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Why do some great Broadway shows fail, and mediocre ones thrive? How does the cast onstage manage to keep tabs on the audience without missing a beat or a line? Ken Bloom, author of Show and Tell: The New Book of Broadway Audiences, delves into the inner workings of the Broadway stage and the culture surrounding Broadway hips and flops.
The post Secrets and trivia from the Broadway stage appeared first on OUPblog.
September marks the new Broadway musical season and the opening of fledgling shows like Natasha, Pierre and the Great Comet of 1812 and familiar revivals like Cats.
The post How well do you know your Broadway trivia? [quiz] appeared first on OUPblog.
It was only after I finished writing The Founding Fathers: A Very Short Introduction that I got to see the off-Broadway version of Lin-Manuel Miranda's "Hamilton: An American Musical" at New York City's Public Theater. I was lucky enough to see the Broadway version (revised and expanded) last month.
The post Hamilton the musical: America then told by America now appeared first on OUPblog.
To be a tap historian is to be a sleuth. It is to revel, after days of painstaking research, in newly-found bits of information as if they were nuggets of gold. At the New York State Library in Albany, New York, I found the premiere date for Darktown Follies of 1914 (3 November 1913, Lafayette Theater), a date that had eluded tap historians for many years.
The post Digging into the origins of 20th-century American tap dance appeared first on OUPblog.
We’ve got one day here and not another minute…”. Well, not one day exactly, but just five—a short week’s stay in NYC from England, and four nights to catch a few shows. So how to choose? The first choices were easy: two new productions of classic musical comedies, and as it happens, shows by the same team of writers. Betty Comden and Adolph Green were veterans of Broadway by the time they came to write On the Twentieth Century (1978), though merely young starlets when they first scored a hit with On the Town (1944).
The post A West Ender’s stop on Broadway appeared first on OUPblog.
The seventh of Rodgers and Hammerstein’s stage works, Pipe Dream came along at a particularly vulnerable time in their partnership. After the revolutionary Oklahoma! (1943) and Carousel (1945)—with, above all, two of the most remarkable scores ever heard to that point—they disappointed many with Allegro (1947).
The post Rodgers and Hammerstein’s Pipe Dream appeared first on OUPblog.
