All in Music That Makes Me Dance

From Little Me to City of Angels: The Eclectic Brilliance of Composer Cy Coleman

Broadway composers tend to settle into a style that is distinctly their own. We know a Stephen Sondheim score when we hear it. Andrew Lloyd Webber, the same. In fact, many people cling to the familiarity of a Broadway composer’s style, knowing that attending their latest show will hopefully yield something new and familiar at the same time. We can almost count on this result, and why not? Each composer is unique and cultivates their own sound with each new show that they write. There was, however, one musical theatre composer who reinvented his voice several times over throughout his career, so it is much harder to pinpoint what his style exactly is. Working with a variety of musical styles, and a wide-range of writing partners, each score he touched sounded like he reimagined his talents to best capture the musical world at hand.  This is the eclectic brilliance of composer Cy Coleman.

Broadway’s Stout-Hearted Musical Men: 25 Clips of the Most Memorable Male Performances

About a month ago, I celebrated the great divas of Broadway with a tribute to their careers. This month, I thought I’d share a video montage of the men who have shaped Broadway with their talent and larger-than-life personalities. I hope you enjoy curling up and watching these twenty-five videos of the stout-hearted men of Broadway doing some of their finest work.

Defending and Reimagining the Theatre Critic

Theatre critics: there is a love-hate relationship for those who write critically about the theatre, especially these power-wielding wordsmiths who used to have a great deal of influence on what shows ran and what shows quickly closed-shop. Walter Kerr, John Simon, Frank Rich, Brooks Atkinson, and Clive Barnes were titans of a field that has been egregiously underrepresented by female writers (thankfully, that is changing as room is being made for a more diverse voices). Nowadays, enthusiastic word-of-mouth, the right star or composer, and a good advertising campaign can overcome the scathing review of a critic’s pen, so their influence doesn’t quite have the impact that it used to. That being said, the theatre critic has always been, and always will be, an essential part of the theatre scene.

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Broadway Musical Overload: What Survives a Crowded Season?

The 2015-2016 Broadway was an exciting one, musicals were plentiful, and many of them compelling. Not every musical, however, survives in such a crowded field because people gravitate toward what they want, critical response can be persuasive (or dissuasive), and even a poor or confusing title make or break a show. Of course, then there is the brutal culling that is the Tony nomination process, an assured kiss of death for those who aren’t baptized with an honor. Finally, there is the actual Tony ceremony itself, a live-telecast where either you represent your nominated show effectively with a scene that appeals to the masses, or you bring home enough trophies to prove that your show is amazing despite how your live-scene plays. Preferably, you achieve both. Remember, at this time last-year, we had high hopes for Bright Star, Tuck Everlasting, American Psycho, Disaster!, and Shuffle Along. The survivors of the season were Hamilton, Waitress, On Your Feet! and The Color Purple.

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