Enchanted Evenings:The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber
Page 70
† See Carol Ilson, Harold Prince, 177–97; Mandelbaum, “A Chorus Line,” 66–78; Prince, 158–70; Sondheim, “Musical Theater,” 231–32; and Zadan, Sondheim & Co. 135–53.
‡ Sondheim mentions a predecessor to “Beautiful Girls” called “Bring on the Girls” that Michael Bennett asked him to change when he “joined the show.” See Mandelbaum, “A Chorus Line,” 71.
LOVELAND
1. The Folly of Love
“Loveland” (Sung by The Ensemble) [rewritten in London Follies 1987]
The Spirit of First Love (Miss Kathie Dalton)
The Spirit of Young Love (Miss Margot Travers)
The Spirit of True Love (Miss Suzanne Briggs)
The Spirit of Pure Love (Miss Trudy Carson)
The Spirit of Romantic Love (Miss Linda Perkins)
The Spirit of Eternal Love (Miss Ursula Maschmeyer)
2. The Folly of Youth
Scene—A Bower in Loveland.
[“Who Could Be Blue?” and “Little White House”] [cut in 1971 rehearsals]
“You’re Gonna Love Tomorrow” (Sung by Mr. Ben Stone and Miss Phyllis Rogers) [added in 1971 rehearsals]
“Love Will See Us Through” (Sung by Mr. Buddy Plummer and Miss Sally Durant) [added in 1971 rehearsals]
3. Buddy’s Folly
Scene—A Thoroughfare in Loveland.
“The God-Why-Don’t-You-Love-Me-Blues” (Sung and Danced by Mr. Buddy Plummer) (With the Assistance of Miss Suzanne Rogers and Miss Rita O’Connor) [added in 1971 rehearsals]
4. Sally’s Folly
Scene—A Boudoir in Loveland.
“Losing My Mind” (Sung by Mrs. Sally Durant Plummer) [added in 1971 rehearsals]
5. Phyllis’s Folly
Scene—A Honky-Tonk in Loveland.
“Uptown, Downtown” [cut in 1971 rehearsals]
“The Story of Lucy and Jessie” (Sung by Mrs. Phyllis Rogers Stone) (Danced by Mrs. Stone and The Dancing Ensemble) [added in 1971 rehearsals; cut in London Follies 1987]
6. Ben’s Folly
Scene—A Supper Club in Loveland.
“Live, Laugh, Love” (Sung by Mr. Benjamin Stone) (Danced by Mr. Stone and The Dancing Ensemble) [cut in London Follies 1987]
London Revival 1987
PLACE: The stage of the Weismann Theatre, New York City
TIME: 1970
Act I
“Beautiful Girls” (Roscoe and Company)
“Don’t Look at Me” (Sally, Ben)
“Rain on the Roof” (The Whitmans)
“Ah! Paris” (Solange)
“Broadway Baby” (Hattie)
“Waiting for the Girls Upstairs” (Buddy, Ben, Phyllis)
“Who’s That Woman” (Stella and Company)
“In Buddy’s Eyes” (Sally)
“Country House” (Phyllis and Ben) [replaced “The Road You Didn’t Take”]
“Too Many Mornings” (Ben, Sally)
Act II
“Social Dancing” (Company)
“I’m Still Here” (Carlotta)
“The Right Girl” (Buddy)
“Could I Leave You?” (Phyllis)
