SING ME A HAPPY SONG

Awhile ago, Georgia Stitt posed the question to her readers one she was asked during an interview: What are your 12 all time favorite musical theatre songs? This got me thinking and I realized that as much as I love musicals, that I think my own exposure is quite limited. Actually, I had a really hard time coming up with my own favorites and noticed that though I own quite a few cast albums, in the grand scheme of things, I really don't. Regardless, I thought I would indulge in something slightly obsessive and fun...like my own list of songs. In no particular order...and also, this is not my list of "all time" but rather my list of the moment or rather some of my favorite Sondheim songs with a few other sprinkled in. Actually I kept adding then removing songs...otherwise this list would have almost entirely been all Sondheim!

• Loving You (from Passion): The song is simple, short and haunting. During my musical theatre "rebirth" while in high school...this song caught my ear and was one of the ones that made me want to really discover Sondheim.

• Music of Heaven: Its really not so much a musical theatre song, but a song that I really relate to. I posted about it awhile back and everytime I hear it (which is quite often), it makes me think about life/religion/music etc.

• How Could I Ever Know (from The Secret Garden): This musical is based on Frances Hodgson Burnett's classic work. It is lovingly sung by the ghost of Lily to her husband: "How could I know I would have to leave you/How could I know I would hurt you so/You were the one I was born to love/Oh how could I ever know?/How could I ever know." It is probably the most heartbreaking songs I know and equally beautiful.

• Love to Me (from The Light in the Piazza): Again, I posted about this song before from my favorite modern musical by Adam Guettel (grandson of the legendary Richard Rodgers). The song is simple, straightforward and lovely and perfect.

• The Schmuel Song: (from The Last Five Years): Quite simply a great song: great structure, great melody, great story-telling and well written.

• This Nearly Was Mine (from South Pacific): Its sappy and quite simply, I've always loved it.

• Meadowlark (from The Baker's Wife): The quintessential alto audition song, but I always loved the story it told.

• The Miller's Son (from A Little Night Music): What I love about Sondheim is how he can so beautifully construct a set of lyrics. I think I've always loved the alliteration in this song...and so effective!

• I Remember (from Evening Primrose): has got to be one of the most beautifully descriptive songs. Its gorgeous, I love it!
  

• Soliloquy (from Carousel): The best and most honest inner monologue. Nobody does it like John Raitt.
  
  
• Tomorrow (from Annie): My musical theater obsession began with a red headed orphan named Annie and the rest as they say is history. As a little girl, I sung this more often than I think any other song anywhere and everywhere I could.

NOBODY'S PERFECT

Another Openin', Another Show. Well, I recently attended the press opening of one of my favorite shows, The Last Five Years. As much as I heart JRB, I have to say this was a terrible production. Of course it's not his fault this show was nails-on-a-chalkboard awful but it stunk nonetheless (I blame the director, actors & musical director...typical people to blame). Anyway, I wrote my review on Broadwayworld.com, so check it out here.

I've written about The Last Five Years more than a few times before: read about it here.

PRETTY MUSIC

It's no secret that I just adore the work of Jason Robert Brown. I've written plenty of posts about his shows, songs, lyrics etc. It seems everytime I really listen to any of his music, I find new reasons to love his songs. With each listen, I discover new ways of interpreting the lyrics and sometimes, I even find a new understanding of myself.

There are times when a set of lyrics are particularly striking to me upon first listen and that is when I really take notice of a song. If I am hearing a show for the first time on CD (which throughout the years has often been the case) I fully immerse myself in what I am hearing. I tend not to listen to a show superficially, because when I listen to it for the first time, I want to be completely attentive and present. Sometimes I think the attention I pay to lyrics is the same attention I paid to poetry in all of my English Lit classes in college. Yet when they are song lyrics, you interpret and judge the song not only with your head but with your heart because music is something you feel.

For as much as I love Sondheim, in some ways, I think I love the work of JRB even more because his music strikes a chord in my soul. I realize this sounds super cheezy, but when I hear his music and read his lyrics, the way I relate to it comes from somewhere deep within me. Maybe this is why after two years, I can still listen to The Last Five Years and each time, find a new understanding of the show. JRB's work fascinates me -- it is fresh, interesting, thought provoking, intelligent, what Broadway needs and one of the reasons I love musical theatre so much.

