Broadway: The American Musical

Greetings from California:

In your excellent review questioned why John Lahr did not mention is father Bert Lahr (Cowardly Lion in Wizard of Oz) In the 1950's I was friendly with John's brother and was told that only he was not overly close to his father, John was raised by his mother (not my friends Mother) & was a good deal younger than John, He hardly ever saw John & John hardly ever saw his father.

A closely knit family this was not.

John Lahr has written a book as well on his fathers life & times. I have forgotten the title, however.

This in-depth mini-series (6 episodes) took the story of Broadway musicals from the vaudeville age and Mr Ziegfeld's spectaculars right up to the present day with Wicked! On the way, in the capable hands of presenter Julie Andrews, we remember Irving Berlin, the Gershwins, Rodgers and Hammerstein, Jerome Kern, Kander and Ebb, Jerry Herman, 42nd Street, Leonard Bernstein, Stephen Sondheim, Hair!, Andrew Lloyd-Webber, Rent, and La Cage Aux Folles.

There are tantalising clips from rare TV broadcasts and films (perhaps a weakness of the series is that people TALK over the clips - who wants to hear someone remember a show when you can see John Raitt sing Soliloquy from Carousel?) which are well-worth seeing the series in themselves. Contemporary and archive interviews bring the likes of Jerome Robbins, Kitty Carlisle, Jerry Orbach, and Tommy Tune into the story.

For my money, the best episodes were the first two, for the rare footage shown. But you'd have to have a heart of stone not to be moved by the toll of musical theatre back-room boys (and front-line artists) lost to AIDS.

A fantastic trip along the Great White Way - thanks to PBS for putting it together, and to BBC4 for airing it in the UK.

I have just watched the first segment of Broadway: The American Musical on DVD. I just received the DVD today and right now it is one a.m., so I won't be watching any more tonight. Here I am, a Broadway musical fan watching it on my DVD player some 8,000 miles away from the Great White Way on November 29, 2004. According to the notes and the PBS website, this series ran on American TV just a few weeks ago. Whether the series meets every one of my expectations or not (though watching an, as always, perfectly-coifed over-90 Kitty Carlisle Hart remind herself of how irked she was about following a wet and messy seal act in vaudeville 70 or 75 years ago was worth the price of the DVD set in itself), the fact that PBS has chosen not to make us wait five or ten years, but barely a couple of weeks to be able to own this series and watch all or part of it any time we want deserves all my plaudits. Bravo. I look forward to the rest of the marvelous history, the marvelous singing, dancing, sets, and costumes in the segments that remain for me to view.

For many of us, with only a passing knowledge of American musical theatre, this is a godsend. I always suspected that these composers borrowed freely from each other and was not surprised to find out that they were often each others mentors.

The section on the THE CRADLE WILL ROCK was an alarming history lesson in recent censorship and should be as much a part of school curriculum as prohibition or blacklisting. Perhaps New York would not be so quick to condemn other states if it faced its own history of oppression since the behaviour of the city has often been the forerunner of standards, including censorship, elsewhere.

The series captures the social and artistic effects of SHOW BOAT, OKLAHOMA!, WEST SIDE STORY, HAIR and A CHORUS LINE among many others and beautifully highlights the effect they had not only on audiences but also on the talent behind the scenes.

One surprising (and annoying) feature of this set is the misguided effort to highlight the contribution of African Americans by segregating black performances into sections. The final effect is an "us and them" result that will appear racist as the years go by. Surely the contribution of black talent is not any more or less important than that of any other minority in the melting pot and the series easily integrates Jewish, Irish and Hispanic contributions effortlessly. Surely there is no need to suggest that Ethel Waters brought more to the stage by way of personal baggage than Fanny Brice or Harvey Fierstein. One obvious and major contributing element that becomes an elephant in the room to anyone who has ever seen a Broadway musical is delicately footnoted. This element is the fact that these shows are usually, dare I say it, quite gay in every sense of the word. Perhaps this is a current mutation of the badly kept Hollywood secret that the studios were mostly run by Jews. Do the producers really think it unimportant or simply too obvious to address?

This will probably be a valuable tool to educators through the years. I did not find it especially entertaining as it was very much "by the book" in the traditional PBS sense. I would have preferred that we had heard more from the actual people that were there rather than so many academics and relatives of those who it was about. Also, I know so many others have said it as well, but way too many movie clips and you never knew what you were looking at. People were not identified, etc. But, I applaud them for taking the time to make it and for putting it all down. Still better to have this than not to have done it.

NOTE: I thoroughly enjoyed the extra interview footage. It is actually more entertaining and enlightening than the actual series. I wonder what they must still have and what they might have done with it?