Prince, Hal

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Prince, Hal

Personal

Born Harold Smith Prince, January 30, 1928, in New York, NY; son of Milton A. (a stockbroker) and Blanche (Stern) Prince; married Judith Chaplin, October 26, 1962; children: Charles, Daisy. Education: University of Pennsylvania, A.B., 1948; studied under director George Abbott.

Addresses

Office—10 Rockefeller Plaza, New York, NY 10020.

Career

Director and producer. Stage manager with Robert E. Griffith, then George Abbott. Co-founder, Harold Prince Musical Theatre Program, New York Directors Company, 1992. President, League of New York Theaters, 1964-65; in 1983 became president of the National Institute for Music Theatre. Military service: Served in U.S. Army, Stuttgart, West Germany, 1950-52.

Producer, in New York, NY unless otherwise noted: (with Frederick Brisson and Robert E. Griffith) The Pajama Game, 1954; (with Brisson and Griffith) Damn Yankees, 1955; (with Brisson and Griffith) New Girl in Town, 1957; (with Griffith) West Side Story, 1957, then London, England, 1958; (with Griffith) A Swim in the Sea, Philadelphia, PA, 1958; (with Griffith and H.M. Tennent) Two for the Seesaw, London, 1958; (with Griffith) Fiorello!, 1959; (with Griffith) Tenderloin, 1960; (with Griffith) A Call on Kuprin, 1961; Take Her, She's Mine, 1961; (and director) They Might Be Giants, London, 1961; (and director) A Family Affair, 1962; A Funny Thing Happened on the Way to the Forum, 1962, then London, 1963; (with Sidney Gordon and Howard Erskine; and director) She Didn't Say Yes, Coonamessett, MA, 1963; (with Lawrence N. Kasha and Phillip C. McKenna; and director) She Loves Me, 1963, then London, 1964; (with Michael Codron and Pledon Ltd.) Poor Bitos, 1964; Fiddler on the Roof, 1964, (with Richard Pilbrow) London, 1967; (and director) Baker Street, 1965; Flora, the Red Menace, 1965; (with Ruth Mitchell; and director) It's a Bird. It's a Plane. It's Superman!, 1966; (with Mitchell; and director) Cabaret, 1966, then (with Pilbrow) London, 1968; (with Pilbrow) The Beggar's Opera, London, 1968; (with Mitchell; and director) Zorba, 1968; (with Mitchell; and director) Company, 1970, then (with Pilbrow) London, 1972; (with Mitchell, and director with Michael Bennett) Follies, Winter Garden Theatre, 1971; Don Juan, 1972; (and director) The Great God Brown, 1972; Chemin de fer, 1973; Holiday, 1973; (and director) The Visit, 1973; (and director) Candide (opera), Brooklyn, NY, 1973, then (with Mitchell) Broadway, 1974; (with Mitchell; and director) A Little Night Music, New Haven, CT, then Broadway, 1973, later (with Pilbrow) London, 1975; The Rules of the Game, 1974; (and director) Love for Love, 1974; The Member of the Wedding, 1975; Knuckle, 1975; (with Mitchell; and director) Pacific Overtures, 1976; (with Mitchell) Side by Side by Sondheim, 1977; (with Lew Grade, Martin Starger, and Robert Fryer; and director) Merrily We Roll Along, 1981; (with others; and director) Grind, 1985; Company, 1995; Candide (opera), Chicago, 1995; and The Petrified Prince, 1995; and 3hree (one-act musicals), Philadelphia, PA, 2000. Producer of touring productions, including Fiddler on the Roof, U.S. cities, 1966-69; (with Mitchell; and director) Cabaret, U.S. cities, 1967-69; (with Mitchell; and director) Zorba, U.S. cities, 1968-70; (with Mitchell; and director) Company, U.S. cities, 1971-72; (with Mitchell; and director, with Bennett) Follies, U.S. cities, 1971-72; (with Mitchell; and director) A Little Night Music, U.S. cities, 1974-75; (with Mitchell) Side by Side by Sondheim, U.S. cities, 1977-78.

