As a lifelong fan of Broadway, I'm always interested in reading books that give me inside info about the shows I love. "Rise Up!" had a lot of insight into how Broadway shows have impacted everything from politics to pop culture. I did learn some things ("Wicked" was written by the person who wrote the 90s classic TV show, "My So-Called Life"!) But overall the flow of the writing just didn't work for me. I was left kinda skimming through some sections that felt bogged down with details and analysis. Full disclosure: because this was an ARC copy, there were so many grammar mistakes and continuity errors that made it hard for me to follow. For example, when discussing Disney's foray into Broadway shows, the book maintains that Alan Menken died (he's very much alive). I hope that these errors were fixed in final copies for this book, but it did make it a tad harder for me to get a take on the effectiveness of the writing. I'm glad I read it but probably wouldn't recommend this one even to the hardcore Broadway fans I know.

A book that has taken me a long time to read but one that I adored. I am a HUGE theatre lover, so reading this history of was just perfect and a fantastic insight into how things are from the eyes of those in the industry.

Thoroughly enjoyable and entertaining exploration of Broadway shows from Angels in America to Hamilton, with many other landmark shows in between, examining the relationship between the productions and American society and culture. I felt that the narrative structure could have been tightened up somewhat – there was a fair bit of repetition and jumping about in time – but the anecdotes and historical background to the writing and staging of the shows more than compensated for any quibbles I have. A must read for anyone who loves theatre.

This book was riddled with repetition and errors - it felt like it needed a lot more editing to be ready for publication, and like a rush job to capitalise on the success of Hamilton. I prefer not to give negative reviews unless I can help it, and so I am only providing feedback here.

Love it or hate it (and Sophie’s firmly in the former camp), there’s no denying the cultural impact of Hamilton. The musical did the unthinkable, taking Broadway by storm with everyone from critics to suburban housewives to presidents raving about its centuries-old story made new again through a diverse cast and modern music. But, despite initial appearances, Hamilton didn’t come out of the blue entirely. For decades, Broadway has been laying the foundations with other shows that brought politics, current events, and deep cultural issues to the stage.

Rise Up! by Chris Jones is the story of those shows. Chapter by chapter it looks at a wide array of Broadway productions that came with an important message. These are often difficult subjects; the book looks at the HIV crisis through Angels in America and Rent, 9/11 through Metamorphoses and Come From Away, and current politics through Boulevard of Broken Dreams. A chapter focused on The Lion King explores how racial diversity broke through into the mainstream, while Spider-Man: Turn Off the Dark looks at what happens when Broadway goes too far. There’s even a look at how Broadway went meta in shows like Avenue Q and Monty Python’s Spamalot.

You don’t need to have seen the shows discussed here to appreciate this book, but Sophie will admit that it helps. She found herself far more engaged with the chapters that discussed shows she had the privilege to see—never in their original Broadway incarnations, but in their UK performances. It also added several shows to her “must see” list!

Rise Up! is a fabulous book for anyone interested in Broadway theatre and its ability to both reflect and create culture.

This is a look at how broadway has changed over the years and how it has cleared the way for once taboo subjects to become more acceptable. It also looks at how broadway has shaped society out the years, continues to shape it with productions such as Hamilton and will continue to do in the future.

I love Broadway. Love it. So I was excited to read this book. Unfortunately, I had a lot of trouble getting into it. It is arranged somewhat chronologically to discuss how Broadway eventually made its way into the national conversation and used that platform to address real issues like AIDS, LGBTQ+ culture, slavery, etc. However, when discussing a play from the 1980s, the author would add a teaser about an upcoming Hamilton discussion. Then in the chapter about RENT, the author again brought up comparisons to Hamilton and said something similar to we'll discuss that later. I really did not like this. If you're going to do a chronological discussion, let it be chronological. Then draw the comparisons at the end. I want to know about RENT. I want to know about Angels in America. If there are connections to Hamilton, I don't want to know that until I'm learning about Hamilton. There were so many important issues and histories that the author discusses but it was lost in the poor writing style. That's unfortunate.

I tried a few times to get into this book but it just wasn't for me. I'm an avid Musical Theatre fan (being Head of Performing Arts in secondary education) but this book felt too heavy for me. I couldn't get past the first 20 or so pages, despite trying a few times. Unfortunately, it didn't hook me in. I am sure that other Musical Theatre fans around the world love it, but I won't be reading it.

*Edited to add: I meant to file this under the 'I will not be leaving feedback for this title' option. But, I'm not sure how to go back and change it. Apologies. I haven't shared this review anywhere on social networks (Twitter/GR).

"Here was a musical that embraced complexity and relativist thinking, that wondered aloud about whether personal success could assuage personal misery and concluded that it could not. It is better to love and be loved, it said, than to achieve."


Well said.

