skygiants: the Phantom of the Opera, reaching out (creeper of the opera)
[personal profile] skygiants
Catching a chunk of the Tony Awards the other night (bless Bette Midler, who WILL NOT BE SILENCED) reminded me that I never wrote up Razzle Dazzle: The Battle for Broadway, a nonfiction account of (primarily) the Shubert Organization, Broadway's largest theater-owning company, with stopovers into the offices of other leading Broadway financiers along the way.

The book starts out with Broadway ticket-scalping scandals, jumps back to a overview of the lives of the original Shubert brothers, and lays out the drama of various generations of hard-partying Shuberts eventually being ousted by Responsible, Respectable Lawyers Jerry Schoenfeld and Bernie Jacobs.

Then Michael Bennett, legendary choreographer of A Chorus Line, enters the picture and the whole book gets sort of carried off by him for a while. A great deal of page space is devoted to the psychodramatic relationship between Bennett and Jacobs -- as recounted in this book, a wildly unhealthy pseudo-father-son dynamic in which Jacobs constantly attempted to ensure Bennett's emotional and financial dependence on Jacobs while Bennett was constantly attempting to break away and BE A PRODUCER ON HIS OWN, DAD. An excerpt featuring further Michael Bennett drama, including one of history's most melodramatic Tony Awards, is up in Vanity Fair for the curious.

And then it's Andrew Lloyd Webber and Andrew Lloyd Webber and Andrew Lloyd Webber, alongside an in-depth discussion of the various political and financial campaigns that eventually led to the Disneyfication of Broadway after its days of 1970s sleaze, and that brings us about up to the present day.

It's an interesting, rather gossippy account of the money, organizational politics, and personal quirks that underlie the eventual decisions about what makes it onto a theater stage; I read the whole thing and then left it in the airbnb I was staying in when I finished it, because I felt I had taken what I wanted from it and couldn't really imagine wanting to read it again. It's certainly interesting to know how the sausage is made, but it's occasionally a bit depressing to look at Broadway largely from the perspective of the people for whom profit is the most important consideration.

Date: 2017-06-14 03:22 am (UTC)
sovay: (Morell: quizzical)
From: [personal profile] sovay
A great deal of page space is devoted to the psychodramatic relationship between Bennett and Jacobs -- as recounted in this book, a wildly unhealthy pseudo-father-son dynamic in which Jacobs constantly attempted to ensure Bennett's emotional and financial dependence on Jacobs while Bennett was constantly attempting to break away and BE A PRODUCER ON HIS OWN, DAD.

Whaaaaaaaat.

[edit] An excerpt featuring further Michael Bennett drama, including one of history's most melodramatic Tony Awards, is up in Vanity Fair for the curious.

Oh, hey, that's Henry who was my father's roommate in New York. A cat I grew up with was named after him.
Edited (was curious) Date: 2017-06-14 03:25 am (UTC)

Date: 2017-06-14 04:40 am (UTC)
kore: (Default)
From: [personal profile] kore
Aww, no Fosse?

Date: 2017-06-15 01:43 am (UTC)
kore: (Default)
From: [personal profile] kore
.....wha. Wow.

Date: 2017-06-14 09:33 pm (UTC)
lokifan: black Converse against a black background (Default)
From: [personal profile] lokifan
Sounds interesting! I may pick it up, not least cos Broadway is very different from the West End and maybe this'll explain why - not least the ticket prices :)

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skygiants: Princess Tutu, facing darkness with a green light in the distance (Default)
skygiants

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