Word: sondheims
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Dates: during 2000-2009
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...Lyrically, he could be sloppy: rhyming "m" and "n" sounds, cheating by using "piano" as a two-, then a three-syllable word in "I Love a Piano." A devilishly intricate rhyme a la Stephen Sondheim ("We'll have Leontyne Price to sing a/ Medley from 'Der Meistersinger'") was not Berlin's style - to Sondheim's caviar, his lyrics were Spam - but in "Annie Get Your Gun" he did a triple rhyme ("You can't shoot a male in the tail like a quail") whose comic force quickly escalates musically and in the singer's volume. And he could pay cheeky...
...then at retirement age. But he was never comfortable "sittin' in the sun, countin' my money," to quote the title of a Berlin tune that Louis Armstrong took to #30 in 1953. Around that time he prepared a musical, never produced, about Wilson and Addison Mizner (a Sondheim musical on the Mizner brothers, "Wise Guys," has languished for years). His last produced musical, the 1962 "Mr. President," meant to capitalize on the fascination with Jack and Jackie Kennedy but ran only eight months. He spent more than a decade on a sixth trunk-song film, "Say It With Music," which...
...whole season of Buffy, which survived an acrimonious move from the WB to return smarter, funnier and dramatically richer than ever. Who'd have thought creator Joss Whedon (who taught himself piano to write the episode's surprisingly tuneful score, as well as the nimble lyrics) studied his Sondheim along with his sarcophagi...
...ELAINE STRITCH AT LIBERTY Do we really need another one-woman show in which a crusty Broadway trouper recounts her show-biz war stories while belting out Sondheim and Berlin standards? Yes, if she has enlisted as artful a collaborator as New Yorker theater critic John Lahr and can still perform, at age 76, with as much energy, wit and seen-it-all gumption as Elaine Stritch...
...sees the idealistic characters at the end of the evening, she can only think with sadness upon how they betrayed their ideals, rolling along through life, merrily forgetting the friendship and values that were once so important to them. It is a cautionary fable, full of surprisingly sentimental Sondheim music, that is perhaps nowhere more applicable than at this age and on this campus...