PBS: BROADWAY

PBS Special Series 'BROADWAY: The American Musical'

The new six-part documentary series from PBS, Broadway: The American Musical, chronicles the 100-year history of musical theater and its influence on 20th-century American life. Hosted by Academy Award-winning actress Julie Andrews, the series draws on a wealth of archival news footage, original cast recordings, still photos, feature films, diaries, journals, intimate first-person accounts, and on-camera interviews with many of the principals involved in creating the American musical. Composer Marvin Hamlisch and director/producer Michael Kantor were online Thursday, Oct. 21, at 11:30 a.m. ET to discuss the series and the 100-year history of musical theater.

Broadway: The American Musical airs on PBS Tuesday, Oct. 19 to Thursday, Oct. 21. Check your local listings. As a composer, Hamlisch has won three Oscars, four Grammys, four Emmys, one Tony and three Golden Globe awards. His show, "A Chorus Line," received the Pulitzer Prize. Among his other Broadway shows are "They're Playing Our Song," "The Goodbye Girl," "Sweet Smell of Success" and "Imaginary Friends." He is also the composer of more than 40 motion picture scores including his Oscar-winning score and song for "The Way We Were" and his adaptation of Scott Joplin's music for "The Sting," for which he received a third Oscar. Hamlisch is also principal pops conductor of the National Symphony Orchestra.

Kantor is a director, producer and writer. He is co-author of "Broadway: The American Musical," the companion book to the PBS series, which will be released this fall by Bulfinch Press. His most recent film, "Quincy Jones: In the Pocket," aired in November 2001 as part of Thirteen's award-winning PBS series American Masters. In the recording studio, he has directed talents such as John Lithgow, Gwyneth Paltrow, Edward Norton, and Hector Elizondo, among others. Kantor is also president of Almo, Inc., which owns and distributes the catalog of American Film Theatre titles, currently available through Kino International.

Editor's Note: Washingtonpost.com moderators retain editorial control over Live Online discussions and choose the most relevant questions for guests and hosts; guests and hosts can decline to answer questions.

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Michael Kantor: I am Michael Kantor, the filmmaker who created BROADWAY: THE AMERICAN MUSICAL, and it is my privilege to be here online with Marvin Hamlisch for today's session.

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Las Vegas, Nev.: Michael Kantor claims great affection for the labor-oriented "Pins and Needles", an infectious musical of the '30s (which I saw twice in its day and loved) but left it out of this wonderful documentary.

This extraordinary show merits a PBS special, one would think--musically and historically entertaining. How about it?

(They ruined Marc Blitzstein's "Cradle Will Rock" with some fictionalized distortions.)

Michael Kantor: Great idea - the only problem is that it is so period-specific that we would need to find a way to "ground" it in history so that people would be familiar with folks like Neville Chamberlain, and the labor issues that were so critical in the 1930s. There are some terrific videos of Harold Rome that could be utilized -- I love "Hecky's" work and met his widow some years ago. The problem is that right now our whole society is geared toward celebrity, and unless a program like this could enlist some celebrity talent to take part, it would be REALLY hard to raise funds to do it...

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Altoona, Pa.: That voice! That fabulous deep voice reading the sponsor list at the beginning and the end! Who is it, and where have I heard it before?

Michael Kantor: HARVEY FIERSTEIN. He is so wonderful, and symbolizes the world of Broadway in so many ways. I was thrilled that he agreed to be our announcer for the sponsors and so forth -- he is busy right now remounting his "La Cage Aux Folles" which will open soon at the Marriot Marquis Theater, go check it out.

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washingtonpost.com: Marvin Hamlisch is running a few minutes late and will be joining us momentarily. Thanks for your patience and keep sending your questions!

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Fairfax, Va.: I believe PBS is publishing a book to accompany the Broadway series, but I know our library users will be looking for other good books on the subject that are on our shelves. Can you recommend any other good histories of Broadway?

-Fairfax County Public Library

Michael Kantor: Thank you -- I co-wrote the book with Laurence Maslon, and it is a must have. Same title as the series. I love Ted Chapin's book on Follies, and Robert Kimball's various collections of lyrics by Irving Berlin and others (Loesser, etc). Mary Henderson's book on the Theater and the City, and Max Wilks two books: They're Playing our song, Shmucks with Underwoods (and OKLAHOMA!) are all great

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Switzerland: Hi, could you comment on the state of the Broadway pit? Musicians are losing their jobs left and right and the pits are shrinking every year. Doesn't the public have the right to hear live strings instead of synthesizers? How much clout does a composer have in the minimum number musicians needed for a pit orchestra?

