As Fred Ebb said in Colored Lights, “We survived Flora, and Jerry [Bock] and Sheldon [Harnick] could survive The Body Beautiful and go on to Fiddler.” That two giant steps forward, two times.
What was the show Kander and Ebb wrote after Flora, the Red Menace? That was Cabaret, and Fiddler is short for, of course, another Broadway masterwork, Fiddler on the Roof. In Colored Lights, Kander and Ebb discuss in the book their admiration for Andrew Lippa’s The Wild Party and reflect on the absence of a follow-up show, a serious concern they mention about today’s Broadway. As they say, “Flora flopped and without hesitation Hal [Prince] said, ‘Let’s go to work on Cabaret.’”
Success at anything comes only from experience. When I was a teacher, I did a lot of things well my first year teaching, but I also made many mistakes. I had to make those mistakes so that I could improve to become the teacher that I did become. Our musical theatre writers today need to stretch their legs on work before an audience in order to grow. As I’ve written before, Rodgers and Hammerstein worked on dozens of shows separately before they could present the groundbreaking Oklahoma!.
A successful director sees that in actors which the actors themselves cannot see. I love the story of Bob Fosse saying, right before his death, that he had figured out how to make Chicago into a movie and that he would win Madonna an Academy Award, the same Madonna who has been lambasted in many of her movies.
A producer must also do the same, see something in a project that perhaps many others can’t see, a vision to make the material better. They must also see something in the creative team that perhaps others can't see, like Hal Prince did with Kander and Ebb.
I think we, as a Broadway community, need to do the same when it comes to writers of musicals because for every Flora, the Red Menace there is a Cabaret, Chicago, and Kiss of the Spider Woman.
For me, one such score is Mindi Dickstein and Jason Howland’s Little Women, their adaptation that ran for 55 previews and 137 performances in the 2004-2005 season.
Yes, I have pinpointed in many different columns here about flaws in the show, and I think its short life on Broadway is an accurate measure of the show (as is its seeming regional success).
However, let’s not dismiss it altogether.
I actually bought the CD shortly before I attended the tour so that, afterwards, I would be ready to listen to it. I wasn’t overly thrilled about the show, but because I had already bought the CD, I listened to it. After just a few listens, however, I found myself wanting to hear it again and again. Yes, like many others, I immediately embraced “Astonishing” (a sort of anthem for me), but I then found the beauty and joy in the rest of the score. In fact, it’s now one of the shows I listen to fairly often.
I would highly encourage you to give the score a second chance as well because the songs do reveal themselves to be very catchy and tuneful, almost in an old school sort of way, as if they came from a Disney movie (and not just because Kim Scharnberg’s orchestrations have a very Beauty and the Beast feel to them).
Not only does it have the power ballad of “Astonishing,” but Dickstein and Howland work into the score a variety of styles. Often, the big dramatic scores of the past twenty years get criticized for sacrificing humor and charm for mood or emotion, but Little Women offers a score that is ripe with both. Look at “The Most Amazing Thing,” the song in which Amy and Laurie reveal their marriage, which exchanges the beautiful ballad with a fun and jaunty tune.
In addition to fun and jaunty and the power ballad, we are given a host of other song styles. Two of the best are Marmee’s solos, “Here Alone” and “Days of Plenty,” the latter of which is a moving and powerful testament to survival.
Other gems include the introductory “Our Finest Dreams,” which establishes all of the children and alternates between fun character antics and beautiful harmony. “I’d Be Delighted” is a really delightful number, as is “Five Forever,” the lively number in which the March girls welcome Laurie as one of their own.
There are three particularly beautiful numbers in Little Women. “Small Umbrella in the Rain” is a touching duet between Jo and Professor Bhaer, in which they express their love through their differences (united by their passion for life). Beth and Mr. Laurence get the simple “Off to Massachusetts,” which is amazingly catchy and a song I often find pleasantly running through my mind. And of course, Beth and Jo’s moving “Some Things are Meant to Be” never fails to move me, both for its simple but emotional melody and how beautifully the lyrics depict the beloved sisters as Louisa May Alcott wrote them.
