Posted: 6/17/26 at 9:22am
He's standing by his Queen.
https://w42st.com/post/ill-take-manhattan-stephen-schwartz-train-queens-and-robin-byrd-after-dark/
Posted: 6/17/26 at 9:35am
Couldn’t read it all, but how did that show cost 27 million?
Posted: 6/17/26 at 10:28am
rosscoe(au) said: "Couldn’t read it all, but how did that show cost 27 million?"
This is the new norm for a big new Broadway musical.
Commercial out-of-town tryout, years of development (which includes not only creative costs but legal/management costs), innumerable workshops/readings, A+ tier composer and director who can command big upfront fees, rights acquisition, huge set + a costume designer not of the theatre world, a star who they thought would sell, a director who doesn't like hearing the word "no"...these costs all add up.
Posted: 6/17/26 at 10:56am
Clearly, he didn’t see his own show!
Posted: 6/17/26 at 12:13pm
DrMonicaDeMoneco said: "Clearly, he didn’t see his own show!"
Probably closed before he could get a ticket
Posted: 6/17/26 at 12:15pm
rosscoe(au) said: "Couldn’t read it all, but how did that show cost 27 million?"
over directed, over produced, over spent.
Posted: 6/17/26 at 12:20pm
DrMonicaDeMoneco said: "Clearly, he didn’t see his own show!"
He wanted to wait until it found its footing then it closed and he never got around to seeing it. 😝
Posted: 6/17/26 at 12:40pm
He only saw it with Sherie.
Posted: 6/17/26 at 1:13pm
Yes this show was problematic and had its issues — direction, narrative in this political climate, leading lady controversy, etc, but at the very least it deserved a Best Original Score nomination… and I will happily die on this hill.
Updated On: 6/17/26 at 01:13 PM
Posted: 6/17/26 at 3:58pm
I don't think that's a controversial opinion. While people miss out on award nominations all the time because there can only be so many nominees, Schwartz being shut out of such a thin category this year in favor of an utterly unremarkable score for a play can only be interpreted as a deliberate snub.
Posted: 6/17/26 at 5:12pm
Does anyone really expect the creator of a flop to hold the same opinion of it as the people who rejected it?
Updated On: 6/17/26 at 05:12 PM
Posted: 6/17/26 at 5:50pm
Had it been able to run through the Tony Awards I honestly think Queen of Versailles could’ve given the other new musicals a run for their money for Best Musical, but that’s not really saying much since this was such a dreadful season for new musicals.
Updated On: 6/17/26 at 05:50 PM
Posted: 6/17/26 at 6:04pm
Call_me_jorge said: "Had it been able to run through the Tony Awards I honestly think Queen of Versailles could’ve given the other musical a run for their money for Best Musical, but that’s not really saying much since this was such a dreadful season for new musicals."
Not a snowball’s chance in hell. This show had no singular identity of what it wanted to be and it ended up trying everything and succeeding at nothing. Poor timing didn’t help matters, but when your protagonist is an inherently unlikeable and desperate person, and the actress playing her tries to take an almost-apologist approach, it doesn’t work. Sherie nailed it on the head because she knew EXACTLY that we weren’t going to like her and so she played up the right amount of ditz and leaned into the scheming hard.
Posted: 6/18/26 at 6:58am
I actually really enjoyed QoV. It was far from perfect and flawed, but I can't deny that I enjoyed myself and had a good time both times I saw it (both with Kristin and Sherie). The show definitely worked WAY better with Sherie who captured the bitchiness and played the role with a dead behind the eyes vapidness that Kristin could just not pull off.
Posted: 6/18/26 at 10:26am
dramadude said: "Yes this show was problematic and had its issues —direction, narrative in this political climate, leading lady controversy, etc, but at the very least it deserved a Best Original Score nomination… and I will happily die on this hill."
I have a very different opinion of the score - and far be it from me to make any attempt to dissuade you from your opinion of it 
A couple of caveats:
• I have only listened to the score. I have not heard it in context with the book, or the production itself
• Because of the above, my thoughts are restricted to what I feel are the merits of the score alone.
Why is the score so incohesive in styles and why is so much of it C&W? I can appreciate the rock stylings used for the younger girls, and the style that’s sometimes used for the older character of David Siegel, but I can’t for the life of me see how C&W fits in any way within the world of “the queen of Versailles”.
IMO, C&W is an especially bad choice for the song, Because We Can. It sets Chenoweth up for failure in that she seems really confused as to which accent she should adopt: Minnesota? Nashville? Unfortunately, she chooses both.
The lyrics, phrasing, and rhyme schemes throughout are particularly awful. In some cases, the lyric choices make little or no sense at all. Some examples:
• “paneling” with “king and queen”. They don't rhyme. (Because We Can)
• “Two football fields is the span” is such awkward phrasing (Because We Can)
• “everybody wanted things” with “so we keep adding on to things”. “Things” and “things” isn’t a rhyme. (Because We Can)
• rhyming Endwell with end well. (Caviar Dreams)
• “is this ticking here, inside of me a clock or bomb? Or just a warning that I shouldn’t turn into my mom?” What didn’t Jackie like or respect about her mother? Is it ever mentioned as a plot point within the context of the show? I know it's not in the source material. (Caviar Dreams)
• The “borrowed”, yet oft repeated phrase: “Champaign wishes and caviar dreams” which never references, gives any acknowledgment, or establishes any connection with its obvious source: Robin Leach and “Lifestyles of the Rich and Famous”
• “Yet even after child birth, even if it was a mild birth”
• “You’ve honored your mascara, so come get you tiara” - pronounced ‘tee-AIR-ah’ (Mrs. Florida) How does one “honor” their mascara?
