Finishing the Hat: Collected Lyrics (1954-1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes
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Comments, Principles, Heresies, Grudges, Whines and Anecdotes Silvery
grey type makes a magnificent book of lyrics hard to read., November
13, 2010
By neophyte "neophyte" (Chicago) - See all my reviewsAmazon Verified
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This review is from: Finishing the Hat: Collected Lyrics (1954-1981)
with Attendant Comments, Principles, Heresies, Grudges, Whines and
Anecdotes (Hardcover)
Dear Mr. Sondheim and Mr. Knopf: Please use a different art director
for volume two. Ms. Iris Weinstein, art director for "Finishing the
Hat," has not followed any of Mr. Sondheim's three principles. Number
one: "Content dictates form - if so, the content thereby should be
easily readable as "Finishing the Hat" is a book of lyrics. Number
two: "God is in the details," -if so, he/she will be very unhappy with
the details of the silvery grey type. Ms. Weinstein should also not
get credit for Mr. Sondheim's third principle "Less is More," becauser
in this case, less is definitely not more. If anyone has any ideas
(other than a magnifying glass) to make the type more readable, please
send it ASAP.
Book Description
Publication Date: October 26, 2010
Stephen Sondheim has won seven Tonys, an Academy Award, seven Grammys,
a Pulitzer Prize and the Kennedy Center Honors. His career has spanned
more than half a century, his lyrics have become synonymous with
musical theater and popular culture, and in Finishing the Hat—titled
after perhaps his most autobiographical song, from Sunday in the Park
with George—Sondheim has not only collected his lyrics for the first
time, he is giving readers a rare personal look into his life as well
as his remarkable productions.
Along with the lyrics for all of his musicals from 1954 to 1981—
including West Side Story, Company, Follies, A Little Night Music and
Sweeney Todd—Sondheim treats us to never-before-published songs from
each show, songs that were cut or discarded before seeing the light of
day. He discusses his relationship with his mentor, Oscar Hammerstein
II, and his collaborations with extraordinary talents such as Leonard
Bernstein, Arthur Laurents, Ethel Merman, Richard Rodgers, Angela
Lansbury, Harold Prince and a panoply of others. The anecdotes—filled
with history, pointed observations and intimate details—transport us
back to a time when theater was a major pillar of American culture.
Best of all, Sondheim appraises his work and dissects his lyrics, as
well as those of others, offering unparalleled insights into
songwriting that will be studied by fans and aspiring songwriters for
years to come.
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