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Find Writing Tips In Books

Compiled by William Squier

We can all use a bit of expert advice from time to time. But, unless you're as fortunate as a young Stephen Sondheim and live next door to the Hammersteins, you're going to have to hit the books. Thanks to the Internet finding even out-of-print publications has become fairly easy. The following is our loosely-organized, roughly-alphabetical, highly-arbitrary and ever-expanding guide to prose by the Pros on"

GETTING STARTED

"It's hard enough to write a musical that you love.
If you don't love it, it's impossible."
-- Oscar Hammerstein

Choosing the right project

Q: Where does an idea for a musical come from?
How do you know if it's a good idea?
For some answers, see tips:

GETTING STARTED TIPS FOUND IN:

The Art Of The American Musical: Conversations With The CreatorsThe Art Of The American Musical: Conversations With The Creators from Amazon.com edited by Jackson R. Bryer and Richard A. Davison (Rutgers University Press; $23.95; Paperback)

Lynn Ahrens spends a lot of time in bookstores and at the movies in 'The Art of the American Musical'(pg. 11)

Lynn Ahrens credits her husband with suggesting 'Bedazzled' in 'The Art of the American Musical'(pg. 5)

Jason Robert Brown explains how songs written for the cabaret acts of his friends became 'Songs for a New World' in 'The Art of the American Musical' (pg. 28)

Fred Ebb chooses something that interests him, even if no one but John Kander agrees in 'The Art of the American Musical'(pg. 103)

Sheldon Harnick finds 'Fiddler on the Roof' by reading a novel that he didn't want to adapt in 'The Art of the American Musical'(pg. 85)

Arthur Laurents is inspired to write 'Hallelujah, Baby!' for Lena Horne "but, she isn't interested in 'The Art of the American Musical' edited by Jackson R. Bryer and Richard A. Davison (pg. 133)

Harold Prince plays hardball with Warner Brothers for the rights to 'The Petrified Prince' (?!) in 'The Art of the American Musical' edited by Jackson R. Bryer and Richard A. Davison (pg. 184)

Tommy Tune credits his insomnia for keeping him up late enough to see the film 'Grand Hotel' on television in 'The Art of the American Musical' (pg. 250)

John Weidman turns to his major at Harvard for 'Pacific Overtures' in 'The Art of the American Musical' (pg. 261)

GETTING STARTED TIPS FOUND IN:

'Notes on Broadway' by Al Kasha and Joe Hirschhorn : Amazon.com used books: Notes on Broadway: Intimate Conversations With Broadway's Greatest Songwriters

Leonard Bernstein touches on the controversy behind adapting Shakespeare into 'West Side Story' in 'Notes on Broadway' (pg. 14)

Jerry Bock talks about deciding to adapt three short stories for 'The Apple Tree' in 'Notes on Broadway' (pg. 32)

Adolph Green complains that it's "agony" to find a new project in 'Notes on Broadway'(pg. 67)

Gretchen Cryer shows how real life led her to write 'I'm Getting My Act Together"' in 'Notes on Broadway' (pg. 80)

Sammy Cahn advises keeping it simple in 'Notes on Broadway' (pg. 44)

William Finn credits desperation as the inspiration for 'Falsettos' in 'Notes on Broadway'(pg. 114)

Micki Grant hopes for involving subject matter in 'Notes on Broadway'(pg. 127)

Marvin Hamlisch found 'A Chorus Line' at the rehearsal hall in 'Notes on Broadway'(pg. 143)

Charles Strouse goes looking for one book and ends up finding another in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 278)

Sheldon Harnick admits to not knowing what a "surefire subject" is anymore in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 168)

Henry Krieger turns an 'After-School Special' into 'The Tap Dance Kid in 'Notes on Broadway'(pg. 212)

Allen Jay Lerner discovers 'Camelot' in a book review in 'Notes on Broadway'(pg. 224)

Tim Rice hears about Eva Peron on the radio in 'Notes on Broadway'(pg. 233)

Mary Rodgers doesn't care for "abstract stuff" in 'Notes on Broadway' (pg. 248)

Carol Bayer Sager seeks "something that people can identify with" in 'Notes on Broadway' (pg. 254)

GETTING STARTED TIPS FOUND IN:

