30 Musicals in 30 Days: Long Time No See

Post a song from a musical that you haven’t listened to (or seen) in a while.

There are many of these. Which should I choose? I think I’ll go with Merrily We Roll Along, the musical flop that basically ended the till then unfaltering collaboration between Stephen Sondheim and Harold Prince until they briefly came together during the development of the musical that would become Road Show. People have different opinions on why Merrily We Roll Along didn’t work in 1981. The score is almost universally acknowledged to be fantastic, so that is rarely cited as the reason. Some people blame the book, either because of its structure or because of some perception of its overall quality. Well, sure, perhaps the book wasn’t all it could be, but its not bad enough for the show to have been the kind of flop it was. The blame, I’m afraid, lies chiefly on Harold Prince who himself has admitted in interviews that the show stumped him. Looking at video material that exists of the original production, it’s clear that this is true. A pity – although a time will come, I hope, when a major revival of this show gives it the success it deserves.

The clip isn’t of the best quality, but it is from the original production – a number now excised from the score, “Rich and Happy”:

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30 Musicals in 30 Days: Love at First Note

Post a song from a musical that you loved from hearing the first note.

Today I am going to post a song from one of my big musical obsessions: Arthur Laurents and Stephen Sondheim’s Gypsy. Gypsy begins with one of those overtures that vies for the top spot of ‘Best Overture of All Time’. It is electric. The score then moves through so many fantastic numbers: “Some People”, “Everything’s Coming Up Roses” (you have to love Jerome Robbins’s objection to the song’s title: ‘I mean, everything’s coming up Rose’s what?), “Together Wherever We Go” and “Rose’s Turn” among them. What is remarkable about Gypsy is that every single number is essential, even those that appear to be throwaways (“Little Lamb”) or frivolous nonsense (“All I Need is the Girl”, “Have an Eggroll, Mr Goldstone”). Lose one number and the show loses something.

There have been many Roses, including Ethel Merman, Tyne Daly, Bette Midler, Bernadette Peters and Patti LuPone. Best of the bunch for me is Angela Lansbury and it is Lansbury who appears in the clip below:

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30 Musicals in 30 Days: An All Day Listen

Post a song from a musical you could listen to all day.

There are lots of musicals that I could listen to all day. One of them is Robert Lopez, Jeff Marx and Jeff Whitty’s Avenue Q. There are lots of things that potentially attract one to this show: the comedy, the puppets, the parody and so on. But what makes in a keeper in the CD player is the catchiness of the score, both in terms of its lyrics and music. Because it is a parody of the kind of songs one might find in Sesame Street, the songs sound familiar even when you hear them for the first time. Of course, they are incredibly clever in the way that they pastiche the kinds of songs on which they are based. Avenue Q is the kind of cast album that I sometimes keep playing in my car for a week without changing it.

The song I’ve chosen is one of my favourites in the show, the hysterically funny “Everyone’s a Little Bit Racist”:

(My other favourites are: “It Sucks to Be Me”, “Purpose”, “The Internet is for Porn”, “If You Were Gay”, “I Wish I Could Go Back to College”…. Hmmm… This could go on for a while….)

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30 Musicals in 30 Days: Musical Impact

Post a song from the musical which made the most impact on you.

I had to think hard about this one – and then realised that the answer wasn’t so far out of my grasp after all. The musical that made the most impact on me was a production of Peter Pan that I saw when I was in primary school. The production included some songs from the Disney film – notably “The Second Star to the Right”, which was sung as a lullaby to the Darling children, as well as other songs. Why this production? Well, it was this show that sealed the deal for me when it came to musicals. After this show, I started taking drama classes. I took my music lessons more seriously (though, alas, not seriously enough). I played out scenes from the show in my garden with my sister and neighbours for months afterwards. So here is the song I remember most well from that show, in the version heard in the Disney film from whence it came:

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30 Musicals in 30 Days: Least Favourite Musical

Post a song from your least favourite musical.

This is another tough one to choose. Obviously, there are lots of bad musicals out there. But is that what the challenge is asking for here? A bad musical? I feel indifferent about so many bad musicals, so I’m not sure. For that reason I’ve stuck with a musical that I think really may be my least favourite: Andrew Lloyd Webber and Charles Hart’s The Phantom of the Opera. So many people – and the marketing machine behind the show – will tell you what a romantic, tragic show The Phantom of the Opera is. I don’t buy it. When I saw it, I thought it was a rather empty piece of theatre. A friend of mine turned to me afterwards and said, “I’m left feeling rather unsatisfied by that theatrical meal.” And I had to agree with her. Yes, there is some lovely music. Yes, the design is absolutely gorgeous. Yes, Harold Prince’s staging rescues the show from being completely abysmal. Yes, it has run for decades. Does any of this make the characters more complex than they are – or rather, as complex as they should be? Does any of it make the lyrics any better? If this show were a gift, there would be lots of wrapping on the box. You would open up the box and sift trough layers of beautifully pressed tissue paper as you look for the gift itself. But if you managed to find the gift, then you would be disappointing. What’s inside simply doesn’t live up to the promise of the wrapping and the trimming.

The video I’ve chosen to represent this show is from the Tony Awards and includes a snippet of the title song and “The Music of the Night”.

