By Stephen Citron
The 1st in-depth biography of the distinguished composer/lyricist who created hi, Dolly!, Mame, and los angeles Cage aux FollesThis revealing and entire booklet tells the whole tale of Jerry Herman’s existence and occupation, from his early paintings in cabaret to his fresh compositions for level, display, and television.Stephen Citron attracts on broad open-ended interviews with Jerry Herman in addition to with rankings of his theatrical colleagues, collaborators, and shut buddies. The ensuing book—which sheds new gentle on every one of Herman’s musicals and their scores—abounds in attention-grabbing anecdotes and behind-the-scenes information about the area of musical theater. Readers will discover a sharply drawn portrait of Herman’s deepest existence and his artistic skills. Citron’s insights into Herman’s track and lyrics, together with voluminous examples from each one of his musicals, are as instructive as they're edifying and entertaining.Stephen Citron is widely known for laying off clean mild at the American musical theater and the artists who inhabit it. His earlier books contain Songwriting, The Musical from the interior Out, and biographies of No?l Coward, Cole Porter, Alan Jay Lerner, Oscar Hammerstein second, Stephen Sondheim, and Andrew Lloyd Webber.
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Additional info for Jerry Herman: Poet of the Showtune
With song titles like “I Fell in Love with the Blues,” “Share and Share Alike,” and “Don’t Go to the Movies,” this was certainly a less campus-oriented show. ” The number mocked the revues at New York’s posh Upstairs at the Downstairs, which always included a few singers sitting on stools and acting oh-so-blasé. By graduation time, Herman had collected many other awards besides his listing in the collegiate Who’s Who. In 1954 he was elected to Iron Arrow, the university’s leading honorary society, and to Omicron Delta Kappa, a national honor society.
He didn’t get upset. ’ So I sang, ‘There But for You Go I’ from Brigadoon, and I said to Jerry, ‘I can’t have anyone look at me when I sing, so I’ll sing to the wall. And I sang with this phoney opera baritone. And he told me, months later, that he laughed so hard he wet himself. I thought I was going to be the COLLEGE AND BEYOND 41 next Robert Merrill. So he says right away, you’re in the show. And at the rehearsal I find out that I’m not the leading baritone—that I am the comedian. “We played Wednesday through Sunday, with two performances per day over the weekend.
Fourteen, she had been in show business since the age of five. Phyllis could sing, dance, and choreograph with great energy and virtuosity. ” Phyllis was looking for a regular accompanist, and Jerry, who could by now play anything by ear, fit the bill. He agreed to accompany her to auditions, and she, in turn, would learn the songs that he was just begin* Even though his melody uses the cliché-ridden I VI II V sequence, the very opening which leads to a suspended G chord is striking (see example, page 22).