Böcker av Ethan Mordden

From the genteel female impersonators of the 1910s to the raucous drag queens of La Cage Aux Folles, from the men of The Normal Heart to the women of Fun Home, and from Eva Le Gallienne and Tallulah Bankhead to Tennessee Williams and Nathan Lane, Gays On Broadway deftly chronicles the plays and people that brought gay culture to Broadway.

This critical analysis of Streisand looks past the mainstream show-business figure to deconstruct the revolutionary that she really is: as a passionate actor of songs, a revisionist in the development of the American movie star, and a performer of unprecedented range. She can play the madcap Fanny Brice and Dolly, the politically intense heroine of The Way We Were, the sexually abused daughter who becomes a prostitute and a murderer in Nuts, thecross-dressing Yentl who seeks the liberty that men take for granted and women are denied.

The 1920s represented a turning point in the history of the Broadway musical, breaking with the vaudeville traditions of the early twentieth century to anticipate the more complex, sophisticated musicals of today. Composers Jerome Kern, George Gershwin, Cole Porter, Richard Rodgers, and their contemporaries revitalized the musical with the sound of jazz and other new influences. Productions became more elaborate, with dazzling sets, tumultuous choreography, andstaging tricks, all woven into tightly constructed story lines. These dramatic changes of the 1920s ushered in the "golden age" of the American musical theater. Ethan Mordden captures the excitement and the atmosphere of Broadway during the 1920s in Make Believe. In captivating, lively prose, Mordden describes in superb detail the stars, the songs, the jokes-the sheer fun of this era. Here are shows great, interesting, or even bizarre- Sally , The Student Prince, Rose-Marie, Lady, Be Good!, No, No, Nannette, Rainbow, Good News!, Ziegfeld Follies, The "Coconuts", The 5 Oclock Girl, Blossom Time, Whoopee. Early on, thecharisma of entertainers such as the bragging Al Jolson ("You ain't heard nothin' yet!"), the bewitching Marilyn Miller, the madly prancing Eddie Cantor, the unpredictable Gertrude Lawrence, and the indescribable Marx Brothers were the essential element in a hit musical. But, as Mordden demonstrates, the stars lost power andthe authors took control, as shows like Desert Song , Peggy-Ann, Strike Up the Band, and Sweet Adeline reinvented the old forms. The musical became more "adult," too, baiting the censor in the lyrics of Lorenz Hart, Cole Porter, and B. G. DeSylva. And Broadway became more racially integrated, with "blackface" acts dying out while all-black musicals such as Shuffle Along and the Blackbirds shows enjoyed mainstream success. Make Believe reaches its climax with Morddens' deep look at Jerome Kern and Oscar Hammerstein's 1927 masterpiece, Show Boat. With its intricate story line spanning four decades, its gala interracial cast, its stunning physical production, its powerful score including "Ol' Man River," "Bill," "Mis'ry's Comin' Aroun'," "Can't Help Lovin' Dat Man," "Life on the Wicked Stage," and "Why Do I Love You?," Show Boat was the first American musical universally hailed asa classic. Fusing the decade's developments into one epic show, Kern and Hammerstein created something at once timeless and contemporary, the ultimate twenties show but, as producer Florenz Ziegfeld called it on the posters, "the all American musical comedy."

The author of this title explores classics from Broadway's golden musical age, looking at "Brigadoon", "Annie, Get Your Gun", and "South Pacific" amongst others.

This is a definitive study of the American musical in the 1950s, the decade of perhaps its greatest accomplishments and when interest in the Broadway stage and its music was at its height. Ethan Mordden is a recognized authority and has written a number of significant books and articles about the Broadway musical.

This authoritative guide gives the non-musician the fundamentals of orchestral music. It begins with a general introduction to the symphony and various musical styles and then describes, chronologically, over seven hundred pieces-from Vivaldi to twentieth-century composers. Mordden also includes a glossary of musical terms and other useful aids for the music lover.