http://worldcat.org/entity/work/id/102237869

[Interview with Peter Stone raw footage]

Raw interview footage used for the documentary Broadway, the American musical. Writer for television, theater and the movies Peter Stone discusses the creation of librettos for the American musical. Topics include the musicals of the 1930s, which were dominated by great songwriters, like George and Ira Gershwin, Cole Porter and Jerome Kern, and the role of the book writer in providing the "glue" which connected their songs; the flowering of the musical theater following a period of naturalism in the theater; the musical as an "optimistic" form, and how Rodgers and Hart's Pal Joey fits this definition; Oscar Hammerstein II's "invention" of the classic book musical, which featured more complex plots and character development, beginning with Show boat, his innovations in Oklahoma! and The king and I, which Stone believes to be Hammerstein's best book, and his librettos for Carousel and South Pacific; the songwriting process of Richard Rodgers and Lorenz Hart in comparsion with Rodgers and Hammerstein; book writing in comparison with play writing; the techniques of writing a book for a musical; the importance of the opening number in a musical, and the signficance of the opening number Fugue for tinhorns in the musical Guys and dolls; the opening numbers for A funny thing happened on the way to the forum and Kiss me, Kate; My fair lady as a "perfect show"; the significance of West Side story as a work of musical theater which tells its story via dance; the importance of the out-of-town process, as employed in Hello Dolly and Fiddler on the roof, in creating a successful musical; the need for structure and concept in a musical; a comparison of three musicals: Promises, promises, Hair, and 1776, for which Stone wrote the book, all of which were up for Tony Awards in 1969; the importance of the logo design for 1776 in the show's commercial success; the 1960s musical Hair in comparison with the currently running Rent; the small outlet for Broadway songs in the commercial market, and the lack of melodic, memorable songs by contemporary composers. Interview ends at 54 min. but camera continues for several minutes with depiction of facade of the Ethel Barrymore Theatre.

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