Wonderful Town - The College Edition!

At the recent urging of my frequent Broadway Viewing Buddy (a.k.a. “Dad”), I will be discussing a lovely little show that I just had the pleasure of attending. Ursinus College’s very well-received and well-executed production of Wonderful Town closed last Sunday, so you just missed it!

Wonderful Town

Music: Leonard Bernstein

Lyrics: Betty Comden & Adolph Green

Book: Joseph A. Fields & Jerome Chodorov

Based On: Ruth McKenney’s The New Yorker-published collection of autobiographical short stories; Fields's & Chodorov's resulting play, My Sister Eileen

Broadway Debut: 1953

Tony Nominations/Wins: 5/5!

Wonderful Town follows two sisters from Columbus, Ohio – sharp, witty Ruth and vivacious, blonde (and not Irish) Eileen – pursuing writing and acting careers, respectively, in New York City. They arrive awestruck and immediately acquire lodgings in a most undesirable basement apartment; featuring a “loveable” landlord, “customers” of the room’s former tenant, Violet, and frequent dynamite blasts from the new subway construction mere feet below them. They battle early onset homesickness and make the best of things. Ruth makes the rounds with her stories while Eileen gets free lunches from a smitten Walgreens manager. They chase their dreams and find love while weaving through the lives of other Christopher Street inhabitants: living-in-sin neighbors Helen and the Wreck; sleazy-but-ultimately-redeemed  newspaperman, Chick Clark; Village Vortex nightclub owner, Speedy Valenti (where they each find some amount of success); magazine editor, Bob Baker; some Brazillian Navy cadets with a penchant for the “Conga”; and a slew of Irish cops with a penchant for Eileen.

This musical is a true ode to everything that is the Big Apple. It centers on everything “wonderful” about NYC and what can happen when you venture there to find life and love. It can harden you and make you long for simplicity, but the beat and vibrant energy of the city can also invigorate you and present new things every day. The ambiance and feel of Wonderful Town is upbeat and brightly-colored, but I wouldn’t necessarily call it a fluff musical (like 42^nd St. or Anything Goes). The songs may not be as recognizable or gritty as others composed by the great Leonard Bernstein. But his score is full of intricate nuances that reflect the overwhelming blur that is NYC. Its unevenness and hectic hustle illustrate a sophistication that surpasses “fluff” musical composition.  I’m not trashing Anything Goes, but the wit is more in the lyrics (Cole Porter’s specialty) with an accompanying snappy tune that takes a back seat to the words instead of the other way around. Bernstein’s style of composition is complex and really sets the mood for the piece (much like Sondheim) and Wonderful Town is no exception.

Ursinus College’s recent production was quite a refreshing thing to see: young people taking a period piece and not only understanding such a bygone bit of American History, but also immersing into that time period and making it believable for audiences. I so often see performances where it looks like the actors are just playing dress-up in front of a period backdrop. But these kids had very little backdrop to play off of (I’m guessing they spent most of their budget on the costumes, which were really good for a college production!). They really invested in the time period they were portraying and it actually looked like they belonged there. Looking comfortable in a time, place, and way of life different from yours is not an easy thing for anyone to accomplish, so it’s especially exciting to see such young performers tackle it like champs. In a world where bigger, faster, shinier reigns supreme, it does an old soul like me good to see young people respecting and working to uphold the significance of a time that is not their own. Bravo, you young whippersnappers!

Something Wonderful - It's good to be The King

My last post was a Top 10 list (in no particular order of preference) of my personal favorite Broadway love songs, in honor of Valentine’s Day. Feel free to go back and have a listen. I’ll wait…

Welcome back! Today, we’re going to discuss the musical that featured song #7 on that list (“Something Wonderful,” for those of you who didn’t feel like having a listen): The King & I.

