We're Jess and Andrew-- Jess has always adored musical theatre, and Andrew has never really been able to get into it. Therefore, the goal of this show is to get Andrew into musical theatre one musical at a time-- in the form of a Podcast where you can listen to the hilarity ensue as fresh eyes analyze musicals old & new.
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No fuckn way we could've had Raul Esparza for the Phantom WE WERE ROBBED
Totally agree qith your #1!
Hate hate hate Mandy’s singing voice!!!
I'm really fascinated by how some people try to indulge in quasi-analytical videos on Sondheim when there's so little substance to deal with. His so-called patter songs are really babble over music and way beneath Arthur Sullivan's brilliant examples of the art form.
Ok
I heard an interview with Maria Friedman who describe Franklin Sheppard Inc. as a love song. Such a powerful interpretation.
EVIL EIDELWEISS
Billy is problematic. But it's rather amazing you had no knowledge of one of the great works of American musical theater.
I’m sorry, I have to disagree. While I do love Franklin Sheppard Inc, I PLAYED AMY, and Getting Married Today is a FAR MORE DIFFICULT song to sing. I did it going up and down platforms in a gymnasium without a mic. Franklin Sheppard does give you room to breathe, Getting Married Today does not. Sing both and THEN tell me which you think Is the harder/better song.
Franklin Shepard Inc. has recently become my favorite Sondheim number of all time. Nice to see it get some recognition! (I'm ashamed to admit but I was planning on leaving an angry comment if it wasn't here lol)
To add to my earlier comment: Also read most of Isherwoods other fictional works such as The World in Evening, Down There on a Visit and A Single Man to gain some post WW2 historical perspectives and his partnering with the gorgeous and talented artist Don Bachardy. American LGBT peoples & history owes those two a lot of credit for their contributions and personal perspectives on the early gay liberation movement.
They are all so beautiful, but there are so many more: "Every Day aLittle Death" and "Send in the Clowns" from A LITTLE NIGHT MUSIC, "Joanna" from SWEENY TODD, "I Wish I Could Forget You" and "Loving You" from PASSION. And that's just off the top of my head. Maybe there should be a top 10 (15?).
I don't think some of these meet the definition of a patter song. "Getting Married Today," of course, and the British Ambassador section of "Please Hello," without a doubt. But not all lyric-dense songs are patter songs, and when they have slower, broader sections ("Mind you I can't hardly blame them. These are probably the worst pies in London..." for example), I believe that puts them in other categories.
I would have put "Not getting married" at Number 1...... performed brilliantly by Cassidy Janson in the 2011 Southwark Playhouse, (London, UK), production of Company!
BEING ALIVE and Send in the Clowns
Of course, choosing just five Sondheim ballads is an impossible task - virtually every one of his shows has a t least one candidate that you weren't able to include: Small World from Gypsy, Maria from West Side Story, Love I Hear from A Funny Thing..., Send in the Clowns from A Little Night Music, just to mention a few.
You could drive a person crazy!
First, Andrew says the movie Sally " misses the point ". Uh, that IS the point. She continues to party on while ignoring what's happening around he Next y'all pick a review to match your opinions rather than one representative of the ones written at the time. Remember, the movie did win multipleOscar's, including Best Director, losing Best Picture to The Godfather . And Bri pronounced nuance as nuisance? Hard to take you guys seriously, but maybe that's your point
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I wonder why the 1968 London version of Cabaret with Judi Dench as Sally Bowleys didn't get a mention. Maybe there isn't a video version of the whole show to see these days - but there are some videos of Judi Dench in rehearsal and singing some of the songs. This was Judi's first singing role and she was described as the Best Sally Bowleys ever!
kzread.info/dash/bejne/jGyLy9eddM-6cto.html
Im very late to this video, but I just want to say, cabaret is so emotionally devastating. There is no redemption, no reassurance or happy ending, it just ends and it leaves things to the imagination and that is truly what I crave while watching shows
Yeah of course Songheim walked out, he was 88 going to a musical geared towards teens.
BMC should've stuck to New Jersey, maybe do a tour off broadway, and then sell the professional recording after it was over. I LOVE Be More Chill, but also it began when I started highschool in NJ and ended on broadway when I graduated.
This feels like an SNL skit
The 2014 versions are so much better than the older ones
you know my favorite thought it's really not a patter song I suppose because it goes back and forth from song to patter is The MIller's Son
I would add Chrysanthemum tea from Pacific Overtures.
