How to Write Your Very Own Rodgers & Hammerstein Musical (Take 2)

This may sound familiar to people who have been following my blog for a while. A few years ago after watching an Anna Russell sketch in which she details how to write your own Gilbert & Sullivan operetta, I was inspired to write some notes on a similar approach to Rodgers & Hammerstein musicals, as they also have many common threads. After writing my notes on paper, they disappeared. Finally, in 2018, having not found my notes, I wrote what I remembered of them for the All Things Broadway blog. When that blog went down, I reblogged it here. 

I have recently been going through my papers and finally found the notes! So, as I originally intended, I am adapting them here, based on the actual notes and not just my memory of them. I am also incorporating more points that weren't in my notes, but most of the below points were there.

Ezio Pinza, Barbara Luna, Michael or Noel De Leon, Mary Martin,
in the final scene of the original production of South Pacific (1949)

Richard Rodgers and Oscar Hammerstein III wrote multiple musicals, many of which went on to be classics. They had a very distinct style, however, and you can generally tell by listening to them that they are Rodgers & Hammerstein. Inspired by Anna Russell's lesson on writing your own Gilbert & Sullivan operetta, I sat down a few years ago to come up with some important elements to remember when writing your own R&H musical. I put examples in as subpoints below. The examples, of course, are not comprehensive lists.

The plot should tackle some controversial subject. For example, The Sound of Music involved Nazis. Carousel and Oklahoma! involved abuse. Carousel involved attempted robbery and suicide. Oklahoma! involved drugs ("Egyptian smelling salts"), which brought on a hallucinogenic dream that turned into a nightmare. Flower Drum Song had a mail-order bride, illegal immigration, and a striptease. South Pacific involved interracial and intercultural romance (which was more controversial at the time than it is now), racism in general, and a major character who killed in self-defense. The King & I involved slavery and a harem.

The overture must be relatively or extremely long. If there is an entr'acte, it should also be long.

There must be some element of love, no matter how far-fetched.

• The lovers must sing a duet in which one of them sings the first verse and then the other sings the first verse nearly verbatim back to them. 
• "Sixteen Going on Seventeen" from The Sound of Music
• "Ten Minutes Ago" and "Do I Love You Because You're Beautiful?" from Cinderella
• "If I Loved You" from Carousel
• "I Have Dreamed" and "We Kiss in a Shadow" from The King & I
• "People Will Say We're in Love" and "All er Nothin' " from Oklahoma!
• The male lover may be a widowed man with children, though the number of children he has varies. 
• Captain Von Trapp in The Sound of Music
• Emile de Becque in South Pacific
• The main female lover may have a quirky friend who is also in love 
• Carrie Pipperidge (friend of Julie Jordan) in Carousel
• Ado Annie Carnes (friend of Laurey Williams) in Oklahoma!
• At least one of the lovers should go through a short period of time when they are, or look like they are, or think they are, in love with someone else. 
• Laurey Williams and Curly McLain/Jud Fry, as well as Ado Annie Carnes and Will Parker/Ali Hakim, in Oklahoma!
• Sammy Fong/Wang Ta and Linda Low/Mei Li (it's complicated) in Flower Drum Song
• Captain Von Trapp and Maria Rainer/Baroness Elsa Schraeder in The Sound of Music
• A pair of lovers should sing a song dreaming about their life together. 
• "An Ordinary Couple" from The Sound of Music
• "Sunday" from Flower Drum Song
• "When the Children Are Asleep" from Carousel
• The lovers don't always have to marry each other, but that is preferable. 
• Some couples marry, though the wedding may or may not be shown onstage:
• Curley and Laurey (Oklahoma!)
• Julie and Billy, Enoch and Carrie (Carousel)
• Maria and the Captain (The Sound of Music)
• Cinderella and the Prince
• Nellie and Emile (South Pacific) are engaged. 
• Things look promising for Ado Annie and Will (Oklahoma!)
• Some couples do not marry, for various reasons:
• Liesl and Rolf (The Sound of Music) 
• Cable and Liat (South Pacific)
• Tuptim and Lun Tha (The King & I).
• One of the lovers may sing a solo love song. 
• "Younger than Springtime" and "I'm in Love with a Wonderful Guy" from South Pacific
• "Mister Snow" from Carousel
• "The Surrey with the Fringe on Top" from Oklahoma!

A hate song is an added bonus. The singer may or may not actually hate, but they would like to think so. 

• "Stonecutters Cut it on Stone" from Carousel
• "I'm Gonna Wash that Man Right Outta My Hair" from South Pacific
• "Many a New Day" from Oklahoma!

In lieu of a hate song, or along with it, the lovers might sing a love song trying to convince each other (or trying to make it look like) they aren't actually in love. 

• "People Will Say We're in Love" from Oklahoma!
• "If I Loved You" from Carousel

There should be a song giving advice about what happy or positive thing to do when experiencing negative feelings. 

• "My Favorite Things" from The Sound of Music
• "I Whistle a Happy Tune" from The King & I
• "You'll Never Walk Alone" from Carousel

A major character may sing a soliloquy, in which he ponders a major decision set before him. His decision at the end of the song determines the course of the rest of his life. He does not survive the show. 

• "Soliloquy" from Carousel
• "Lonely Room" from Oklahoma!

Someone should sing a song trying to convince another character to (or not to) do something. 

• "Happy Talk" from South Pacific
• "Don't Marry Me" from Flower Drum Song
• "Climb Every Mountain" from The Sound of Music

Sometimes, this song has a haunting, wistful melody. 

• "Bali Ha'i" from South Pacific
• "Something Wonderful" from The King & I

There should be at least one song that the whole company (or nearly the whole company) sings, which is accompanied by a dance. 

• "The Farmer and the Cowman" and "Oklahoma!" from Oklahoma!
• "It's a Grand Night for Singing" from State Fair
• "This Was a Real Nice Clambake" and "You'll Never Walk Alone (reprise)" from Carousel

A variation on this would be the company dancing while the two lovers sing their duet to each other, oblivious to the company's presence. 

• "Ten Minutes Ago" and "Do I Love You Because You're Beautiful?" from Cinderella

If the state or territory where the musical is set (if it's set in the US) is important enough to the plot, there must be a song about that state or territory, preferably one which spells out the name of aforementioned state or territory. 

