Bøger af Ethan Mordden

From the genteel female impersonators of the 1910s to the raucous drag queens of La Cage Aux Folles, from the men of The Normal Heart to the women of Fun Home, and from Eva Le Gallienne and Tallulah Bankhead to Tennessee Williams and Nathan Lane, Gays On Broadway deftly chronicles the plays and people that brought gay culture to Broadway.

Noted historian of the Broadway musical chronicles the braided lives of two of the twentieth century's most influential artistsFor the first time, Ethan Mordden chronicles the romance of Kurt Weill and Lotte Lenya in Love Song, a dual biography that unfolds against the background of the tumultuous twentieth century, scored to music from Weil's greatest triumphs: Knickerbocker Holiday, Lost in the Stars, Lady in the Dark, Happy End, One Touch of Venus and The Rise and Fall of the City of Mahagonny. The romance of Weill, the Jewish cantor's son, and Lenya, the Viennese coachman's daughter, changed the history of Western music. With Bertolt Brecht, they created one of the definitive works of the twentieth century, The Threepenny Opera, a smash that would live on in musical theatre history. Weill, the jazz Mozart, was the creator whose work is backstage, unseen. Lenya, his epic-theatre femme fatale, was the performer who put the work into view. They heard the same unique music, but he gave it form while she gave it life. Love Song is ultimately the story of a great romance scored to some of the twentieth century's greatest music.

For a generation, Ethan Mordden's tales about a tightly knit circle of friends who live within the shifting confines of gay Manhattan have entertained tens of thousands of readers and devoted fans. Now Mordden returns to his best-loved characters - the ultimate hunk Carlo; the best friend Dennis Savage; J. (who was once Little Kiwi); Cosgrove the maturing elf-child; and narrator and ultimate observer Bud - in this eagerly awaited new volume in the cycle. How's Your Romance? brings the series and the characters full circle - from the early days just post-Stonewall to the vicissitudes, delights, and challenges of the early twenty-first century. Blending the comic, the sexy, the tragic, and the at once realistic and idealistic, these stories are Mordden at his very best.

For Ethan Mordden, the closing night of the hit musical, 42nd St. sounded the death knell of the art form of the Broadway musical. After that, big orchestras, real voices, recognizable books and intelligent lyrics went out the window in favor of cats, helicopters, yodeling Frenchmen, and the roof of the Paris Opera. Mordden takes us through the aftermath of the days of the great Broadway musical. From the long-running Cats to Miss Saigon, Phantom, and Les Miserables, to gems like The Producers, he is unsparing in his look at the remains of the day. Not content to scold the shows' creators, Mordden takes on the critics, too, splaying their bodies across the Great White Way like Sweeney Todd giving a close shave. Once more, it's "curtain going up," but Mordden is not applauding.

Some Men Are Lookers, Ethan Mordden's much lauded fourth volume in his "Buddies" cycle, follows the exploits of his best-loved characters-Dennis Savage, Little Kiwi, Carlo, the 'elf-child' Cosgrove, and narrator Bud. Mordden lays bare the emotional landscape of the city within a city that is Gay Manhattan. Blending the comic, the sexy, and the at once idealistic and realistic, these stories represent Ethan Mordden at his very best.

A gay ghost, a talking dog, and a street kid who thinks he's an elf-child join our narrator Bud, best friend Dennis Savage, eternally young Little Kiwi, devastating hunk Carlo, and the other characters from I've a Feeling We're Not in Kansas Anymore and Buddies in this final volume in Mordden's trilogy on gay life in the big city.And there's trouble in paradise: Dennis Savage is suffering midlife crisisl; his lover little Kiwi who uses sex as a weapon, threatens to tear apart the delicate fabric of this gay family of buddies, lovers, and brothers and the AIDS crisis may bring an end to this whole world.

"What unites us, all of us, surely is brotherhood, a sense that our friendships are historic, designed to hold Stonewall together," muses on character in Ethan Mordden's Buddies. This need for friendship, for nonerotic affection, for buddies, shines forth as an American obsession from Moby-Dick through Of Mice and Men to The Sting. And American gay life has built upon and cherished these relationships, even as it has dared-perhaps its most startling iconoclasm-to break new ground by combining romance and friendship: one's lover is one's buddy.This book is about those relationships-mostly gay but some straight and even a few between gays and straights. Here also are fathers and brothers and stories of men in their youth, when rivalry often develops more naturally than alliance. In Buddies Mordden continues to map the unstoried wilderness of gay life today.