I Got the Show Right Here : The Amazing True Story of How an Obscure Brooklyn Horn Player Became the Last Great Broadway ShowmanI Got the Show Right Here : The Amazing True Story of How an Obscure Brooklyn Horn Player Became the Last Great Broadway Showman from Amazon.com by Cy Feuer with Ken Gross (Applause Theatre and Cinema Books; $16.95; Paperback)

Cy Feuer figure out how to turn an unpromising play into the musical hit 'Where's Charley' in 'I've Got the Show Right Here' by Feuer with Ken Gross (pg. 80)

Cy Feuer reveals how a "weak but tempting" early adaptation of 'How to Succeed"' became a commercial success in 'I've Got the Show Right Here' by Feuer with Ken Gross (pg. 220)

Cy Feuer says that a casting concept (Sid Caesar playing multiple roles) sold him on 'Little Me' in 'I've Got the Show Right Here' by Feuer with Ken Gross (pg. 223)

GETTING STARTED TIPS FOUND IN:

Making Musicals : An Informal Introduction to the World of Musical TheaterMaking Musicals : An Informal Introduction to the World of Musical Theater from Amazon.comby Tom Jones (Limelight Editions; $16.95; Paperback)

Tom Jones gives advice on finding "a property" in 'Making Musicals' by Jones (pg. 92)

Tom Jones suggests identifying "the problem" that needs to be solved before a promising property can become a musical in 'Making Musicals' by Jones (pg. 96)

GETTING STARTED TIPS FOUND IN:

Everything Was Possible : The Birth of the Musical FolliesEverything Was Possible : The Birth of the Musical Follies from Amazon.comby Ted Chapin (Applause Theatre and Cinema Books; $17.95; Paperback)

Ted Chapin shows how a photograph in Life Magazine turned 'The Girls Upstairs' into 'Follies' in 'Everything Was Possible' by Chapin (pg. 7)

GETTING STARTED TIPS FOUND IN:

'Off-Broadway Experience, The' by Howard Greenberger (Prentice-Hall; $6.95; Out-of-Print) The off-Broadway experience

Jerry Herman trusts his instincts in 'The Off-Broadway Experience' (pg. 142)

Jerry Herman gets experimental with 'Madame Aphrodite' in 'The Off-Broadway Experience'(pg. 148)

Ever After: The Last Years of Musical Theater and BeyondEver After: The Last Years of Musical Theater and Beyond from Amazon.com by Barry Singer (Applause Theatre and Cinema Books: $26.95; Hardcover)

Barry Singer reveals how Jonathan Larson responded to being denied the rights to adapt '1984' in 'Ever After' by Singer (pg. 101)

WRITING THE BOOK

"It's an odd little profession "like making barrels."
-- John Weidman

Structuring the Story

Q: What's the first step in constructing a libretto? For answers see tips:

MUSICAL BOOK WRITING TIPSFOUND IN:

The Art Of The American Musical: Conversations With The CreatorsThe Art Of The American Musical: Conversations With The Creators from Amazon.com edited by Jackson R. Bryer and Richard A. Davison (Rutgers University Press; $23.95; Paperback)

Lynn Ahrens and Stephen Flaherty describe the discussions (with Terrance McNally) that resulted in the first draft of 'Ragtime' in 'The Art of the American Musical'(pg. 17)

Tommy Tune describes creating the book for 'Nine' by staging wordless scenes that Arthur Kopit translated into dialogue in 'The Art of the American Musical' edited by Jackson R. Bryer and Richard A. Davison (pg. 254)

John Weidman creates a new book for 'Anything Goes' in 'The Art of the American Musical' edited by Jackson R. Bryer and Richard A. Davison (pg. 263)

Burton Lane tries to turn down 'Finian's Rainbow' in 'The Art of the American Musical' edited by Jackson R. Bryer and Richard A. Davison (pg. 124)

MUSICAL BOOK WRITING TIPS FOUND IN:

The Producers: The Book, Lyrics, and Story Behind the Biggest Hit in Broadway History!The Producers: The Book, Lyrics, and Story Behind the Biggest Hit in Broadway History! from Amazon.com by Mel Brooks and Tom Meehan (Miramax Books; $40.00; Hardcover)

