Ghost Light

by Frank Rich

There is a superstition that if an emptied theater is ever left completely dark, a ghost will take up residence. To prevent this, a single "ghost light" is left burning at center stage after the audience and all of the actors and musicians have gone home. Frank Rich's eloquent and moving boyhood memoir reveals how theater itself became a ghost light and a beacon of security for a child finding his way in a tumultuous world. Rich grew up in the small-townish Washington, D.C., of the 1950s and early '60s, a place where conformity seemed the key to happiness for a young boy who always felt different. When Rich was seven years old, his parents separated--at a time when divorce was still tantamount to scandal--and thereafter he and his younger sister were labeled "children from a broken home." Bouncing from school to school and increasingly lonely, Rich became terrified of the dark and the uncertainty of his future. But there was one thing in his life that made him sublimely the Broadway theater.Rich's parents were avid theatergoers, and in happier times they would listen to the brand-new recordings of South Pacific, Damn Yankees, and The Pajama Game over and over in their living room. When his mother's remarriage brought about turbulent changes, Rich took refuge in these same records, re-creating the shows in his imagination, scene by scene. He started collecting Playbills, studied fanatically the theater listings in The New York Times and Variety, and cut out ads to create his own miniature marquees. He never imagined that one day he would be the Times's chief theater critic.Eventually Rich found a second home at Wash-ington's National Theatre, where as a teenager he was a ticket-taker and was introduced not only to the backstage magic he had dreamed of for so long but to a real-life cast of charismatic and eccentric players who would become his mentors and friends. With humor and eloquence, Rich tells the triumphant story of how the aspirations of a stagestruck young boy became a lifeline, propelling him toward the itinerant family of theater, whose romantic denizens welcomed him into the colorful fringes of Broadway during its last glamorous era.Every once in a while, a grand spectacle comes along that introduces its audiences to characters and scenes that will resound in their memories long after the curtain has gone down. Ghost Light, Frank Rich's beautifully crafted childhood memoir, is just such an event.

Genres: Nonfiction, Memoir, Theatre, Biography, Biography Memoir, True Story, Autobiography

352 pages, Kindle Edition

First published January 1, 2000

About the author

Frank Rich is a columnist (and former chief theater critic) for The New York Times who focuses on American politics and popular culture. His column ran on the front page of the Sunday arts and leisure section from 2003 to 2005; it now appears in the expanded Sunday Week in Review section.

Reviews

[Tom Spann · Rating 5 out of 5]

THE book for theatre lovers. Ghost Light has a special meaning for me for I worked at The National Theatre in Washington about the same time Rich did. In my teen years I worked as an usher, ticket taker, stage doorman, and office boy. Rich and I were about the same age. Our paths just missed crossing. Rich absolutely captures the spirit of a young boy being introduced to the stage and being captured at once by its magic. It was love at first sight and look where it carried him. I too remember saving ticket stubs as souvenirs, saving Playbill from every show I saw, playing original cast albums over and over at home in my bedroom, and on occasion meeting stars at the stage door as they exited the theatre after a show. Rich recalls with absolute accuracy the excitement of anticipation as the house lights dimmed and the stage curtain rose. I have no doubt these feelings never diminished for him year's later as Drama Critic for The New York Times.

[Evan Casey · Rating 5 out of 5]

A fantastic memoir from the man who was the foremost theatre critic in the country for many years . When I picked up the book I was expecting a recounting of THOSE years and all of his theatre experiences during that time, when Frank Rich was the chief theatre critic at the New York Times. However, what I got instead was a beautiful and touching look at the positive power and influence that live theatre can have on the formation of a child growing from boyhood to young adulthood. You get a candid and honest look at Rich's family and social life, and how he became involved, engrossed, and in love with the world of theatre, and how it guided him through his young life and helped shape him as a young man.

[Mikaela · Rating 3 out of 5]

Solid memoir.

[Ronni · Rating 5 out of 5]

This book is a MUST for any theater fan. Rich, the former theater critic of the NY TIMES, details how theater literally saved his life during a rather unhappy childhood. His excitement and gratitude to the practioners of the art form are palpable, and his writing is impeccable.

