The Great White Way: Race and the Broadway Musical by Warren Hoffman [in Library Journal]
Theater producer/critic/playwright Warren Hoffman (The Passing Game) insists that audiences have been “duped” into believing that the Broadway musical “is the most innocent of art forms when, in fact, it is one of America’s most powerful, influential, and even at times polemical arts precisely because it often seems to be about nothing at all.”
Filtering many of Broadway’s beloved spectacles through a race-sensitive lens, the author eschews complicit complacency: sing, dance, and clap along, he says, but open your eyes and see that Show Boat, for instance, “validate[s] and rationalize[s] the ‘inferiority’ of blacks and the ‘superiority’ of whites”; Oklahoma! erases the Native American experience in their own Indian Territory; and Annie Get Your Gun puts Native Americans center stage only in “stereotypical if not downright racist” characterizations. The multicultural A Chorus Line, the author says, ironically ends with the bittersweet elision of individuality into “One,” and 42nd Street is little more than revisionist “pure white fantasy.” While Hoffman’s ideas are important, his execution is rife with repetition, inflammatory rhetoric, and surprising lapses (e.g., Miss Saigon‘s yellowface casting controversy).
Verdict: While all culture aficionados should read this book – indeed, a condensed version of it should be inserted into every musical’s playbill – few may reach the final page.