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This chapter focuses on Jerry Herman's career and personal life after La Cage aux Folles. It explains that after this musical, Herman paid special attention to the many older women from his mother's circle, who were now in their seventies, and describes his meeting with Marty Finkelstein, who would be the greatest love of his life. The chapter also discusses his work on the musical Jerry's Girls in 1985.

This chapter presents background information on Jerry Herman's childhood and education. It discusses Herman's recollection that it was his mother who fostered his music and who insisted on him studying how to play the piano. The chapter explains that Herman was born Gerald Sheldon Herman on 10 July 1931 and was surrounded by strong women, who nurtured him throughout his growing years. It considers his decision to study at the University of Miami, which had an avant-garde theater department for its time.

This chapter focuses on Jerry Herman's experience in college and after his graduation. It explains that Herman's education at the University of Miami taught him various aspects of the theater including built scenery and lighting effects, and that he also joined the school's dramatic society and the Zeta Beta Tau. After graduation Herman was drafted in the army, worked in cocktail lounges, and finished the revue titled Parade in 1960.

This chapter examines the work of Jerry Herman. It begins with an extended commentary of his career, followed by details on productions, with data and song information. Herman grew up in Jersey City, son of a summer-camp owner. A self-taught musician Herman started training as an interior designer at the Parsons School of Design before switching to drama at the University of Miami. Returning to New York after graduation, Herman brought along a college revue backed by fans from Miami.

This chapter focuses on Jerry Herman's 1983 musical La Cage aux Folles, which was based on Jean Poiret's 1973 French play of the same title. It discusses the plot and describes some of the songs composed by Herman for the musical, which starred George Hearn and Gene Barry, and which also won the Tony Award for Best Musical. The chapter furthermore mentions Herman's work on the musical A Day in Hollywood/A Night in the Ukraine.

This chapter focuses on the negative review of the previews of Jerry Herman's musical Hey Dolly!. It describes producer David Merrick's meeting with Herman, Michael Stewart, and Freddie Wittop in order to make significant improvements to the production, mentioning that even director Gower Champion thought that the musical needed “repair.” The chapter describes the changes that made the musical a staple of high school and college productions.

This chapter examines the genesis and inspiration for Jerry Herman's musical Milk and Honey. It explains that there are different versions about the origins of the musical, including suggestions from Priscilla Morgan and librettist Don Appell. The chapter discusses Herman and Appell's travel to Israel to observe life there, where they were impressed the kibbutzim, the thriving farms, and desert settlements, and also describes Herman's musical Madame Aphrodite.

This chapter focuses on Jerry Herman's 1974 musical Mack and Mabel. It explains the plot and describes some of the songs included in the musical, which starred Robert Preston as Mack and Bernadette Peters as Mabel. The chapter also discusses the challenges in the production of the musical and mentions that it received eight Tony Award nominations, including Best Musical, though it did not won any.

This chapter focuses on the determination of American composer and lyricist Jerry Herman to succeed despite the failure of Parade, highlighting the success of his musical Milk and Honey, which opened in November 1961 and was his Broadway debut as a composer-lyricist. It also mentions that Milk and Honey was nominated for a Tony Award as Best Musical and discusses the success of the 1964 musical Hello Dolly!.

This chapter focuses on Jerry Herman's 1974 musical The Grand Tour. It explains that the musical was based on S. N. Behrman's adaptation of Jacobowsky and the Colonel, which had been successfully presented on Broadway in 1943 and in 1958. The chapter discusses the plot and describes some of the songs composed by Herman for the musical, which starred Joel Grey and Ron Holgate.

This chapter focuses on Jerry Herman's musical Dear World. It explains that the musical was based on the play The Madwoman of Chaillot, and that Herman worked with librettists Jerome Lawrence and Robert E. Lee for the musical. The chapter describes some of the songs included in the musical, which starred Angela Lansbury and Jane Connell.

This chapter focuses on the success of Jerry Herman's musical Mame. It explains that the musical had a budget of $500,000 and that, although the reviews were not uniformly sterling, entire investment was recovered in twenty-four weeks and it was nominated for, and won, several Tony Awards. The chapter also discusses the production of the film adaptation of the musical, which was also produced by Robert Fryer and released in 1974.

This chapter focuses on the challenges in the preparation for the production of Jerry Herman's musical Hello, Dolly!. It provides background information on producer David Merrick and discusses his problems with the casting for the musical after some stars including Ethel Merman declined to play the lead role. The chapter considers some of the proposed directors for the musical and the eventual selection of Gower Champion. It also mentions that the musical was initially titled Dolly: A Damned Exasperating Woman.

This chapter focuses on Jerry Herman's musical Mame. It explains that the musical was based on Patrick Denis' 1955 novel Auntie Mame: An Irreverent Escapade, and on Jerome Lawrence and Robert Edwin Lee's 1956 Broadway play. The chapter discusses producers Robert Fryer and Lawrence Carr's ideas about the musical, and describes the music and lyrics created by Herman for it.