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Time magazine explained that Sondheim is "still the great chronicler of married life" in all its form - in this song he demonstrates the bitterness of marriage. [1] ...
Follies is a musical with music and lyrics by Stephen Sondheim and a book by James Goldman. The plot centers on a crumbling Broadway theater , now scheduled for demolition, previously home to a musical revue (based on the Ziegfeld Follies ).
The musical features taped interviews with Sondheim. The songs, including well-known, less-known and cut material, are from nineteen Sondheim shows (including student shows) produced over a 62-year period, including several songs each from West Side Story, Company, Follies, A Funny Thing Happened on the Way to the Forum, Sunday in the Park with George, Merrily We Roll Along, Passion, and Into ...
Stephen Sondheim circa 1970. Stephen Sondheim was an American composer and lyricist whose most acclaimed works include A Funny Thing Happened on the Way to the Forum (1962), Company (1970), Follies (1971), A Little Night Music (1973), Sweeney Todd: The Demon Barber of Fleet Street (1979), Sunday in the Park with George (1984), and Into the Woods (1987).
The Manhattan Theatre Club production opened Off-Broadway on April 1, 1993 at New York City Center, where it ran for 59 performances and 37 previews.It was directed by McKenzie and choreographed by Bob Avian, with scenery by Robin Wagner, costumes by Theoni V. Aldredge, and lighting by Tharon Musser.
"A Pretty Girl Is Like A Melody" was the hit song of that year's Follies, and became the theme song for all later Follies. [ 5 ] [ 7 ] [ 8 ] In the 1936 film The Great Ziegfeld , the song was the centerpiece musical number performed on a huge set containing a spiral staircase, which has been compared to a wedding cake [ 9 ] [ 10 ] or "giant ...
"I'm Still Here" was written during the out of town tryout for Follies in Boston, when Sondheim decided that another song ("Can That Boy Foxtrot") was not working. This song had been written as a throwaway song for a minor character, but Yvonne De Carlo was a high-profile name in the cast, and the creative team felt she deserved a more substantial song.
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