Composer, lyricist, and Broadway fable Stephen Sondheim was built-in on March 22, 1930. Celebrate with a attending aback at a few of the abounding iconic songs he has accounting in his career.
Admitting Sondheim enjoys basic music abundant added than autograph lyrics, he came on lath Arthur Laurents’ Romeo and Juliet amend to address lyrics for music composed by Leonard Bernstein. The song “Maria” happens aback Maria and Tony— sister of the baton of a Puerto Rican assemblage alleged the Sharks and a above affiliate of a battling assemblage alleged the Jets, respectively—meet at a academy dance. There, they barter a few words, dance, and abatement in love.
“The botheration here,” Sondheim writes in Finishing the Hat, “was how to address a adulation song for two bodies who accept aloof met. They accept exchanged absolutely 10 lines, but they accept encountered anniversary added in a surreal, abstracted brawl sequence, so that the admirers believes that they accept an intimate, alike mystical, connection. Nevertheless, aback the amphitheater set dissolves into the artery alfresco Maria’s abode and Tony is aback in reality, he has to sing article real.” The alone things Tony knows about Maria at this point are her name, and that she’s Puerto Rican—so, says Sondheim, the alone activity he could anticipate to accomplish him sing acquiescently about was her name.
There was addition acumen for “Maria,” too: Originally, Tony had been “a albino Polish Catholic, in adjustment to adverse him as abundant as accessible with the Puerto Ricans,” Sondheim writes. “This gave the name ‘Maria’ a religious resonance, which I pushed with the band ‘Say it bendable and it’s about like praying.’” The Polish-Catholic activity was eventually dropped, though, and Sondheim laments that now, the band “makes little faculty and alone contributed a affectionate of all-embracing clamminess to the lyric—a wetness, I affliction to say, which persists throughout all the adventurous lyrics in the show, but which appealed to my collaborators and which may actual able-bodied accept contributed to the score’s popularity.”
Admitting he was afraid that autograph lyrics would assort him as a lyricist, Sondheim best up his pen afresh to address the lyrics for the Ethel Merman agent Gypsy, with a book by Laurents and music by Jule Styne. Sondheim alleged the musical, which was about based on the memoirs of acclaimed caricatural amateur Gypsy Rose Lee (aka Louise) and absorption on her arrogant date mother, Rose, “the appearance area I came of age—lyrically, at any rate.”
Originally, the amphitheatre featuring Rose’s breakdown wasn’t activity to be a song at all, but “a surreal ballet, in which Rose would be confronted by all the bodies in her life,” according to Sondheim. But a anniversary into the rehearsals, choreographer Jerome Robbins said he wouldn’t accept time to advise Merman a ballet. So it would accept to be a song. Styne had a above-mentioned assurance that night, so Sondheim sat bottomward with Robbins to altercate what the cardinal should be. “I appropriate to Jerry that back he capital all the bodies in the adventure to bang in a ballet, conceivably if Rose’s breakdown were to be articulate rather than danced it could comprise bits of all the songs associated with her and the bodies in her life; the songs we’d heard all evening, colliding in an continued surreal assortment consisting of bits of the score.” As Sondheim improvised on the piano, Robbins danced beyond the stage, “like a stripper, but a clumsy one: like Rose accomplishing a strip,” Sondheim writes. “That was the alpha of three animating hours of agreeable and choreographic improvisation, as we shaped and complete the cardinal to be a arbitrary of the score. I alike improvised lyrics, article which was abomination to me.”
The abutting day, Sondheim and Styne abounding out the number, afresh played it for Merman at rehearsal. She was unsure: “It’s sorta added an aria than a song,” she said, but Sondheim was able to assure her that “it was alone a collage of songs that she had either articulate or heard during the advance of the show. That seemed to calm her.”
During previews, “Rose’s Turn” concluded on a abundant altered note. “I had abiding Jule to end the cardinal on a high, anomalous ambit of awesome violin harmonics: a woman accepting a afraid breakdown would not wind up on a boastful analeptic chord,” Sondheim writes. But aback his mentor, Oscar Hammerstein, came to see the show, he appropriate that the song end in a show-stopping climax. Otherwise, he argued, the admirers would be cat-and-mouse for the blind call, aback they could accord Merman the acclaim she deserved, instead of alert to the amphitheatre that followed the song, in which Rose and Louise accommodated and fabricated the point that all accouchement become their parents. “Gently chastened, I gave up and we added a big catastrophe and a analeptic ambit to the song,” Sondheim writes. “Ethel got an astronomic acclaim and the admirers listened to the aftermost amphitheatre in absent silence. Lesson learned.”
Company’s Joanne—a contemptuous earlier woman who is accompany with the show’s capital character, Robert—was based on the allegorical Elaine Stritch, “or at atomic on her acerbic commitment of self-assessment,” Sondheim writes in Finishing the Hat.
The song “Ladies Who Lunch” apparent the third time (after Gypsy and A Funny Activity Happened on the Way to the Forum) that the lyricist/composer had to address music and lyrics for a specific personality amphitheatre a character. “The song fit her perfectly, the alone botheration occurring when, in all innocence, she asked me what affectionate of pastry ‘a allotment of Mahler’s’ referred to.” Stritch would afterwards blab how she anticipation Mahler’s was “a pastry boutique on Broadway ... The ladies had lunch, they went to see a matinee, they saw a Pinter play, and afresh afterwards, they went about the bend and had a cup of tea and a allotment of Mahler’s. Fabricated absolute faculty to me. Aback I brought it up to Stephen Sondheim, he said, ‘Elaine, I accept to go to the bathroom.’” (Gustav Mahler was a Jewish composer.)
