Best Songs From Best Scores: 1965 - 1966

Imagine a season with this deep a roster of Best Score nominees: Mame, Man of La Mancha, On a Clear Day You Can See Forever, and Sweet Charity. When the least of them is a beloved score from a short-run musical that was later a film with one of the world's greatest stars, I'd say it was a terrific year for the musical! Seriously, the other three are, for me, no-skip recordings, and they are each on my list of all-time favorite shows.

Best Songs From Best Scores

1965 - 1966

  

Nominee: Mame

Music and Lyrics by Jerry Herman

Best Song: Heartbreaking Duet: "My Best Girl"

If you were/are fortunate enough to have an "Auntie Mame" type person in your life (mine was my Nonna), then this whole show probably gives you all the feels. This song in particular makes me cry literally at just the thought of it. I know what that kind of love and devotion first hand.

Best Song:Character Entrance - Production Number: "It's Today"

As much as I love this jazzy number just listening to it, I'll never forget Angela Lansbury sliding down a spiral staircase in a gold pantsuit while playing a bugle. What an entrance! And what a song of making the most out of each moment we are alive!

Best Song: Bitchy Duet: "Bosom Buddies"

An absolute classic. What could I possibly add to the discourse around this number? It is funny, biting and a real tribute to friendship.

  

Nominee: On a Clear Day You Can See Forever

Music by Burton Lane Lyrics by Alan Jay Lerner

Best Song: Character Introduction - Solo:  "Hurry! It's Lovely Up Here" - Daisy Gamble

A crazy premise - she can make flowers grow just by singing to them + a sweet delivery of even sweeter sentiments, and you get one heck of a character piece. Barbara Harris was one of a kind.

Best Song: Title Number: "On a Clear Day You Can See Forever" - Dr. Mark Bruckner

I'd listen to John Cullum sing the phone book, but this is a great title number, that is warm and even catchy. Talk about an ear worm! It's not exactly a toe-tapper, but it sticks with you long after the song is over...

   

Nominee: Sweet Charity

Music by Cy Coleman and Lyrics by Dorothy Fields

Best Song: Production Number: "Big Spender" The Fan-Dango Girls

I'll bet that as you are reading this, you can hear the opening notes of this classic. What's great about the song is that it works just as well when you can only hear it as when you see what goes with it. And those infectious lyrics... fun, laughs, good time indeed!

Best Song: Title Number:  "Sweet Charity" - Oscar

Ok, so technically, this song isn't one of my favorites in the OBCR, but I love the version of the song from the 1986 revival. It is an unabashed song of adoration. I'd kill to have someone love me enough to sing me a song like this one!

Best Song: Production Number: "Rhythm of Life" Daddy Johann Sebastian Brubeck and His Worshippers

I love everything about this song - the catchy, infectious tune, the snappy wordplay of the lyrics, the skewering of organized religion. On a no-skip cast recording like this one, how great that it starts act two so that it is easy to play over and over! (60s shows should be played on vinyl...)

WINNER: Man of La Mancha

Music by Mitch Leigh and Lyrics by Joe Darion

Best Song: Character Introduction: "Man of La Mancha (I, Don Quixote)" - Miguel de Cervantes/Don Quixote de La Mancha

I love how this song is integrated into the story, as the storyteller becomes the story before our very eyes. And the way it builds and builds... no matter who sings it is a thrill ride of a song.

Best Song: Counterpoint Quartet: "I'm Only Thinking of Him" - The Padre, The Housekeeper, Antonia and Dr. Carasco

This song walked so "A Model of Decorum and Tranquility" could run. But seriously, clever counterpoint songs, if done well, develop character and further the plot. This is a gold standard of the sub-genre.

Best Song: Soul Searching Ballad:  "What Does He Want of Me?" - Aldonza

You probably thought the classic ballad, "The Impossible Dream" would make this list, and it is a great song for sure. But for my money, this song that gives us Aldonza at her most vulnerable and confused. Dare she let herself feel love? Dare she let this crazy man in? No one has ever seen her before. What a beautiful song?