It wasn’t apparent when you saw the show, but Dickstein’s lyrics are filled with exact rhymes and richness in thought. I particularly admire her use of the word astonishing, which takes a word we know but uses it in a way we wouldn’t normally hear it. By the time Jo is done with her song, it’s like a whole new word was invented.
Perhaps it’s best to say that where the score fails is in song placement, not in the melodies and lyrics themselves. In fact, the melodies and lyrics reveal great strength and potential. Perhaps in a show without such a classic story, with a different book-writer and director, Dickstein and Howland will find their place to shine.
Simply put, their Little Women score is way too melodic and enjoyable for them to be ignored.
The Broadway Mouth
April 9, 2008
Showing posts with label Fiddler on the Roof. Show all posts
Showing posts with label Fiddler on the Roof. Show all posts
Wednesday, April 9, 2008
Wednesday, October 10, 2007
Every Story is a Love Story: The Great Romantic Musicals (Part 2 of 2)
And now I present Broadway Mouth’s Top Ten Most Romantic Broadway Musicals.
10. Parade—Even though they are married, Leo and Lucille’s journey forces their awkward relationship to change. She can no longer be a weak Southern Belle, and he can no longer be completely self-sufficient. Through their incredible life circumstances, they both come to love each other passionately. Because of this “All the Wasted Time” is a beautiful expression of their newly re-discovered love.
9. Bells are Ringing—There’s something irresistible about Ella Peterson. She’s extremely cute in how she wants to help everyone and manages win over everyone no matter what she does. While Jeff Moss is falling madly in love with her, it’s hard for us not to as well.
There is also a firm foundation in their relationship. They both need each other. Jeff needs her to help him write his plays, and Ella needs him to have someone to love.
Bells are Ringing has what is probably the most romantic line in any musical, when Jeff says to Ella, “You’re a girl with a lot of love to give. Instead of spreading it around all over the place, give it to me. I need it. I want it.”
That’s like “You complete me” long before Tom Cruise.
8. The Sound of Music—The film adaptation is the quintessential romantic story (and my favorite movie since childhood), and it is also the only case where the movie actually improved upon the Broadway show. But just because the film improves upon the romantic factor by adding location scenes (as well as additional material and re-organizing the songs) which helps create a stronger bond between the children and Maria as well as strengthening the bond between Maria and the Georg, it doesn’t mean that the original stage version doesn’t succeed independently.
There is something incredibly romantic about a love story that includes incredible children. It’s probably part of the happily ever after factor (or in love forever factor) which is so important for a romantic story because here we have one giant happy family when all is said and done. It’s beautiful.
7. Fiddler on the Roof—In our society, we value the concept of love and romance, and yet, we have a huge percentage of love-based relationships ending in divorce. I love in Fiddler on the Roof when Tevye presses Golda to answer, “Do you love me?”
Her response sums it up quite well. She sings, “Do I love him? / For twenty-five years I’ve lived with him, / Fought with him, starved with him. / Twenty-five years my bed is his. / If that’s not love, what is?” Despite my postulations on what makes for a great romantic story, Golda has pretty much summed it up—It’s the daily expressions and motions, the shared experiences, and the drawing closer together that is really what love is about.
The romantic story is also augmented by the experiences of the three daughters. While they are young, they each make severe choices in following their loves, choices rooted in cause and purpose, rather than emotion and whims. You can safely assume that each of these daughters will live with a measure of struggle but also with a life companion to share her pains.
6. The Music Man—You have a conman wanting to take advantage of a seemingly simple small-town woman, even going so far as to praise Hester Prynne for her scarlet letter. However in attempting to woo her in order to deceive her, he falls head-over-heels for her Irish imagination, her Iowa stubbornness, and her library full of books.
Marion is no foolish small town chickie, so when she accepts him for what he’s done for the community in spite of his con, she’s making a conscious decision and not one rooted in romantic notions. It is only when he changes that she really falls for him.
Above all, we love Harold Hill despite his con, and we love Marion for her stubbornness. You can help but cheer for them in the end.
