The Show Makers: Great Directors of the American Musical Theatre / Edition 1

The Show Makers: Great Directors of the American Musical Theatre / Edition 1

5.0 2
by Lawrence Thelen
     
 

ISBN-10: 0415923476

ISBN-13: 9780415923477

Pub. Date: 06/07/2002

Publisher: Taylor & Francis

First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.  See more details below

Overview

First published in 2004. Routledge is an imprint of Taylor & Francis, an informa company.

Product Details

ISBN-13:
9780415923477
Publisher:
Taylor & Francis
Publication date:
06/07/2002
Edition description:
New Edition
Pages:
268
Product dimensions:
6.00(w) x 9.00(h) x 0.61(d)

Table of Contents

acknowledgments
preface
making the show1
Martin Charnin17
Graciela Daniele39
James Lapine59
Arthur Laurents75
Richard Maltby, Jr.95
Des McAnuff115
Mike Ockrent133
Tom O'Horgan151
Harold Prince171
Jerome Robbins191
George C. Wolfe209
Jerry Zaks227
about the author247
index249

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The Show Makers: Great Directors of the American Musical Theatre 5 out of 5 based on 0 ratings. 2 reviews.
Anonymous More than 1 year ago
Very good book. A little boring some parts but you learn a lot from it. Good and interesting.
AmieTran More than 1 year ago
Lawrence Thelen is a director working primarily in the musical theatre. In this book, The Show Makers, Thelen held twelve interviews with “the most creative and influential directors of the contemporary musical theatre” from the discussions of the director’s life/career to insights on their directorial philosophies. The book begins with a general discussion of the directorial approaches to musical theatre-which allows the readers to have a sense of the type of questions he asked the directors- and then the next twelve sections of the book presents each director individually. Not every person can be a director or the so-called “captain” of the ship because it requires passion and work ethics to make a stage successful as possible. Like Des McNuff said, “You’re a storyteller [but] you’re not only responsible for your own creativity, you’re responsible to support all of those other people, and to make sure that they’re creating a universe together.” The directors not only worries about his positions in the musical but others too such as, the composers, the lyricists, the producers, and etc. And before it all happens the directors have to have a strong foundation to lead the company with a vision in mind. Although there are other kinds of practices on how to become a successful director but all directors unanimously agree that getting out there and doing it is the best way to prepare than through the university or college system because one it is not reality and two it is text and it does not include environmental factors. Once the directors hone their skills, the musical production process is a little bit easier because they developed a routine- on how to approach different parts of the musical- and they can identify problems and have solutions for them. After reading the book, there were some things that I liked and disliked. I liked how Thelen organized his writing because it was very consistent throughout the book that I knew what type of questions he was going to ask next because they were same set of questions for each interview. However, this topic is a first time for me, thus this book became a how-to, especially in the beginning of the book. Another thing I like about this book is it answers my questions as I am reading it. For example, what if this happen so how would the director deal with it or how does the director feel if…and (bam!) in the next interview Thelen has with (another director) would answer my question. Because of how he was able to obtain a collection of diverse directorial approaches, it allowed me to see more perspectives. One thing I disliked about this book is it’s so long (not really it is only 246 pages) that at certain times I feel like I do not want to read it anymore, yet, the next paragraph I read it captivates me again that I can’t stop, but I admit there were some parts I felt what I was reading were repetitive. In my opinion, this book is not made for everyone. It is only for those that are involve in the musical theatre or those that have desires to direct and want to get that feeling of, “oh I felt like that once too, so you should not feel like you are alone”. But it is definitely recommended for theatre collections. Overall I would give it 4.5 stars.