• "Oklahoma!" from Oklahoma!
• "All I Owe Ioway" or "It's the Little Things in Texas" from two versions of State Fair
• "Grant Avenue" (San Francisco, California, USA!) from Flower Drum Song

Characters in the musical may put on a stage production, in some cases a "play within a play." 

• "Honey Bun" in South Pacific
• "Small House of Uncle Thomas" in The King & I
• "Do Re Mi (reprise)" and "Edelweiss" in The Sound of Music
• "Fan Tan Fanny" in Flower Drum Song
• Pretty much the entire plot of Me and Juliet

One group of characters may sing a song about how they don't understand or can't stand another group. It can be men and/or women singing about each other, generations singing about each other, or really any two groups that don't fully understand each other.

• "Stonecutters Cut it on Stone" and "Give it to 'em Good, Carrie" from Carousel
• "Many a New Day" and "It's a Scandal! It's a Outrage!" from Oklahoma!
• "The Other Generation" from Flower Drum Song

An instrumental break accompanied by a dreamy ballet is a plus. This is very important to the plot.

• Oklahoma!
• Carousel
• Flower Drum Song

A major character may teach another character a dance.

• "Laendler" from The Sound of Music
• "Shall We Dance?" from The King and I

Upon thinking they have lost the love of their life, a lover sings a lament about what they believe they have lost. It generally turns out all right.

• "Geraniums in the Window" from Carousel
• "This Nearly Was Mine" from South Pacific
• "Love, Look Away" from Flower Drum Song

The musical should include the word "dope" (as in, foolish person) in there somewhere. 

• "Marry a dope, innocent and gaga" from Flower Drum Song
• "The gentleman is a dope" from Allegro
• "I sit around and mope, pretending I am wonderful, and knowing I'm a dope" from State Fair
• "I'm stuck like a dope with a thing called hope" from South Pacific
• "Because these daft and dewy-eyed dopes keep building up impossible hopes, impossible things are happening every day" from Cinderella

Something should also be "cockeyed" (askew or quirky). 

• "I'm only a cockeyed optimist" from South Pacific
• "While somersaulting at a cockeyed angle, we make a cockeyed circle round the sun" from The Sound of Music)

It may also include the word "gay" (as in happy or fun). 

• "I feel so gay in a melancholy way that it might as well be spring" from State Fair
• "Younger than springtime am I. Gayer than laughter am I." from South Pacific
• "The games they played were bright and gay and loud" from Flower Drum Song
• "Keep it gay" from Me and Juliet

No matter the subject, the finale must be called "Finale Ultimo."

It's an added bonus if your audience has collapsed in tears by the end of "Finale Ultimo."

• Carousel
• South Pacific
• The King & I

I hope this helps get the juices flowing. Have fun with your new R&H show!

How Have Things Changed on Broadway?

For today's installment in the "Days of Yore" series, I'm excited that my friend Michael Kape has graciously agreed to share from his extensive experience onstage, behind the scenes, and as a Broadway critic, to recall ways Broadway has changed over the years. He also founded an amazing group (I may be slightly biased) called Broadway Remembered that he has allowed me to join him in adminning, along with three other fantastic admins. 

So without further ado, here's Michael:

-----

How Have Things Changed on Broadway?

Nearly 70 Years of Watching

 

Michael Kape

It begins by settling into a cramped seat—taking your time or rushing because you showed up after the show started. And not much has changed—with the seats, that is—in over 100 years. But what about the shows we’re seeing on the stage? Ah, there, at least, we’ve made some progress.

It is nearly impossible to encapsulate everything we’ve seen change over the past several decades. My own time in the theatre extends back only 70 years or so. I can only offer my observations and opinions (and I definitely do have some opinions). So, let me begin by offering a bit of heresy. The 1950s and 1960s were NOT really the so-called Golden Age. Those were good years, of course. But things have changed and improved. It can even be argued shows are better now than they’ve ever been, and they continue to improve. Yes, this is coming from someone who is considered an old fuddy-duddy. We’ll come back to this.

Oddly enough, this all came into focus by viewing a 35-year-old musical recently, one I had always thought was a pinnacle of great direction and design (not great music and definitely not great lyrics). Yeah, we all know the show—Phantom of the Opera.

After 35 years, it’s become old. What was once innovative and thrilling now feels tired and stodgy. I’m not talking about the performers (all great); I’m talking about the staging, the design, the overall feel. What once was exciting seems old hat. Maybe if I hadn’t been exposed to it multiple times when it debuted, I might still be thrilled by a slowly falling chandelier (like really, that can’t be considered a crash, can it?). Oh. Look. That. Chandelier. Is. Creeping. Down. To. The. Stage. In. Slow. Motion. (Cue the quasi-rock music.)

Once upon a time, like 70 years ago, we had a Main Stem bustling with excitement. A constant barrage of new plays and musicals, many of which became classics. But let’s give this golden age some context. Amusement options were fewer. Most of the country derived its entertainment from movies or television—with theatre even then a distant third (though there were more tours treading the boards from Savannah to Seattle). For every My Fair Lady, Broadway offered up a panoply of overnight flops. On the other hand, any show running at least 500 performances was considered a hit; now it hasn’t even begun to repay its investors.

My first real exposure to Broadway happened when I was only three. My late mother, ever the Broadway Baby, bought me Rodgers and Hammerstein for Children, a boxed set of 45s with music from Oklahoma to Pipe Dream (Flower Drum Song and The Sound of Music were still to be written). It was an easy way to introduce musical theatre to budding audiences. We could sing along to Happy Talk or The Gentleman Is a Dope (such a naughty word for us tots!) under the complete cooperation of theatre nerd parents (even my father got into the act by giving me his copy of the printed version of Damon Runyon’s Guys and Dolls—not the musical but the book upon which it’s based). So, I come by my theatre fixation honestly; I was raised that way. My first time on stage (but definitely not my last) was in the title role of The Gingerbread Boy at age six. Every cast album played on the new stereo as soon as it was released. I had the truncated version of Most Happy Fella memorized by age seven. The collection in our home also included South Pacific, Kiss Me Kate (on 45s), West Side Story (I was already a Sondheim fan), The Music Man (which my late sister Anita and I did in 1965), and many more. Of course, I devoured the liner notes for each recording (does anyone else miss those brilliantly written liner notes?) And being a devilish developing theatre nerd, I somehow “appropriated” my mother’s copy of The Complete Words of Gilbert and Sullivan (and I still have it, too).

