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History of the Broadway Musical #4
Coming Up Roses: The Broadway Musical in the 1950s
The 1950s saw an explosion in the American musical theater. The Broadway show, catapulted into the limelight in the 20s and solidified during the 40s thanks to Rodgers and Hammerstein, now entered its most revolutionary phase, brashly redefining itself and forging a new kind of storytelling. In Coming Up The Broadway Musical in the 1950s , Ethan Mordden gives us a guided tour of this rich decade.
With loving detail, Mordden highlights the shift in Broadway from shows that were mere star vehicles, showcasing a big-name talent, to the bolder stories, stuffed with character and atmosphere. During this period, subject matter became more intricate, even controversial, and plots more human and complex; Mordden demonstrates how, in response, musical conventions were polished, writing became more finely crafted, and dance became truly indispensable. Along the way we meet the key such greats as Ethel Merman, George Abbott, Jerome Robbins, Gwen Verdon, Bob Fosse, Stephen Sondheim, Frank Loesser, Cole Porter, Leonard Bernstein, and many others. We get the backstage scoop on why Guys and Dolls is so well-made, why West Side Story is so timeless, why The King and I and Gypsy pushed the envelope, and why no one ever talks about Ankles Aweigh . All this is peppered with a dash of industry gossip--the directorial struggles, last-minute script rewrites and cast replacements, the
power of the poster listings--that made Broadway so nerve-wrackingly vibrant.
This passionate and informed study illuminates a crucial period in American musical theater and shows us the origins of many of the musicals recently revived to huge success on Broadway.
With loving detail, Mordden highlights the shift in Broadway from shows that were mere star vehicles, showcasing a big-name talent, to the bolder stories, stuffed with character and atmosphere. During this period, subject matter became more intricate, even controversial, and plots more human and complex; Mordden demonstrates how, in response, musical conventions were polished, writing became more finely crafted, and dance became truly indispensable. Along the way we meet the key such greats as Ethel Merman, George Abbott, Jerome Robbins, Gwen Verdon, Bob Fosse, Stephen Sondheim, Frank Loesser, Cole Porter, Leonard Bernstein, and many others. We get the backstage scoop on why Guys and Dolls is so well-made, why West Side Story is so timeless, why The King and I and Gypsy pushed the envelope, and why no one ever talks about Ankles Aweigh . All this is peppered with a dash of industry gossip--the directorial struggles, last-minute script rewrites and cast replacements, the
power of the poster listings--that made Broadway so nerve-wrackingly vibrant.
This passionate and informed study illuminates a crucial period in American musical theater and shows us the origins of many of the musicals recently revived to huge success on Broadway.
- GenresTheatreHistoryNonfiction
272 pages, Paperback
First published January 1, 1998
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Displaying 1 - 8 of 8 reviews
June 24, 2018
The American musical (which means, for all intents and purposes, the Broadway musical) was sent into the stratosphere by the integration of book and music in such then-revolutionary musicals as Rodgers & Hammerstein's OKLAHOMA (1943). In the Fifties, such musicals came to dominate the American cultural and musical landscape as they never had before and may never again. It's as though American Songbook, Tin Pan Alley, scripted jazz and popular hits all inhabited the same realm and cross-pollinated each other almost at will. Consider that even today, people recognize tunes like "A Bushel and a Peck" (GUYS AND DOLLS, 1950); "Whatever Lola Wants" (DAMN YANKEES, 1955); "Till There Was You" (THE MUSIC MAN, 1957); and the title song of this book, from GYPSY (1959). We sing them at home, in school, hear them in performance, wince when they are adapted into commercial jingles. Can you say the same of anything from RAGTIME or AVENUE Q?
If anyone can pay full tribute to the Broadway musicals of the 20th Century, it's critic/novelist Ethan Mordden in his Golden Age of the Broadway Musical series, and this COMING UP ROSES (1998) may be the best of all. He is extremely adept at discussing the history of musicals, from their gestation to their performance and their after-lives (consider that the cast album from MY FAIR LADY was one of the top-selling LP's of the decade). He's also very good at not settling for what has already been said. His discussion of the devouring "Mama Rose" character from GYPSY goes beyond the Freudian re-hashes of the era, to examine her as the truly dominant, terrifying figure she is. Mordden is also no stranger to humor when it comes to dissing pompous producers, demented directors, and self-absorbed stars. All in all it makes for lively, literate, and bracingly opinionated writing.
I recommend COMING UP ROSES to anyone interested in Broadway musicals, their Hollywood spin-offs, or American popular culture in general. Recently I re-reviewed here my prior review of Mordden's matching volume for the 1940s, Beautiful Mornin': The Broadway Musical in the 1940s, which I liked almost as much.
