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Love is in the air — or at least on our screens. Well, she was the perfect leading lady. Whimsical, imaginative, and mischievous. It was no wonder she became a Broadway star in While her visit was short the show ran for 56 regular performances the cast recording makes for a sweet escape, no matter where you are. Name an award, it was nominated for it.


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With that in mind, we've come up with these 50 Broadway bangers, a mix of classic musical-theater s from through today. Lots of these swept the Tony Awards and come from the best Broadway musicals the world has ever known. Throughout GypsyMama Rose has pushed her children to be stars, even if it meant pushing them away from her. Download on Amazon. The tune so good Sondheim named his books after it. From seeing Sunday in the Park with Georgeyou know that this moody inner monologue is delivered by the Impressionist painter Georges Seurat as he leaves through his sketchbook and broods on the estrangement of his lover and model, Dot.

Even the title is too much. Look how it goes on, awkwardly long, as though refusing to go away. Good music is onomatopoeia in reverse: sound formed from, and hence transmitting, meaning. Who says no to that?

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The seductively upbeat title song of Cabaret exhorts listeners to loosen up, get down, live a little. On the show's cast album, produced by QuestLove, the fantastic sound layering and balance of FX versus instruments allow you to dive inside a mind at war with itself. In a musical about ambition, genius and downfall, this song dramatizes with pulse-pounding immediacy a woman throwing away her shot.

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While the melody is definitely reminiscent of Tin Pan Alley pop standards, the lyric is a masterpiece of psychological probing and terse, imagistic writing. In 26 lines of words, Sondheim guides us through a day in the life of Sally Durant, former Follies girl, now middle-aged and unhappily married. Still, for anyone who has suffered obsessive love or self-loathing, the song is unbearably raw. No surprise that generations of fans have lost their head over it.

Pundits have called this freeform, tongue-twisting sermon a precursor of rap. It was declaimed in The Music Man by con man Harold Hill, a huckster who rolls into an Iowa hick town in with a scheme to rob it blind. In his Tony-winning performance, preserved in the film, Robert Preston delivered this daredevil piece as nimbly as a racecar champ on a collision course. Once the hijinks end, two of the men and their short-term sweethearts look sadly at the clock and sing this ballad, written by Leonard Bernstein and Betty Comden and Adolph Green.

Lovett, suggesting that they recycle his victims as meat for her struggling pie shop. Much like the blockbuster show it's from, "Memory" is one of those songs that people either love or loathe. Eliot's poems. There's an undeniable chemistry in the combination, which has helped "Memory" transcend its Broadway roots.

To meet both demands, Hammerstein contributed almost entirely monosyllabic lyrics and Rodgers banked his fire, keeping things folk-simple until the title phrase, for which he unleashed a cloud-bursting chord per syllable.

All the romantic comedies that became broadway musicals

In this steamy come-on, partners-for-hire in an old Times Square dance hall try to squeeze some bucks out of the schlubs in attendance. The bump-and-grind stripper beat came from composer and jazz pianist Cy Coleman; Dorothy Fields provided the comically hard-boiled words of seduction; and Bob Fosse gave the girls their slithery, syncopated moves.

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There's a reason this rousing power ballad is the closing in both acts of the Fanny Brice biomusical. The year-old Barbra Streisand's breathtaking vocals on the original cast album have inspired many a wannabe stage star, not to mention karaoke queens of all genders. Those high-pitched brass bursts! That tuba underscoring! Despite the ear-splitting volume with which most sopranos sing it, this standard is a lullaby, written by George Gershwin and DuBose Heyward for their fabled folk opera about embattled blacks in the s Deep South.

The best broadway songs of all time

Stephen Sondheim has expressed surprise that this rueful ballad has become his best-known song beyond the Broadway world. But the piece has a beautiful balance of emotion and tact; in the brevity of its phrases, and the silence that follows them, lies a wealth of unspoken feeling.

Caroline, an embittered black maid who has squabbled over pocket change with the young son of the Jewish family she serves, wrenchingly weighs her complicity in her own misery. Even haters can't stop their hearts from melting when they hear this gorgeous, lilting love song, as star-crossed lovers Tony and Maria make like Romeo and Juliet on a tenement fire escape. Leonard Bernstein's classically tinged melody and Stephen Sondheim's poetic lyrics capture the all-encompassing rapture of teen romance.

You can't help feeling invigorated and, perhaps, envious. This frantic, jazz-age cry of glee made Ethel Merman a star. Its hip chord changes would later be used as the basis for countless bebop tunes. In just under six minutes, Stephen Schwartz ruptures the friendship between Elphaba and Galinda; gives his green-skinned heroine a personal epiphany in which she owns her otherness; and sends her freaking flying as she sings a crazy series of high notes on stage machinery.

