Broadway Second Bananas - The Top-Ten Scene Stealing Roles

We all love the Sweeney Todds, the Mama Roses, the Dolly Levis, and the Harold Hills of musical theatre. They are such stuff that legends are made of. Larger-than-life personalities on which you can hang an entire musical. We love our lead characters, but many musicals have such wonderful supporting characters, and some of these lively personalities come close to (or actually accomplish) stealing the show right out from under their star's feet. This week's list is my celebratiion of the Top-Ten Scene Stealing Roles of the Broadway Musicals, the second bananas who have their own special magic. 

Guilty Pleasure Thursday - Nick & Nora - The Entire Score

We all know the classic Broadway musical titles: Oklahoma!, My Fair LadyHello, Dolly!, Fiddler on the RoofAnnie and the dozens of others that show up in regional theatres, high schools, community theatres and even make their way back to Broadway from time to time. However, there are easily hundereds of Broadway musicals that were deemed unsuccessful and have, for the most part, been forgotten by the theatergoing community despite the fact that they have much to recommend.

"Finishing the Hat" - When a Composer/Lyricist's Soul Comes Through

Who hasn't listened to "Finishing the Hat" from Sunday in the Park with George and not felt like they were getting a glimpse into Stephen Sondheim's soul? The composer has graced us with a plethora of intricately insightful musical experiences, songs that reach down into that confusing and frustrating place we call "humanity" and that extract the unbearable truths of our innermost conflicts . Somehow, though, it is this song that seems to underscore who Sondheim is as a whole.

"Colored Lights" - The Rink - The Deeper Connection

Kander and Ebb are best known for their brassy showtunes, set distinctly to ignite some Fosse-esque, bump and grind dance number, complete with a racy lyric or two. "Wilkommen," "Cabaret," "All that Jazz," "The Cell Block Tango," "When You're Good to Momma," "Nowadays," "Where You Are," and "Gimme Love" are perfect examples of what I am talking about. What we forget is that there is also a quieter, more organic side to the duo's music that established a deeper connection with character development and emotional understanding. I am speaking of the Kander and Ebb who wrote "The Happy Time," "Life Is," "Chief Cook and Bottle Washer," "Say Yes," "It Couldn't Please Me More" and "All the Children in a Row." I think we have a tendency to forget that Kander and Ebb were capable of something far richer than the bawdy and the brash.