Present at the Creation, Leaping in the Dark, and Going Against the Grain: 1776, Pippin, M. Butterfly, La Bete, & Other Broadway Adventures Review

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Present at the Creation, Leaping in the Dark, and Going Against the Grain: 1776, Pippin, M. Butterfly, La Bete, & Other Broadway Adventures Review"The best way I know to resuscitate the theatre is to produce dangerous new works," says Stuart Ostrow in his very slim (154 pages, double spaced with wide margins) new memoir of his producing career. However he does not define "dangerous new works." From reading the book, it seems his definition of "dangerous new works" is whatever is being touted by the Village Voice. (Richard Foreman, homosexuality, multiculturalism, Tom Eyen, etc.) Stuart Ostrow has a story, but he is looking at it from the wrong point of view. The way he sees it, he was producing quality innovative stuff that the world conspired to make fail. Another way of looking at it would show a talented young producer who, after producing big hits with 1776 and PIPPIN, went pretentious and politically correct with his subsequent shows and understandably failed.
His damnation of Mel Brooks is unjustified since Ostrow himself says that he has not seen THE PRODUCERS. Well, Stu, I have news for you. THE PRODUCERS was a dangerous new work. It was a slap in the face at political correctness and pretentiousness. It single-handedly killed the bloated Euro Musical that had dominated Broadway for twenty years and paved the way for outrageous, unpretentious shows like HAIRSPRAY and THE WEDDING SINGER. THE PRODUCERS resuscitated the American musical and Ostrow missed it.
Ostrow also badmouths WICKED claiming it was dependent upon special effects and spectacle. If that were true, DANCE OF THE VAMPIRES would still be running. The spectacle of WICKED enhances its compelling story, unlike the all the additional sets and extra players gratuitously inserted into the boring LA BETE.
Ostrow seems to think that problems can be solved by creating yet another bureaucracy to choose the artists who shall be anointed. Evidence has show that the bureaucratic method produces pretentious work like that of Michael John LaChiusa and Jason Robert Brown, which the public doggedly refuses to embrace.
Ostrow tells some good anecdotes, but I wish there had been more of them. There's the germ of a fascinating book in this volume and in Ostrow's previous memoir (also extremely brief and shares some material with this volume). But at this point, there's still not a real book between the two of them.Present at the Creation, Leaping in the Dark, and Going Against the Grain: 1776, Pippin, M. Butterfly, La Bete, & Other Broadway Adventures Overview

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