I Got the Show Right Here

About This Audiobook

Cy Feuer’s *I Got the Show Right Here* isn’t just another showbiz memoir—it’s a masterclass in how musicals get made, told by a producer who turned chaos into *Guys and Dolls* and *How to Succeed in Business Without Really Trying*. Feuer’s voice crackles with the energy of a man who thrived on risk, whether gambling on untested talent or arm-wrestling studio execs for creative control. This isn’t a sanitized history; it’s a warts-and-all dispatch from the trenches of mid-century Broadway and Hollywood, where egos clashed, budgets ballooned, and sheer stubbornness birthed classics.

Robert Blumenfeld’s narration is the perfect match: his gravelly, knowing delivery channels Feuer’s mix of brash confidence and self-deprecating wit. The audiobook’s pacing mirrors Feuer’s own—brisk when recounting backstage coups, lingering on the personal stakes when deals sour or friendships fracture. What sets this apart is its unvarnished look at the *business* of art, where Feuer’s partnerships (especially with Ernest Martin) become a case study in creative alchemy—and occasional explosion. For theater lovers, it’s catnip; for aspiring producers, it’s a survival guide."

"review": "I’ll admit, I approached *I Got the Show Right Here* expecting a nostalgic stroll through Broadway’s golden age. Instead, I got a contact high from Cy Feuer’s adrenaline-fueled career—a man who treated producing like a high-stakes poker game. The audiobook’s strength lies in Feuer’s refusal to romanticize: he names names (including his own missteps), dissects flops with the same relish as hits, and reveals how *Cabaret* nearly collapsed under studio interference. Blumenfeld’s narration is a standout—his timing turns Feuer’s one-liners into punchlines, and he nails the producer’s signature blend of swagger and vulnerability. When Feuer describes haggling with Frank Loesser over *Guys and Dolls* royalties, Blumenfeld’s exasperated chuckle makes you feel like you’re eavesdropping on the call.

That said, the audiobook isn’t without flaws. Feuer’s tangents about his gambling habit and Hollywood social circle occasionally derail the momentum, and the final act rushes through his later years, as if he lost interest in his own story. The production, too, has a few odd edits where Blumenfeld’s tone shifts mid-sentence, jarring you out of the narrative. But these are quibbles. What lingers is Feuer’s hard-won wisdom: that great art often requires terrible behavior, and that the best producers are part artist, part hustler. If you’ve ever wondered how a musical actually gets to opening night—or why so many don’t—this is your backstage pass."

"tags": [
"broadway-insider-memoir