Michael Kantor: It's a very tough situation. As I understand it (and I am not an expert in this area), the problem cuts two ways -- in some instances a producer has to pay the music union and musicians EVEN when he/she doesn't need a full band. Say a show is written for 10 players -- many Broadway contracts insist on more, so the producer is stuck paying for extra. On the other hand, the new synthesized stuff seems terrible. Its more a labor relations issue -- I think everyone wants a full orchestra, but at what expense....

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Rockville, Md.: Since my brother learned to play the piano our house was filled with Broadway tunes (since 1963!) and I naturally fell in love with them. I could watch your wonderful series all day, are there any plans for an encore?

Michael Kantor: The show will be re-run in many markets this Saturday. I don't know the specifics for your area, but here in NYC it will be on from 4-11pm Saturday and then again 11pm-6 am (Sunday morning). Plus, don't forget the DVD has 5 hours of extra materials if you are interessted in owning it.

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New York, N.Y.: Michael, where did you get the COLOR of the Ziegfeld Follies? I'm sure it was from "Glorifying the American Girl" but I've never seen it in COLOR! Congrats. Love the series!

Michael Kantor: I can't remember the movie (I think it is from Glorifying) but a NEH consultant of ours mentioned in passing that some two strip color existed at an archive in LA. We took the film element and telecined it to High Definition. I am very proud of that work -- I think it dates to 1929.

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Denver, Colo.: Mr. Kantor:
Love the show! Really looking forward to tonight's programming.

My question: what do you think is the greatest misperception people have about the CURRENT state of the Broadway musical?

Michael Kantor: What I've learned is that corporations are actually made of people. These individuals have to make the exact same decisions as independent producers. These people want to make money just as the independent producers do -- they are no more or less evil. Everyone decries the corporate influence, but the name of the game on Broadway is to be successful, and to be successful you need to have artistic "chops." So I had alway rued the corporate influence on our world (you know, the corner drug store turning into a huge chain), but what computer are you working on -- its from a big corporation. Broadway will always surprise us...

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Absecon, N.J.: During what eras did world events play an especially pertinent part in Broadway subject matter? Are we seeing a conservative trend these days with our current war and a conservative president?

Michael Kantor: I think there is no question that the world events in the 30s were reflected in topical revues and other Broadway musicals more than in any other era. As for today, I think Broadway is as fractious and undecided and conservative and liberal and scared and proud as the country is.

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Newport News, Va.: Thanks for the info regarding the DVD some of us wondered if there would be additional material. We really cant get enough of this type of program.

Michael Kantor: Briefly, I also hope to create a little kiosk for libraries with interactive content for our 10,000 pictures and HOURS of footage. If you know anyone with a cool $100K to put toward this most worthy effort, send them to me!!!

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Newport News, Va.: Some of our discussion group have noticed that although most of us were very young when many of these songs became popular we KNOW the lyrics and enjoying singing them but wonder why we have retained the memories when so much later music we dont know or recognize.

Michael Kantor: Yip Harburg (Brother can you spare a Dime & Wizard of oz) wrote:

Music makes you feel a feeling
Words make you think thoughts
A song makes you feel a thought.

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Los Angeles, Calif.: I noticed the omission last night of the King & I - Yul Brnner was shown once, never mentioned and a clip of Gertrude Lawrence singing on Ed Sullivan, BUT no mention of the show as being written, opening etc., as other R&H shows were.
Second, when the mention of Television affecting Broadway was introduced, there was no mention of R&H writing a show JUST for TV, Cinderella?

Michael Kantor: We couldn't cover everything in our six hour series, and, in the broad sense, King & I does deal with many of the same general issues as South Pacific. So we had to skimp on that a little, especially because there are so many versions of it available, etc. But wasn't seeing/hearing Gertie Lawrence a treat? Also, in the credits, Patricia Morison sings "Getting to Know you"

As for Cinderella, we cover that in the book. PBS will re-air that in December for fans...

