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To Broadway, To Life! The Musical Theater of Bock and Harnick. Philip Lambert. New York: Oxford University Press, 2011. ISBN 978-0-1953-9007-0
Jews on Broadway: An Historical Survey of Performers, Playwrights, Composers, Lyricists and Producers. Stewart F. Lane. Jefferson, NC: McFarland, 2011. ISBN 978-0-7864-5917-9
Reviewed by Alisa Solomon
Like those Broadway musicals that are driven by deep emotion and a social conscience, intellectual books about Broadway musicals face a dilemma: how to be serious and popular. Indeed, books may have a harder time. From Showboat to Rent, musicals have managed to challenge audiences with questions about such issues as racism and AIDS even as they have filled the coffers of investors. But to whom is a book on Broadway addressed—to academic specialists or to die-hard show fans? Not that these categories are mutually exclusive (the best scholarship is typically driven by passion, after all), but they can represent vastly different cultures and interests. As publishers increasingly look for “crossover” projects—and as the academic study of musical theater expands—the clashing expectations of these disparate audiences can put some authors in a bind. Read the rest of this entry »
The Milken Archive of Jewish Music: The American Experience
Vol. XVI: Heroes and Heroines: Jewish Opera
http://www.milkenarchive.org/volumes/view/16
Reviewed by Jeffrey Shandler
Editor’s Note: This essay represents the first in a series of reviews exploring the recently launched Milken Archive of Jewish Music: The American Experience, an online resource that incorporates and expands upon the Archive’s earlier CD series (published on the Naxos label from 2003-2006).
The Klezmatics: On Holy Ground (Erik Greenburg Anjou, 2010). Seventh Art Releasing. 106 min.
Eatala: a Life in Klezmer (Barry Dornfeld & Debora Kodish, 2011). Philadelphia Folklore Project. 37 min.
Reviewed by Mikel J. Koven
Music documentaries are difficult creatures to discuss. How does one approach them? Should the evaluation of any documentary be based on its cinematic principles, that is, as a film? Or should discussion be limited to an evaluation only of the documentary’s content? Music documentaries complicate the discourse further: is this a biography film, charting the history of a band’s development? A film documenting a particular event, like a tour or particular concert? Or is the film exploring a particular ethnomusicological idea, a filmed essay on a music topic? All of these questions are up in the air when discussing any music documentary film, and one hopes that particular films will focus on one of these potential discourses. But, alas, that almost never happens.
Erik Greenburg Anjou’s The Klezmatics: On Holy Ground doesn’t seem to know what it wants to be. On Holy Ground covers tremendous ground trying to be, simultaneously, a history of the New York-based klezmer revivalist band The Klezmatics; a documentary of The Klezmatics’ 2007 tour of Poland; an exploration of the significance of Yiddishkeyt and its revival over the past twenty years; and a document of the band’s 2006 project of recording its first all-English album, Wonder Wheel, an album of unrecorded songs written by Woody Guthrie (who had a Jewish grandmother, Aliza Greenblatt). Because Anjou tries to cover so much content, each of the topics or themes he touches is never satisfactorily developed.