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A Producer's Broadway Journey, by Stuart Ostrow
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It would be difficult, indeed, to imagine anyone more qualified to give us a celebration, from the perspective of an insider, of the Broadway musical. From the first run of Guys and Dolls in 1950 to the recent debut of Rent, Stuart Ostrow, a prot^D'eg^D'e of the great composer-lyricist Frank Loesser, has been personally involved in many of the major Broadway productions of our time. The steadily growing number of fans of the Great White Way will delight in his reminiscences about the shows that have shaped musical theater, such as Hello Dolly, Funny Girl, Man of LaMancha, Cabaret, 1776, and M. Butterfly―to name just a few.
Readers of A Producer's Broadway Journey will certainly be entertained by Ostrow's behind-the-scenes anecdotes of Bob Fosse, Barbra Streisand, Betty Buckley, Cole Porter, Lerner and Loewe, Hal Prince, Ethel Merman, and many other legends encountered in his accomplished career. But in addition to the tales or re-writes, stand-ins, near-disasters, and moments of theatrical magic, the author also provides a unique historical perspective on almost half a century of the musical.
- Sales Rank: #593304 in Books
- Published on: 1999-05-30
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.00" w x 6.00" l, 1.24 pounds
- Binding: Hardcover
- 232 pages
From Publishers Weekly
A man who has done everything on Broadway, Ostrow began as a prot?g? of composer-lyricist Frank Loesser, going on to direct (Meredith Willson's 1963 Here's Love), write (Stages, 1978) and, mostly, produce: 1776 (1969), Pippin (1972), M. Butterfly (1988). As other outlets for his energy, he also joined the University of Houston faculty and established the Musical Theatre Lab as "a safe place in which to experiment." The Lab brought professionals and students together for 27 productions, including Really Rosie by Maurice Sendak and Carole King. Here, Ostrow offers a celebration of the Broadway musical and "a meditation on what caused its decline," looking back over half a century of Broadway's best from 1950's Guys and Dolls all the way to Rent. Ostrow, has a penchant for brisk, tart sentences and pulls no punches, admitting that producing has entailed "a few bargains with the Angel of Death." In two startling pages, he explains how Scratch (1971), his effort to bring together "two American poets dramatizing folklore with song," collapsed: "It was a risky idea from the start, but when Bob Dylan betrayed us, 79-year-old Archibald MacLeish was devastated." He also divulges his role in the origins of Bob Fosse's 1979 movie All That Jazz. The project began as a collaboration, a "string quartet" about four characters. But when Ostrow fled the superficiality of Hollywood, Fosse turned it into a symphonic "extravaganza." Ostrow takes such delight in quoting his favorite lyrics that the small-type copyright list fills eight pages. Readers with their own Broadway recollections may wish a CD had been packaged along with this trove of tunes, dances and reminiscences. (July)
Copyright 1999 Reed Business Information, Inc.
From Library Journal
With an insider's perspective and understanding, Ostrow provides capsule insights into over 50 Broadway musicals from 1950 to 1998. The majority of the book focuses on the first two decades, with only four pages devoted to the 1990s. Ostrow's Broadway production credits include Pippin and 1776; he is now a professor of theater at the University of Houston. He uses a folksy, intimate writing style in this brief, selective history of American musical theater on Broadway, lamenting the lack of new original American musicals, the over-reliance on revivals of former hits, and the steep costs of mounting a musical. This is a compact but comprehensive overview of the major musicals of the later 20th century. The sparseness of the coverage and the lack of an index, though, make it a book to be read for pleasure, not research. Buy for demand or specialized collections.AJ. Sara Paulk, Coastal Plain Regional Lib., Tifton, GA
Copyright 1999 Reed Business Information, Inc.