This book combined two things I love: academia and theatre. I liked how Jones brought together each point with why this relates to Hamilton and it never felt like any point was unnecessary. This is one i would love to add to my collection. The progression of theatre from the 70s to the present was done in a way that made sense as a reader and in terms of his argument about how revolution plays out in the theatre.

It's clear that the author has a passion for this subject and wants to share that with the reader. The prologue, which starts out with the infamous Nov. 2016 Hamilton show at which VP Elect Pence was in attendance, had me sold on this book. With our political climate, any time I'm reminded of moments and words that connect my feelings with others and especially with people who have a public voice, I get excited. So this book started out with excitement for me... then it started reading a bit like a textbook and I had to get myself into a different head space. I didn't really have expectations, but this was much more like an academic journal than I was prepared for. Hmm, maybe I did have expectations... and they were clearly misguided, which is totally on me, oops! It really is an interesting look at the interactions between Broadway, politics and society. I'd recommend this one to the extreme Broadway enthusiast!

3.5 stars, actually.

Only twice in my life have I ever seen a real, live Broadway play; it happened sometime in the early 1980s when my husband and I accompanied a group of college business students who went to New York City to learn more about the garment industry. We managed to get discount tickets to two plays: "Noises Off," and "A Chorus Line." Both were awesome (the latter falling into the "OMG, I've died and gone to heaven" category). And while I've seen many Broadway touring company productions locally since then, nothing ever will compare to the "real" experience.

It was with that meager but thrilling experience in mind that I looked forward to reading this book, in which the author provides an inside look at some of the productions that have made an impact in ways far beyond simple entertainment. From "Angels in America" to "Hamilton," he examines how and why various shows have tried to shed light on societal issues like AIDS, slavery and divisive politics. It was interesting to learn, for instance, of Broadway's overall disdain for then-President Ronald Reagan, who refused to even acknowledge the existence of AIDS or, perhaps more importantly, approve funding for AIDS research. Also noteworthy, to me at least, was that when New York City virtually came to a halt after the horrific events of 9/11, city leaders including then-Mayor Rudy Giuliani ordered theater owners to reopen as a sign that the show - and in the broader sense the entire city - must go on.

In part because the book isn't very long, I'll leave the details of the plays to the author and you can read them for yourself. I must, however, note that I'm hoping it underwent a more thorough copy-editing before its release. I read an advance copy courtesy of the publisher (via NetGalley), for which I'm very appreciative. But I found numerous errors (it's Harriet TUBman, not TAUBman, for instance), and there's enough of what I'll call "jumping around" within the chapters that at times it's a little hard to follow. Overall, though, the author has put together an excellent history with insights that should enlighten theater-lovers everywhere.

Readers of my review of Stephen Fried’s Rush know well my love of Hamilton: An American Musical. I’m even going to start a series on this very blog where I will read 10–12 Hamilton-related books, including the book that started it all, Ron Chernow’s Alexander Hamilton, before I go experience the musical itself in April. It is this obsession that convinced me to read Chris Jones’ upcoming book Rise Up!, which follows the thread of Broadway’s great feats and failures from the early 90s up to Hamilton.

The engine of Rise Up! is Hamilton itself. The furor that erupted after the cast’s call-out to Vice President Mike Pence in 2016 makes one wonder how Broadway came to occupy such a prominent space in American consciousness, and Jones adequately answers that question. What is even more interesting to me, a fan of Hamilton but one that does not often take much notice of Broadway in general, is the story of how each musical in Rise Up! puts the pen in the hand of Lin-Manuel Miranda and subliminally begs him to write his masterpiece. At some points in the narrative, the through-lines and the connections from Jones’ subject to Hamilton became so overwhelming that I had to listen to the cast recording again. This was especially true during the chapter on Bloody, Bloody Andrew Jackson, a musical I didn’t even know existed but which exemplifies both what works and doesn’t work when adapting American history to a musical format.

Fan of Broadway, Hamilton, or a casual onlooker that wants to learn more, Rise Up! will most likely be what you want it to be. The subjects of the book run the gauntlet of Broadway history of the last 30 years: Rent, The Lion King, Wicked, and yes, Spiderman: Turn Off the Dark. While I have not seen most of the musicals and plays, I was hooked from beginning to end. (I did see The Lion King thanks to our season tickets this past year, and it was truly awesome.)

Whatever your status on Broadway fandom, Jones’ prose and his analysis of what made each one successful (or not… here’s to you Spiderman!) is engaging enough to warrant a read. It would also make a perfect gift for the Broadway or Hamilton enthusiast in your life. It releases November 15th.

I received this book as an eARC courtesy of Methuen Drama and NetGalley, but my opinions are my own.

My rating of Rise Up! would actually lean more toward 3.5 stars. In Rise Up!, Jones provides a deep insight on the shifting of Broadway theater to reflect massive changes in American society, beginning in the '90s with plays capturing the rising plight of AIDS and culminating with the cultural phenomena of Hamilton. The chapters in between study the impact of shows such as Rent and American Idiot and soon segue into the way the Obama administration particularly affected a nationwide perception of theater culture. The book is well researched, and even hardcore Broadway fans may come across a fact or two that they didn't know before.