Mel Brooks and Tom Meehan tackle book problems over bagels in 'The Producers: How We Did It' by Mel Brooks and Tom Meehan (pg. 27)

MUSICAL BOOK WRITING TIPS FOUND IN:

Broadway Story and Song: Playwrights/Lyricists/Composers Discuss Their Hits edited by Otis L. Guernsey Jr. (Dodd, Mead and Company; $22.95; Out-of-Print) USED: Broadway Song and Story: Playwrights/Lyricists/Composers Discuss Their Hits

Adolph Green talks about adjusting 'On the Town' to suit director George Abbott in 'Broadway Story and Song' edited by Otis L. Guernsey Jr. (pg. 8)

Jerome Robbins claims the everyone but the director (George Abbott) was in on the plotting of 'On the Town' in 'Broadway Story and Song'(pg. 5)

Richard Rodgers makes a plot suggestion for Act Two of 'West Side Story' in 'Broadway Story and Song' e(pg. 43)

Stephen Sondheim marvels at the "leanness" of the book for 'West Side Story' in 'Broadway Story and Song'(pg. 44)

MUSICAL BOOK WRITING TIPS FOUND IN:

I Got the Show Right Here : The Amazing True Story of How an Obscure Brooklyn Horn Player Became the Last Great Broadway ShowmanI Got the Show Right Here : The Amazing True Story of How an Obscure Brooklyn Horn Player Became the Last Great Broadway Showman from Amazon.com by Cy Feuer with Ken Gross (Applause Theatre and Cinema Books; $16.95; Paperback)

Cy Feuer shows how accommodating the needs of a star (Ray Bolger) resulted in a better story structure for 'Where's Charley' in 'I've Got the Show Right Here' s (pg. 81)

Cy Feuer finds the conflict in the book for 'Guys and Dolls' in 'I've Got the Show Right Here'(pg. 114)

Cy Feuer comes up with a story for 'Can-Can' in 'I've Got the Show Right Here'(pg. 167)

MUSICAL BOOK WRITING TIPS FOUND IN:

Making Musicals : An Informal Introduction to the World of Musical TheaterMaking Musicals : An Informal Introduction to the World of Musical Theater from Amazon.comby Tom Jones (Limelight Editions; $16.95; Paperback)

Tom Jones describes the steps taken to adapt 'The Rainmaker' into '110 in the Shade' in 'Making Musicals' by Jones (pg. 108)

MUSICAL BOOK WRITING TIPS FOUND IN:

'Original Story By : A Memoir of Broadway and Hollywood' by Arthur Laurents (Applause Theatre and Cinema Books; $18.95; Paperback) Original Story by Arthur Laurents : A Memoir of Broadway and Hollywood

Arthur Laurents explains how content (Vaudeville and Burlesque) determined the form of 'Gypsy' in 'Original Story By' by Laurents (pg. 383)

MUSICAL BOOK WRITING TIPS FOUND IN:

Present at the Creation, Leaping in the Dark, and Going Against the Grain : 1776, Pippin, M. Butterfly, La Bete, and Other Broadway AdventuresPresent at the Creation, Leaping in the Dark, and Going Against the Grain : 1776, Pippin, M. Butterfly, La Bete, and Other Broadway Adventures from Amazon.comby Stuart Ostrow (Applause Theatre and Cinema Books; $22.95; Hardcover)

Stuart Ostrow discovers the dramatic tension for '1776' in 'Present at the Creation"' by Ostrow (pg. 42)

Stuart Ostrow says that Bob Fosse's fondness for anachronisms reshaped 'Pippin' (much to the composer's dismay) in 'Present at the Creation"' by Ostrow (pg. 66)

Stuart Ostrow puts in his two cents on the structure of 'Sweet Smell of Success' in 'Present at the Creation"' by Ostrow (pg. 112)

WRITING THE MUSIC AND LYRICS

"Trust your audience, kid.
They're just as smart as you are."
-- Lorenz Hart (to a young Richard Rodgers)

Finding a Musical Style

Q: How do you determine the right "sound" for your score?