“One More Kiss” (Heidi, Young Heidi)
“Loveland” (Roscoe and Company) [rewritten in 1987]
“Love Will See Us Through” (Sung by Mr. Buddy Plummer and Miss Sally Durant) [revised as Double Duet in 1987]
“Buddy’s Blues” (Sung and Danced by Mr. Buddy Plummer) (With the Assistance of Miss Suzanne Rogers and Miss Rita O’Connor)
“Losing My Mind” (Sung by Mrs. Sally Durant Plummer)
“You’re Gonna Love Tomorrow” (Sung by Mr. Ben Stone and Miss Phyllis Rogers)
“Ah! But Underneath” (Sung by Mrs. Phyllis Rogers Stone) (Danced by
Mrs. Stone and the Dancing Ensemble) [replaced “The Story of Lucy and Jessie”]
“Make the Most of Your Music” (Sung by Mr. Benjamin Stone) (Danced by Mr. Stone and the Dancing Ensemble) [replaced “Live, Laugh, Love”]
Double Duet (Young Sally, Young Ben, Young Phyllis, and Young Buddy) [revised “Love Will See Us Through”]
Appendix S: Sweeney Todd (1979)
Musical Numbers
THE PLACE: London: Fleet Street and environs
THE TIME: The 19th Century
Act I
“The Ballad of Sweeney Todd” (Company)
“No Place Like London” (Anthony, Todd Beggar Women Woman)
“The Barber and His Wife” (Todd)
“The Worst Pies in London” (Mrs. Lovett)
“Poor Thing” (Mrs. Lovett)
“My Friends” (Todd, Mrs. Lovett)
“Green Finch and Linnet Bird” (Johanna)
“Ah, Miss” (Anthony, Beggar Woman)
“Johanna” (Anthony)
“Pirelli’s Miracle Elixir” (Tobias, Dodd, Mrs. Lovett, Company}
“The Contest” (Pirelli)
“Wait” (Mrs. Lovett)
“Kiss Me” (Johanna, Anthony)
“Ladies in Their Sensitivities” (The Beadle)
Quartet (Johanna, Anthony, The Beadle, Judge Turpin)
“Pretty Women” (Todd, Judge Turpin)
“Epiphany” (Todd)
“A Little Priest” (Todd, Mrs. Lovett)
Act II
“God, That’s Good!” (Tobias, Mrs. Lovett, Todd, Beggar Woman, Customers
“Johanna” (Anthony, Todd, Johanna, Beggar Woman)
“By the Sea” (Mrs. Lovett)
“Not While I’m Around” (Tobias, Mrs. Lovett)
“Parlor Songs” (The Beadle, Mrs. Lovett)
“City on Fire!” (Lunatics, Johanna, Anthony)
Final Sequence (Anthony, Beggar Woman, Todd, Judge Turpin, Mrs. Lovett, Johanna, Tobias)
“The Ballad of Sweeney Todd” (Company)
Thematic Reminiscences in Sweeney Todd
Final Sequence Beginning with “City On Fire!”
No. 25: FOGG’S ASYLUM (COMPANY) (Vocal Score, p. 315)
“The engine roared, the motor hissed” (The Ballad of Sweeney Todd [based on Gregorian chant, “Dies Irae” or “Day of Wrath”])
No. 25A: FOGG’S PASSACAGLIA (Vocal Score, p. 321)
[First two notes, the half step of “Dies Irae,” repeated in the tenor line.]
No. 26: CITY ON FIRE! (LUNATICS, JOHANNA) (Vocal Score, p. 323)
“City on Fire!” (City on Fire!)
