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The Great White Way: Race and the Broadway Musical
Broadway musicals are one of America’s most beloved art forms and play to millions of people each year. But what do these shows, which are often thought to be just frothy entertainment, really have to say about our country and who we are as a nation? The Great White Way is the first book to reveal the racial politics, content, and subtexts that have haunted musicals for almost one hundred years from Show Boat (1927) to The Scottsboro Boys (2011). Musicals mirror their time periods and reflect the political and social issues of their day. Warren Hoffman investigates the thematic content of the Broadway musical and considers how musicals work on a structural level, allowing them to simultaneously present and hide their racial agendas in plain view of their audiences. While the musical is informed by the cultural contributions of African Americans and Jewish immigrants, Hoffman argues that ultimately the history of the American musical is the history of white identity in the United States. Presented chronologically, The Great White Way shows how perceptions of race altered over time and how musicals dealt with those changes. Hoffman focuses first on shows leading up to and comprising the Golden Age of Broadway (1927–1960s), then turns his attention to the revivals and nostalgic vehicles that defined the final quarter of the twentieth century. He offers entirely new and surprising takes on shows from the American musical canon— Show Boat (1927), Oklahoma! (1943), Annie Get Your Gun (1946), The Music Man (1957), West Side Story (1957), A Chorus Line (1975), and 42nd Street (1980), among others.
New archival research on the creators who produced and wrote these shows, including Leonard Bernstein, Jerome Robbins, Stephen Sondheim, and Edward Kleban, will have theater fans and scholars rethinking forever how they view this popular American entertainment.
New archival research on the creators who produced and wrote these shows, including Leonard Bernstein, Jerome Robbins, Stephen Sondheim, and Edward Kleban, will have theater fans and scholars rethinking forever how they view this popular American entertainment.
264 pages, Paperback
First published February 18, 2014
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Displaying 1 - 19 of 19 reviews
February 12, 2024
I've heard this book is pretty good!
April 24, 2020
I have waited for years for someone to write a book like this and Warren Hoffman finally did. Recommended for anyone truly interested in the history of the American Musical Theater.
May 9, 2016
Very insightful, interesting read. (Fantastic title, too.) Really enjoyed the chapter on West Side Story and The Music Man in particular.
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February 28, 2021Currently using this for research & I only read the sections pertaining to my topic but I really want to revisit this when I have the time !!
May 15, 2015
Hoffman offers a close reading of some of the quintessential American musicals including Show Boat, Oklahoma!, Annie Get Your Gun, West Side Story, and The Music Man, to examine how each conceptualizes and engages definitions of race. At this point, you might go, "Huh? Okay, Show Boat and West Side, sure, but what's The Music Man got to do with race? Marian the Librarian never talks about racial prejudice! Harold Hill could be any ethnicity! An interracial couple could play Zaneeta and Tommy and it wouldn't make one difference to the script!"
Except that we all know, don't we, given the time period, the Midwest location, and how the characters act and react to one another, that they are white.
Which is precisely Hoffman's point -- that the American musical has, implicitly and sometimes explicitly, been the province of white folks. This in turn shapes the way white people think of ourselves, and because race remains a hidden subtext when only white characters on are stage, allows us to believe our experiences generalize to the rest of humanity. Though Hoffman doesn't make this point, I will: this makes it harder to understand people of other races, and in particular to accept that structural racism exists -- because we don't experience it, it's hard to believe that anyone does.
Hoffman also offers broader analysis of some historical Broadway trends: all-black casts in traditionally all-white shows (Hello, Dolly!, Guys and Dolls) in the '60s and '70s, shows written for multicultural casts (A Chorus Line) in the '80s, revisals -- revivals with revised libretto -- (Annie Get Your Gun, Flower Drum Song), and the (inevitable?) return of all-white musicals with shows that look back to the "Golden Age" (Forty-Second Street). In some cases, Hoffman's conclusions are surprising, as in his analysis of color-blind casting trends and the revision of older musicals to make them more palatable to modern tastes, but always thoughtful. Occasionally, I wished the author included more information to back up his point, though generally the chapters feel thorough without being tedious.
It'd be easy to cite what's left out, such as British and other musicals that don't originate in the U.S. I'd have loved a close reading of Miss Saigon and/or Les Miserables, or at least more mention than the off-handed dismissal of the mega-musical. Hoffman is admittedly a cranky aficionado of the Golden-Age style of musical, and it's clear that with this book, he is focusing on the shows he loves, not simply on shows that made an artistic or market impact. Given that, I respect him more: it takes courage to critique the works that mean most to you, to see their flaws and potential danger to real-world justice.
