As many of you know, besides blogging, occasional freelancing, and (even more occasional, these days) coaching young singers and actors, I make my primary living as managing director of a touring children’s theater company. In recent conversation with a colleague, whose background is primarily in clowning, she said to me, “Well, I’ve seen a lot of theater, and I didn’t like any of it.”
As a long-time theater lover and veteran of the business, my first reaction was a deep desire to drag her off to the nearest professional theater production (for grownups, natch), preferably something both well-written and well-produced, with a heavy visual/physical component that I know would appeal to her in particular. Unfortunately, where we’re located, that’s easier said than done.
What she also enjoys, however, is music, and as I thought about that, I realized that the one component of theater that has been effectively bottled for enjoyment off the stage is, in fact, its music. With that in mind, I want to ask you, dear readers, to help me compile a list. Yes, a list of favorite showtunes.
A couple of thoughts before we dig in: First, I am not looking for a collection of “THE GREATEST SHOWTUNES OF ALL TIME,” the kind you’d find in the supermarket or in a Broadway TV special. You need not feel obligated to identify the medium’s most influential or most popular tunes. I’m simply looking for a few songs/scenes/numbers that particularly resonate with you, whether you’d include them in musical theater’s official “canon” or not. If those happen to be influential or popular, that’s perfectly fine. But they don’t have to be.
Also, what’s even more important to me than what you’d pick, is why. All reasons are valid, but I really want you to share them with me. For instance, were I to include something like “Winter’s on the Wing” (The Secret Garden) or “Bali Ha’i” (South Pacific), I’d be doing so for the orchestrations, even more than the songs themselves, because that is what I think makes them transcendent.
Lastly, if you prefer a specific cast recording, please include that information as well. For instance, were I to list “The Ballad of Booth” (Assassins), I’d specify the Playwrights Horizons cast, with Patrick Cassidy and Victor Garber (no offense to NPH or Michael Cerveris, both of whom I fangirl heavily), because I think those performances translated better to audio.
Feel free to interpret “song/scene/number” as you will. For instance, on my list, I’d surely include the first twenty or so minutes of Carousel, from the overture through “If I Loved You,” which is, for my money, the most perfect example of dialogue and song intertwined in the history of theater, and the primary subject of my ongoing, very tedious lecture, “Why Oscar Hammerstein was a genius.”
So, if you’re willing to indulge me in this matter, please list your selections, including the following information (in any order):
Title of song/scene/number
Title of musical
Composer/lyricist
Why you think the song is great
Preference (if any) of cast recording (cast listing optional)
Geeking out is TOTALLY ACCEPTED. No suggestion is embarrassing. Even if you only like one showtune, come tell me about it! Come one, come all! Help me spread the sheer awesomeness of musical theater!
Please respond in comments or on Twitter with the hashtag #bringmeyourshowtunes!
I’m not really a musicals buff, and I can’t explain my whys in proper musical lingo, but I’ll try my best to explain why I love each song. I’m definitely more of a lyrics person than an orchestral, so most of my reasonings have to do with the lyrics and the way the notes resonate with the body when you listen to them.
Title of song/scene/number: Your Daddy’s Son
Title of musical: Ragtime
Composer/lyricist: Lynn Ahrens and Stephen Flaherty
Why you think the song is great: I remember when I saw Ragtime for the first time that I was left truly shivering by the end of this song. Audra’s voice was so compelling, and I remembered that the song really made me think at the time about what someone has to go through to feel the need to bury their newborn son in the ground. It was moving and her voice really resonated within my body when I heard it.
Preference (if any) of cast recording (cast listing optional): 1998 Original Broadway Cast
Title of song/scene/number: Falcon in the Dive
Title of musical: Scarlet Pimpernel
Composer/lyricist: Frank Wildhorn
Why you think the song is great: Another song that truly takes advantage of specifically using long notes that force the body to physically resonate with the singer. It’s also just a fun villain song. It builds his character and really gets you excited for how the play will move on from there.
Preference (if any) of cast recording (cast listing optional): Original Broadway Cast Recording
Title of song/scene/number: Tear Jerk
Title of musical: I Love You, You’re Perfect, Now Change
Composer/lyricist: Lyricist Joe DiPietro and composer Jimmy Roberts
Why you think the song is great: A song that never fails to make me laugh. I remember it really made me think at the time that this was what the modern musical should be like. I thought it was such a hilarious commentary on relationships (although now it seems a bit too stereotypical). However, because of it’s comedic value, I still would count it among my favorites.
