Stephen Schwartz is among the rare American composer-lyricists whose Broadway musicals have inspired passionate followings, resulting in blockbuster hits like Wicked, Godspell, and Pippin. In the revised and updated second edition of Defying Gravity, biographer Carol de Giere reveals how Schwartz’s beloved musicals came to life, adding four new chapters that shed light on the continuing Wicked phenomenon and exciting projects that include stage adaptations of The Hunchback of Notre Dame with Alan Menken and The Prince of Egypt. A popular feature of the first edition remains intact for the second: the story of Schwartz’s commercially unsuccessful shows, how he coped, and how he gave himself another chance. The new edition also features an acclaimed series of “Creativity Notes” with insights about the creative process. Wicked enthusiasts are treated to a revealing, in-depth account of the show’s evolution that takes readers from developmental workshops, to the pre-Broadway tryout in San Francisco, through the arguments over changes for Broadway, and finally to productions around the world. Movie musical fans know that Disney’s pairing of Stephen Schwartz (for lyrics) with composer Alan Menken (for music) led to award-winning movie musicals “Pocahontas, The Hunchback of Notre Dame, and Enchanted. Menken’s revelatory “Foreword” that introduces the second edition of Defying Gravity explores their “wonderful chemistry” and creative challenges. The abundance of behind-the-scenes stories in this Stephen Schwartz biography came by way of the author’s unprecedented access to this legendary songwriter for interviews. She also drew from conversations with his family members, friends, and colleagues (librettists, composers, directors, producers, and actors) to render a rich portrait of this complex and gifted artist. She rounds out the book with photographs, Schwartz’s handwritten notes, and highlighted quotations. Performers and others involved in productions of Godspell, Pippin, Children of Eden, Working, Rags, and The Hunchback of Notre Dame, will discover the intentions of the shows’ creators. Singers, writers, fans, and anyone interested in the development of stage and film musicals will enjoy multiple insights from this backstage journey, from Godspell to Wicked, and beyond.

In BREAKING THE GODSPELL, "It is gratifying that Neil Freer has set out to probe what the recognition of the existence and Earth-visits of the Nefilim can mean not just to scientists and theologians, but to each human being upon this planet Earth". Zecharia Sitchin, author of The 12th Planet.

The Off-Broadway hit musical Godspell became a worldwide cultural phenomenon in 1972 when, just over a year after its award-winning emergence on stages around the world and with the Top 20 Billboard hit "Day by Day," Columbia Pictures decided to film and release it on the silver screen across the globe. In the process, it created cinematic history for its use of locations around New York City (including the then-unfinished World Trade Center) and, at the same time, accomplished the nearly-impossible by taking a small stage show one that had been originally created as a college thesis and unleashing it upon a world of moviegoers who have since continued to embrace it as one of the greatest musical hits of all time, as well as a celebrated Easter special and a score that will live forever. Film historian Andrew Martin has captured every step of the show's journey, from school play to an indelible part of modern culture, and depicts in glowing detail all the highs and lows of a production that will always live on in the hearts and minds of all who watch and enjoy. Featuring interviews with composer Stephen Schwartz, producer Edgar Lansbury, and star Victor Garber, besides all of the film's surviving co-stars and key players from the creative team, this impossible-to-put-down story of "the little show that could" is certain to bewitch the reader from the very first sentence. About the Author ANDREW MARTIN is an award-winning writer and entertainer who, for over thirty years, has been an actor/singer/dancer on stage as well as film and television, an entertainment journalist for news in print, broadcast and Internet sources, a standup comedian and cabaret singer, and film historian. All for the Best is his first published book. He currently resides in his native New York City.

(Easy Piano Songbook). 11 vocal selections from this timeless musical, including: All Good Gifts * Bless the Lord * By My Side * Day by Day * Light of the World * Prepare Ye (The Way of the Lord) * Turn Back, O Man * and more.

Hollywood's conversion to sound in the 1920s created an early peak in the film musical, following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St Louis, Singin' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The Oxford Handbook of Musical Theatre Screen Adaptations traces how the genre of the stage-to-screen musical has evolved, starting with screen adaptations of operettas such as The Desert Song and Rio Rita, and looks at how the Hollywood studios in the 1930s exploited the publication of sheet music as part of their income. Numerous chapters examine specific screen adaptations in depth, including not only favorites such as Annie and Kiss Me, Kate but also some of the lesser-known titles like Li'l Abner and Roberta and problematic adaptations such as Carousel and Paint Your Wagon. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.

In this lively book, Stacy Wolf illuminates the women of American musical theater--performers, creators, and characters--from the start of the cold war to the present day, creating a new feminist history of the genre. Moving from decade to decade, Wolf highlights the assumptions that circulated about gender and sexuality at the time and then looks at the leading musicals, stressing the aspects of the plays that relate to women. The musicals discussed here are among the most beloved in the canon--"West Side Story," "Guys & Dolls," "Cabaret," and many others--with special emphasis on "Wicked."