Full of information and attitude—will appeal more to aficionados than to casual fans.
A veteran theater critic (Newark Star-Ledger) walks us through the Hall of Not-So-Much Fame, speculating why some musicals win Tonys and others lose.
The subtitle is accurate: Filichia is indeed “very opinionated.” Rodgers and Hammerstein’s Pipe Dream he calls “godawful,” and the 1980 film of Xanadu was “such a turd.” Still, the author’s tour is careful and well-researched. For many of the shows, he offers a summary of the plot—often running to several pages—and his knowledge of Broadway history is both wide and deep. He begins with a troubling decision: How did West Side Story not win Best Musical? And Gypsy? And Follies? Having raised the question, Filichia offers chapters that deal with the principal reasons for shows’ failures. Some, for example, are just too good—the cause of Sondheim’s suffering, he believes. Others are “lame ducks”: They closed before the voting. Leap of Faith had only 20 performances. Some losers, as he notes, eventually won by reaping fine profits—Grease, Pippin, Beauty and the Beast among them. Sometimes, it’s the producers who seem to annoy voters (David Merrick won far fewer times than one would think); sometimes, fortune does not favor a show. Dream Girls won performance awards but not Best Musical. Still others might have done better in other years (Into the Woods lost to Phantom), and some were apparently just too small for the voters’ show-time appetites—High Spirits and The Me Nobody Knows, for example. Filichia’s longest chapter deals with shows that were generally good but flawed in some serious way—e.g., Funny Girl, Coco, Over Here!, The Color Purple and Rock of Ages, “the latest in the parade of stupid musicals, meant for crowds that think musicals are innately moronic.”
Full of information and attitude—will appeal more to aficionados than to casual fans.Pub Date: May 28, 2013
ISBN: 978-1-250-01843-4
Page Count: 304
Publisher: St. Martin's
Review Posted Online: April 20, 2013
Kirkus Reviews Issue: May 15, 2013
BOOK REVIEW
Erudite writing from an author struggling to find meaning through music.
An Ohio-based poet, columnist, and music critic takes the pulse of the nation while absorbing some of today’s most eclectic beats.
At first glance, discovering deep meaning in the performance of top-40 songstress Carly Rae Jepsen might seem like a tough assignment. However, Abdurraqib (The Crown Ain’t Worth Much, 2016) does more than just manage it; he dives in fully, uncovering aspects of love and adoration that are as illuminating and earnest as they are powerful and profound. If he can do that with Jepsen's pop, imagine what the likes of Bruce Springsteen, Prince, or Nina Simone might stir in him. But as iconic as those artists may be, the subjects found in these essays often serve to invoke deeper forays into the worlds surrounding the artists as much as the artists themselves. Although the author is interested in the success and appeal of The Weeknd or Chance the Rapper, he is also equally—if not more—intrigued with the sociopolitical and existential issues that they each managed to evoke in present-day America. In witnessing Zoe Saldana’s 2016 portrayal of Simone, for instance, Abdurraqib thinks back to his own childhood playing on the floor of his family home absorbing the powerful emotions caused by his mother’s 1964 recording of “Nina Simone in Concert”—and remembering the relentlessly stigmatized soul who, unlike Saldana, could not wash off her blackness at the end of the day. In listening to Springsteen, the author is reminded of the death of Michael Brown and how “the idea of hard, beautiful, romantic work is a dream sold a lot easier by someone who currently knows where their next meal is coming from.” In all of Abdurraqib’s poetic essays, there is the artist, the work, the nation, and himself. The author effortlessly navigates among these many points before ultimately arriving at conclusions that are sometimes hopeful, often sorrowful, and always visceral.
Erudite writing from an author struggling to find meaning through music.Pub Date: Nov. 14, 2017
ISBN: 978-1-937512-65-1
Page Count: 288
Publisher: Two Dollar Radio
Review Posted Online: Oct. 1, 2017
Kirkus Reviews Issue: Oct. 15, 2017
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.
A brisk study of 20 of the Bard’s plays, focused on stripping off four centuries of overcooked analysis and tangled reinterpretations.
“I don’t really care what he might have meant, nor should you,” writes Smith (Shakespeare Studies/Oxford Univ.; Shakespeare’s First Folio: Four Centuries of an Iconic Book, 2016, etc.) in the introduction to this collection. Noting the “gappy” quality of many of his plays—i.e., the dearth of stage directions, the odd tonal and plot twists—the author strives to fill those gaps not with psychological analyses but rather historical context for the ambiguities. She’s less concerned, for instance, with whether Hamlet represents the first flower of the modern mind and instead keys into how the melancholy Dane and his father share a name, making it a study of “cumulative nostalgia” and our difficulty in escaping our pasts. Falstaff’s repeated appearances in multiple plays speak to Shakespeare’s crowd-pleasing tendencies. A Midsummer Night’s Dream is a bawdier and darker exploration of marriage than its teen-friendly interpretations suggest. Smith’s strict-constructionist analyses of the plays can be illuminating: Her understanding of British mores and theater culture in the Elizabethan era explains why Richard III only half-heartedly abandons its charismatic title character, and she is insightful in her discussion of how Twelfth Night labors to return to heterosexual convention after introducing a host of queer tropes. Smith's Shakespeare is eminently fallible, collaborative, and innovative, deliberately warping play structures and then sorting out how much he needs to un-warp them. Yet the book is neither scholarly nor as patiently introductory as works by experts like Stephen Greenblatt. Attempts to goose the language with hipper references—Much Ado About Nothing highlights the “ ‘bros before hoes’ ethic of the military,” and Falstaff is likened to Homer Simpson—mostly fall flat.
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.Pub Date: April 21, 2020
ISBN: 978-1-5247-4854-8
Page Count: 368
Publisher: Pantheon
Review Posted Online: Dec. 17, 2019
Kirkus Reviews Issue: Jan. 15, 2020
BOOK REVIEW
BOOK REVIEW
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