The Broadway Musical Quiz Book includes nearly 80 quizzes on every aspect of the Broadway musical; including sections devoted to the careers of major Broadway stars; songwriters; directors; and producers; ranging from Ethel Merman to Stephen Sondheim. It also features thematic quizzes - such as musicals set in France; adaptations from literature; food and drink; British shows; references to sports; biographical shows; and jukebox musicals - and quizzes covering each decade from 1900 to the present. With over 700 shows mentioned; and over 1200 questions; The Broadway Musical Quiz Book is detailed and thorough: the answer section doesnt merely list the answers; it provides further information on the quizzes subjects (and often on wrong answers; too!). The Broadway Musicals Quiz Book is more than just a compendium of trivia; its a anecdotal history of musical theatre; with something for everyone who loves The Great White Way!
#1464485 in eBooks 2010-03-22 2010-03-22File Name: B004LB49F6
Review
0 of 1 people found the following review helpful. For the already familiarBy KatariI still havent finished this book despite buying it years ago. Its thorough in its discussion of Argentos films. but if you havent seen them it doesnt do you much good. I havent seen any of his films past 1982 or so and therefore. I stopped reading when the discussion moved to his newer works.2 of 4 people found the following review helpful. broad. inaccurate. useless analysisBy FilippoOne thing of interest in this book: the short interview to Argento at the end of it. Mind you. nothing of real substance. you could easily read this on an inflight magazine on AA.As for the rest of the book. The author mentions that Deep Red (one of Argentos key movies) takes place in Rome. The movie is shot in Turin and a famous square of this city is the stage of one of the key scenes in the movie. Not only that. but Turin (for a number of important reasons) is a key city in all of Argentos work. That gives you the scale of how misguided the author of this book is.Unfortunately. not much has been written about Argentos and most of the insightful work is all in italian. so not available to a wider audience. Having said that. the book im reviewing is a very fragile attempt to interpret the work of a master of modern cinema.On a personal note. i have find rather insulting the fact that the updated version of the book is nothing more that a quick and brute catalogue of argentos more recent work which is dismissed with the sort of like/dislike attitude that you would use to comment on a friends Facebook status. This is not critical reviewing. its fastfood writing.Its very sad to know that this book could influence the understanding of Argentos opera. Its like having Picasso reviewed by Barbara Walters.Anyway. i thought the money spent on this book were wasted. My suggestion would be to look for Argento Vivo and find a friend that can translate from the italian version. More importantly. disregard what the author of broken mirror says and watch with an open mind all of argentos work.forget the silly divisions (giallo vs. fantasy. early work vs recent stuff). He is an author. he creates. with his work he talks to us. Embrace him. accept him. rebel against him but give Argento the respect that anybody with a point of view on live and art deserves.Buona Visione1 of 1 people found the following review helpful. Psychoanalyzing the Giallo Master and His FilmsBy David HowellI must say I have not read the added material in this new edition of Maitlands study on Argento and am not eager to - not because of her but because of him - Argento. Giallo Master. I read Maitlands original hardcover and bought it when she and Argento appeared together at a Brooklyn series of screenings of some of his films many years ago. She kindly signed my book which was a red and white hardcover of a knife slashing down as I remember. from Suspiria no doubt - as was the title which I recognized and loved immediately. It promised a serious. in depth study of his films.(one of the first to do so). placing them in the revered canon of greatest horror films. The study is so well written and interesting and I like how she went chronologically from film to film and plumbed the depths of each one. offering myriad insights and discussing influences on certain films from other directors. i.e. the maid waiting in the park in Four Flies/the lover waiting in the graveyard in Lewtons The Leopard Man. It seems Argento is half influenced by Val Lewton and half by Mario Bava (which he oddly denies) - both terrific influences but Argento makes his own unique films with his own energy level second to none. She also mentions Bird is adapted from the great mystery writer Fredric Browns classic The Screaming Mimi. Though Brown is uncredited. Since Maitlands book was originally published. scores of unseen giallos became available for viewing and I found many more influences on Darios films from them. But during his great years he remained the master. Maitland takes a look at his work from an intellectual. scholarly viewpoint which I am fascinated by big time. At last she was legitimizing his films as having artistic merit and recognizing his unrelenting baroque style as a major technique in genre film making of the 70s and 80s. Her book ended with Two Evil Eyes (of which I recall she viewed a bit suspiciously) and apparently in a revision. she reviewed Trauma. which I did not read. Argento became an uninteresting filmmaker to me after the last of his masterpieces OPERA. so I do not know this authors take on his later oeuvre; the only work Argento did after 1987 that I liked was the rather charming/inoffensive Do You Like Hitchcock? and Insomnia. his so called return to pure giallo. with its several legitimate set pieces. but it still is not one of his greats. but a decent offering at least (minus the Deep Red rip off sequence). His other films from 1987 on are complete washouts IMHO. But Maitland captures his years of greatness beautifully - from Bird to Opera - in the version of her book that I read.