MUSIC TIPS IN:
'Notes on Broadway' by Al Kasha and Joe Hirschhorn : Amazon.com used books: Notes on Broadway: Intimate Conversations With Broadway's Greatest Songwriters

Leonard Bernstein talks about striking a balance between the "poetic" and "realistic" in the score for 'West Side Story' in Notes on Broadway'(pg. 15)

Cy Coleman values research in 'Notes on Broadway' (pg. 52)

Cy Coleman hits on comic opera for 'On the Twentieth Century' in Notes on Broadway'(pg. 52)

Betty Comden says improvisation lead to the comic opera flavor of 'On the Twentieth Century' in 'Notes on Broadway'(pg. 69)

Marvin Hamlisch starts with a rhythm in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 143)

John Kander concentrates on developing "riffs" in 'Notes on Broadway' (pg. 198)

Henry Krieger finds "a different musical tone for each personality in 'Notes on Broadway'(pg. 212)

Charles Strouse admits to writing a hit song for 'Annie' that's out of style with the rest of the score in 'Notes on Broadway'(pg. 282)

Jule Styne shuts out all other music to focus on writing for character in 'Notes on Broadway' (pg. 288)

MUSIC TIPS FOUND IN:

The Art Of The American Musical: Conversations With The CreatorsThe Art Of The American Musical: Conversations With The Creators from Amazon.com edited by Jackson R. Bryer and Richard A. Davison (Rutgers University Press; $23.95; Paperback)

Betty Comden talks about when her collaborators did and didn't write a pastiche score in 'The Art of the American Musical' (pg. 65)

Stephen Sondheim talks about finding his "voice" in the score to 'Company' in 'The Art of the American Musical'(pg. 195)

Stephen Sondheim describes how harmony can give a score "character" in 'The Art of the American Musical'(pg. 199)

Charles Strouse does "a great deal of sketching" in 'The Art of the American Musical'(pg. 225)

Stephen Flaherty respects tradition in 'The Art of the American Musical' edited by Jackson R. Bryer and Richard A. Davison (pg. 2)

John Kander says he listens and listens to music from the era in which his show is set, and then tries to forget it in 'The Art of the American Musical'(pg. 104)

Burton Lane sets the title of 'On a Clear Day"," and then it takes Alan Jay Lerner nine tries to write the rest of the lyric in 'The Art of the American Musical' (pg. 129)

MUSIC TIPS FOUND IN:

Ever After: The Last Years of Musical Theater and BeyondEver After: The Last Years of Musical Theater and Beyond from Amazon.com by Barry Singer (Applause Theatre and Cinema Books: $26.95; Hardcover)

Garth Drabinsky identifies his favorite style of theater music in 'Ever After'(pg. 176)

Adam Guettel describes finding a musical language for 'Floyd Collins' in 'Ever After'(pg. 119)

Adam Guettel focuses on giving actors a score that prompts them to give energetic performances in 'Ever After' (pg. 123)

Julie Taymor pieces together a score for 'The Lion King' from multiple sources in 'Ever After' by Barry Singer (pg. 148)

Present at the Creation, Leaping in the Dark, and Going Against the Grain : 1776, Pippin, M. Butterfly, La Bete, and Other Broadway AdventuresPresent at the Creation, Leaping in the Dark, and Going Against the Grain : 1776, Pippin, M. Butterfly, La Bete, and Other Broadway Adventures from Amazon.comby Stuart Ostrow (Applause Theatre and Cinema Books; $22.95; Hardcover)

Stuart Ostrow notes that Frank Loesser's "sound" was born of a desire to take chances in 'Present at the Creation"' by Ostrow (pg. 8)

MUSIC TIPS FOUND IN:

Kurt Weill: Composer in a Divided World from Amazon.com by Ronald Taylor (Northeastern University Press; $35.00; Hardcover)

Kurt Weill says "I write for today. I don't give a damn about posterity" when defining his style in 'Kurt Weill: Composer in a Divided World' by Ronald Taylor (pg. 251)

MUSIC TIPS FOUND IN:

The Producers: The Book, Lyrics, and Story Behind the Biggest Hit in Broadway History!The Producers: The Book, Lyrics, and Story Behind the Biggest Hit in Broadway History! from Amazon.com by Mel Brooks and Tom Meehan (Miramax Books; $40.00; Hardcover)

Mel Brooks goes looking for a composer (Jerry Herman) and finds"himself in 'The Producers: How We Did It' by Mel Brooks and Tom Meehan (pg. 19)

To Rhyme or Not to Rhyme

Q: How do decide if you're doing too much rhyming or too little?

