"These books by Keith Garebian are golden. Not only are they full of great insider anecdotes and hilarious stories, they also show you firsthand that musicals are an evolutionary art and 'classics' don't happen overnight. As they say, plays with music go into rehearsal and musicals come out of rehearsal."--Blogway Baby "A lively and impossible-to-put-down study of one of the most disturbing and entertaining musicals of the 20th century. This book captures the passion and ingenuity of artists who sought to expand musical theatre's conventions and to challenge U.S. politics. Garebian balances facts and details of the musical's creation and reception with insightful interpretation of the music, lyrics, script, staging, and design. A model for musical theatre history, an exemplary case study, and the most important source on Cabaret to date, the new and improved The Making of Cabaret updates and expands its terrific predecessor. An indispensible resource on a show that changed musical theatre forever."--Stacy Wolf, author of A Problem Like Maria: Gender and Sexuality in the American Musical (2002) and Changed for Good: A Feminist History of the Broadway Musical (2011)"This book is simply a wonderful read. Keith Garebian investigates the history of this extraordinary musical so elegantly and completely, you might think you had been there yourself for every production. The Making of Cabaret is smart, witty, insightful and full of the spirit that has made this groundbreaking musical such an enduring work of art." --Amanda Dehnert, Theatre Director"Keith Garebian deftly explores how the landmark concept musical 'Cabaret' came to be and examines its metamorphosis in Bob Fosse's Academy Award-winning film, the revelatory revision by Sam Mendes, and other revivals, persuasively arguing the many reasons why this disturbing musical has remained so popular."--Bud Coleman, University of Colorado at Boulder"A marvelous job." --Hal PrinceRezension:
Entertaining and knowledgeable, [ Cabaret] adds usefully to our understanding of creative processes - and it's a thoroughly good read. ( Arthur Pritchard, Journal of Theatre Research International)
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