Broadway Games: More 2000's Tony-winning Lyrics

Last week's game proved to be quite popular! Seems all you show tunes fans enjoy a challenge. So here are 5 more (no repeats from last week, either!). Oh! And the answers to last week's game are at the bottom. Good luck! 

Broadway Games:

More 2000's 

Tony-winning Lyrics

Here's how it works: Below are lyrics from a song that is part a Tony Award-winning Best Score from 2000 - 2019 - anything from Aida - Hadestown. Naming the show may prove difficult enough, but show us how much of a musical theater master you are by also naming the song title, lyricist and what character(s) sang it.

Remember: Each will come from a Tony-winning score. Also, the gentleman in the picture above does not  figure into this week's game.

1.     "I don't wanna wear this no more.

        Play the saucy Swiss miss no more.

        Blow my signature 'kiss' no more."

Show:       

Song Title:        

Character:        

Lyricist:

2.     "There's a town I call home

        where the streets are paved with soul.

        Down on Beale, there's a honkey-tonk bar,

        hear the wail of the blues guitar,

        have a beer and drop a dime

        in the blind man's jar."

Show:       

Song Title:        

Character:        

Lyricist: 

3.     "I can't tell you I know what the answer will be.

        It's impossible.

        But this thing, this is bigger than what we can see.

        This is destiny.

        We are tied, we are locked, we are bound;

        This will not be reversed or unwound."

Show:       

Song Title:        

Character:        

Lyricist:             

4.     "Stick a pin in a map of the desert.

        Build a road to the middle of the desert.

        Pour cement on the spot in the desert.

        That's Bet Hatikvah."

Show:       

Song Title:        

Character:        

Lyricist: 

5.     "I only run the toilet

        In this part of town, you see.

        So, if you've got to go,

        You've got to go through me."

Show:       

Song Title:        

Character:

Lyricist:             

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Answers to Last Week's Game:

2000's Tony-winning Lyrics

1.     "Never compromise, accept no substitute...ahh

        I would rather wear a barrel...ahh

        Than conservative apparel...ahh"

Show:  Aida      

Song Title:  "My Strongest Suit"           

Character: Amneris (Sherie Rene Scott)

Lyricist: Tim Rice  

2.        "You sit in the quad, and think,

            'Oh my God! I am totally gonna go far!'"

Show: Avenue Q      

Song Title: "I Wish I Could Go Back to College"             

Character: Princeton (John Tartaglia)

Lyricist: Robert Lopez and Jeff Marx 

3.        "If I won the lotto tomorrow, well I know

            I wouldn't bother going on no spending spree

            I'd pick a business school and pay the entrance fee

            Then maybe, if you're lucky, you'll stay friends with me.

            I'll be a business, richer than Nina's daddy,

            Donald Trump and I on the links, and he's the caddy."

Show: In the Heights     

Song Title: "96,000"         

Character: Benny (Christopher Jackson)

Lyricist: Lin-Manuel Miranda       

4.        "This ain't no game

            That we got a ton of rotten fruit and perfect aim.

            So they gave their word?

            Well, it ain't worth beans!

            Now they gonna see what 'Stop the presses' really means!"

Show: Newsies: The Musical       

Song Title: "The World Will Know"    

Character: The Newsies

Lyricist: Jack Feldman

5.        "But Alexander I'll never forget the first time I saw your face.

            I have never been the same.

            Intelligent eyes in a hunger pain fame.

            And when you said, 'hi,' I forgot my dang name.

            You set my heart aflame, every part aflame, this ain't no game."

Show: Hamilton       

Song Title: "Satisfied"       

Character: Angelica

Lyricist: Lin-Manuel Miranda       

At This Theatre: The Stephen Sondheim

This month's column is really a tale of two theaters, a before and after, if you will. One of my all-time favorite shows played at the "before," and several shows I was underwhelmed by played the "after." The good news is that the complete reconfiguration of this theater offers much better sight lines, comfortable (relatively spacious) seating, and an entrance that is both practical and dramatic. Knowing that I won't get leg cramps and that I will get a great view from the last row of the mezzanine or the front row of the orchestra makes me look forward to returning to the Stephen Sondheim Theatre.

At This Theatre:

The Henry Miller's/The Stephen Sondheim

Shows We Saw There: The Henry Miller's: Urinetown: The Musical; The Stephen Sondheim: Bye Bye Birdie, Anything Goes, Beautiful

How They Rank: I have a feeling that my rankings this month will generate some fun email. But I like what I like.