Gracefully orchestrated by William David Brohn, arranged by Alex Lacamoire and Stephen Oremus and sung to breathy-brassy perfection by role originator Idina Menzel, this is belty self-empowerment at its finest. Although opera and its ditsy younger sister, operetta, are in the DNA of the Broadway musical, most show-tune vocalizing is more a matter of brass and volume than beautifully shaped notes. Our damsel Cunegonde has turned up in Paris, where she lives the bejeweled and sparkling life of a pampered courtesan.

The great soprano Barbara Cook originated the role in the prime of her career, but the song has shone brilliantly in the hands of Madeline Kahn and Kristin Chenoweth, too. Vera loses her head over sexy cad Joey, a two-bit hoofer and wannabe club owner who only excels in the sack. Lorenz Hart turned sexual obsession into a feast of self-skewering wit, virtuoso rhyming and saucy innuendo. Lady in the Dark may be dated—fashion-magazine editor Liza Elliot undergoes Freudian psychoanalysis, illustrated in extended dream sequences—but it ought to be revived on the strength of the score.

This dreamy little gem is the finaland immediately recognizable as a Kurt Weill composition: the wistful, almost mournful opening notes, the jazzy swing, the sweetness shading into menace.

The best broadway songs of all time

In context it's a cri de coeur of adolescent angst, but Duncan Sheik's guitar-heavy groove and Steven Sater's profanity-filled lyrics have an uncanny way of tapping into whatever anger you're feeling and helping you let it out, regardless of your age. The climactic, gloriously harmonized chanting of "blah blah blah blah blah blah blah blah" is cathartic no matter what you're going through; I listened to this rock 'n' roll rant on repeat for three days after the presidential election.

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In the long-running A Chorus Linedancing is a lifesaver and a reason for being; an audition for a spot in a Broadway ensemble is a chance to feel accepted at last. This hauntingly beautiful ballad is delivered directly to the audience at the top of Act II, as a motley crew of artists affected by AIDS steps downstage and out of the story to ask, "How do you measure a year?

It's impossible to divorce this song from that sad fact, which only makes its message of the importance of love more potent. The term anthem gets thrown around a lot when describing Broadway songs present list included.

Its underdog-fighting-the-system sentiment is strong enough to cause a lump in your throat, whatever your political stripe.

Concert selections for she loves me

The title song became a civil-rights anthem, though not a hopeful one. In it, people are seen as ants scurrying on and off buses, subways and planes. Is the sentiment dated? Not really. Open-hearted, earnest Oscar Hammerstein II could be underrated in the indirection department. Arguably the ultimate gay Broadway anthem—helped in part by dance diva Gloria Gaynor's popular cover —"I Am What I Am" was groundbreaking when it debuted: a poignant paean to self-love, self-invention and self-acceptance, performed by a drag-queen character and written by gay composer-lyricist Jerry Herman.

It's a celebration of being out, loud and proud, written years before marriage equality and gender-neutral bathrooms became political movements. If the lyrics don't stir your soul, the multiple modulations should do the trick. The common people of s Argentina, the descamisadoshave been clamoring for her. More emotionally nuanced, "Maybe" dares to let the precocious orphan confront her worst fears; she may be voicing a misty fantasy about her long-lost parents, but its very title implies that she knows it's a pipe dream.

This is perhaps the greatest star-entrance song ever—even if it does take place midway through Act II. Jerry Herman's title tune is decidedly old-fashioned, in part because the show takes place in s New York and was written in the early s, but also because he's a master at penning Golden Age of Broadway—style hits. Although Carol Channing, with her ature rasp, made the tune famous onstage, it was Louis Armstrong's even raspier version that earned the song international acclaim and a Grammy Award for Song of the Year. Jerry Herman's lush, romantic melody is cleverly contrasted with his introspective lyrics, beautiful articulated by Angela Lansbury, who originated the part on Broadway.

Her consummate interpretation of the song and the role may explain why the musical hasn't been mounted on the Main Stem in more than years, though many fans think it's ripe for another go-round. Cole Porter wrote more than his share of durable melodies, but his true metier was arguably this kind of brittle, urbane word jazz, a kind of proto-hip-hop in which rhythmic flow and rhyming invention were everything.

But composer-lyricists Robert Lopez and Jeff Marx took a song about casual racism and whipped it into an up-tempo, feel-good lesson song about accepting your inner bigot. When he gets cold feet, the devil sends a leggy temptress, Lola played by Gwen Verdonto keep him in check. She entices him with this throbbing tango.

As the indignities pile up, this song is their upbeat anthem of endurance and brotherhood. About us. .

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D, to talk about another issue taking center stage in the world of theatre — equity — and one of the art form's trailblazers.


The Great White Way has always been the ultimate go-to spot for epic romantic moments, especially those sung from one enamored character to another.