 

The King & I

Music: Richard Rogers

Lyrics: Oscar Hammerstein II

Based On: Margaret Landon novel, Anna and the King of Siam

Broadway Debut: 1951

Tony Nominations/Wins: 5/5

I’ve been thinking about “Something Wonderful” for a while now. It’s not one of those songs about loving someone even though they drink or beat you… or both (i.e. “What’s The Use Of Wond’rin’”, “As Long As He Needs Me”, “Can’t Help Lovin’ Dat Man”). It’s more than being a powerless slave to love, despite the man’s shortcomings. This is a song in which the singer loves a man for all the good he’s capable of if he has the right kind of help. At one point, Lady Thiang says, “I am not equal to his special needs.” She is filled with borderline sorrow over not being able to adequately support her conflicted husband, who is flawed beyond mere infidelity (though the guy does have a plethora of wives). She sings about loving a man who needs patience, understanding, brutal honesty, and an ego stroke all at the same time to succeed which she pleads for Anna to give him since she herself cannot. The King is doing very important things and making very important decisions to balance the eastern and western influences in his country and help his people thrive. He was raised on ancient traditions and cultures that demand he show no vulnerability whatsoever. He simultaneously needs to make way for modern advances to prove his prowess and compatibility to the rest of the world while not forcing his nation to adopt change too quickly.  Lady Thiang understands this, but can only watch from the sidelines while he and Anna work it out together.

The King & I raises a lot of fascinating interpersonal commentary in just 3 hours, particularly from the King of Siam (the real King Mongkut was actually pretty fascinating too, but more about him later). At first glance, the King comes across as an obstinate, vain, bully. Then the brilliant songs start and we are plunged into the abyss of the human condition.  The King is aware of the monumental burdens he must shoulder. In “Is A Puzzlement,” he feels extreme conflict about his uncertainty in fields that he believes he should have a firm grip on (since he’s king and all); like what values to instill in his eldest son that will make him a fair, yet dynamic king (and human being) his people will follow.  He grapples with maintaining his country’s traditional eastern identity and monarch-headed system of government while embracing the modern, western cultural influences that will assure his country remain a competitive force among the civilized nations of the world. This conflict eventually gets the best of him.  Anna’s influence strips him of his previous sense of self and throws him into an even bigger pit of conflict and moral pressure. He hands his beloved monarchy over to his son, who begins making big, modern changes for the kingdom, and (**SPOILER ALERT**) dies. It may be good to be the king, but it sure ain’t easy!

On a personal level, the King is a stern disciplinarian with his wives and children. But in “March ofthe Siamese Children,” he is clearly also a loving father. He exerts austerity because he cares about their future and wants them to be educated.  But he shows signs of softness, particularly towards the younger ones. He views his wives as subservient, demure beings, meant to do his bidding. When he first hires Anna, a woman, to teach his family, he expects her to be similar to the other women he’s grown accustomed to in his life. She blows his mind with her intellect and contending demeanor. This eventually grows into a mutual respect and a deep, unspoken love. She becomes what none of his wives, including Lady Thiang, could ever be: an equal confidante. They may butt heads in the beginning; a result of the eastern and western culture (and gender) clash, but once they let each other in emotionally and embrace each other’s positive cultural and personal attributes, they are able make beautiful music together.

Fun Facts:

The real Anna Leonowens was actually Eurasian! She told people she was of Welsh descent to explain her darker skin color. This fact wasn’t discovered until after The King & I was written.

When Gertrude Lawrence (the original Anna on Broadway) died, she was buried in her 75 pound “Shall We Dance?” ball gown.

The real King Mongkut was highly accomplished in his own right: before succeeding his older brother as king, he was a Buddhist monk (and founded a reform order of Buddhism), a multi-lingual scholar, a mathematician, an astronomer, and he set up Siam's first printing press, to print in both English and Siamese… And I thought Yul Brynner was a badass! 

A Belated Valentine's Day Top 10

Ah, Valentine's Day. That special day of unbridled romance, chocolates, fancy dinners, Durex, price-hiked flowers, and probably some disappointment.

....And romantic music!!! What better gets us in the mood than some Marvin Gaye or some Righteous Brothers, stimulating our sex organs into a pottery-spinning frenzy?! What makes our hearts soar and eyes tear up better than a song proclaiming everlasting love and devotion? I'd like to commemorate this Valentine's Day with MY Top 10 favorite musical love songs.

