One More Kiss Quotes

“Harold Rome traveled with us, starting in the lowest of jobs as a specialist in revue. This is music without story or character. But by the 1950s, Rome had abandoned revue, and in Fanny in particular he exploited the musical scene—writing, in effect, partway to opera. Now, in Gone With the Wind, Rome expanded into an intricate interlacing of speech and song—aided, I imagine, by the instincts of Joe Layton. Naturally, he would know enough to delay Rhett Butler’s entrance till the Atlanta ball, have him defiantly escort the black-clad Scarlett onto the floor, and let him rip into an establishing song, “Two of a Kind.” This better suited Presnell’s sexy scooping up to high notes than Roberts’ more limited instrument, but the climax really comes when the orchestra takes over as Rhett sweeps Scarlett around the stage and the good folk of Atlanta go off like astonished firecrackers.”
― Ethan Mordden, One More Kiss: The Broadway Musical in the 1970s

“Indeed, this is the sort of show critics love to ghoul out on. It’s so romantic, so twice-told, so … yes: so corny. That’s the worst insult possible in a rock culture. The American Gone With the Wind, still in the Layton production but wholly recast with Lesley Ann Warren and Pernell Roberts in the leads, was to have opened in Los Angeles, toured for the better part of a year, then hit Broadway. But the California showing did not go over, and after San Francisco the show folded. We are losing important history here. Harold Rome’s career typifies the evolution of theatre music in the Golden Age, from hi-ho ditties to the dramatic sophistication of the “musical scene.” An invention of twenties operetta but not popularized till Rodgers and Hammerstein, the musical scene is what gives modern shows their depth and point. Isolated song spots are mostly gone; now the music breathes with the story.”
― Ethan Mordden, One More Kiss: The Broadway Musical in the 1970s