Director of stage productions, including: Ashmedai (opera), 1976; Some of My Best Friends, 1977; On the Twentieth Century, 1978; The Girl of the Golden West (opera), Chicago, IL, 1978, then San Francisco, CA, 1979; Evita, London, 1978, then Broadway, 1979; Sweeney Todd, the Demon Barber of Fleet Street, 1979, then London, 1980; Silverlake (opera), 1980; La fanciulla del West (opera), Chicago, 1980; Willie Stark (opera), Houston, TX, 1981; Candide (opera), 1982; A Doll's Life, 1982; Turandot (opera), Vienna, Austria, 1983; Girl of the Golden West (opera), Milan, Italy, 1983; Play Memory, 1984; End of the World, 1984; Diamonds, 1984; Roza, Los Angeles, 1986, then New York, NY, 1987; The Phantom of the Opera, London, 1986, then Broadway, 1988; Sweeney Todd, the Demon Barber of Fleet Street (opera), 1987; Cabaret, 1987; Madama Butterfly (opera), Chicago, 1988; Don Giovanni (opera), 1989; Faust (opera), 1989; Kiss of the Spider Woman, Toronto, Ontario, then London, England 1992, then Broadway, 1993; Grandchild of Kings, 1992; Show Boat, Toronto, 1993, then New York, NY, 1994; Whistle down the Wind, 1997; Candide, 1997; Parade, 1999; Don Giovanni (opera), 2001; Faust, 2003; and Bounce, 2003. Director of touring productions of The Matchmaker, 1963; Sweeney Todd, the Demon Barber of Fleet Street, U.S. and international cities, 1980-82; Evita, U.S. and international cities, 1980-83; and Cabaret, U.S. cities, 1987.

Film work includes: (associate producer) The Pajama Game, 1957; (associate producer) Damn Yankees, 1958; (director) Something for Everyone (also known as Black Flowers for the Bride and The Rook), National General, 1970; and (director) A Little Night Music, New World, 1977. Television work, as director, includes: Willie Stark (opera), PBS, 1981; Sweeney Todd (also known as Sweeney Todd, the Demon Barber of Fleet Street), Entertainment Channel, 1982; and "Candide," Live from Lincoln Center (also known as Great Performances), PBS, 1986. Stage appearances include George Abbott, a Celebration, New Haven, CT, 1976; and Give My Regards to Broadway: A Salute to 125 Years of Musical Theatre, New York, NY, 1991. Television appearances include: Gian Carlo Menotti: The Musical Magician, 1986; My Life for Zarah Leander (documentary), 1986; "Bernstein at Seventy," Great Performances, PBS, 1989; "An Evening with Alan Jay Lerner," Great Performances, PBS, 1989; The Los Angeles Music Center's Twenty-fifth Anniversary Celebration, PBS, 1990; The People's Palace: Secrets of the New York Public Library, 1992; The Kennedy Center Honors: A Celebration of the Performing Arts, CBS, 1994; A Tribute to Stephen Sondheim, Arts and Entertainment, 1995; "Some Enchanted Evening: Celebrating Oscar Hammerstein II," Great Performances, PBS, 1995; The Fiftieth Annual Tony Awards, CBS, 1996; (host/presenter) The Kennedy Center Twenty-fifth Anniversary Celebration, PBS, 1996; The Music of Kander and Ebb: Razzle Dazzle, PBS, 1997; and Broadway '99: Launching the Tony Awards, PBS, 1999.

Member

League of New York Theatres (president, 1963-65), National Institute for Music Theatre (chairperson), Society of Stage Directors and Choreographers, Coffee House Club.

