They are, in no particular order, except chronological:
GODSPELL PIPPIN THE MAGIC SHOW THE BAKER'S WIFE CHILDREN OF EDEN WICKED
I'm curious if the breadth of opinions on this are as wide as I suspect they might be. Feel free to elaborate on your choice, criteria for selection, general opinions, et cetera...
CHURCH DOOR TOUCAN GAY MARKETING PUPPIES MUSICAL THEATER STAPLES PERIOD OIL BITCHY SNARK HOLES
I've seen them all, and Pippin is the only one I can watch again. It may not be perfect, but Fosse's hand in it helped create something unique and entertaining. And although the book for Wicked is perhaps better-crafted, its adolescent girl focus doesn't interest me (and that score is [to me] inferior to that for Pippin).
Godspell wallows a bit too much in 70's-style cuteness, The Magic Show is a strange freak, The Baker's Wife has a good central story ruined by "cute" two-dimensional townsfolk, and Children of Eden is a solemn bore (IMO).
All have some good songs in them, but, as a whole, they show up Schwartz' biggest weakness - although adept at ballads and power ballads, he has trouble writing truly funny songs. Updated On: 11/19/10 at 11:04 AM
If you remove the messy, improv book from Godspell, the music is really nice. In its time period, "Day By Day" transcended the theater and became a hippie anthem.
And by hippie anthem, I mean that in the early to mid 1970s, a lot of the 20 somethings were singing "Day by Day" "Put Your Hand in the Hand" "Michael Row The Boat Ashore" and "Kum ba yah"
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
Godspell was made into a movie. None of his other works were given the movie treatment.
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
GODSPELL WICKED CHILDREN OF EDEN PIPPIN THE BAKER'S WIFE
"Oh look at the time, three more intelligent plays just closed and THE ADDAMS FAMILY made another million dollars" -Jackie Hoffman, Broadway.com Audience Awards
Paradoxically, the best show on the list is the one with the weakest score, "The Magic Show!" That was an entertaing evening, but it had little to do with the score, though there were a few fun songs in it.
His best score is "The Baker's Wife," but the book is leaden.
I like a lot of his work, though, the shows, not so much.
My personal preferences in scores (not lyrics...Menken wrote the music for Hunchback):
Godspell The Baker's Wife The Magic Show Wicked Pippin Children of Eden
I love the original score to Magic Show (not the revised score featured in the DVD), but I hate the book with a passion. To me, the only weak song in the score Sweet, Sweet, Sweet. I've never been much of a fan of Pippin. I like a few songs, but I can't stand the book and without the collaboration of Ostrow and Fosse, I think it would have been an absolute train wreck. Godspell was innovative for its time and the score has always been the reason for its longevity. And The Baker's Wife is one charming melody after another with a few out-and-out brilliant numbers. Wicked has some weak numbers, but the strong numbers are golden. I enjoyed seeing a nice local production of Children of Eden, but none of the songs stay with me at all no matter how many times I revisited the recording. It's just forgettable.
As for his lyrics and ability to write funny songs, I think he succeeded numerous times in Wicked, The Magic Show, Enchanted (film), Rags and Pippin.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
I'm really hoping forthe revival of Godspell to happen. People associate the show with it's endearing but super cheesy original staging. But the show is open to limitless interpretation. When i played john the baptist in high school we updated it to a modern day new york and cut the circusy business. It was as if jesus came back today and gathered appostles of all walks of life. The book does lean towards childish or silly feel. But if your actors can capture the innocence without going clowinish its very moving