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Not Since Carrie: Forty Years of Broadway Musical Flops, by Ken Mandelbaum
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Not Since Carrie is Ken Mandelbaum's brilliant survey of Broadway's biggest flops. This highly readable and entertaining book highlights almost 200 musicals created between 1950 and 1990, framed around the notorious musical adaptation of Carrie, and examines the reasons for their failure. "Essential and hilarious," raves The New Yorker, and The New York Times calls the book "A must-read."
- Sales Rank: #471827 in eBooks
- Published on: 1992-08-15
- Released on: 1992-08-15
- Format: Kindle eBook
From Library Journal
While ample material on hit Broadway musicals is readily available, detailed critical information on musical flops has been difficult to come by. Mandelbaum's ( "A Chorus Line" and the Musicals of Michael Bennett , LJ 6/15/89) informative and entertaining survey of almost 200 musical flops from 1950 to 1990 fills the void admirably. Framed by the 1988 megaflop Carrie , which theater buffs still speak of in hushed tones, the shows are presented thematically rather than chronologically, thus better underscoring the reasons for failure. While Mandelbaum can be scathing about mediocre material, he carefully analyzes each show, pointing out both problems and strengths, and demonstrates a keen insight into Broadway musical history. Brief synopses and fascinating backstage gossip combine with intelligent criticism and well-chosen illustrations to make this study a required addition to all theater collections. Highly recommended.
- Eric W. Johnson, Teikyo Post Univ. Lib., Waterbury, Ct.
Copyright 1991 Reed Business Information, Inc.
Review
"Highly readable...strong opinions backed up by solid judgment. Mr. Mandelbaum has seen nearly everything and is not easily taken in....Justified affection for worthy scenes, wisely tempered by shrewd analysis...Mr. Mandelbaum has a very good ear that leads him to champion scores that have had smaller cult followings...As befits the subject, Not Since Carrie is full of entertaining backstage reportage...The illustrations are also fun and wittily chosen, whether embarrassing production photos or sadly hopeful posters and advertising."--Frank Rich, The New York Times/WQXR
"A must-read."--Alex Witchel, The New York Times
"Best theater book of 1991...breathtaking research and pointed, but not cruel, wit."--David Patrick Stearns, USA Today
"Of all the theater books I've come across lately, none has entertained me more than Ken Mandelbaum's Not Since Carrie, a lively, illustrated account of forty years of Broadway musical flops."--Doug Watt, New York Daily News
"An enormously amusing read...I cannot recall enjoying a theatre book as much as Not Since Carrie in a long time."--Hap Erstein, The Washington Times
"The book we have all been waiting for. Not only does [Mandelbaum] identify more than two hundred flops by name, he analyzes each and every one of them at some length and misses very little in the way of backstage intrigue. Mandelbaum's chapter "Don't Let This Happen to You" could double as a primer for people who write musicals or aspire to write them. Fascinating book, this-- most definitely not a flop. It practically reads itself. And just chockful of stuff that's hard to find elsewhere."--Nels Nelson, Philadelphia Daily News
"Essential and hilarious."--The New Yorker
About the Author
Ken Mandelbaum is a theater critic. He is the author of A Chorus Line and the Musicals of Michael Bennett and Not Since Carrie: Forty Years of Broadway Musical Flops.
Most helpful customer reviews
0 of 0 people found the following review helpful.
A Lively, If Dated, Read
By Morris Armfeldt
Ken Mandelbaum's book on Broadway musicals that failed is a lively, if dated, read. Like William Goldman's THE SEASON it treats Broadway and the Creative Process in a kind of left-hand fashion...even if you're left handed! What is missing is any understanding of the complexities involved getting a show from rehearsal into performance -raising the money, assembling the creative team, etc. What Mandelbaum offers are his own opinions of why he liked or disliked a show -based on "rules" that are either arbitrary or are no longer applicable. He says, "Don't Use Old Music" for a discussion of a show that put new lyrics to Offenbach melodies. Yet, this "rule" never really stood up - shows of the 40s and 50s like SONG OF NORWAY and KISMET used recycled music. And contemporary Broadway has JERSEY BOYS, BEAUTIFUL, 42ND ST, among numerous others. Mandelbaum basically wants a return to the Golden Years of Broadway Shows. Well, Time Marches On -as do attitudes toward this unique art form.
7 of 7 people found the following review helpful.
Should be required reading for all Broadway buffs
By Samuel P. Johnson
Plenty has been said about the most prominent examples of the American musical theatre repertoire; such classic shows as SOUTH PACIFIC, WEST SIDE STORY, and COMPANY have been endlessly dissected, analyzed, and deconstructed.
"Not Since Carrie," however, is the first book to take a look at the losers--the shows that, for one reason or another, failed to light up the Great White Way for long, bringing disgrace, financial loss, and (sometimes) embarrassment to all involved. The fact that the book is one of the few on musical theatre to do this is enough reason alone to pick up a copy, but Mandelbaum thankfully provides each entry with plenty of interesting information and insightful, witty commentary. Additionally, many of the shows have been lost to history (CARRIE, in particular, has been all but buried by its creators as an embarrassment), never having been recorded or having long out-of-print recordings (although studio cast recordings and rereleases of some shows have occured since the book was published), so this collection of information on the show is all casual fans have to remember the show.
If there is one criticism of the book, it is one that others below have noted: the book needs an update! In the 14 years since the book was published the Broadway scene has changed immeasurably and a new edition of the book ought to reflect that. I for one would love to hear Mandelbaum's thoughts on such recent notorious flops as DANCE OF THE VAMPIRES or LENNON, as well as more recent "heartbreakers" (A CLASS ACT, JANE EYRE THE MUSICAL).
All in all, this book represents a bit of a stepping stone for casual or beginning musical theatre lovers--once they've grown to fully appreciate the classics, they next turn to the far more fascinating story of flops, and "Not Since Carrie" is an indispensible primer.
4 of 4 people found the following review helpful.
Please, Ken, can we get an update?
By Neurasthenic
Many books critique and mock failed movies. Since the advent of the VHS player, it has been relatively easy for reviewers to find copies of the bad movies, and readers will generally be familiar with the actors and directors being made fun of. With live theater, this doesn't really hold. Once a play has failed, there's no way to watch it again. Even cast albums won't exist for many failures. A few decades later, few if any readers will have any familiarity the the producer, director, choreographer or stars of what was once the biggest failure of the year.
This book has effectively three sections. There is a long catalog of failed productions, a few paragraphs of discussion going to each. This seeks to be encyclopedic, and it's about as much fun to read as an encyclopedia. For the reasons discussed above, most readers won't have heard of most of the shows, and the information that Mandelbaum provides is pretty dry. The second section of the book analyzes characteristics shared by many failed musicals (shows based on popular movies that did not improve on the movies, for example). This section will be of broader appeal. Finally, he gives a detailed account of the development and collapse of the musical Carrie, arguing that it should regarded as the archetypal Broadway failure. This section will be fun for everybody, I think.
Mandlebaum is unafraid of assigning blame for failure, or for calling out successful portions of otherwise failed productions. You can feel him rooting for some of the productions to succeed, and he calls for a half dozen flopped shows to be revived. Having finished reading the book, I find myself disappointed never to have seen Drat! The Cat! for example.
The book ends in 1990 I hope Mandlebaum will someday update the text to include more recent flops. The Red Shoes? Cyrano, the Musical? Bloody Bloody Andrew Jackson? I'd love to read Mandlebaum's take on all of them.
I've given the book four stars, but its value depends on what kind of theater-goer you are. For a casual fan of theater, this book is worth only two or three stars. For a great fan, the book is an easy five.
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