I first heard about JRB when Parade was nominated for a Tony Award in 1999, yet I've never heard the score in it's entirety (until now, I just purchased it on iTunes). I'm amazed though that I never heard any of his work until I discovered The Last Five Years. Now it seems that I prefer listening to almost anything written or performed by JRB. I've yet to listen to anything that he's written that I don't like or appreciate. I've been listening to his CD, Wearing Someone Else's Clothes a lot these days and this week, my JRB song du jour is Someone to Fall Back On. I was just reading a review in which someone said this might just be the most honest love song they've heard. I agree. It's simply beautiful, honest...a great song.

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SOMEONE TO FALL BACK ON
~Jason Robert Brown

I’ll never be
A knight in armor
With a sword in hand,
Or a kamikaze fighter;
Don’t count on me
To storm the barricades
And take a stand,
Or hold my ground;
You’ll never see
Any scars or wounds -
I don’t walk on coals,
I won’t walk on water:
I am no prince,
I am no saint,
I am not anyone’s wildest dream,
But I can stand behind
And be someone to fall back on.

Some comedy -
You’re bruised and beaten down
And I’m the one
Who’s looking for a favor.
Still, honestly,
You don’t believe me
But the things I have
Are the things you need.
You look at me
Like I don’t make sense,
Like a waste of time,
Like it serves no purpose -
I am no prince,
I am no saint,
And if that’s what you believe you need,
You’re wrong - you don’t need much,
You need someone to fall back on...

And I’ll be that:
I’ll take your side.
If I’m the only one,
I’m used to that.
I’ve been alone,
I’d rather be
The half of us,
The least of you,
The best of me.
And I will be
Your prince,
I’ll be your saint,
I will go crashing through fences
In your name. I will, I swear -
I’ll be someone to fall back on!
I’ll be the one who waits,
And for as long as you’ll let me,
I will be the one you need.
I’ll be someone to fall back on:
Your prince,
Your saint,
The one you believe you need
I’ll be - I’ll be
Someone to fall back on.

THE MOST AMAZING THING

Shows come and go on Broadway -- some are meaningful and stick with you, some (many) are easily forgettable. As with film or TV, it isn't always the show that sticks out and makes an impression as much as the actors who embody the characters. Unsuccessful or semi-successful shows have outlasted their estimated length of survival due in part to the break-out stars of these shows. In my mind, there are two actors whose work was recognized and became "break out stars" of their respective shows -- Kristin Chenoweth in You're A Good Man Charlie Brown, and Sutton Foster in Thoroughly Modern Millie.

I can't always put into words the reasons why I go to the theatre or why it is so inspiring. Sometimes, it is a feeling, other times it is the power of the music and the story. If you are lucky, you will experience a phenomenal actor's interpretation of a show and understand how powerful live performance can be. I think the most charasmatic actor on (or on-her-way-back-to) Broadway is hands down, Sutton Foster.

Foster first caught my attention when she performed "Gimmie, Gimmie" from Thoroughly Modern Millie on The Rosie O'Donnell show. Her voice impressed me not only because of it's beauty but there is infectous power and energy behind each word she sings. Foster has become a true Broadway star and one that the Great White Way has needed. It's been a long time (in my opinion) since Broadway has had a true "It Girl." The last name that comes to mind is Bernadette Peters...and it was quite awhile ago when she first burst on the scene. The talent that exists on and off-Broadway is so enormous it really is hard to pinpoint someone whose talent is truly extraordinnary but when that happens, it's hard to ignore and people can't help but to pay attention.

It is no surprise when Foster was nominated for a Tony Award in 2003 for Thoroughly Modern Millie. To say Foster deserved the award is an understatement. With every note she sang and every step she danced, it was obvious that she was 150% commited to her role of Millie Dillmount and easily embodied this character and it showed. Foster went from a "no-name" understudy during the out-of-town-tryouts for the show to the lead and became a star -- it is as if her experience came directly from the plot of 42nd Street!

Broadway producers and bookers I'm sure were counting on the star power of the name Sutton Foster when Little Women opened in January 2005 at the Virginia Theater. Her name even topped the marquee above theater vet Maureen McGovern! Though the show didn't last long on Broadway, the Tony nominating committee recognized the quality of Foster's acting ability when they honored her with a nomination for her role of Jo in Little Women (the only nod the show received). Though the show was less than stellar, it was again Foster who stole the show and who I believe kept it afloat for the entire 5 months it ran on Broadway.

