I agree with the post above about "Telephone Wire," one of the most layered numbers ever written. Anyone who knows the graphic novel can turn to the equivalent two-page scene. Yet Kron and Tesori take that car ride and deepen it, blending in subsequent final (panel) episodes between father and daughter and create one of the most emotionally harrowing parent/child moments in musical theater. Malone breaks my heart on her last "...at the light, at the light..." There's a clip on-line of that moment (in the "Journey" montage that uses the song) and every time I see her pain it grabs me. Her vulnerability is palpable. And how brilliant to build the sequence around the present Alison and her father. The whole show moves toward that number, and it's beautiful when Malone simply steps into the past to re-imagine an alternative outcome. It's brilliant because it's absolutely specific to these people yet entirely universal.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling