Vocal selections from the Tony-winning score by Stephen Flaherty. Titles are: Back to Before * Buffalo Nickel Photoplay, Inc. * Gliding * Goodbye, My Love * Make Them Hear You * New Music * Our Children * Ragtime * Sarah Brown Eyes * Till We Reach That Day * Wheels of a Dream * Your Daddy's Son.

    Based on the film "The Fearless Vampire Killers" by Roman Polanski, and directed by him.

    A compilation of excerpts from reviews of over two hundred productions, including Annie, Barnum, Cabaret, Evita, Godspell, A little night music, Pippin, Sugar babies, and Zorba.

    Composers Jerome Kern, George Gershwin, Cole Porter, Richard Rodgers, and theircontemporaries revitalized the musical with the sound of jazz and other new influences. Productions became more elaborate, with dazzling sets, tumultuous choreography, and staging tricks, all woven into tightly constructed story lines. These dramatic changes of the 1920s ushered in the golden ageof the American musical theater. Ethan Mordden captures the excitement and the atmosphere of Broadway during the 1920s in Make Believe. In captivating, lively prose, Mordden describes in superb detail the stars, the songs, the jokes--the sheer fun of this era. Here are shows great, interesting, or even bizarre-- Sally, TheStudent Prince, Rose-Marie, Lady, Be Good!, No, No, Nannette, Rainbow, Good News!, Ziegfeld Follies, The Coconuts, The 5 Oclock Girl, Blossom Time, Whoopee. Early on, the charisma of entertainers such as the bragging Al Jolson (You ain't heard nothin' yet!), the bewitching Marilyn Miller, themadly prancing Eddie Cantor, the unpredictable Gertrude Lawrence, and the indescribable Marx Brothers were the essential element in a hit musical. But, as Mordden demonstrates, the stars lost power and the authors took control, as shows like Desert Song, Peggy-Ann, Strike Up the Band, and SweetAdeline reinvented the old forms. The musical became more adult, too, baiting the censor in the lyrics of Lorenz Hart, Cole Porter, and B. G. DeSylva. And Broadway became more racially integrated, with blackface acts dying out while all-black musicals such as Shuffle Along and the Blackbirdsshows enjoyed mainstream success. Make Believe reaches its climax with Morddens' deep look at Jerome Kern and Oscar Hammerstein's 1927 masterpiece, Show Boat. With its intricate story line spanning four decades, its gala interracial cast, its stunning physical production, its powerful score including Ol' Man River, Bill, Mis'ry's Comin' Aroun', Can't Help Lovin' Dat Man, Life on the Wicked Stage, and Why Do I Love You?, Show Boat was the first American musical universally hailed as a classic. Fusing the decade's developments into one epic show, Kern and Hammerstein created something at once timeless andcontemporary, the ultimate twenties show but, as producer Florenz Ziegfeld called it on the posters, the all American musical comedy.