Seeing Sutton Foster's performance in Little Women pretty much defines the reason I go to the theatre. Sitting in the audience as she made her enterance was magical -- I don't think I have ever been so anxious to see an actor in a show. As she sung her first note, you could feel the energy and enthusiasm exuding from her soul. As an actor, she is truly powerful and the independent head-strong Jo in Little Women was a great choice following her Thoroughly Modern Millie success. Let it be known that I will never be able to say enough great things about Sutton Foster except for her choice of taking on the role of Janet in the Drowsy Chaperone.

I saw Drowsy Chaperone during it's L.A. run at the Ahmanson Theatre and it was as the title says, at best, a drowsy experience. As I sat impatiently for the 90 minutes of the non-sensical show, I couldn't figure out why any of these actors (Foster in particular) wanted to be in it. It is a show about musicals in which only true Broadway-philes could appreciate, but even then...some (including me) might not think so highly of it.

If you are lucky, you will see her perform and surely your life will be changed on some level, if only even for the two hours you join her in the theatre. It is so obvious that she is commited 150% to her roles and performances. There is something about her...beyond her charisma that I can't explain, but reminds me of the person I used to be a long time ago...and the person I should be again (on some level). She's got passion and drive that is actually contagious. And yes, it's not only Sutton, but the island of Manhattan that gives me that same drive...but I digress.

Funny, because seeing Sutton Foster reminded me that once upon a time, I wanted to be an actress on stage. I didn't want to act for fame or fortune, but for the experience to embody someone else emotionally. There was something about getting into the head of another person/character that intrigued me so and the way they were able to convey their emotions through song. When I was 5, I wanted to be Annie and belt out Tomorrow at the top of my lungs. Since then, there has always been a character throughout the years who intrigued me. In high school, I wanted to be Christine in POTO or Kim in Miss Saigon but it was the role of Cathy in The Last Five Years that has so much emotion and depth and I think is an incredible role and character. I won't admit how long I have been listening to the CD (not continuously) but each time, I gleam something different from the character, the show, the music -- simply amazing.

I'm not an actress, I probably will never be one, but if I could pick a role right now to do, I think it would have to be Cathy in The Last Five Years. It is an amazing role, JRB writes fantastic music, an even more fantastic role. There is so much to learn about the character that even as a listener I discover new aspects of over and over no matter how many times I listen to it. Can you imagine as an actor the levels of discovery? AMAZING!

MY FAVORITE THINGS: THE LAST FIVE YEARS

Ok, so being the big musical theatre geek (a title I wear with pride) that I am, I figure it could be interesting (for me and very few others) to feature some of my favorite musicals on my blog. Why does one care? Well, I don't expect "one" to care, but why not bring some awareness and free publicity to shows that have made an impact on me.

The show that has made a lasting impression since the moment I heard a bootleg copy (two years ago), is my "pal" Jason Robert Brown's, "The Last Five Years." The show is a brilliant portrayal of a marriage told from two angles. When the show begins, the audience sees the end of a marriage from the woman's point of view. As the story progresses, we see the relationship working back in time to the point when the couple first meet. Concurrently, from the man's point of view, we follow in chronological order, the story of the relationship from the first meeting to the end of the marriage. At no point during the entire show do the stories intercept, except in the middle of the show, at the pinnacle of their relationship, their wedding. TL5Y is the freshest, smartest, most ingenious show I've heard and seen...I think ever. I've been faithfully listening to the cast recording of this off-Broadway show for the last two years and everytime I listen to it, in it's entirety, I hear and learn something new from the characters. The music is beautifully written, allowing listeners to fully understand the emotions of Catherine Hiatt and Jamie Wellerstein. TL5Y is funny, touching, beautiful and heartbreaking and after each listen, you don't know which is the stronger emotion because they all equally resonate in your mind.

What is interesting, is that I came upon TL5Y purely by accident. I was given a bootleg copy of the show in 2003, while intending to receive another cast recording. I was willing to give this show a listen since the writer was Tony Award winning composer, JRB (for his score to Parade in 1999). I had only heard positive remarks about his work, particularly the comment that JRB was the modern day answer to Stephen Sondheim. It is hard to believe that anyone could be justifably compared to Sondheim, but JRB is a fair and obvious successor to the modern day musical theatre throne.

