tel e vis leD review Broadway bares all PBS's six-hour documentary on the Great White Way is more than just another op'nin', another show By Michael Giltz Broadway: The Amelican Musical.</p><p> Produced and directed by Michael Kantor.</p><p> Written by Kantor and Laurence Ma.~lon.</p><p> PBS.</p><p> October 19-21, 9 p.M.-ll P.M.</p><p> Eastel11 (check local listings) t six hours, the new PBS docuĀ mentary Broadway: The American Musical is far too short.</p><p> You realize this especialĀ ly in the last hour, which tries to gallop through 1980--2004, with nods to the AIDS crisis, the showmanship of producer Cameron Mackintosh, the rise of corporate backers like Disney, the passing of Jonathan Larson, 9/11, the megasuccess of Andrew Uoyd Webber, Wicked, Hairspray, La Cage aux Folles, and a little show called The Producers.</p><p> Still, it's one of the most in-depth looks at Broadwa y ever attempted, and cowriter-director-producer Michael Kantor dutifully covers the high points-if he doesn't speak to stars like Carol Channing, Harvey Fierstein, Ethel Mennan, Nathan Lane, Stephen Sondheim, Fred Ebb, Al Jolson, TomĀ my Tune, Chita Rivera, Joel Grey, and countless others, you can be certain you'll see clips of them perfonuing.</p><p> AirĀ ing October 19-21, it's hosted by Julie Andrews (reason enough to tune in for some), and Kantor does a good job of showing how Broadway led and reflectĀ ed popular culture from the Ziegfeld Follies through the early '70s.</p><p> That relevance fades away in the last two episodes, of course, since Broadway no longer churns out popuĀ lar tunes that dominate the radio or stars who tower over the culture.</p><p> Now hit songs come to Broadway via THE ADVOCATE 1611 OCTOBER 26, 2004 ABBA's Mamma Mia! and Billy Joel's Movin' Out, while movie and TV stars pop in only for a visit.</p><p> Nothing here is revelatory, but Broadway gets the job done.</p><p> If nothĀ ing else, its makers have certainly unĀ earthed a treasure trove of footage. (One complaint: Kantor should have identified exactly what we're looking at, since it's not always clear-reĀ hearsal footage? Opening night? A Tony Awards perfonnanc e? A TV speĀ cial? Who knows?) Still, anyone who cares about the Fabulous Invalid will be happy to hear that its songs (like "I Could Have Danced All Night") and its stories are as thrilling as ever .ā¢ Giltz is a regular contributor to several periodicals, including the New York Post.
