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Ever After: The Last Years of Musical Theater and Beyond

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ISBN 10: 1557835292 / ISBN 13: 9781557835291
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Title: Ever After: The Last Years of Musical ...

Book Condition:New

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(Applause Books). Ever After is more than a detailed show-by-show history of the last quarter century in American musical theater. It explains how the storied Broadway tradition in many cases went so very wrong. Singer takes the reader behind the scenes for an unparalleled look at A Chorus Line 's final bow, the creation of Rent , the real people behind Disney's uber-musicals, and even an afternoon with Andrew Lloyd Webber. Ever After also celebrates the promise of the next generation of young musical theater artists, especially Adam Guettel, Michael John LaChiusa, Ricky Ian Gordon and Jason Robert Brown, addressing not only their work to date, but their future projects. There is no other book currently available that covers this period and subject. Through his work for The New York Times , Singer has interviewed virtually everyone of significance. They are all here, very much speaking for themselves. Ever After is both anecdotal and analytical, featuring personality profiles of important creative figures, from Jule Styne to Stephen Sondheim to Jonathan Larson, while critically evaluating all of the many musicals produced during the past 25 years. Sure to generate debate, this is a book written not only for the musical theater aficionado, but for anyone who has seen a Broadway musical or has just enjoyed the movie version of Chicago and is curious to know more.

From Publishers Weekly:

Despite the subtitle, Singer’s book is not an epitaph for New York City’s "Fabulous Invalid" but a highly opinionated survey of musicals off and on Broadway through the last quarter century, starting with a detailed look at the closing of A Chorus Line in 1990. The author, a frequent New York Times contributor, calls Andrew Lloyd Webber’s Evita "an empty-headed lump of pomposity" and deems Carrie an example of "indelible, monumental ineptitude," but he can be generous to young talents. In contrast to the often sweeping judgments of his musical reviews, he thoughtfully analyzes in individual essays such newcomers as Michael John LaChiusa and Jonathon Larson, as well as such veterans as Stephen Sondheim and Jule Styne. The thorough discussions of Disney’s The Lion King and Aida are particularly useful. Singer dismisses The Lion King with disdain, but surprisingly finds little to criticize in Aida, other than to express shock at the discovery that Big Business is involved in artistic creation. At the end, he pays homage to the 75-year-old Mel Brooks, of The Producers fame, quipping that "the Broadway musical had somehow been spared from the dour inroads made by young composers." Whether or not they agree with the author, all lovers of musical theater should welcome this provocative book.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

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