Irving Berlin's "word sounds" trump clever rhyming in 'Can't Help Singin'' by Gerald Mast (pg. 43)

Irving Berlin explains what makes Lorenz Hart "the first of the sophisticated word writers" in 'Thou Swell Thou Witty' by Dorothy Hart (pg. 185)

Philip Furia analyses Lorenz Hart's "addiction to rhyme" in 'Poets of Tin Pan Alley' by Philip Furia (pg. 95)

Tom Jones decides not to rhyme "love" (more that once) in "My Cup Runneth Over" from 'I Do! I Do!' in 'Making Musicals' by Jones (pg. 151)

John Lahr praises Yip Harburg's "subliminal" rhymes in 'Honky Tonk Parade' by Lahr (pg. 191)

Arthur Laurents assesses 'West Side Story's lyrics in 'Original Story By' by Laurents (pg. 351)

Pamela Phillips Oland suggests modern day "Cole Porters" think about the "language of today" in 'The Art of Writing Great Lyrics' by Oland (pg. 51)

Arthur Schwartz defends Lorenz Hart against the charge of over-rhyming in 'Thou Swell Thou Witty' by Dorothy Hart (pg. 36)

Setting Words to Music

Q: What goes into making the marriage of music and lyrics sound as effortless as possible?

Leonard Bernstein struggles to set the lyric for "Carried Away" in 'On the Town' in 'Broadway Story and Song' edited by Otis L. Guernsey Jr. (pg. 12)

Gretchen Cryer discusses the "lyrics first" approach in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 78)

Tom Eyen and Henry Krieger experiment at the piano together to write 'Dreamgirls' in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 210)

Sheldon Harnick discusses the "music first" approach in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 162)

Sheldon Harnick employs dummy lyrics to collaborate with Richard Rodgers in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 166)

Hal David does it a phrase at a time in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 91)

John Kander goes to Fred Ebb's house in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 197)

Jerome Kern matches the quality of his lyricists in 'Can't Help Singin'' by Gerald Mast (pg. 51)

Pamela Phillips Oland takes on writing lyrics first, music first and both at the same time in 'The Art of Writing Great Lyrics' by Oland (pg. 127)

Tim Rice provides his composers with a story line to respond to musically in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 236)

Mary Rodgers recalls that Marshall Barer's lyrics came complete with stress beats and bar lines in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 245)

Stephen Sondheim describes the difference between writing lyrics for Bernstein and Styne in 'The Art of the American Musical' edited by Jackson R. Bryer and Richard A. Davison (pg. 194)

Charles Strouse contrasts working with Lee Adams, Allen Jay Lerner and Martin Charnin in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 281)

Jule Styne steals the biggest laugh in 'Bells are Ringing' for the show's eleven o'clock number in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 291)

SETBACKS

"Everybody who writes a musical
thinks they're doing their best."
-- Stephen Sondheim

Q: What do you do when your show is a flop?

Jerry Herman faces his first failure in 'The Off-Broadway Experience' by Howard Greenberger (pg. 149)

Betty Comden remembers feeling so guilty about an out-of-town flop that she and Adolph Green performed their act for the cast the night the show closed in 'The Art of the American Musical' edited by Jackson R. Bryer and Richard A. Davison (pg. 61)

Fred Ebb admits to loving his "weakest child," '70, Girls, 70' in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 105)

Cy Feuer knows when to walk away from 'Whoop Up' in 'I've Got the Show Right Here' by Feuer with Ken Gross (pg. 217)

Arthur Laurents points to "three crucial mistakes" that led to problems with 'Nick and Nora' in 'The Art of the American Musical' edited by Jackson R. Bryer and Richard A. Davison (pg. 134)

Arthur Laurents faces failure in 'Original Story By' by Laurents (pg. 77)

Arthur Laurents mixes a flop with friendship in 'Do I Hear a Waltz?' in 'Original Story By' by Laurents (pg. 217)

Allen Jay Lerner recalls Mary Martin's devastating assessment of the first few songs written for 'My Fair Lady' in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 222)

Harold Prince points out many famous writers started their careers by bombing in 'The Art of the American Musical' edited by Jackson R. Bryer and Richard A. Davison (pg. 174)

