What's your favorite musical?

This is just a fun thread devoted to musical theatre.

Personally, I'm not much of a fan of rock operas, like Queen, Mamma Mia, or Hair.

I liked those old school Gershwin, Rogers and Hammerstein, etc.

Although my favorite three musicals were not written by them, I think that the funniest, cleverest, catchiest musical is "The Producers" by Mel Brooks. Not the recent movie version though, but the Broadway version. That was genious, and the Springtime for Hitler was GREATLY extended in that version - it's a shame that they cut it out in the movie, except for the song.

Moviewise, I'd have to say that Fiddler on the Roof is the best film adaptation for a musical, because instead of keeping the camera steady where there is a major showstopper, Norman Jewison got in there and brought so much life to that awesome show!

Musicwise, I don't know what it is about it, but there is something undeniably beautiful for "Man of La Mancha". It's just so heroic, comedic, gorgeous, and I don't know but whenever I hear the final song, "The Impossible Dream", it brings a tear to these eyes. Unbelievable.

What about you guys? What's your favorite musical?

One of my projects is to write a musical for my schools musical theatre class. I'm just going to make a review with all of my tunes and stuff. Maybe I'll include the Prom Song, Flea Freeride, Been Jammin, Why Won't Our Eyes Meet. THe Prom Song is in the Jazz Forum, down below.

But enough about me, what's your favourite musical?

There are so many to name...

Pretty much all Sondheim, particularly Sunday in the Park with George, Passion, and Sweeney Todd.

I've enjoyed Floyd Collins and The Light in the Piazza.

The only thing that bugs me about the Fiddler on the Roof movie are John Williams orchestrations. Now, John Williams has great orchestrations, but I think his style is all wrong for the piece. For example, in "Matchmaker," the beginning of the A section begins with a nice little string and woodwind accompanment. Then out of nowhere, these brass come out and start blaring away in this lighthearted waltz. I don't know, I just feel that's a little odd. It didn't really bother me until I was able to hear the original productions orchestrations. Then I went back to the movie, and it sounded odd.

I've only seen one "Euro" musical that actually interested me, Miss Saigon. I think it's a very huge step up from Les Miserable, and the music is actually interesting to listen to IMO. I've been trying to see exactly what it is that makes it tick for me as opposed to say, "The Phantom of the Opera."(Which I absolutely dislike. Though I know why I dislike it. Hmmm...)

Personally, I'm not much of a fan of rock operas, like Queen, Mamma Mia, or Hair.

Strictly speaking, I'm not sure those count as "rock operas." Rock operas are musicals like Rent and Jesus Christ Superstar.

The above titles - We Will Rock You, Mamma Mia - these are what I like to call "revuesicals" - shows that have a plot added to fit music from an outside source.

Hair is just strange.

Bernstien's Candide is the only musical I like. I can't stand most musicals.

I've never heard Candide. What's not to like about musicals :D ?

I've never heard Candide. What's not to like about musicals :P ?

I just don't like them. I find they're often overly cheesey and, IMO, not well done. I don't like how fast some of them often switch musical styles either.

I'm guessing Avenue Q doesn't count, lol.

My favorite musical . . . hmmm.

Well, Pirates of Penzance is technically an operetta, close enough! Pirates of Penzance by Gilbert & Sullivan is my favorite.

I prefer the older Stephen Sondheim, like Sunday in the Park with George and both his work and Bernstein's work on West Side Story, which I think is one of the most influential pieces in musical theater history to date.

My proclaimed favorite musicals are: Company by Stephen Sondheim, and Man of La Mancha. Company has some amazing music in it, and some classic lyrics that Sondheim was known for. Whenever I hear someone say 'Bobby' I automatically think of this musical. Man of La Mancha has a perfect combination of heroism, comedy, drama, and tragedy. The story is a classic and the music and characters are superb as well. I got to be in this one, I was just a muleteer and I sang 'Little Bird, Little Bird', but it was great fun nonetheless. My dad played the Inkeeper/Governor, who has my favorite song in the whole show, 'Knight of the Woeful Countenance'.

I have started writing a musical of my own. Well, what I started doing was taking the book and lyrics from the musical Clue(which is pretty damn cheesy and not that good), and rewriting the music to it. All of the music in it is horrible Pinky and the Brain stuff, so I decided to give it a new, more upbeat sound. I wrote a couple of songs for it, but then lost the drive to continue.

Man - folks who think musical theatre is cheesy needs to get into the new stuff - Floyd Collins, The Light in the Piazza, Assassins...

I'm a huge fan of My Fair Lady by Lerner and Loewe. I like the film adaptation with Hepburn and Harrison, but my alma mater also produced the musical during my freshman year, and many of my friends were in the cast.

Sunday in the Park with George (Sondheim)--- for sure.

Hairspray!

Great message about equality, catchy rock beats, and a bass in a dress. What's not to like :P

a lesser known Sondheim is my favourite: Pacific Overtures.

and ANYone who says that musicals are stylistically all over the place has been listening to the wrong musicals. Like in any music, there are good ones and there are LOTS of bad ones.

I do have my own personal dada, however - I detest Les Miz. I have a nasty story about the composer and that just stayed with me. I can't get into that musical at all, simply because the composer is a twit.

What was the story about the composer?

I sometimes have a hard time seperating the music from the composer in some cases.

