Ken Bloom

The book should be subtitled "the 101 greatest shows through 2004," since, contrary to rumor, Broadway is not yet dead. So, no Hamilton, Fun Home, Matilda the Musical, Light in the Piazza, Book of Mormon, or Come from Away. Also, it's criminal that Sunday in the Park with George isn't listed, nor Into the Woods, and certainly an argument could be made for Lion King. My own list would include Urinetown and Falsettos. And Audra is only represented by Ragtime. But here is a big wonderful coffee show more table book of musicals from Annie to Zorba, complete with song list, synopsis, commentary, cast, and marvelous photographs. I've made a decent showing with having seen 31 of the aforesaid 101 shows on Broadway (either original productions or revivals), given that many of them were, ahem, before my time. I'm modestly content, however, with being listed along with my colleagues in the acknowledgments, as I was a Theatre Librarian with the Billy Rose Theatre Collection at the time the book was researched. (This review refers to the original hardcover 2004 ed. The book has since been updated). show less

Delightful. Funny. Informative. Juicy. These are just four of the many words that describe SHOW & TELL by Ken Bloom based on stories he has heard directly from the people involved as well as from well-known stories.
The word “show” in the title has two meanings: First, the stories are about theater experiences, primarily shows on Broadway. Secondly, in telling the anecdotes, Bloom is showing the reader many facets of what goes on during the entire process of putting a play on the stage, show more beginning with developing the concept and continuing until the show closes. Among many other issues, it talks about writing the show and composing the music, casting, rehearsals, race issues, out-of-town tryouts and tours, audiences, publicity, stunts, performances, and tragedies. He tells how some of stars used their position to treat people who they considered competition poorly, sometimes even cruelly. Be prepared to get a whole new perspective on some people who you might have thought were wonderful. And he also names some who everyone loved.
Most of the anecdotes are amusing and revealing. Some of them include stories about:
The Jewish actor from Galicia in Eastern Europe who changed his name and received the Italo-American award.
When Michael Crawford was leaving Phantom of the Opera, Sammy Davis was considered for his replacement. The reason he didn’t get the role? The general manager said, “wrong eye.”
The Royal Opera House in Copenhagen’s use of Porgy and Bess and the Danes use of “It Ain’t Necessarily So” during the Nazi Era.
Why whistling in a theater is considered bad luck.
Why Lin Manuel-Miranda would not let Madonna come backstage after a performance of Hamilton.
At the end, Bloom provides a very helpful list of recommendations for further reading.
The book, while generally well-written, was repetitious a few times. Theater people use the F-bomb more than I expected. show less

Books like this are always interesting on their own, though they don't seem to be meant to be read from cover to cover. The size of it makes doing so prohibitive. It's also, obviously, time sensitive. "Of all time" can only apply to musicals up to the date of the publication, but taking that into account while reading gives the book perspective that it needs. I've enjoyed having this book around. It's a very nice book to go to now and then when I feel like flipping through something, and it show more certainly does have more substance than your average magazine. show less

An interesting compilation, with concise biographies of many of the singers, bands, and songwriters from the nineteenth century through the 1960s. Some listings also include a “Career Highlights” listing as well as a listing of songs recorded. For a book purporting to address the history of music, it seems a strange choice not to include similar information for each entry.

Although the lavishly illustrated book provides at least a general overview of the history of the Great American show more Songbook, there are some strange omissions, such as songwriter/musician Bobby Troup [mentioned only in the short biography of his wife, Julie London] who wrote such hits as “(Get Your Kicks on) Route 66” and “You’re Looking at Me,” both recorded by [among others] Nat King Cole. Also omitted: lyricist Dorothy Fields, who penned such standards as “On the Sunny Side of the Street ” and “I Can’t Give You Anything But Love,” both recorded by [among others] Ella Fitzgerald as well as “The Way You Look Tonight,” recorded by many singers, including Peggy Lee.

For readers interested in the Great American Songbook’s influential songs and standards, there is much to appreciate here in this overview of its history as seen through some of the singers, big bands, and songwriters of these popular and enduring songs. show less