[Russell Sanders · Rating 5 out of 5]

This week I re-discovered a treasure. When the book first came out, twenty years ago, I read Frank Rich’s Ghost Light: a Memoir. I remember I was so taken by it that I sent a copy to a dear friend, a friend I wanted to share my childhood with. Last week, when another friend mentioned he’d seen the term “ghost light” and had not known the meaning until then, I thought of Rich’s memoir. I knew that my friend needed to read the book, not to find out about ghost lights, but rather to find out more about me. So that was twice I was sharing myself by sharing Frank Rich. And that prompted me to re-read the book. In the book, Rich, a celebrated writer who was for many years a New York theater critic, tells of his introduction to musical theater and how the love he developed for it got him through his childhood. It is not an autobiography of his adult years, as so many are. Ghost Light is a memoir of his life from early childhood to college. He tells of how he was the kid who was never chosen for teams, the kid who was never without a book in hand, the kid who had few friends, the kid who was bedazzled by theater lights and the wonder of plays that told stories by using songs. Upon this second reading, I was reminded of how much the book touched me the first time around and how it has once again touched me. I was that kid. Though I lived far away from Rich’s home Washington DC, though I didn’t travel to New York City until I was well into my twenties, I—the friendless loner with a book—was entranced at an early age by musical theater. Growing up in Ft. Worth, Texas, there was little chance to actually see live musicals until a wondrous new theater arrived in the early 1960s, Casa Manana Musicals. And my life was transformed: over the course of the next six or eight years, I saw over sixty productions of Broadway musicals, like Rich did when he attended every show he could at the National Theater in DC. Rich’s description of each of those performances he witnessed—like a spiritual awakening—threw me back to my teen years. He may have seen stars like Robert Preston and Mary Martin and Gwen Verdon while I was seeing summer stock lookalike performances, but the magic we both felt was equal. Reading Ghost Light was like re-experiencing my early life. Rich’s life was so closely akin to my own in so many respects, mostly emotional but physically when it came to the theater obsession, that I truly was reading my own life story, down to the fact that we both had fourth grade teachers named Mrs. Young. Rich has a talent for capturing the voice of each experience, from the wide-eyed child to the confused teen to the pathos of the older young man dealing with loss. I wept at the end, some tears for the loss told, some tears of joy for having this wonderful book that, even as I am in my seventies now, validated my childhood and pointed out how incredible it was despite the ups and downs. Thank you, Frank Rich.

[Neil · Rating 4 out of 5]

This is an interesting memoir of childhood, especially if you've got the theater bug like young Frank did. Growing up in DC with divorced parents, young Rich lived with an eccentric stepfather who alternated between lavish gifts and emotional and physical abuse and a mother who shared his interests but wasn't willing to stand up to the man who abused both her and the children. Young Frank's father, while in the picture, wasn't quite willing to take lead caregiver duties or give his first two children priority over a growing family. I like how Rich's account doesn't completely throw these flawed people under the bus. He sees their faults, but also how their better points influenced him.

Rich's solace was the National Theater, where he saw many of the great Broadway shows, either in tryouts before they moved to NYC or in traveling companies after their runs. He goes home and creates diorama boxes to recreate the staging of them and diligently saves and pores over first the playbills, and later the Variety magazines that describe their box office. Ultimately, he gets an ushering job, which leads to rather odd descriptions of his early romantic encounters and a strange friendship with a Chicago-based theater manager who is much older.

I feel like this would be more complete if Rich had continued in describing his path to becoming a theater critic instead of cutting off somewhat abruptly when he is about to begin college. Perhaps he is saving that for a future volume.

[Alexis · Rating 4 out of 5]

This is a lovely, intimate look at a man who turned his love/obsession with theatre into a career. The book does not give more than the outlines for a road map of how Rich became the head theatre critic for the New York Times. It instead focuses on his early love of theatre, and the ways in which he used it as a distraction from a volatile home life. His accounts of seeing many classic works such as Fiddler on the Roof, Cabaret, and Hello, Dolly are great fun as well. This made me very nostalgic for theatre and particularly made me want to roam New York after a show.

[Sue Roselle · Rating 5 out of 5]

Memoir of the former theater critic of the NY Times. Author was encouraged in his interest of the theater by both his parents and eventually his step father. Beginning with the music from musical theater, he traveled with family to NYC for weekends to visit theater. Author began volunteering, and then working, at the National Theater. Following college, he began working as a newspaper critic, ending with the Times. Very interesting book including the family dynamics. Highly recommend.

[Studvet · Rating 5 out of 5]

Loved this book. Very sensitive and eloquent and one can see he had a true and abiding love of American Theatre from an incredibly young age. Obviously incredibly knowledgeable. Like others I was expecting tales of his Butcher of Broadway years, but it is the story of his teenage years and he holds nothing back. Loved it.

