Ragtime. I had never imagined the ingenue being brutally murdered as part of a finale and it stunned me. Then the concluding "Till We Reach That Day" is deeply, deeply moving.
I agree with many of the others previously mentioned: A Little Priest (trust me, jokes about cannibalism just weren't done then either and to a lilting waltz yet), Everything's Coming Up Roses (when, if well acted, you're shocked to realize Rose isn't just ruthless but deranged), Sunday in the Park, Before the Parade Passes By (no shocks but just such a great song and so much fun in Gower Champion's staging).
A Weekend in the Country.
Oklahoma's revolutionary dream ballet, which so brilliantly explored the darker themes of the show. Rodgers and Hammerstein had originally envisioned a Circus Ballet until Agnes de Mille got her hands on it.
Dr. Crippen from One Touch of Venus. Not as good as some of the others mentioned, perhaps, but an absolute favorite of mine. Also the first act finales of Weill's 3PO and Mahagonny, although I guess the latter is more properly considered an opera.
How to Succeed with its mock melodrama and musical quotations from Rachmaninoff.
And the first act finale of Friml's Rose-Marie. Again, not the greatest but a personal favorite.
Almost all the Gilbert & Sullivan first act finales are absolutely terrific but I realize they are an acquired taste today. And they can properly be considered Broadway shows as nearly all had their US debuts in the New York theater district of the time shortly after the originals opened in London and all the most popular ones had multiple revivals on modern Broadway itself during the 20th century.
Updated On: 1/10/17 at 09:38 PM