If you have something to say...
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If you have something to say...
Say it on the Huffington Post
The Blog
Isn't it funny how hearing certain songs, or more specifically certain voices singing certain songs, can bring you back to a very specific memory? Like how hearing Peter Gabriel sing "In Your Eyes" whisks you back to your high school prom?
Imagine you could gather Tony Award winners at your child's bedside to sing him or her to sleep. What if these artists were there to perform original lullabies by Stephen Sondheim?
She laughed at a few remarks, but others that led to an uproarious response in most people, caused my mother to roll her eyes in disgust. You see, at the root of it, she was shocked by the somewhat nasty Rita Lyons and she didn't want her to be Jewish. She felt it was somehow an affront.
There's a "sweet spot" in a singers voice where, as a composer, you want your song to sit. It is where they will be able to hit their highest, strongest note (the "money note") and thrill the audience, and still not have their lower notes compromised.
A word that is thrown about with abandon, 'flop' is not merely a pejorative, but an economic distinction. We would serve work better if our collective focused on the succès d'estime, rather than the success of an accountant's pen.
As a repository of great music, dance, and art, New York has no equal. As a cultural capital, it has been replaced by something even more chaotic, anarchic, diverse, open, disgusting, and accessible by more people than any city could ever be: the Internet.
Song Blog is a YouTube series for those people who are interested in not only hearing and seeing original work being performed for the first time right before their eyes, but who also like to have a behind-the-scenes look at the Broadway actors who learn and perform these songs.
The truth is that proficient as she may be, Megan Hilty lacks the whatever-it-is -- the je ne sais quoi -- that Channing and Monroe had that made Lorelei such a forceful, such an unforgettable presence.
Blogologues enforces the idea that the reason homemade online content is undeniably intoxicating is that its very nature commands attention and hopefully, communication. it finds the humanity in something that could easily be disposable.
I've always done parenting by feel. I know what I didn't like as a kid. I know what I like that other people do. I know the kids and parents I like and the kind of relationships that they have.
A full week has gone by since I saw the premiere of Emily Mann's new production of A Streetcar Named Desire on Broadway, and I can't get it out of my ...
Thompson has just the right mix of vocal prowess and slapstick ability. Nice Work If You Can Get It is far from the best thing she's ever done but her genius is apparent in her featured role, like a combination of Christine Ebersole and Madeline Kahn.
There is a difference between an apparition and the real thing -- and the same can be said of a Broadway show. It can be rendered cinematically, as in Ghost, The Musical, thereby becoming a musical that thinks it's a movie.
It's hard to believe how much can be done by a 12-person cast, especially considering how fast the show moves. There isn't a moment to pause and consider the characters' intentions. They share their thoughts and fears directly with us.
The hardest part of creating a new musical is writing good songs. A good tune will let audiences forgive a host of ills in the book and sets and costumes. So if you begin by plundering the vaults of George and Ira Gershwin, your task should be much easier. Nice Work If You Can Get It proves that it's not.
Nice Work If You Can Get It has a glorious Gershwin score, frothy, screwball plot, strong ensemble and Kelli O'Hara. What it doesn't have is a leading man. Matthew Broderick suffers through his dance routines, moving as little as possible, and frequently mopping his brow.