[Laurie · Rating 4 out of 5]

Interesting if you're a fan of Frank Rich from when he was at the NY Times. This book focuses mostly on his rough childhood where coming from a divorced family felt like a big stigma and how theater became a wonderful escape. Hope he writes another book as this one ends roughly at the time he went to college.

[Jaellayna Palmer · Rating 5 out of 5]

I loved-loved-loved (and more) this book. I was born within a few months of the author, so the historical landmarks within it resonated with me, too. Mostly though, I loved his candor, his journey, his reflections on people and places. And of course the joy as well as the solace he found through immersion in the arts. With all of that going for it, the writing itself is superb, too.

[Sharron · Rating 2 out of 5]

This memoir made for tedious reading until the last few chapters. At that point - about when the author turns 16 - his life becomes interesting and his insights sharper. His introduction to theater and love of it were worthy of attention. His dysfunctional home life, high school and camp friendships, and dating life were not.

[Tim Pinckney · Rating 4 out of 5]

This book has been on my shelf since 2000, the year it came out. I have no idea why it took me so long to get to it. I'm glad I did. Not quite Act One, but filled with the same love of the theatre and a good story of growing up.

[Lori · Rating 4 out of 5]

A little slow to get into but then a really wonderful read. Ended a little abruptly, I'd love to read a second memoir although I understand this one was meant to be for a certain period. A must read for theatre lovers.

[Trey · Rating 2 out of 5]

I felt like the book was good at the start. I like ghost kind of things but after reading the book for a while it started to get boring to me. I liked it but it wouldnt be my number one choice to read this book again.

[Joe · Rating 5 out of 5]

A moving, well-written memoir covering the formative years of a theater junkie who’d later become drama critic at the NY Times. He experiences domestic and social turbulence, finding refuge in musicals and stage plays. It's not necessary to be a huge fan of theater to appreciate this book.

[Rebeca · Rating 3 out of 5]

Interesting bio about a young kid who loved the theater.

[Lynnie · Rating 5 out of 5]

A must read for anyone interested in the early days of Broadway and the history surrounding it through the eyes of a young Frank Rich.

[Beth Shorten · Rating 4 out of 5]

A very interesting insight into a theatrical foray.

[Damon]

It was really interesting to read the back story of The Time's most powerful drama critic. Excellent.

[Nicole · Rating 4 out of 5]

A little bit like Nersessians writing

[Rosie Hendrix · Rating 5 out of 5]

I really enjoyed this memoir.

[J. Fakename · Rating 4 out of 5]

"Frank, I had no idea how much you liked Gwen Verdon!" A lovely memory of how one finds solace in the arts.

[Gareth Lane · Rating 3 out of 5]

It’s only mild exaggeration to say that 1/4 of this book is listing off records his parents owned.

[Aaron · Rating 3 out of 5]

I thoroughly enjoyed reading this, especially as a theatre person living in DC for the summer. 3.5 stars would be appropriate here, but I couldn't give it a 4. One does not need to be involved with theatre to understand or appreciate Rich's story, it is beautiful and tragic no matter who you are.

Two reservations I have: 1) Rich occasionally comes across as a racist; though he notes the numerous marches and rallies he attended as a child, he uses the term "Negro" throughout the book. This may not have been intentional, but for me it marred an otherwise well written and corrected directed passionate account of a love for theatre.

2) I know that the story functioned well with Rich focusing just on his childhood, but I would have liked to hear more about his professional career at the Times. I would be interested to know if his relative animosity towards DC had changed. New York is great, and undeniably the theatrical mecca of the known world, but as an out of town tryout location DC was not too shabby in the days of Rich's childhood. I understand that his disdain for the city had deeper ties to his family life, but I love DC and wonder if Rich became an uppity New Yorker after moving on from DC.

I might also take issue with the details a grown man can hash out from his boyhood years of 11 or 12. At the end of the book, Rich mentions the rigorous research and countless human resources used in shaping the narrative. I don't doubt the legitimacy of his work, and I guess that's a potential problem with any sort of autobiography.

