MIDNIGHT IN THE GARDEN OF GOOD AND EVIL Musical by Alfred Uhry Broadway Bound?

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MIDNIGHT IN THE GARDEN OF GOOD AND EVIL Musical by Alfred Uhry Broadway Bound?

Michael Riedel reports in today's The New York Post that producer Anne Hamburger, founder of Off-Broadway's En Garde Arts, has acquired the rights and hired Alfred Uhry to turn John Berendt's 1994 best selling book MIDNIGHT IN THE GARDEN OF GOOD AND EVIL into a Broadway musical. Said to be nearly done with the first draft, the show will feature musical numbers from the catalog of Johnny Mercer

Midnight in the Garden of Good and Evil is a non-fiction work by John Berendt. Published in 1994, the book was Berendt's first, and became a The New York Times bestseller for 216 weeks following its debut. 

The book was subsequently made into a 1997 movie, directed by Clint Eastwood and based loosely on Berendt's story.  The film features Kevin Spacey as Jim Williams and John Cusack as John Kelso.

According to the book's publisher:

Shots rang out in Savannah's grandest mansion in the misty, early morning hours of May 2, 1981. Was it murder or self-defense? For nearly a decade, the shooting and its aftermath reverberated throughout this hauntingly beautiful city of moss-hung oaks and shaded squares. John Berendt's sharply observed, suspenseful, and witty narrative reads like a thoroughly engrossing novel, and yet it is a work of nonfiction. Berendt skillfully interweaves a hugely entertaining first-person account of life in this isolated remnant of the Old South with the unpredictable twists and turns of a landmark murder case. It is a spellbinding story peopled by a gallery of remarkable characters: the well-bred society ladies of the Married Woman's Card Club; the turbulent young redneck gigolo; the hapless recluse who owns a bottle of poison so powerful it could kill every man, woman, and child in Savannah; the aging and profane Southern belle who is the "soul of pampered self-absorption"; the uproariously funny black drag queen; the acerbic and arrogant antiques dealer; the sweet-talking, piano-playing con artist; young blacks dancing the minuet at the black debutante ball; and Minerva, the voodoo priestess who works her magic in the graveyard at midnight. These and other Savannahians act as a Greek chorus, with Berendt revealing the alliances, hostilities, and intrigues that thrive in a town where everyone knows everyone else.

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