5. Kiss Me, Kate—Here are two titanic personalities who clearly love each other deeply but can’t risk the gamble to admit it. Because of their mutual hard-headedness (or maybe their mutual insecurities), they almost miss out on their chance to have each other forever. Their song “Wunderbar” is beautiful for what it develops, their relationship when they have their guard down. “So In Love” then becomes icing on the cake.
4. Aida—Opposites attract, and when those opposites become not-very-opposite and fall deeply in love, it’s romantic.
Like many great love stories, it starts with the characters. Aida is a wonderful character, and her strength and determination is sexier than however the woman may look who is playing her. Though Radames starts out a jerk, his change is heart makes him a respectable guy (also, we need to remember his kindness to a young Mereb which attests to his inner nice-guys beginnings).
Because we are presented with these two characters we inherently like, we root for their love. It begins as something physical, but it becomes a union of similar personalities, a one-in-a-kind sort of love. Their love is deep, which is defined through several songs, most powerfully “Written in the Stars,” which is passionate even though it is about parting forever.
And yes, I can hardly resist the ending in which they die in each others’ arms.
3. 1776—Here we have a peripheral love story of a married couple separated by many miles, and yet, Edwards and Stone give us several very romantic moments.
John and Abigail Adams have a relationship firmly founded on mutual love and respect, which is always sexy. He huffs and fumes, and she picks on him; it’s a relationship that can only be formed through years of marriage and love. And theirs is a love that has survived separation and strife, only to grow stronger. It’s beautiful when Abigail asks John about the women in Virginia, obviously troubled by the months apart, and, knowing his wife so well, he basically says, “Don’t worry. These women can’t hold a candle to you.” Similarly, when he is in his moment of desperation and everything seems to be caving in, she is there to build him up as well. When she ends the reprise of “Yours, Yours, Yours” with the sending of saltpetre, the subtext of the action is “I love you and believe in you.” That’s more romantic than a kiss or a touch.
If most stories with romance portray the much-desired search for love, then 1776 gives us the love we hope to have forever.
2. Guys and Dolls—While it’s not written as a love song, “Luck Be a Lady” is probably one of the most romantic songs ever to appear on a Broadway stage.
First of all, there’s a romance that develops from dishonorable circumstances which could forever split apart the lovers (and almost does). Sarah Brown is a very sweet and passionate woman who sincerely intends to go great things. I would argue that she is a very modern character. Sky Masterson, while a gambler, is a respectable and honorable fellow. He does take Miss Sarah to Havana and even gets her drunk (unintentionally I believe), but he never intends for it to be harmful. After he realizes that she has downed too many drinks, he takes care of her and keeps her from harm or embarrassment.
When Sarah thinks that Sky has used her and leaves him once they’ve both fallen in love, the audience’s heart aches for these two who people who earnestly love each other but could be forever parted because of a misunderstanding.
That’s why “Luck Be a Lady” is such a romantic song, because of the desperation in which it is sung. Sky realizes he has screwed things up (with Nathan’s help), and this is his one chance to fix things up and get her back.
1. Jane Eyre—I know this’ll be controversial, but I can’t think of a more romantic story ever (and I saw the stage version before I ever picked up the novel, so I didn’t enter the Brooks Atkinson with any novel-based expectations).
It starts with two strong characters. Jane may be ugly, but she is one of the most beautiful women in all literature. I love how strong Jane is. I admire greatly how she refuses to give in to her passions because she realizes that it would betray her conscience and her sense of self-worth. I stand in awe of how she refuses the Rochester family jewels as a sign of her independence and her refusal to lose herself in the signs of wealth. I also adore Jane for her love of knowledge and learning and how that has shaped her view of the world.
Rochester, while certainly flawed, is also a very endearing character in how he treats his women. This complex topic could be discussed in a multi-page analysis, which I’ll forgo, but the fact that he has done his best to take care of Bertha Mason and to honor his wedding vows despite the difficult circumstances in a time when the insane were discarded and locked up under cruel circumstances is very honorable. And while he does attempt the dishonorable by wedding two women, his intentions are pure in his desire to keep both respectable (in a “what you don’t know won’t hurt you” way) and in violating only his own soul.