I love rent. I was obsessed with it! I wanted to be Mimi and told my mom I was Mimi when I was about 12 cuz we were dancers (I did competition dance and ballet for 10 years) come to me being 18 and realizing she was a stripper, addicted to drugs and had AIDS and made the connection on why my mom was worried when I said I wanted to be like her
When I performed “if you could see her” everyone was laughing and this one woman leaned to her husband saying “THIS IS HILARIOUS” I looked right at her and said the last line of the song and we did a vaudeville ending where no one clapped.
Bro, during the wedding scene they all looked like Barbie dolls! 🤣 I dunno why
Loving You from Passion is one of the loveliest songs from Sondheim's later years. Originally and beautifully sung by Donna Murphy, it was later covered by Barbra Streisand and Patrick Wilson as a duet from Streisand's album Encore. It should at least have been an Honorable Mention.
Oh I think Madonna totally holds her own up to Patti and is way better than Elena
I love “Then we are decided”!
I know that, objectively, most people see domestic abuse as a black and white issue. It's wrong. Period. Done. Subjectively to those intimately involved in an abuse situation, it isn't all that black and white. Like every other person in the world, abusers aren't totally evil and victims are very often mixing feelings of hurt, hatred, caring and love for their abusers. Carousel is about that subjectivity, and isn't an objective look at domestic violence. It's true to life for an abuse victim to rationalize the abuse by saying, "but they love me" ("What's The Use Of Wondering?"). We don't ever really get an objective view of domestic abuse at all. Even those on the outside looking in are reacting to it subjectively. The closest we get to objectivity is The Starkeeper, and even he has the subjective motivation of rehabilitation rather than heavy punishment. The most problematic line, I think, in the entire piece is Julie's line to Louise about being hit feeling like being kissed. It feels like Hammerstein was saying that Billy was abusing out of love, and that's a huge problem.
Okay *inhales* I have a lot to say because I think you guys have brought up some good points. I'm not sure if you guys are going to read this though **DISCLAIMER: I have only read the novel and listened to the entire sound track however have never seen the full musical** In the beginning of the video, you mention it feels like what's driving the narrative of Evan bumping into Connor may be a bit contrived with him going to the printer and printing out his letters which you called a 'boomer tactic'. Which I get but these letters were for his therapy and his therapist could've assigned him to do print them out because maybe probably preferred typing more and printed it out maybe so the therapist could have a physical folder to keep all that information. It's a simple fix, just portray that in the beginning so I really don't think it's a bit deal ultimately I do agree that Evan doing this just for the sake of being forced into it didn't give a satisfying narrative since I felt like the story would benefit more off of doing it for less superficial reasons considering how much of a shift this musical makes just to drive the narrative/story which ultimately feels forced. They lie about Connor and alter his personality in an extremist way and I feel like it should've made it so that he tries to actually help the family at first. However the shift should be more gradual of him writing the letters and how extreme the extent would be. I wish that Evan wanting Zoe would've been a side aspect and instead of him wanting to date her immediately she could've described what she's been through with Connor which would also provide some information he could've written about while not fully giving away the truth. Like, yes Evan did want to be Zoe but imagine that after that incident he felt too guilty to be with her unless he continuously starting getting more power over the situation. Evan could've been doing something with good intent initially however once he got further in and even Connor as an angel/dead guy or memory or whatever you'd like to call it would criticize him more and more. This is optional and it could've led the film to feel more bloated if not indicated correctly but maybe since Connor's true legacy was dying from Evan lying about him it could've showcased him showing up less and less as an angel to indicate something more metaphorical. I feel like he should've started becoming more and more manipulative as the Connor Project campaign starting getting more and more popular and he starting spewing more, this time, harmful lies about Connor I also find it contrived that the family still thinks he likes that old tree place Evan lied about them visiting just awhile ago/when he last saw him but it's been taking down/restricted. Wasn't it stated it was removed much later? And how is this a good portrayal of Evan having some saving grace in this film? We didn't know that Connor wanted this or if he still liked that. How did Evan know Connor wanted something like that in the first place? He's falsely inspired so many people... I feel like the musical let him off WAY too easily and he should've I think they also could've portrayed Connor's struggles a little through Zoe so he wasn't a generic mean kid..., although I do like Zoe as a character alone and her and Heidi are probably my favourites I wish Zoe could've elaborated about more of her dynamic with Connor... even if she's supposed to not know a ton about him I think it's an interesting detail that Connor had financially stable, caring parents however was mentally ill himself. A common misconception