 

But I digress. (I’m often accused of talking in parentheses to which I plead guilty.)

How have things changed on Broadway over seven decades? Simple. There’s a lot less being done (with far fewer theatres) but what is done is much better. This isn’t to say we didn’t have some great works 70 years ago. We did. The Lerner and Loewe catalog. The Rodgers and Hammerstein library (except for maybe Pipe Dream and Me and Juliet—what were they thinking?). Candide (yes, I know it was a flop but has there ever been a finer overture?). 

Then the so-called Golden Age gave way to something better. Concept. Shows like Cabaret. The whole Sondheim collection. Lloyd-Webber and Rice (when they worked together; we won’t discuss Cats). The mega-musicals. Better librettos. Much better design (have you ever looked at how cheap those Golden Age musicals looked?) and lighting (the current Phantom lighting looks so cheap and meh compared to what’s available now).

We expect (and get) more from Broadway now. Yet as the saying goes, you can’t hum the scenery. Yes, the set, lighting, and sound have all taken giant leaps in the past 70 years or so, but are the stories being told any better? That all depends on how they’re being told. Case in point (for me) is Arthur Miller’s Death of a Salesman. I know, I know, the great American tragedy. But it’s always felt like a product of its time. (Sorry, that’s just how I felt about it.) Could we really identify with Willy Loman 70 years later? I know I couldn’t—until I saw the new production on Broadway recently. The play had been reimagined, reconsidered, refocused. Now, at long last, it felt relevant again. And that’s what great theatre is supposed to do—challenge what we thought we knew and take us in an entirely different direction. On the other hand, I know many theatre companies across the country (and a few in New York City) work on slavishly recreating original productions. We can see The King and I still faithfully reproduced in any number of places (I’m not referring to the last production) as if it was a museum piece. No thought. No imagination. Even the sets are from 1951!

After all this, I’m sure some of you are wondering what could ever qualify me to write about nearly 70 years of going to Broadway? Not a helluva lot, actually (gotta be honest here). But having been given this platform to speak, I’m taking advantage of it. But in that time, I’ve been an actor, director, designer, producer, stagehand, playwright, and (much to my eternal shame) a critic (seven years on the Dark Side). And one other credit on that list—one of the brave souls administering Broadway Remembered, an aptly named group all things considered. We remember and we celebrate. And we educate because there’s still a lot of people to learn. Consider the following overheard very recently on 45^th Street and Shubert Alley: “The Booth Theatre—is that where Lincoln was shot?”

Yeah, we have a lot of educating left to do and plenty to remember.

All Things Broadway Posts

Between 2018 and 2020, I was on the blogging team for All Things Broadway, one of the most popular Broadway groups on Facebook. As their blog recently went offline, I recently reblogged my posts. I thought it might be convenient to post links to them here.

Outside the Schoenfeld Theatre on Broadway,
where Come from Away played 2017-2022
Picture taken September 2022

Come from Away: Stories and lessons from those who lived it

I interviewed several come from aways and Newfoundlanders whose stories inspired Come from Away. This is the result, along with my own memories from that horrible day. This was my first and most popular post. It also set records for All Things Broadway's blog in terms of readership.

The Showtunes of Christmas

My thoughts and suggestions if you are planning to make a Broadway Christmas album. Which showtune is and isn't a Christmas song?

All I Really Need to Know I Learned on Broadway

Inspired by Robert Fulghum's All I Really Need to Know I Learned in Kindergarten, I share some valuable lessons learned in Broadway shows.

The Magic of Carol

Along with two other bloggers, we paid tribute to the late, great Carol Channing.

Writing Your Very Own Rodgers & Hammerstein Musical

My thoughts on common threads between Rodgers & Hammerstein musicals and how you can write your own R&H musical.

A Look Back, 2016-2018 (give or take)

Reviews of the shows I attended in the past 2 years, as of December 2018.

Theatre Etiquette, Part 1: Putting on the Ritz!

Etiquette for producers, directors and performers when putting on a show.

Theatre Etiquette, Part 2: A Night on the Town

Etiquette for attending a show.

Prayer, Come from Away

My thoughts on the "Prayer" in Come from Away; this was my part of a collaborative blog on songs that were particularly meaningful to us at Christmas.

You Are Here: A Come from Away Story

This was a collaborative blog about the HBO Canada documentary You Are Here: A Come from Away Story. It was one of the most moving documentaries I've ever seen.

Quarantine Playlist

This was my last post on the blog. I wrote it at the beginning of the pandemic about songs that I have found encouraging in tough times. Thanks to the pandemic, this was one of the last posts in the blog, though it would be a couple years before the blog went offline.

Times Square, September 2022

What is it about you?

Part 2 of my New York blog...

Skyscrapers, taken in Central Park

"When we left off last night, the hideous dragon had carried the maid to his cave by moonlight, he gnashed his teeth and breathed his fire. The heath quaked and we trembled in fear!"

Oh wait, wrong musical. This is where we left off. I did not see The Secret Garden (which the above quote is from) in New York, though I did see it in Seattle a few years ago on tour!

Anyway, moving along... 😀

Broadway Flea Market

The morning of September 25 found us back on Broadway attending the annual Broadway Flea Market, where they sell all kinds of things related to shows and all proceeds go to Broadway Cares/Equity Fights AIDS. It was quite an experience. Near the beginning I caught a glimpse of Jeremy Jordan. Many shows had booths. There were old programs, merch, used props, and more. The Kite Runner booth had cloth items made by women in Afghanistan, where the play is set. (I sadly missed that show, which I was hoping to see.) The Some Like it Hot booth (another show I didn't get to see) was giving away bottles of water. At the Aladdin booth, in addition to buying a signed Statue of Liberty prop used by the Genie (see my previous post), I got to meet Jasmine (Sonya Balsara) and get my picture with her! I mentioned that I had seen her in the show the previous night, and that she was amazing. She appreciated that.

At the Come from Away booth, I got to meet Sharon Wheatley (who played Diane) and Astrid Van Wieren (Beulah). I feel honored to have now met all three women they portrayed (the character of Beulah Davis is inspired by Beulah Cooper and Diane Davis) and the super talented women who originated their roles on Broadway. Sharon Wheatley signed her book Drive: Stories from Somewhere in the Middle of Nowhere for me. Astrid Van Wieren signed a Come from Away button.

