Deconstructing Harold Hill: An Insider's Guide to Musical Theatre

I am about to launch into directing a community theatre production of THE MUSIC MAN. Our group always makes a habit of researching every possible resource before we begin. Reading the chapter in this book (which does a thorough analysis of the show) was a requirement. Mr. Miller does an exceptional job of pointing out the backgrounds and motivations of the major characters, and even points out how certain musical themes serve to underscore important plot points. Although written in simple language, you come away feeling like an expert. There are a total of eight shows under the microscope in the book, including CAMELOT, CHICAGO, and THE KING AND I. I'd recommend it to anyone who is involved in any way with a performance of one of the shows--and, for that matter, anyone who enjoys musical theatre.

This book is a wonderful companion piece to From Assassins To West Side Story fromt he same author. It continues his detailed reviews and clues as to how look at some common musicals. The information he provides about the librettists' and composers' conceptual intentions has definitely helped me to look at some shows I once considered stale and overdone in a completely new light.An invaluable tool for any director or theatre teacher.

No author has ever taken such a clear and enlightening look at what makes great Broadway musicals tick. I can't say that I agree with everything Miller has to say (his view of the uneven ASSASSINS is a bit too adoring) but I don't mind a differing opinion that is so intelligently and passionately presented. What a joy it is to see someone reveal in flawlessly researched detail why CAMELOT, MUSIC MAN, THE KING & I and other "family" classics have more going on in them than many have ever realized. As he points out, its a pity that only foreign directors seem capable or even willing to offer fresh & exciting Broadway musical revivals. Scott Miller's text is extremely well written -- I devoured it cover-to-cover in no time. How refreshing to find a book on musical theatre that is free of factual errors -- a sad rarity these days! As someone who worked in Broadway production for more than a decade, I hope Miller offers more such books in the future covering more musicals. His insights are needed! If musicals are an important part of your life, you can't afford to miss this book.

Unlike many recent books on musicals, the reader doesn't have to sift through mounds of errors to get information. Mr. Miller has done a stunning job of breaking apart the musicals he's chosen as examples. His chapters on Camelot and Music Man alone could provide a semester's work for any college course on musical theatre. One of the most useful parts of his deconstructions is his explaining how the music--whether underscoring or song--supports the story and aids the audience's understanding of what they're seeing. As someone who has performed in or directed musicals for over 30 years, I cannot recommend this book highly enough.

I loved this author's first book, From Assassins to West Side Story, but I wasn't prepared for the further depth and greater brilliance of his second book, Deconstructing Harold Hill. This is a man who knows his theatre, who understands human nature, and who cares enough about great art to treat it seriously and respectfully without being afraid to criticize it or demand fresh approaches. This is a work of great intellect that is still accessible to readers with no theatre or music background (a rarity), and yet, I would guess, in depth and surprising enough to aid the most experienced professional.In his introduction, Mr. Miller complains that American directors don't come at older American musicals with fresh enough perspectives, and the rest of the book does what those directors can't -- it looks, as if for the first time, at a collection of wonderful, important musicals, looking at them fresh, taking the time to think about and question the things nobody else will.His discussin of the use of musical themes in The Music Man is incredble -- there's so much there I hadn't noticed before -- and his writing makes it all accessible for someone with no music background. His discussions of the character of Harold Hill -- basically a villain who acts like a hero -- is fascinating. He sees glorious little details in this show I've never seen before.His chapter on Camelot opened my eyes like never before to the depth and possibilities of this show that usually falls into the shadow of My Fair Lady. Mr. Miller sees complexity and nuance in these characters that I've never seen explored before. How amazing it would be to see a production of Camelot that used Mr. Miller's ideas. The show would be transformed instantly from a pretty musical into a soaring, searing piece of tragic theatre.His chapter on Chicago makes a compelling case for why the revival doesn't do the show justice. And his chapters on Sondheim musicals (Passion and Sunday in the Park) confirm for me that Mr. Miller is the preeminent American interpreter of Sondheim's works. Though I live in Seattle, I may just venture down to St. Louis to see Mr. Miller's ideas at work on his own stage. How lucky the people of St. Louis must be to have an artist this intelligent, this passionate, and this emotional working in their city.

I am passionate about musical theatre, and always on the look-out for writing on the subject that can improve my knowledge and strengthen my overview. I love Scott Miller's writing, his take on musical theatre and his attention to detail. I have now bought all his books and regularly check his blog for updates!I would wholeheartedly recommend this book, and his others, to anyone interested in the subject.