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Editorial Reviews. About the Author. A theatrical producer and manager for over 20 years.
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Broadway Yearbook 2000-2001 : A Relevant and Irreverent Record

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Broadway Yearbook 2001 2002

Aspiring artists, take note. Suskin also points out things we all should have thought of, but may not have: " Mamma Mia took place in Greece. But why does it have an Italian title? Can you imagine Patinkin as the Emcee? Suskin has an eye for casting, too.

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He's also a good enough detective to find that Barbara Cook's name appeared on a "preliminary casting list" for the original production of Follies. Almost every chapter includes a good deal of historical background on someone connected with the show.


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His two-page synopsis of the life of Clare Booth Luce is so fascinating that I expect some talented writer-actress will be spurred to find out more, and will fashion a one-woman show that will make it into a future Broadway Yearbook. Along the way, you feel you're in secure hands, partly because Suskin establishes his credentials. He mentions that he's still a member of Actor's Equity; that he "produced a show of James Lapine's" in fact, it was no less than Falsettoland ; that he was assistant general manager and stage manager for the Broadway revival of The Pajama Game ; that he was company manager for the Royal Shakespeare Company's productions of Cyrano de Bergerac and Much Ado about Nothing that ran in repertory; and that he once sold concessions at Butley.

So, while the delayed commuters that surrounded me yesterday were scowling at their watches, I had a smile on my face as I read Suskin's sharp note that Trigorin in The Seagull "is tortured by the knowledge that his epitaph will read, 'He was good, but not as good as Turgenev,'" followed by his note that "Turgenev was so good, in fact, that he ended the season with his own personal Tony nomination for Fortune's Fool. Of course, there were times when I scowled because I disagreed with some of Suskin's opinions.

Broadway Yearbook 2001-2002: A Relevant and Irreverent Record

For example, he rates "Humming" from Carnival! I guess you've got to expect that from any book you read.


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After he finishes his seasonal report, Suskin gives his own personal Tonys -- not by category, but by naming the "people whose contributions made the season of theatergoing brighter. After this comes a list of the real Tony winners and nominees, plus those whom Suskin feels were overlooked, followed by the winners of the other major awards.

He spends six pages on statistical information on the holdovers, three on shows that didn't come in, and nine on some six dozen obituaries.

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Best of all is a list of long-run leaders, but not quite in the way that you might expect: Suskin splits the entries into one list for musicals that ran 1, or more performances and another for plays that ran that long.