With Sharon Wheatley

With Astrid Van Wieren

At the Stars in the House booth, the four of us admins from Broadway Remembered got our picture with Seth Rudetsky and James Wesley. I also bought a couple small paintings by their very talented daughter Juli.

Me, Jeremy Sunderland, Seth Rudetsky,
Melly Garcia, Michael Kape, James Wesley

Shortly after leaving their booth, I very nearly literally bumped into my old high school friend Barzin Akhavan, who I haven't seen since high school, and has been in the cast of The Kite Runner. He is also in an upcoming movie (he told me the title, but I forget), and has been in a lot of productions on the stage and screen. He has been involved in The Kite Runner since its inception. I performed with him in our high school production of Oklahoma!, and he later reprised his role of Ali Hakim in an Oregon Shakespeare Festival production. As we were passing each other at the Flea Market, I said, "Barzin!" His scream of delight and big hug took me by surprise, and was truly amazing. Here he was, a Broadway star, greeting me like I was the star and he was the fan. It meant a lot to me. After we had hugged and talked a bit, I introduced him to the others (who we had to find in the crowd). We then arranged to meet and talk some more the following day.

With Barzin Akhavan
Photo by Michael Kape

I left four rocks during the Flea Market: "Climb every mountain" from The Sound of Music, "Hygge" from Frozen, a second "Paciencia y fe" rock from In the Heights, and "Welcome to the Rock" from Come from Away.

Speaking of Come from Away...

Come from Away

Following the Broadway Flea Market, the four of us attended Come from Away, shortly before it sadly had to close. Most of the cast (though not everyone) was the original Broadway cast, and we were near the front. I was struck how some of the trees had grown root systems during the run. You can see it in the bottom corner of this picture:

It was amazing seeing it on Broadway with (mostly) the original cast. This was the fourth time I saw it onstage (the first three times were in Seattle). It gets me every time. It is such a powerful show, and it's such a shame it had to close a week later. I was hoping this would be able to go for years more.

Manhattan and Central Park

The following day I returned to the Harry Potter Store, and left a rock nearby ("To life, to life, l'chaim!" from Fiddler on the Roof). I walked up the street, as my appointment with Barzin was coming up. On the way to Central Park, I passed the Empire State Building (I hope to go in next time I go):

As I arrived at Central Park, I found it is a lot bigger than I realized. I went in the southeastern corner and walked through the zoo. I did some exploring in the park and left two rocks: "My corner of the sky" from Pippin (I loved that someone was gonna find "my corner of the sky") and "You will be found" from Dear Evan Hansen. I really must do more exploring next time I go. 

I was struck by the buildings all around. Barzin and I exchanged texts to arrange where to meet, and so I walked from the southeast to the southwest corner of the park. We sat on a bench and caught up, and then we proceeded to the Lincoln Center, where we sat in the courtyard and talked. I left my favorite rock there, with a quote from Les Misérables ("Even the darkest night will end and the sun will rise"): 

After meeting, we both had plans on Broadway. I was to see Six, and he had to get to The Kite Runner. We both took the subway to Times Square, where we parted. I had a bit of time to kill before my show, so I explored the Disney Store.

Six

"Remember us from PBS?"

Six is the "histo-remix" of the story of Henry VIII's six wives. It is told concert style with the six of them onstage with their "ladies in waiting" (the band) on risers behind them. Each tells their story, initially as a competition to see who had it the worst. It recently crossed the Pond from London, and it is unlike any other show I have seen. It masterfully and creatively injects interest, humor and music into a very serious story. It tells how each wife was respectively "divorced, beheaded, died, divorced, beheaded, survived." While it starts out as a competition, part of the lesson of the show is that these tough times are not a competition. Four were rejected for various reasons, one died in childbirth, and the last was with him to the end of his life. Each performer did a fantastic job of recounting her story. I also love how they acknowledged and introduced each member of the band.

Metropolitan Museum of Art

The following day, my friend Melly treated me to a tour of the MET (Metropolitan Museum of Art). I will need to go back next time, as we hardly scratched the surface of what is there, but she gave me a tour of many of the paintings. I was particularly fascinated by this one by Elisabeth Louise Vigée Le Brun of her daughter Julie, creatively presenting two perspectives of her in one painting:

Melly and I had lunch in the museum's cafeteria, and then she had to leave, but I proceeded to explore the gift shop and the Greek and Egyptian wings. Mythology and ancient art fascinates me.

Staten Island Ferry and Statue of Liberty

My next goal was to take the Staten Island Ferry and see the Statue of Liberty from closer up than I had seen it from Battery Park a couple days previous. I proceeded to the ferry terminal, which is near Battery Park, and boarded the ferry. It reminded me of the ferries on the Puget Sound, except it's smaller and doesn't have a place for cars.

It was a beautiful day to be on the water. Looking behind, I had spectacular views of Manhattan and surrounding. To the side, I got a great view of the Statue of Liberty. I hope to go to Liberty Island next time.

Upon arrival at Staten Island, I did a little exploring and left my last rock ("Hakuna matata" from The Lion King) and then returned to Manhattan. It was a bit of a rush to get back to Times Square for the show, but I just made it!

Harry Potter and the Cursed Child

While I have issues with the plot of Harry Potter and the Cursed Child, it is worth going for the effects alone. It almost looks like they are actually performing the spells onstage, and at times I wondered how they did it. The set and effects are mindblowing. In my opinion, the plot is best described by a quote from Doctor Who: "wibbly-wobbly, timey-wimey...stuff." It is the story of Harry's son Albus and Draco's son Scorpius forming an unlikely friendship and creating a big mess with the noblest of intentions. It was originally in two parts, but due to the pandemic was shortened into one show for Broadway. 

Hadestown

The following day, after I visited Hershey's Chocolate World in Times Square, Melly and I went to see Hadestown. It is the Greek tragedy of Orpheus going to the underworld to rescue his love Eurydice, told with New Orleans style music. It was mostly the original Broadway cast. Of the main characters, only Hermes (Lillias White) and Persephone (Jewelle Blackman) were different, and they were fantastic. Reeve Carney was an excellent Orpheus, Eva Noblezada was amazing as Eurydice, and Patrick Page killed it as Hades. I don't see many shows with a strong bass, but Hades is one such part. The set was simple yet complex. My only issue was that, though we had amazing seats, they were right in front of the stage, which would normally be a great thing, and it was great being able to see them so close...but a large portion of the show uses dry ice, which pours off the stage and into the first few rows. I thoroughly enjoyed the show, but smelled like dry ice afterwards. I would recommend sitting a bit further back if dry ice is an issue for you.

