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Hers is the show business saga you think you already know--but you ain't seen nothin' yet. Rose Thompson Hovick, mother of June Havoc and Gypsy Rose Lee, went down in theatrical history as "The Stage Mother from Hell" after her immortalization on Broadway in Gypsy: A Musical Fable. Yet the musical was 75 percent fictionalized by playwright Arthur Laurents and condensed for the stage. Rose's full story is even more striking. Born fearless on the North Dakota prairie in 1891, Rose Thompson had a kind father and a gallivanting mother who sold lacy finery to prostitutes. She became an unhappy teenage bride whose marriage yielded two entrancing daughters, Louise and June. When June was discovered to be a child prodigy in ballet, capable of dancing en pointe by the age of three, Rose, without benefit of any theatrical training, set out to create onstage opportunities for her magical baby girl--and succeeded. Rose followed her own star and created two more in dramatic and colorful style: "Baby June" became a child headliner in vaudeville, and Louise grew up to be the well-known burlesque star Gypsy Rose Lee. The rest of Mama Rose's remarkable story included love affairs with both men and women, the operation of a "lesbian pick-up joint" where she sold homemade bathtub gin, wild attempts to extort money from Gypsy and June, two stints as a chicken farmer, and three allegations of cold-blooded murder--all of which was deemed unfit for the script of Gypsy. Here, at last, is the rollicking, wild saga that never made it to the stage.
Hers is the show business saga you think you already know--but you ain't seen nothin' yet. Rose Thompson Hovick, mother of June Havoc and Gypsy Rose Lee, went down in theatrical history as "The Stage Mother from Hell" after her immortalization on Broadway in Gypsy: A Musical Fable. Yet the musical was 75 percent fictionalized by playwright Arthur Laurents and condensed for the stage. Rose's full story is even more striking. Born fearless on the North Dakota prairie in 1891, Rose Thompson had a kind father and a gallivanting mother who sold lacy finery to prostitutes. She became an unhappy teenage bride whose marriage yielded two entrancing daughters, Louise and June. When June was discovered to be a child prodigy in ballet, capable of dancing en pointe by the age of three, Rose, without benefit of any theatrical training, set out to create onstage opportunities for her magical baby girl--and succeeded. Rose followed her own star and created two more in dramatic and colorful style: "Baby June" became a child headliner in vaudeville, and Louise grew up to be the well-known burlesque star Gypsy Rose Lee. The rest of Mama Rose's remarkable story included love affairs with both men and women, the operation of a "lesbian pick-up joint" where she sold homemade bathtub gin, wild attempts to extort money from Gypsy and June, two stints as a chicken farmer, and three allegations of cold-blooded murder--all of which was deemed unfit for the script of Gypsy. Here, at last, is the rollicking, wild saga that never made it to the stage.
One of the greatest musicals of all time, with music by Jule Styne, lyrics by Stephen Sondheim, and a book by Arthur Laurents. Gypsy is based on the memoirs of Gypsy Rose Lee, a famous burlesque stripper. The musical focuses on her overbearing mother, Rose, the quintessential stage mother, as she pushes Gypsy (then known as Louise) and her sister June into life on the vaudeville circuit, forever trying to break into the big time. The musical contains many songs that have become popular standards, including 'Everything's Coming up Roses' and 'Let Me Entertain You'. Gypsy was premiered on Broadway in May 1959 at The Broadway Theatre (transferring to the Imperial Theatre), directed and choreographed by Jerome Robbins, with Ethel Merman starring as Rose.
Laurel takes her sisters—Rose, Daisy, and Lily—for granted, and she thinks nothing can go wrong. But when tragedy strikes, it feels like her family is falling apart, and she needs somewhere to turn. Luckily, there’s Jack...
Gestures of Music Theater explores examples of Song and Dance as performative gestures that entertain and affect audiences. The chapters interact to reveal the complex energies of performativity. In experiencing these energies, music theatre is revealed as a dynamic accretion of active, complex and dialogical experiences.
