From his writing of Godspell's score at age 23 through the making of the megahit musical Wicked and beyond, Defying Gravity: The Creative Career of Stephen Schwartz, from Godspell to Wicked takes readers into the world of the legendary Broadway and film composer-lyricist. In this authorized biography, drawing from her interviews with Schwartz and his collaborators, author Carol de Giere focuses on the behind-the-scenes stories for Schwartz's hits and disappointing flops. Readers will find colorful anecdotes and insights for his licensed musicals Children of Eden, Pippin Working, and others. Defying Gravity also includes Hollywood stories, beginning with a new foreword by composer Alan Menken. This updated and revised second edition delves into Stephen Schwartz's creative process for the new stage musicals The Hunchback of Notre Dame, The Prince of Egypt, and other shows. It provides additional insights on Schwartz's early work with Leonard Bernstein and his more recent international work on Wicked. It offers additional “Creative Notes” – a popular feature of the first edition – with comments from Schwartz about overcoming creative blocks, collaboration, and the artistic life.

In BREAKING THE GODSPELL, "It is gratifying that Neil Freer has set out to probe what the recognition of the existence and Earth-visits of the Nefilim can mean not just to scientists and theologians, but to each human being upon this planet Earth". Zecharia Sitchin, author of The 12th Planet.

The Off-Broadway hit musical Godspell became a worldwide cultural phenomenon in 1972 when, just over a year after its award-winning emergence on stages around the world and with the Top 20 Billboard hit "Day by Day," Columbia Pictures decided to film and release it on the silver screen across the globe. In the process, it created cinematic history for its use of locations around New York City (including the then-unfinished World Trade Center) and, at the same time, accomplished the nearly-impossible by taking a small stage show one that had been originally created as a college thesis and unleashing it upon a world of moviegoers who have since continued to embrace it as one of the greatest musical hits of all time, as well as a celebrated Easter special and a score that will live forever. Film historian Andrew Martin has captured every step of the show's journey, from school play to an indelible part of modern culture, and depicts in glowing detail all the highs and lows of a production that will always live on in the hearts and minds of all who watch and enjoy. Featuring interviews with composer Stephen Schwartz, producer Edgar Lansbury, and star Victor Garber, besides all of the film's surviving co-stars and key players from the creative team, this impossible-to-put-down story of "the little show that could" is certain to bewitch the reader from the very first sentence. About the Author ANDREW MARTIN is an award-winning writer and entertainer who, for over thirty years, has been an actor/singer/dancer on stage as well as film and television, an entertainment journalist for news in print, broadcast and Internet sources, a standup comedian and cabaret singer, and film historian. All for the Best is his first published book. He currently resides in his native New York City.

LIFE Magazine is the treasured photographic magazine that chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today’s people and events. They have free access to share, print and post images for personal use.

Hollywood's conversion to sound in the 1920s created an early peak in the film musical, following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St Louis, Singin' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The Oxford Handbook of Musical Theatre Screen Adaptations traces how the genre of the stage-to-screen musical has evolved, starting with screen adaptations of operettas such as The Desert Song and Rio Rita, and looks at how the Hollywood studios in the 1930s exploited the publication of sheet music as part of their income. Numerous chapters examine specific screen adaptations in depth, including not only favorites such as Annie and Kiss Me, Kate but also some of the lesser-known titles like Li'l Abner and Roberta and problematic adaptations such as Carousel and Paint Your Wagon. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.

"From Show Boat (1936) to The Sound of Music (1965) and from Grease (1978) to Chicago (2002), many of the most beloved film musicals in Hollywood history originated as Broadway shows. And in the three years since the original publication of the chapters in this volume (as The Oxford Handbook of Musical Theatre Screen Adaptations, 2019) the phenomenon has persisted, with new adaptations such as Cats, In the Heights, Tick, Tick...Boom!, Dear Evan Hansen, and Spielberg's remake of West Side Story. Yet in general, the number of screen adaptations of Broadway musicals and operettas is far greater than the number that have met with success, especially both critical and commercial success (i.e., good reviews and a profit at the box office). This is all the more surprising since Hollywood tended almost (if not quite) exclusively to buy the rights to musicals that had been successful on the stage as a means of guaranteeing a profitable outcome. After all, musicals that had already enjoyed long runs and nationwide productions on the stage ought to have a readymade audience. One might also think that because the authors had puzzled over the individual challenges posed by such properties in their stage incarnations, it ought to be easier to turn them into strong film musicals. But for every West Side Story there were several Finian's Rainbows, Man of La Manchas, and Carousels: movies that simply did not do justice to the 'enchanted evenings' these works provided in their stage incarnations"--