Review
"He gave us 1776, Pippin, The Apple Tree, M. Butterfly, and La Bete. Now Stuart Ostrow has given us a book that is a must-read for all of us stagestruck....He tells what Frank Loesser did to Frank Sinatra on the set of Guys and Dolls, adds a funny story about an audition a Yiddish actor gave for The King and I, then another about a bagpiper on Brigadoon that doesn't reflect well on the musician's union. Then there's the salacious mistake the Art Lund made while singing "Joey" at his first Most Happy Fella performance."-Playbill Online
"With an insider's perspective and understanding. Ostrow provides capsule insights into over 50 Broadway musicals from 1950 to 1998....He uses a folksy, intimate writing style in this....compact but comprehensive overview of the major musicals of the later 20th century."-Library Journal
"An entertaining trip through a half-century of musical theatre....The story of Bob Fosse's and Stephen Schwartz's battle over Pippin's concept is succulent backstage gossip, as is Ostrow's experience with record mogul David Geffen, his co-producer for M. Butterfly....Riveting."-Show Music
"For fans of Broadway musicals, this book will introduce little-known facts, interesting backgrounds, and a multitude of shining stage stars....Excellent reading for both fans...and musical theatre students (who know the difference between middle C and D-flat)....Ostrow's candid revelations about the role of producer--part hopeful innocent, part hardheaded mathematician--also make for entertaining and touching reading."-Today's Librarian
?With an insider's perspective and understanding. Ostrow provides capsule insights into over 50 Broadway musicals from 1950 to 1998....He uses a folksy, intimate writing style in this....compact but comprehensive overview of the major musicals of the later 20th century.?-Library Journal
?An entertaining trip through a half-century of musical theatre....The story of Bob Fosse's and Stephen Schwartz's battle over Pippin's concept is succulent backstage gossip, as is Ostrow's experience with record mogul David Geffen, his co-producer for M. Butterfly....Riveting.?-Show Music
?For fans of Broadway musicals, this book will introduce little-known facts, interesting backgrounds, and a multitude of shining stage stars....Excellent reading for both fans...and musical theatre students (who know the difference between middle C and D-flat)....Ostrow's candid revelations about the role of producer--part hopeful innocent, part hardheaded mathematician--also make for entertaining and touching reading.?-Today's Librarian
?He gave us 1776, Pippin, The Apple Tree, M. Butterfly, and La Bete. Now Stuart Ostrow has given us a book that is a must-read for all of us stagestruck....He tells what Frank Loesser did to Frank Sinatra on the set of Guys and Dolls, adds a funny story about an audition a Yiddish actor gave for The King and I, then another about a bagpiper on Brigadoon that doesn't reflect well on the musician's union. Then there's the salacious mistake the Art Lund made while singing "Joey" at his first Most Happy Fella performance.?-Playbill Online
"Stuart Ostrow's Broadway journey through the tunnel of the musical theatre is such an adventure, such a treasure trove of anecdotes and observations, so refreshingly frank, and such a feast of food for thought that it becomes much more than a trip worth taking. Forthcoming and funny to boot, it travels headlong toward the light at the end, searching to find the future of, dare I say it, the Broadway musical."-Jerry Bock Composer, Fiddler on the Roof
Most helpful customer reviews
3 of 3 people found the following review helpful.
From Library Journal
By A Customer
From Library Journal: With an insider's perspective and understanding, Ostrow provides capsule insights into over 50 Broadway musicals from 1950 to 1998. The majority of the book focuses on the first two decades, with only four pages devoted to the 1990s. Ostrow's Broadway production credits include Pippin and 1776; he is now a professor of theater at the University of Houston. He uses a folksy, intimate writing style in this brief, selective history of American musical theater on Broadway, lamenting the lack of new original American musicals, the over-reliance on revivals of former hits, and the steep costs of mounting a musical. This is a compact but comprehensive overview of the major musicals of the later 20th century. The sparseness of the coverage and the lack of an index, though, make it a book to be read for pleasure, not research. Buy for demand or specialized collections.--J. Sara Paulk, Coastal Plain Regional Lib., Tifton, GA Copyright 1999 Cahners Business Information.
3 of 3 people found the following review helpful.
A poor publication of a brilliant work
By A Customer
As an owner of this book and an actual student of Ostrow at the University of Houston, I have a particular insite to this piece. We covered the material in class and somehow the energy, excitement, and passion we got as students is missing in the printing. Ostrow is one of the great "thinkers and doers" of the theatrical world. Unfortunately, the book doesn't do justice to the passion Ostrow has for the art form. What this should have been was two books--a formal critical analysis of the genre and its history with a separate biography of his involvement and life story. Those are two books I would buy, read, re-read, and cherish. Is this one worthwhile? Yes. Better yet--beg, borrow, or steal to get to Houston to take his classes. Anyone serious about the future of theatre should be begging to be here.
One of the lucky ones.
4 of 5 people found the following review helpful.
Dull, Duller and Dullest
By A Customer
This book is not very enlightening. Most of it is filled with familar lyrics. I thought it was going to be a Broadway Producer's Journey. No such luck. It is filled with traditional Broadway folklore. This book is filled with stories everyone has heard many times over. A major disappointment.
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