Secco Recit

I was recently challenged to name what I thought the best Andrew Lloyd Webber ballad was. This is a difficult question to answer because, as everyone even remotely aware of musical theater knows, Andrew Lloyd Webber has, over the course of his career, written an imperial buttload of ballads. (I'm using imperial measures rather than metric because the UK just cannot make up its mind.) Any given Andrew Lloyd Webber musical will contain at least one memorable ballad, often more. Evita alone contains at least three, depending on how you count, all of which became popular enough outside the context of the musical to merit their own individual Wikipedia pages. In fact, more than a dozen Andrew Lloyd Webber ballads have their own Wikipedia pages, and that's just the popular ones. The first song I thought to rank was "Memory" from Cats , which I have always found to be somewhat overrated. I think the popular rating of "Memory" is perhaps somewhat skewed because a ...

(All historical background is from Look I Made A Hat,  by Stephen Sondheim) Circa 1953, Stephen Sondheim took an interest in a book by Alva Johnston entitled The Legendary Mizners, a biography of brothers Addison and Wilson Mizner, an architect and con man respectively (among other things) who caused the Florida real estate crash of 1925/26. Sort of kind of maybe. It's all pretty sensationalized, but historical accuracy is of no concern for a theatrician. Sondheim attempted to obtain the rights to adapt the book into a musical, but was beaten to the punch by David Merrick and Irving Berlin. A few years later, while working on Gypsy  (so, circa 1959), the Mizner brothers musical had not come to fruition, and Sondheim asked Merrick what had happened to it. It turns out that everyone involved lost interest, and Merrick had let his option on the book lapse. Between 1960 and 1990, Stephen Sondheim was pretty much continuously working on other projects. In 1993, having just ...

A friend recently posed to me the hypothetical (and I'm just now realizing probably rhetorical) question, "Where would we be if Howard Ashman were still alive?" And my immediate response was "Well, Wicked probably wouldn't exist, or at least not in the form it does today." Which led me down a rabbit hole of counterfactualizing an elaborate timeline in which Howard Ashman did not die in 1991, and continued to change the landscape of Disney and musical theater in a radical way. (NOTE: This is all for fun and intended to be rather tongue-in-cheek. I do not have the ability to accurately predict this or any other alternate futures. If I did, I would become a time-traveling theatrical producer.) Howard Ashman and frequent collaborator Alan Menken You see, Howard Ashman's role in the shaping of a generation of childhoods began in 1987/88, when he was brought in to write lyrics for Disney's new animated feature, Oliver And Company . While worki...

It somewhat recently came to my attention that three of Disney’s most recent breakout protagonists, Anna, Elsa, and Moana, have not yet been inducted into the official Disney Princess lineup. (This despite appearing alongside the eleven official Princesses in Wreck It Ralph 2 .) This really calls focus to the seemingly arbitrary criteria Disney uses to select their Princesses. The official lineup is, in order of induction, Snow White, Cinderella, Aurora, Ariel, Belle, Jasmine, Pocahontas, Mulan, Tiana, Rapunzel, and Merida. But what criteria do these eleven meet that Anna, Elsa, and Moana fail to? Not to mention, Esmeralda and Tinkerbell (both of whom were part of the official lineup at some point before being kicked off), as well as Megara, Jane Porter, Alice, and Wendy Darling (who are sometimes assumed to be part of the lineup), and even getting into such obscure characters as Eilonwy and Kida. And, of course, Vanellope Von Schweetz, whom the official eleven (plus Anna, Elsa, and ...

As I've mentioned before , the German Reed Entertainments are a curious little lot. A series of short "musical entertainments" produced and performed by Thomas German Reed, his wife Priscilla, and assorted others, from about 1855 to 1895. These were, for the most part, not grand spectacles of great significance, and little care was taken to preserve most of them. Today, they are all but forgotten. All but six, that is. A half-dozen which retain historical interest, because their libretti were created by William Schwenk Gilbert, who has gained enough fame and historical regard that even his less significant works are considered worth preserving, if only for the sake of maintaining a complete archive. It is certainly interesting, years after the fact, to read through these musical entertainments to see how Gilbert began to explore the themes and devices he would later more fully develop. Our Island Home  would give way to H.M.S. Pinafore  and The Pirates Of Penzance . Ele...