4. Anything Goes: I loved the 1987 revival of this Cole Porter relic. This revival, not so much. Was it the bland scenery? The bland direction? Well, that had something to do with it. But mostly, it was the uncomfortable miscasting of Sutton Foster as Reno Sweeney. (To be fair, the rest of the casting was good.)

3. Beautiful: Here's another show that everyone seemed to adore - it did run forever a long time. Aside from the excellent music, this was a live Behind the Music that showed very little creativity in the staging or the book. I mean, seriously, was Carole King's life really that easy and problem-free?

2. Bye Bye Birdie: Here's a show I enjoyed quite a bit. Colorful and splashy, and a score that I adore, this revival made me feel so happy. And I thought John Stamos and Gina Gershon were terrific together. (I loved them both in Cabaret, albeit separately.) It made a real case for fun, nostalgic revivals.

1. Urinetown: The Musical: This one, as I noted above, I saw when it was the Henry Miller's. It was the perfect venue for this particular show, with its dingy, run down interior a perfect match for this dystopian comedy. Heck, even the roof leaked! And the bathrooms (come on, I had to go considering the show) were dark and dank. Since they gave out free postcards from racks on the walls above the urinals, and there was humorous signage throughout the area, I have to assume this was part of the overall environmental design plan. The show was great, and the theater was really the icing on the cake.

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"Hit Songs" From Broadway Misfires: A Song That Was Cut

As we all know, getting a new musical to Broadway is a long, arduous task, whether the show is a hit or a flop. Along the way, songs are written, re-written, moved around, and even cut altogether. Naturally, that does not necessarily mean the song was bad, but, good or bad, the song just didn't work in the show.

"Hit Songs" From Broadway Misfires:

A Song That Was Cut

One of those songs is actually one of my favorite Broadway ballads. It comes from the 1983 misfire, Baby. I'm lucky that I got to see a really good regional production of the show, and it confirmed that the piece, while imperfect, is as wonderful as the Maltby-Shire score. That score is definitely one of my favorites from the 80's. The song, "Patterns," was sung by the middle-aged woman who finds herself unexpectedly pregnant. Sung by the always wonderful Beth Fowler, this is a gentle song that is quiet in its power.

"Patterns" from Baby

Music by David Shire Lyrics by Richard Maltby, Jr.

Sung by Arlene (Beth Fowler)

Favorite Lyrics:

Patterns in my life that I trace every day,

Patterns as I say the things I always say,

Patterns in the ceiling as I lie awake,

Why are patterns haunting every move I make?

Just look, here I am on cue, again.

Upset, feeling torn in two, again.

Afraid, saying I'm okay,

Making little jokes,

'Til I run away, again.

And yet today, I am not the same,

I feel my life slipping from its frame

Strange feelings rise, feelings with no name,

And I can't face them, so I shake them hard,

Fold them up,

And tuck them safely away,

Again.

Why This Should Be a "Hit Song":

Being neither pregnant nor a woman, I have nothing in common with the character beyond being middle aged. Perhaps that why I relate to this song so well. I find myself reflecting on how my life has been up til now, and I can so relate to, especially the final stanza above. I do a lot of "folding up and tucking safely away." All of this is to say that this deserves to be "hit song" for its universality, and relatable honesty. And I think it says a lot that the composers felt so strongly about the song that they included it on the cast recording.

The entire score deserves a listen. If you haven't heard it, check it out!

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This Week in Broadway History: April 6 - 12

This Week in Broadway History:

April 6 - 12

🎭OPENING NIGHTS🎭  

April 6, 2017: Titans of the cosmetics world faced off in the musical War Paint at the Nederlander Theatre for 236 performances.

April 7, 1949: One of the greatest musicals of all time, South Pacific, opened at the Majestic Theatre. It won 10 Tony Awards, won the Pulitzer Prize for Drama, and played 1,925 performances.

April 8, 1990: Love changes everything when Aspects of Love opens at the Broadhurst Theater, where it will stay for 377 performances.

April 8, 2018: "Fetch" may never catch on, but at least it tried when Mean Girls opened at the August Wilson. A casualty of COVID-19, the show closed after 804 performances.

April 10, 2011: Live in living color, Catch Me If You Can opened at the Neil Simon Theatre for a disappointing 166 performances.