Friday 5: 5 Favorite Classic Musicals of the 1960s

 

5 Favorite Classic Musicals of the 1960s 

Last month, one of our Friday 5 lists was our Favorite Classic Musicals of the 1950s, and now we move into the decade of love and the end of Broadway's Golden Era. There are dozens of possibilities, and no doubt within 5 minutes of this posting, we'll be second-guessing our choices. (What about Hair? Or How to Succeed? Or Hello, Dolly!? And those are just the H's!) But here's what we've got as of right now! Can you imagine having these all in a three year period?

5. Sweet Charity (1966)

I love every single thing about this show - Neil Simon's hilarious book, Cy Coleman and Dorothy Fields' thrilling, glib score, and of course, Bob Fosse's style. I'd give almost anything to have seen the great Gwen Verdon do her signature role. Another show with a no-skip score, how can you not love "Something Better Than This", "Big Spender" or "If They Could See Me Now"? The Fandango girl that does all of "Spender" with empty eyes and a lit cigarette dangling from her mouth is my hero,

4. Mame (1966)

Okay, I'll admit a bias here. I've often written about its 1983 revival being my life-changing first Broadway show, and that Angela Lansbury is an idol of mine. But it's also true that I knew the score by heart before I ever saw it. I know that most people cite Hello, Dolly! as their favorite Jerry Herman show, Mame does it for me. The sophistication, the glamour, the bitchy, biting humor, and the love story that grows between the eccentric aunt and her nephew warms my heart. "My Best Girl" makes me tear up, just thinking about it.

3. Man of La Mancha (1965)

I may be biased with this one, too - it was the very first show I was ever in. (I played Juan, a muleteer and Sancho Panza's ass.) Here is a show about overcoming huge obstacles, sure, but it's also about dreaming and reaching for a better world. "The Impossible Dream" is my all-time favorite Broadway anthem, "I'm Only Thinking of Him," is my favorite quartet, and "Aldonza" is one of my go-to shower numbers. (I kill it every time!)

2. Fiddler on the Roof (1964)

It begins with what I think is the single greatest opening number, "Tradition," and only gets better from there. Sure it has its fun, lighter moments, but this classic is the very definition of musical drama. A heartbreaking yet powerfully uplifting epic, Fiddler is about family, community and perseverance. The religion, history and events may be specific, but its universality is what makes this show endure throughout the years.

1. Cabaret (1966)

Of all of these, this show seems the most relevant (unfortunately) to the state of the world. There are few shows that manage that precarious balance between entertaining spectacle and harsh drama this well. The score, of course, is amazing from that opening drum roll to the sobering finale. I had the honor of seeing Joel Grey's final performance - ever - as the Emcee, which he announced tearfully from the stage. What struck me was that after decades in the role, and on the last day of a long national tour, he was so fresh and present. Electric.

1960s Broadway Musical Show Art Tournament: The Championship!

It's the 1960s and the Golden Age of the American Musical is in full swing, though, by the end of the decade it is replaced by the Modern Era. What a time to be a musical theater fan! Award-winners, popular titles, classics and flops are all here. We started with 64 works of art, and now we are down to The Championship! 

Now, your votes this week determine the best of the best! 

As always, we thank you for playing along. (Next week, we'll start The Show Art Tournament of Champions!)

Scroll down to see the match-ups, then vote! (Be sure to look at the rules!) Thanks for playing along!

              WHAT IS THE BEST 1960S BROADWAY MUSICAL LOGO OF THEM ALL?   

THE 1960s BROADWAY MUSICAL

SHOW ART TOURNAMENT: 

THE CHAMPIONSHIP!

(THE ACTUAL SURVEY IS BELOW THESE FULL-SIZED VERSIONS)

HOW IT WILL WORK:

• Each week, we'll open the voting for a different segment of the bracket, and you will select your favorite from each pairing.
• Your selection should be based on the logo/window card ONLY. We are NOT looking for your favorite show! It is possible to like a logo from an unsuccessful show!
• We will provide pictures of the full window card (in most cases) or logo above each week's ballot, then you scroll down and make your selections. You MUST click/tap the "Click Me to Count Your VOTES" button at the bottom of the survey.
• REMINDER: Due to the large number of images used, the poll will take a few extra seconds to fully load.

THIS ROUND WILL CLOSE ON FRIDAY, MARCH 25TH AT 5 PM!