Title of song/scene/number: I’ll Cover You (Reprise)
Title of musical: RENT
Composer/lyricist: Jonathan Larson
Why you think the song is great: Couldn’t make a list without including something from RENT, it seems somehow criminal. This was the song that always moved me the most. It was filled with so much grief and love. It never fails to make me cry when I put on my RENT CDs. The lyrics remind me of what love should always be like.
Preference (if any) of cast recording (cast listing optional): Has to be the 1996 Original Broadway Recording with Jesse L. Martin.
I think you do an excellent job of explaining why you love these songs! Thank you so much! Extra points for being the first to participate!
Also, I’m pleased to see something here from I Love You, You’re Perfect, Now Change, which I missed during its run, but always wished I hadn’t.
I have to agree completely with Your Daddy’s Son, and specifically with Audra’s performance of it – it’s not even the content of the song, but the combination of the chords and the emotion in her voice definitely brings out the emotion in me!
Well, one of my absolute favorite soundtracks is Jekyll and Hyde The Complete Work (it’s a concept album, fully done and brilliant). Frank Wildhorn does absolutely amazing things with this musical. He’s a master of orchestration and melodies; it’s a real shame his shows don’t last long on stage. Some of my favorite songs are:
“I Need to Know” – amazing vocal melody, and Anthony Warlow is brilliant.
“Alive” – another amazing number with fantastic orchestration and melody.
“His Work and Nothing More” – for its beautiful 3-part vocal harmony.
Another Wildhorn work (that he doesn’t get the same respect composers like Webber and Sondheim do is a real shame), The Scarlet Pimpernel OBC.
“When I Look at You” – a beautiful song, that I sang quite often for recitals in college.
“Where’s the Girl” – A strong male number.
“The Creation of Man” – it’s hilarious.
“You Are My Home” – was released as a single and did rather well; it’s a gorgeous song and a lovely duet.
And another, Civil War. Now, all I have is The Complete Work, which has all the music song by mostly country singers (but also Wildhorn’s muse and wife, Linda Eder), and readings by James Garner, Danny Glover, and Maya Angelou (!!!).
“Brother, My Brother” – soooo beautiful.
“Freedom’s Child” – a lovely, upbeat number
There are many beautiful songs here, but it’s been a while since I’ve listened to the CDs. Those are the ones that stand out. The show itself was very…minimalist. Almost no set to speak of, very basic costumes; mostly people just stood around singing (or sometimes sat!).
From Cabaret (New BC), Kander and Ebb.
“Tomorrow Belongs To Me” – beautiful and eerie.
Also from Kander and Ebb, Chicago. I have the revival cast, with Ann Reinking and Joel Grey.
“Mister Cellophane” – Joel Grey at his finest.
Wicked, OBC. This would be one to take your friend to see, if it’s ever possible. What a spectacle! The production value is outstanding. And the music is good, too.
“Defying Gravity” – an outstanding number, blown away by Idina Menzel
“No Good Deed” – another song amazingly done by Idina Menzel.
“For Good” – lovely song about friendship
And finally, some Webber.
Phantom of the Opera (OLC probably)
“Wandering Child” – some amazing 3-part harmony between Brightman, Crawford, and Barton (which was cut down last time I saw it on stage, most unfortunately).
“The Point of Now Return” – gives me chills every time. I LOVE this song.
Whistle Down the Wind (OCR), which didn’t do well on the stage, but has brilliant music with some help from Jim Steinman.
“Whistle Down the Wind” – the title song, sung beautifully by Lottie Mayor
“Tire Tracks and Broken Hearts” – a great rock-like song with wonderful harmony
“Unsettled Scores” – sung expertly by the very sexy Marcus Lovett
“No Matter What” – a great medley of the different songs from the first act of the show
Les Miserables…er….OBC I think, with Lea Salong as Eponine
“I Dreamed a Dream” – lovely lovely; auditioned into the music school at my uni with this.
“Castle on a Cloud” – so simple, and so delightful
“One Day More” – it’s so iconic musically and visually, it’s hard to leave this one out
“Empty Chairs at Empty Table” – beautiful and haunting
Miss Saigon…probably OLC
“I’d Give My Life For You” – very powerful
“I Still Believe” – an absolutely gorgeous female duet
Chess (not sure the production)
“I Know Him So Well” – another great female duet
Hmm…that’s all I can think of now. I stayed away from shows like Spamalot and Avenue Q, which have great, hilarious numbers, but probably aren’t what you’re looking for. :)
Quite a list! Thanks, Kris!