In this brilliant and lyrical novel of family passions and personal fate, Ethan Mordden weaves a family saga of fiery intensity, as the scornful Witch of Fooley plays chess with the King of Tara to determine the fate of his sons.

This critical analysis of Streisand looks past the mainstream show-business figure to deconstruct the revolutionary that she really is: as a passionate actor of songs, a revisionist in the development of the American movie star, and a performer of unprecedented range. She can play the madcap Fanny Brice and Dolly, the politically intense heroine of The Way We Were, the sexually abused daughter who becomes a prostitute and a murderer in Nuts, thecross-dressing Yentl who seeks the liberty that men take for granted and women are denied.

A collection of tales, both funny and informative, all connected with the subject of operas, opera-going and composers of opera.

The 1920s represented a turning point in the history of the Broadway musical, breaking with the vaudeville traditions of the early twentieth century to anticipate the more complex, sophisticated musicals of today. Composers Jerome Kern, George Gershwin, Cole Porter, Richard Rodgers, and their contemporaries revitalized the musical with the sound of jazz and other new influences. Productions became more elaborate, with dazzling sets, tumultuous choreography, andstaging tricks, all woven into tightly constructed story lines. These dramatic changes of the 1920s ushered in the "golden age" of the American musical theater. Ethan Mordden captures the excitement and the atmosphere of Broadway during the 1920s in Make Believe. In captivating, lively prose, Mordden describes in superb detail the stars, the songs, the jokes-the sheer fun of this era. Here are shows great, interesting, or even bizarre- Sally , The Student Prince, Rose-Marie, Lady, Be Good!, No, No, Nannette, Rainbow, Good News!, Ziegfeld Follies, The "Coconuts", The 5 Oclock Girl, Blossom Time, Whoopee. Early on, thecharisma of entertainers such as the bragging Al Jolson ("You ain't heard nothin' yet!"), the bewitching Marilyn Miller, the madly prancing Eddie Cantor, the unpredictable Gertrude Lawrence, and the indescribable Marx Brothers were the essential element in a hit musical. But, as Mordden demonstrates, the stars lost power andthe authors took control, as shows like Desert Song , Peggy-Ann, Strike Up the Band, and Sweet Adeline reinvented the old forms. The musical became more "adult," too, baiting the censor in the lyrics of Lorenz Hart, Cole Porter, and B. G. DeSylva. And Broadway became more racially integrated, with "blackface" acts dying out while all-black musicals such as Shuffle Along and the Blackbirds shows enjoyed mainstream success. Make Believe reaches its climax with Morddens' deep look at Jerome Kern and Oscar Hammerstein's 1927 masterpiece, Show Boat. With its intricate story line spanning four decades, its gala interracial cast, its stunning physical production, its powerful score including "Ol' Man River," "Bill," "Mis'ry's Comin' Aroun'," "Can't Help Lovin' Dat Man," "Life on the Wicked Stage," and "Why Do I Love You?," Show Boat was the first American musical universally hailed asa classic. Fusing the decade's developments into one epic show, Kern and Hammerstein created something at once timeless and contemporary, the ultimate twenties show but, as producer Florenz Ziegfeld called it on the posters, "the all American musical comedy."

The author of this title explores classics from Broadway's golden musical age, looking at "Brigadoon", "Annie, Get Your Gun", and "South Pacific" amongst others.

This is a definitive study of the American musical in the 1950s, the decade of perhaps its greatest accomplishments and when interest in the Broadway stage and its music was at its height. Ethan Mordden is a recognized authority and has written a number of significant books and articles about the Broadway musical.

This authoritative guide gives the non-musician the fundamentals of orchestral music. It begins with a general introduction to the symphony and various musical styles and then describes, chronologically, over seven hundred pieces-from Vivaldi to twentieth-century composers. Mordden also includes a glossary of musical terms and other useful aids for the music lover.