Great Book and Lyrics, but bad Music

[Forester]

Posted: 5/27/06 at 11:17am

Let's here it guys, musicals that needed a new composer.

[sondheimboy2]

Posted: 5/29/06 at 1:10pm

It's not a great show, but "Doonesbury" sort of falls into that category. The script is funny and Gary Trudeau showed some facility with lyrics. But Elizabeth Swados writes the kind of music you forget while you're hearing it...

[ALWrules]

Posted: 5/29/06 at 2:58pm

I loved the book and lyrics for Into the Woods, but thought that the music left a lot to be desired. It shouldn't have had another composer, because some of the material is good (i.e No One is Alone). But Sondheim could have written a better score in my opinion.

[FranklinShepard-Inc.]

Posted: 5/29/06 at 3:23pm

Well, that's your opinion. I for one find Into the Woods to be one of the most accessable scores ever written by Mr. S.

I find Porter's Can Can in terms of about 50% of the music quite weak with his lyrics outreaching it, on the other hand the book was anything but strong so it doesn't totally fit in this category.

[ljay889]

Posted: 5/29/06 at 3:27pm

The only reason Can-Can lasted as long as it did during it's original run, and had success was because of one simple reason..

GWEN VERDON.

The only part of the show that received complete raves. She gave a legendary performance.

The music. lyrics, and book were indeed weak.

[TonyaFanatic]

Posted: 5/29/06 at 4:02pm

i think 'she loves me' falls into that one.

[mikem]

Posted: 5/29/06 at 5:02pm

I know there will be some violent disagreement on at least some of these, but IMO the music does not live up to the book/lyrics for all of the following:
Spamalot
The Producers
Avenue Q (with a few exceptions)
The Drowsy Chaperone

[Trekkie2]

Posted: 5/29/06 at 5:17pm

"I know there will be some violent disagreement on at least some of these..." You were right. I disagree with your comments on Spamalot, The Producers, and Avenue Q. All three have very powerful scores considering that you don't go to those shows to hear fantastic music, you go for the comedy. I can't agree or disagree with you about The Drowsy Chaperone because I haven't seen it or heard the soundtrack yet, but from what I know about it from video clips, I have a feeling you might be right. Also, from the little I've seen of Tarzan, it looks like Phil Collins was not the right man to write disney songs.

[jv92]

Posted: 5/29/06 at 5:39pm

Spamalot has a terrible, awful, disgraceful score.
And for the fifteith ****ing time, it's called a CAST ALBUM, not a soundtrack!

[MTVMANN]

Posted: 5/29/06 at 5:45pm

I might say Aida. I'd just like to see something besides rock/pop music to tell the love story. And yes, I am aware of the Opera.

[JohnPopa]

Posted: 5/29/06 at 5:51pm

I agree with 'The Producers.' At times I wasn't sure if I was laughing with the score or at it.

[Act4ever]

Posted: 5/29/06 at 5:56pm

This is actually something really hard to think about. Because when I listen to a recording -- at first listen, it is mostly just a listen without paying much attention to it. Then I think back to whether it was somthing I actually enjoyed listening to or not -- and it's never really the lyrics that I go back to listen to... it's the music. So any show with bad music I wouldn't really know if it had good lyrics... Does this make sense?

[pandajen14]

Posted: 5/29/06 at 6:03pm

The thing about The Producers is that it's not supposed to have an outstanding score, but I think it does serve its' perpose- the songs are hummable, bouncy, and downright catchy.

It's true, though, that the score makes or breaks a musical. The Wild Party, anyone?

[JohnPopa]

Posted: 5/29/06 at 6:06pm

The notion that because the score to 'The Producers' is supposed to be funny and, therefore, doesn't have to be 'outstanding' is rather insulting to the large crop of composers who can write comedic scores with the same craft and quality that 'serious' scores have.

[rufussars]

Posted: 5/29/06 at 6:09pm

"I disagree with your comments on Spamalot, The Producers, and Avenue Q. All three have very powerful scores considering that you don't go to those shows to hear fantastic music, you go for the comedy."

I was waiting for someone to mention any of these before I gave input. What is considered "good" is a very subjective term that's specific per person. Just a matter of personal taste. I, for instance, find shows like Aida and Jekyll & Hyde too pop-heavy and dull listening. But, being a lover of old-fashioned traditional music from say the 20's or 50's, I take true delight in all three of the above-mentioned shows. Plus, you can't ignore that those three are highly regarded in the favored majority.

"The notion that because the score to 'The Producers' is supposed to be funny and, therefore, doesn't have to be 'outstanding' is rather insulting to the large crop of composers who can write comedic scores with the same craft and quality that 'serious' scores have. I agree with 'The Producers.' At times I wasn't sure if I was laughing with the score or at it."

Actually, probably my favorite score. Mel would encourage you to laugh. It's a throwback to generic old Golden Age tunes, like that from "Gypsy" or "Guys & Dolls". Are you suggesting that "If Momma Was Married" is catchier or more well-crafted than "Keep It Gay"? Honestly, I see no remarkable superiority in those scores to Mel's. And, I applaud him.

Updated On: 5/29/06 at 06:09 PM

[Kevo711]

Posted: 5/29/06 at 6:15pm

Although I love this show, the music in Spelling Bee just doesn't do it for me. The book is amazing and the lyrics are great too, but the music just isn't anything amazing. It is no where near bad, it just could be better (in my opinion).

[pandajen14]

Posted: 5/29/06 at 6:16pm

Amen, rufussars. I actually thought The Producers' score was supposed to be a parody in itself.

[nobodyhome]

Posted: 5/29/06 at 6:29pm

As indicators of quality, yeah, I think the Tonys signify very little.