#1
Posted: 10/13/11 at 12:23pm
Since we're covering favorite openings and finales, what about perhaps the most important slot in the evening for a show to get right? Namely the Act I Curtain number?
And sorry to disappoint the fans of A Chorus Line, 1776, Passion, or (technically) Follies, but intermissionless musicals can't play this game. I suppose if someone wants to nominate "Simple" from Anyone Can Whistle, that still counts as an Act I finale, doesn't it?
Sure, there are lots of shows with great songs in that slot: Sweeney's "A Little Priest", or Dolly's "Before the Parade Passes By". But I'm talking goose-bumply oh-my-god-I-didn't-know-the-show-would-take-me THERE kinds of numbers.
My two favorites:
"A Weekend in the Country" from A Little Night Music: the convergence of glorious choral counterpoint, character arcs all lining up, and a magical set change to reveal the Armfeldt Chateau (in the OBC, at least) always leave me giddy with excitement.
and of course,
"Sunday" from Sunday in the Park with George: for me Sondheim has never written more beautiful music, and it has never supported such a perfectly constructed scene as the moment when all chaos is banished and the world within the picture frame is made whole.
And sorry to disappoint the fans of A Chorus Line, 1776, Passion, or (technically) Follies, but intermissionless musicals can't play this game. I suppose if someone wants to nominate "Simple" from Anyone Can Whistle, that still counts as an Act I finale, doesn't it?
Sure, there are lots of shows with great songs in that slot: Sweeney's "A Little Priest", or Dolly's "Before the Parade Passes By". But I'm talking goose-bumply oh-my-god-I-didn't-know-the-show-would-take-me THERE kinds of numbers.
My two favorites:
"A Weekend in the Country" from A Little Night Music: the convergence of glorious choral counterpoint, character arcs all lining up, and a magical set change to reveal the Armfeldt Chateau (in the OBC, at least) always leave me giddy with excitement.
and of course,
"Sunday" from Sunday in the Park with George: for me Sondheim has never written more beautiful music, and it has never supported such a perfectly constructed scene as the moment when all chaos is banished and the world within the picture frame is made whole.