The world's general top three favorites seem to be "If I Loved You", "All I Ask Of You", and "Some Enchanted Evening" (this one actually made my list). "If I Loved You"is a truly beautiful and heartfelt song, but I think it's too timid for Valentine's Day. I need a love song that screams of love from the rooftops. "If I Loved You" is all about what you would say if you were brave enough to say it (a cop out in my opinion). "All I Ask Of You" is also a beautiful song, with even more beautiful music. But in the context of the show, I think Raoul is more about comforting and assuring Christine's protection, who is so vulnerable, she enlists Raoul as her personal bodyguard-slash-boyfriend for the rest of time.  I think at this point in the show (if they were smart), they should be talking about searching the opera house for that stalker guy in a mask who murdered that poor stagehand about five minutes ago (and maybe getting Christine some therapy for her Stockholm Syndrome). But no, you're just gonna sit on the roof and proclaim your love for each other. Good for you.

You're even more beautiful up close than when I stare at your through the trick mirror!

I'm going against the grain and making a (short) case for each of my selections, for I believe they contain some of the most romantic, sentimental, schmaltzy, beautiful lyrics and/or music to ever grace a Broadway love song. So allow me to present (in no particular order of preference, just alphabetical) my 2014 Top 10 Favorite Broadway Love Songs:


1. How Could I Ever Know? - Secret Garden

In this gut-wrencher of a song, long-suffering widow, Archibald Craven (played by the am-AH-zing Mandy Patinkin) is visited by his deceased wife, Lily. She apologizes for the pain he's endured from her death and encourages him to stop mourning her and be a presence in their son's life. I mean, of course it's not her fault she's dead, so she doesn't really have any reason to be apologetic!  But to cross back over into the world of the living to help your husband move on after tragically losing you?  That's love, man...

2. Love Can't Happen - Grand Hotel

I never personally believed in the concept of "love at first sight." But Brent Barrett makes me want to be a believer!  Barrett's character, Baron Felix, meets an aging ballerina while attempting to rob her hotel room and "loses himself completely." The sweeping score and climactic belting turn me into a swooning mess of estrogen.

3. Love Song - Pippin

I'm a tad obsessed with this song at the moment. Pippin was the most recent show I've seen (technically Chicago was the most recent, but they were on the same day), so it's still fresh in my mind. There's nothing dramatic or grand about this song. But I think it's a very sweet, intimate song that magnifies the importance of all the "little things" that make a relationship special.

4. Not A Day Goes By - Merrily We Roll Along

I know this song's about a breakup, but you can't appreciate happiness without a little sadness. Even after a relationship ends, the love doesn't necessarily end, as much as you may want it to. In the misunderstood flop, Merrily We Roll Along, the done-wrong wife sings of how her two-timing husband is still in her mind and her heart. Here, the queen of the heart-wrench, Bernadette Peters practically crushes her own soul on stage for the sake of our earballs' entertainment. Bless you, Bernadette!

5. Say It Somehow - Light In The Piazza
http://www.youtube.com/watch?v=4Iob_JngT2Y
Out of my entire Top 10, I gotta say this is the song that reduces me to a blubbering mess the most (especially right when she says "I always understand"). ERMERGERRRRRD!!! It's such a passionate and pure song that breaks and transcends language barriers. Even though Fabrizio and Clara aren't able to easily articulate their feelings, they still know each other's hearts and get the message across even when words fail. Plus a little touch of looming danger at the end is always fun!

6. Some Enchanted Evening - South Pacific

I can't fight the masses completely. This song is good. Really good. Plus it never hurts when Brian Stokes Mitchell (in a tux... a white tux!) sings it. Seriously, if dark chocolate had a voice.... Such a lovely song about spotting a moment that you know is special and vowing to hold onto it.*Sigh* Good stuff.

7. Something Wonderful - The King & I

Lady Thiang pleads with "Meesus Ah-na" to assist her husband, the King, with his kingly affairs, as he is unable to tackle them on his own. I like this song because it's all about loving someone who is not just imperfect, but someone who truly requires your help to get by. It's tough enough to be in a regular, mutual relationship. But to be in love with someone with serious faults who needs you more that they realize and may or may not show appreciation for you? That's tough. And incredibly loving.

