The Musical Theater of Stephen Schwartz
From Godspell to Wicked and Beyond
By (author) Paul R. Laird
Not available to order
Publication date:
10 April 2014Length of book:
480 pagesPublisher
Rowman & Littlefield PublishersISBN-13: 9780810891920
As the composer/lyricist for Godspell, Pippin, Wicked, and other musicals, Stephen Schwartz has enjoyed one of the most significant careers in American musical theater for more than four decades. Schwartz has also achieved success on the big screen, contributing to such films as Enchanted, The Prince of Egypt, and Pocahontas. For his work, he has received six Tony nominations, three Grammys, and three Academy Awards.
The Musical Theater of Stephen Schwartz: From Godspell to Wicked and Beyond is a detailed examination of Schwartz’s various projects throughout his career. Musicologist Paul R. Laird discusses at length Schwartz’s major shows and also considers his other ventures, such as the music and lyrics for animated features from Disney and Dreamworks. The book focuses on two major aspects of Schwartz’s creations: the process of collaboration resulting in a project’s completion and a descriptive analysis of his music and lyrics. Laird also describes each show’s critical reception and its place in the larger history of musical theater.
Based on extensive interviews with Schwartz and a number of his major collaborators, this book provides a rare look into the creation of the composer and lyricist’s shows and films. The Musical Theater of Stephen Schwartz is intended for fans as well as students and professional researchers in music, theater, and the musical theater.
The Musical Theater of Stephen Schwartz: From Godspell to Wicked and Beyond is a detailed examination of Schwartz’s various projects throughout his career. Musicologist Paul R. Laird discusses at length Schwartz’s major shows and also considers his other ventures, such as the music and lyrics for animated features from Disney and Dreamworks. The book focuses on two major aspects of Schwartz’s creations: the process of collaboration resulting in a project’s completion and a descriptive analysis of his music and lyrics. Laird also describes each show’s critical reception and its place in the larger history of musical theater.
Based on extensive interviews with Schwartz and a number of his major collaborators, this book provides a rare look into the creation of the composer and lyricist’s shows and films. The Musical Theater of Stephen Schwartz is intended for fans as well as students and professional researchers in music, theater, and the musical theater.
Several years ago, the author, a music professor and writer on Broadway musicals, interrupted his writing of a book on all of Stephen Schwartz’ musicals to concentrate on this composer/lyricist’s latest Broadway success, Wicked. The result was Wicked: A Musical Biography. . . .He later returned to and completed the original project, which became this detailed analysis of the complete works of Schwartz with individual chapter devoted to each of his shows beginning with Godspell (1971) and continuing through such works as Bernstein’s Mass (1971) (for which he wrote the lyrics), Pippin (1972), The Magic Show (1974), The Baker’s Wife (1976), and his only opera Séance on a Wet Afternoon (2009). The longest chapter (almost 60 pages) is devoted to a work not yet seen on Broadway but performed widely in schools and churches, the Biblical epic, Children of God (1991). Each of these chapters supplies detailed material on the individual show: its genesis, development, personnel involved, tryouts, rewrites, casts and cast changes, the contents of individual acts and scenes, a thorough analysis of each song used, revivals, foreign productions, and its critical receptions (with quotes from reviews). . . .The book also contains an introductory chapter on Schwartz’s life, a chapter on his film work (mainly lyrics for several Disney features), and a concluding chapter on his work outside of Broadway and Hollywood. The work is up to date. . . .It is also extremely readable and thoroughly researched; for example, the book concludes with a separate 65-page section of footnotes, sources, Websites, and interviews used. There is also a detailed index and a few black-and-white photographs scattered throughout the text. This is an excellent and enjoyable book on this important contemporary Broadway figure. . . .This work is highly recommended for theater collections.