with a lot of mentally ill individuals is that they usually have to have some sort of traumatic parental upbringing so I feel like they could've possibly touched on that... In the novel it's confirmed that Connor did deal with self harm, weed, and struggles with his sexuality (he tells us he shows attraction to both females and males) and he even has a boyfriend in it (named Miguel), I'm not sure how you could bring this up in the musical but some implications of it would be nice to make him less one-note... perhaps his primary struggle was getting absorbed in a poor friend group who offered him drugs or having to hide his bisexuality I do think in concept, Evan could be a good character however it's over shadowed by incoherent writing, confusing morals/morality, and confusing motives I feel like if they wanted to make Evan as flawed as my interpretation or even in general if they just kept him the same I think he should've gotten more legal punishment, even despite him being a minor. He should've been heavily involved in counselors wanting to hold him accountable, police knowing, etc. It felt like they overall justified his character too much. I thought Evan by the end admitting him breaking his arm was an attempt to end his own life life but it could've been portrayed better... I felt that was a smart twist in CONCEPT. Also Alana was done a bit dirty Although I never saw the musical, I do like a lot of the plot points **conceptually** (execution is not the same) ... I did really enjoy the novel and based off what I heard, think it was a much better portrayal and I could tell that the person writing it might've felt guilty about Evan not getting as much punishment as he deserved but I honestly thought it portrayed the story better. Angel Connor/memory dead connor was just really stupid. It's flawed but does have some heart, and even though I sound harsh I do really enjoy it and the impact it had on me... even despite it having a lot of flaws and I WAS obsessed with it for a good while (the book infuriates me much less) Feel free to critique my points EDIT: spelling errors
The idea of the ending, an exuberant "life is a cabaret" number, is irony. Sally gives up the chance for romance and motherhood, comes in early in the morning after having an abortion, and then goes on that night singing exuberantly, which is a metaphor for "while the fireman fiddles, the barn will burn;" while "no one was looking," Hitler and the Nazis came to power, with everyone in a state of denial. Sally puts the emphasis on her "good-time Charlie" identity, once again, and her despair and desperation are the contrast to the "what-the-hell" "Cabaret" song, "when I go, I'm going like Elsie" -- someone who literally died from "too much pills and liquor" (which is why Liza, in more recent years, changed the lyrics to "I"m NOT going like Elsie" as an homage to her own substance recovery process). But maybe Sally was right to give up marriage and motherhood, knowing "how long would it be" before she hooks up impulsively with someone who promises an escape from banal suburban life, and Brian/Cliff/Christopher Isherwood hooks up with some (male) hottie and ditches the wife and kid(s). It is in that state that she throws in the towel, apart from her absent father who stood her up, her mother so absent she isn't even depicted (except in the "Don't Tell Mama" song from the stage show), her bisexual/gay lover she has zero future with, and she's left with only vague hopes of being a "great film star" if she can just belt "Cabaret" to some sleazy producer in the Klub who can whisk her away. The song "Cabaret" has to be understood in that context, not just a sing-songy feel-good musical number; it's actually kind of sad, pathetic, and chilling -- the ending I'm sure Fosse wanted. (Not unlike "Everything is Coming Up Roses" in "Gypsy", when you realize how psychotically delusional Mama Rose really is, singing that when everything is falling apart; there's a dotted-line connection between those two characters, songs, and situations.) How many of us have been singing "Cabaret" while the Heritage Foundation, Project 2025, and Trump/Republicans are poised to feed all of us the barely sugar-coated poison of Neo-Nazi Fascism, all over again, right here? Christopher Isherwood (original author of the largely real-life stories) got out of Berlin while the gettin' was good. Smart guy. He later ("Christopher and His Kind") wrote how the Nazis tolerated the gay bars in Berlin for a while, just keenly observing, then outlawed them, then all the boyz were either drafted, volunteered to support the new regime, fled the country, or were murdered in camps. He ended up in Santa Monica in his 40s on the beach and hooked up with a 16-year-old he was with for about 40 years until he died. Life is a cabaret, old chum, and I love a Cabaret.
Wait was kept in because it shows how mrs lovett thinks she can use and control Sweeney. Lovett is a narcissist; she lies to Sweeney because of her selfish affection for him, and she exploits his murderous tendencies to get more money. Judge Turpins solo song (known as mea culpa) definitely deserved to be cut. The song does an EXCELLENT job at making the audience despise him, but it’s a bit too good at that. While the show certainly has dark tones, Mea Culpa goes wayyy too far for the dark comedy feel of the show. for those who don’t know Mea Culpa is a song sung by Judge Turpin as he spies on Johanna through a keyhole. He sexualizes her body and talks abt how he can see her body through her dress, all while whipping himself as a form of masturbation. The song ends with a belted note which is meant to be an org*sm. Reminder that Johanna is SIXTEEN while Judge Turpin is an old man.