In challenging the idea that a piece of theater only has something to say about race when minority characters appear, Hoffman offers a theoretical tool to analyze not only theater, but other forms of entertainment and art, like TV and comics, where discussions of inclusivity and fair representation run hot. Granted, musical theater is a bit niche, despite the author's passionate argument for the relevance of musicals to the average American. I appreciate his defense but only partially accept it and I'm one of the many who love musicals; given options, I'll probably listen to show tunes before any other kind of album. But I am just not sure I can buy into the argument that, because the songs are so detachable from the rest of the script and become known to more people than ever see the full show, that their impact on definitions of whiteness is similarly vast. I'm not sure that a song divorced from the full musical's context can maintain that kind of ideological weight. But perhaps that's my own desire to keep the musicals I love safe, in both meanings of the word: safe from criticism, and safe for all and any to consume, without consequence. No work of art or entertainment really is.
Except that we all know, don't we, given the time period, the Midwest location, and how the characters act and react to one another, that they are white.
Which is precisely Hoffman's point -- that the American musical has, implicitly and sometimes explicitly, been the province of white folks. This in turn shapes the way white people think of ourselves, and because race remains a hidden subtext when only white characters on are stage, allows us to believe our experiences generalize to the rest of humanity. Though Hoffman doesn't make this point, I will: this makes it harder to understand people of other races, and in particular to accept that structural racism exists -- because we don't experience it, it's hard to believe that anyone does.
Hoffman also offers broader analysis of some historical Broadway trends: all-black casts in traditionally all-white shows (Hello, Dolly!, Guys and Dolls) in the '60s and '70s, shows written for multicultural casts (A Chorus Line) in the '80s, revisals -- revivals with revised libretto -- (Annie Get Your Gun, Flower Drum Song), and the (inevitable?) return of all-white musicals with shows that look back to the "Golden Age" (Forty-Second Street). In some cases, Hoffman's conclusions are surprising, as in his analysis of color-blind casting trends and the revision of older musicals to make them more palatable to modern tastes, but always thoughtful. Occasionally, I wished the author included more information to back up his point, though generally the chapters feel thorough without being tedious.
It'd be easy to cite what's left out, such as British and other musicals that don't originate in the U.S. I'd have loved a close reading of Miss Saigon and/or Les Miserables, or at least more mention than the off-handed dismissal of the mega-musical. Hoffman is admittedly a cranky aficionado of the Golden-Age style of musical, and it's clear that with this book, he is focusing on the shows he loves, not simply on shows that made an artistic or market impact. Given that, I respect him more: it takes courage to critique the works that mean most to you, to see their flaws and potential danger to real-world justice.
In challenging the idea that a piece of theater only has something to say about race when minority characters appear, Hoffman offers a theoretical tool to analyze not only theater, but other forms of entertainment and art, like TV and comics, where discussions of inclusivity and fair representation run hot. Granted, musical theater is a bit niche, despite the author's passionate argument for the relevance of musicals to the average American. I appreciate his defense but only partially accept it and I'm one of the many who love musicals; given options, I'll probably listen to show tunes before any other kind of album. But I am just not sure I can buy into the argument that, because the songs are so detachable from the rest of the script and become known to more people than ever see the full show, that their impact on definitions of whiteness is similarly vast. I'm not sure that a song divorced from the full musical's context can maintain that kind of ideological weight. But perhaps that's my own desire to keep the musicals I love safe, in both meanings of the word: safe from criticism, and safe for all and any to consume, without consequence. No work of art or entertainment really is.
November 28, 2014
This book will only appeal to people who are extremely interested in both musical theater and racial consciousness. It goes through the history of musical theater in the US, starting with Porgy and Bess and ending with modern musicals like The Book of Mormon. Two types of racial bias are identified: the setting of musicals in circumstances that only work with a predominantly white cast, and stereotyped depictions of race when minority characters are introduced.
