New book Wednesday. I love this cover. #isherwood
Every time trees are mentioned in the OBC recording of ‘Parade’
btw I know I skipped out on “there’s a black man swinging in every tree” but I decided that it was too literal to be included
Hal Prince’s tree on stage in the original production proved to be too literal, too.
His face in the last panel
Rap: Of all the forms of contemporary pop music, rap is the closest to traditional musical theater (its roots are in vaudeville), both in its vamp-heavy rhythmic drive and in its verbal playfulness. At first glance it would seem an inappropriate medium for most shows, except for those dealing with the recording industry, or stories which take place in milieus where rap might be the natural expression of the characters, as in the case of Lin-Manuel Miranda’s In the Heights. But it need not be site specific. Meredith Willson’s startling use of rap for the opening number in The Music Man (which I’ll talk about later) demonstrated this, and I would have expected more songwriters to pick up on it, including myself. But not until rap became omnipresently popular did I try to make it work: I imitated it in a passage for the Witch to sing during the opening number of Into the Woods. But I was never able to find another appropriate use for the technique, or perhaps I didn’t have the imagination to.
Miranda does. Rap is a natural language for him and he is a master of the form, but enough of a traditionalist to know the way he can utilize its theatrical potential: he is already experimenting with it in a piece about Alexander Hamilton. This strikes me as a classic example of the way art moves forward: the blending of two conventional styles into something wholly original, like the marriage of Impressionism and Japanese prints in the late nineteenth century. It’s one pathway to the future.
— Stephen Sondheim - Look, I Made a Hat. (via lucasbieneke)
I. Allegro non troppo e maestoso
II. Andante con anima
III. Allegro brillante
Boston Symphony Orch.
Serge Koussevitzky, cond. (1946)
I love this concerto.
Testing out the new #hyperlapse app, walking down the main hallway in @krannertcenter, from the Festival Theatre to the loading dock/Playhouse. #krannertlyfe (at Krannert Center for the Performing Arts)
Meredith Willson wrote a wonderful memoir, But He Doesn’t Know the Territory, about the lengthy (lennnngthy) trials he went through writing The Music Man and trying to get it made.
"The Sadder but Wiser Girl" and "My White Knight" in its original counterpoint form. (Thanks jmbrauer!)