Music Man: Yep, Nancy Walker is hard to beat. Forgot it. (I aso love "We're Gonna Be All Right" on that recording.) As for the Phyllis slot in the Follies sequence, you're right, of course I know it's the same place/must serve same purpose. My only point was, Sondheim kept rewriting while basically coming up with the same number. The vamps are the same, the music is a variation, and then there's intricate word play about some polarity (and yes, I know, an explication of the duality within Phyllis):, up/down town, two mutually envious women, hidden personality under a public personna. I guess I thought that was somewhat unique as a rewrite issue, the same methaphor/motif re-tooled and re-explored 3 complete times. I personally prefer Lucy and Jesse,though not with Hoty.
Sondheim rewrites always intrigue. He kept diddling with "Last Midnight," in INTO THE WOODS, and the number never really worked very well,did it? I remember the earliest version on B'way, called "Boom Squish," or "Boom Crunch." It was the witch's big exit, but didn't engender much emotion. You'll probably write back and say "of course it did! You missed the whole pt!" and explain it as one of your favorite Sondheim moments. I hope so. I enjoy your strong ideas and preferences, by the way. Bring 'em on.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Updated On: 11/3/03 at 07:59 AM