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Stephen Sondheim - Wikipedia
The elder Hammerstein became Sondheim's surrogate father, influencing him profoundly and developing his love of musical theatre. Sondheim met Hal Princewho would direct many of his shows, at the opening of South PacificHammerstein's musical with Richard Rodgers. The comic musical he wrote at George School, By George, was a success among his peers and buoyed the young songwriter's self-esteem. When Sondheim asked Hammerstein to evaluate it as though he had no knowledge of its author, he said it was the worst thing he had ever seen: He had the young composer write four musicals, each with one of the following conditions: Based on a play he admired which became All That Glitters Based on a play he liked but thought flawed; Sondheim chose Maxwell Anderson 's High Tor Based on an existing novel or short story not previously dramatized, which became his unfinished version of Mary Poppins titled Bad Tuesday unrelated to the musical film and stage play scored by the Sherman Brothers An original, which became Climb High None of the "assignment" musicals was produced professionally.
High Tor and Mary Poppins have never been produced: The rights holder for the original High Tor refused permission, and Mary Poppins was unfinished. And Barrow made me realize that all my romantic views of art were nonsense. I had always thought an angel came down and sat on your shoulder and whispered in your ear 'dah-dah-dah-DUM. And suddenly it was skies opening up. As soon as you find out what a leading tone is, you think, Oh my God. What a diatonic scale is — Oh my God! The logic of it.
And, of course, what that meant to me was: Well, I can do that. Because you just don't know. You think it's a talent, you think you're born with this thing. What I've found out and what I believed is that everybody is talented.
It's just that some people get it developed and some don't. But I knew I wanted to write for the theatre, so I wanted someone who did not disdain theatre music.
They then proceeded to other forms of music such as Mozart 's Jupiter Symphonycritiquing them the same way. Sondheim told Secrest that Kern had the ability "to develop a single motif through tiny variations into a long and never boring line and his maximum development of the minimum of material". He said about Babbitt, "I am his maverick, his one student who went into the popular arts with all his serious artillery".
Kaufman and Marc Connellywith permission from Kaufman which had three performances. They went from movie to movie to movie, and every third movie was good and every fifth movie was great. There wasn't any cultural pressure to make art". Ayers approached Frank Loesser and another composer, who turned him down. Ayers and Sondheim met as ushers at a wedding, and Ayers commissioned Sondheim for three songs for the show; Julius Epstein flew in from California and hired Sondheim, who worked with him in California for four or five months.
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After eight auditions for backers, half the money needed was raised. The show, retitled Saturday Nightwas intended to open during the —55 Broadway season; however, Ayers died of leukemia in his early forties. The rights transferred to his widow, Shirley, and due to her inexperience the show did not continue as planned;  it opened off-Broadway in Sondheim later said, "I don't have any emotional reaction to Saturday Night at all — except fondness.
It's not bad stuff for a year-old. There are some things that embarrass me so much in the lyrics — the missed accents, the obvious jokes. But I decided, leave it. It's my baby pictures. You don't touch up a baby picture — you're a baby! He saw a familiar face: Arthur Laurentswho had seen one of the auditions of Saturday Night, and they began talking. Laurents told him he was working on a musical version of Romeo and Juliet with Leonard Bernsteinbut they needed a lyricist; Betty Comden and Adolph Greenwho were supposed to write the lyrics, were under contract in Hollywood.
He said that although he was not a big fan of Sondheim's music, he enjoyed the lyrics from Saturday Night and he could audition for Bernstein. The following day, Sondheim met and played for Bernstein, who said he would let him know. The composer wanted to write music and lyrics; after consulting with Hammerstein, Bernstein told Sondheim he could write music later. Sondheim has expressed dissatisfaction with his lyrics, saying that they do not always fit the characters and are sometimes too consciously poetic.
While Bernstein was working on CandideSondheim reportedly wrote some of West Side Story's music; Bernstein's co-lyricist credit disappeared from West Side Story during its tryout, possibly as a trade-off.
