But as the theatre world celebrates the birthday of one of the true icons of the genre, I have to admit that while Ms. Lansbury opened that new window, Mr. Sondheim got me to explore the depths of this world of musical theatre. And so, I guess I can say that Stephen Sondheim also changed my life in ways I never would have imagined before.
My first brush with his work was the Original Cast Recording of Sweeney Todd, purchased because Ms. Lansbury was the star. I had no idea what I was in for. So I ran upstairs to my room, pulled out the first of two albums (a double set!), plugged in my headphones and laid down on the floor with the enclosed libretto. Imagine my surprise (I literally screamed) when that factory whistle went off the first time in my headphones! Well, Angela Lansbury or not, I was hooked. I think I played "The Ballad of Sweeney Todd" 15 times before I allowed the record to continue. Then, I played "The Worst Pies in London" over and over marveling at how un-Mame she was. Well, I think it was a good three hours before I even turned to side two of the first record. But I was in love. The story, the performances, and the music...odd, dissonant in places, but totally fitting the specific mood of any given second. As I became more and more familiar with the lyrics, I realized that this was literature I was reading. Such nuance, such specificity of language! I tell you, discovering all of that in the lyrics to his songs made school much easier, too. English classes became more interesting; I really understood what the teacher was talking about. Although there were some other influences later, I can trace my choice of college major - English - to that day in the early 80's when I first listened to Sweeney Todd.
And so, Mr. Sondheim, I thank you for literally changing my life. And happy birthday!
Several of you have written asking me what my favorite Sondheim score is. How can I just pick one? I'll pick three, with two caveats. One: Since he did not write the scores for West Side Story and Gypsy all by himself, I won't consider them, but I will say that both are among my all-time favorites. And Two: I love Act One of both Into the Woods and Sunday in the Park with George, but not the whole of each score enough to include them. But if they were stand alone musicals, both would be right up there on my list.
3. Merrily We Roll Along
I like the whole Original Cast Recording, and several of the changes in subsequent versions, especially "That Frank." It is full of catchy tunes, the story is engrossing, and the commentary on the arts is both bitchy and spot on.
I can so identify with Bobby now that I'm grown up myself. Company was the second Cast Recording of Sondheim's I ever purchased. Love that purple and orange! It had me from the first "Bobby... Bobby..Bobby baby..." I loved immediately that all of the "couples" songs stood as separate stories, and the interal angst of Bobby's songs, and the wry observations of the group as a whole. Mind you I figured all of that out just by listening - there was only a plot synopsis and some very blurry, small pictures on the back cover. Since then, I have seen the show several times; the 1995 revival helped make the songs make sense to me, but I was still too young to appreciate where these people were coming from. But the recent revival was a revelation to me. I sat dumbfounded and emotionally spent after the show. I think I am Bobby.
1. Sweeney Todd: The Demon Barber of Fleet Street
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