April 11, 2011: Time sure flies. 30 years ago today, Miss Saigon opened its 4,092 performance run at the Broadway Theatre.

April 12, 2015: The classic movie musical An American in Paris came to life at the Palace Theatre when it opened its 623 performance run.

🎂HAPPY BIRTHDAY🎂

April 6: actors Zach Braff, Paul Rudd and Marilu Henner

April 7: actor Aaron Lohr

April 8: actor/dancer Stephanie Pope, costume designer Ann Hould-Ward, director/choreographer Michael Bennett

April 9: actor Cynthia Nixon

Joel Grey     Stephanie Pope

John Selya     Alexandra Socha

April 10: actors Alexandra Socha and Laura Bell Bundy, Movin'Out dancer John Selya

April 11: actor/director/Wonderful Wizard/Emcee Joel Grey

April 12: actors Dan Lauria and Ann Miller

📆ON BROADWAY THIS WEEK IN 1987📆

Ahhh. Early spring on Broadway. New shows galore, and plenty of holdovers to see!

The hottest (and most difficult to get ticket) was the recently opened sensation Les Miserables at the Broadway Theatre. Another London import was also a tough ticket, Me and My Girl, at the brand new Marquis Theatre. A third just-opened London import, Starlight Express, was still doing grand business at the Gershwin Theatre (it had a huge advance).

Plays this season were mostly all-American, including two that opened this week: Harvey Fierstein's short-lived Safe Sex at the Lyceum and The Musical Comedy Murders of 1940 at the Longacre. Star power was the hallmark of the other big plays this week, including James Earl Jones in Fences at the 46th Street, Linda Lavin, Jonathan Silverman and Jason Alexander in Neil Simon's bittersweet Broadway Bound at the Broadhurst, Mary Tyler Moore and Lynn Redgrave in Sweet Sue at the Royale (above), and Richard Chamberlain, Blythe Danner, Judith Ivey and Geraldine Page starring in Blithe Spirit at the Neil Simon. Sadly, Ms. Page would pass away during the run of this revival.

Holdovers include the 1984 Tony-winning Best Musical La Cage aux Folles at the Palace, the 1985 Tony-winning Best Musical, Big River  at the Eugene O'Neill, starring Martin Moran, Marin Mazzie, George Merritt and, in his Broadway debut on April 7th, Roger Bart, and the 1986 Tony-winning Best Musical (and recently re-named) Drood, starring Howard McGillin, George Rose, Karen Morrow and Donna Murphy was in its last weeks at the Imperial.

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2010s Broadway Musical Logos Bracket Tournament - The Final 4!

Over the past months, we've been in search of the very best in Broadway musical logos, going back 40 years. And now, here we are starting a new tournament, looking for the very best logo of the most recent complete decade of the new millennium! The 2010s were a mix of everything, really. From movie-to-stage adaptations to bio-musicals to a few completely original works, variety was the name of the game. As usual, there were big hits and even bigger flops. There was even a genuine cultural phenomenon.

But how were the show logos? That's up to you to decide. We've created a bracket of 64 Broadway show logos from the decade. The Tony winners and hits and flops have been evenly distributed over four 16 "team" regions. Thanks to your votes, those 64 logos have been cut down to The Big 32, then The Sweet 16, The Elite 8, and now, The Final 4! This week, your votes will determine which logos will face off in the Championship next week!

See the full bracket below to see breakdown to The Final 4: 

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2010s Broadway Musical Logo Madness!

The Final 4!

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 a show you've never heard of before!
• 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.
• THIS ROUND WILL CLOSE ON FRIDAY, APRIL 9TH 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!

GAME 1:                                                                    GAME 2:

                         

Broadway Games: 2000's Tony-Winning Lyrics

How well do you know your 21st century Broadway lyrics? Over the first 20+ years of the new millennium there have been dozens of new scores written, and this week's game will test your knowledge of them.

Broadway Games:

2000's Tony-Winning Lyrics

Here's how it works: Below are lyrics from a song that is part a Tony Award-winning Best Score from 2000 - 2019 - anything from Aida - Hadestown. Naming the show may prove difficult enough, but show us how much of a musical theater master you are by also naming the song title, lyricist and what character(s) sang it.

Remember: Each will come from a Tony-winning score. Also, the gentlemen in the picture above do not  figure into this week's game.

