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In the 1960s, the Broadway musical was revolutionized from an entertainment characterized by sentimental standards, such as Camelot and Hello, Dolly!, to one of brilliant and bittersweet masterpieces, such as Cabaret and Fiddler on the Roof. In Open a New Window, Ethan Mordden continues his history of the Broadway musical with the decade that bridged the gap between the romantic, fanciful entertainments of the fifties, such as Call Me, Madam, to the seventies when sophisticated fare, such as A Little Night Music and Follies, was commonplace. Here in brilliant detail is the decade and the people that forever transformed the Broadway muscial.
- Sales Rank: #1759392 in Books
- Published on: 2001-11-10
- Original language: English
- Number of items: 1
- Dimensions: 1.00" h x 6.42" w x 9.58" l,
- Binding: Hardcover
- 288 pages
From Publishers Weekly
The prolific Mordden (The Fireside Companion to the Theatre) has juggled two different series in recent years, one fiction and one nonfiction. Now he offers the fourth title in the latter, a decade-by-decade history of American musicals, following on the heels of Coming Up Roses, about the 1950s. Despite Mordden's authoritative, scholarly approach, the book sings with stylish syncopation and chatty humor. The evolution and transition of 1960s Broadway was signaled by the failure of Irving Berlin's Mr. President, Noel Coward's fading glory (Sail Away) and the beginning of The Fantasticks' four-decade run. New concepts emerged, and fresh talents like Bob Fosse and Stephen Sondheim took center stage. With Cabaret in 1966, "the new age begins." Darker themes were introduced in Man of La Mancha, What Makes Sammy Run? and Golden Boy. Detailing the decade's innovations, Mordden tosses in fascinating bits of theatrical lore and history. Hits (Funny Girl) and flops (Sophie) are deftly described with wit, panache and a clever, novelistic eye. Mordden never misses a cue, covering everything from off-Broadway (The Threepenny Opera) to the English musical. Regrettably, the lack of boldface subheads decreases the book's value as a research tool, since many titles are lost in the multitude. Still, scholars will be as anxious to read it as theater enthusiasts. (Nov. 5)Forecast: Readers will wish a CD had been packaged with this tuneful history, but booksellers can fill that gap by displaying the book with appropriate albums. Mordden's regular readers who queue at the TKTS box office will line up at stores for this one.
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
With this latest edition in a highly respected series on the history of Broadway musicals, Mordden (Beautiful Mornin': The Broadway Musical in the 1940s) presents a decade of radical change with both the wit and the scholarship that characterized his earlier works. More than a chronology, this work discusses the good and the bad of each production and offers an in-depth discussion of the major shows from Camelot, which Mordden considers the last of the Rogers and Hammerstein era, to Cabaret, which he calls "the essential sixties musical." Mordden doesn't pull any punches in his criticism of the plays, both successes and failures, but he also praises good scores and performances found in many of the plays that never became big hits on Broadway. Throughout, he provides insight into a turbulent era reflected by both the concepts of the shows and the audiences' responses to them. Recommended for all theater collections. Laura A. Ewald, Murray State Univ. Lib., KY
Copyright 2001 Reed Business Information, Inc.
From Booklist
The latest installment in Mordden's series on the history of the American musical is as intelligent and enlightening as its predecessors. Unlike them, it has an air of quiet desperation about it. Previously, Mordden has focused on decades of innovation and growth--the 1920s and 1940s--or, in the case of the 1950s, of peak artistry and popularity. The 1960s, however, were troubled years for the American musical. Tastes were changing, especially among the young. Movies and TV successfully invaded the musical's turf in the popular cultural landscape. Most damaging of all, Broadway production costs rose faster than revenues. Mordden repeatedly documents a moderately popular show, like She Loves Me, or Flora, the Red Menace, whose extended run would have made money in other decades, but which never paid back the original investment in it. With so many such production tales, Mordden's latest, for all its scholarship and fascinating meditations on the big '60s hits--Cabaret, Hair, Hello Dolly --feels as much like a dirge as a celebration. Jack Helbig
Copyright © American Library Association. All rights reserved
Most helpful customer reviews
1 of 1 people found the following review helpful.
Still the only authority worth reading
By John Spritz
It's interesting to read these Mordden histories together, as I have been doing. The '30s one, "Sing for Your Supper," is downbeat. That era, which we tend to think of as a golden time on Broadway, is for Mordden one of wasted opportunity. The '40s and the '50s are, as you can imagine, when he's in clover.
And I thought this one, on the '60s, would again fall back into despair. But to my delight, he unearths gems I was unfamiliar with, and champions old favorites of mine -- Ben Franklin in Paris, Camelot -- that are either overlooked or pooh-poohed. And there is much in this book that is uplifting, as it points towards the Sondheim shows of the '70s, as it skillfully illustrates the increasing role of economics on the reality of mounting a show.
For anyone with any interest in the Broadway musical -- how it got to be where it is today -- than Mordden is the indespensible guide, guiding us through the nooks and crannies of song.
3 of 4 people found the following review helpful.
Musical theater history as good as it gets
By Elkhart
As someone can't resist a book, no matter how bad, on musicals past, I feel like I've found a new best friend in Ethan Mordden. He knows his subject, thinks for himself and writes extraordinarily well. He's quick to confute the common memory - pointing out the unremembered virtues of Camelot, Funny Girl and even The Unsinkable Molly Brown, yet perceptively skewering Hair, Dear World and Zorba. His identification of trends and repeating patterns is brilliant, and at the same time he gave me several good belly laughs, notably when he referred to Ilya Darling as the culmination of 3000 years of Greek culture. A treasure of a book. I'm ready for the 70s, Mr. Mordden.
0 of 0 people found the following review helpful.
Another entertaining entry in this series
By Alan
In this installment of Ethan Mordden's decade-by-decade series of books about the Broadway (and off-Broadway) musical, Mordden covers the 1960s.
Perhaps because I know this decade's shows more intimately than I know most of the shows in the earlier decades Mordden has covered, I was surprised to discover a rather large number of factual errors in this one.
And every once in a while in this book Mordden writes something truly bizarre, like his comment that the title song of "Cabaret" comments on "not voting when democrats oppose communazis in elections." Huh? Or his citing of the fact that "Hallelujah, Baby!" lost money even though it won the Tony for Best Musical, which is true but rather misleading if you don't also mention that it had already closed when it won the Tony.
As always, Mordden is a very entertaining writer. He is not shy about stating his opinions, but even when I disagree with him, I almost always enjoy reading him.
This is probably not a book for someone who doesn't already know the subject fairly well. I suspect most musical-comedy addicts will find it hard to put down, as you greedily wait to see what Mordden will say about every show. There are a few shows that Mordden doesn't cover (among them, "Billy" and "Something More"), probably for lack of space. This book definitely could have been a bit longer. But that is my main complaint, except for those factual errors and the several truly bizarre statements.
Isn't it great to want a book to be longer than it is?
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