“Will we be married on Sunday?” (Kiss Me)
“City on Fire! [fragment]
No. 27: SEARCHING (PART I) (MRS. LOVETT, TODD, BEGGAR WOMAN) (Vocal Score, p. 327)
“Nothing’s gonna harm you, not while I’m around” (Not While I’m Around)
“City on Fire!” [fragment]
“Beadle… Beadle… No good hiding, I saw you” (Beggar Woman’s music in No Place Like London) [focuses on the half steps of the first two notes of the “Dies Irae”
“City on Fire!” [fragment]
No. 27A: SEARCHING (PART II) (ANTHONY, JOHANNA, BEGGAR WOMAN) (Vocal Score, p. 335; optional addition for the 1993 London production, p. 390)
“Poor Thing” [“There was a barber and his wife” underscoring]
“Ah, miss, look at me” (Ah, Miss)
“And we’ll sail the world and see its wonders” (No Place Like London)
“Beadle! Beadle! Where are you? [Beggar woman’s music in vocal line, “There was a barber and his wife” from Poor Thing underscoring]
No. 28: THE JUDGE’S RETURN (TODD, JUDGE) (Vocal Score, p. 341)
“The Judge. I have no time.” (Epiphany underscoring) [Sweeney slits the Beggar Woman’s throat]
“Pretty women” (Pretty Women) [Sweeney slits the Judge’s throat]
“Rest now, my friend” (My Friends) [Sweeney’s interrupted attempt to slit Johanna’s throat]
“Lift your razor high, Sweeney” (The Ballad of Sweeney Todd)
No. 29: FINAL SCENE (PART I) (TODD, MRS. LOVETT) (Vocal Score, p. 351)
Beggar Woman’s music for “Lucy” and un
derscoring (Epiphany)
“No, no, not lied at all” (Poor Thing) together with “Lucy… I’ve come home again” (Epiphany)
“Mrs. Lovett, you’re a bloody wonder” (A Little Priest)
“The history of the world, my pet” (A Little Priest)
“By the sea Mister Todd” [fragment] (By the Sea)
“And life is for the alive, my dear” (A Little Priest) [Sweeney throws Mrs. Lovett into the oven]
No. 29A: FINAL SCENE (PART II) (TODD) (Vocal Score, p. 359)
“There was a barber and his wife” (Poor Thing) [Tobias slits Sweeney’s throat]
No. 29B: THE BALLAD OF SWEENEY TODD (COMPANY) (Vocal Score, p. 362)
“Attend the tale of Sweeney Todd” (The Ballad of Sweeney Todd)
Appendix T: Sunday in the Park with George (1984)
Musical Numbers
Act I
“Sunday in the Park with George” (Dot)
“No Life” (Jules, Yvonne)
“Color and Light” (Dot, George)
“Gossip” (Celeste #1, Celeste #2, Boatman, Nurse, Old Lady, Jules Yvonne)
“The Day Off” (George, Nurse, Franz, Frieda, Boatman, Soldier, Celeste #1, Celeste #2, Yvonne, Louise, Jules, Louis)
“Everybody Loves Louis” (Dot)
“Finishing the Hat” (George)
“We Do Not Belong Together” (Dot, George)
“Beautiful” (Old Lady, George)
“Sunday” (Company)
Act II
“It’s Hot Up Here” (Company)
“Chromolume #7” (George, Marie)
“Putting It Together” (George, Company)
“Children and Art” (Marie)
“Lesson #8” (George)
“Move On” (George, Dot)
“Sunday” (Company)
Appendix U: The Phantom of the Opera (1988)
Contents
Prologue
The stage of the Paris Opéra, 1905
Auctioner, Raoul, and Company
OVERTURE
Act I, Paris 1861
Scene 1:
The Dress Rehearsal of Hannibal
“Think of Me” (Carlotta, Christine, and Raoul)
Scene 2:
After the Gala
“Angel of Music” (Christine and Meg)
Scene 3:
Christine’s Dressing Room
“Little Lotte … / The Mirror … (Angel of Music)” (Raoul, Christine, and Phantom)
Scene 4:
The Labyrinth Underground
“The Phantom of the Opera” (Phantom and Christine)
Scene 5:
Beyond the Lake
“The Music of the Night” (Phantom)
Scene 6:
Beyond the Lake, the Next Morning
“I Remember …/ Stranger Than You Dreamt It …” (Christine and Phantom)
Scene 7:
Backstage
“Magical Lasso” (Buquet, Meg, Madame Giry, and Ballet Girls)
Scene 8:
The Manager’s Office
“Notes …/ Prima Donna” (Firmin, André, Raoul, Carlotta, Giry, Meg, and Phantom)
Scene 9:
A Performance of Il Muto