Into the Woods

After a visit to M&Ms World and a fantastic Cuban dinner, the four of us met to see the revival of Sondheim's Into the Woods, a mashup of several classic fairy tales that combine into a powerful and rather heavy second act. It was a who's who of Broadway actors, including Stephanie J. Block (Baker's Wife), Sebastian Arcelus (Baker), Gavin Creel (Cinderella's Prince/Wolf), Joshua Henry (Rapunzel's Prince), Krysta Rodriguez (Cinderella) and more. While it was fully acted, it reminded me of a concert style, as the orchestra was in the center of the stage and the set was very simple. Milky White was a brilliantly-designed puppet and more expressive than I've ever seen her. She pretty much stole the show. Her puppeteer (Kennedy Kanagawa) was just as expressive. I also loved how the giant was portrayed by two massive shoes (one of which was also operated by Kennedy Kanagawa) tromping around the stage with the help of two puppeteers. The voice of the giant (who also played Cinderella's mother) walked to the center of the stage behind the orchestra and you could see her talking from a distance. In other productions I've seen, she is completely offstage, except when you see her feet at the end.

I was sad to have to leave, but New York was an amazing experience. It was truly "one short week in the [Bi-i-ig Apple]!" I hope to return sometime. (Back to the Future opens on Broadway this coming June, after all!) It was also a personal record for the most live shows I've seen in one week. 

Thank you from the bottom of my heart to everyone who helped make this trip possible! It was amazing, and a highlight of my year!

NYC

 

Manhattan, taken from the Staten Island Ferry

All my life I have wanted to visit New York. Since childhood I have been a fan of Broadway. The past few years I have been a blogger for the Facebook group All Things Broadway (2018-2020), and an admin for the group Broadway Remembered (2019-present). Broadway Remembered is a growing group (currently with about 53,000 members), and as of earlier in 2022, I was the only admin who had never actually been to New York. The closest I had been was Washington-Dulles Airport on the way to France in 1999. The other admins generously helped me to fix this problem, and I finally got to achieve a lifelong dream in September 2022.

I was scheduled to see The Phantom of the Opera the evening of September 22. With plane delays and transportation issues, it was a bit of a tight squeeze, but with my host Michael, we were able to make it on time. As this has been one of my favorite musicals since childhood, I thought it would be an appropriate first musical on Broadway.

We got off the subway and came up to Times Square. I was blown away. I had seen pictures, video, seen the ball drop at New Years Eve on TV, and so I knew what it looked like, but nothing could prepare me for the sense of awe I felt. It had always been on a TV or computer screen, in magazines, books and other sources. But this time it was all around me. Screens were everywhere advertising products, TV shows, restaurants, Broadway shows, and more. They have a Disney Store, Hershey's store, M&M's store... Of course, we didn't have a lot of time to take it all in due to the rush to get to The Phantom of the Opera, but it was still an amazing experience.

The Phantom of the Opera

It was indeed an excellent first show on Broadway. I saw the show in Seattle on tour a few years ago, and I have seen the movie and the 25th Anniversary filmed production. But to see it on Broadway was an amazing experience. The sets were similar to how they were in Seattle, but more lavish. I figured they were able to do more, as the show has been in the Majestic Theatre over 30 years now, as opposed to a touring show that is only there for a few weeks. Performances were amazing.

After the show, we were planning to meet the other admins, Jeremy and Melly, at Sardi's just across the street. However, they had just closed when we arrived. We met at another restaurant nearby, and I finally got to have my dinner that had been delayed due to transportation issues earlier in the day. It was great meeting them in person and talking with them.

Harry Potter Store

The following day, I visited the Harry Potter Store. It was like a small Disneyland for Harry Potter fans, and I thoroughly enjoyed wandering around the store like I was a kid again (aside from the fact that I was an adult when the books came out). It is two floors and has a large phoenix statue in the middle of the round staircase.

One of my favorite Dumbledore quotes,
in the middle of the staircase

They have an area where you can find wands (replicas of the wands in the Harry Potter and Fantastic Beasts movies and Harry Potter and the Cursed Child). One room is dedicated to merchandise from each of the four Hogwarts houses. They have candy and treats mentioned in the books, as well as items from Weasley's Wizard Wheezes (such as extendable ears). Downstairs they have more treats, an area where you can have items personalized, Hogwarts trunks, robes, and more. They also have virtual reality experiences, which I didn't get to do, but hope to do next time I go. As you are exiting, they have a butterbeer bar, where you can get butterbeer and snacks. (They do not have pumpkin juice. I asked.) You have to drink your butterbeer there, but you get to keep the cups. They have a cleansing station where you can clean your cup before leaving.

World Trade Center and Battery Park

After leaving the Harry Potter Store, I took the subway to the World Trade Center. Before coming to New York, I painted rocks with Broadway quotes. I left my first one at the WTC. It had a quote from Come from Away: "Make me a channel of Your peace." I hope it found a good home!

The World Trade Center was a moving experience. The names of the victims are inscribed around the imprints of the two towers. So many names. Due to time constraints, I did not go to the memorial museum, but hope to do so next time I go.

Following the World Trade Center, I walked to Battery Park a few blocks away, where I left my second rock ("I am not throwing away my shot" from Hamilton). I saw the Statue of Liberty from a distance, though it left me wanting to see it closer up, as it was a small silhouette with cranes behind it from that angle.

Beetlejuice

That evening, I went to see Beetlejuice. I have seen the movie that it's based on, and I have enjoyed listening to the music from the cast recording, and it was great to see it onstage. I was struck by how different the theatre was from the Majestic. This one was at the Marquis, which is in a hotel. I went in the hotel lobby, and up an escalator to the second level where the theatre is. I was impressed with the set. It starts out in a graveyard, and most of it is in the house. Parts of act 2 are in the land of the dead. They had a large portion of the house onstage, and some scenes on the roof. It was a very complex set, and impressive the way they did it. Performances were also excellent.