There’s also romance at the heart of how they meet and live. They both deeply love each other but cannot express it out of fear—Jane’s fear for her appearance and lowly position and Rochester’s fear of his dark secret and Jane’s youth. Then when they finally cross that hurdle, they are almost torn apart forever—each still singularly attached to the other—until a Providential intercession unites them forever. Their love for each other is rich and rooted. Even when circumstances change—Rochester is disfigured and Jane inherits great wealth—their love survives because it springs from their equality in spirit and intellect, their enjoyment of the company of the other.
It doesn’t get much better than this. It really doesn’t.
the Broadway Mouth
October 10, 2007
10. Parade—Even though they are married, Leo and Lucille’s journey forces their awkward relationship to change. She can no longer be a weak Southern Belle, and he can no longer be completely self-sufficient. Through their incredible life circumstances, they both come to love each other passionately. Because of this “All the Wasted Time” is a beautiful expression of their newly re-discovered love.
9. Bells are Ringing—There’s something irresistible about Ella Peterson. She’s extremely cute in how she wants to help everyone and manages win over everyone no matter what she does. While Jeff Moss is falling madly in love with her, it’s hard for us not to as well.
There is also a firm foundation in their relationship. They both need each other. Jeff needs her to help him write his plays, and Ella needs him to have someone to love.
Bells are Ringing has what is probably the most romantic line in any musical, when Jeff says to Ella, “You’re a girl with a lot of love to give. Instead of spreading it around all over the place, give it to me. I need it. I want it.”
That’s like “You complete me” long before Tom Cruise.
8. The Sound of Music—The film adaptation is the quintessential romantic story (and my favorite movie since childhood), and it is also the only case where the movie actually improved upon the Broadway show. But just because the film improves upon the romantic factor by adding location scenes (as well as additional material and re-organizing the songs) which helps create a stronger bond between the children and Maria as well as strengthening the bond between Maria and the Georg, it doesn’t mean that the original stage version doesn’t succeed independently.
There is something incredibly romantic about a love story that includes incredible children. It’s probably part of the happily ever after factor (or in love forever factor) which is so important for a romantic story because here we have one giant happy family when all is said and done. It’s beautiful.
7. Fiddler on the Roof—In our society, we value the concept of love and romance, and yet, we have a huge percentage of love-based relationships ending in divorce. I love in Fiddler on the Roof when Tevye presses Golda to answer, “Do you love me?”
Her response sums it up quite well. She sings, “Do I love him? / For twenty-five years I’ve lived with him, / Fought with him, starved with him. / Twenty-five years my bed is his. / If that’s not love, what is?” Despite my postulations on what makes for a great romantic story, Golda has pretty much summed it up—It’s the daily expressions and motions, the shared experiences, and the drawing closer together that is really what love is about.
The romantic story is also augmented by the experiences of the three daughters. While they are young, they each make severe choices in following their loves, choices rooted in cause and purpose, rather than emotion and whims. You can safely assume that each of these daughters will live with a measure of struggle but also with a life companion to share her pains.
6. The Music Man—You have a conman wanting to take advantage of a seemingly simple small-town woman, even going so far as to praise Hester Prynne for her scarlet letter. However in attempting to woo her in order to deceive her, he falls head-over-heels for her Irish imagination, her Iowa stubbornness, and her library full of books.
Marion is no foolish small town chickie, so when she accepts him for what he’s done for the community in spite of his con, she’s making a conscious decision and not one rooted in romantic notions. It is only when he changes that she really falls for him.
Above all, we love Harold Hill despite his con, and we love Marion for her stubbornness. You can help but cheer for them in the end.
5. Kiss Me, Kate—Here are two titanic personalities who clearly love each other deeply but can’t risk the gamble to admit it. Because of their mutual hard-headedness (or maybe their mutual insecurities), they almost miss out on their chance to have each other forever. Their song “Wunderbar” is beautiful for what it develops, their relationship when they have their guard down. “So In Love” then becomes icing on the cake.
4. Aida—Opposites attract, and when those opposites become not-very-opposite and fall deeply in love, it’s romantic.
Like many great love stories, it starts with the characters. Aida is a wonderful character, and her strength and determination is sexier than however the woman may look who is playing her. Though Radames starts out a jerk, his change is heart makes him a respectable guy (also, we need to remember his kindness to a young Mereb which attests to his inner nice-guys beginnings).
