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    David Merrick: The Abominable Snowman (Paperback) By (author) Howard Kissel

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    DescriptionDavid Merrick is the most astonishing showman of our time.


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  • Full bibliographic data for David Merrick

    Title
    David Merrick
    Subtitle
    The Abominable Snowman
    Authors and contributors
    By (author) Howard Kissel
    Physical properties
    Format: Paperback
    Number of pages: 576
    Width: 155 mm
    Height: 235 mm
    Thickness: 40 mm
    Weight: 1,089 g
    Language
    English
    ISBN
    ISBN 13: 9781557831729
    ISBN 10: 1557831726
    Classifications

    B&T Merchandise Category: GEN
    B&T Book Type: NF
    BIC E4L: PER
    Nielsen BookScan Product Class 3: T4.1
    BIC subject category V2: BGF
    B&T Modifier: Region of Publication: 01
    B&T General Subject: 170
    B&T Modifier: Subject Development: 03
    Ingram Subject Code: BA
    Libri: I-BA
    DC22: B
    B&T Modifier: Academic Level: 01
    BIC subject category V2: AVGM
    B&T Modifier: Geographic Designator: 01
    BISAC V2.8: BIO005000
    Warengruppen-Systematik des deutschen Buchhandels: 15970
    BISAC V2.8: BIO004000
    BIC subject category V2: ANH
    LC subject heading:
    B&T Approval Code: A07206000
    DC22: 792/.0232/092
    LC subject heading:
    DC20: 792.0232092
    LC classification: PN2287.M61
    LC subject heading:
    LC classification: PN2287.M618 K57 1993
    Thema V1.0: DNBF, AVN, AVP
    Illustrations note
    25 b&w photographs
    Publisher
    Hal Leonard Corporation
    Imprint name
    Applause Theatre Book Publishers
    Publication date
    01 April 2000
    Publication City/Country
    New York
    Review text
    A dishy but disappointing first biography of the legendary producer/ogre (who will be 82 in November) - as told by the chief theater critic for the New York Daily News. Kissel tells the story of the guy in the pinstripe suit (a vestment Merrick chose early in his flight from the hollowing meanness of his childhood) who dominated the Broadway theater from the 1950's until he began failing in the 1970's - first out of step, then out of steam, and finally felled by a stroke. Along the way, Merrick specialized in the tony American musical and the classy British import. His shows included Gypsy; Hello, Dolly!; Rosencrantz & Guildenstern Are Dead; and Look Back In Anger. Merrick, Kissel explains, had a genius for generating publicity: When Subways Are for Sleeping appeared weak in the knees out of town, he ran a full-page advertisement in The New York Herald-Tribune that featured little raves written by namesakes of prestigious critics. When director Crower Champion died just before the opening of 42nd Street, Merrick squelched all news of his death so he could announce it himself at the final opening-night curtain. No matter that Champion was a friend of old: Merrick was, by Kissel's account, a veritable monster who ruled by tantrum and menace - weapons allegedly honed by old anger and new cocaine. Was Merrick crazy as a fox or just plain crazy? Did his meshugaas help or hinder his fabulous productions? The questions are asked throughout, but the answers are impeded by turgid writing and an erratic overview that shrugs off much of consequence. Kissel's at his best when dealing with the post-stroke Merrick, where the focus is insistently sharp and the pathos keen. (Kirkus Reviews)