Upon my initial listen, I was drawn to TL5Y, intrigued by what I thought was a simple, intimate show with only two characters telling one story. How wrong I was. Yes, the show only had two characters, but the feelings from them were deep and complex. Any relationship is hardly simple, and neither was the one between Cathy and Jamie. I remember the song, “See I’m Smiling” in particular because of the depth and range of emotion. From the moment Cathy sings, “See, I’m smiling/That Means I’m happy/that you’re here” to the lyric, “And see I’m crying/And not do anything at all…” you can just hear the pain in between her optimism towards the marriage and Cathy’s realization of who her husband has become. Sounds like an obvious rationale, yet JRB's words which can be so simple, tell a story with such complexity yet so succinctly. Each song gives the audience a clearer view into who these characters are. We see and hear that Cathy and Jamie are insecure, flawed, neurotic, confused, hopeful and determined -- characteristics we may try to hide from or embrace yet on a certain level, we all possess. As we learn more about who Cathy and Jamie are, we are left at the end of the show, feeling as fulfilled and incomplete as Cathy and Jamie must feel in their relationship.

Lyricist, Richard Maltby Jr., says in the album's liner notes, TL5Y is the "reason you go to the theatre" and like all real plays should, it will "change your perception of life" and I couldn't agree more.

L.A. Residents: Catch TL5Y at Marvelous Musical Monday's, a new series at REPRISE!, Monday, January 30, 2006.

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Read JRB’s interesting comment on the state of the future of musical theatre from the Manhattan User's Guide:

What's the future of musical theatre? Is there one?
Sure. There's too much money to be made for there to be no future in musical theatre. I don't think the conditions of the so-called Golden Age of the 40's and 50's can ever be replicated, but I think there will be new musicals and every couple of years one of them will permeate the cultural consciousness and bring more people in to the party. The tragedy is that when musical theatre was the center of popular culture, it could afford to take risks and go interesting places, knowing that there would be an audience willing to experiment. Now that musical theatre is such a marginal piece of the entertainment world, there are no guarantees that an audience will be there if you go out on a limb, so the necessary strategy for a big Broadway musical is to go backward, do the safer thing, draw the audience in with the easy stuff, make them comfortable. I think it's possible that if we get them comfortable enough, we might be able to take some risks again. Or we might get them so comfortable that they fall asleep. Interesting fork in the road; I'm wondering which way things will go, same way everyone else is. Meanwhile, I just keep writing the things that are interesting to me, and hopefully people will come see them.

SORRY/GRATEFUL

So as I was saying (badly) the other day about the current state of musical theatre...

I should be happy when anybody is exposed to musical theatre and maybe shouldn't even spend the time discussing why I am not a fan of predictable, big Disney-fied shows. After all, it took seeing The Phantom of the Opera in high school for me to rediscover my love of musicals. I guess after the resurgence of theatre in my life, I discovered what it was that really struck a chord with me and what fueled my fire.

I am not a big fan of the over-produced/in-your-face Broadway musical that tells you what to feel and when to feel it. While I understand what producers/backers/creative types are doing when putting together commercial successful shows like The Lion King and Mama Mia! I prefer shows like Jason Robert Brown's The Last Five Years and Sondheim's Passion which are more intimate and have layers of emotion and depth. I have been listening to The Last Five Years for over a year on and off (or...more...) and each time, I still discover new things with each listen.

I love discovering the layers of the show and it's characters after listening to the cast recording and coming to a genuine understanding of the story. I am fascinated by what drives these characters and how they become who they are. There is so much to learn...and I find more of a sense of discovery in these more complex shows.

So in conclusion...only because I feel like this soapbox I'm standing on requires a conclusion (and I think I've rambled on enough for today)...I am a theatre snob. I admit it...I cringe at the thought of a Disney musical and wouldn't be caught dead seeing We Will Rock You in Las Veags nor will I ever see Beauty and the Beast...again. However I support the idea of what these shows represent if it means a show will give exposure to the art form. Shall I begin my thoughts on arts education? Maybe I'll save that for another day. :)

In case it wasn't clear enough...I am obsessed with Broadway...it is what I am passionate about and it is what drives me. These are thoughts I've had for too long so I thought I'd finally post an abbreviated form here...in cyberspace for everyone and no one to see.