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Any girl who twists her hat will be fired! – Florenz Ziegfeld
And no Ziegfeld girl ever did as she made her way down the gala stairways of the Ziegfeld Follies in some of the most astonishing spectacles the American theatergoing public ever witnessed. When Florenz Ziegfeld started in theater, it was flea circus, operetta and sideshow all rolled into one. When he left it, the glamorous world of "show-biz" had been created. Though many know him as the man who "glorified the American girl," his first real star attraction was the bodybuilder Eugen Sandow, who flexed his muscles and thrilled the society matrons who came backstage to squeeze his biceps. His lesson learned with Sandow, Ziegfeld went on to present Anna Held, the naughty French sensation, who became the first Mrs. Ziegfeld. He was one of the first impresarios to mix headliners of different ethnic backgrounds, and literally the earliest proponent of mixed-race casting. The stars he showcased and, in some cases, created have become legends: Billie Burke (who also became his wife), elfin Marilyn Miller, cowboy Will Rogers, Bert Williams, W. C. Fields, Eddie Cantor and, last but not least, neighborhood diva Fanny Brice. A man of voracious sexual appetites when it came to beautiful women, Ziegfeld knew what he wanted and what others would want as well. From that passion, the Ziegfeld Girl was born. Elaborately bejeweled, they wore little more than a smile as they glided through eye-popping tableaux that were the highlight of the Follies, presented almost every year from 1907 to 1931. Ziegfeld's reputation and power, however, went beyond the stage of the Follies as he produced a number of other musicals, among them the ground-breaking Show Boat. In Ziegfeld: The Man Who Created Show Business, Ethan Mordden recreates the lost world of the Follies, a place of long-vanished beauty masterminded by one of the most inventive, ruthless, street-smart and exacting men ever to fill a theatre on the Great White Way : Florenz Ziegfeld.
- Sales Rank: #448179 in Books
- Published on: 2008-11-11
- Released on: 2008-11-11
- Original language: English
- Number of items: 1
- Dimensions: 9.56" h x 1.27" w x 6.44" l, 1.29 pounds
- Binding: Hardcover
- 352 pages
Review
“[Ethan Mordden possesses] the kind of long view and deep investigation that almost no writer has previously brought to bear on the [history of the Broadway stage].”
--Jesse Greene, The New York Times
Praise for "All that Glittered: The Golden Age of Drama on Broadway, 1919-1959"
“Ethan Mordden, the almost absurdly prolific theatrical chronicler, has compiled a serious and engaging history. Mordden’s evocation of the glory days of drama is a handsome reminder—the next best thing, as they say, to being there.”—The Washington Post Book World
“Erudite, but casual and conversational, and full of fresh perceptions, Mordden is a charmingly insightful raconteur who condenses 40 years' worth of opening nights into a single engrossing montage."—Publishers Weekly (Starred Review)
“[A] witty, compulsively readable style and knack for finding the right figures to focus on in each era. Mordden is a master at revealing the web of aesthetic and business connections just beneath the surface of developments.”—Booklist
“More than enlivening description, Mordden offers social, political, aesthetic and cultural context as he discusses what led to Broadway's ascendancy and demise. Mordden's keen eye, broad vision, wealth of detail and sparkling style bring to life the American rialto at its peak."—Kirkus Reviews
“Exudes intelligence and wit. The author clearly possesses a passion for and an involvement with the theater, and he easily wins over the reader (who may strongly disagree with his views as the book progresses) in the first few pages with his conversational style and sly wisecracks. This is an enthralling exploration of a legendary and glamorous time in theater history.”-- Library Journal
About the Author
Ethan Mordden has written extensively for The New Yorker and The New York Times. Besides non-fiction on theatre, music, and film, he is the author of the Buddies cycle of short stories. The stories, adapted for the stage by Scott Edward Smith as Buddies, played an engagement at the Celebration Theater in Los Angeles. His most recent novel is The Jewcatcher, a savage black-comic fantasy on life in Nazi Germany.
Most helpful customer reviews
4 of 4 people found the following review helpful.
Mordden meets the eye
By enubrius
When Ethan Mordden writes about theater, especially musical theater, he has no peer. So if you approach this book as a survey of Ziegfeld's WORK, you will not be disappointed. However, from the outset Mordden tells us how little is really known or understood about the private life, the internal life, if you will, of Ziegfeld the man. He then proceeds to live up to this caveat by telling us as much, or as little, as he promises. The general feeling of the book is: we may not know how a man who grew up with classical music as his background ended up starting in Burlesque or, looked at another way, how a man whose very being was wrapped up in revue and burlesque gave us "The Follies" or how the "Follies" man gave us "Show Boat", but who cares, he did! Mordden is right! The only real flaw in the book is Mordden's referral to pictures, posters, artwork, etc. that we never get to see. How about a revised, illustrated, edition!
1 of 2 people found the following review helpful.
A quick, entertaining read
By Jeffrey M. Brown
A good friend who knows how much I love reading about Florenz Ziegfeld gave me this book for Christmas. After taking a few glances at some pages, I had the impression that the book couldn't offer me any more information on the Great Glorifier than I already knew. I was wrong. Ethan Mordden writes about Ziegfeld's life with a light, fun, entertaining, non-scholarly style; I loved the author's sense of dry humor and slightly wicked turn-of-phrase. More than anything, I appreciated the myth-busting Mordden employs. He dispels many long-held beliefs about such matters such as the supposed romantic relationship Ziegfeld shared with Marilyn Miller and the supposed artistic and financial failure of the "Follies" Ziegfeld produced after the 1922 edition. Mordden places his readers in the heart of Old Broadway, giving us the flavor of the time -- the fun, excitement, grime, love of theatre, etc. -- an invaluable feat. The only complaint I have with the book is its lack of photographs. There are very few of them included when dozens exist.
1 of 2 people found the following review helpful.
That's Entertainment
By Alan Weiss
A fine read that also provides great historical detail about the transitions from vaudeville to "legitimate theater" in New York. It's fascinating to read that the current midtown was really as uptown as you could reasonably want to travel. The great stars were emerging, but the great impresarios provided the vehicles, quite dazzling if you consider the primitive conditions for actors (theaters closed in the summer, and there was no amplification to hear thin voices as there is today). This is rich in detail and intrigue (Ziegfeld was a world-class womanizer). As for the stars, I'm reminded of a favorite quote I read somewhere from a starlet long ago: "A private railroad car is not an acquired taste. One gets used to it instantly."
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