The Making of Cabaret

A handy and engaging chronicle, this book is the most detailed production history to date of the original Broadway version of Cabaret, showing how the show evolved from Christopher Isherwood's Berlin stories, into John van Druten's stage play, a British film adaptation, and then the Broadway musical, conceived and directed by Harold Prince as an early concept musical. With nearly 40 illustrations, full cast credits, and a bibliography, The Making of Cabaret will appeal to musical theatre aficionados, theatre specialists, and students and performers of musical theatre.

Garebian, Keith

Humor & Entertainment

Oxford University Press

A handy and engaging chronicle, this book is the most detailed production history to date of the original Broadway version of Cabaret, showing how the show evolved from Christopher Isherwood's Berlin stories, into John van Druten's stage play, a British film adaptation, and then the Broadway musical, conceived and directed by Harold Prince as an early concept musical. With nearly 40 illustrations, full cast credits, and a bibliography, The Making of Cabaret will appeal to musical theatre aficionados, theatre specialists, and students and performers of musical theatre.

Hugh Hood (Canadian literature)

Twayne Publishers

William Hutt: A Theatre Portrait

Arts & Photography

Performing Arts

Mosaic Pr

Christopher Newton has placed the Shaw Festival firmly on the map of world-class theatre. His best Shavian productions are revolutionary re-interpretations of plays that are normally treated as Edwardian period pieces or didactic entertainments. In this first full-length study of Newton, critic Keith Garebian shows how the pairing of Shaw and Newton, that once seemed not bloody likely, has become one of the most exciting enterprises in Canadian theatre, with startling results. George Bernard Shaw & Christopher Newton begins with a biographical section that sketches some of the most perasive influences on Newton’s artistic sensibility, and suggests what had particularly inspired his ever-growing fascination with Shaw. Successive chapters document Newton’s concept of Shaw as a surrealist, and contain detailed descriptions of productions at Niagara- on -the- Lake from 1980-1990. Among other things, readers are shown a Caesar and Cleopatra set in a Shadow Box; Heartbreak House as a dream-play of the night and anarchy; Major Barbara as a double quest; You Never Can Tell as part comic romance, part farcical metaphor; the metatheatrical suggestions of Man and Superman; and a Misalliance as a metaphor of a convulsive new age. As Garebian shows, Newton’s approach for all its paradoxes, succeeds in making George Bernard Shaw our dynamic contemporary.

George Bernard Shaw & Christopher Newton: Explorations of Shavian Theatre

Mosaic Press

In his book Harold Prince and the American Musical Theater, Foster Hirsch recalls a woman who left the opening-night performance of Cabaret in Wilmington, Delaware, exclaiming: It is more than a musical! The exclamation suggests that the Broadway show had gone beyond European ethnicity and history on its way to success. And there is truth behind the suggestion. Even on the mere surface, Cabaret is not just a musical. The Berlin of the Third Reich, diluted for Broadway audiences, provides a symbolic edge that tips the show into a realm of fascinating metaphor.

West Side Story was a landmark musical. When it premiered on Broadway in 1957, it showed how dancing, singing, acting, and design could merge into a single means of expression, a seamless unity. Whether it was completely new vision as a concept musical, or the pinnacle of an already established tradition, it marked the most impressive body of choreography in a single show and was acclaimed as Leonard Bernstein's strongest work for the Broadway stage.

The Making of West Side Story

The common lament was Broadway will never be the same! when My Fair Lady finally ended its stellar run the night of Sunday, September 30, 1962. Millions of people had seen the show over six years and had helped break box-office records, even though Rex Harrison, Julie Andrews, Stanley Holloway, and Robert Coote did not stay with the cast throughout the six-year run. MyFair Lady used the substance and wit of George Bernard Shaw to add a new dimension to the Broadway libretto.

The Making of My Fair Lady (Great Broadway Musicals)

The difficulty for a modern star in Gypsy today is the competition with a ghost-Ethel Merman's, to be exact. It's no longer a case of making the role Mama Rose credible in all her volcano-force anomalies-of making her seem crazy yet funny, pitiful, and savage, sinner, and sinned against. She is downright interesting in her own right and in Arthur Laurent's writing, only a sub-par actress would fail to capitalize on that interest.

The Making of Gypsy

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Books by Garebian, Keith

See the best price to sell, buy, or rent books by Garebian, Keith. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

The Making of Cabaret

The Making of Cabaret

Hugh Hood (Canadian literature)

William Hutt: A Theatre Portrait

William Hutt: A Theatre Portrait

George Bernard Shaw & Christopher Newton: Explorations of Shavian Theatre

The Making of Cabaret

The Making of West Side Story

The Making of My Fair Lady (Great Broadway Musicals)

The Making of Gypsy