Awards, Honors

Antoinette Perry ("Tony") Awards for best musical, 1955, for The Pajama Game, and 1956, for Damn Yankees; Tony Award nomination for best musical, 1958, for West Side Story; Pulitzer Prize for drama, Tony Award for best musical, and New York Drama Critics' Circle Award for best musical production, all 1960, all for Fiorello!; Tony awards for best musical and best producer of a musical, both 1963, both for A Funny Thing Happened on the Way to the Forum; Tony Award nominations for best musical and best director of a musical, both 1964, both for She Loves Me; Tony Award for best musical, and New York Drama Critics' Circle Award for best musical production, both 1965, both for Fiddler on the Roof; Tony Awards for best musical and best director of a musical, and New York Drama Critics' Circle Award for best musical production, all 1967, all for Cabaret; Shubert Foundation Award, 1969; Tony Award nominations for best musical and best director of a musical, both 1969, both for Zorba; Variety-New York Drama Critics' Poll Award for best director, New York Drama Critics' Circle Award for best musical production, and Drama Desk Award for best director, all 1970, and Tony awards for best musical and best director of a musical, both 1971, all for Company; New York Drama Critics' Circle Award for best musical production, 1971, Tony Award for best director of a musical, and nomination for best musical, and Drama Desk Award for best director, all 1972, all for Follies; Drama Desk Award for best director, 1972-73, for The Great God Brown and A Little Night Music; Tony Award for best musical, and nomination for best director of a musical, and New York Drama Critics' Circle Award for best musical production, all 1973, all for A Little Night Music; Drama Desk Award for best director, 1973-74, for Candide and The Visit; Tony Award for best director of a musical, and special citation for best musical, New York Drama Critics' Circle Award for best musical, and Village Voice Off-Broadway ("Obie") Award for distinguished direction, all 1974, all for Candide; Tony Award nominations for best musical and best director of a musical, both 1976, both for Pacific Overtures; Tony Award nomination for best musical, 1977, for Side by Side by Sondheim; Tony Award nomination for best director of a musical, 1978, for On the Twentieth Century; Tony Award and Drama Desk Award for best director of a musical, both 1979, both for Sweeney Todd, the Demon Barber of Fleet Street, both 1980, both for Evita, and both 1988, both for The Phantom of the Opera; Bank of Delaware Commonwealth Award for Public Service, dramatic arts category, 1982; Tony Award nominations for best musical and best director of a musical, both 1985, both for Grind; Tony Award nomination for best director of a musical, 1993, for Kiss of the Spider Woman; London Evening Standard Award, 1994; Kennedy Center honoree, 1994; Drama Desk Award for best director of a musical, 1995, for Show Boat. Honorary D.F.A., University of Pennsylvania, 1971; honorary Litt.D., Emerson College, 1971. Prince Music Theater, American Music Theater Festival, Philadelphia, PA, named in his honor, 1999.

Writings

Contradictions: Notes on Twenty-six Years in the Theatre, Dodd, Mead (New York, NY), 1974.

(Adaptor) Grandchild of Kings (based on autobiographies of Sean O'Casey), S. French (New York, NY), 1993.

(Adapter) Whistle down the Wind (musical), produced on Broadway, 1997.

Work in Progress

An expanded version of the one-act musical The Flight of the Lawnchair Man, by composer-lyricist Robert Lindsay Nassif and librettist Peter Ullian, for possible Broadway presentation.

Sidelights

Winner of twenty Antoinette Perry awards for his blockbuster musicals, director and producer Hal Prince has revolutionized American theater with his innovative productions. His list of Broadway hits strings over half a century and includes The Pajama Game, Damn Yankees, West Side Story, Fiddler on the Roof, Cabaret, Company, Follies, A Little Night Music, Sweeney Todd, Candide, Evita, The Phantom of the Opera, Kiss of the Spider Woman, and Show Boat. Collaborating with composers such as Leonard Bernstein, Andrew Lloyd Webber, and Stephen Sondheim, Prince is "the undisputed master of the Broadway musical," according to David Richards in the New York Times. Employing filmic techniques, eschewing star-studded casts, and always focusing on musicals as a serious art form, Prince became "one of the towering figures in the American theater of the second half of the twentieth century," as a contributor for Encyclopedia of World Biography noted. Writing in the Los Angeles Times, Barbara Isenberg described Prince's musical productions as "stage pictures" that "have brought the flow of cinema to the stage and made casts of dozens look like casts of thousands." Prince's long-time collaborator and friend, Sondheim, speaking with Carol Ilson for her Harold Prince: From Pajama Game to Phantom of the Opera, commented on the producer/director's talents: "He's the best around by far. He has a sense of the function of music in a show . . . . He takes it seriously and is more daring, imaginative and endlessly creative. He likes to take chances. He has a sense of dignity of the musical theater and thinks it's the highest form of theater and I happen to agree with him."