The following day, we waited in line at the TKTS booth in Times Square, where you can get discount tickets to shows. While waiting in line, I left my third rock ("Shepherd's pie peppered with actual shepherd on top" from Sweeney Todd). After we were done at the TKTS booth, I left my fourth rock ("You're one of a kind, no category" from Six).

1776

While waiting outside the American Airlines Theatre, I left my fifth rock ("Paciencia y fe" from In the Heights).

I was struck once again how different this theatre was from the others. The auditorium was not nearly as long as other theatres. It was probably the most intimate of the ones I attended. I was in the back row in the balcony, but it wasn't all that far from the stage.

This set was much more simple than others. It mainly involved curtains, tables and chairs. 1776 was still in previews. It is an unusual take on the show, as the cast was all female and non-binary performers. They made no changes to the script, but I felt they nailed it.

Between shows, I left another rock ("This one could be one of the great ones" from A Bronx Tale).

Aladdin

I saw Aladdin in its pre-Broadway run, a few years before it reached Broadway. At that time I felt it had potential, but wasn't quite there. It had a song for Jasmine called "To Be a Princess", which was very much out of character for her, and I wasn't a fan. It also felt like a theatrical travel brochure for visiting Agrabah. The line "another Arabian night" got old. The "A Whole New World" scene was not fully developed yet, and the carpet just rose up and sat still while the stars rushed by on the backdrop. However, I loved that they put "Proud of Your Boy" back in. It was cut from the original movie, but it is one of my favorites in musical theatre. They even gave it reprises.

So I was excited to see how the show had changed since I saw it pre-Broadway. They addressed all my issues with the earlier version, and I felt while my previous experience had potential, this had met and exceeded that potential. The sets were better. "To Be a Princess" was gone, in favor of "These Palace Walls," which is much more in character for Jasmine. The carpet was much more impressive as it soared around the stage. The cave was much more impressive and sparkly. It felt more like the story I know and love than the travel brochure I felt previously. Michael Maliakel shone as the tallest and most expressive Aladdin I have seen. Sonya Balsara was a fantastic Jasmine and Michael James Scott killed it as the Genie. One of my favorite lines was when the Genie was talking about the lamp at the beginning of his show. He makes to pull the lamp out of his pocket, and instead pulls out a Statue of Liberty. He said something to the effect of "Sorry, I did a bit of pre-show shopping." He then put that back in his pocket and pulled out the lamp.

As the sign outside the theatre stated, my Broadway wish was indeed granted. Aladdin was one of the best parts of my trip. In fact, I even got to meet Sonya Balsara (Jasmine) the following day! More on that in my next post.

After the show, I left another rock ("A little reinvention" from Dear Evan Hansen, a show I would have loved to see on Broadway, but it closed shortly before I went.)

To be continued...

Quarantine Playlist

 March 2020

This was my last post for All Things Broadway's blog, which is no longer online. It sort of fizzled out due to the virus shortly after this. We have come a long way since I wrote it nearly 3 years ago, and I am grateful we now have vaccines and have learned a lot more about COVID. But it has still been a difficult time, and we are not out of the woods yet.

Masked up on Broadway, September 2022
(You may notice the picture is backwards,
as this is the back of the sign)

---

These are scary times. With the coronavirus going around, many of us are stuck at home. Many with jobs are working from home. Many are out of jobs. Many people have the virus. Life has changed drastically in the past few weeks in ways nobody could have predicted.

The theatre community and other kinds of artists have been hit hard. Broadway and the West End, as well as multiple other locations around the world where shows are produced, have temporarily shut down. Actors like Aaron Tveit and Chad Kimball are currently recovering from the virus. We’ve lost some of our older actors, such as Terrence McNally and Mark Blum to it. [Update, 2022: We have even lost younger actors, such as Nick Cordero, since I wrote this.] During this time it is easy to go stir crazy with our social distancing and avoiding large groups. Many of us have varying degrees of sickness. Depending on our mood at the time, there are any number of things we need to hear.

Sometimes we want to commiserate about the problem. Sometimes we need cheering words. We need to laugh. But we also need to be sensitive about words that may help one person, but will be harmful to another.

Since music and theatre are often healing balms, I thought it might be helpful to come up with songs that may be helpful during this time. Depending on your situation, please feel free to listen to ones that you find helpful and ignore ones that don’t speak to you. Everyone’s taste is different, and I tried to find a variety of different kinds of songs that speak to different needs during this crisis. They follow, in no particular order.

“You’ll Never Walk Alone”
From Carousel
This is a great reminder. So many of us are lonely during this time while we are physically distant from each other. No matter what goes on, we need to remember someone is always there rooting for us, in spirit if not in person. We need to remember to “walk on through the wind, walk on through the rain, though your dreams be tossed and blown.” You will never walk alone.

“No One Is Alone”
From Into the Woods
This is a similar reminder. We may lose people we love and admire, but we are never alone. We need to come together and support each other. Let us lean on each other and support each other.

“Pile of Poo”
From Emojiland
The release of the cast recording of Emojiland could not have come at a better time. Sometimes we need reminders to “remember who you are is what you do when life hands you a pile of poo.”

“Empty Chairs at Empty Tables”
From Les Misérables
This time is incredibly difficult for everyone. Odds are you know someone who has the virus (you might even have it), and thousands around the world have died from it. Sometimes we need to lament those we have lost. We need to let our emotions out or we will go crazy. [Update, 2022: Having lost my dad to a stroke since writing this, this song is even more emotional and meaningful to me.]

“Prayer”
From Come from Away
This is one of my favorite Broadway songs, and a constant source of comfort. We need to pray (whatever that means to you) for peace, and we need to work to spread it. Let’s be channels of peace, not divisiveness.

“Spread the Love Around”
From Sister Act
This is another song encouraging us to spread love and kindness to others. Everyone is having trouble right now, and we all need to give and receive love.

“My Favorite Things”
From The Sound of Music
These are scary times. Sometimes we need to distract our minds by thinking of things we like. “Raindrops on roses and whiskers on kittens,” among many other things, can be very comforting. Simple things can be powerful.

“Impossible”
From Cinderella
With everything going on right now, sometimes we are tempted to conclude that the idea of things getting better is impossible. Will our governments agree on anything? Will we find a vaccine and cure for the virus? Impossible! “But the world is full of zanies and fools who don’t believe in sensible rules, who don’t believe what sensible people say! And because these daft and dewy-eyed dopes keep building up impossible hopes, impossible things are happening every day!”

