Profile for SayWhyNot

'With you, bjh2114, about Michael Starobin, who's work I've admired for a long time, regardless the genre of music. But, I was just thinking, isn't it a sad commentary that one of WiCkEDrOcKS' "favorite things" about IDIOT was the Orchestrations? For years, we fought to have the Best Orchestrator included because, in a show that is really well done, one really shouldn't even notice they are there!! If you had time to think about the orchestrations, I can only imagine that the book or the musi...

I don't know about your friend, but since I was in college, way back in 1974, I have always had this secret longing that someone would play "Time to Start Livin'" in the original Irene Ryan version. It's been a background theme of my life. If the crowd is too sedate, try, of course, "Yes" . . . . . . .

I'm with American Boy. I also saw both of them. Although both scores often miss more often than they "hit," I think "Shrek" has some intelligence and depth, believe it or not. The numbers for Sutton Foster are particularly well done -- and a genius development of the Foster character in the song "I know it's today," is undeniable, I believe :). Sometimes it's "in" to continue to bash a show, but I discount a lot of opinions when they can never point out when the creators make things "work," a...

Perhaps what you really want to address is rights and distribution. If I'm not mistaken, EVERY current show IS videotaped for the National Library, is it not? Maybe someone could give the specifics about the library. I believe only a particular group of people are allowed to see these tapes. I also do not remember when they began this practice, but I do believe it is being done.

I just don't think successful Theater (and that includes Broadway) is about 'gay' or 'straight.' There may be some who like to imagine that the theater is the gay stomping ground, but that doesn't bear out in the facts: successful theater appeals to the human person, and the shows that are successful are hardly successful because 10% of the population is seeing them. Sorry. Even gay writers know that theater has to communicate human honesty. The shows that 'push' the gay issue are not among t...

Thanks, FOAnatic. I agree 100%. It's a great musical to treasure and what talent the writer's had! Some were able to see it. I feel badly for those who needlessly categorized it as another animal altogether. At least we have the OCA to prove that we were right . . . .

I agree with much of what has already been written. Some that haven't been mentioned I also find invigorating: The Rothschilds Ben Franklin in Paris (better than most of the show!) Applause

Great question. I had put an original list in my head, but it wasn't fair. I'm thinking that my favorites are probably those I end up listening to the most . . . so . . . Sondheim Kander Yeston Flaherty Coleman but isn't it great that there are tons of others that are great too? Let's hear it for lyrical theater!

Wow - I was just thinking about him after the reviews of "Spring Awakening." "What would Ken think about it?" But, come to think about it, I say that after EVery opening. Ditto all the great things that have been said. Ken, if you're out there, give us something, man --- it's been TOO long and you're TOO good . . . .

Thanks for mentioning "One Day More" from Les Miz, mizzie. In its day, it was probably the most magically moving piece of counterpoint I'd ever experienced. I'd add "Hello, Twelve" and "At the Ballet" ("That I was BORN to help their marriage . . ." - awesome) from A Chorus Line.

Ahrens and Flaherty could write anything they like, and I'd be there to applaud it. The musical might be a "guilty pleasure" for some, but I don't think the score has anything to be guilty about. It's a first-class triumph. I've seen it a number of times - on Broadway, the tour and a non-equity tour. I was never disappointed even once. I'll vote for a TV version :0 . . . .

I only have it on cassette. Personally, I like the re-write of Bravest Individual and adore Mike Rupert's rendition of the title theme. Looking forward to having it in a digital version. Bravo!

14. My uncle took me to see Anne Baxter in "Applause" - we were visting NY relatives. I'll never forget it. By the time they got to "But Alive" I was absolutely mesmerized.

I'm with you, Timote. I don't think Larson had near the experience or the chance to really see his full potential, but I'd replace him with Flaherty and Ahrens. Not one boring tune in their varied and professional repertoire. Flaherty is genius, period.

Whoah! WonderBoy! We should be in the same generation . . . No doubt about the "Applause" numbers - but I'd probably include Gifts of Love - Baker's Wife Seesaw - Title tune Yes - 70, Girls, 70 Mame - Title tune On the 20th Century - Title tune There's a Kid Inside - Is there Life after High School?

Right - you'll need the score from the show itself.

Nothing to beat Laurie Beechman - EVER - but what a crowd pleaser this show is. Gotta give it that . . . . .

She's a real talent and a professional with experience, which is more than I can say for a lot of others out there, but I don't want to go there. She'll wow the audience with her experience and her flair for comedy. SHe's a great gift to the theater . . . .

Babette -Judy Kaye "On the Twentieth Century" But Alive - Lauren Bacall "Applause" One Day More - Les Miserables Getting Tall - OC - Nine I Hope I Get It - OC - Chorus Line I'd Give my Life for you - Lea Salonga - Miss Saigon