Early Love of Theater

Born in New York City on January 30, 1928, Harold Smith Prince was the son of stockbroker Milton Prince and Blanche (née Sterne) Prince. Writing in his memoir Contradictions: Notes on Twenty-six Years in the Theatre, Prince noted that "we were privileged, upper-middle, lower-rich class, Jewish." Both parents were offspring of German-Jewish immigrants to the United States in the mid-nineteenth century. With the divorce of his parents, Prince was raised by his mother and his stepfather, who was also a stockbroker. Living in Manhattan, he was exposed at an early age to the theater and became a life-long fan of that artistic form. "Mine was a family addicted to theatre," he wrote in his memoir, "and still there was no effort to encourage me to work in it nor discourage me, and at no time was there any one to push me into finance." Instead, he could simply enjoy what he saw on the stage, from Orson Welles's Julius Caesar to Burgess Meredith's Winterset, and Tallulah Bankhead in The Little Foxes.

Prince would later speak of being "weaned in the second balcony," for he began attending theater on his own as a young teen. After graduation from Manhattan's Franklin School, Prince attended the University of Pennsylvania, intent on becoming a playwright. During his time at the university, he wrote plays and novels, directed plays for the Penn Players, founded and managed the school radio station, and even managed to squeeze in a degree in liberal arts, graduating in 1948. With plans of breaking into New York's theater world, he sent his plays around to producers. There were no takers, but a script sent to the fledgling ABC-TV won him a referral to the production offices of George Abbott, a Broadway legend who sometimes did television shows as well as theatrical productions. Offering to work on spec, Prince joined Abbott's team answering the switchboard and running messages during the day and acting as assistant stage manager at night for shows such as Touch and Go and Tickets, Please. Soon he was working full time for Abbott, earning twenty-five dollars a week.

From Khakis to Pajamas and Beyond

Prince's career was stalled for a couple of years just as it was starting when he was drafted into the U.S. Army and sent to western Germany for two years to serve in an anti-aircraft battalion. But this time was not wasted; Prince spent many nights at a nightclub called Maxim's in Stuttgart, an experience that came in handy later while directing the ground-breaking musical Cabaret. Returning to civilian life, Prince became an assistant stage manager on Abbott's new production, Wonderful Town, starring Rosalind Russell. The show was not only a box office success; during the course of production Prince and Robert Griffith, Abbott's main assistant, decided to team up on their own production.

The two chose a novel by Richard Bissell about a strike at a pajama factory, and decided to build their musical from the ground up, getting the songwriting team of Richard Adler and Jerry Ross to write the score, Bissell to prepare a libretto, and young choreographer Bob Fosse to work on dance. They also gathered a large group of investors to back them, many of whom stayed with Prince for the next several decades, allowing him to take risks with materials others did not think appropriate for musical theater. When they subsequently convinced their former boss, Abbott, to direct the work, they had the elements for success. The resulting musical, The Pajama Game, did not disappoint; it ran for over a thousand performances and won the Tony Award for best musical of 1954. Prince was on his way, and working with Griffith, he racked up an impressive series of hits over the next years.

Their next hit was Damn Yankees, the Walter Mitty tale of a middle-aged baseball fan's dream-come-true: turned into a young slugger, he bats his losing team, the Washington Senators, into victory. Opening in 1955 with the same behind-the-scenes team in place, the musical ran for 1,019 performances and walked away with the 1955 Tony for best musical. Though Prince and Griffith had less success with the Eugene O'Neill adaptation, New Girl in Town, they were back on their winning streak with the 1957 production of West Side Story, with music by Leonard Bernstein and lyrics by Stephen Sondheim. A Romeo and Juliet-style tragedy about love struggling in the midst of gang wars in the New York ghettoes, the story was not what most critics, or fans of the theater for that matter, felt would be appropriate for the musical theater. Its contemporary, gritty storyline and mix of high music and dance have made it a classic, despite mixed reviews at the time. The 1959 Fiorello!, about the early life of New York mayor Fiorello La Guardia, was an unqualified success, however, again winning a Tony Award for best musical as well as the Pulitzer Prize for drama, an uncommon occurrence for a musical.