“You Will Be Found”
From Dear Evan Hansen
This is another source of comfort. Life is tough. Especially right now when we are distancing ourselves from each other, it’s easy to feel alone. But always remember, even if you feel lost and alone, “someone will come running.” There are people there who will find you and reach out to you. You can even be that person for someone else. Let’s find each other and support each other through this tough time.

“The World Has Gone Insane”
From Jekyll & Hyde
This is sung by a desperate man who is feeling the effects of a terrible disease that is slowly consuming him. He begins the song as a frantic doctor and ends it as an evil maniac. I hope nobody goes through the horrifying transformations he does, and thankfully that isn’t a symptom of coronavirus, but I think many of us can identify with Henry Jekyll more than normal.

“Singin’ in the Rain”
From Singin’ in the Rain
Rain is a funny thing. Sometimes it can be refreshing, and other times it can be annoying, and sometimes even dangerous. But there’s always a positive side. Rain can cause a person to slip, and it contributes to erosion, but it also washes away bad things and nourishes the ground, making things greener. Coronavirus is much more dangerous than rain, but there have been reports all over the world of pollution clearing up, canals in Venice becoming clear. That doesn’t diminish the horror of sickness and death, but there is always a silver lining, and always a reason to sing.

“Always Look on the Bright Side of Life”
From Spamalot
I find it interesting that this song is so common at funerals. In the midst of unspeakable pain and sorrow, we can always find a bright side.

“The Next Right Thing”
From Frozen II
This isn’t technically a stage show (yet), but it’s important to remember. Since it is so new, I don’t want to spoil it, but Anna is going through a very difficult time, and all she can do is “the next right thing.”

“Put on a Happy Face”
From Bye Bye Birdie
I grew up listening to this song. It has never failed to bring a smile to my face. Whatever is going on, no matter how difficult, remember it will get better. “Gray skies are gonna clear up. Put on a happy face. Brush off the clouds and cheer up. Put on a happy face.” Sometimes that’s easier said than done, but we can always remember to look forward to this being over.

“Vidiots”
From Charlie and the Chocolate Factory
With the advent of the term “COVIDIOTS”, this song has been going through my head lately. I would caution us, though, to go easy on the people in the news reports who have made less than advisable choices during this time. None of us is perfect, and we have all made ill-advisable choices in our lives. Just try not to let your choices spread disease…and definitely don’t be so dependent on technology that you suffer the fate of Mike Teavee. 

“Anthem”
From Chess
This virus has attacked the world. All of us are at risk. The rich as well as the poor. Nobody is immune. At this time we’re all in this together. We need to come together and remember that “my land’s only borders lie around my heart.”

“Cell Block Tango”
From Chicago
Let’s all remember when the vaccine is here, that this virus had it coming. “It only had itself to blame.” I fully endorse scheming a horrible demise for this virus, and it can’t come soon enough. Let’s be sure to take out our revenge on the disease and not people, though.

“Seasons of Love”
From RENT
Hopefully this crisis won’t be around anywhere near 525,600 minutes, but we need to measure our lives in love. Some lives have shorter measurements than we anticipated. Everyone needs to give and receive all the love they can through every season.

“Please Don’t Touch Me”
From Young Frankenstein
It’s important to practice social distancing during this time. Although considering the circumstances, let’s stay farther away from each other than Elizabeth and Frederick during this song. We can always come closer and waltz a foot from each other once this is over.

“Luck Be a Lady”
From Guys and Dolls
We can always trust to luck that it will be in our favor. Maybe we’ll get lucky and it will clear up quickly. But let’s not trust solely on luck. We need to do what we can to help luck along and slow the spread of the virus.

“I Whistle a Happy Tune”
From The King & I
As mentioned before, this is a scary time. One technique when you’re scared is to whistle or sing a happy song. Sometimes that can go a long way to cheering you up and conquering your fear.

“The Play”
From Be More Chill
There’s something therapeutic about listening to a virus being destroyed. If only this one could be defeated with something as simple as Mountain Dew Red!

“One”
From A Chorus Line
You are unique. You may also be one person in quarantine. There is nobody quite like you. You are definitely “one singular sensation,” and I am rooting for you!

“For Good”
From Wicked
Last, but certainly not least, let’s look for the good in each other. This is sung by two dear friends who are saying good bye to each other and realizing that, for all their rivalry and disagreements over the years, they have had a profound and good influence on each other. How have your friends and family influenced you? We need to support and lean on each other during this difficult time if we are going to get through it. Just don’t lean on people literally, as we need to keep our social distance. We also need to remember the loved ones we’ve lost and let them live on in the way we choose to live.

This is by no means a comprehensive list. There are so many other songs out there that are appropriate during this time. But I hope that gets you thinking of songs that might be helpful to get you through this. It will end, and most of us will come out on the other end.

Love to everyone!

Steven Sauke is a Broadway fan who has been through a lot and has been helped considerably through the years by music and art. Much of that has been from musicals.

You Are Here: A Come from Away Story

September 2019

Eighteen years have passed since the horrifying event that ended the lives of so many innocents and left the survivors’ lives forever changed. Fathom Events sponsored the first wide US release of HBO Canada’s documentary You Are Here: A Come from Away Story. It tells the story of the amazing response by several small communities in Newfoundland when thousands of people from around the world were suddenly stranded “somewhere in the middle of nowhere.”

Several of All Things Broadway’s bloggers attended showings of the documentary in different parts of the country. Their thoughts follow.

Taking a Gander at Gander

By Michael Kape

When I arrived home from seeing You Are Here at the local cinema, my house guest asked, “So, how was it?” To which I replied, “I laughed. I cried. I was exhilarated. I was depressed. What more can you ask of a documentary than that?”

What more indeed? For those of us who’ve been blown away (and who hasn’t?) by the perfect musical, Come From Away, the opportunity to see the real people behind the fabulous story was too, too tempting. Onstage, we are charmed and delighted by the generosity of human spirit as exemplified by the people of Gander, Newfoundland. But, it’s a musical. Liberties must be taken with the facts (surprisingly few, actually). Could the real people of Gander be so self-effacing (“All I did was make sandwiches,” one Gander woman says in the film) and so thoroughly delightful at the same time?

Yes, they could. And they are. They are Gander, and it might be one of the most wonderful places on the planet.

