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"A much-needed study of the impact of rock music on the musical theater and its resulting challenges, complexities, failures, and successes. Anyone interested in Broadway will learn a great deal from this book."
---William Everett, author of The Musical: A Research Guide to Musical Theatre
"As Wollman weaves her historical narrative, she compellingly returns to . . . the conflict between the aesthetics and ideologies of rock music and the disciplined and commercial practices of the musical stage."
---Theatre Research International
"This well-written account puts the highs and lows of producing staged rock musicals in New York City into perspective and is well worth reading for the depth of insight it provides."
---Studies in Musical Theatre
The tumultuous decade of the 1960s in America gave birth to many new ideas and forms of expression, among them the rock musical. An unlikely offspring of the performing arts, the rock musical appeared when two highly distinctive and American art forms joined onstage in New York City. The Theater Will Rock explores the history of the rock musical, which has since evolved to become one of the most important cultural influences on American musical theater, and a major cultural export.
Despite the genre’s influence and fame, there are still some critics who claim that the term “rock musical” is an oxymoron. The relationship between rock and the musical theater has been stormy from the start, and even the comparatively recent success of Rent has done little to convince theater producers that rock musicals are anything but highly risky ventures. Elizabeth L. Wollman explores the reasons behind these problematic connections and looks at the socioeconomic forces that underlie aesthetic decisions. She weighs the influence on the rock musical by mass media, sound, and recording technology, and the economic pressures that have affected New York theater in general over the past three decades. Finally, Wollman offers a meditation on the state of the musical, its relation to rock, and, ultimately, its future.
Packed with candid commentary by members of New York's vibrant theater community, The Theater Will Rock traces the rock musical’s evolution over nearly fifty years, in popular productions such as Hair, The Who's Tommy, Jesus Christ Superstar, The Rocky Horror Picture Show, Little Shop of Horrors, Rent, and Mamma Mia!—and in notable flops such as The Capeman.
Elizabeth L. Wollman is Assistant Professor of Music at Baruch College of the City University of New York.
- Sales Rank: #2714495 in Books
- Published on: 2006-11-06
- Original language: English
- Number of items: 1
- Dimensions: .98" h x 6.30" w x 9.18" l,
- Binding: Hardcover
- 288 pages
Review
"A much-needed study of the impact of rock music on the musical theater and its resulting challenges, complexities, failures, and successes. Anyone interested in Broadway will learn a great deal from this book." - William Everett, author of The Musical: A Research Guide to Musical Theatre "This well-written account puts the highs and lows of producing staged rock musicals in New York City into perspective and is well worth reading for the depth of insight it provides." - Studies in Musical Theatre"
About the Author
Ethnomusicologist Elizabeth L. Wollman is a faculty member at the Department of Fine and Performing Arts at Baruch College, City University of New York.
Most helpful customer reviews
10 of 13 people found the following review helpful.
Great book on Modern Musical Theater!
By Bill Crouch
One of the best and most informative books on Musical Theater out there today. In a relatively new field of study, this book pushes the scholarship methodology to a finer level. Combines strong research with on site interviews with the pre-eminent makers of today's rock musicals. Get this book if you are getting a degree, or if you are a professional in the Music Theater industry in a major city in the U.S.A.
2 of 3 people found the following review helpful.
Broadway Never Lost Its Hair
By R F Brown
There does seem to be a common understanding that before the musical Hair there was nothing like Hair and that most of what followed Hair were flop imitations - Dude, Via Galactica, Rainbow. Though Hair became a classic, theatrical producers stopped throwing their money away on rock scores by about 1975. What Elizabeth Wollman's through history brings forward is that Hair's influence in musical theatre can be seen in decades of cultural tug-of-war between keeping rock music's aesthetics authentic and produce musicals that have mass audience appeal. Hair's long beautiful hair grew into Grease, and Les Mis, and Mama Mia but through the use of softer forms of rock music. We don't really recognize how things of changed since Rogers and Hammerstein. Unlike any work I've read on the topic of musical theatre, or even in rock journalism for that matter, Wollman finally provides language for describing the variety of very different kinds of musical theatre that are too often lazily categorized as "rock musicals." For once Hair is rock musical, Jesus Christ Superstar is rock opera and Dreamgirls and Smokey Joe's Cafe are other things too, well categorized here. I have a couple of quibbles. First, I think Wollman doesn't emphasize that much of the failure in those fabulous post-Hair rock flops lies in being rushed to Broadway with big money backers and no existing source material. Most of the truly great shows in musical theatre are drawn from novels, plays or history. At least Hair had the huge benefit of a long and sometimes painful gestation period before finally coming uptown. The big rock flops of the early 1970's were being made-up on the spot. Ironically two of the successful rock musicals from the same period, Your Own Thing and Two Gentleman of Verona were adapted from that rebellious beatnik Shakespeare. Next, Wollman makes frequent reference to off-off Broadway shows like House of Leather and The Legend of Johnny Pot which barely ever opened, meanwhile her research overlooks shows like Promenade (259 performances) and Salvation (239 performances). Finally, between her socio-historical chapters the author includes some short academic meditations on audience attitudes, marketing experiments, and musical aesthetics. These interlude essay are well written they do seem like step children, sections from a different book. If you are seeking musical aesthetics and composition for musical theater, you won't find much here on the specific shows or songs. However this is excellent work on cultural commodification and the economics of Broadway over the last forty years.
0 of 0 people found the following review helpful.
Not bad, but needs an update.
By kjtenorman
Not bad, but it definitely needs an update. This book was released in 2009, but the last musical it covers is Mamma Mia! in 2001 (huh?). A ton of rock musicals have premiered on and off-broadway since then (Spring Awakening, Next to Normal, Once, Bloody Bloody Andrew Jackson, etc.). I appreciate that the author took the time to find some great quotes from individuals who were involved with each musical discussed. However, the author doesn't thoroughly analyze each show, and some of her observations are a little odd and biased. That said, this is a pretty good general rock musical resource (albeit out-of-date).
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