Carol Bayer Sager turns to faith when 'Georgy' closes after five performances in 'Notes on Broadway' by Al Kasha and Joe Hirschhorn (pg. 253)

SOURCES

The Art Of The American Musical: Conversations With The CreatorsThe Art Of The American Musical: Conversations With The Creators from Amazon.com edited by Jackson R. Bryer and Richard A. Davison (Rutgers University Press; $23.95; Paperback)

The Art of Writing Great LyricsThe Art of Writing Great Lyrics from Amazon.com by Pamela Phillips Oland (Allworth Press; $18.95; Paperback)

Broadway Story and Song: Playwrights/Lyricists/Composers Discuss Their Hits edited by Otis L. Guernsey Jr. (Dodd, Mead and Company; $22.95; Out-of-Print) USED: Broadway Song and Story: Playwrights/Lyricists/Composers Discuss Their Hits

Can't Help Singin' The American Musical on Stage and Screen from Amazon.com by Gerald Mast (The Overlook Press; $23.95; Paperback)

Ever After: The Last Years of Musical Theater and BeyondEver After: The Last Years of Musical Theater and Beyond from Amazon.com by Barry Singer (Applause Theatre and Cinema Books: $26.95; Hardcover)

Everything Was Possible : The Birth of the Musical FolliesEverything Was Possible : The Birth of the Musical Follies from Amazon.comby Ted Chapin (Applause Theatre and Cinema Books; $17.95; Paperback)

Honky Tonk Parade: New Yorker Profiles of Show PeopleHonky Tonk Parade: New Yorker Profiles of Show People from Amazon.comby John Lahr (Overlook Duckworth; $27.95; Hardcover)

I Got the Show Right Here : The Amazing True Story of How an Obscure Brooklyn Horn Player Became the Last Great Broadway ShowmanI Got the Show Right Here : The Amazing True Story of How an Obscure Brooklyn Horn Player Became the Last Great Broadway Showman from Amazon.com by Cy Feuer with Ken Gross (Applause Theatre and Cinema Books; $16.95; Paperback)

Kurt Weill: Composer in a Divided World from Amazon.com by Ronald Taylor (Northeastern University Press; $35.00; Hardcover)

'Notes on Broadway: Intimate Conversations With Broadway's Greatest Songwriters' by Al Kasha and Joe Hirschhorn (Simon & Schuster; $11.95; Paperback) Notes on Broadway: Intimate Conversations With Broadway's Greatest Songwriters

Making Musicals : An Informal Introduction to the World of Musical TheaterMaking Musicals : An Informal Introduction to the World of Musical Theater from Amazon.comby Tom Jones (Limelight Editions; $16.95; Paperback)

'Off-Broadway Experience, The' by Howard Greenberger (Prentice-Hall; $6.95; Out-of-Print) The off-Broadway experience

'Original Story By : A Memoir of Broadway and Hollywood' by Arthur Laurents (Applause Theatre and Cinema Books; $18.95; Paperback) Original Story by Arthur Laurents : A Memoir of Broadway and Hollywood

The Poets of Tin Pan Alley : A History of America's Great LyricistsThe Poets of Tin Pan Alley : A History of America's Great Lyricists(Oxford Paperbacks) from Amazon.com by Philip Furia (Oxford University Press; $ 25.00; Paperback)

Present at the Creation, Leaping in the Dark, and Going Against the Grain : 1776, Pippin, M. Butterfly, La Bete, and Other Broadway AdventuresPresent at the Creation, Leaping in the Dark, and Going Against the Grain : 1776, Pippin, M. Butterfly, La Bete, and Other Broadway Adventures from Amazon.comby Stuart Ostrow (Applause Theatre and Cinema Books; $22.95; Hardcover)

The Producers: The Book, Lyrics, and Story Behind the Biggest Hit in Broadway History!The Producers: The Book, Lyrics, and Story Behind the Biggest Hit in Broadway History! from Amazon.com by Mel Brooks and Tom Meehan (Miramax Books; $40.00; Hardcover)

'Thou Swell Thou Witty: The life and lyrics of Lorenz Hart' by Dorothy Hart (Harper & Row; $26.00; Out-of-Print)

To send suggestions, comments, or questions write to carol@musicalschwartz.com

 

 


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