“Maybe This Time”
Cabaret
KanderEbb
This one gets me, maybe it’s the oboe? It’s tragic and hopeful all at the same time?
My favourite so far was whoever played Sally Bowles when the show went through Vancouver. I forget her name though. Also, the rendition from Glee with Kristin Chenoweth was good save for the interspersed bits with the student.
“On the Street Where You Live”
My Fair Lady
OK, so it’s hokey and schmaltzy. But it describes that feeling so well. “… but the pavement always stayed beneath my feet before…”
Vic Damone
I for one am happy to see some older tunes here! I was starting to feel really old!
I think I still have the original cast recording album(not CD), but if I do it’s packed away.
Camelot(including Julie Andrews & Richard Burton)
If Ever I Would Leave You
Lerner/Lowe
Robert Goulet
This was the epitome of a love song to me. I think there are many more out there, like Some Enchanted Evening, but this has always remained my favorite.
Nice to see Lerner & Lowe gaining ground here. :D
Well, you know my list has to include the original soundtrack of Loesser’s Greenwillow – though it is difficult to pick out individual songs. The songs are haunting, but I love them most because I fell in love with the soundtrack when I was in college.
Also Sunday from Sunday in the Park with George
Sondheim
because of the harmony.
I think Cole Porter is a master of songcraft, and I guess one of my favorites is “Ev’ry Time We Say Goodbye” but I don’t know if I can explain why.
This is too hard. Some songs I love because they were always easy for me to sing – Mira from Carnival and Can’t Help Lovin’ That Man from Showboat, for example.
With you, I love the opening of Carousel – revival production where I wanted them to repeat the whole opening before going on with the show.
This request could take days.
I always meant to come back to this entry, and for some reason I never did.
With you, I love the opening of Carousel – revival production where I wanted them to repeat the whole opening before going on with the show.
Hee, yes. I could watch a full evening’s production where all they did was repeat the first 20 minutes over and over again. :D
I’m glad you bring up Cole Porter here. I think I have never fully appreciated his genius, because when I was young I cared more about songwriters who gave me virtuoso pieces, and that wasn’t his style. But I’m more appreciative now.
I am woefully ignorant where showtunes are concerned, but the first one that pops into my head is “Not While I’m Around” from Sweeney Todd. :)
Oh and “King Herod’s Song” from Jesus Christ Superstar. It’s the first song from that musical that I heard and it prompted me to go out, buy, and memorize the whole durn thing.
“Not While I’m Around” is more affecting. I guess I just like it when young boys try to protect their benefactress, even when she is making people pies. Plus, that melody is durn catchy.
Oh my, this is difficult. Way too much material here. You know my taste as well as I do.
Way back to Kern and Hammerstein
You Are Love
Why Do I Love You
Because Kern was a great tunesmith (better than Rodgers I think) and Oscar Hammerstein was a genius. Showboat was the first musical drama with total integration of the elements. Most think Oklahoma was first, but nope.
Anything from Carnival or Sweeney Todd. They’re put together so well; not a note or word wasted.
The first act of Sunday in the Park
Several Rodgers and Hart pieces
I’ll Take Manhattan
Thou Swell
Blue Moon
and many more just because They make sense standing alone.
I’m pretty good with most things up till the last 15 years or so.
I do like a lot of Miss Saigon and Les Miz, but the structure of both these shows bother me.
I could go on, but maybe later.
I can get behind you in terms of Kern vs. Rodgers, though Hammerstein did his best work with Rodgers, I think. I appreciate your bringing Showboat into the conversation, though, because I think it’s always underrated, simply because it’s older than the rest.
I wish Carnival held together better as a whole. I was struck by its failures when we went to see it recently… not that it’s *bad* by any means, but I feel like the book could have been so much stronger. Musically, though? I’m right there with you. And Sweeney of course!
Also, I think the second act of Sunday gets more flak than it deserves. The first act is stronger, but I think the second act *could* have been that good with more work.
Finally, I wish the Brits hadn’t started the trend of sung-through musicals. I think it lets sloppy writers get away with avoiding what’s actually *hard*.
Hubby suggests “Poor Jud is Dead” from Oklahoma.
Adding to yesterday:
Most of the songs put together by the Gershwin brothers.
Much of Bernstein and Sondheim
Kalmar and Ruby
Three Little Words
Thinking of You
I Wanna Be Loved By You
Practically everything in the Great American Songbook
All of the above simply because they exist.
Speaking of the Gershwin brothers… I always thought they were at their best together, and I wish the Goodspeed revival of Strike up the Band had been given more of a chance to gel. I thought that whole musical was brilliant.