By Ethan Mordden
A Broadway musical a few unmarried guy residing in Man-hattan who is surrounded by way of married undefined? A convey approximately getting older chorines haunted via the ghosts in their previous? one other played on a naked degree that includes refrain dancers that lands on Broadway like a juggernaut? fact got here knocking within the Seventies whilst, corporation, Follies, and A refrain Line, all taught Broadway a brand new option to sing. Mordden's newest quantity in his background of the musical seems to be at an period that introduced us the gritty fact of A refrain Line, the brilliantly sour works of Sondheim, and the crowd-pleasing Annie. within the Seventies, Broadway either appeared to its previous and to its destiny for its blockbusters. With Mordden as our consultant to this exciting period, it really is 'Curtain going up!'
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Additional info for One More Kiss: The Broadway Musical in the 1970s
They were a quartet in youth: Buddy thought Ben was his best friend, and roommates Phyllis and Sally shared the merry complications 36 ONE MORE KISS of dating and cheating and hoping. When the boys and girls get together, they greet each other with lines important enough to be repeated throughout the show. ” Because Phyllis loves Ben and Buddy loves Sally. Really loves, for life. But Sally doesn’t know whom she loves yet— or is she too shy to admit that it’s Ben? ” And Ben doesn’t love. He says, “Girls,” because either will do.
Mainly character numbers—the chorus is simply extraneous fill—the songs work best for the two women, quite different in their natures: georgy: (with her usual friendliness) Hullo, Meredith. Where’ve you been? meredith: (with her usual self-satisfaction) Out shoplifting. the age of sondheim 23 The Heroine’s Wanting Song, “Make It Happen Now,” is actually swinging rather than wistful; and Meredith’s establishing number, “Just For the Ride,” enjoyed orchestrator Eddie Sauter’s electric keyboards and guitar, squealing brass, and rock drumming.
But “Happily Ever After” is brutal. If this is the truth, Robert is still resisting and the show lacks conclusion. “Being Alive,” expansive and decisive, has traction. Robert is being drawn to the end of his journey. In fact, “Being Alive” is one of the show’s few moments in which Prince, Bennett, and Aronson stop showing us so that Sondheim can tell us. It’s “I Get a Kick Out of You,” “Soliloquy,” “Something’s Coming”: the singer alone with the audience. The rest of the show is all Presentation.
One More Kiss: The Broadway Musical in the 1970s by Ethan Mordden