Best staged number in theatre history? — Page 3

Since many of my favorites have already been suggested, I will add those that have not been mentioned yet.

Since I'm Deaf, and rely much on visuals, my examples are more visual-oriented rather than auditory-oriented.

But "Circle of Life" from THE LION KING gets me every single time. The parade of animals, the birds flying, the African drums, everything. ASL interpreters too.

The Deaf West production of PIPPIN, "Magic to Do" was goosebump-inducing, especially with the hands coming out of the stage floor.

The Chicago sit-down production of JOSEPH... DREAMCOAT in the '90s, the "Any Dream Will Do" finale where a trapeze descended from above and Joseph rode it up with his coat stretching out 20, 30 feet. To a six-years-old who had no idea what they were singing about (not knowing the lyrics nor the dialogue), this was incredible. Haven't seen any other productions do this.

"La vie Boheme" from RENT for the choreography and the dancing atop tabletops. The fact that I had killer ASL interpreters that night only enhanced the experience as the actors acknowledged them from the tabletops (and threw in a sign or two). This was the '09 tour.

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Wonderful, eye-opening post (no pun intended), DeafScribbler.

FindingNamo: Yes I do - www.thecreativepensieve.blogspot.com - there are several theater-related posts and ASL deconstructions of show tunes. I plan on adding more in the future now that there seems to be interest in this kind of perspective of a theatergoer that is Deaf : )

Reginald, thank you for those kind words. It's not often I see something like this aside from the eyebrow-raising or scoffing that a Deaf person might even be remotely interested in musicals.

Back on track - I thought of one more: the scene in IN THE HEIGHTS where the lights all went out save for cell phones used by the actors on stage. While I would not describe this scene as "best", it very well did leave an effect on me since I couldn't see the actors but I could hear somewhat - but not understand anything they were saying. Disembodied voices in foreign languages gives for a very unsettling feeling, and it did its job well. I remember hating that moment as I hate the dark (communication stops, can't see the ASL interpreters since the terp light was also turned off) and didn't know what was going on and why the lights were out, but once I figured what was going on, I thought it was well done as it invoked the correct emotions (fright, uncertainty, being alone) from at least one patron - me :) I could very well have been the only one in the theater of 1,500 others - couldn't see them, could barely hear them.

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Updated On: 3/26/15 at 08:25 PM

(But if I say so myself, I sign a killer "On the Willows" and "Be a Lion.")

The Dance at the Gym
Sunday
Just about everything a Tommy Tune has ever done (I have such vivid memories of seeing The Will Rogers Follies when I was about 7...to me, it was akin to Dorothy's world coming into technicolor focus)

And the one that gets me as just being a perfect combination of dance, effects, staging, and pageantry is Circle of Life. I'm not a huge fan of The Lion King, but the start of the first note to the elephants to the amazing puppetry just is something else. The first time I saw the show and saw the elephants coming through just made me speechless, but it's very different then the way a perfectly done Robbins number makes me feel.

The Circle of Life is incredible.

I'm probably going to be criticized as soon as I post this, but the opening number in THE SCOTTSBORO BOYS is probably the most astonishing thing I've witnessed in a theater.
Close second is the "You Can't Do Me" soft shoe with Joshua Henry in the same show (where he suddenly is released from his handcuffs in his mind... gave me chills)