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30 Musicals in 30 Days: A Familiar Musical

Post a song from a musical of which you know all (or nearly all) the lines.

There are certainly a few of these. The Sound of Music is one – and I sing through all of the songs while I’m running. I think I run about 13km in the time it takes me to sing through the score. Another is Marry Me a Little, in which I performed a couple of years ago. However, for today’s musical I am going to choose my favourite Rodgers and Hammerstein musical: South Pacific. I love this show dearly and I think it is probably the Rogers and Hammerstein show that will endure the longest. I once played Joe Cable in this show and loved every minute of the process. Which song should I pick? I toyed with choosing the song cut from the original production, “My Girl Back Home”, which was re-instated in the film and in the recent revival. But ultimately I chose what, for me, is the most moving song in the show, “This Nearly Was Mine”. Here it is, sung by Paulo Szot, who played Emile to Tony Award winning-effect on Broadway just a couple of years ago:

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INTERVIEW: Sondheim in AMERICAN THEATRE

FINISHING THE HAT

To purchase Stephen Sondheim's FINISHING THE HAT, click on the image above.

American Theatre has published a really interesting interview with Stephen Sondheim in this month’s edition of the journal. Titled “A Playwright in Song”, the interview deals with his work, his influences, the dramatic language of musicals, pop and rock music, hip-hop, directors, his writing methods and the future of the theatre, about which he states:

It’s an interesting read – enjoy it!

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30 Musicals in 30 Days: Favourite Male Singer

Post a song sung by your favourite male singer in a musical.

This was much tougher than yesterday’s challenge. I can think of so many male singers: John Barrowman, Brian Stokes Mitchell, John Raitt, for starters. But there is not one for whom I feel the same kind of affinity that I did when Audra McDonald sprang to mind yesterday. So I am going to name someone from the left field today: Cito Otto. I have seen him in Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar and Tim Rice, Björn Ulvaeus and Benny Andersson’s Chess. He was fantastic in both and, as I saw both shows several times, I can also say that he was consistently fantastic in both. I have not heard a “Pity the Child” that can top his. Unfortunately, YouTube disappoints and I can’t find any video footage of that number. What is on offer are clips from two numbers from Jesus Christ Superstar, a production to which Cito is returning next month. I am sure his vocals will still be breathtaking.

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30 Musicals in 30 Days: Favourite Female Singer

Post a song sung by your favourite female singer in a musical.

The name that immediately springs to mind is Audra McDonald. Bernadette Peters arrives next, but McDonald was here first and she really is, at this point in time, my favourite vocalist when it comes to musical theatre songs. But what clsip should I choose? Everything that this woman sings is stunning! Her work on Ragtime is phenomenal; her covers of Sondheim songs – including her performance of “The Glamorous Life” at the recent 80th birthday concert – are so incredibly moving; her covers of standard Broadway songs often uncover new layers of meaning; and her work on new material created specifically for her by the post-Sondheim generation of musical theatre threatre-makers is definitive. I love listening to the song cycle based on the seven deadly sins created for her by a diverse group of composers and lyricists, so perhaps I should find something from that? Or perhaps it should be a song from her upcoming turn as Bess?

Ultimately, I have turned to a performance of Harold Arlen and E. Y. Harburg’s “Down With Love” from Hooray for What!, performed at My Favorite Broadway: the Leading Ladies. After a nice, easy start, McDonald cranks the song into a high gear tour de force with a few nods to a couple of other showtunes along the way.

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INTERVIEW: Joanna Gleason on BROADWAYWORLD

INTO THE WOODS

To purchase the DVD of the original Broadway production of INTO THE WOODS, click on the image above.

Joanna Gleason, the Canadian, Tony Award-winning musical theatre actress who originated the role of the Baker’s Wife in Stephen Sondheim and James Lapine’s Into the Woods, has just done an interview with BroadwayWorld in which she admits that Into the Woods was her favourite musical of the ones in which she’s appeared. On Broadway, these total only two – Nick and Nora and Dirty Rotten Scoundrels – but the singer-actress has performed in musicals since her schooldays at Beverly Hills High School. It’s an interesting read and , although there’s no other mention of Into the Woods, Gleason also mentions other Sondheim roles she would like to do and roles she would like to have done:

I’m gonna wait around and play Mme. Armfeldt one of these days. Probably sooner than later. I love that. I’m pretty happy with the role I played, the Baker’s Wife. And of course there’s any number of roles in Company when I was younger that would have been fun to do. Desirée would have been fun to do. Actually, Mrs. Lovett would have been fun to do, but I don’t…you know, I’ll tell you something, there’s a difference between being able to do something on stage – many of those roles, I know that I could do – but there’s also brilliant casting and I don’t know that in some of the roles I’d be brilliant casting, but I’d be terrific casting, do you know what I’m saying? There is something that I’ve begun to know in the last ten years about what I’m right for and what I would just be good in, but there are roles that you’d be right for and not right for, not more right for than somebody else.

Age-wise, is it realistic to think that only Mme. Armfeldt is left for her? She’s 60 – but she certainly didn’t look it in the Sondheim birthday concert last year and I think she could still do a marvelous Mrs Lovett (and, come to that, a lovely Desiree) in the right setting. Maybe she feels that a role like Mrs Lovett would be too physically taxing for her or something like that? What about Follies – I could see her being great in a role in that show.

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