A Million Miles from Broadway
"His research is monumental... This is an important book on a previously undocumented area of musical theatre." -- Peter Pinne, Stage Whispers "There’s never been a better book for the armchair-traveler-theatergoer." -- Peter Filichia
"An intriguing and informative work that will help you see the musical in an entirely new light - and make you hopeful for the future."-- Viewsfromthegods.co.uk
"Atkey is enlightening on various topics with a Broadway connection—such as why The King and I, while a landmark in musical theatre, is a travesty as a representation of history; how Grease turned from an ensemble piece into a romance about Sandy and Danny; how The Sound of Music radically altered the facts about Maria von Trapp; and how The Drowsy Chaperone, a modest little offbeat Canadian musical morphed into a big Broadway hit. But these sections are but part of an overall structure aimed beyond Broadway. A Million Miles from Broadway is not for scholars or academics; it is for musical theatre fans (which is to say Broadway enthusiasts), those who should know something of international musical theatre. In this regard, Atkey does yeoman service. Beyond offering evidence that disputes other critics’ complaints about the “emptiness” in French musical theatre, Atkey is particularly informative about musical theatre in South Africa, Latin America, Australia, and Asia, introducing us to many shows and creative figures who are undoubtedly unfamiliar to most readers. And there are interesting tidbits, such as the absence of any great Irish musical; why Evita has never been staged professionally in Buenos Aires; how Argentina suffered a loss of artistic momentum under Fascism; why Sarafina! was heavily criticized in South Africa; how musicals are big business in Korea in Japan; or how Singaporean librettists are able to escape censorship... I, therefore, salute Atkey for this book that attempt to open eyes and minds in Canada and elsewhere to one of the greatest art-forms in theatre. " -- Keith Garebian, Stage and Page
"Congratulations on your new book, which I just read, and thoroughly enjoyed. The passion and dedication you tirelessly put into it has resulted in an engaging and informative account on the state of musicals in the world. I am proud to have been included!" -- Dick Lee, composer of Beauty World and Forbidden City
"This marvellous book, annotated with real academic care, is brimming with affection for this multi-headed beast we call "musical theatre". The author's task is considerable: to round up landmark musicals most Broadway fans will never have heard of (or contemplated existed), and make the story of their creation utterly involving. Not only does Mr Atkey (our undaunted and very affable guide) take us around the world - to Australia, Singapore, Korea, Japan, Canada - so many destinations, but we travel back through time too, with histories of operetta, of French (and German) cabaret, of South African musical theatre... too much to list here. Suffice to say, this assiduously gathered mountain of research is presented in an accessible way, offering a terrific springboard from which the reader may launch his own personal investigations. But this book is much more than an encyclopedia. It is a beautifully structured discussion about where this world-wide phenomenon, MT, has sprung from, and where it might be heading. It poses many questions: how do you successfully translate a work from one culture to another; how is MT best funded; can MT thrive without democracy? So many ideas thrown up, and so many examples to illustrate. The oft-lengthy development process of selected musicals, such as Canada's The Drowsy Chaperone, are described in great detail, and make for fascinating reading. Throughout the book, Mr Atkey's handling of quotations is always apposite, always thought-provoking. It's like being at a global symposium of elite MT creatives! And the chapter on the rock'n'roll influence on MT is very well-observed and very funny. Although Mr Atkey writes as a Canadian, I could relate entirely to what he was saying here. Which illustrates the central theme (so clearly set out in the superb preface), which is: writers function best when they speak from the heart, working from their own experience, from within their own culture. With talent and integrity (and nurturing from outside) universal truths may then emerge from which others can benefit. Even if they live a million miles away." --Kevin James, composer
“As the first of its kind to compile the accounts of the recent developments in musical theatre across time and place, his book is particularly timely as there is a growing interest by scholars, producers and journalists in the transnational circulation, production and popularity of musical theatre, both of English-speaking musicals and non-English-speaking musicals... He writes in the first-person, and uses a number of his personal experiences and interviews as examples, which makes the chapters seem less scholarly, and more like a series of on-line blog postings written by well-informed industry personnel... His book can still serve as a valuable resource for those who are entering the field of international musical theatre, given the scarcity of resources on musical theatre outside New York and London that are accessible to an English-speaking readership. Perhaps the greatest value that I find in Atkey’s book is that it... questions the widely accepted western-centric definition of musical theatre, and challenges scholars to find a way to discuss musicals that are more layered in their origins and influences... Atkey’s book can definitely be a springboard for further research in this area.” Studies in Musical Theatre
Musical theatre is an international form, not just an American one. It can take root anywhere. Following the publication of my previous book, Broadway North: The Dream of a Canadian Musical Theatre, the response I received from all over the world suggested that the principles I laid out therein – “putting the audience on stage” – applied not just to my native Canada, but to other countries as well. Director Ken Caswell, in London’s Musical Stages wrote, “Mel Atkey's book is so full of interesting detail and entertaining anecdotes, by the time I had reached the last page I found myself caring about all the projects and personalities I had read about. To my delight, the book also confirms once and for all the extreme arrogance of Broadway and the West End. The idea that a musical is not a musical until it has been recognised by either of those giant arbiters of taste is, of course, idiotic; but that opinion certainly exists in New York and is voiced by some in London... Thank you, Mel Atkey, for an informative and affirming book.” Australian historian Peter Wyllie Johnston, author of a forthcoming book on Australian musicals, said “I have just read your most excellent book! How wonderful to have such an interesting piece on the Canadian musical... Congratulations again on your book which is making its presence felt in my thesis!!!” Aaron Joyner of Magnormos Theatre (Melbourne) said, “It is such a good read. Fascinating, factual and a great yarn as well (which is an Australianism for a very good story.)” Back in Canada, the Winnipeg Free Press said, “Broadway North should be required reading for all Canadian students and practitioners of musical theatre”. Ray Jessell, co-writer of the Broadway musical Baker Street, said “It will be THE definitive book on the subject for a long time”. It won an Ovation award in Vancouver and has been optioned as a one hour television special by Infinity Filmed Entertainment.
