"The return to New York in 2002 of Rodgers and Hammerstein's Flower Drum Song was considered the most revolutionary chapter in the history of Broadway revivals. Drawing upon interviews with members of the original and the revival casts, whose first-hand accounts enliven the narrative, David H. Lewis charts the difficult production history of Flower Drum Song"--Provided by publisher.
Originally published in 1957, The Flower Drum Song was a groundbreaking work of popular literature. An immediate bestseller, it inspired the classic Rodgers and Hammerstein musical. This charming, bittersweet tale of romance and the powerful bonds of family tells the story of Wang Ta, who wants what every young American man wants: a great career and a woman to love. Living in San Francisco's Chinatown-with his widowed father, Old Master Wang, who misses the old way of life in China, and his younger brother, who just wants to be a normal American teenager-Wang Ta becomes involved with a series of women as he searches for love and the American dream. Comic, poignant, and sexy, The Flower Drum Song is an astute portrayal of immigrants struggling with assimilation. This edition features a new introduction by David Henry Hwang.
Contains entries on collaborators Rodgers and Hammerstein, including stage, film, and television projects, theater playhouses, organizations, their two hundred thirty-one major songs, and other artists who worked with the two men.
"Through a wonderfully chosen series of literary and cultural phenomena, [Cheng] captures both the hidden melancholy of those who, in order to conform to the American dream, learn to discriminate against themselves, and the even more hidden melancholy of a nation thus deprived of some of the most vital energies of its citizens."--Barbara Johnson, Harvard University
Release on 2017-03 | by Hon-Lun Yang,Michael Saffle
Music, Representation, and Reception
Author: Hon-Lun Yang,Michael Saffle
Pubpsher: University of Michigan Press
'China and the West: Music, Representation, and Reception' is the first book to explore how Chinese and Western musical materials and traditions-those involving instruments, melodies, rhythms, staged diversions (including operas and musical comedies), concert works, film scores, and digital recordings of several kinds-have gradually moved closer together and become increasingly accepted, as well as exploited, in Asia as well as Europe and North America. Although aimed in large part at a scholarly audience, China and the West should appeal to general readers of many kinds: those interested in politics, cultural history and theory, gender studies, sociology, theater, and media studies as well as musical composition and performance of 'classical' as well as traditional and popular kinds