Yes, Andrews was the only performer nominated--and the musical's only nomination, as well. York won the Drama Desk Award, but was overlooked completely at the Tonys.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
Since someone already brought up "Gifts of Love," this has always bothered me logically:
A fresh-picked rose beside my bed. The coffee pot there, hot there, when I raise my head.
So, is the coffee pot kept on their bedside table?
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
Gaveston2, it's After Eight who has a problem with "Have a pork," not me.
-AC, who is still questioning the logic of the coffee pot on the nightstand.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
It's not the Moo Goo Gai Pan that is mispronounced, but the accentuation in "leftovers." The accent in the song is on O instead of LEFT.
Then there's the problem of making sure the words go well with the pauses in the music. If not, that can throw you off as well.
"But not like a yo-yo school boy." When sung, there's a slight pause after yo-yo, so that you hear "but not like a yo-yo" and you wonder what's slow about a yo-yo, and what kind of a comparison is that?
The point of the Baker's Wife lyric is that Amiable has put the coffee on the table beside the bed so it's there for her when she wakes up. Pretty straightforward.
If that's the intent, then okay, but the vagueness of the phrase makes it less so.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
"Don Black's "translated" lyrics for Gerard Presgurvic's Romeo et Juliette."
The French version of this is a huge guilty pleasure--saw it three times when I lived in Montreal, but that London production ws such a flop (I can't believe it was recorded) that I can't even find the CD used online. Call me a sadist, but I'm dieing to hear it.
I'd like to nominate ALL of Next to Normal. Corny, cliche, several missed or inconsistent rhymes, not personalized to the characters, and a complete ignorance of the how to effectively use cast members as a chorus. Why the hell does the boyfriend who's barely met the mother sing along with the family when they discuss her history?!! He doesn't know her history! He was just introduced a scene prior.
Guh. I'm glad you posted this only because it really shows your unfamiliarity with the show/ignorance.
Can you cite the lyrics with 'missed' or 'inconsistent rhymes'? The show generally uses true rhymes throughout...I think a better argument would be the rhymes are really basic and obvious, not that they are 'missed'. For example, in Just Another Day:
adoring/boring week/freak another/brother freak/cheek easy/breezy wack/crack obey/day etc... all seem like 'successful rhymes' to me.
And you are taking "My Psychopharmacologist and I" wayyy too literally by argueing that Henry shouldn't be there. lol.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
Either, you've never seen the show or you're just talking out of your ass since I offended you by bashing it, but there are a ton of missed rhymes. I will look them up if you like, but the only ignorance exposed here is your own.
I have seen it many times although admittedly I might be selectively attending to the 'successful' rhymes, I just can't remember which rhymes you are referring to. So please, do look them up. Even if there are a couple I imagine there are very few compared to the 'true' rhymes....(days/crazed? in "Hey #1"?)
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
Regarding "Have a pork," Sndheim is using it right, but not necessarily clearly. Pork is not a noun in this case, but an adjective, modifying the noun "egg roll" or "Chinese food."
Let's say your reading of "pork" as an adjective is correct. It's still a bad lyric because it's unclear, and just as importantly, sounds both clumsy and wrong. "A pork," either noun or adjective is just no good.
And have you ever heard anyone use the expressions "pork egg roll," or "pork Chinese food?" I haven't. Updated On: 11/10/11 at 03:57 PM
I hear "pork egg roll" all the time- at least in my area, the options are "Pork, chicken, shrimp or veggie" egg roll.
But it's still a clumsy lyric. I didn't argue that it was good, just that it could be possible that he was using "a pork" in an acceptable way. Still weird to sing.
"Have a dish, have a fork, have a fish, have a pork."
She isn't offering him an entire fish. (Since when is chinese food delivered with whole fish on the plate?) "Fish" AND "pork" are colloquialisms where the adjective stands in for the noun. (I'm sure there's a technical term for this, but I'll leave that to the linguists among us.)
It's excellent writing for character that culminates at the end of the stanza when Rose pronounces "poem" as one syllable ("pome") to rhyme with "home".
(In fact, Sondheim has said the real problem with the song is that after the first line, it isn't about anything. Apparently, he amused himself writing colloquialisms instead of content.)
It isn't unclear to anyone except After Eight. But he has a grand mal seizure every time he sees Sondheim's name in the program, so all the language is confusing to him.
***
A more interesting question is where is Rose from? Doesn't the scene with her father take place in Seattle? Both Rose and her father sound more like they come from one of the cities in the Northeast. But then I'm not an expert on the working class of Washington state.
Perhaps Gypsy Rose Lee's mother was born back East and moved to Seattle with her family. Does anyone know?
Here's another problem that pops up from time to time: using a word for no logical reason, but simply to meet the needs of rhyme or syllabication.
In Camelot, we are told "the winter..... exits March the second on the dot." Why not March the first or the twentieth, either of which would make far better sense? Because second is the only number that fits the music, so second it is. But meaning-wise, it just doesn't cut it. In fact, it jars.
In Do I Hear a Waltz?, we hear "Roses are dancing with peonies." Okay now, let's put aside the fact that this icky-poo attempt at lyricsm is itself cringeworthy. Even if one could swallow the image, why would these roses be dancing with peonies, as opposed to Johnny-jump-ups, Jack-in-the-pulpits, or anything else? Well, something had to rhyme with Viennese, and those luckless peonies were commisioned for the task. They deserved better..... And so did we.
After Eight, I'll grant your objections to DO I HEAR A WALTZ? Rodgers was in control of that show and the only decent lyric is the cut version of "We're Gonna Be All Right" (which, fortunately, eventually resurfaced in SIDE BY SIDE BY SONDHEIM).
But the whole point of the title song of CAMELOT is that it is a magical world that follows rules completely different from the real world where the rest of us live. Yes, of course you're right that winter ends on March the second in order to fit the number of musical notes, but so what? It isn't a realistic world anyway.
Do you also spend "The Lusty Month of May" wondering if winter ends a month early, why do flowers still wait until May to bloom? Because this is a scientific inconsistency that demands an angry rebuttal!
If you can't surrender yourself to the magic and whimsy of musical theater, then perhaps your time would be better spent watching the early, realistic plays of Arthur Miller. They're quite good and less apt to end seasons on arbitrary dates.