[Jerry · Rating 1 out of 5]

BUTCHER OF BROADWAY BUTCHERS MEMOIR

I didn't read the jacket liner, so I was unaware that GHOST LIGHT is termed a 'boyhood memoir.' By page seventy five, my disbelief that any writer with such a plodding, factual style could earn a living, was being displaced by anger and disgust at the juvenile subject matter. Vivid accounts of how Gwen Verdon's bare shoulders as Lola helped Rich remedy his insomnia after his parents' then uncommon divorce are mixed with boorish tales of his step-father who swears, farts, and beats his children. Does the Butcher of Broadway honestly believe anyone is interested in reading a copy of a letter a nine-year-old wrote to mommy while she was on a two-week vacation? Does he think we care he used a new fountain pen with blue/black ink? That he had a runny nose? THIS MAN HAD POWER. THIS IS NOT THE STORY I WANTED TO HEAR. That Rich cares deeply about the theater is apparent. Because Arthur Laurents, in his new autobiography ORIGINAL STORY BY....(a truly fabulous, pertinent, inside-Broadway story) liked the guy when Rich interviewed him, I read GHOST LIGHT to the end. It got no better and remained a pastiche of childish memories and 'firsts.' The first time Rich saw FIDDLER. The first time he attended the theater alone. The first breast fondled. Such a book should remain a private account of youth long past and not touted out for public consumption. It crosses my mind that Frank Rich might just be a nice guy and not the supreme egoist I imagine, but that doesn't make his first memoir any more relevant, interesting or palatable.

[R.J. Gilmour · Rating 5 out of 5]

First I read his memoir Ghost Light: A Memoir (New York: Random House, 2000), which I have to admit bored me to tears and had me wondering if indeed it was the same person who wrote the book and the columns. Sometimes authors can carry their voice across different formats like Vidal, shifting seamlessly from editorial, essay to memoir and fiction, but Rich is not one of those writers. His forte is definitely the short op-ed piece where his writing remains concise and pithy. So when I picked up the rather heafty Hot Seat after trudging through Ghost Light I was more than a little apprehensive. But Rich cut his teeth on theatre reviews and they do not disappoint. The reviews are short and sweet and filled with valuable insights about each production he reviews. In a very short space they give the information required to understand the piece under review while also contextualizing the pieces in the larger world of theatre. Rich's memoir made me realize what a vast repository of knowledge he has for the theatrical world and how far back his memory (and collection of Playbills) will allow his memory to go making him a valuable cultural critic.

[Diane Lybbert · Rating 4 out of 5]

This is an excellent memoir. Frank Rich, renowned theater critic, recounts his stormy childhood. Growing up in the 1950s, he was a child of divorce when divorce was rare and frowned upon. His mother remarries, and he and his sister endure the abuse their stepfather is already heaping on his own children. But, Frank discovers the escapism of theater at an early age, and while his stepfather is abusive, he also encourages Frank's love of theater and provides show tickets. As Frank grows into his teens, he is given the freedom to walk the theater districts in Wash. DC and NYC to buy his own show tickets and see whatever he wants. He collects playbills, and reconstructs theater sets using old shoeboxes so he can recreate and relive the plays. He has few friends, but the ones he has are important to his growth and maturity. For me, this is what a memoir should be. We learn about a person through his own experiences, gaining his insights into his life, finding out how he got from a shy, ostracized, abused child to a confident theater critic, making a living doing what he loved. I highly recommend this book.

[Naomi · Rating 3 out of 5]

This is a beautifully written book. I had no prior knowledge of Frank Rich, I'm not a theatre person, and I wasn't alive during the 50's - my parents weren't even alive then, so I've never been told personal stories about it.

Yet, I felt like I HAD been there with every turn of the page. I was there, in the theatre with Frank, in the 1950's. The real world faded away as I became engrossed in this, and I understood his passion for theatre. It was the same as my obsession with novels had been. It was our escape, our only escape as children trapped in a living situation we had no control over.

Why did I give this 3 stars instead of 4? Because it dragged on at the end, becoming painfully dull & a chore to finish, after such a promising beginning. Nothing exceptional happens to him as a teen. His mom & stepdad stay together, their fighting more of the same. There is no longer a story arc. I kept wondering what would happen next, but nothing did. He just described more shows he went to, and day to day life, almost like a twitter feed - but not brief enough.

[Daniel · Rating 3 out of 5]

This was well written (one would expect no less from a New York Times writer) but I constantly asked myself, "Who cares?"

And that would be the one problem with this memoir. Why is anyone interested in the memoir of a theatre critic? Has he made a name for himself in any other way?

I did find the development of his theatre interest quite interesting, but his family life less so. He managed to know many of the important figures of Broadway during his early days, but the book NEVER tells us how he went on to become a theatre critic. Why not a playwright? An actor? A stage manager? A theatre manager? How was it that he became a reviewer? This memoir leaves us wondering, and instead, knowing a little too much about his interest in girls as a teenaged boy (does he think he's different than 90% of male youth?).

An interesting read, but not really worth the trip.