Arthur Laurents's career as a playwright, screenwriter, book writer for musicals and director spanned over half a century. His first Broadway play, Home of the Brave, was produced in 1945; his last play, Come Back, Come Back, Wherever You Are, was produced in 2009 when he was ninety-one. Although he is best known for his work on the classic musicals Gypsy and West Side Story and for his screenplays for Rope, The Way We Were, and The Turning Point, Laurents is the author of seventeen full-length plays, numerous screenplays and three volumes of memoirs. Despite the length and distinction of Laurents's career, until now no one has written a full-length critical study of his work. Laurentss' name was associated with a few hit musicals and films, but his best work, the plays he wrote since 1975, are not as well known. One reason is that the economics of the American theatre have changed during the writer's lifetime and Laurents's serious plays were performed Off-Broadway or at regional theatres. Few were published, except in acting editions, until a volume of Selected Plays was assembled in 2005. Moreover, Laurents's highly controversial volumes of memoirs, filled with attacks on people who he felt betrayed him over the years, overshadowed his later work. Ignoring most his own plays in the memoirs did not help to maintain his reputation as a serious playwright This book rectifies the absence of a serious examination of all of Laurents's major work. This first comprehensive study of Laurents's work focuses on the subjects and themes that recur in his work, particularly the interrelated topics of gender politics, homosexuality and the dynamics of marriage. The position of women and gay men changed greatly over the sixty-plus years of Laurents's career and we see those changes reflected in his work, particularly in the shifting power dynamics within a marriage. Laurents was fascinated by the dynamics of marriage. In his plays there is always a tension between love and the difficulty, if not impossibility, of monogamy. In works like The Enclave, we also see a variety of ways in which gay men try to live proud lives in a heteronormative society. In that play and in Two Lives, Laurents examines how gay men negotiate something like a marriage before gay marriages were legally sanctioned. The book also covers the ways in which Laurents's plays reflect his interest in leftist politics from the 1940s through the various liberations of the late 1960s and 1970s. Above all, the study argues that if there is any common theme running through the plays, films and memoirs, it is betrayal-betrayal of marriage partner, friend, artistic collaborator and, most important, betrayal of one's own ideals. The Works of Arthur Laurents will be of particular interest to students and scholarsof American drama, musical theatre, American film, gender studies, gay studies, and Jewish studies.
In a classic storyteller's voice, Newbery Honor recipient Marion Dane Bauer tells a tale of friendship, family, and fitting in that recalls The Doll People, Rumer Godden, and Hitty, Her First Hundred Years. Rose is a wild child. She doesn't care what her mother or teacher or schoolmates say—she does what she wants. When she finds a delicate china doll in the attic, she takes it. Then the doll comes to life in her hand. She's loud, obnoxious, selfishly bossy, and claims that she's a princess and Rose is her servant. But she's also tiny and fragile. She needs Rose to keep her safe. And maybe Rose needs Princess Regina, too.
This updated edition of one of the bestselling and comprehensive Broadway reference books, first published in 1985, has been expanded to include many of the most important and memorable productions of American musical theater, including revivals. Arranged chronologically, beginning with musicals from just after the Civil War, each successive edition of the book has added valuable updates about trends in musical theater as well as capsule features on the most significant musicals of the day. The ninth edition documents important musicals produced since the end of the 2012–2013 season through spring 2019. Broadway Musicals, Show by Show features a wealth of statistics and inside information, plus critical reception, cast lists, pithy commentary about each show, and numerous detailed indexes that no Broadway fan will want to be without. Since its original publication, Broadway Musicals has proved to be an indispensable addition to any Broadway aficionado's library.
The musical, whether on stage or screen, is undoubtedly one of the most recognizable musical genres, yet one of the most perplexing. What are its defining features? How does it negotiate multiple socio-cultural-economic spaces? Is it a popular tradition? Is it a commercial enterprise? Is it a sophisticated cultural product and signifier? This research guide includes more than 1,400 annotated entries related to the genre as it appears on stage and screen. It includes reference works, monographs, articles, anthologies, and websites related to the musical. Separate sections are devoted to sub-genres (such as operetta and megamusical), non-English language musical genres in the U.S., traditions outside the U.S., individual shows, creators, performers, and performance. The second edition reflects the notable increase in musical theater scholarship since 2000. In addition to printed materials, it includes multimedia and electronic resources.
This wide-ranging, two-volume encyclopedia of musicals old and new will captivate young fans—and prove invaluable to those contemplating staging a musical production. Written with high school students in mind, The World of Musicals: An Encyclopedia of Stage, Screen, and Song encompasses not only Broadway and film musicals, but also made-for-television musicals, a genre that has been largely ignored. The two volumes cover significant musicals in easily accessible entries that offer both useful information and fun facts. Each entry lists the work's writers, composers, directors, choreographers, and cast, and includes a song list, a synopsis, and descriptions of the original production and important revivals or remakes. Biographical entries share the stories of some of the brightest and most celebrated talents in the business. The encyclopedia will undoubtedly ignite and feed student interest in musical theatre. At the same time, it will prove a wonderful resource for teachers or community theatre directors charged with selecting and producing shows. In fact, anyone interested in theatre, film, television, or music will be fascinated by the work's tantalizing bits of historical and theatre trivia.