• The Ballad of the Times feels more Johnny Cash than David Siegel. Why or how is “yippee-aye-yay” an exclamation that lives naturally within the world of Jackie and David Siegel?
In a way, I can appreciate writing the score to be a reflection of the subject - IF that was Schwartz’ intention. Keeping in mind that this is just me looking for why or how this score could be so aesthetically different from his other work.
For example, holding the note on the word “dreams” for a full 10 seconds (in the song Caviar Dreams) is as gaudy and excessive as Jackie herself, but if it was intentionally written to be performed that way, was the possibility that making the score a direct reflection of its subject worth it?
IMO, the score is as tacky as Jackie (see what I did there?), but did it (maybe?) cost Schwartz a Tony nomination?
FTR, songs I actually did like: Each and Every Day and Trust Me.
I’m so very open to any suggestions, or insights I’m missing regarding why this score should have been nominated for a Tony.
Updated On: 6/18/26 at 10:26 AM
Posted: 6/18/26 at 11:20am
John Adams said: "Why is the score so incohesive in styles and why is so much of it C&W? I can appreciate the rock stylings used for the younger girls, and the style that’s sometimes used for the older character of David Siegel, but I can’t for the life of me see how C&W fits in any way within the world of “the queen of Versailles”.
...
• “everybody wanted things” with “so we keep adding on to things”. “Things” and “things” isn’t a rhyme. (Because We Can)
• rhyming Endwell with end well. (Caviar Dreams)
...
• The “borrowed”, yet oft repeated phrase: “Champaign wishes and caviar dreams” which never references, gives any acknowledgment, or establishes any connection with its obvious source: Robin Leach and “Lifestyles of the Rich and Famous”
• “Yet even after child birth, even if it was a mild birth”
...
IMO, the score is as tacky as Jackie (see what I did there?), but did it (maybe?) cost Schwartz a Tony nomination?
...
I’m so very open to any suggestions, or insights I’m missing regarding why this score should have been nominated for a Tony."
I actually agree with a large amount of what you said, but will lightly push back on a couple points. White people in Florida largely listen to C&W music. It does cause some confusion with the setting, and is slightly weird, but is appropriate for who these people are.
Identities aren't rhymes but are fine. Sondheim used identities, and said they are sparingly acceptable in his lyric books. You don't want a lot of them, and maybe Schwartz crosses that line of what is too much here. But they are not inherently a sin.
She sings Champagne Wishes & Caviar Dreams immediately after watching Lifestyles of the Rich and Famous on tv. The book makes the connection for you.
The show was confusing, and because the subject matter is controversial, I think the nominating committee didn't want to endorse something that could be seen as blanket bad politics and cause a social media stir that overrode the event. That is why Schwartz missed.
As to why he deserved to be nominated - frankly no one this year did better. QOV is a very middling score. It has moments where it is an embarrassment, it has moments where it achieves. Listening to the cast album, I think Schwartz was actually clearer on intention than what ended up in totality on the stage. Looking at the standard of what else was nominated, I personally don't think it had more moments of embarrassment than any of the other nominees. And I found the rare moments of achievement in the score accomplished more than the other nominees.
(None of this takes into account Schmig's score, which I don't think should have been eligible. But since it was, yes, that was Best and the correct winner by a mile.)
Updated On: 6/18/26 at 11:20 AM
Posted: 6/18/26 at 12:10pm
dan94 said: "I actually agree with a large amount of what you said, but will lightly push back on a couple points. [...]
(None of this takes into account Schmig's score, which I don't think should have been eligible. But since it was, yes, that was Best and the correct winner by a mile.)"
Very grateful for your thoughts, and the reasoning behind your 'push back's! I would counter on your explanation for the C&W issue I have though, with the idea that Jackie is a transplant to Florida and (IMO) too self-centered to be adoptive of her surroundings.
If anything, I feel like Jackie is more of a "look at me!" type of personality, rather than an "I wanna be like you!" type.
Thanks, again! Much appreciated 
Oh, and PS: I agree w/u about Schmigadoon!, too. Perhaps it was the cuts of existing material and the replacement with brand new material that legitimized its nomination. (?)
Updated On: 6/18/26 at 12:10 PM
Posted: 6/18/26 at 12:19pm
Here are some marbles, Mr. Schwartz. Since you’ve clearly lost yours. 
Posted: 6/18/26 at 2:19pm
I haven't read the earlier posts but just wanted to say that I didn't find the show bad.
Posted: 6/18/26 at 2:58pm
I love opposite day. Let me try.
Everyone left Brooklyn humming the tune score not shouted by the cast all.
Posted: 6/18/26 at 4:16pm
When is someone going to have a talk with Schwartz about his...uhm...hair?
Posted: 6/18/26 at 4:45pm
I feel like he knows we know he wears a wig (but with all his money, why not a much better one?); I can’t imagine anyone willing to broach the subject with him, but who knows?
Updated On: 6/18/26 at 04:45 PM
Posted: 6/18/26 at 9:13pm
Okay, grandpa lets get you to bed...
Posted: 6/18/26 at 10:14pm
All these quibbles about the lyrics: I won’t say they’re all good lyrics, but it’s not like these are emblematic of this score. Stephen Schwartz has always preferred a whimsical, eccentric use of the English language in his lyrics. This is the guy who has the only use of “pelf” in modern English literature, after all.
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