Musical Theater Innovator

Prince began directing his own musicals in the 1960s, after the death of friend and co-producer Griffith. In fact, his new independence now allowed him to direct; while they worked together, both men had the secret dream of directing but if one could not do so, neither would the other. Prince's directorial debut, the 1963 She Loves Me, was not a success, however; neither were other early efforts. More successful were his productions during the 1960s, including A Funny Thing Happened on the Way to the Forum, a further collaborative effort with Sondheim. With the 1964 Fiddler on the Roof Prince had his largest success thus far, with the show running over three thousand performances. An unlikely success, the musical tells the story of Jewish villagers in prerevolutionary Russia. Initially, most critics, and even Prince himself, felt that the ethnic themes of the show would make for a limited success. They were happily proven wrong.

With Cabaret, a musical adapted from I Am a Camera, Christopher Isherwood's novel of Berlin in the 1930s, Prince finally made his name as a director as well as a producer. In part inspired by the nights Prince spent in the Stuttgart nightclub during his years of military service, Cabaret earned Prince his first Tony award for best director. Writing in the New York Times, Walter Kerr had high praise for the production: "Instead of telling a little story about the decadence of Berlin just before Hitler came to power into which casual musical numbers can be sandwiched whenever politeness permits, Cabaret lunges forward to insist on music as a mediator between audience and characters." For Kerr, Prince managed to bring the audience into the action in a new and powerful manner: "We are inside music looking out, tapping our feet to establish the cocky rhythm and a satanically grinning style to which the transient people of the narrative must accommodate themselves."

Prince's collaborations with Sondheim in the 1970s marked, for many critics, the high point of his career. Working as a director, he put together a series of musicals that transcended the usual light fare one expected from a Broadway musical, creating what critics called "concept musicals," shows built more around themes than plot. Such theme-based musicals began with the 1970 Company, about a contemporary bachelor who is skeptical of the commitment marriage demands. With this tale, Prince and Sondheim put a lens to the modern idea of marriage. Similarly, the effects of age and the passing of time are examined in Follies, in which one-time chorus girls get together again for a reunion. Romantic relationships are at the heart of the duo's 1973 collaboration, A Little Night Music, while Western approaches to nineteenth-century Japan informs Pacific Overtures. One of Prince and Sondheim's more offbeat collaborations was the 1979 production of Sweeney Todd, the Demon Barber of Fleet Street, a melodrama which won numerous Tony awards. With the 1981 flop Merrily We Roll Along, however, the Prince-Sondheim collaboration stalled for over two decades, only to be resurrected with the 2003 production of Bounce.

During this same period, Prince also had successes with On the Twentieth Century, as well as with Andrew Lloyd Webber on Evita, a musical adaptation of the life of Eva Peron, the wife of the Argentine dictator. This latter production counted among the handful of works which, according to a contributor for the International Dictionary of Opera, ventures "across the murky region that separates [musicals] from certified operas."

From Setbacks to New Fame

From the failure of Merrily We Roll Along to the colossal success of 1986's The Phantom of the Opera, Prince experienced something new in his life: consistent setbacks. Expensive flops of this time include A Doll's Life, Grind, and Roza. Suddenly it seemed that no matter what he did he could please neither critics nor audiences. Prince was able to have some limited success in this same time, however, with his opera productions. His first such production had been Ashmedai by composer Josef Tal, for the New York City Opera in 1976. His 1979 staging of Puccini's La fanciulla del West for the Chicago Lyric Opera "was marked by careful attention to detail to create the appropriate atmosphere," according to the contributor for International Dictionary of Opera. He also worked on Kurt Weill's Der Silbersee for the New York City Opera, a Houston premier of Willie Stark by Carlisle Floyd, and Bernstein's Candide in 1982.