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Cherry Hill, NJ: The price of a show these days seems to be more than the average person can afford (seemingly kicked up a notch starting with The Producers charging $100 for orchestra seats and raising the bar.) Has Broadway always been a luxurious art whose audience is determined by ticket price?

Michael Kantor: Both Walter Matthau and Jerry Orbach pointed out to me that a ticket to Broadway has historically been 10 times the amount of a movie ticket. Interesting, huh?

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Little Rock, Ark.: Michael Kantor, I understand that you had to cut reams from the show to fit it into the 5 1/2 hours. What pained you most to have to cut?

Michael Kantor: Pins and Needles
Lady in the Dark
King and I
Golden Boy
Ain't Misbehavin'

thats the short list today anyway.

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Alexandria, Va.: Mr. Kantor:
What do you consider to be the best filmed adaptations of Broadway musicals, and what do you think is an example of a botched film version of a great Broadway musical?

Michael Kantor: I like Yankee Doodle Dandy (george Cohan) and the recent Chicago.

I think the film of A Chorus Line was a mis-fire...

MK

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Atlanta, Ga: Was that VAN JOHNSON I saw with June Havoc in the color footage of PAL JOEY? I know he was in the original cast and it sure looked like him. Would you know, Michael?

Michael Kantor: I would guess that is Van Johnson, but not positive. Stanley Donen is the guy sitting at the table in the background stage left (screen right), surrounded by chorines....

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Newport News, Va.: No question but just a compliment. I am leading a discussion of these programs on Seniornet on the web and want to tell everyone how much these programs mean to us. Some remember seeing the originals on Broadway and all of us are singing and recalling those wonderful songs. It was particularly special to see the photographs of the stars, composers and contibuters to these great American events.. PBS had given us a great gift ...enjoyment , memories and music of "OUR" time ...thanks again Anna Alexander

Michael Kantor: Whenever I have shown this program to PBS patrons (generally older folks), I've never seen such a strong reaction. People sing along, want to start dancing. But all along, the goal was not just to "reacquaint" audiences with the music they love, but to introduce it to NEW generations of fans, like my 9 year old daughter. Glad you liked it.

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Lyme, Conn.: It seems to me there are always a lot of people who are unhappy with whatever current state the theater is in. For those who warn today that the theater is dying, I recall that the phrase in the 1960s was "is the theater dead?" Despite repeated deaths, the theater continues to live.
I know this may not be something one has thought to research, but is there any history as to when Broadway first "died"? Who first said the theater is dead? I presume it was probably during Broadway's second season, but I wonder how long the forecasters of death have been around.

Michael Kantor: Watch the end of the series tonight, and Al Hirschfeld recalls the famous phrase "its the fabulous invalid" being used when he was "still in short pants" -- probably 90 years ago...

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Vienna, Va.: Is there a teacher's guide to the Broadway series?

washingtonpost.com: PBS "Broadway: The American Musical" Teachers Guide

Michael Kantor: Yes, its incredible -- the teachers guide has gone out to 15,000 secondary schools, and includes a CD for students to try to write their own lyrics to an Irving Berlin melody. Please check it out....

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Los Angeles, Calif.: The documentary, thus far, has been amazing. Thank you so much for doing it, it's a wonderful experience. But I was wondering - what motivated you to do this? A love for broadway and the American musical, or the desire to educate more people on this phenomena?

Michael Kantor: I was schooled as a theater director, then drifted into documentary films. This project was the perfect melding of my love for the theater and my experience/training in documentaries. I've always been driven to try to educate as much as entertain. I think people get a bigger thrill when they learn something -- Gee! I didnt know that -- than when they simply watch Fred Astaire dance, or Ethel Merman sing......

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Washington DC: The series is superb. Can you comment on the criteria you used to determine which shows to feature and which to not? And do you have plans for additional episodes including other material?

Michael Kantor: The goal for the series was to pick the songs, people and shows that best represented BOTH the evolution of a uniquely American art form, and the path of American history. So we chose songs like "Brother Can YOu Spare a Dime" to speak to the 30's, and of course Hair in the 60s, but it was tough. I really didn't want to make a 12 hour, or 18 hour series as some of my documentary mentors have -- I think that's just too much time, it may be too filling in some strange way and for me it is less satisfying. So I think we made some tough choices, but I stand by them.

