these audiences with sensitivity and respect, and vividly brings their world to life. I will not give away his conclusions here, but suffice it to say that they are thought-provoking. I highly recommend this beautifully written, passionately argued work of cultural history.

Although this study focuses on Yiddish productions of Shakespeare, it reaches beyond that specific topic to tell several stories at once. One is the story of the development of the professional Yiddish theater. Berkowitz gives a concise explanation of how this arose, both in Europe and in the United States, and vividly describes the Yiddish theater scene on the Lower East Side around the turn of the 20th century. A second story within that story is what he teaches us about Yiddish audiences; the book is filled with fascinating documentation of their responses to these productions. More broadly, he tells the story of the East European Jewish immigrants who came to America in huge numbers in the late 19th and early 20th centuries, for their experiences were reflected in the plays they attended, and Yiddish playwrights used Shakespeare to address issues like generational conflict, assimilation, etc. This book should become an instant classic for anyone interested in any facet of Yiddish culture!

When a friend gave me this book, my first reaction was, "Great subject, handsome book--but too scholarly for my blood." Once I started leafing through it, though, I couldn't put it down. Berkowitz writes with flair, and manages to entertain and instruct at the same time. He starts by bringing the reader into the world of late 19th century Yiddish theater in New York City. He vividly describes the theater buildings, the audiences, the actors and the playwrights who made the Lower East Side such a hotbed of activity. Then he takes us on a fascinating ride, organized around the Shakespeare plays that were most successful in Yiddish. This book should be a must on everybody's reading list this summer!

At last, a work of substantial scholarship that can not only enlighten, but actually entertain, the lay reader! For those of you intimidated by the Bard, don't despair; Berkowitz wears his considerable learning lightly, and demonstrates with style and wit how Yiddish playwrights turned to Shakespeare in an effort to "legitimize" the American Yiddish stage. "Shakespeare on the American Stage" benefits from the author's extensive work with contemporary scripts, newspapers, memoirs, and other sources. More importantly, it tells a compelling story of American Jewish immigrants through the prism of the theater--a real treat!

Mr. Berkowitz takes the reader back to the Lower East Side starting roughly 125 years ago to introduce us to the bustling, experimental world where Jewish immigrants controversially sought to achieve credibility for their beloved theater by adapting the works of the most renowned playwright. Audiences packed houses to see the thespianic greats outdo each other in Shakespeare's finest roles. Mr. Berkowitz invokes the aid of play advertisements and theater critics' first-hand accounts in a story about Shakespeare nearly as entertaining as a Shakespearean story.

This book is an excellent achievement for the writer, Craig Zadan, and a thoroughly entertaining and absorbing experience for the reader. Stephen Sondheim, to his credit, remains an ever-enigmatic figure at the end of the book as he is at the beginning. What you do comprehend by the end of the book is how brilliant Sondheim is, and how unique! Reading about his shows will make you want to purchase all of the cast recordings if you don't have them already.

This book blows all the other books on Sondheim out of the water. There is a piece of information everywhere, whether it is in the caption for the picture, or the well constructed paragraphs. Zadan interviews all the right people. But this does not focus on just his shows. Spread out amongst the chapters are interesting chapters on the many aspects of making a musical. Also, there is not a full length chapter on "Into the woods". It just disscusses Lapine's and Sondheim's Ideas for the show, most of which actually happened. It has a small section in the chapter "Perniptual anticipation", which covers future plans for Sondheim. This should be hunted down, because it is well worth the hunt.

A must have book for Sondheim fans. However, many reasonably priced hardcover copies in excellent condition are available at much lower prices ($8-$20 range) than these ridiculous collector prices ($35 at time of this post) for the softcover here. The 1986 edition in hardcover is the same content that is in the softcover with better production. So why pay more for less? It covers Pacific Overtures, Sweeny Todd, Merrily We Roll Along, Sunday in the Park With George, Sondheim Evening, Follies Concert and early discussions of Into The Woods not in the original 1974 edition.

Buy the book!(No intended reference to "Ellen") Well written and infomative, this book is best read after seeing or hearing one of your favorite Sondheim shows... (I know, it's hard to choose.)Unfortunately, doesn't have sections on "Assassins," "Passion," or "Wi$e Guy$," but the "Into the Woods" section is beautiful, as are the extensive B&W pics.(No, it's not a railroad-Black and White) One last note: Sondheim and Lapine, as well as many of their actors and actresses, are interviewed and written about, a rarity in a business where tabloids dominate.

This is by far the best book written about Stephen Sondheim. Unfortunately it only goes so far as Into The Woods from 1987. Zadan uses candid quotes and photos with an often surprising honesty. I know this book is often said to be unavailable, but I tell you it's still out there. And it's worth the look. Don't go anywhere near Meryle Secrest's new book on Sondheim.

I'm not going to wax poetic but this is the PERFECT textbook for my high school musical theatre class. It is written at a level that is accessible to students but doesn't pander. It is well researched and informative but still includes occasional editorial comments that remind us that the author is human and really does have a personality. I appreciate the fact that the book is relatively short and will not overwhelm someone who just picks it up and wants to travel chronologically through the history of the American musical. Obviously, Miller's book is not exhaustive and he admits this up front. He doesn't waste time talking about musicals that weren't socially or theatrically important or influential (The Sound of Music) but also touches on a few groundbreaking but relatively underrated shows like Little Johnny Jones. The best thing about this book is that Miller takes a decade like the 1940s (arguably one of the most rich and influential periods in musical theatre) and gives us the basics in fifteen pages. But he hits ALL the high points. That book is such a great jumping off point for so many great discussions because Miller really does a good job showing the *development* of musical theatre and its connectivity to their contemporaneous social and political conditions. Overall, this is just a refreshing and sophisticated rendering of musical theatre that doesn't get bogged down in trivialities or tangents. Miller keeps moving and consequently, keeps us looking forward. THANK YOU!

My ONLY two complaints... Miller considers Porgy and Bess an opera and therefore omits it entirely. Also, I wish there was a hardcover edition.... as a textbook, the paperbacks will not stand up well to the abuse of high school students :)

Great turn-around time. Arrived quickly and in great condition. Would buy from them again!!

Thanks!!

This is a very clever and insightful distilled overview, and as a performer I appreciate his experience as a performer, director and producer all of which informs his deep academic research. He has a strong, unapologetic author's viewpoint which makes for more interesting reading.

I have read and enjoyed Scott Miller's past books and "Strike Up the Band" is a worthy addition to his output (though I have to admit that I have only read about three-fourths as of this writing). Miller writes interestingly and informatively about composers, works and, especially, helps the reader relate the musical art form to the social and political environment that its history mirrors. I plan to use the book as a text for a class I will be teaching next year.


The above notwithstanding, I did see evidence of sloppy editing, e.g. "Juilliard" not "Julliard"; "Antonio" not "Anthony" Banderas" and vocal "cords" not "chords"), and I regret that my students will not have the benefit of a bibliography with which to expand their scholarly curiosity.

Starting with the first page entitled, "The Overture", this book instantly captures your interest and compels you to read on to find out what each consecutive chapter contains. Scott Miller's words make every era, from the early 1900's up to the present time, an exciting journey through the history of musical theatre. I liked the fact that he integrated into his book what was going on in the world at the time the musicals were produced. Reading about my old favorites, "Oklahoma", "The King and I" and "South Pacific" was pure fun, but learning about one of the newer musicals, "Urinetown", was not only fun, but enlightening. I've read all his previous books, but this one tops them all!