What if..... — Page 2

Well "Do I hear a Waltz" would at least have been romantic, I agree, and not quite as cold hearted sarcastic as Sondheim drove it to (though I love the lyrics nonetheless, since they have a true deep sight into the characters of the play, even if it is a painful one).


Let's not forget, that Lerner (after working with Bernstein on "1600 Pensylvania Avenue" and with Strouse on "Dance a little closer") still was in talks with ALW about writing lyrics to Phantom of the Opera. That would have been something. But anyway, Lerner left a marvellous legacy either way. I happen to be quite a fan of "Coco" as well (especially the great tango "Fiasco" always delights my ears).


Two more "serious" ones then: Let's not forget "My fair Lady" first was offered to Rodgers & Hammerstein II. who turned it down, I think Sigmund Romberg was asked as well before. This would have led to quite a different show, imagining the lyrics written by Oscar Hammerstein II., actually I wouldn't find that too pleasant. And secondly "Cabaret" was originally intended to be written by Sandy Wilson (of "The Boy Friend" fame), who even - as far as I read - wrote a few songs with Julie Andrews ín mind as Sally. As much as I like Wilson, I am terribly glad, it was eventually done by Kander&Ebb.


Now a few funny "what if"'s:
What if ..... 15) Jerry Herman had written Jekyll&Hyde?
16) Michael John LaChiusa had written Guys and Dolls?
17) Irving Berlin had written West Side Story?

Updated On: 3/12/05 at 05:05 PM

What if Frank Wildhorn had written The Phantom of the Opera....

I think Pascal peddled Pygmalion to practically everybody on The Street. Including Porter. Now THAT would have been interesting.

The idea of a Romberg-Hammerstein My Fair Lady is something I would not relish. Obviously getting those two together again would bring forth an onslaught of operetta memories. I don't think they'd be able to resist doing the show in that style. It was Rodgers who pulled Hammerstein out of that world and he may have easily slipped back into it with Romberg and material like Pygmalion.

If he and Romberg were writing it in the 50s, the score would probably have a few of Sigmund's decent soaring melodies but would have come across as an antique even when new. They might have built up Freddy's character for the sake of love interest, and I dread thinking about the kind of material Alfred Doolittle would have ended up with.

Noel Coward's another one who would have gone that route to defeat with My Fair Lady.

Sandy Wilson would not have brought the 60s cynicism so instrumental to the success of Cabaret. Kander & Ebb were representative of the time in which they were writing and brought that sensibility to the score.

What if...Harold Arlen had written Pipe Dream with lyrics by Johnny Mercer?

And don't we all just know that Frank Wildhorn wishes he had gotten to Camelot first!

Updated On: 3/12/05 at 10:25 PM

Actually Romberg and Hammerstein I didn't know of yet but Rodgers&Hammerstein on the one hand and Romberg on the other I read it was offered, but as you said, it was offered to many people. But sure that would have over-romanticised the satirical book of Shaw. About Noel Coward's approach I would not have been entirely sure of, he did write a lot with tongue in cheek, but, okay, I doubt he would have stayed true to the book. He was just a part of another era.


Hmm, Harold Arlen and "Pipe Dream", well, considering it was a R&H flop, who knows whether he would have done better. I myself don't appreciate that show too much either way. It has a couple of pretty R&H melodies but to me the plot appears to be fairly corny. So as I do like Arlen's jazz based scores, why not.. but I somewhat do prefer that he himself by the time of creating "Pipe Dream" wrote "House of Flowers" (which wasn't too great either but at least brought along a few standards). Perhaps it would have been a all-black cast for Arlen, who knows...

Wildhorn and "Camelot" on the other hand would make me flee from the theatre. As much as I think he does a decent job on sombre gothic topics as much I would be certain that this project would have been doomed to vanish. Yes, of course, looking at the Lerner/Loewe score of "Camelot" one finds that most songs are ballads not moving the plot along too much, but at least they are surely not simply exchangable from one Lerner/Loewe score into the next. Otherwise (to move to the humorist side) Arthur would be a vampire with two personalities, Guenevere would be a prostitute who before marrying Arthur had come from France (and the plot would be moved to the beginning of the 19th century) who had fled from the French revolution, whilst the knights of the round table now and themn travel to France to fight the cruelties of the aftermath of the French revolution. Well, not too pleasant. The final scene, where Arthur sings to the little boy who is to survive would of course take place in the American civil war to complete the Wildhornisms. No! Never! Frank, stay away from it!

