A provocative but uneven look at the composer of The Threepenny Opera, Lady in the Dark
and other well-known musicals, this biography traces Weill's career from his satirical Weimar collaborations with Brecht to the musicals he created for Broadway after fleeing the Nazis in 1933. Brooklyn College film professor Hirsch (Harold Prince and the American Musical Theater) draws on extensive documentation from New York's Kurt Weill Foundation and new interviews with surviving participants to argue that the distinction most writers make between "Berlin Weill" and "Broadway Weill" is artificial. He explores, instead, what remained constant in Weill's creative personality despite the divergent styles of the Broadway and Berlin years. This intriguing approach is somewhat undermined by questionable assertions throughout the book. (For example, he cites the notoriously anti-Semitic music critic Virgil Thomson as an authority for the dubious notion that Weill's music evoked "the Jewish underworld of Berlin.") The book does, however, offer a textured portrait of Weill's Broadway career, and there are useful details about how his widow, the gifted performer Lotte Lenya, helped resuscitate his reputation with the 1950s production of Threepenny Opera
in Greenwich Village. Hirsch's volume is good for casual enthusiasts and larger theater collections, though music fans may find the absence of analytical comment on Weill's compositions a drawback. (Mar.)
