Showing posts with label In the Heights. Show all posts
Showing posts with label In the Heights. Show all posts

Friday, August 2, 2024

Friday 5: 5 Best Broadway Show Title Songs: 2003 - 2008


5 Best Broadway Show Title Songs: 2003-2008

Today, we take a look back at 5 early 20th century musicals that had some terrific title numbers. Why did we like them? What are our favorite lyrics from them? Tell us what you think, too! Did we miss any?

Avenue Q (2003)


This little charmer - Sesame Street for adults - has a perfectly bouncy "theme song." Talk about an ear worm! My favorite part of "Avenue Q" (the song):

COMPANY

Your work real hard

And the pay's real low

And ev'ry hour

Goes oh, so slow

And at the end of the day

There's nowhere to go

But home to Avenue Q!

You live on Avenue Q!

Your friends do too.


As a worker bee myself, I can totally relate. And I think it would be great fun to live on the same block as Princeton, Kate Monster and Christmas Eve!


The 25th Annual Putnam County Spelling Bee (2005)


Not to be outdone, William Finn came up with a real toe-tapper of a title song for his "adult spelling bee." The King of word salad lyrics, it makes me feel like I really get these kids, and I feel a bit like one myself...

ALL

We concentrate on winning

At the 25th Annual Putnam County Spelling Bee

We speak so damn convincingly


MS. PERETTI

They're nervous but they're grinning


LOGAINNE, OLIVE

It seems

We're living out our dreams


BOY SPELLERS

Which is a very nice, very nice

Very very very nice


ALL

Very nice, very nice

Very very very nice

Very nice

Beginning


MS. PERETTI

25th Annual


SPELLERS

25th Annual


ALL

Putnam County

Spelling Bee!


The Light in the Piazza (2005)


Not all title numbers have to be catchy, though. This one is simply beautiful.

CLARA

I don't see a miracle shining from the sky

I'm no good at statues and stories

I try


That's not what I think about

That's not what I see

I know what the sunlight can be


The Light, the Light in the Piazza


Tiny sweet

And then it grows

And then it fills the air

Who knows what you call it?

I don't care

Out of somewhere I have something I have never had

And sad is happy

That's all I see


The Light in the Piazza


Legally Blonde (2007)


Here's a show where the title number happens twice - first as an introspective ballad at a crucial turning point in Elle Woods' life, then as an uplifting production number of empowerment. Both are worthy of being on this list.

ELLE - "Legally Blonde"

Chalk it all up to experience

They said I'd fail but I disagreed

Who could say then where my path would lead?

Well, now I know


Back to the sun

Back to the shore

Back to what I was before


Back where I'm known

Back in my own

Very small pond


Laugh with my friends

When I arrive

We'll drop the top and just drive

That's fine with me

Just let me be

Legally Blonde


VIVIENNE - "Legally Blonde Remix"

You proved it to me

Now show everyone what you can do

And you look great in dark blue!


Get back in the game

Back on the case

Take a good look at my face

I'm not a fool

And it's a rule

I do not pose!


But I see a star

You're my new muse

You've got the best freakin' shoes!

And you lit a fuse

So go show them who's

Legally Blonde!


In the Heights (2008)


This is an epic title number that does double duty as an opening number. Like one of the greatest openers of all time, Fiddler on the Roof's "Tradition," it introduces characters, dramatic themes and musical motifs. The way it builds and builds to its thrilling final button gives me goose bumps every time I hear it.

USNAVI

Lights up on Washington Heights, up at the break of day

I wake up and I got this little punk I gotta chase away

Pop the grate at the crack of dawn, sing

While I wipe down the awning

Hey ya'll good morning


COMMUNITY

In the heights

I buy my coffee and I go

Set my sights

On only what I need to know

In the heights

Money is tight

But even so

When the lights go down I blast my radio

Monday, November 27, 2023

Broadway Who's Who: Priscilla Lopez

An actor with a nearly 60 year Broadway career, our latest honoree is probably significant for different reasons to theater fans depending upon when Priscilla Lopez came into their theater-going lives. Early 2000s fans probably identify with her as Nina's mother in In the Heights, or more recently as Berthe in the revival of Pippin. If you were new to Broadway in the 80s, you might have caught her Tony-winning turn in A Day in Hollywood/A Night in the Ukraine, or as a replacement in Nine. Through the years, she's been a steady presence on the New York stage in plays as varied as Extremities with Farrah Fawcett, Anna in the Tropics and recently in The Skin of Our Teeth and Grand Horizons. She also has amassed nearly 70 IMDb credits including theater-fan films like Center Stage, Ratatouille: The Tik Tok Musical and Theater Camp. But for most Broadway fans, it was her star-making role as Diana in A Chorus Line, making "Nothing" and "What I Did For Love" instant and enduring Broadway classic songs.  These days, she's giving an amazing performance in the off-Broadway musical, The Gardens of Anuncia.