I am a fan of musical theater, and it was very interesting/depressing to see the pattern that the author points out in the history of musicals. The 30s, 40s, and 50s was the Golden Age of musicals, and they tended to be made with an all white cast. Then in the 60s and 70s, producers wanted to attract an African American audience without losing the white audience, so they made all black or integrated productions of Golden Age musicals. Seeing black actors in these roles had several positive results - they got to stretch themselves artistically while the audience got to see black people who weren't just maids or thugs. But it also showed that the musicals were originally written with whites in mind. Yonkers as an all black town with couple waltzing down the street acting enthusiastic and joyful was a little odd in the 60s. As was a black Nathan Detroit saying "Nu?" Although a few original productions were made in the 60s and 70s that showed African American life, such as a musical version of Raisin in the Sun, most were short-lived and certainly didn't get the huge following that the whiter musicals did. Then in the 80s, productions went back to all white casts in shows that had a nostalgic, Horatio Alger feel to them. The author blames this on opposition to affirmative action. The message of musicals like 42nd Street and the Will Rogers Follies and even Company was that your race makes you special but isn't an actual hindrance and anyone can succeed if they work hard and have talent.
In the present day there are more musicals that depict life from more than just an Anglo-centric viewpoint. The book mentioned In the Heights, Passing Strange, Avenue Q, Bombay Dreams, The Color Purple, Fela!, and The Scottsboro Boys. But these still tend to have much shorter runs than white musicals like The Book of Mormon - which I haven't actually seen so I can't comment on whether the book is correct or not in depicting it as a "white" show. Another example given is Lysistrata Jones, which includes non-white characters but only in a sidekick role to the star, a white cheerleader. I haven't seen that show either so I don't know if the show would become incomprehensible with a non-white actress in that role, but the book seemed to think so.
White people are 75-80% of the US population, but that doesn't mean that only white stories should be made. Just as moviemakers assume that women will go to guy films but guys won't go to chick flicks, musical producers think that minorities will go to white shows but whites won't go to shows that have a non-white point of view. Which is both ridiculous and probably true. I'd like to see a musical telling the life of Madam C. J. Walker, and a musical version of "Dear White People" would be fantastic. But they'd have to start from the other direction, and first make a filmed version that could be aired on YouTube, become a sensation, and then after a demand was created make a live stage version that could go on tour.
I am a fan of musical theater, and it was very interesting/depressing to see the pattern that the author points out in the history of musicals. The 30s, 40s, and 50s was the Golden Age of musicals, and they tended to be made with an all white cast. Then in the 60s and 70s, producers wanted to attract an African American audience without losing the white audience, so they made all black or integrated productions of Golden Age musicals. Seeing black actors in these roles had several positive results - they got to stretch themselves artistically while the audience got to see black people who weren't just maids or thugs. But it also showed that the musicals were originally written with whites in mind. Yonkers as an all black town with couple waltzing down the street acting enthusiastic and joyful was a little odd in the 60s. As was a black Nathan Detroit saying "Nu?" Although a few original productions were made in the 60s and 70s that showed African American life, such as a musical version of Raisin in the Sun, most were short-lived and certainly didn't get the huge following that the whiter musicals did. Then in the 80s, productions went back to all white casts in shows that had a nostalgic, Horatio Alger feel to them. The author blames this on opposition to affirmative action. The message of musicals like 42nd Street and the Will Rogers Follies and even Company was that your race makes you special but isn't an actual hindrance and anyone can succeed if they work hard and have talent.
In the present day there are more musicals that depict life from more than just an Anglo-centric viewpoint. The book mentioned In the Heights, Passing Strange, Avenue Q, Bombay Dreams, The Color Purple, Fela!, and The Scottsboro Boys. But these still tend to have much shorter runs than white musicals like The Book of Mormon - which I haven't actually seen so I can't comment on whether the book is correct or not in depicting it as a "white" show. Another example given is Lysistrata Jones, which includes non-white characters but only in a sidekick role to the star, a white cheerleader. I haven't seen that show either so I don't know if the show would become incomprehensible with a non-white actress in that role, but the book seemed to think so.
White people are 75-80% of the US population, but that doesn't mean that only white stories should be made. Just as moviemakers assume that women will go to guy films but guys won't go to chick flicks, musical producers think that minorities will go to white shows but whites won't go to shows that have a non-white point of view. Which is both ridiculous and probably true. I'd like to see a musical telling the life of Madam C. J. Walker, and a musical version of "Dear White People" would be fantastic. But they'd have to start from the other direction, and first make a filmed version that could be aired on YouTube, become a sensation, and then after a demand was created make a live stage version that could go on tour.