Here we go again! May the best logo win! BE SURE TO CHECK OUT THE FULL LOGOS BEFORE YOU VOTE! THE ACTUAL BALLOT IS BELOW THE FULL-SIZE LOGOS/WINDOW CARDS!

CHAMPIONSHIP GAME:

Track by Track: Mame OBCR

Given that it'll be quite awhile before we get any new Broadway Cast Recordings, I thought we might try something a little different today, and take a look back at a classic, Mame. Instead of a general review with some specifics, we'll go track by track and offer some thoughts on each.

In doing some background for this, I found out that the recording was first issued on June 3, 1966, a mere two days after my birth. And considering that 17 years later, the revival was my first Broadway show, I can't help but feel that Mame and I were meant for each other.

Track by Track:

Mame (1966)

1. Overture *****

It is often said, "they just don't write 'em like this anymore!" In this case it is true. Easily one of my favorite overtures of all time, it perfectly generates an expectant thrill for what is to come. I particularly love the horns throughout, and the sweeping strings, too. And the way the banjo is so selectively used is, well, just sensational.

2. St. Bridget ****

I love how this number sets up a few things: the reason for the whole story happening, the characters of Gooch and Young Patrick, and the greatest set up for a joke! The quirky warble of a timid Jane Connell praying for warm and cozy aunt to take care of her charge is just pure gold. And then the curtain goes up...

3. It's Today *****

...and we are in Mame's huge apartment filled to the brim with society's best and most bawdy. The only shame about the recording is you can't see Mame's spectacular bugle-blowing entrance. But Angela Lansbury's brilliant vocals here tell us everything we need to know. She's a great hostess. It is a really spectacular opening number buoyed by the entire company's superb group vocals. I also love the small female chorus' verse!

4. Open a New Window *****

Is there a better example of an "I Want" song/production number combination? Again, Ms. Lansbury delivers thrilling vocals, supported by the company. Her gusto and excitement are contagious. The number also delivers another excellent example of a rousing Jerry Herman march/anthem, with toe-tapping urgency and words to live by.

5. The Man in the Moon ***

Bea Arthur makes her recording entrance with this funny send-up of roaring 20's Broadway musicals, with a feminist twist. She, of course, is a gravelly delight, but this is one number that suffers from not being able to see what is happening on stage.

6. My Best Girl *****

Tony-winner Frankie Michaels shows off his charms here, not to mention a lovely duet with Ms. Lansbury. The affection Patrick and Mame feel for each other pours out of the speakers. I have to admit I am reduced to tears every time I hear this, as it reminds me of my relationship with my late Mame-like grandmother. She was my my best girl.

7. We Need a Little Christmas *****

Here's a classic Herman small group/big production number, one that comes up in regular society even now, each holiday season. These days the hope that this song exudes is a much needed tonic.

8. Mame ****

No one writes a title number like Jerry Herman. And this one shucks the husk right off of the corn. What is so terrific about this one is not only how expertly it builds and builds to its epic finale, but how it seems to revel in all of its "Southern-ness" all while skewering it's ridiculousness.

9. The Letter ****

The second act opens much like the first, with a small, but pointed number that sets up a passage of time, and a change of character in this case, from Young to Adult Patrick, in the form of the gorgeous baritone of Jerry Lanning. It is so clever and gets you right back into the show.

10. My Best Girl (reprise) ****

Lanning is heartbreaking here, as his Patrick consoles a mourning, devastated Mame, now a widow.

11. Bosom Buddies *****

The first time I was ever a part of a mid-show standing ovation, it was for this number. The recording in no way diminishes the impact of this delightful argument/testament-to-undying-friendship. No one has a way with a bitchy barb quite like Bea Arthur, and Angela Lansbury gives a good as she gets. Epic!

12. Gooch's Song ****

I dare you not to laugh at this song. It is just so much fun! And what a great aria for the supremely talented, often underrated Jane Connell.

13. That's How Young I Feel ***

The act two production number is so frothy and bouncy (and so perfectly delivered by Ms. Lansbury and company) that you can almost forgive the feeling this really feels like some padding. It's a nice song, but of the five big numbers, this is the least effective.

14. If He Walked Into My Life ****

Every Golden Age musical needs an 11 o'clock number for its diva, and this one really delivers. Angela is absolutely glorious here. 