Sondheim had hoped that the cardinal would be a showstopper, and the admirers would absolutely angle up aback Stritch said “Rise!” over and over and accord the aerialist a continuing ovation. “It was a showstopper, but not absolutely that big,” he wrote. “My achievement was apparently a holdover from my Hollywood fantasies in which one aperture night's black-tied men and bejeweled women stood up at anything—much as they do nowadays, area continuing ovations are a forgone conclusion, it actuality all-important for audiences to admonish themselves that they’ve had a alive acquaintance by accommodating in it.”
A Little Night Music, with lyrics and music by Sondheim, was based on Ingmar Bergman’s 1955 blur Smiles of a Summer Night. The song that appeared in this additional act amphitheatre was declared to accord to the macho lead, Fredrick, a middle-aged advocate in an abridged alliance with a abundant adolescent woman. He is tempted to reignite an activity with Desiree, an earlier actress, “since the activity is his, the acquiescent acknowledgment actuality Desiree’s, and I started to address one,” Sondheim writes. But Desiree had alone two songs in the aboriginal act, neither a solo, so administrator Hal Prince appropriate that the amphitheatre ability be the ideal abode to accord Desiree a solo, and that “he had directed it so that the advance of the activity came from her rather than from Fredrik. I went skeptically to see a rehearsal, and he had absolutely able what he had promised.”
Desiree was played by Glynis Johns, whose voice, Sondheim wrote, was “small but silvery, musically and smokily pure,” and whose better limitation was her disability to authority a note. “The band-aid was to address abbreviate blatant phrases for her, which appropriate to me that they should be questions rather than statements,” Sondheim writes. “Once I’d accomplished that conclusion, the song wrote calmly … The song sat so able-bodied in Glynis’s articulation that at the recording session, alike admitting she’d been in a recording flat alone already afore (for the Disney cine of Mary Poppins), she did it altogether in one take.”
“Send in the Clowns” was a huge hit for the composer/lyricist. “Why so abounding accomplished (and not so fine) singers accept recorded ‘Send in the Clowns’ is a abstruseness to me,” he writes. “For two years afterwards A Little Night Music opened, the alone alike faintly accepted diva who took an absorption in it was Bobby Short, a accompanist and piano amateur who performed it in nightclubs, area it fabricated no consequence on alike that tiny and abbreviating audience. Afresh Judy Collins recorded it in England, area it incomprehensibly became a hit, afterwards which Frank Sinatra’s recording fabricated it an alike bigger one, and anon abundant around everybody in the pop acreage climbed on the bandwagon. … It alike won a Grammy Award as Song of the Year in 1975, amidst bedrock and pop contenders—a song from a musical, no less. (It’s the aftermost one that did.)”
Afterwards his aboriginal accord with book-writer James Lapine, Sunday in the Park with George, Sondheim appropriate that they “write a adventure agreeable forth the curve of The Wizard of Oz, the one cine agreeable I admired in which the songs not alone authentic the characters and agitated the adventure advanced but were admirable stand-alone songs as well.” Lapine accumulated all of the archetypal Grimm bogie account characters and added a Baker and his Wife, who are clumsy to conceive, acknowledgment to a anathema put on his ancestors by a Witch.
The story, of course, included Cinderella. “The adventure of Cinderella has consistently addled me as the best incomprehensible of all the moral fables accepted as bogie tales,” Sondheim writes in Look, I Fabricated a Hat. “Here is a plain, depressed bondservant of a girl, baffled and abject by her [stepfamily who] … aback finds herself magically adapted into a radiant, opulently dressed beauty, approved afterwards by the Prince of the Kingdom, who three times flees the alcazar area she is the belle of the brawl to acknowledgment to the aperture in a bend of the abode area she is a basic prisoner. And she can’t adjudge which abode to choose?”
Lapine came up with a aberration that makes sense: The blow of abrogation her slipper abaft isn’t an blow at all; Cinderella chooses to leave it there. “She knows she’s an actor and doesn’t appetite agreeably to mislead the Prince (and the world),” Sondheim writes. “She abstracts that if the Prince absolutely cares to see her again, he’ll chase the clue she has left.” Cinderella’s big song in Into the Woods, “On the Steps of the Palace,” shows the approaching angel advancing to the accommodation to leave her shoe behind. Writes Sondheim, “No one, as far as I know, has anytime fabricated this observation, and if there were no added acumen to address this book, the befalling for me to point out James’s acumen would be absolution enough.”
This musical—with a book by John Weidman, and based on an abstraction by Charles Gilbert, Jr.—featured all of the 13 bodies who accept approved (or succeeded) to annihilate American Presidents. “How I Adored Roosevelt” is about a 1933 assassination attack on Franklin D. Roosevelt, which occurred in Miami; instead of hitting the President-elect, unemployed brick band Giuseppe Zangara, who accursed six rounds, hit Chicago ambassador Anton Cermak, who afterwards died from his wounds.
Sondheim agilely researched to address the song. “There were in actuality bristles bystanders who claimed to booty the accomplishments declared in the song, although no one deflected Zangara by blame his arm in the air,” Sondheim writes. “He had the accident to be alone bristles anxiety alpine and had accustomed too backward at the amphitheatre to get a bench abutting to the front. Roosevelt’s accent was almighty brief, and, as he started to sit down, Zangara was dispatch to shoot aback the absolute admirers rose to its anxiety in acclaim and blocked his view, banishment him to angle on his seat, which wobbled aloof abundant to ruin his aim. Thus Roosevelt was absolutely saved.”
There was additionally a song about the time Teddy Roosevelt was shot, but it was cut. “The ammo would accept broken Roosevelt’s affection were it not for the animate eyeglass case and the fifty-page accent lodged in the breast abridged of his jacket,” Sondheim writes. “So one Roosevelt was adored by actuality circumlocutory and the added by actuality terse, a accomplished befalling for a song if I anytime heard one.”
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