Because we are presented with these two characters we inherently like, we root for their love. It begins as something physical, but it becomes a union of similar personalities, a one-in-a-kind sort of love. Their love is deep, which is defined through several songs, most powerfully “Written in the Stars,” which is passionate even though it is about parting forever.
And yes, I can hardly resist the ending in which they die in each others’ arms.
3. 1776—Here we have a peripheral love story of a married couple separated by many miles, and yet, Edwards and Stone give us several very romantic moments.
John and Abigail Adams have a relationship firmly founded on mutual love and respect, which is always sexy. He huffs and fumes, and she picks on him; it’s a relationship that can only be formed through years of marriage and love. And theirs is a love that has survived separation and strife, only to grow stronger. It’s beautiful when Abigail asks John about the women in Virginia, obviously troubled by the months apart, and, knowing his wife so well, he basically says, “Don’t worry. These women can’t hold a candle to you.” Similarly, when he is in his moment of desperation and everything seems to be caving in, she is there to build him up as well. When she ends the reprise of “Yours, Yours, Yours” with the sending of saltpetre, the subtext of the action is “I love you and believe in you.” That’s more romantic than a kiss or a touch.
If most stories with romance portray the much-desired search for love, then 1776 gives us the love we hope to have forever.
2. Guys and Dolls—While it’s not written as a love song, “Luck Be a Lady” is probably one of the most romantic songs ever to appear on a Broadway stage.
First of all, there’s a romance that develops from dishonorable circumstances which could forever split apart the lovers (and almost does). Sarah Brown is a very sweet and passionate woman who sincerely intends to go great things. I would argue that she is a very modern character. Sky Masterson, while a gambler, is a respectable and honorable fellow. He does take Miss Sarah to Havana and even gets her drunk (unintentionally I believe), but he never intends for it to be harmful. After he realizes that she has downed too many drinks, he takes care of her and keeps her from harm or embarrassment.
When Sarah thinks that Sky has used her and leaves him once they’ve both fallen in love, the audience’s heart aches for these two who people who earnestly love each other but could be forever parted because of a misunderstanding.
That’s why “Luck Be a Lady” is such a romantic song, because of the desperation in which it is sung. Sky realizes he has screwed things up (with Nathan’s help), and this is his one chance to fix things up and get her back.
1. Jane Eyre—I know this’ll be controversial, but I can’t think of a more romantic story ever (and I saw the stage version before I ever picked up the novel, so I didn’t enter the Brooks Atkinson with any novel-based expectations).
It starts with two strong characters. Jane may be ugly, but she is one of the most beautiful women in all literature. I love how strong Jane is. I admire greatly how she refuses to give in to her passions because she realizes that it would betray her conscience and her sense of self-worth. I stand in awe of how she refuses the Rochester family jewels as a sign of her independence and her refusal to lose herself in the signs of wealth. I also adore Jane for her love of knowledge and learning and how that has shaped her view of the world.
Rochester, while certainly flawed, is also a very endearing character in how he treats his women. This complex topic could be discussed in a multi-page analysis, which I’ll forgo, but the fact that he has done his best to take care of Bertha Mason and to honor his wedding vows despite the difficult circumstances in a time when the insane were discarded and locked up under cruel circumstances is very honorable. And while he does attempt the dishonorable by wedding two women, his intentions are pure in his desire to keep both respectable (in a “what you don’t know won’t hurt you” way) and in violating only his own soul.
There’s also romance at the heart of how they meet and live. They both deeply love each other but cannot express it out of fear—Jane’s fear for her appearance and lowly position and Rochester’s fear of his dark secret and Jane’s youth. Then when they finally cross that hurdle, they are almost torn apart forever—each still singularly attached to the other—until a Providential intercession unites them forever. Their love for each other is rich and rooted. Even when circumstances change—Rochester is disfigured and Jane inherits great wealth—their love survives because it springs from their equality in spirit and intellect, their enjoyment of the company of the other.
It doesn’t get much better than this. It really doesn’t.
the Broadway Mouth
October 10, 2007
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