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If anyone can pay full tribute to the Broadway musicals of the 20th Century, it's critic/novelist Ethan Mordden in his Golden Age of the Broadway Musical series, and this COMING UP ROSES (1998) may be the best of all. He is extremely adept at discussing the history of musicals, from their gestation to their performance and their after-lives (consider that the cast album from MY FAIR LADY was one of the top-selling LP's of the decade). He's also very good at not settling for what has already been said. His discussion of the devouring "Mama Rose" character from GYPSY goes beyond the Freudian re-hashes of the era, to examine her as the truly dominant, terrifying figure she is. Mordden is also no stranger to humor when it comes to dissing pompous producers, demented directors, and self-absorbed stars. All in all it makes for lively, literate, and bracingly opinionated writing.
I recommend COMING UP ROSES to anyone interested in Broadway musicals, their Hollywood spin-offs, or American popular culture in general. Recently I re-reviewed here my prior review of Mordden's matching volume for the 1940s, Beautiful Mornin': The Broadway Musical in the 1940s, which I liked almost as much.
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July 14, 2021
The 1950s continued the 'Golden Age of Broadway' with a few hits ('My Fair Lady', 'Music Man', 'Gypsy' to name a few), and a few more flops. Mordden acknowledges the era, stars, and trends through narrative storytelling.
November 25, 2022
In the 1950s, Broadway musicals were a big honking deal. Julie Andrews could become a movie star on the strength of having been a Broadway star; Carol Burnett became a TV star the same way. Broadway cast albums were big seller. Broadway hits routinely played on the radio.
In terms of art and style, as Mordden details, Rodgers and Hammerstein's approach to musicals as plays, rather than random collections of songs with a connecting plot, was the driving influence. Mordden looks at how this plays out year by year, starting with Ethel Merman in Call Me Madam and ending with Gypsy and West Side Story (which are either the summit of the Rodgers/Hammerstein influence or the start of the next evolution). Along the way we encounter Fiorello, My Fair Lady (what made it the big hit that it was?), Candide (which wasn't a hit but showed how flexible the musical format could be) and "floppo" shows such as Ankles Aweigh (by a guy who thought Oklahoma and My Fair Lady too serious).
A good, detailed look at what made Broadway shows tick.
In terms of art and style, as Mordden details, Rodgers and Hammerstein's approach to musicals as plays, rather than random collections of songs with a connecting plot, was the driving influence. Mordden looks at how this plays out year by year, starting with Ethel Merman in Call Me Madam and ending with Gypsy and West Side Story (which are either the summit of the Rodgers/Hammerstein influence or the start of the next evolution). Along the way we encounter Fiorello, My Fair Lady (what made it the big hit that it was?), Candide (which wasn't a hit but showed how flexible the musical format could be) and "floppo" shows such as Ankles Aweigh (by a guy who thought Oklahoma and My Fair Lady too serious).
A good, detailed look at what made Broadway shows tick.
November 14, 2022
Mordden's reverence for the theatre is palpable through every painstakingly described 1950s Broadway musical. I actually found myself chuckling a bit throughout due to some snarky commentary. I had a wonderful time and walked away inspired to learn more about the evolution of the medium.
November 7, 2017
The 1950's was the decade when the Broadway Musical exploded in music, dance, singers and this book details the hits, flops and now forgotten shows that entertained, through cast recordings, movie version and tv, the American people for years. Learn about musicals that feature gangsters(Guys and Dolls), a boy that never grows old(Mary Martin's Peter Pan), satire about USA (the comic strip Lil Abner, a tragic love(West Side Story)and a London flower seller(My Fair Lady)to name just a few.
One of my favorite stories is about the little musical that could, KISMET, which first opened during a newspaper strike(in those days, the people did not have e-mail, twitter, facebook to get reviews), and then the furious attacks by critics, after the strike ended, to become a big hit.
At end of the decade the readers will learn about the dark and wonderful musical GYPSY and the coming of a new decade-The 1960's.
One of my favorite stories is about the little musical that could, KISMET, which first opened during a newspaper strike(in those days, the people did not have e-mail, twitter, facebook to get reviews), and then the furious attacks by critics, after the strike ended, to become a big hit.
At end of the decade the readers will learn about the dark and wonderful musical GYPSY and the coming of a new decade-The 1960's.
May 27, 2015
This book is a delight. It may be hard to remember a time when the Broadway musical was a relevant art form and not an extension of Disneyland, but Mordden remembers and he shares a lot of information about that time.
I think anyone who cares about the theater will want to get their hands on a copy of this book. I may never look at musicals like Guys or Dolls or Kismet the same way again. His critiques are thoughtful, caring, and insightful.
I think anyone who cares about the theater will want to get their hands on a copy of this book. I may never look at musicals like Guys or Dolls or Kismet the same way again. His critiques are thoughtful, caring, and insightful.
August 22, 2007
Pretty good. It's a chatty, fun read if you like musical theater history. But don't expect too much new information, and it's certainly not academic.
March 30, 2015
Whyile I don't agree with all of the author's opinions, this is a wonderful chronicle of Broadway in the 1950's. Well worth your time if you share my passion for the American musical.
Displaying 1 - 8 of 8 reviews