I need an opinion. Im doing a project on Broadway for my drama class and I need ideas for background music for my power point presentation...Im focusing on: The Sound of Music, Chicago, and Jesus Christ Superstar...what would be a good song that most anyone would recognize from these three musicals???
I don't think anyone will know JOSEPH or JCS. Go with truely classic songs.
"Doe, A Deer" - SOUND OF MUSIC "Phantom of the Opera" - PHANTOM OF THE OPERA "Memory" - CATS "What I Did for Love" - A CHORUS LINE "The Impossible Dream" - MAN OF LA MANCHA "If I Were A Rich Man" - FIDDLER ON THE ROOF "Oklahoma" - OKLAHOMA "America" - WEST SIDE STORY
Choose from those. Or do clips.
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
Oh this is from that other thread. OK - don't know what you're presentation is but you should focus on more classics. Go back as far as SHOWBOAT (Ol Man River, Can't Help Lovin that Man), move up with some Gershwin and Rodgers & Hart (lots to pick from in CRAZY FOR YOU (a good grab-bag), PAL JOEY, BABES IN ARMS), then hit Rodgers & Hammerstein (OKLAHOMA, CAROUSEL, SOUTH PACIFIC), Lerner & Leowe (MY FAIR LADY, BRIGADOON, CAMELOT), Irving Berlin (ANNIE GET YOUR GUN), Styne (GYSPY), Bock & Harnick (FIDDLER), Kander & Ebb (CABARET, CHICAGO), Bernstein (WEST SIDE STORY), Sondheim (COMPANY, FOLLIES, A LITTLE NIGHT MUSIC, SWEENEY TODD), try some HAIR and CHORUS LINE, move into 80's with Lloyd Webber (CATS, EVITA, PHANTOM) and Schonberg/Boublil (LES MIZ/SAIGON). For some added interest throw in some NINE, DREAMGIRLS and then for modern stuff - RENT, HAIRSPRAY, WILD PARTY (either), some Jason RObert Brown etc...
Looking back into the history, don't forget that many "standards" were once show-tunes that people would recognize. This is by no means an exhaustive list, but should broaden your scope a bit. good luck with your presentation.
What? No Les Misérables slides? BLASPHEMY! Seriously though, all those songs are good. You might want a more recent musical song. Maybe from the W-Word*looks around cautiously* to show where Broadway is today with all the big budget musicals and such. Maybe something disney?
To reply directly to your question (using the three shows that you delineated), here are my opinions:
In JCS, the most impressive song is "I Don't Know How to Love Him." It's not because it's simply the best known song from the score, it goes deeper than that. Think about it. I don't know HOW to love him, Mary Magdelene says. How does one love Jesus, really? It's a fascinating viewpoint, when you think about it. It implies that she knows how the story will eventually turn out, and prescience is an interesting dramatic device. But I think that Tim Rice really hit it with that lyric (and he is never given enough credit for it): "Should I scream and shout, should I talk of love, let my feelings out? I never thought I'd come to this... What's it all about?" I think that's a powerful piece of writing, that perfectly sums up what that character is thinking.
CHICAGO? Is all about the opening number. It perfectly sets the tone for everything that is to follow, and comments not only on the decade in which the show is set, it comments on life versus showbiz. The lyrics retain the vernacular of the 1920's ("Come on babe, we're gonna bunny hug," and "I betcha Lucky Lindy never flew so high") and yet it remains universal.
THE SOUND OF MUSIC is more difficult for me, I'm not a big fan. I suppose I would choose "Edelweiss," as it was the last song Hammerstein ever wrote, and it does evoke a simply, lovely quality and emotion amongst all those Nazis.
Good luck with your presentation.
Updated On: 12/14/04 at 10:56 PM
I would say that it is morelikely "what I did for love in a chorus line"
When someone blunders, we say that he makes a misstep. Is it then not clear that all the ills of mankind, all the tragic misfortunes that fill our history books, all the political blunders, all the failures of the great leaders have arisen merely from a lack of skill in dancing. - Moliere
Also guys like....on my own and tommorow I know they are cliche and over done but you will never meet anyone who doesn't know what show they are from
When someone blunders, we say that he makes a misstep. Is it then not clear that all the ills of mankind, all the tragic misfortunes that fill our history books, all the political blunders, all the failures of the great leaders have arisen merely from a lack of skill in dancing. - Moliere