Further work in opera included adaptations of Puccini—Madama Butterfly for the Chicago Lyric opera, staged in two acts rather than the traditional three, and Turandot for the Vienna Stätsoper—as well as Mozart's Don Giovanni and Gounod's Faust. Writing of a 2003 revival of the Gonoud opera, Anne Midgette noted in the New York Times that Prince "evidently chose to stress . . . [the] fairy tale aspect" of the work. Many critics complained about the sets and choreography chosen for this production of Faust, with Manuela Hoelterhoff writing in the Wall Street Journal that Prince "is busy whittling away his reputation staging operas." Reviewing a 2001 production of Prince's original 1989 staging of Don Giovanni, Midgette, again writing in the New York Times, noted that "Prince's production, in general, was more a placeholder, a gilt frame for Mozart's music, than an actual drama in its own right." Overall, Prince's work in opera has not added many high points to his career; rather he "occupies a middle ground between tradition and innovation," according to the critic for International Dictionary of Opera.

Prince once again hit his stride in musical theatre with the 1986 collaborative effort with Webber, adapting a 1911 novel about a disfigured man who haunts the Paris opera. This "phantom" loves a young singer and manages finally to make her a star. The Phantom of the Opera, which opened first in London and then in New York, re-established Prince as one of the giants of musical theater, earning him another Tony award for best director.

Prince's next big success came with the stage adaptation of Manuel Puig's novel Kiss of the Spider Woman, in which he teamed up with the same musical team from Cabaret, John Kander and Fred Ebb. Though initially panned by critics when it opened in 1990 at the State University of New York at Purchase—a musical workshop Prince had started—the musical was reworked and produced by Canadian impresario Garth Drabinsky, coming to Broadway via Toronto. Another concept musical, this deals with bonds of friendship as exemplified by the relationship between a political prisoner and a homosexual window dresser in prison in Argentina's police state. Valentin, the Marxist, at first is impervious to Molina, the gay man who has been imprisoned for soliciting a minor. Ultimately, though, Molina carries the pragmatic Valentin away with his "storyteller's magic," as Stefan Kanfer noted in the New Leader. Martin Schaeffer, writing in Back Stage, called Kiss of the Spider Woman "the most ambitious, hypnotic, thought-provoking, and moving musical to hit Broadway for several seasons." For Time's William A. Henry III, what makes the musical work is that it "celebrates the liberating power of fantasy and popular culture."

By the mid-1990s Prince himself and his productions were the subject of retrospectives and revivals; that he chose to work on a revival of the 1927 classic Show Boat surprised many. His $8.5 million dollar production was a major triumph, bringing new life to Jerome Kern and Oscar Hammerstein's landmark musical about several generations of performers on a river boat. A reviewer for the Christian Science Monitor felt that "this is a Show Boat to admire and treasure, a production staged with loving care and theatrical verve." Writing in Maclean's, John Bemrose remarked that "Prince has done much more than simply repeat the original Show Boat. He has included material that the authors added to later stage productions and movie versions. He has also reinstated the moody choral number 'Mis'ry's Comin' Aroun',' which was dropped in 1927 because it was thought to be too serious."

Ever busy, Prince went from Show Boat to a 1997 revival of Bernstein's Candide, despite the critical rebuke he had suffered with the Webber musical Whistle down the Wind, which closed before its New York premier. The following year he went into production on a musical by Jason Robert Brown about a 1915 lynching in Georgia of a Jewish man convicted of rape and murder. Parade opened in 1999 to less-than-positive reviews. Writing in the New Republic, Robert Brustein felt that though the play is "full of good intentions, earnest and high-minded," it does not work as musical theater. "Like a lot of efforts to endow the American musical with middle seriousness," wrote Brustein, Parade "only proves that anything too momentous to be sung had better be spoken." For Brustein, "The musical comedy form simply does not have the weight to support a tale of prejudice and injustice." Similarly, New Leader's Kanfer felt that the "history of Southern bias and violence . . . is a stale subject today," and that Prince "moves the show with the brisk efficiency of a civics lecture."

If you enjoy the works of Hal Prince

If you enjoy the works of Hal Prince, you might want to check out the following books:

Stanley Green, Broadway Musicals Show by Show, 1997.

Rivka Kavan, Backstage: Broadway behind the Curtain, 1991.

Richard Kislan, The Musical: A Look at Musical Theatre, revised edition, 1995.

Prince continues to challenge old conventions in musical theater, and remains an involved presence in theater both through his new productions and through the workshops he regularly conducts to sponsor new talent. "'You just can't keep recycling revivals,'" Prince told Isenberg in the Los Angeles Times. "'And you can't keep betting on the efforts of guys like me who've been around. You have to take the next step and bet on the next generation. I would submit that audiences don't care where the material comes from, whether it's from a famous composer, director, or librettist. They only care about whether the show is going to please, stimulate, surprise [and] astonish them. Not merely trivially entertain them. Audiences are quite happy to be astonished and they don't care who does that astonishing.'"

Biographical and Critical Sources

BOOKS

Bartow, Arthur, The Director's Voice: Twenty-one Interviews, Theatre Communications Group (New York, NY), 1988.

Contemporary Theatre, Film, and Television, Volume 26, Gale (Detroit, MI), 2000.

Encyclopedia of World Biography, Volume 19, Gale (Detroit, MI), 1999.

Hirsch, Foster, Harold Prince and the American Musical Theatre, Cambridge University Press (New York, NY), 1989.

Ilson, Carol, Harold Prince: From Pajama Game to Phantom of the Opera, UMI Research Press (Ann Arbor, MI), 1989.

International Dictionary of Opera, St. James Press (Detroit, MI), 1993.

Mast, Gerald, Can't Help Singin': The American Musical on Stage and Screen, Overlook Press (Woodstock, NY), 1987.

Morrden, Ethan, Better Foot Forward: The History of the American Musical Theater, Grossman Publishers (New York, NY), 1976.

Morrden, Ethan, Broadway Babies: The People Who Made the American Musical, Oxford University Press (New York, NY), 1983.

St. James Encyclopedia of Popular Culture, St. James Press (Detroit, MI), 2000.

PERIODICALS

Back Stage, May 14, 1993, Martin Schaeffer, review of Kiss of the Spider Woman, p. 44.

Billboard, October 29, 1994, Eric Boehlert, review of Show Boat, p. 50.

Christian Science Monitor, May 18, 1993, review of Kiss of the Spider Woman; October 7, 1994, review of Show Boat.

Los Angeles Times, October 9, 1994, Barbara Isenberg, "Prince at the Helm," p. 3; January 8, 1995, Laurie Winer, review of Show Boat, p. 47; December 28, 1995, Laurie Winer, review of Kiss of the Spider Woman, p. 1; April 22, 2001, Barbara Isenberg, "A Believer in Big Breaks," p. 1.

Maclean's, November 1, 1993, John Bemrose, review of Show Boat, pp. 71-72.

New Leader, March 9, 1992, Stefan Kanfer, review of Grandchild of Kings, p. 23; June 14, 1993, Stefan Kanfer, review of Kiss of the Spider Woman, p. 23; January 11, 1999, Stefan Kanfer, review of Parade, p. 22.

New Republic, February 8, 1999, Robert Brustein, review of Parade, pp. 26-28.

New York Times, December 4, 1966, Walter Kerr, review of Cabaret, section 2, p. 5; February 12, 1995, David Richards, review of Show Boat, section 2, p. 8; March 27, 2001, Anne Midgette, review of Don Giovanni, p. E3; March 5, 2003, Anne Midgette, review of Faust, p. E1.

Time, May 3, 1993, William A. Henry III, review of Kiss of the Spider Woman, pp. 70-71.

Wall Street Journal, February 9, 1990, Manuela Hoelterhoff, review of Faust, p. A9; July 2, 2003, Joel Henning, "Forget the Failure," p. D8.

Washington Post, June 7, 1993, Lloyd Rose, "'Angels,' 'Kiss' Top the Tony Awards," p. D1.