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Mountain Lakes, NJ: Mr. Kantor...Why PBS for this series and not a cable network like A&E or Bravo?

Michael Kantor: This a PBS signature event for the fall season, and its easy to see why. ONLY PBS could create this kind of show. The music estates trust PBS -- the grants from the National Endowment for the Arts,and the NE of Humanities were immeasurably strengthened by the fact that we were creating this for PUBLIC television -- even our corporate sponsor, Capital One, was interested in PBS, because it is a special place. People trust PBS. A & E and Bravo might have some great programs, but they aren't really committed to this kind of educational/entertaining long form program the way PBS is.

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washingtonpost.com: PBS: Check Local Listings
Broadway Shop

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Washington, D.C.: i have been glued to the tv for the past two nights-- even forgoing the red sox!-- to watch brodway... and while i am truly enjoying the documentary, i'm really itching to see the musicals, which i guess are mostly the film versions. do you know if PBS is planning on running any of those like guys and dolls, oklahoma! and even this is the army? or even any of the filmed versions of the stage productions. i'd love to see john raitt in carousel--- what a performance!

Michael Kantor: A cable network is running a special on Hollywood musicals, and of course you can rent them at your local video store. If you love our series, I strongly suggest our companion book, BROADWAY; THE AMERICAN MUSICAL for extra stuff. And our DVD has over 5 hours of material for the musical fans -- its available both online and in stores.

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Saratoga Springs, N.Y.: What is your ALL-TIME FAVORITE Broadway musical and why?

Michael Kantor: I love "OF THEE I SING" book by George S. Kaufmann and Morrie Ryskind, and music & lyrics by George and Ira Gershwin. Its featured in Episode Three of the series, is currently playing at the Paper Mill Playhouse in New Jersey, and it is a timeless parody of Presidential politics. Imagine a candidate who holds a beauty contest to select a wife (so that he can win the election using a platform of 'LOVE'), and after a convention at Madison Square Garden, he is sued by a sore loser contestant, and the Supreme Court has to decide the election. Its uncanny -- this is something from 1931~~~~

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Baltimore, Md.: Mr. Kantor: Tell us a bit about what you had to leave on the cutting-room floor!

Mr. Hamlisch: Your sensitive interpretation of the Scott Joplin score for "The Sting" remains, in my view, one of the best movie soundtracks of all time (right up there with Bernard Hermann's Hitchcock scores).

Michael Kantor: We had to cut out a beautiful section on Gertrude Lawrence performing in the Weill/Gershwin/Moss Hart musical, Lady in the Dark -- though we snuck in Danny Kaye performing Tchaikovsky in tonights credits.

I was also sorry to have to cut our section on the second-longest running show of the 1930s -- Pins and Needles.

we do cover both of these shows in the companion book though, so all wasn't lost.

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Lorton, Va.: Mr. Kantor, people at my work were talking about your PBS program, and I have to confess I didnt' see the first night. Where can I find out when it will re-air?

washingtonpost.com: Check Local Listings

Michael Kantor: It may re-air this weekend, check your local listings, but the DVD and VHS version is also available online and in fine bookstores everywhere....

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washingtonpost.com: Due to scheduling conflicts, Mr. Hamlisch will be joining us at 2:30 p.m. ET to answer your questions. Thanks for your patience!

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Detroit, Michigan: Beside New York City, where else are "hot beds" for live theater across the country?

Michael Kantor: I am fond of La Jolla Ca, and Chicago, IL as theatrical "hotspots" outside of NYC. Not to denigrate other places, but I know these places to host incredible work there.

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Falls Church, Va.: In the last 100 years What would you consider the two or three of the greatest influences that have caused turning points in the style of the music, lyrics or overall musical theater production, as well as, influences that have altered the nature of producing musical theater itself and/or its relationship to the public?

Thank you!

Michael Kantor: Well, that is a big question. I think that question is what the series tries to answer over the course of six hours, and our book in 500 pages. Let me quickly cite three people:

Oscar Hammerstein (Show Boat & Oklahoma! & South Pacific, etc)

Hal Prince: from West Side Story to Phantom, and beyond

Cameron Macintosh -- has 4 of the top 6 longest running shows of all time (Cats, Les Mis, Phantom, Miss Saigon)


There are so many others, Stephen Sondheim OF COURSE, but its impossible to boil down.