1.     "Never compromise, accept no substitute...ahh

        I would rather wear a barrel...ahh

        Than conservative apparel...ahh"

Show:        Song Title:        Character:        Lyricist:        

2.        "You sit in the quad, and think,

            'Oh my God! I am totally gonna go far!'"

Show:        Song Title:        Character:        Lyricist:        

3.        "If I won the lotto tomorrow, well I know

            I wouldn't bother going on no spending spree

            I'd pick a business school and pay the entrance fee

            Then maybe, if you're lucky, you'll stay friends with me.

            I'll be a business, richer than Nina's daddy,

            Donald Trump and I on the links, and he's the caddy."

Show:        Song Title:        Character:        Lyricist:        

4.        "This ain't no game

            That we got a ton of rotten fruit and perfect aim.

            So they gave their word?

            Well, it ain't worth beans!

            Now they gonna see what 'Stop the presses' really means!"

Show:        Song Title:        Character:        Lyricist:        

5.        "But Alexander I'll never forget the first time I saw your face.

            I have never been the same.

            Intelligent eyes in a hunger pain fame.

            And when you said, 'hi,' I forgot my dang name.

            You set my heart aflame, every part aflame, this ain't no game."

Show:        Song Title:        Character:        Lyricist:        

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Answers to Last Week's Game:

Pop Hits/Broadway Flops

1. The Capeman     J. Paul Simon

2. Chess     H. ABBA

3. Cry-Baby     E. Fountains of Wayne

4. Finding Neverland     I. Take That

5. Ghost: The Musical     B. Eurythmics

6. Hands on a Hardbody     F. Phish

7. The Last Ship     D. Sting

8. Lestat     C. Elton John

9. Spider-Man: Turn Off the Dark     G. U2

10. Taboo     A. Boy George

At This Performance: Andrew Call in American Idiot

At This Performance:

Andrew Call in American Idiot

When I started this new monthly column, several performances by terrific understudies leapt to mind right away. One of them I didn't even see! But when, well over a decade later, Mike still talks about it, you know that performance is worth presenting here. We did see American Idiot several times together, but I somehow managed to miss this understudy. I wish I had seen him! Thanks for the article, Mike!

Jeff has been kind enough to give this space to me so that I might share a particularly memorable performance from a Broadway understudy: Andrew Call, who filled in as St. Jimmy in American Idiot. 

During its too-brief run of just over a year, I had the pleasure of seeing eight performances of the Broadway production of Green Day’s groundbreaking rock opera/jukebox musical. During that time, I was able to see four talented performers take on the role of St. Jimmy, the enigmatic alter ego of Johnny, the show’s central character. Up against two rock stars and a Broadway veteran, my favorite was the understudy!

First, here are a few notes on his “competition,” namely the three other actors I saw playing the role of St. Jimmy. Tony Vincent, who originated the role, was the least subtle and most commanding of the four, and certainly the loudest. His emotional range was narrower than the others, but this is a role that benefits from a take-no-prisoners approach, and Vincent did not disappoint.  

Melissa Etheridge, who filled in for one mid-winter week, gave the most accomplished vocal performance, but her acting was less compelling than the other three. Etheridge sang beautifully but did not give much of a sense of what St. Jimmy is about and why Johnny would be immediately taken in.

 

Billie Joe Armstrong did two substantial stints playing the character he basically created, and he brought an interesting sense of playfulness, even joy, to a very intense role. His vocals were great, even if the lyrics weren’t always easy to understand, and his acting choices were usually on point. 

But it was Andrew Call who, in my opinion, proved to be the complete package. He was as close to an ideal St. Jimmy as I can imagine, and I was fortunate to catch two of his understudy performances. 

Andrew is a handsome young man and he made an awfully pretty St. Jimmy.  Much more importantly, though, his take on this role was persuasive in almost every detail.  While he couldn’t match Vincent in his vocal delivery of those power punk moments, his nuance and emotional commitment during quieter scenes, especially the moving "Last Night On Earth," easily made up for it. 

Call's acting was simply superb: with each glance, upturned eyebrow, and flirtatious caress, he revealed a very complex relationship with his victim. This St. Jimmy had a kind of contempt for Johnny even as he seemed to almost love him; he was at once dismissive, seductive, and terrified of losing Johnny. 

Seeing an understudy excel in a role - and even transcend the performance of a main cast member, as Andrew Call did - is one of the most thrilling moments to be had in a theater. Understudies may lack the resume and name recognition of the stars, but quite often, as in this case, they do not lack the talent to excel. 

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