Broadway Who's Who:
Priscilla Lopez


DID YOU KNOW?
  • BORN: February 26 in The Bronx, New York
  • FAMILY: married to Broadway musician Vincent Fanuele; they have 2 children
  • EDUCATION: New York's famed High School for the Performing Arts
  • FUN FACT: she's the aunt of playwright and film director Matthew Lopez (The Inheritance, Red, White and Royal Blue)

Select Off-Broadway Credits:



Extremities
- 1983; Westside Arts Theatre



The Gardens of Anuncia
- 2023; Mitzi E. Newhouse Theatre at Lincoln Center; as Older Anuncia 

Select Broadway Credits:
She was supposed to make her debut in the ill-fated Richard Chamberlin/Mary Tyler Moore musical, Breakfast at Tiffany's, but did make it in the almost as ill-fated Henry, Sweet Henry. But she earned a measure of acclaim as the replacement for the role of Kathy in the original production of Company, followed by a stint as Fastrada in the original Pippin. Then came...


A Chorus Line
- 1975; Shubert Theatre (following a run at the Public Theater off-Broadway & on the 1st National Tour; as Diana Morales
⭐- Best Featured Actress in a Musical Tony Award nominee; Special Award - Theatre World Awards



A Day in Hollywood/A Night in the Ukraine
 - 1980; Golden Theatre; as company member/Harpo

⭐- Best Featured Actress in a Musical Tony Award Winner




Company 
- 1971; Alvin Theatre; as Kathy


Anna in the Tropics - 2003; Royale Theatre; as Ofelia



In the Heights 
- 2008; Richard Rodgers Theatre; as Camila


Pippin 
- 2013; The Music Box Theater & on the 1st National Tour; as Berthe

Grand Horizons 
- 2020; Hayes Theatre; as Carla

The Skin of Our Teeth 
- 2022; Vivian Beaumont Theatre at Lincoln Center; as the Fortune Teller



Monday, December 27, 2021

Best of 2021: THEATER EVERYWHERE BUT NEW YORK

In an effort to return to some sort of normalcy or tradition, I decided that 2021 was worthy of retrospection, however limited my theatrical experiences have been. I am so very grateful for every experience I've been fortunate to have attended, even - especially - those that happened far from a New York theater. 2021 found me seeing shows from home, at the movies, and on a cruise ship! And each experience was a rich, satisfying one. How often can you say that?

THE BEST OF
THEATER EVERYWHERE BUT NEW YORK


BEST OF CRUISE SHIP ENTERTAINMENT - Alaskan Cruise on Norwegian's Encore

TIE: CHOIR OF MAN

This charming show has elements of Once, Riverdance, and Smokey Joe's Cafe. A group of British lads meet at their favorite local pub for beer, friendship and hard core harmonizing. They break the fourth wall and the entire audience becomes their friends, too. The numbers cover a wide variety of genre - from Katy Perry's "Teenage Dream" to Man of La Mancha's "The Impossible Dream." From Adele's "Hello" to Sia's "Chandelier," every song is presented in a whole new arrangement, and each is gloriously sung. And all but a couple of the tunes appear in Broadway shows! This definitely counts as theater!

(FYI: The Choir of Man is also going on a national tour. Highly recommend!)

TIE: Kinky Boots

Also aboard Encore, is the Tony-winning musical, Kinky Boots, here presented an a 90 minute, intermission-less format. The cuts to the show, outside of excising the children sequences, are pretty unnoticeable. The story feels complete, and out of necessity more sharply in focus. Directed by Jerry Mitchell himself, and designed by the original team, you definitely get a Broadway caliber show. Led by Broadway's Alan Mingo, Jr. as Lola, the entire cast was aces. I must admit, I enjoyed this as much, if not more, than the Broadway version.