He described the division of the royalties, saying that Bernstein received three percent and he received one percent. Bernstein suggested evening the percentage at two percent each, but Sondheim refused because he wanted the credit. Sondheim later said he wished "someone stuffed a handkerchief in my mouth because it would have been nice to get that extra percentage". When Sondheim was interested in the idea he called a friend, Larry Gelbartto co-write the script. The show went through a number of drafts, and was interrupted briefly by Sondheim's next project.
Although Sondheim wanted to write the music and lyrics, Merman refused to let another first-time composer write for her and demanded that Jule Styne write the music. Hammerstein told him he should take the job, because writing a vehicle for a star would be a good learning experience. Sondheim agreed; Gypsy opened on May 21,and ran for performances.
Sondheim asked him to inscribe it, and said later about the request that it was "weird As composer and lyricist[ edit ] The first musical for which Sondheim wrote the music and lyrics was A Funny Thing Happened on the Way to the Forumwhich opened in and ran for performances.
Sondheim's score was not well received; although the show won several Tony Awards including best musicalhe did not receive a nomination. Broadway failures and other projects[ edit ] Sondheim had participated in three straight hits, but his next show — 's Anyone Can Whistle — was a nine-performance failure although it introduced Angela Lansbury to musical theatre. Do I Hear a Waltz?
A new lyricist was needed,  and Laurents and Rodgers' daughter, Maryasked Sondheim to fill in. Although Richard Rodgers and Sondheim agreed that the original play did not lend itself to musicalization, they began writing the musical version. According to Sondheim and director Paul Bogartthe musical was written only because Goldman needed money for rent.
Leonard Bernstein had not written for the stage in some time, and his contract as conductor of the New York Philharmonic was ending. Sondheim was invited to Robbins' house in the hope that Guare would convince him to write the lyrics for a musical version of The Exception and the Rule; according to Robbins, Bernstein would not work without Sondheim. When Sondheim agreed, Guare asked: Guare said that working with Sondheim was like being with an old college roommate, and he depended on him to "decode and decipher their crazy way of working"; Bernstein worked only after midnight, and Robbins only in the early morning.
Bernstein's score, which was supposed to be light, was influenced by his need to make a musical statement. An opening night was scheduled, but during auditions Robbins asked to be excused for a moment.
When he did not return, a doorman said he had gotten into a limousine to go to John F. Bernstein burst into tears and said, "It's over"; Sondheim said, "I was ashamed of the whole project. It was arch and didactic in the worst way. Eighteen years later, Sondheim refused Bernstein and Robbins' request to retry the show. Ten years later, while he was playing music he heard a knock on the door.
His neighbor, Katharine Hepburnwas in "bare feet — this angry, red-faced lady" and told him "You have been keeping me awake all night! When Sondheim asked why she had not asked him to play for her, she said she lost his phone number. According to Sondheim, "My guess is that she wanted to stand there in her bare feet, suffering for her art". He collaborated with producer-director Hal Prince on six musicals from tobeginning with the concept musical Company.
Without a straightforward plot, Company with a book by George Furth centered on a set of characters and themes. It opened on April 26, at the Alvin Theatrewhere it ran for performances after seven previews, and won Tony Awards for best musical, best music and best lyrics.
It was revived on Broadway in and Follieswith a book by James Goldmanopened on April 4, at the Winter Garden Theatre and ran for performances after 12 previews.
The plot centers on a reunion, in a crumbling Broadway theatre scheduled for demolition, of performers in Weismann's Follies a musical revue, based on the Ziegfeld Follieswhich played in that theatre between the world wars.
Follies focuses on two couples: The show enjoyed two revivals on Broadway in and A Little Night Musicwith a more traditional plot based on Ingmar Bergman 's Smiles of a Summer Night and a score primarily in waltz timewas one of the composer's greatest successes.