We all know the story. On September 11, 2001, 38 planes filled with almost 7,000 scared passengers landed at the Gander airport. And that’s when the 9,000 people of Gander went to work. In five days, as the mayor notes, the Come From Aways (as people not from Newfoundland are called) went from being strangers to being friends to being family. And after seeing the real people behind Come From Away, I truly believe the people of Gander are exactly as portrayed in the musical.

The people of Gander can be uproariously funny as they go about the business of providing (and by providing, I include just about everything humanly possible). They move us to tears at times. Their stories thrill us by just how seemingly ordinary they are (though I would never call the people of Gander ordinary).

Yet, for those of us who remember 9/11, it was one of the most depressing moments in history. For those of us who witnessed the Twin Towers collapse before our eyes (I was stranded in New Jersey looking east from the office patio, and saw the buildings fall), it was horrifying. In a constant battering by bad news, one small story did stand out—the reports of what was happening in Gander. These left us all wanting to know more, but so little information was available at that time, and the efforts got lost in a raging sea of alarm.

No, we must never forget what happened on 9/11, but we should always remember that one single spark of bravura humanity lighting the way from a rock in the Atlantic Ocean. Gander. That sums up so much.

Source: https://www.youareheredoc.com/press

Returning to Gander and Paying it Forward

By Steven Sauke

We sat there in the movie theater staring at those images. We couldn’t look away. Snow flurries blew over a peaceful waterfall at the 9/11 memorial in New York while the audio from the black box on one of the planes played. It went back to the news footage from that horrible morning 18 years ago. It was like I was standing in my living room once again, aghast and emotional after all these years, even though I knew this time what would happen. Watching that plane fly into the World Trade Center. The ball of fire, the sudden gasp of shock, and then New Yorkers running for their lives.

Over the next hour, we would meet the people of the small town of Gander, Newfoundland and surrounding communities, who welcomed nearly 7000 “come from aways” suddenly stranded in a small town in the middle of nowhere. Many didn’t even know where they were at first. At least one come from away found out where he was when he called home and his family told him they had been tracking his flight. So many Ganderites dropped everything and worked together to provide for the needs of strangers. Teachers helped prepare their schools for guests. Bus drivers broke off their strike to transport everyone, because “our beef is with our employer, not these people.” The local news media broadcast the needs as they became known, and the citizens of Gander and the surrounding towns rose to the occasion. Over the next few days, they would offer rides, provide meals, clothes and other essentials. A couple would meet and fall in love. A mother and father would desperately search for their son, a firefighter in New York, and be helped and comforted by the mother of a firefighter in Gander. One plane was delayed leaving Gander because a passenger’s host had taken him moose hunting and they had to track him down. One line that really struck me was when Mayor Claude Elliott said that they welcomed nearly 7000 strangers on September 11 and 12. Soon they had 7000 guests. After five days, they said good bye to 7000 family members. Ten years later, many of the come from aways returned to Newfoundland. Throughout the reunion, visitors and Newfoundlanders alike spoke with a young couple who some took for college students, and were perplexed when they found out this husband and wife were planning to write a musical based on…making sandwiches?

They would be blown away by the result. As one person observed, Come from Away nailed it. The documentary continued through the workshop and Broadway premiere stages of producing the musical. You Are Here: A Come from Away Story was a beautiful retelling and intimate conversation with the people who made it possible. I felt like they were my friends. Since I met some of them a year ago, some of them are.

Rewind a bit.

A year ago, I interviewed several of the come from aways and Ganderites for an article on what happened those five days and following. When the national tour of Come from Away opened in Seattle, many of the people involved visited, and I was hoping to be able to meet some of them. After being showing unconditional love and kindness, Kevin Tuerff founded an initiative called “Pay It Forward 9/11.” Every year, he gives his employees $100 to go into the community and do random acts of kindness for strangers. Last year, I was one of his recipients. He told me he was giving me two tickets to a special screening of You Are Here in Ballard, a neighborhood in Seattle. My brother and I arrived at the theater and were welcomed by the owner, who said, “You are here, so you belong.” When he asked who we were connected with, I explained Kevin Tuerff had invited us. (That owner is well connected, as he appears briefly in the documentary at the Broadway debut.) Come to find out, almost everyone at the showing was somehow directly connected with Come from Away. Many of the come from aways and Newfoundlanders were there. I introduced myself to Nick and Diane Marson and thanked them for the interview. They then introduced me to Bonnie Harris and her sister. After the show, we were standing in the lobby next to Beulah Cooper, and she gave us hugs. Complete strangers. Oz Fudge was wearing his “STFD” t-shirt. Kevin Jung sat down the row from me, as did Brian Mosher and Janice Goudie. We sat behind Bonnie Harris, Beulah Cooper and Hannah O’Rourke. David Hein and Irene Sankoff were there, though I unfortunately did not get to meet them. Kevin Tuerff recognized me, and we got to talk and get a picture. Just now looking through my pictures from that day, I noticed Appleton Mayor Derm Flynn was also there. (Claude Elliott, Beverley Bass and Diane Davis were unable to make it to the screening, but I would get to meet Diane Davis a couple weeks later when she came to the show.) It was an unforgettable day, and I wanted to share this experience with others.

Oz and Lisa Fudge,
Director Moze Mossanen,
Producer Peter Gentile,
Kevin Tuerff

Hannah O’Rourke,
Beulah Cooper,
Bonnie Harris

Photos by Steven Sauke

Fast forward a year, and Fathom Events was finally hosting the first wide release showing in the US of the documentary. Kevin’s lesson is one I have endeavored to put into practice throughout the year, and this time, the opportunity presented itself again. I arranged for my family and two friends to watch the show. It was only after I ordered the tickets that I found out that one of my friends I ordered tickets for would be out of town and unable to make it. Kevin specifically advises showing kindness to strangers, so I posted in the Come from Away Fans Facebook group that I had a free ticket for anyone in the Seattle area who wanted it. I had exactly one taker, so it worked out perfectly. She brought her husband, who got a ticket at the box office, and when she offered to pay me back for her ticket, I politely declined and changed the subject. 

Steven Sauke and Michael Kape are recurring bloggers for All Things Broadway.

----

This was a collaborative post that we wrote for the All Things Broadway blog, which is no longer online. I am sharing as much of the post as the respective authors have authorized me to reshare. :-)