All tagged Terrence McNally
On March 24, 2020, we were forced to say goodbye to prolific playwright Terrence McNally. He died at age 81 from complications brought about by the coronavirus. The author of such acclaimed plays as The Ritz, Frankie and Johnny in the Clair De Lune, Love! Valour! Compassion!, The Lisbon Traviata, Master Class, and Lips Together, Teeth Apart, McNally was a particularly potent voice in gay theatre. McNally was also a celebrated librettist for the musical theatre, an award-winning book writer for some of Broadway’s most stirring and memorable musicals. Since this site is devoted to the Broadway musical, I wanted to take a moment to look at the glorious work McNally crafted in that arena.
Writing the book for a Broadway musical is a craft that is fraught with landmines. It is the delicate art of creating the framework for musical storytelling, a house of cards on which to hang the songs and characters that will hopefully yield a fascinating depth and a compelling purpose. When a musical fails, the blame is often put squarely on the musical's book, yet if a show succeeds, the book writer is rarely given the credit they are due. Despite the challenges a book writer faces, there has been a handful of craftsmen who have successfully delivered first-rate books that continue to be as potent and perfect as the days these shows opened. Help me celebrate the unsung heroes of musical theatre, the most-enduring of Broadway musical book writers.
Though it may have received a lukewarm reception from critics, the original cast recording of the Broadway musical Anastasia gives no indication that this show has any failings. In fact, the lush and lively cast album from Broadway Records is a delight from start to finish. The Lynn Ahrens and Stephen Flaherty score percolates with energy and sumptuous voices. The songs that have been kept from the 1997 film are as wonderful as they ever were, but even more importantly, the new ones written for this Broadway mounting sparkle and reveal new depths to the characters, the story, and the mood of the piece.
In 1983, a musical prepared to open on Broadway that would star two of Broadway’s most-beloved and enduring talents: one a Tony-nominated (several times over) triple-threat known particularly for her electric dancing prowess, the other the daughter of Hollywood royalty (Judy Garland) who had carved her own exciting niche in entertainment outside of her mother’s shadow, having won an Academy Award and two Tony Awards. They were, of course, Chita Rivera and Liza Minnelli, respectively. Together they would appear in the next Broadway musical by composers Kander and Ebb who had created scores for gritty musicals such as Cabaret and Chicago. Writing the original story was playwright Albert Innaurato, best-known for the comedic family-drama Gemini. Direction was to be by Arthur Laurents who had directed, among many other things, the original Gypsy. The musical that was shaping up to be the exciting event of the season was The Rink.
