An Englishman's way of speaking absolutely classifies him, The moment he talks he makes some other Englishman despise him." - Henry George Bernard Shaw famously refused to permit any play of his "to be degraded into an operetta or set to any music except its own." Allowing his beloved Pygmalion to be supplanted by a comic opera was therefore unthinkable; yet Lerner and Loewe transformed it into My Fair Lady (1956), a musical that was to delight audiences and critics alike. By famously reversing Shaw’s original ending, the show even dared to establish a cunningly romantic ending. Keith Garebian delves into the libretto for a fresh take, and explores biographies of the show’s principal artists to discover how their roles intersected with real life. Rex Harrison was an alpha male onstage and off, Julie Andrews struggled with her ‘chaste diva’ image, and the direction of the sexually ambiguous Moss Hartcontributed to the musical’s sexual coding.
An engaging and compelling production history of the original Broadway version of Cabaret, this book is a meticulous record of how a great musical came into being. Encompassing everything from literary sources to music and lyrics, design and production process, it is the ultimate reference for theatre specialists and general readers alike.
An Englishman's way of speaking absolutely classifies him, The moment he talks he makes some other Englishman despise him." - Henry George Bernard Shaw famously refused to permit any play of his "to be degraded into an operetta or set to any music except its own." Allowing his beloved Pygmalion to be supplanted by a comic opera was therefore unthinkable; yet Lerner and Loewe transformed it into My Fair Lady (1956), a musical that was to delight audiences and critics alike. By famously reversing Shaw’s original ending, the show even dared to establish a cunningly romantic ending. Keith Garebian delves into the libretto for a fresh take, and explores biographies of the show’s principal artists to discover how their roles intersected with real life. Rex Harrison was an alpha male onstage and off, Julie Andrews struggled with her ‘chaste diva’ image, and the direction of the sexually ambiguous Moss Hartcontributed to the musical’s sexual coding.
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.
A companion volume to Canadian Odyssey: A Reading of Hugh Hood's The New Age, God's Plenty surveys the short fiction of the writer dubbed Canada's Proust. Hugh Hood, an unparalleled stylist, was equally accomplished in short forms and long: this straight-talking assessment of Hood's stories is thorough, insightful, readable, and profound. With its story-by-story breakdown and rigorous engagement with Hood's technique, God's Plenty offers an excellent introduction not just to an undersung master, but to the art of short fiction full stop. W.J. Keith is a professor emeritus at the University of Toronto.
Part One of this strongly worded, informed, and wide-ranging collection examines key issues for the future of Canadian criticism. Part Two offers new readings of important works by Grove, Wilson, MacLennan, Davies, Laurence, Hood, Wiebe, Hodgins, and Atwood. As W.J. Keith argues, `We still have a mission: to have our literature recognized as an essential reflection of our national life. This is what I mean by retrenchment and consolidation. Literature can survive without literary criticism but it cannot survive if it is unknown and unread. It is criticism's prime function at the present time to see that it is both known and read with that mature enjoyment which is a combination of emotional sensitivity and humane intelligence. As critics, scholars, editors, we shall not be fulfilling our responsibilities or justifying our existence if we attempt anything less.' Or as Keith modestly observes in his introduction to this collection, `If this book is of any interest, it will be because Canadian literature is an important subject. Literary commentators like myself are middle-men, and should be prepared to admit the fact. If this book succeeds in helping readers to appreciate the works of Canadian writers that I discuss, and to derive increased pleasure and insight from them, it will have served its purpose. I can see no other justification for it -- or for any other work of criticism.
W. J. Keith has chosen to ignore utterly both the `popular' at the one extreme (Robert Service, Lucy Maud Montgomery) as well as the `avant-garde' at the other (bpnichol, Anne Carson) in favour of those authors whose style lends itself to the simple pleasure of reading, and to that end Keith dedicates his history to `all those -- including those of the general reading public whose endangered status is much lamented -- who recognize and celebrate the dance of words.
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