American Musical Theatre: A Chronicle by Gerald Bordman (2010-12-29)

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Jerome Kern: His Life and Music

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In what has become the biography of the father of American musical theatre, Gerald Bordman demonstrates a keen understanding and sympathy for Kern the man, as well as Kern the musician. No "rags-to-riches" folk hero, Jerome Kern grew up on the periphery of the American-Jewish elite, achieved early success, and moved throughout his life among the era's leading personalities and performers. Bordman follows Kern's career from its beginnings on Broadway and London's West End before World War I to his death in 1945. He reveals how Kern's 1914 hit "They Didn't Believe Me" established the pattern for the modern popular ballad; how his famous Princess Theatre shows during World War I helped end the dominance of European musicals on Broadway; and how with Show Boat he initiated the Americanized operetta style that dominated the American stage for decades. Examining the scores for all of Kern's shows and films (including fascinating discussions of such famous songs as "Look for the Silver Lining," "Ol' Man River," and "Smoke Gets in Your Eyes"), Bordman demonstrates not only how Kern dramatically changed perceptions of what theatre music should or could be, but also how developments around Kern influenced him and his music.

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Days To Be Happy, Years To Be Sad: The Life and Music of Vincent Youmans First edition by Bordman, Gerald (1982) Hardcover

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Jerome Kern: His Life and Music by Gerald Bordman (1990-11-01)

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American Musical Revue: From The Passing Show to Sugar Babies by Gerald Bordman (1985-09-19)

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American Musical Theatre: A Chronicle (Galaxy Books) by Gerald Bordman (1986-12-04)

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American Musical Theatre: A Chronicle by Gerald Bordman (2011-01-13)

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Jerome Kern: His Life and Music by Bordman, Gerald (1990) Paperback

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Days To Be Happy, Years To Be Sad: The Life and Music of Vincent Youmans

(Of all the popular song composers of the Roaring Twenties...)

Of all the popular song composers of the Roaring Twenties--Jerome Kern, George Gershwin, Cole Porter, Irving Berlin--it was Vincent Youmans above all who represented to Zelda Fitzgerald the giddy momentum and freewheeling spirit of the jazz age. The distinguished music critic Irving Kolodin considers him one of the six great composers of American musical comedy.

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American Musical Theatre: A Chronicle

(Hailed as "absolutely the best reference book on its subj...)

Hailed as "absolutely the best reference book on its subject" by Newsweek, American Musical Theatre: A Chronicle covers more than 250 years of musical theatre in the United States, from a 1735 South Carolina production of Flora, or Hob in the Well to The Addams Family in 2010. Authors Gerald Bordman and Richard Norton write an engaging narrative blending history, critical analysis, and lively description to illustrate the transformation of American musical theatre through such incarnations as the ballad opera, revue, Golden Age musical, rock musical, Disney musical, and, with 2010's American Idiot, even the punk musical. The Chronicle is arranged chronologically and is fully indexed according to names of shows, songs, and people involved, for easy searching and browsing. Chapters range from the "Prologue," which traces the origins of American musical theater to 1866, through several "intermissions" (for instance, "Broadway's Response to the Swing Era, 1937-1942") and up to "Act Seven," the theatre of the twenty-first century. This last chapter covers the dramatic changes in musical theatre since the last edition published-whereas Fosse, a choreography-heavy revue, won the 1999 Tony for Best Musical, the 2008 award went to In the Heights, which combines hip-hop, rap, meringue and salsa unlike any musical before it. Other groundbreaking and/or box-office-breaking shows covered for the first time include Avenue Q, The Producers, Billy Elliot, Jersey Boys, Monty Python's Spamalot, Wicked, Hairspray, Urinetown the Musical, and Spring Awakening. Discussion of these shows incorporates plot synopses, names of principal players, descriptions of scenery and costumes, and critical reactions. In addition, short biographies interspersed throughout the text colorfully depict the creative minds that shaped the most influential musicals. Collectively, these elements create the most comprehensive, authoritative history of musical theatre in this country and make this an essential resource for students, scholars, performers, dramaturges, and musical enthusiasts.

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American Musical Revue: From The Passing Show to Sugar Babies

("In American musical theater, Bordman has become as impor...)

"In American musical theater, Bordman has become as important a historian as Stephen Sondheim is a writer," according to Library Journal. The author of the monumental American Musical Theater: A Chronicle ("absolutely the best reference book on its subject"--Newsweek) here completes his trilogy which began with American Operetta and American Musical Comedy, each focusing on a specific musical theatre genre. Revues--Broadway musicals where plot was unimportant or nonexistent and the emphasis was on comedy skits, specialty vocal and dance numbers, catchy songs, and chorus lines of beautiful girls--flourished for half a century, from the 1890s to about 1950. After looking at some forerunners of the revue form, Bordman examines the 1894 Passing Show, generally accepted as the first traditional revue and then traces the genre's development, its long decline and ultimate fate. He then pays homage to the apothesis of the revue, the almost yearly editions of the Ziegfeld Follies (1907-1927) which featured leading comics, singers, and songwriters and prided itself on "glorifying the American girl." In the 1930s, Bordman points out, revues were more modest in scale and more satiric in intent and featured performers like Fred Astaire, Fred Allen, Clifton Webb, and Ethel Waters. The postwar period, Bordman notes, saw few memorable revues and television took over many of the functions of the revue. The most successful recent revues--Ain't Misbehavin', Eubie, and Sophisticated Ladies--hve been primarily retrospective concerts of older music. So it may be that the revue now belongs simply to history. But as anyone knows who has ever been fortunate enough to see a revue--or to vicariously enjoy one through this book--what a legacy! About the Author: Gerald Bordman's most recent book is The Oxford Companion to American Theatre.

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