Profile for Ourtime992

This is an odd bit of trivia I've been trying to research: what song has been recycled into the greatest number of Broadway shows? For example, George and Ira Gershwin wrote "Someone to Watch Over Me" for Oh, Kay! It was later recycled in both Crazy For You and Nice Work If You Can Get It, and it may have been used in other revues between 1926 and 1992. What other songs like this are out there, and which has been used more times than any other?

I know the question has come up before, possibly even in this thread, but as I recall the last time that happened was 2005 when The Light in the Piazza won best score, The 25th Annual Putnam County Spelling Bee won best book, and Spamalot won best musical.

In the context of the show, Why We Build the Wall doesn't feel like a political statement, but out of context it feels like nothing BUT a political statement. After the Experience on Kelly & Ryan, I'm of the opinion that Way Down Hadestown doesn't feel like much without the staging/descent. Living it Up on Top works well enough, but they've already done it several times. That number is out there for anyone interested in the show. Epic III would be powerful, but it probably gives too much away...

There are many changes, some of them quite substantial. The live recording is incomplete, containing only 70-80% of the show as it was performed at NYTW. There are probably 15 minutes of missing material early in Act II alone. Some of that material can be found on the original (concept) album. They also added material and revamped other songs. The biggest changes were made to the 3 Epics, which have a different function and message now. That having been said, the piece is much stronger as a w...

BrodyFosse123 said: "She was taught the legendary "Manson Trio" (from PIPPIN) seen in Episode 4 of FOSSE/VERDONby one of the original dancers of the number: Pam Sousa." I am continually amazed by the ability of these dancers to remember not only the routines but the finite details that made them what they were. And to do so 40 years later? Amazing! I can barely remember the choreography to a show I'm in the day after it closes!

Mister Matt said: "Is this how Great Comet fans felt two years ago?Yes. And Matilda fans six years ago." As someone who was a big fan of both (and Light in the Piazza, for that matter), those three tony years were pretty tough! I'm 100% Team Hadestown this year, so yeah, I guess I'm preparing to have my heart dashed to pieces again. That's life.

I'm only making one bold prediction here: either King Lear or Mockingbird will get the final Best Score nomination as a direct snub of Be More Chill and Beetlejuice.

QueenAlice said: "Caught the show last night. It’s 20 minutes too long but otherwise I loved it. And I’m definitely in Camp Carney. I thought his voice was gorgeous and the one thing that seems imperative to the character - completely unique. I think the show will win Tonys for Musical, Score, Director, and possibly lighting, orchestrations, and a couple of supporting performances."I think it's a strong contender for Lighting and Scenic Design, and if there is enough sentiment going its way a...

It would be surprising but not totally shocking if the nominators went with something like Mockingbird (with its 38 cues) over a 4th musical score. Hadestown, Tootsie, and the Prom are shoo-ins, but the other eligible scores were ravaged by critics, except Be More Chill which many shrugged at and said it just wasn't their thing. BMC is still the most likely 4th slot there, but I'd be less surprised to see Mockingbird recognized than I would be to see them nominate Beetlejuice, King Kong, Pret...

LizzieCurry said: "Miles2Go2, I saw it last night and I had WAY more fun than I expected. It's funny because in the moment it was incredibly enjoyable, but in a few days I'll probably have forgotten most of the specifics. I've already forgotten most of the songs. I still recommend it, though."This was exactly my experience. I expected little and enjoyed it a lot, but now it's just a blur.

I asked this question in the wrong thread. I'm hoping this will make it easier to answer. I'm very curious about how the Epics in Hadestown evolved over time. Having seen the show early in previews (and being from out of town where I can't get back to see it again), and I would love to know how they finally settled in the Broadway production. I've included some background from the other versions I've sean and/or heard:2010 Concept AlbumOriginal lyrics: Click Here To Toggle Spoiler ContentHeav...

Someone in a Tree2 said: "And finally here was a show where the main character struggles to find his "one song" and when he succeeds in Act II, it's actually the most lovely song in an altogether lovely score." Can anyone who saw the show multiple times throughout previews and after it was frozen speak to this? When I saw the show on April 4, the Epics had almost no structure or melody at all, and felt more like extemporaneous recitative. I was really bummed about it, because the NYTW Epic II...

Sure, "There is no new thing under the sun," but that having been said, as a whole, Hadestown did feel different from anything else I've ever seen. The vibe of the show was unique, and many of the moments of visual storytelling were genuinely surprising and breathtaking, as were some moments of emotional resonance. Put another way, it may not break much new ground, but it certainly builds on top of other innovations in its own way.

Broadway Backstory is the best musical theatre podcast out there. It's a damn shame they only made 20 episodes. I don't know if the Today Tix funding for it dried up, it was too much work to produce, or the allure of the host's other projects was just too great, but I'm so sad they spotted making it. I have listened to several of the episodes many times.

Thank you for the info!

IBDB lists the following producers of Hadestown. If it were to win the Tiny Award for Best Musical, which of them would be eligible to receive the award? Produced by Mara Isaacs, Dale Franzen, Hunter Arnold, Tom Kirdahy, Carl Daikeler, Five Fates, Willette & Manny Klausner, No Guarantees, Sing Out, Louise! Productions, Stone Arch Theatricals, Benjamin Lowy/Adrian Salpeter, Meredith Lynsey Schade, 42nd.club, Craig Balsam, Broadway Strategic Return Fund, Concord Theatricals, Laurie David, Demar...

I could listen to/read these two talk about the show all day! And how enlightening to hear that our silly umbrella conversation reflects a real, important consideration in their mind. It's a tiny detail that's only on stage for a brief moment, but for them it's so much more. I love it!

Anais posted on Instagram a week ago that the show was writing locked, and Patrick posted a similar note on Saturday about the blocking and direction being frozen. The Fates even had a funny post where they were singing "Doubt Comes In" with lyrics about everything constantly changing and pleading to freeze the show. That having been said, I suppose bedazzling the umbrella is minor enough that an exception may have been made. I'm curious to see if that's what they will have tomorrow night!

I didn't mind the spinning at all, and there was really only one scene (Chant II) where I really noticed it being too overt, but I was dead center on row N, eye-level with the stage, so that may have been a factor. Seeing it from above would probably be a different experience.

I would be incredibly surprised if he got a nomination for his work here. He's fine, and I enjoyed his scenes enough, but there just isn't enough material to warrant any attention. I agree with your supposition that as far as Gold Derby is concerned, he's riding on his reputation for past success.