8. Song On The Sand - La Cage Aux Folles

This is a very sweet "we-stood-the-test-of-time" song. Georges recalls meeting his longtime love, Albin, how special that day was, and how their love is just as strong today.

9. The Next Ten Minutes - The Last 5 Years

The song starts out with the small request of sharing the next 10 minutes together. Then by the end of the song, he wants ten lifetimes with her. The musical follows Cathy and Jamie through their 5 year relationship: Jamie starting at the beginning and going forward, Cathy starting at the end and working back. For this one song in the show, they meet in the middle and sing together. This is the one time when they're in sync in their relationship. I think I love the harmony at the end of this song more than anything. It just screams chemistry!

10. Unexpected Song - Song & Dance

I don't know much about this show, but I do love this song.  There's nothing more exciting than new love blossoming. This song highlights every emotion, every thrill, and every butterfly just beautifully.

So there you have it folks. My Broadway Love Songs Top 10 of 2014! Agree? Disagree? Did I leave any out?  Share yours and we'll discuss!



Honorable Mentions:
The More You Ruv Someone - Avenue Q

The Song That Goes Like This - Spamalot

Touch Me - Spring Awakening (this is more of a sex song than a romantic song, but I find it pretty hot)

Songs With A Person's Name in the Title
* Johanna - Sweeney Todd
* Maria - West Side Story
* Dulcinea - Man Of La Mancha

Oh, the Negro and the Hebrew Should Be Friends! A Study of Dual Guilt, Persecution, and 11 o’ clock Numbers

DISCLAIMER: If you’re overly sensitive, this post may touch on borderline racism, so I apologize in advance.  But then again, everyone’s a little bit racist!

I was listening to XM Broadway Radio in my car the other day and before treating my eager ears to Norm Lewis nailing “Bess, You Is My Woman Now”, Seth Rudetsky (I think it was Seth) mentioned how the most soulful, memorable musical numbers sung by powerful black characters (i.e. “And I Am Telling You I’m Not Going”, “I Know Where I’ve Been”, “Ol’ Man River”) are often written by old, white, Jewish men. I found this observation fascinating. It also raised a few questions:

1) How are Jews so good at writing these songs?

2) With all the persecution and hardship they have in common, why aren’t African Americans and Jews better buddies?

3) Why aren’t black people writing these songs themselves?

As a white, Jewish female, I may be biased in this study. But I’m throwing it out into the universe anyway!

1) How are Jews so good at writing these songs?

What the frak do old, white, Jewish men know about spirituals and gospel numbers?  It’s truly amazing how you get a bunch of very talented songwriters who grew up with klezmer-flavored music and Yiddish-speaking parents, yet they crank out stuff like this!

"Okay, how does this sound? '...Fish are jumpin' and the cotton is high.'"

If you were lucky enough to catch WHYY’s piece on the Jewish legacy in musical theatre, it touches on how the great early 20^th century Jewish composers of the time (Berlin, the Gershwins, Hammerstein) would draw on segments of their own culture’s music and develop it into songs for musical theatre. The program also mentioned how both turn-of-the-century Jewish klezmer music and African American spirituals/folk hymns tended to be in a minor key. Songs in minor tend to have a sadder, more melancholy tone than songs written in a major key. This musical familiarity between the two made an easy transition from ‘da Blues to ‘da stage.

2) With all the persecution and hardship they have in common, why aren’t African Americans and Jews better buddies?

Pre-turn-of-the-century Jewish and African American songwriters also shared a very mutual antagonist, which clearly seeped into their cultural music: oppression, discrimination, and woe.  Who carries their ancestors’ hardships on their backs and wears it as a badge of pride better than the Jews and African Americans? You would think with the amount of slavery, persecution, culture, and misery Jews and African Americans have racked up throughout the last few centuries (not counting the extra couple thousand years the Jews have accrued), they’d have a very strong, common bond.  Instead, they seem deadlocked in a Who’s-The-Bigger-Victim pissing contest. The lack of Jewish and African American camaraderie arguably roots from several schools of thought: Ignorance, Self-importance, politics, excessive use of the race card, and flat-out racism.  Or is the thought of a mutual respect between such large groups extremely naïve? I mean, are there really any cultural partnerships like that? Or are all the world’s ethnic/racial/religious groups just locked in a collective passive-aggressive dislikefest (some less passive than others)?

