A dishy but disappointing first biography of the legendary producer/ogre (who will be 82 in November)—as told by the chief theater critic for the New York Daily News. Kissel tells the story of the guy in the pinstripe suit (a vestment Merrick chose early in his flight from the hollowing meanness of his childhood) who dominated the Broadway theater from the 1950's until he began failing in the 1970's—first out of step, then out of steam, and finally felled by a stroke. Along the way, Merrick specialized in the tony American musical and the classy British import. His shows included Gypsy; Hello, Dolly!; Rosencrantz & Guildenstern Are Dead; and Look Back In Anger. Merrick, Kissel explains, had a genius for generating publicity: When Subways Are for Sleeping appeared weak in the knees out of town, he ran a full-page advertisement in The New York Herald- Tribune that featured little raves written by namesakes of prestigious critics. When director Gower Champion died just before the opening of 42nd Street, Merrick squelched all news of his death so he could announce it himself at the final opening-night curtain. No matter that Champion was a friend of old: Merrick was, by Kissel's account, a veritable monster who ruled by tantrum and menace—weapons allegedly honed by old anger and new cocaine. Was Merrick crazy as a fox or just plain crazy? Did his meshugaas help or hinder his fabulous productions? The questions are asked throughout, but the answers are impeded by turgid writing and an erratic overview that shrugs off much of consequence. Kissel's at his best when dealing with the post-stroke Merrick, where the focus is insistently sharp and the pathos keen. (Photographs)
Pub Date: Nov. 12, 1993
ISBN: 1-55783-172-6
Page Count: 464
Publisher: Applause
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1993
Lionel Dahmer, father of mass murderer Jeffrey Dahmer, here writes one of the most courageous, unsensational books ever written about serial murder. It does not even summarize Jeffrey's crimes. Dahmer takes upon himself much of the guilt for his son's acts by considering a genetic predisposition to murder he may have passed on to his son; various acts of his own moral blindness that may have contributed to his son's deprived emotional being; and things he did and didn't do when certain symptoms appeared that might have alerted him to Jeffrey's lust for sexual atrocity. What parts of the father, the book asks, are replicated in the son? Largely, Jeffrey is a failure whose failings were earlier those of his father, though the father overcame each failing as its pain grew. Intellectually and physically inferior as a child, Lionel was tutored by his parents from first grade on, and by dint of hard study earned a doctorate in chemistry. A puny child, he took up body-building as a teenager and turned himself into a fine physical specimen. But he also had murderous dreams from which he would awake trembling. Jeffrey's mother was also a depressive, and her excessive pill-taking during pregnancy may well have damaged Jeffrey's genes. As a child, he developed a testicular hernia that, when treated by surgery, gave him a fear of castration and seemed to lead into lasting withdrawal from his family and friendships and, by the time he was 15, into alcoholism and a liking for dead things. Lionel sees Jeffrey's main psychotic trigger lying in a need to control: his own need for intellectual and physical control resulted in a glass wall between himself and Jeffrey; Jeffrey's need for control grew into a need for drugged or dead lovers who submitted to him absolutely. Clear, modest, intelligent—and extremely disturbing.
Pub Date: March 1, 1994
ISBN: 0-688-12156-X
Page Count: 224
Publisher: Morrow/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1994
Daniels emerges as a force to be reckoned with—and not someone to cross. Of interest to politics junkies but with plenty of...
A lively, candid memoir from person-in-the-news Daniels.
The author is a household name for just one reason, as she allows—adding, though, that “my life is a lot more interesting than an encounter with Donald Trump.” So it is, and not without considerable effort on her part. Daniels—not her real name, but one, she points out, that she owns, unlike the majority of porn stars—grew up on the wrong side of town, the product of a broken home with few prospects, but she is just as clearly a person of real intelligence and considerable business know-how. Those attributes were not the reason that Trump called her on a fateful night more than a decade ago, but she put them to work, so much so that in some preliminary conversation, he proclaimed—by her account, his talk is blustery and insistent—that “our businesses are kind of a lot alike, but different.” The talk led to what “may have been the least impressive sex I’d ever had, but clearly, he didn’t share that opinion.” The details are deeply unpleasant, but Daniels adds nuance to the record: She doesn’t find it creepy that Trump likened her to his daughter, and she reckons that as a reality show host, he had a few points in his favor even if he failed to deliver on a promise to get her on The Apprentice. The author’s 15 minutes arrived a dozen years later, when she was exposed as the recipient of campaign hush money. Her account of succeeding events is fast-paced and full of sharp asides pointing to the general sleaziness of most of the players and the ugliness of politics, especially the Trumpian kind, which makes the porn industry look squeaky-clean by comparison.
Daniels emerges as a force to be reckoned with—and not someone to cross. Of interest to politics junkies but with plenty of lessons on taking charge of one’s own life.Pub Date: Oct. 2, 2018
ISBN: 978-1-250-20556-8
Page Count: 288
Publisher: St. Martin's
Review Posted Online: Oct. 5, 2018
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