“Poor Fool, He Makes Me Laugh” (Carlotta and Company)
Scene 10:
The Roof of the Opera House
“Why Have You Brought Me Here …/ Raoul, I’ve Been There” (Raoul and Christine)
“All I Ask of You” (Raoul and Christine)
“All I Ask of You (Reprise) (Phantom)
Act II, Six Months Later
Scene 1:
The Staircase of the Opera House, New Year’s Eve”
“Masquerade/Why So Silent” (Company)
Scene 2:
Backstage (Raoul and Giry)
Scene 3:
The Manager’s Office
“Notes …/ Twisted Every Way … (André, Firmin, Carlotta, Piangi, Raoul, Christine, Giry, and Phantom)
Scene 4:
A Rehearsal for Don Juan Triumphant (Christine, Piani, Ryer, Carlotta, Giry, and Company)
Scene 5:
A Graveyard in Perros
“Wishing You Were Somehow Here Again” (Christine)
“Wandering Child …/ Bravo, Monsieur …” (Phantom, Christine, and Raoul)
Scene 6:
Before the Première (Raoul, André, Firmin, Firemen, and Phantom)
Scene 7:
Don Juan Triumphant (Carlotta, Pianig, Passarino, and Company)
“The Point of No Return” (Phantom and Christine)
Scene 8:
The Labyrinth Underground
“Down Once More …/ Track Down This Murderer … (Company)
Scene 9:
Beyond the Lake (Christine, Phantom, Raoul, and Company)
Outline of The Phantom of the Opera,
Act I, Scenes 5 and 6
Scene 5: Beyond the lake
I have brought you (Phantom)
Opening verse to both “Music in the Night” and “Point of No Return,” first heard as underscoring (under the words “Little Lotte”) when Raoul first meets Christine in her dressing room). The melody is based on a whole-tone scale: E F (ascending) D C (descending)
Reused in Don Juan Triumphant (“Don Juan Triumphs once again!”) as the verse for the song “The Point of No Return.”
“The Music of the Night” (complete tune sung by the Phantom)
Scene 6: The next morning
The Phantom at his organ (instrumental only)
Reused in Don Juan Triumphant (“Serve the meal and serve the maid!”) (Don Juan C)
“Masquerade” (papier-mâché music box)
The beginning of a tune that was heard once before when we saw the music box up for auction in the Prologue to act I. The complete tune opens act II.
I remember (Christine) (Don Juan B)
E-F-B (ascending) F-E (descending) F-B (ascending); Note the prominent use of the tritone between F and B.
Reused in Don Juan Triumphant (“Here the sire may serve the dam”)
“Angel of Music” (Christine)
Second phrase of the original song, beginning with the words “Father once spoke of an angel.” The complete song was heard in Christine’s dressing room.
Damn you! (Phantom)
Curse you! (Phantom) Don Juan A
Beginning with the words “Curse you!” the orchestral underscoring of this passage consists of a melodic variant derived from the whole-tone scale later prominent in the phrase “Those Who Tangle with Don Juan” (the rehearsal scene in act II, scene 4) and reused in Don Juan Triumphant (“Passarino, faithful friend”)
Damn you … Curse you … (Phantom)
Elongation of the first four notes of “Music of the Night” (chorus)
Stranger than you dreamt it—(Phantom)
The material is reused by the Phantom directly before the performance of Don Juan Triumphant, but not in the opera itself
Yet in his eyes (Orchestra)
The orchestra and only the orchestra presents this dramatically important melody for the first time. John Snelson calls this melody the “Sympathy” theme and Jessica Sternfeld labels it the “Yet in his eyes” phrase. It will return four times, the last three of which are sung in three different conversations: Christine to Raoul on the roof (“Yet in his eyes”), Raoul to Christine shortly before Don Juan Triumphant (“You said yourself he was nothing but a man”), and Christine to Phantom in his lair during the final scene (“This haunted face holds no horror for me now”).