"Okay, let's get Father Flanigan and walk into a bar. It'll be hilarious!"

3) Why aren’t black people writing these songs themselves?

Even if they don’t get along on an everyday basis, you’d think they’d be bosom buddies in the entertainment industry.  I get it. Broadway is primarily a white, upper-middle-class people’s game. Always has been.  The majority of African Americans would most likely rather play in oncoming traffic than sit through a musical (and pay top dollar to do it). But why is this? African Americans have made monumental contributions in entertainment, art, literature, and music.  It’s not like they don’t have a reputation for producing brilliant art. The talent’s there.  Why not bring it to the stage, where it’s truly appreciated? But now we’re back to the white people’s game.  I’ll admit it’s not historically easy to attract black theatregoers.  In recent all-or-mainly-black cast productions performed on Broadway, African American audiences were typically drawn to the star power tied to the shows (The Wiz, Oprah heavily endorsing The Color Purple, P-Diddy-or-whatever-his-name-is-now in Raisin in the Sun, James Earl Jones in Cat on a Hot Tin Roof, etc.). The shows without big star power typically had less of a turnout from the black community (Passing Strange). I personally frown on most mainstream stars invading Broadway (like Disney Channel kids and American Idol runner ups and former boy band members). But if that’s what brings a more diverse crowd, I say give ‘em what they want. If that’s what brings people to the theatres and potentially inspires them to create similar work, bring it on. And if you really want to get integrated, who says typically-white characters can’t be black?  Belle was black for a while when Toni Braxton had her stint on Broadway and people loved her! I’d be very interested to see the general reaction to a black Cinderella or Galinda or Phantom! 

The early 20^th century saw a slew of successful and popular all-black productions, propelled by the Harlem Renaissance. Minstrel shows and blackface stereotypes were rejected in favor of serious, home-hitting subject matter that appealed to both black and white audiences (when they were integrated, which was a revolutionary concept, only beginning to see the light of day). African Americans used art to prove their humanity and demand for equality when it was widely denied them. The Harlem Renaissance not only led to more opportunities for blacks in white mainstream circles, but also developed a sense of ethnic pride and identity.  The explosion of culture lifted African Americans at the time to a higher, respected status.

I say we should bring that mentality and identity back. And I don’t mean Kanye or whoever rapping about the joys of being an overpaid, overdrugged, oversexed gangsta.  Even though that’s obviously what sells today, I can’t imagine that it is the only profitable subject matter in the current black music style. Look at Will Smith! While other rappers were rapping about shooting people and gangs and inflating their already astronomically-entitled egos, he rapped about how his caring mother sent him tolive away from the hard streets ofWest Philadelphia.

My point is “Thug Life” is just that: Thug Life.  They know what sells and what attracts the masses. But they’re obviously better than that.  And while I’m at it, that goes for the white people too! Some people have talent and some people have a talent for entertaining. Don’t settle for a pair of tits or a boy band haircut singing a mindless-though-catchy pop tune!  Let talent live and breathe outside the singing competition shows!  …Sorry, I digress. African Americans used to be a driving force for good in our country’s culture and on our stages.  In comparison, it’s just pandering amusement and shock value now.  I don’t see why they can’t be a force on Broadway again. I would have given my *insert sexual appendage here* to see the all-black cast rendition of Hello Dolly! (headed by Pearl Bailey).

I think musical theatre is the greatest means of creative expression in the world.  So why is it such a whitewashed institution? You see a “person of color” on or behind the scenes here and there. You see an ethnically-charged show here and there.  But why, in a community that is so outgoing and inclusive and open to diversity, is race still a hurdle?  I highly doubt Broadway is turning black artists away; I just wonder how many are showing up.  Maybe things would change if we could get Jay-Z to be in a musical…

"Being Alive" and Other Reasons Why Single Life Apparently Sucks...

