I was excited when Isaac Q. Miller’s How the West End Became the West End was gifted to me recently. I own probably two or three hundred books about the theater: histories of famous theaters and the art of theater itself; biographies and autobiographies of actors, directors, writers, composers, lyricists, and producers; play scripts and musical scores; and books about theater craft. What I knew very little about was London’s West End—the equivalent of the US’s Broadway. I possess and have books about specific London theaters, but I wanted to read this book I now held in my hand that would let me into the heart of London theater and truly appreciate the performers and shows that have lit up the West End’s marquees. After all, I have seen dozens of West End shows, so now, with Mr. Miller’s book, I was going to relive them and enlarge on my appreciation of them. But oh. how disappointed I soon became. The book is only a little over a hundred pages, so it is a quick read—thank goodness. With a degree in theater, I didn’t need to read the first forty pages. The West End doesn’t even come into this until that point. But even then, the book is dry and dull. It reads like a Masters’ degree thesis, complete with footnotes. When the author finally, in the last pages, gets to personalities that have graced West End stages, nothing is said about each but a few biographical paragraphs. There is nothing in this book that lets the reader feel a connection to the magic that is London theater. And sadly, the book is poorly proofed (on one page, German playwright Bertolt Brecht’s name is spelled correctly, then twice more spelled as Bretch!) and sentences are constructed often in the oddest ways. For example, a list of names is given, then we see “the latter represented Frankenstein for the first time.” Does that mean one of those people looked like the famous doctor’s monster or does it mean, perhaps, the person presented the play? Another sentence tells us certain plays, in the past, were banned for moral inaccuracy. What is that? All too often, this author chooses verbs that don’t fit with subjects, and words that have far different meanings than he thinks they have. I also, being an amateur expert of American Musical Theater, was stumped when he said shows like Oklahoma! and Bless the Bride were brought over to the West End. I had never heard of Bless the Bride. A quick internet search told me it was a British-born musical. Whatever Mr. Miller meant, he didn’t say it clearly. This happens far too much in the book. I taught high school English for many years. If this were a Senior English research paper, I would probably give it a C+. After all, I did learn a bit from it. And it was exhaustively researched. But this is a book purporting to tell us all about the West End, and yet it begins almost with the creation of Adam. I still cannot understand why we need to know how theater developed if we are supposedly reading about London’s West End. So as a book that should be entertaining and informative, I have to give it a D-. And that hurts, for I wanted it be an A+. As an author myself, I despise when a fledgling author gets a bad review. But this book just doesn’t measure up in any way. Oh—what, oh what, is scenography? I have never heard that word before in my sixty years of being a theater professional.