Fans pick 100 books like Singular Sensation

Everything that can wrong in live theatre happened to Spiderman: Turn Off the Dark—and on the biggest scale possible. How Glen Berger, the only non-rich and famous person on the creative team of The Lion King director Julie Taymor and U2 rockers Bono and The Edge, managed to tell all without being sued is a mystery. Maybe it’s because the fights, failures, and firings are all just another day at work on Broadway—as are the accidents. Every outrageous incident Berger relates I have personally experienced in the musicals I’ve written—from on Broadway to Off-Off-Broadway and around the globe. Reading Song of Spider-Man prepared me for the worst, from producers applying Mafia-style pressure to witnessing an actor plummet to the stage like a dead weight. 

Like Hamlet says, “The play’s the thing,” so any reading list for theater people should include the reason we’re here in the first place. Alice Childress’s indictment of the degrading condescension inflicted on Black people in the theater by self-proclaimed white allies is as true today as when she wrote it in 1955. That makes me sad and angry, as does the fact it took 66 years for it to finally be produced on Broadway. But it also gives me hope when high-quality work gets recognized. And as a writer who finds the funny in any situation, I love how Childress serves up bitter pills of truth in spoonfuls of honeyed laughs. 

Joe Keenan’s madcap farces made me want to write my own. They’re the kind of books that make you laugh so hard you just have to read lines from it to the person sitting next to you (preferably someone you know because strangers on mass transit don’t appreciate that kind of thing). As zany as they are, his novels are rooted in the real, doing-whatever-you-can-to-make-it lives of theater people. So they’re not as far-fetched as you might think. Life in New York City really can be that wildly glamorous. And hilarious.

If you’ve ever seen Billy Porter werk the red carpet, you know he doesn’t hold anything back. His memoir is no exception. And while the challenges he’s faced as a Black, Queer person are as unique as his talent, every theatrer-maker can identify with his dreams, his passions, and his disappointments. I so admire his courage in calling out hypocrisy in our business while simultaneously demonstrating the grace to call in for healing. 

Writer William Goldman, most popular for penning The Princess Bride, Butch Cassidy and the Sundance Kid, and All the President’s Men, embeds himself in the Broadway world, seeing every show in the 1967-1968 season; to quote the This Had Oscar Buzz podcast, this book is the autopsy. It’s an enormously accessible book about American theatre, with a murderers’ row of interview subjects at Goldman’s disposal and the author’s ability to translate gossip into hard journalistic data. Even the more economics-based chapters, such as a fascinating one on how most plays live or die on presales to well-connected women’s social groups (a.k.a. “Theatre-Party Ladies”), are as breezy as Goldman’s Oscar-winning screenplays. (Content Warning: The book contains some unfortunate and dated language.)

This book is a whimsical, colorful, and delightful introduction to the women who have made the American Musical Theatre great. Kids learn all about such talented ladies as Audra McDonald, Liza Minnelli, Chita Rivera, Bernadette Peters, Lea Salonga, and Kristin Chenoweth, to name a few.

My personal creativity is not tidy… I believe nobody creates in a vacuum. The disabled contribute intelligence, perspective, and expression to all modes of creative production. Understanding how to utilize talent from any historically marginalized group means learning how to communicate with folks with diverse abilities and backgrounds. Utilizing respectful language and practices with diverse communities will draw and engage audiences with more vibrant storytelling in today’s world. This practical guide includes case studies designed to guide theater companies to create inclusive productions with the disabled in central and creative roles. Disability and Theatre illustrates how in the theater, where “all the world is a stage”, as in our own lives, creative processes emerge when people with different abilities work together… that is just good living.

I don’t have words for how masterful this book is. (I know, I’m a writer, I’m supposed to have words). I’m constantly blown away by Schmidt’s writing. The novel, set in 1968, is the story of fourteen-year-old Doug Swieteck, whose abusive father moves the family to a new town. Doug’s first-person voice is so alive and original. He tells you a lot, but not everything. And what he’s hiding is revealed in scenes that will stay with me forever, among them one in PE class, and another when Doug’s brother returns from Vietnam. On every page, you sense Doug’s emotional armor, but also his vulnerability. His growth as a person and an artist makes it one of my favorite books of all time.

I loved this story and how Suzy was willing to go the extra mile to make Christmas special for her friends. Suzy is a caring goose who would do anything to make the outside Christmas tree aglow with the brightest star in the sky. When she flies off hilltops and wanders far away from her friends, she doesn’t stay lost very long as her friend's onomatopoeia calls lead her back home, and Suzy discovers a special surprise on the tree. The book shows miracles do happen.

If you are looking for a highly opinionated and passionate account of the Broadway musical and the changes it has undergone over the decades, this book is for you. Grant does not pull his punches and the general tone is one of despair at the decline in the quality of musicals. But the book is well researched and offers many provocative ideas which the die-hard musical fan will find fascinating. It's the kind of work that you want to read after you have a solid knowledge of American musical theatre and you want to have your traditional ideas challenged.