As a theater fan, I was familiar with the majority of the shows discussed, but it was a little harder to connect with the chapters about the shows I didn't know too well. On the other hand, the second half of the book (what I'd consider anything after the Edward Albee chapter) flowed very well and kept me quite invested. Based on these sections' readability and explanations, it did almost feel like the author had more personal investment in the post-2001 Broadway era. Having favorite periods is fine, and if this was the case, it made the book's second half far more enjoyable, but I wish the first half had some of that palpable appeal in it as well.

At the beginning of the book, I was expecting more insight via interviews with the shows' creative teams and original cast members about when or if they recognized the shift their work was causing in the Broadway community. The book's quotations largely seemed to be from reviews and articles rather than direct sources, which was a little disappointing. The ending focusing on Hamilton's peak success in 2016 also felt a little rushed, and the book might have felt more complete if a conclusion about relevant upcoming theater or something along those lines was included.

Ultimately, I'd still recommend this to any theater fans on the search for an informative and comprehensive read. Also, early reviews of this ARC mentioned many copyediting issues within the text, but as of 10/28, a lot of these problems appeared fixed in my ARC download.

Fantastic! I enjoyed this story of how the Broadway machine, if you will, has become important to the national conversation. Broadway represents so many tragedies and triumphs in itself, but this shows how it plays within the context of what our nation is going through. Well written and enjoyable to me

Rise Up! By Chris Jones is an interesting historical look at Broadway shows from Angels in America to Hamilton. The author covers a variety of shows: more popular ones like Angels in America, The Lion King, Hamilton, and lesser known ones like Bloody Bloody Andrew Jackson. The in-depth explanation of how the shows came to be, how they affected Broadway in their time and afterward, how long they ran, all helped me get a better understanding of something I thought I knew a lot about. Reading about these lesser-known shows placed them in their historical contexts and gave me a glimpse into something I’ll never get the chance to see on stage. By giving attention to these less popular shows and covering heavy hitters, Jones makes sure to give you a wide array of Broadway history.
I found the chapter on Spider-Man: Turn Off the Dark particularly fascinating because I thought I’d followed the development of that show pretty closely and I still learned a lot of new information. I also appreciated the coverage of more diverse shows, like the revival of A Raisin in the Sun.
This book was a quick read for me. The pacing is quick and the writing fun and easy to follow, all while giving you historical details and cultural context.
I think every single chapter mentions Hamilton, which at a certain point started to feel like too much. While I love Hamilton and it obviously revitalized Broadway, as is clearly explaining in Jones’ own work, it was a bit too repetitive for me there.

Rating: 4/5

Rise Up! by Chris Jones offers a view of the changing Broadway landscape from the early 1990s until 2016 with the emergence of Hamilton. As one would expect the social and political climates of the time found their way to the Great White Way in pieces highlighted through this book. From the talk about AIDS and HIV mentioned in Angels in America, The Normal Heart and Rent! to political indifference from the past that is still present today in Hamilton, Broadway has acted as a beacon for individuals to find their voice and let it be heard. Rise Up! also highlighted works by playwrights such as August Wilson who provided a voice for the African American population that had sadly been missing from the majority of mainstream productions.

My biggest problem with this work was the constant comparison to Hamilton. Don't get me wrong I enjoy this musical and look forward to seeing it in a few months, but I don't think it needs the constant comparisons. Each work prior to Hamilton had their own voice, that may have paved a path for Hamilton, and they should be appreciated in their own light. By the comparison to Hamilton, I felt like it cheapening the works of the playwrights, musicians, actors and everyone else who participated in making those other productions reality. Hamilton will stand the test of time, at least it currently appears, and so will these other works so please let them stand alone.

This book is a good read for those that appreciate theater, want to know more about Broadway's contemporary history and are Hamilton fans.

From Rent to American Idiot and Hamilton, Rise Up! offers an in-depth look at the impact of America’s cultural, political and historical events on Broadway, and also the theatre’s impact on America. From the 1980s AIDS crisis to the events of 9/11, author Chris Jones discusses how these events influenced the industry as a whole and the productions that followed. Its well-researched, full of interesting insights, but the author does have a tendency to compare every play and musical to Hamilton! Overall an interesting read.

A fascinating history of Broadway over the past 25 years to explain how Hamilton has become the phenomenon it has. I loved the mix of straight plays & musicals and the balance between hits and misses.
My one gripe is in the chapter about Spider-Man being so badly edited with Julie Taymor repeatedly being referred to as Taylor but this can be, and hopefully will be, fixed by the final edition.

My list of plays to read and shows to see has grown hugely.

I so wanted to enjoy this but it's riddled with basic copyediting errors and some frankly mystifying glosses on texts (the Angels In America section is especially egregious).