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After the Rodgers and Hammerstein revolution, songs became part of the story, as opposed to just entertainments in between comedy scenes.
Stephen Sondheim
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Stephen Sondheim
Age: 94
Born: 1930
Born: March 22
Author
Composer
Dramaturge
Librettist
Lyricist
Musician
Poet
Screenwriter
Songwriter
New York City
New York
Stephen Joshua Sondheim
Stories
Entertainment
Part
Became
Revolution
Songs
Hammerstein
Scene
Rodgers
Comedy
Entertainments
Story
Scenes
Song
Opposed
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White. A blank page or canvas. So many possibilities.
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I took piano lessons when I was 6. I didn't want to go on with it. I don't remember being moved by a piece of music.
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My cage has many rooms.
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Into the woods--you have to grope, But that's the way you learn to cope. Into the woods to find there's hope Of getting through the journey.
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So here's to the girls on the go Everybody tries. Look into their eyes, And you'll see what they know: Everybody dies. A toast to that invincible bunch, The dinosaurs surviving the crunch. Let's hear it for the ladies who lunch Everybody rise!
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Art is craft, not inspiration.
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All the best performers bring to their role something more, something different than what the author put on paper. That's what makes theatre live. That's why it persists.
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Take a play that you like but you think is flawed, and see if you can improve it and turn it into a musical. [...] Then make up your own story.
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Opportunity is not a lengthy visitor.
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Success is like failure, It's how you perceive it, It's what you do with it, not how you achieve it.
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Let Pirelli's / Miracle Elixir / Activate your roots, sir... Keep it off your boots, sir- / Eats right through. Yes, get Pirelli's! / Use a bottle of it! / Ladies seem to love it... Flies do, too!
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The more you cling to things, The more you love them, The more the pain you suffer, When they're taken from you.
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By the time I get through writing a score, I know the book better than the book writer does, because I've examined every word, and questioned the book writer on every word.
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On stage, generally speaking, the story is stopped or held back by songs, because that's the convention. Audiences enjoy the song and the singer, that's the point.
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When you know your cast well and their strengths and weaknesses, you can start writing for them, just the way Shakespeare wrote for his actors.
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Everyone I used to play with has either given up or is dead.
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Gotta watch out for directors.
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The movie adaptations of stage musicals that I've seen, without exception, in my opinion don't work. A lot of people would disagree with me.
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I liked my father a lot, but I didn't see him very often because my mother was bitter about him. He remarried, and I used to have to sneak off to see him.
Stephen Sondheim
