Miller contends that Americans don't take American musicals seriously; more precisely, American directors don't. That is why, he argues, most of the most imaginative and daring recent Broadway revivals have been directed by Brits and Australians. American directors are less willing to plumb the depths of musicals and to uncover, for instance, Camelot's dark subtext or the deep structure of The Music Man. Miller strives to set things aright by analyzing Camelot, Chicago, The King and I, March of the Falsettos, The Music Man, Passion, Ragtime, and Sunday in the Park with George. He intends for regional and community theater directors to use the book to penetrate to the heart of a show--something he accomplishes admirably well, for music, plot, character development, and performance style each gets a turn under Miller's microscope. In fact, Miller's book is too fascinating to be hogged by would-be directors. Students of theater will find it a godsend, and general audience members for musical theater should find it quite appealing. Jack Helbig
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Publisher: Heinemann Drama
Released: 1999
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