Word: sondheims
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...want that to affect our audience as well. It is the type of music that you sing, or you’ll hear, and you’ll remember.” Commins said that two of his major acting influences were Rogers and Hammerstein and Stephen Sondheim. He compared parts of the musical to Avenue Q: “It’s as funny as Avenue Q,” he says, “but it’s not as R-rated as Avenue Q.” “If nothing else...
...anything essential..." and "They've got you thinking about show tunes when we've got a basketball game next week." (Why, that's un-American.) The Broadway side is taken by the mandatory snooty blond, Sharpay (Ashleey Tisdale), who calls the Garofalesque composer of the show a "sawed-off Sondheim" and sees it as her mission "to save the world from people who don't know the difference between a Tony Award and Tony Hawk." When Sharpay asks, with haughty sarcasm, "Did you ever see Michael Crawford on a cereal box?", most kids will have to Google the joke...
...minimalist work. “I think it’s gonna be in my show.”So, it all makes sense—artsy girl, artsy music. But there’s a complication. “I have Steve Reich next to Sondheim next to Spice Girls,” she says.For Birnbaum, pop is no guilty pleasure—it’s a lifesaver.“I feel [that] often at Harvard, we go through our days thinking so much about things and questioning every move we make, that it?...
...irresistibility of American ambition, and debonair stars introduced songs that instantly found a spot in the everyone's internal juke box-is a good half-century out of date. No #1 Billboard hit has come from a Broadway musical since Judy Collins' "Send in the Clowns" from the Steven Sondheim A Little Night Music in 1973. No Broadway musical has put a bunch of its tunes on the top 40 since 1968, when "Aquarius," "Let the Sun Shine In," "Good Morning, Starshine," "Easy to Be Hard" and the title song all flowed out of Hair...
...Having seen Jersey Boys, and spent the last week listening compulsively to their greatest hits album, I still think that. I'd go further and say that this music is as sharp, smart, tuneful and complex as any new Broadway scores not of the Sondheim school. I mean, better than the scores of The Producers, Hairspray, Avenue Q, Spamalot-which happen to be the last four Tony-winning musicals. Gaudio, Valli, DeVito, Massi and Crewe left a legacy of potent, sophisticated songs. Pop-classic music for all seasons...