Greetings, Pals n’ Gals! I am once again swinging the spectrum of musical conversation back to the legendary Stephen Sondheim (I tend to do that). DISCLAIMER: There is a very good chance that every other blog entry I post (or so) will typically have something to do with the Great Stephen.  Furthermore, it has been brought to my attention that I may or may not get a little dramatic/overly poetic when discussing Sondheim’s work. For that, I make no apologies. So if you don’t like it, please visit the Complaints Department.

Lately, while observing the relationships of my married/coupled friends and family (as well as my own), a certain song has been incessantly creeping under my skin and burrowing in my brain. A song that makes me examine the ins and outs, pros and cons, simple and severe, ups and downs of a committed, full-time partnership. I am talking of none other than “Being Alive” from Company.

Company

Music & Lyrics: Stephen Sondheim

Book: George Furth

Broadway Debut: 1970

Tony Nominations-Wins: 14-6

The Show

Company revolves around 35 year-old bachelor, Bobby, and his relationships with his friends (five eccentric, married couples) and casual girlfriends. Originally titled Threes, the show is a concept musical, composed of short, non-linear vignettes, all linked by Bobby's 35th birthday celebration. He surveys from the sidelines as each of the married couples grapple with their respective issues: vices, divorce (sort of), neuroticism, infidelity, weed, and all the little things. The musical examines marriage/relationships and the reasons people come together, divorce, and stay together. With his friends acting as a less-than-attractive model for a committed relationship, Robert hopes for nothing more than an easy, no-strings-attached affair. 

The Song

The song starts with Robert exasperatedly asking, “What do you get?” He observes the pitfalls of being married through his friends and fails to grasp what compels people to allow such frustration and turmoil in their lives.  Robert first points out that in a marriage, there is ALWAYS someone there, sitting in your chair or ruining your sleep.  But then he digs deeper and finds that there’s much more to it. He sees that a relationship means someone not just being in your life, but being a key part of your life. Encouraged by his assorted married friends, he finally realizes the fulfilling and life-affirming rewards of being with somebody and wants that kind of intimacy.  “Someone” turns to “Somebody” as he proclaims that he wants to be part of something that indeed defines being alive.

“Being Alive” reflects the angst and demanding effort as well as the gains and gratification that come from being in an emotionally-intimate relationship. At first glance, nay, most glances, relationships are complicated, messy, and scary. But Robert realizes that there’s more to marriage than just being married. It’s something you work at every day. You fight and argue and cry and lose sleep and stress. Yet despite all its hardships, there is so much to win. You get to have a partner and be a partner.  A relationship is a two-way street, where neither party has all the answers, let alone the right ones.  But you get to search for them together. You bring out the best in each other and thrive together.  That sounds pretty gratifying to me.

The Legacy

Growing up, I never had a serious boyfriend (give or take a two-week We-Held-Hands-Once-So-We’re-Going-Out fling). I didn’t really feel like acquiring one either (hence the apparent lesbian rumors that circulated around my high school… without my knowledge until after I graduated. Sad panda). I’d be surrounded by friends and classmates in “relationships” and think is THIS love or intimacy? This just looks like lust and convenience and cheap jewelry.

I guess I can blame Stephen Sondheim for my early-onset cynicism.  With Company, he assured me (at the tender age of 9) that there was more to life than making out and sex and passive-aggressive manipulation with flavor-of-the-week boyfriends that my peers were accustomed to at the time. I figured if Robert didn’t have his shit figured out at 35, what the hell did teenagers know? ....Not that we ever have everything figured out. We just get better at faking it so we don’t have a meltdown at work (though I’ve been tempted!).

Sondheim has expressed displeasure in concluding the show with this song (seriously, Stephen. What is wrong with you!?), as he deems it a “cop-out.”  He had initially written two other songs to conclude Company before settling on “Being Alive;” both more jaded and sardonic versions of Robert’s ultimate revelations: “Multitudes of Amys” (sung here by the DELICIOUS Aaron Lazar!) and "Happily Ever After" (which eventually turned into "Being Alive" with a slightly more optimistic ending). I personally can’t imagine a song fitting the end of Company better than “Being Alive;” but then again, I’m not a musical genius, just an awestruck spectator. 

So much love up in here, it's disgusting...