Word: julee
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...nobody, critic or informed amateur, is grousing by the end of the show, when most of the principals join in the 1951 skit-song "Catch Our Act at the Met," by Betty Comden, Adolph Green and Jule Styne. A high-art parody that's up there with Chuck Jones' Daffily Wagnerian "What's Opera, Doc?", the number combines parody, musical virtuosity and about a million laffs. As most every Encores! show does, it sends the audience out of Ciiy Center levitating on a contact high with the best in musical theater. At Encores!, the old shows are always loved...
...turning Saint Nick into a sugar daddy. Mostly, though, the mood is one of longing and regret, which suits a vocal style so intimate it was practically internal. Her beautiful "White Christmas" emphasizes the distance between the singer and the people she wants to be near. In the Jule Styne-Sammy Cahn "Christmas Waltz," the chorus goes: "And this song of mine / In three-quarter time / Wishes you the same thing too." But there's a tentative, almost skeptical tinge to those "wishes." She knew that, even (or especially) at Christmas, grownups don't get everything they hope...
...Rain and The Band Wagon; in New York City. Throughout a 60-year career, the pair, who were not married to each other, worked every day, mostly in the living room of Comden's Manhattan apartment, composing stories and lyrics for the likes of Leonard Bernstein and Jule Styne and seamlessly adapting them to music that ranged from bouncy (Make Someone Happy) to brash (New York, New York) to melancholy (The Party's Over). "A lot of people don't believe this," she said of the duo's working process, "but at the end of the day, we usually...
...DARLING OF THE DAY, by Jule Styne and E.Y. Harburg, and IT'S A WONDERFUL LIFE, by Joe Raposo and Sheldon Harnick, in concert revivals...
...impressive series, Discover the Lost Musicals, has flourished since 1988. In 1994, the year Encores! began, the York Theatre uptown inaugurated a Musicals in Mufti series (its motto: "Think Encores! on a budget") to spotlight "underappreciated" musicals by such highly appreciated composers as Richard Rodgers, Kurt Weill, Duke Ellington, Jule Styne, Harold Rome, Noel Coward and Alan Menken. Downtown, and way downscale, there's Mel Miller's Musicals Tonight! series, which this week finished a run of the 1926 "The Girl Friend," by Rodgers and Lorenz Hart, and which last month won a Village Voice Obie grant for trying really...