Sex, Drugs, Rock & Roll, and Musicals
"Finally, someone who believes the American musical is not only alive and well but is growing and thriving in ways other observers may have missed. Scott Miller embraces the here and now of the art form and cries out 'Hooray!' (or a more appropriate and less printable rock and roll interjection)" -Andrew Lippa, Broadway composer-lyricist"Miller will have you aching to see new productions of these works, and will send you back to the original cast albums so that you can now appreciate what you missed the the first time around."--Peter Filichia, critic for the New JerseyStar-Ledgerand author of many books on musical theatre"Miller examines the post modern musical with a depth of knowledge that's astounding. . . I'm not going to take you through each chapter, because this book demands to be read. Miller has crafted another fine tome that examines the current state of theatre, and he does so with integrity, honesty and wit." -- Chris Gibson, BroadwayWorld"Miller takes ten musicalsand examines them thoroughly and thoughtfully. (Who ever thought we'd see a scholarly consideration of High Fidelity? Or I Love My Wife, even.) . . . What's important here are the well-rounded discussions, combining analysis, history and anecdotes." -- Steven Suskin,Playbill"Firm convictions backed up by ferocious theatrical intelligence . . . Miller has strong, idiosyncratic opinions that spark stimulating reflection . . . What he's really celebrating is the expanding horizons of the musical theatre." - Wendy Smith,American Theatremagazine“The writing is compelling, whether you’ve seen the shows or not. Miller backs up his assertions with copious quotes from writers, actors, critics, lyrics and historians. In addition to everything else this book accomplishes, it functions as historical writing and an examination of morality.”—Clayton-Richmond Heights  Patch"Ferocious theatrical intelligence."—American Theatre“Miller offers insightful commentary and perspectives on shows that all began as experimental and intensely challenging works, although some, such as Grease, Hair, and Jesus Christ Superstar, have in some ways entered the mainstream. Throughout, he challenges directors to return these shows to their subversive, groundbreaking roots and implores audiences to recognize the transgressive power inherent in musical theater.”—Notes