BEST OF STREAMING* AND THEATRICAL RELEASE FILMS
* FOR THIS LIST, I AM CONSIDERING ONLY tick...tick...BOOM! DIANA WILL BE CONSIDERED WITH STAGE PRODUCTIONS

BEST STREAMING: ...tick...tick...BOOM! (Netflix) 
 
In a banner year for movie musicals, Lin-Manuel Miranda has crafted the best of them, deftly balancing surreal fantasy sequences with more typical musical moments, but always with the skill to make breaking out into song not only logical, but necessary. And the "Easter eggs" for us theater fans are simply delicious. My favorites include Pippa Soo and Renee Elise Goldsberry in their signature Hamilton colors, Beth Malone in full Fun Home mode, and, naturally the ultimate "Sunday" nod, the great Bernadette Peters in a Dot hat. From top to bottom, the film is cast impeccably. Leading the cast in what surely must be an Oscar-nominated role is Andrew Garfield, who continues to prove that there is nothing he can't do. Also deserving of kudos are Alexandra Shipp, Vanessa Hudgens, Robin de Jesus, Joshua Henry and Bradley Whitford as a spot-on Stephen Sondheim. The film is further proof that Jonathan Larson will live on forever, but also that the world missed out on what surely would have been an amazing career.



BEST FEATURE FILM: West Side Story

It's no secret that West Side Story is one of my all-time favorites, so I was measurably excited for Steven Spielberg's new film version. I was not disappointed. In fact, I loved it so much I've seen it twice in the theater! What is particularly wonderful about this version is that it respects and gives loving nods throughout to the original film. But it also, thanks in large part to Tony Kushner's searing screenplay, brings an important 21st century sensibility to the whole affair. The characters are deeper, their plights sad and inevitable, their lives desperate and violent. And yet, for all of that and the tragic outcomes that result, there is a sense of hope. The film itself is visually stunning, the musical sequences jaw-dropping - thank you, Justin Peck. (I really wanted to applaud after "America.") Cast with many Broadway favorites, the singing, dancing and acting are top-notch. While I firmly believe this adaptation is superior to the original, the property is rich enough to say both versions are now favorites, and I'll love and appreciate both for what they are.

   

BEST MUSICAL FILM SEQUENCE: "Sunday" from ...tick...tick...BOOM!

Sure, the filming is superb - some of the best ever. Bravo, LMM! Sure, the cavalcade of cameos is inspiring and inspired. And, sure, Andrew Garfield is astonishing. But the entire reason for its existence is what makes this number so spectacular. The late Jonathan Larson's tribute to his personal mentor, the now late Stephen Sondheim, is itself an inspirational tribute to the craft of writing for musical theater. The new gold standard.


HONORABLE MENTION: "Paciencia Y Fe" from In the Heights

In a film full of spectacular musical sequences, this number sticks out for me due largely to its emotional impact. Led by the exceptional Olga Merediz, this voyage to the next world is not only visually stunning, but the journey through a life lived with grace and dignity is as joyful as it is heartbreaking. Tears were shed. Many tears.

   

HONORABLE MENTION: "America" and "Cool" from West Side Story

Both numbers are my absolute favorites in any version of this work, and as such, it takes A LOT for me to be impressed. The technicolor dream that is this version of "America" is further enhanced by the sharp social commentary that is visually presented, and the dancing is just...beyond. In this version, "Cool" is less about calming down before (Broadway) or after (the original film) the deadly rumble, and more about the thawing of a friendship and the vital warning Tony offers Riff about not escalating things with a gun. What starts as an almost playful game of keep away, ends up being a violent game of cat and mouse. A perfect parallel of the events to come, Spielberg's direction and Peck's athletic choreography give us a startling several minutes.

BEST PERFORMANCES: PRINCIPAL CAST: West Side Story

Ansel Elgort, Rachel Zegler, Arians DeBose, David Alvarez

Mike Faist, Rita Moreno

BEST PERFORMANCES: LEADING ROLE

Andrew Garfield as Jonathan (...tick...tick...BOOM!)

Anthony Ramos as Usnavi (In the Heights)
Ansel Elgort as Tony and Rachel Zegler as Maria (West Side Story)

BEST PERFORMANCES: SUPPORTING ROLE

Robin de Jesus as Michael (...tick...tick...BOOM!)
Olga Merediz as Abuela Claudia (In the Heights)
Rita Moreno as Valentina (West Side Story)

BEST PERFORMANCE: STAR ON THE RISE

Paloma Garcia-Lee as Graziella (West Side Story)

BEST PERFORMANCE: GROUND-BREAKER

Iris Menas as Anybodys (West Side Story)

PERFORMER OF THE YEAR

Ariana DeBose as Anita (West Side Story)

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