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Manassas, Va.: What are some of the most challenging roles -- male and female -- in the Broadway repertoire? Mama Rose and Harold Hill come to mind.

Michael Kantor: Sammy Davis's role in Golden Boy (Strouse & Adams) Joe Wellington, had him perform 9 numbers and a big fight too...

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Troy, Michigan: What does a producer or writer need to do in order to get a show on Broadway? Where does the money come from? The cast? The crew?

Michael Kantor: The great thing about Broadway is that it is the intersection of art and commerce. If you've got the money, you can stage any kind of show you want. Beyond that, its a very fickle universe, where star power and audience demographics and so on often dictate what arrives on Bway...

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Michael Kantor: Thanks for all of your time. I know that Marvin Hamlisch will be online later today (2:30 pm eastern), and you can see him tonight on PBS talking about A Chorus Line, a truly extraordinary show. Again many thanks, and I would just remind you all that if you cannot get your fill in the six hours of the television program, there is a DVD package with hours of extras, our book (which not only has 500 illustrations, but includes essays by Stephen Sondheim, Cole Porter, Mel Brooks and others), a magnificent 5 CD box set from Sony with the greatest songs of Broadway, and a single CD "Best of Broadway" from Universal with favorite hits. Enjoy it all!

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Alexandria, Va.: Hello! What a thrill! I'm getting to this chat late, but I just wanted to tell you how much I have enjoyed your talent over the years, but nothing compares to my all time favorite - A Chorus Line. I was only 12 years old when it came out and I got an album of the score and listened to it until I had memorized every lyric and note. I finally got to see the show when it was touring - what a thrill it was to finally see it in person. I just wanted to tell you that. Any chance of a revival?

Marvin Hamlisch: It probably will be revived but I can't say when.
I can guarantee you that the dated material will not be revised and when it takes place, it will open by taking place in 1974. The only changes we might do might be in the orchestration since we have more electronic instruments that we can use, but that's about it.

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Falls Church, Va.: In the last 100 years What would you consider the two or three of the greatest influences that have caused turning points in the style of the music, lyrics or overall musical theater production, as well as, influences that have altered the nature of producing musical theater itself and/or its relationship to the public?

Thank you!;

Marvin Hamlisch: In terms of great moments in the world of theater, the influence of Oklahoma was revolutionary because you had a story in which people integrated songs and danced as characters. The dancing became part of the story -that is what was pretty influential in theater. What has changed since has a lot to do with the financial aspects. As a creator, I like to do and look forward to hearing new songs and creating new shows. The experience for me as a youngster and going to the theater to see My Fair Lady, Gypsy or West Side Story were probably the reasons why I wanted to write for Broadway in the first place. But with productions costing $10 million and more, producers are not really willing to take that kind of financial risk -- which is the reason we have so many revivals or shows that are based on the music of ABBA or Elvis, etc. From my point of view, that makes Broadway less than what I wanted it to be. I want it to be the place where new ideas, new shows, and music written for the shows give you a surprise when you hear them as opposed to knowing what album they originally came from.

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Harrisburg, Pa.: Mr. Hamlish, would you please provide us fans with some hints as to works that you are working on or have completed that have not been released yet? What may we look forward to hearing from you?

Marvin Hamlisch: Unfortunately the one show I'm anxious to do is tied up in legalities, so right now my hands are tied and I'm not yet working on anything new for Broadway just YET.

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Alexandria, Va.: Mr. Hamlisch: I attended your Barbra Streisand tribute concert a few weeks ago. It was wonderful! How do you find such talented young singers and will you bring them back to Washington? Thank you.

Marvin Hamlisch: When we use talented newcomers at concerts, we try to bring them back to use again but we don't want to overuse them. Someone like Vanessa Campagna (who I think is terrific) will be re-engaged to perform in Washington for our Christmas shows.

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Atlanta, Ga.: Mr. Hamlisch, what is it like being principal conductor of the NSO POPS?

Marvin Hamlisch: I love being the conductor of the NSO POPS because they are a wonderful orchestra and I'm in a city where things are really happening. Therefore, it's not unheard of doing a concert and at the same time I might meet Sen. John Kerry or Condeleeza Rice. This makes for a very exciting time.

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Marvin Hamlisch: (Response to Baltimore, Md. about the interpretation of the Scott Joplin score.)

