The play, of course, opened in 1956 to rave notices, which have yet to cease. Lees does a simply brilliant job of laying out the facts. He has traced nearly every detail back to original sources, and places the stories in their contemporary perspectives through careful use of newspaper stories. Call it historiography made interesting. Furthermore, Lees displays his vast knowledge of popular music on almost every page.
Every narrative is accompanied by helpful examples.
The most pleasing aspect of the book is Lees's genuine respect, if not admiration, for his subjects. This facet has noticeably been lacking in some recent biographies, such as Robert Caro's volumes about Lyndon Johnson. As a result, even some of Lees's most stinging criticisms of Lerner and Loewe seem objective. If there is one thing markedly wrong with this book, it is the unequal treatment of the subjects. The book would be little different had Lees framed it that way.