January 29, 2020
I read this book in order to have the author on my podcast, and it worked out that the book was a fascinating read on many classic musicals and how race and whiteness works within them. In some shows I had never even considered these elements, while in others I had and the book's discussion made me think about them more deeply. The author looks at various turning point musicals--Show Boat, Oklahoma, West Side Story, The Music Man, A Chorus Line, The Book of Mormon, Hamilton--as well as certain trends in casting and revivals to argue that the history of musicals is also a history of race in America. This book was, of course, right up my alley, and I very much appreciated looking at the idea of whiteness, not just the idea of race. A recommended read for anyone who sees/listens to/enjoys musicals.
December 31, 2018
Awful. Condescending. Feels the need to point out racism in musicals like 'Showboat!', when the parts he points to are clearly racist to all but the Klanniest idiots among the population.
At the same time, he points to shows like 'The Music Man' as racist due to the lack of people of color in the cast.
Musicals are not Nazi propaganda, and engendering them with bad intent is a poor practice that serves to divide rather than unite. People who can think can see and decide. Forcing this division down their throats is propaganda as sure as any created by the regimes the US was created to stand against.
At the same time, he points to shows like 'The Music Man' as racist due to the lack of people of color in the cast.
Musicals are not Nazi propaganda, and engendering them with bad intent is a poor practice that serves to divide rather than unite. People who can think can see and decide. Forcing this division down their throats is propaganda as sure as any created by the regimes the US was created to stand against.
April 3, 2021
This book was pretty academic and it was hard to follow for the plays I haven't seen. I really could put into context the content for the musicals I have seen so much of the book I couldn't follow. For someone who has seen a ton of Broadway plays it would be interesting context but for a casual Broadway patron it's a bit hard. I liked the information on Hello Dolly and Hamilton (but I have also seen those). Definitely interesting and eye opening on race, just hard to follow when I haven't seen most of the plays.
August 7, 2021
A sharp, readable look at how race works in Broadway musicals. Hoffman writes well about normative whiteness as a default state and what happens when traditionally white musicals are revived with all-Black casts (apparently, nobody is happy), and he provides some excellent deep readings of several shows, some of them quite unexpected. There are some surprising omissions (he mentions the helicopter in Miss Saigon, but not Jonathan Price in yellowface) and he can repeat himself at times, but Hoffman's a very clear, engaging writer, he's picked great subjects to write about, and he approaches his work with a deep, but clear-eyed, love for musical theater.
August 11, 2020
This book is a MUST read for anyone pursuing a career or actively working in the world of Musical Theatre. I love musical theatre history and this book couldn’t have been any more thought provoking or insightful!
June 24, 2023
I've been slowly making my way through this book and finally sat down and finished it today. Frankly, I think this should be required reading in any theatre class that touches on MT. My lenses were heavily challenged, and more people's should be!
April 23, 2020
Really eye-opening.
January 1, 2021
Required reading for the more-than-casual fan of the American musical.
April 13, 2021
Eye opening and well researched. I'll never look at musicals the same way again.
July 1, 2014
DISCLAIMER: I do not come from a theater background so I am refraining from any critique in that area.
The author has phenomenal insight and passion for the musical genre. Unfortunately, his analysis on race appears to come from a very privileged position. He'll make excellent statements about the need for more PoC producers, directors, and creators and the dangers of normalizing whiteness, yet he'll back pedal on the benefit of "good intentions" and use phrases like "reverse minstrel show" to describe white characters trying to perform "black" gestures (I believe this was referenced when discussing Showboat).
I believe that the author needs to become more aware of his own racial privilege, if he has it, before tackling this subject again.
The author has phenomenal insight and passion for the musical genre. Unfortunately, his analysis on race appears to come from a very privileged position. He'll make excellent statements about the need for more PoC producers, directors, and creators and the dangers of normalizing whiteness, yet he'll back pedal on the benefit of "good intentions" and use phrases like "reverse minstrel show" to describe white characters trying to perform "black" gestures (I believe this was referenced when discussing Showboat).
I believe that the author needs to become more aware of his own racial privilege, if he has it, before tackling this subject again.
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August 25, 2014792.6089 H7113 2014
March 13, 2023
This is such an amazing look at race on Broadway over the history of the form. It has me looking at Broadway in a whole new way. It's been an essential resource for my dissertation.
Displaying 1 - 19 of 19 reviews