Michael Kantor has established himself as one of the great documentary film makers whose work brings America's past and pastimes to life.
Broadway musicals have finally been given their proper place in American archival history with their own PBS six-hour documentary special (a co-production of Ghost Light Films, Thirteen/WNET New York, NHK,
and BBC in association with Carlton International. Premiering October 19, 20 and 21). Creator and director Michael Kantor, a protégé of the dean of historical documentaries, Ken Burns, joined me at
Michael's and shared insights into the nine year labor of love that resulted in this season's most entertaining, informative and enjoyable programming event.
The style and format of "Broadway: The American Musical" is similar in style and format to the best works of Ken Burns and Ric Burns, reflecting Michael's early work on Ken's "Civil War" and "The West." Michael
credits Ken "as the pioneer of this form of historical drama. He is the Shaq of documentary films and he set a 'pick' for a lot of younger guys like Ric, Steve Ives [who Michael considers his mentor] and me.
I'm like a point guard who comes off the bench and hopefully scores a key three-pointer."
Michael is far too humble, since "Broadway" will inevitably establish him as another superstar to emerge from the Burns' school. Michael is as much a scholar of Broadway musicals as he is a filmmaker, and he
believes the Broadway musical genre is about to be re-energized. "The American culture is a culture of celebrity. TV, books, magazines are all about celebrity. Soon," Michael believes, "Broadway will revert to the big, star-driven vehicles of old." "The Boy from Oz," he points out, "was a showcase for
a big star" (Hugh Jackman), "and Ricky Martin wants to come to Broadway." Looking into his crystal ball, Michael predicts a big Latin flavored musical will come to Broadway in the near future and also predicts "country stars would be a natural fit with a Broadway musical." Veteran producer Rocco
Landesman, producer of "Big River," recently reminded Michael that America's most popular music is country, which tells a story and can translate well to Broadway. He also agrees with choreographer and director
Susan Strohman that "we're likely to have musical comedies and frivolous escapist fare on Broadway." He points to planned productions of "Mary Poppins," "Chitty, Chitty Bang, Bang" and "Elvis: All Shook Up."
Broadway is trying to move in new directions, he points out, but like the country it is polarized and not of one mind. Michael is excited about the revival of George Gershwin's 1930s musical "Of Thee I Sing" at the
Papermill Playhouse in New Jersey, believing that the story about a Presidential election that begins with a nominating convention at Madison Square Garden is especially relevant today. Michael outlines the story for me, about a candidate that decides to run his campaign on a platform of love
and with a campaign designed like a reality show. The candidate, who is single, decides to conduct a nationwide search for the woman who will become his First Lady. Complications arise when the candidate
falls in love with the organizer of the search and the rightful winner sues. The case ultimately goes to the Supreme Court. The show, which is featured in episode three of the six-episode PBS series, was the first Broadway show to win a Pulitzer Prize.
Michael Kantor with Jack Myers at Michael's
Michael is enthusiastic about several productions that have opened recently or will be opening later this season, pointing out his taste runs more toward the unfamiliar. He recommends Adam Guettel's 'Light on
the Piazza' at Lincoln Center. "I did a show with Adam 15 years ago," Michael says, "and he is a brilliant composer. His show is an earnest effort to create something beautiful that will not pander to the lowest
denominator." He loves that Billy Crystal is coming to Broadway with a one-man show and hopes Billy will do a musical comedy in the future. "Billy belongs at the center of a Broadway musical. He has the comedy chops to do Broadway."
Michael lives in Manhattan's Murray Hill district with his wife, fashion designer Kathy Landau, and their three children. Kathy is the daughter of legendary film producers Edie and Ely Landau, and sister of Tina
Landau who is now directing "The Cherry Orchard" at Chicago's Steppenwolf Theater. One Landau brother Jon produced "Titanic" and another, Les, directs television. "I married into the right family," Kantor
smiles. Michael grew up in New Haven CT, where his dad is a physician and his mom works with the elderly. He credits frequent excursions to the Long Wharf Theater and Yale Repertory for his love of theater.
"Yale Rep was under the direction of Robert Brustein, who did funky shows. He was a champion of new writing. Under his purview, Christopher Durang, Sigourney Weaver and Meryl Streep were doing really
interesting things." But it wasn't until he went to Cornell University that he got stage fever. "I was one class from being a pre-med major and following in my father's footsteps when I decided to major in Theater
Arts. I got into theater to explore ideas and," he admits, "to meet beautiful girls. Massages are part of vocal and acting classes," he laughs.
While at Cornell, a classmate working on his master's degree was Jimmy Smits. "Jimmy was always the star of the show, but he was also the last guy to leave striking the set. Everyone else left for the cast party
but he was there to the very end." After graduating, Michael spent a year in regional theater, assisting at the Hartford Stage and the Arena Stage in Washington D.C. His first major break came when he was
invited to the University of California at San Diego, where he was able to direct works by Sam Shepard, Charles Russell (brother of the basketball great Bill Russell) and several other major talents.
In the late 1980s, he directed "Lindbergh's Flight," about the arrival of new technologies and staged the show at the hanger where Lindbergh's Spirit of St. Louis was built. At the same time, his good friend, Steve Ives
was working with Ken Burns on the "Civil War" and the two came together to work on a Lindbergh documentary for PBS' "American Experience." In 1991, Steve and Michael teamed for a documentary about the
Cornerstone Theater Company, filming the company's work with non-professional theater groups in small American towns. He especially recalls visiting Port Gibson, Mississippi, where Amy Brenneman had
played Juliet opposite a Romeo embodied by an African-American high school track star.
When Ken Burns signed up Ives to direct "The West," Michael was asked to produce the long-form documentary series. "I learned a tremendous amount from working with Ken and Steve on 'The West,' and in 1996 I
realized I knew how to make a long-form documentary and I wanted to turn back to my first love – theater – and make a long form series about it." His first interview for the program was with artist Al Hirschfeld in December, 1996 just as he was finishing a different documentary on
Quincy Jones. "Any time I'm around Quincy I feel special. He makes elevated choices rather than expeditious ones. He makes me want to do it right and take the high road in whatever I do. At every level, he has aspired to changing the world for the better. If I were to aspire to anything, it would be to
have the directing savvy of Mike Nichols and the producing prowess of Quincy, and for my work to make as positive a contribution as his."
Michael's next project will be another documentary examining songs and lyrics, working again with Julie Andrews, who hosts and narrates "Broadway: The American Musical." Julie, he says, "lifted the project to
another level. Narrating is hard work and she hadn't done it much. But she never flubbed a line and she knows how to tell a story. She helps steer viewers through charged issues and to understand great characters."
Michael named his production company Ghost Light Films, after the light left on stage when it's dark to keep away bad spirits. To celebrate the completion of his nine year labor of love, his staff recently gave him a
ghost light and desk plaque engraved with the Florenz Ziegfield description "Impressario Extraordinaire," signifying Michael's extraordinary accomplishment pulling together all the strands of Broadway musicals
Educational materials accompanying "Broadway: The American Musical" are being sent to 15,000 schools; the accompanying spectacular book (co-written by Kantor and Laurence Maslon) is in stores along
with a five CD set. The six-hour series is must-viewing for all fans of Broadway musicals and all history buffs. With this production Michael Kantor has established himself as one of the great documentary film makers
whose work brings America's past and pastimes to life.