That's interesting to know. I am glad he wrote "The most happy Fella", since that is a sure revival now and then contrary to "Pipe Dream" and an immense store of standards. There are no songs for that Loesser-version, are there? I'd be curious yet.

Right now, at last, the "what if" question:

Eric Idle having written "Cats":

Hmm, haven't seen Spamalot yet unfortunately, but I guess Cats would at least have a plot and the songs would be hysterically funny. So please anyone else answer the question... (By the way a few "what if's" are still to be answered...

or even "Am I who I am?" The great hymn of schizoid folks And the people on the street would sing the production number "Fear World". Hmm, thinking of a few more...

What is someone came up with a feasible thread?

I am so glad you like it, Thesbijean Do join in.

so putting it all together:
"Jekyll and Hyde", with music and lyrics by Jerry Herman features:

1) Opening Number: "Mayh'm!"
2)Next production number: "Fear World"
3) Finale Act 1: "Am I who I am?"
4)murderous ballad: "It only takes a murder"
5) Eleven O'Clock Number: "I'll be Hyde tomorrow!"

Jerry, start writing!

So what about the other what if's:

Micheal John LaChiusa => Guys and Dolls?

Irving Berlin => West Side Story? (Actually for that one I got something, gotta look it up)

*lol* It would be a real charmer indeed. Maybe Jekyll gets to marry Hyde and everyone is invited to their wedding in the psychiatry

Here's my take on this:

15. If Jerry Herman would have written Jeckyl & Hyde, George Hearn would have been Jeckyl and Carol Channing would have been Hyde. The book would have been written by Harvey Fierstein, making it a comedy. The music would have been of a typical Broadway sound, as oppososed to a contemporary/classical mix.

16. If Michael John LaChuissa had written Guys and Dolls, there would be not one catchy tune, as the score would be all over the place in terms of notes. It would have been directed by George C. Wolf, and had an interracial cast. Adelaide would have been played by Donna Murphy, and Audra McDonald would have played the other immemorable lead (Immemorable, because no one would remember the tunes to the songs, so why would the characters be memorable? - except Adelaide, because there would be that song "Adelaide was a Blonde")

17. If Irving Berlin had written West Side Story, the finale would have been "There's no Business like Show Business". Ethel Merman would have played Maria and Mary Martin would have been Anita. It would have been reversed, but Ethel wouldn't have excepted the role unless she was the lead. The Somewhere ballet would have been replaced with "I'm a Peurto Rican, too", as Tony (played by Jerry Orbach) would have expressed that everyone is all one and the same.


18. What if William Finn had written Big River?
19. Elizabeth Swados had written Dreamgirls?
20 Gerome Ragni and Galt McDermott had written Merrily We Roll Along?

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Delightful examples, Justice

1 If Bill Finn had written "Big River":
Jim and Huck would of course be jewish and gay, what else could they be in a Bill Finn musical... They would not live through their adventures in the southern states and the time of Mark Twain but it would be set nowadays in Brooklyn. As in Bill Finn's shows usually someone feels ill in some way, it would have to be Jim here (instead of being a slave). Bill Finn would have a cameo appearance suitably as Pap Finn. There would be a baseball match in it. And in the end Jim would marry Huck, that would be a fair ending.

19) If Elizabeth Swados had written Dreamgirls?
A tough one, since I am not really familiar with her and her opus, so I had to do some research
It would be set on the streets of a very very poor African country. The Dreamettes would be street singers (yes, like in Brooklyn) and would not be truggling for stardom, but rather for the mere survival. Curtis would be white and would show the racist exploitation there is in the world. The score would be based upon African folk music with a little Kurt Weill in it. And it would have a tragic disillusioned ending, after which the audience would be forced to get out of their seats and would at once try to change the world.

20) If Gerome Ragni and Galt McDermott had written Merrily We Roll Along?
The whole show would be called "Hairily we roll along", it would have no plot, a rock score and a lot of marijuana in the air. Act one would show that Frank, Charley and Mary don't want to go to Vietnam and act rwo would show that they still don't want to do it. As there would be no plot, it would not have to move backwards. The songs would include "Let the old friends in!", "F.S.I." and "Ain't got no day going by". Well, what more would there be to say...