Not Since Carrie: Forty Years of Broadway Musical Flops

I have read NOT SINCE CARRIE from cover to cover several times. Ken Mendelbaum's writing is witty, entertaining, and informative. The first chapter, entitled "Catastrophes and Camp," is the most hilarious, conjuring up "ineffable mental pictures" (Mendelbaum's words) of such all-out Broadway fiascos as KELLY, LEGS DIAMOND, and PRINCE OF CENTRAL PARK. Later chapters, especially "Missed Opportunities" and "Heartbreakers and Cream," are both funny and fascinating, describing musicals that might have been hits but, for whatever reason, were not. The fifth chapter, "Don't Let This Happen To You," is the most interesting, explaining in depth the reasons WHY particular shows failed. Likewise, the book's epilogue examines the infamous CARRIE and finds that, after all, Stephen King's novel is not so bizarre a subject for a musical. Because Mendelbaum is such a knowledgable theatre historian and gifted writer, NOT SINCE CARRIE, riotously funny as it is, is also a valuable piece of musical theatre scholarship.

"Not Since Carrie: 40 Years of Broadway Musical Flops," by Ken Mandelbaum, is a fascinating look at its title subject. Mandelbaum breaks this vast collection of flops into a number of categories--star flops, flops based on movies, "missed opportunities," etc. One particularly intriguing section of the book is Chapter 5, "Don't Let This Happen to You"; here the author gives a list of rules to follow in order to avoid creating a flop. Example, rule #9: "Don't do sequels" (such as "Annie 2").Mandelbaum's prose is clear, authoritative, and often appropriately biting. Many accounts of flops stand out as particularly fascinating--Peter Allen's disastrous "Legs Allen," the aforementioned "Annie 2," etc. The book is full of black-and-white photographs--playbill covers, shots of the performers, promotional art. This gives the book great visual appeal. Some of the musicals described are almost too bizarre to be believed (such as "Into the Light," a show about the Shroud of Turin).Mandelbaum opens and closes the book with spellbinding in-depth sections on "Carrie" the musical, complete with photos. This helps give the book as a whole a satisfying structure. Indeed, "Not Since Carrie" ultimately reads like a vast multigenerational epic--at times funny, absurd, and/or tragic.

I've often speculated that the true sign of a musical theater aficionado is when one puts Les Miz and Phantom behind them and begins to find allure in the world of the flops. If that's the case, then certifiable musical theater queens need this book for reference. For anyone who believes the shows that didn't make it are more fascinating, this book is for you. A lot IS based on the author's opinions, but I nevertheless find myself reading this book over and over again. If you are someone who would rather learn about the genesis and failure of "Annie 2: Miss Hannigan's Revenge" rather than the success of "Annie," then buy this book!!

Whether appalled at something gone horribly wrong that had potential ("Carrie," "Do I Hear A Waltz?") or railing against a musical that was a bad deal from the start ("Clavell's Shogun: The Musical"), Ken Mandelbaum has written that classic text on how not to write a musical. Granted, many people will not take this sterling advice. At least we have the benefit of Mandelbaums narration of other's follies to warm us.

The others who have reviewed this book have said little beyond the fact they haven't really read it. Not Since Carrie is not, in any way, about gossip, unless you consider the published words of dozens of theatre critics and statements from those involved with the works in question gossip. The story of some of Broadway's greatest musical flops is told through the people that were there--the stars, the composers, and even an important element, the audience, as represented by Mr. Mandelbaum. He has done his homework, and has created a brilliant, must-have book for any theatre enthusiast's library.