The musical theatre is a form that is so linked in the public’s mind with Broadway that it is sometimes referred to as the “American Musical Theatre”. In fact, the late Peter Stone, a former president of the Dramatists Guild and a noted Broadway librettist, once claimed that no musical theatre existed outside of New York City. On the other hand, Alan Jay Lerner, the librettist behind My Fair Lady said, “Broadway cannot live without the musical theatre, but the musical theatre can live without Broadway. After all, its first home was Paris and then Vienna and then London and then New York. So changes of address are not uncommon.”
I want to explore the work that does exist outside of New York. I’m not talking about the many franchised versions of Fiddler on the Roof and Grease that have played everywhere from Tel Aviv to Abu Dabi. I’m referring to indigenous musical theatre created in places other than New York by people other than New Yorkers and drawing on traditions other than just those of Broadway.
Why do this? After half a century of New York domination, our culture is again becoming more cosmopolitan. In recent years, Broadway has played host to The Drowsy Chaperone (from Canada) and The Boy from Oz (from Australia). Until the Second World War, there were not two centres for musical theatre, but at least half a dozen. In addition to New York and London, we had Paris, Vienna, Berlin and Budapest, among others. (And I’m not just talking about operetta, but musical comedy.) In spite of its reputation as the place where Broadway shows die, post-war France gave us at least three internationally successful musicals – Irma La Douce, the film The Umbrellas of Cherbourg, and of course Les Misérables.
However, it’s not the past that interests me so much as the future. When people talk about the future of musical theatre, the names of Michael John Lachiusa, Jason Robert Brown, Andrew Lippa and Adam Guettel are mentioned reverentially. When will they add to that Leslie Arden (Canada) and Howard Goodall (U.K.)? Other countries, such as Japan, Brazil, Argentina and Singapore are also making great strides toward establishing their own voices. So the future centres of activity might include such hitherto neglected cities as Toronto, Sydney, Melbourne, Singapore, Tokyo, Buenos Aires and others. In Australia, I plan to visit Kookaburra in Sydney and Magnormos Theatre in Melbourne (sponsors of the “OzMade Musicals festival). In Japan, Shiki Theatre have been performing both Western imports – from Broadway hits like Wicked to Canada’s seminal musical Anne of Green Gables – and original Japanese works. South Africa has also exported Sarafina and Kat and the Kings.
Andrew Killick, Professor of Ethnomusicology at the University of Sheffield has told me, “I have long thought that someone should do a study like the one you are planning… From my point of view, you’d be doing a great service by making information available about musicals and their local variants around the world.”
As a musical theatre writer and composer, I made my New York debut in April 2001 with an off-off-Broadway showcase of O Pioneers! with book by Robert Sickinger. This show was then a finalist for “Stages 2002” at the New Tuners theatre in Chicago. Our second musical, A Little Princess was presented at Wings Theatre in New York in 2003, where the New York Times praised my “lovely music”. My two character musical Perfect Timing, for which I wrote the book as well as music and lyrics, was recently showcased to great acclaim as part of Greenwich Theatre (London)’s Musical Futures series. I wrote the opening number for Olivier award winning West End star Janie Dee’s recent critically acclaimed one-woman show. I am a Professional Writer Associate of Mercury Musical Developments, and a member of the Writers Union of Canada. Of my work as a composer, Broadway songwriter Stephen Schwartz (Wicked) has said, “Such talents are rarer than you know”. As an author, my previous works also include When We Both Got to Heaven, published by Natural Heritage Books, Toronto, in October 2002.
ISBN 978-0-9916957-4-4
Publisher Friendlysong Books
Pages 654
Binding Perfect-bound Paperback
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