Word: sondheimer
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...booty of R&B, but the intimacy most songwriters avoid, incapable of such self-revelation. Her music, particularly since her film, is often redolent of musicals. “It’s Not Up To You” sounds like a bit like something Sondheim might write in his dreams of the perfect voice. Her childlike, idiosyncratic, careful enunciation recalls the children from the Sound of Music, if it had been written about a hundred years later than it was. While the coda to “Pagan Poetry,” a call-and-response between Bj?...
Here's the weird thing about connections: the impulse to make them is so strong, so fundamentally human, that we connect with those who cannot make connections for themselves. We will the connectedness of particles. Stephen Sondheim seemed inspired by this idea in Sunday in the Park with George, as "piece by piece" he showed Seurat putting the contributing parts of a painting--bustles, parasols, dogs--together...
...Music Man), Kate Levering (42nd Street) and Debra Monk (this summer's Seagull in Central Park). Thou Shalt Not is just one in a jam-packed lineup of musicals scheduled for Broadway this fall. Among them: Thoroughly Modern Millie, based on the 1967 movie; the Broadway debut of Stephen Sondheim's 1991 musical Assassins; and the New York City arrival of the show that has made Abba fans the world over scream with delight, Mamma Mia! No telling what we'll get from Connick and Stroman, but one thing is for sure: it won't be Dancing Queen. (Opens...
...Auburn, author of Proof) about the struggling composer's own angst at reaching his 30th birthday. Yet this Portrait of the Artist as a Young Neurotic makes up for its self-involvement (Jon tries to get his agent on the phone; Jon gets an encouraging phone call from Stephen Sondheim) with sincerity and self-deprecating wit, along with Larson's passionate, rock-inspired music. He was trying to push the musical into new territory; Tick, Tick...Boom! is a heartfelt, oddly uplifting glimpse of a sadly unfulfilled innovator...
...that Jamie sings to his beloved on her birthday. The show is too sketchy in spots, particularly in its portrayal of Kathleen. But Brown's music (lushly orchestrated with Brown himself on piano) is the least arid and most accessible of the scores turned out by his generation of Sondheim disciples. This is smart, lyric-driven music that doesn't abandon melody or variety. One number rocks; another harks back to '30s Tin Pan Alley. And a wistful, turn-of-the-century-style waltz sends you out of the theater with a lovely, warmhearted souvenir. Most of the souvenirs...