Movie-wise, my favorite musical is Fiddler on the Roof. It didn't play itself up as a musical, but every song just fit, and I thought that was really excellent.

Music-wise, there's a lot I like. Seussical the Musical in particular I thought was extremely well-written. The songs weren't just catchy, they were damn smart too. (Don't laugh).

I'm currently playing keyboard (mostly strings) for Beauty and the Beast. Alan Menken's best work, IMO. However the songs that weren't in the original movie mostly suck, except for a couple.

Hamlisch wrote some good tunes, especially for A Chorus Line.

I also love Rogers & Hammerstein, South Pacific in particular. Every song in that musical was brilliant (except for Cock-Eyed Optimist, maybe).

I think I'm done.

Fiddler on the Roof is another of my favorites, as is Oklahoma! by Rodgers and Hammerstein.

I'm currently playing keyboard (mostly strings) for Beauty and the Beast. Alan Menken's best work, IMO. However the songs that weren't in the original movie mostly suck, except for a couple.

I played The Beast in that. I agree - the songs that weren't in the movie suck major balls. "Change In Me" = biggest piece of crap in the history of stage. It's like the longest solo in the musical, and it's boring as hell.

I didn't particularly like playing The Beast, because he has one song that gets repeated like four times. He only sings in 5 songs, and that includes the "Something There" song, and the finale/post-transformation sequence. The other three are versions of the same song. Even the finale/post-transformation has the same melody as his big Act I closer (the only redeeming part of the role).

And I'm sure that for that musical, Alan Menken was paid by the measure, because there are so many unnecessary measures. Take, for example, the Act I closer, "If I Can't Love Her." Cheesy boring "emo" Beast solo. It's in 4/4:

1 eighth rest "And 2 in my 3 twist-ed 4 face | 1 eighth rest (re- 2 peat the 3 me-lo- 4 dy)| 1 eighth rest "there's 2 not the 3 slight-est 4 trace (this segment is the same melody as the first phrase) | 1 eighth rest (do 2 the same 3 thing a- 4 gain...)

Of all the musicals I've done, I've liked working on Falsettos! best. It's just such an interesting blend of musical theatre and opera sensibilities, and the music's fantastic, and never boring. It's also a challenge acting-wise, involving comic and tragic sensibilities. Second on the list is Songs for a New World, because it's hard. And performers like challenges.

I'd be interested to hear this story about the composer of Les Miz. I did that show my sophomore year of high school, and enjoyed doing it immensely, although the music can get a bit tiresome.

I played The Beast in that. I agree - the songs that weren't in the movie suck major balls. "Change In Me" = biggest piece of crap in the history of stage. It's like the longest solo in the musical, and it's boring as hell.[/b]

Oh man, you're so right. I can't stand that song. I've done about 48 shows and I still don't understand what the hell she means. If you're going to write a boring piece of drivel, at least make it pertain to the story. Don't even get me started on how bad "No Matter What" is, or how boring "Home" is. The only new songs I liked somewhat were "Me", "Maison des Lunes", and "Human Again"

I didn't particularly like playing The Beast, because he has one song that gets repeated like four times. He only sings in 5 songs, and that includes the "Something There" song, and the finale/post-transformation sequence. The other three are versions of the same song. Even the finale/post-transformation has the same melody as his big Act I closer (the only redeeming part of the role).

And I'm sure that for that musical, Alan Menken was paid by the measure, because there are so many unnecessary measures. Take, for example, the Act I closer, "If I Can't Love Her." Cheesy boring "emo" Beast solo. It's in 4/4:

1 eighth rest "And 2 in my 3 twist-ed 4 face | 1 eighth rest (re- 2 peat the 3 me-lo- 4 dy)| 1 eighth rest "there's 2 not the 3 slight-est 4 trace (this segment is the same melody as the first phrase) | 1 eighth rest (do 2 the same 3 thing a- 4 gain...)[/b]

While I agree that the melody is repeated way too much, I liked "If I Can't Love Her" quite a bit. Sure, melodically it's a childish mess, but if it's played right the feel of the piece takes off. Also, the song is very important to the story of the musical (not the movie), because in the musical it's like: "Act 1: Beast is FURIOUSLY ANGRY!" "Act 2: Beast is gentle and happy-go-lucky". It's definately the point where the Beast's character undergoes a major transformation, because he realizes "Oh crap, I'd better start loving Belle soon!".

I'm curious, did you do the show with a piano/bass/drums setup or a full orchestra, or a combination?

Oh man, you're so right. I can't stand that song. I've done about 48 shows and I still don't understand what the hell she means. If you're going to write a boring piece of drivel, at least make it pertain to the story. Don't even get me started on how bad "No Matter What" is, or how boring "Home" is. The only new songs I liked somewhat were "Me", "Maison des Lunes", and "Human Again"

I'm curious, did you do the show with a piano/bass/drums setup or a full orchestra, or a combination?

I know what "A Change In Me" means. It means that Toni Braxton wanted one more solo, so they wrote one for her. Home is REALLY boring, yeah. But I agree with you about the three new songs you like.

Actually, "Human Again" is from the original movie, but it was cut during the original release, because back then, a Disney animated feature was supposed to be no more than 90 minutes. It was added into the second release and the special edition DVD.

We used the full broadway orchestration that they use in professional productions. We had a great music director who was able to pull it off. We barely fit them all in our orchestra pit, but we did.