15. Finale *****

Long before mega-mix finales were a thing, here was a great one. It is so wonderfully formed and sung, one imagines a thoroughly delighted audience on its feet and dancing out of the theater. A real pick-me-up, and great way to end the recording, too.

Average Rating: ****/*****

Do you like this kind of thing? Let us know! If you do, maybe suggest another album to do this format with.

#2405

The Friday 5: 5 Favorite Jerry Herman Tunes

Like many of you, I'm sure, news of Jerry Herman's passing caused me to reflect on his shows. I realized that Mame is my favorite score of his, but each one is a bounty of tuneful toe-tappers and lovely ballads. Looking over my choices I see many commonalities, but for me, nothing is more poignant than the optimism and joy each contains.  Narrowing all of his works down to a Friday 5 list proved difficult, but it was nice to reflect and revisit each and every one.

The Friday 5:

5 Favorite Songs by

Jerry Herman

5. "Look What Happened to Mabel" from Mack and Mabel

"Talk about the magic that the camera makes
But this is ridiculous!
Hold your tongue and hold your snickers
For the new enchantress of the flickers
Is that plain little Nellie
The kid from the deli
So rattle me beads
Look what happened to Mabel!"

Sung by Mabel Normand, it is our first look at the titular subject of the show who dreams of leaving her waitressing job at a Flatbush deli for life as a screen screen queen. It is catchy and fun to sing along with.

4. "Open a New Window" from Mame

"Open a new window,
Open a new door,
Travel a new highway,
That's never been tried before;
Before you find you're a dull fellow,
Punching the same clock,
Walking the same tight rope
As everyone on the block.
The fellow you ought to be is three dimensional,
Soaking up life down to your toes,
Whenever they say you're slightly unconventional,
Just put your thumb up to your nose."

"Life is a banquet," says Auntie Mame to her new charge, Patrick. The song, part patter song, part production, and anthem, does what Herman did best, reveal theme, character and plot all at once in a toe-tapping number. 

3. "A Little More Mascara" from La Cage aux Folles

"When life is a real bitch again, and my old sense of humor has up, and gone
It's time for the big switch again, I put a little more Mascara on.
When I count my crow's feet again, and tired of this perpetual marathon,
I put down the john-seat again, and put a little more Mascara on.
And ev'rything's sparkle dust, bugle beads, ostrich plums,
When it's a beaded lash that you look through,
'Cause when I feel glamorous, elegant, beautiful,
The world that I'm looking at's beautiful too!
When my little road has a few bumps again,
And I need something level to lean upon,
I put on my sling pumps again,
And wham! This ugly duckling is a swan!
So when my spirit starts to sag,
I hustle out my highest drag,
And put a little more mascara on."

This soliloquy sung by Alban lays bare his motivations and insecurities, and allows us to witness his transformation into the glamorous Zsa Zsa, safe behind her armor perfectly applied make up and sequined gown. How many times I've sung along to this, imagining my own transformation.

2. "Put On Your Sunday Clothes" from Hello, Dolly!

"Put on your Sunday clothes when you feel down and out
Strut down the street and have your picture took
Dressed like a dream your spirits seem to turn about
That Sunday shine is a certain sign
That you feel as fine as you look!
Beneath your parasol, the world is all a smile
That makes you feel brand new down to your toes
Get out your feathers
Your patent leathers
Your beads and buckles and bows
For there's no blue Monday in your Sunday clothes!"

One of my all-time favorite production numbers I love the clever word play and how the song - lyrics and music both - builds and builds to such a satisfying crescendo.

1. "My Best Girl" from Mame

"You're my best girl and nothing you do is wrong,
I'm proud you belong to me;
And if a day is rough for me,
Having you there's enough for me.
And if someday another girl comes along,
It won't take her long to see,
That I'll still be found, just hanging around
My best girl."

This song is very personal to me, and to be honest, I have to fight back tears just writing about it. It perfectly reflects my feelings about my late grandmother, who instilled in me my love of culture. In my mind, I am singing the Young Patrick verse (above) and my Nonna is singing the Mame verse which follows. Beyond that, the song is another reminder of Herman's ability to bring out the emotion easily between characters.

Like I said, it was difficult to pick just five. Even now, I can think of at least five others that could replace these!

#2247