Kirjahaku

A handy and engaging chronicle, this book is the most detailed production history to date of the original Broadway version of Cabaret, showing how the show evolved from Christopher Isherwood's Berlin stories, into John van Druten's stage play, a British film adaptation, and then the Broadway musical, conceived and directed by Harold Prince as an early concept musical. With nearly 40 illustrations, full cast credits, and a bibliography, The Making of Cabaret will appeal to musical theatre aficionados, theatre specialists, and students and performers of musical theatre.

A handy and engaging chronicle, this book is the most detailed production history to date of the original Broadway version of Cabaret, showing how the show evolved from Christopher Isherwood's Berlin stories, into John van Druten's stage play, a British film adaptation, and then the Broadway musical, conceived and directed by Harold Prince as an early concept musical. With nearly 40 illustrations, full cast credits, and a bibliography, The Making of Cabaret will appeal to musical theatre aficionados, theatre specialists, and students and performers of musical theatre.

"An Englishman's way of speaking absolutely classifies him,The moment he talks he makes some other Englishman despise him." - Henry George Bernard Shaw famously refused to permit any play of his "to be degraded into an operetta or set to any music except its own." Allowing his beloved Pygmalion to be supplanted by a comic opera was therefore unthinkable; yet Lerner and Loewe transformed it into My Fair Lady (1956), a musical that was to delight audiences and critics alike. By famously reversing Shaw‘s original ending, the show even dared to establish a cunningly romantic ending. Keith Garebian delves into the libretto for a fresh take, and explores biographies of the show‘s principal artists to discover how their roles intersected with real life. Rex Harrison was an alpha male onstage and off, Julie Andrews struggled with herchaste diva image, and the direction of the sexually ambiguous Moss Hartcontributed to the musical‘s sexual coding.

"An Englishman's way of speaking absolutely classifies him,The moment he talks he makes some other Englishman despise him." - HenryGeorge Bernard Shaw famously refused to permit any play of his "to be degraded into an operetta or set to any music except its own." Allowing his beloved Pygmalion to be supplanted by a comic opera was therefore unthinkable; yet Lerner and Loewe transformed it into My Fair Lady (1956), a musical that was to delight audiences and critics alike. By famously reversing Shaw’s original ending, the show even dared to establish a cunningly romantic ending. Keith Garebian delves into the libretto for a fresh take, and explores biographies of the show’s principal artists to discover how their roles intersected with real life. Rex Harrison was an alpha male onstage and off, Julie Andrews struggled with her ‘chaste diva’ image, and the direction of the sexually ambiguous Moss Hartcontributed to the musical’s sexual coding.

Combining eloquent lyrics and edgy anti-lyrics, the poems in Poetry is Blood both rehearse and flout conventions of lyric poetry to speak with deep-rooted melancholy about family and tribal history, ancient walls, paintings, monuments, martyred poets, and genocidal madness. These pieces have the wide cross-stylistic reach of elegy yet fearlessly resist any redemptive rhetoric.

Inspired by American playwright Sarah Ruhl's 100 Essays I Don't Have Time to Write, this collection is a series of miniature reflections, meditations, and ruminations on subjects encompassing matters of theatre and poetry, two subjects very close to Garebian's heart. Perceptive, witty, and intimate, the mini musings bubble with a sense of wonder, excitement, and intimacy. A vibrant, provocative series of mini musings that also affords insight into a particular artistic sensibility as several pieces are really slices of memoir and autobiography.

Surveying his own conflicted, multi-cultural life from a Bombay boyhood, immigration to Canada, and his re-invention as a literary and theatre critic, poet, and editor who has learned to understand life's blessings and wounds, Keith Garebian's autobiography is an act of memory at the service of a changing self. Using vignettes, letters, historical surveys, meditations, and existential summations, Pieces of My Self shows Garebian's trauma, fury, condemnation, ardour, melancholy, satire, and self-understanding. Figures of Laurence Olivier, Vanessa Redgrave, William Hutt, Irving Layton, Hugh Hood, John Metcalf, Henry Beissel, V.S. Naipaul, and many others pass through this life of a restlessly critical and self-critical author.