Bernard Hermann to me is one of the giants of film music as well as Ennio Morricone, the fantastic Italian composer who wrote Cinema Paradiso,

Though I'm thankful to have done The Sting, I didn't write the music but adapted it. The real hero of it was George Roy Hill, the director of the film, since it was his idea to use the Scott Joplin music.

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Buena Park, Calif.: First of all, Mr. Hamlisch, I say "damn the critics." I think "Sweet Smell of Success" your finest score to date. Hence my question. "Sweet Smell of Success" has an exceptionally beautiful ballad, "I Cannot Hear the City," which, to my taste, is tailor-made for jazz interpretation. Can you comment on the interdependance of jazz, blues and the musical? Also, if you have one, can you give me an example of one of your favorite jazz interpretations of a show tune?

Marvin Hamlisch: Obviously I wrote a jazz piece because the character was a jazz musician and the composer Cy Coleman writes the best jazz for theater. One of my favorite versions/ jazz interpolations is Peter Nero's great rendition of Mountain Greenery by Richard Rogers.

I think that you write for the characters and if the characters work in jazz clubs or the story requires jazz, you do jazz. There have been jazzy dancers and moments in shows but it's from the plot and for the necessity. You have to be pretty true to the time and characters.

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Oradell, N.J.: I thought "Sweet Smell of Success" was great. Are we ever going to see it in NY or NJ again?

Marvin Hamlisch: Probably not in my lifetime but I always have the hope that somewhere someday that someone will do it and it will be better understood. It's a shame because I think it was my best score. For instance Chicago originally opened in 1974 was not a hit then and now, it's huge. So maybe we'll get lucky but I doubt in my lifetime.

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Washington, D.C.: Would you be interested in being the musical director of a film version of Lloyd Webber's Sunset Boulevard starring Streisand and Hugh Jackman? More realistically, are you working on any shows aiming for Broadway?

Marvin Hamlisch: I already answered your last question in an earlier response. However, I would love to work with Streisand and Jackman would be exciting as hell. You're talking about two great performers!

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Kalamazoo, Michigan: Mr. Hamlisch:

Everyone seems to know Stephen Sondheim, and with good reason, given his wonderful successes. But relatively few people, outside the theater community, seem to know about the other Stephen, Stephen Schwartz, who created some wonderful shows, including "Godspell", "Pippin", "The Baker's Wife", and recently, "WICKED". Can you comment on Mr. Schwartz's shows, and how they fit into the history of Broadway?

Marvin Hamlisch: I'm not sure that anybody can really tell how a composer has made an impact on the musical industry. Sometimes you need 30, 40, or 50 years to figure out who's made the greatest impact. For instance, to say that Sondheim has made a great impact probably means that other people are trying to write like him. I think all of the composers in these days are basically adding to the caldron of musicals and where that's going to go or pushing a few (at this moment) is moving into a land of revivals and musicals based on music not written for that show. That's not a good thing. Hopefully the pendulum will swing the other way. I'm sure that the years of 90's and 2000's is not going to be known as the golden age of musicals but probably the golden age of revivals.

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Arlington, Va: Barbra Streisand seemed to indicate in that marathon five hours at the Actors' Studio that you and she had started together. Do you recall how you met and have your feelings about her or her talent changed?

Marvin Hamlisch: I was the assistant to the vocal arranger of the original Broadway production of Funny Girl. I first met Barbara at the first rehearsal. I thought she was a great singer then and over the years, she has turned into a brilliant director and a magnificent actress.

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Washington, D.C.: Am thrilled to have the opportunity to contact you. Just had to thank you, thank you, thank you for "The Way We Were". I literally wore that record (I'm showing my age)out after the breakup of a relationship. It so perfectly reflected my feelingof loss and pain. It was instrumental (pun intended) in helping me to cope. One of the BEST movie scores ever!!! In that the music so perfectly complimented and furthered the story line! You almost could only listen to the score and know and feel the story. I

Marvin Hamlisch: I'm always glad if the songs that I write particularly the ballads make some sort of emotional connection with the listener -- because music is really all about emotional connections.

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washingtonpost.com: Join director Julie Taymor and Laurence Maslon tomorrow at 1 p.m. ET to answer more questions about the PBS series "Broadway, The American Musical."

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