Hugh Martin: The Boy Next Door Review

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(More customer reviews)Hugh Martin's THE BOY NEXT DOOR is an instant classic among musical theater autobiographies, a fascinating tale of an Alabama boy who becomes one of the great songwriters of the century. This brillant yet down-to-earth composer knew and worked with nearly all of the greats of his era and his book is loaded with stories and memories of virtually all of them: Richard Rodgers, Lorenz Hart, Noel Coward, Kay Thompson, Beatrice Lillie, Mae West, Lucille Ball, Vincente Minnelli, Tony Bennett, Irving Berlin, June Allyson, Frank Sinatra, Ethel Waters, Liza Minnelli, Gene Kelly, Joshua Logan, Carmen Miranda, Lena Horne, Jeanette MacDonald, the list is endless and includes his admirers Stephen Sondheim and Michael Feinstein (who writes the foreward to this book). And of course, the star most associated with Martin, Judy Garland, whom he wrote "Have Yourself a Merry Little Christmas" and "The Trolley Song" for and later accompanied her in her legendary 1951 stint at the Palace Theater. There's also much about his famed collaboration with Ralph Blane which apparently was more in-name than in-action. This man knew everyone - from Grandma Moses to Gore Vidal to gospel singer Del Delker, whom he accompanied on religious revival tours when he was quite on in years.
Martin is 96 now and amazingly, wrote the book without a ghost writer. The text beautifully captures this man's gentle, friendly, and loving spirit as noted in the foreward by Feinstein. Gracious and lavish with his praise, no one really gets raked over the coals here, not even "friend" Blane who Martin discovered fairly recently went around claiming to be the author of several Martin songs, although Martin is obviously, to quote Lady Catherine de Bourgh, "seriously displeased". A more complicated issue was his regretted break with Garland during her troubled A STAR IS BORN production in which he begged her not to "belt" her performance of "The Man Who Got Away" but sing it with restrained feeling which resulted in Garland cursing and ridiculing him before the people on the set, causing him to walk off the production. He is harder on himself in restropect than with Judy, not seeing her inner turmoil at the time and now realizing how badly she needed a supportive friend despite her belligerence. (A funnier but similar battle emerged two decades later when Martin was hired to be vocal arranger for the Broadway production of SUGAR BABIES and found Ann Miller equally willful when it came to advice on how to best deliver a song.) Martin sent Garland a note years later who responded with a loving telegram as tall as Garland herself which he had framed.
There's not that much about Martin's personal life but then many a serious musician puts their music above all else and this is undoubtably how he lived during the peak years of his career. Martin is quite frank though about his years battling "speed" which left him an emotional and physical mess even many years after he conquered the vice. Most important to his full recovery was becoming "born again" Christian in the 1970's and although he writes of his joy in embracing religion he is not an confrontational Bible thumper. Feinstein writes in the foreward that Martin's "unwavering faith and appreciation for life...gives others a sense of security and comfort"; Tony Bennett on the back jacket states Martin is "the single most talented and finest human being I know."
One big surprise is how unhappy Martin was during his contract with MGM; producer Arthur Freed apparently was quite a terror not only to Martin but to such stars as Lucille Ball, whom Martin writes that Freed wounded so badly with his tongue that Lucy was unable to return to the studio for days.
One of the lovely things about the book is how Martin repeatedly goes out of his way to praise many of his contemporaries, friends, and associates. He is an eloquent defender of Mickey Rooney against his reputation of being tempermental and his analysis of his songwriting peers (always positive) is as superb as a music critic. There's also lots of good humor too as when Martin recalls Jerome Kern's comments to him and Blane: "I think that was disgracefully unpatriotic of you to write 'Buckle Down Winsocki' when we're at war with Japan" even occasional black humor as Gore Vidal tells him as they watch Princess Diana's funeral, "Do we really want Elton John to sing at our funerals?"
This beautifully produced book (loaded with many rare photos) is sure to be treasured by lovers of musicals be they Broadway or movie, or fans of just good music. Hugh Martin is a true hero; a brillant talent and a truly good man. Have yourself a Merry Little Christmas, Mr. Martin and thank you for the music of our lives!


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Hugh Martin: The Boy Next Door is an enchanting jaunt through the Golden Era of Broadway and the MGM musicals. This firsthand account captures the energy and excitement of those special times, with eyewitness tales of Mickey Rooney and Judy Garland, Gene Kelly, and dozens more. Hugh recounts the origins of some of America's most beloved songs, including the perennial favorite, "Have Yourself a Merry Little Christmas." Martin also reveals some secrets that only he could know: the truth about his composition partner Ralph Blane, his addiction to the infamous Dr. Feelgood, Max Jacobson; how he was instrumental in turning Gene Kelly from a performer to a choreographer during the staging of Best Foot Forward; and what it was really like to be part of the MGM musical production machine. As Hugh enters his 96th year, this could be America's last chance to hear these stories from a living source. They are full of his signature charm, grace, musicality, and poeticism.

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