Every reason they said for why this musical is bad is why it is my favorite ever. Evan feels he is in a position where he can, not only put himself out there, but also mend this broken family, but he is so socially awkward and makes things up to make the other family feel better, but it gets wildly out of control. All Evan wanted from the start of the musical was just to have friends
I personally enjoy this show for a few reasons: 1. Because of its absolutely amazing score 2. Because of its honest discussions of serious and difficult topics 3. Because the characters aren't good people. To elaborate, they're human. Everyone first goes into the show thinking that Evan is just a struggling kid and he couldn't do anything wrong because he's the main character, but this perspective is quickly switched. Something that I think we often forget when watching the show during Act Two or later on is that this started as a misunderstanding. Cynthia and Larry found the letter that Evan wrote in Conner's pocket and assumed that he wrote it, and Evan, due to his social anxiety, was unable to properly communicate the mishap; so he played along. Eventually, he got so wrapped up in his own lies, that he felt that if he were to stop now, everyone would hate him; and at that point they should. To put it simply; Evan becomes selfish. At first, he does it to avoid conflict, then to help the Murphy's, and then it turns into him benefitting himself, and he knows it. He is just too scared to actually admit it. None of his issues excuse him from his actions. That's why in "Words Fail" he acknowledges this. What this musical discusses is something important; morality. Evan is a bad person, but the point is he became better. At the end of the musical, we see Evan in a much healthier state than before, after about a year or so of healing so to speak. He looks at one of the positive effects of his lies. There are positive effects because not everything is black and white. What Evan did was wrong, yes, but he created something good through it. A way for seemingly a "nobody" to be remembered, and hope for a family who had been breaking even before their son's death. One part that everyone forgets is in the final scene when Evan is talking to Zoe about the orchard, and Zoe states that her family have gotten a significant amount better than they were before and that they go to the orchard almost every day. Evan helped the Murphy's heal. All of this to say; Dear Evan Hansen is an important musical. You don't have to like it, but at least try to understand its attempt at discussing the morality of a seventeen year old who stumbled into a situation that he got overly involved in. And I am not saying this musical is perfect, in fact it is FAR from that (Zoe should NOT have forgiven Evan), but it doesn't sugarcoat its themes whatsoever. I understand that it's not everyone's thing, and I'm not undermining anyone else's thoughts either, just stating my own interpretation. Have a lovely day :)
"Not a Day Goes By" would like a few words...
If you want a really good breakdown of why Rent is terrible. Watch Lindsay Ellis’s Look Pretty and Do Nothing. It’ll infuriate you more about this musical.
unpopular opinion but the london 2020 production is better than the broadway production
I am personally disappointed that Depp didn't walk away with best actor for this movie, he did the role of Sweeney to absolute PERFECTION, only for him to be robbed of the prestige by Daniel Day-Lewis. This song is so memorable, as well as its rightful suspense and toe curling tenacity.
"Where the ***k is the carousel?" The Carousel is a metaphor for the destructive relationship of Billy and Julie. Neither can ever get off the carousel and remain in a vicious circle. The only one who gets off it is their daughter, who makes the decision at the end to make her own life, despite her parents. This is a very nuanced musical that many viewers and critics fail to recognize these modern times, where expectations should be on the surface only and no deeper.
if mrs lovett doesnt sing "wait" it doesnt make any sense for sweeney to take his time with the judge during "pretty women", he would just immediately slit his throat otherwise
I watched Carousel for the first time recently, and your review is on point. Love some of Rodger’s & Hammerstein’s other works, and was shocked to see this was their favorite work out of them all. Some amazing songs and talent, but the pacing and plot falls short.
It was Rodgers' favorite of his own works (the guy who wrote the music). I'm not sure that it was Hammerstein's (the guy who wrote the dialogue and lyrics), or if he even expressed a preference for one if his works over all others.
THE BERETS STAY ON DURING SEX!!
@3:59 holy fuck that HIV positive joke lmao
"Mein Herr" is, as every rendition tells you, pronounced "Mine Hair"--perfectly easy for Anglophone tongues.
And it's FROY-line!
17:53 So you did not watch the musical. He says it IN THE FIRST SENTENCE OF THE FUCKING MUSICAL. “We begin with Christmas Eve, WITH ME MARK AND MY ROOMATE ROGER”