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Seth Christenfeld
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Chris, you're missing one person who, though not loudly so, may have been the most influential musical theatre force (for better or worse) of the the last 50 years: Lehman Engel. Not for his career as a conductor, but rather for founding the BMI Workshop, which has now trained (and in a few cases completely destroyed the hopes of...cough cough) nearly five decades' worth of composers and lyricists, including a few names on the list. He belongs up near the top, I'd think. (By extension, those who've followed him in leading the Workshop belong with him--Skip Kennon, Maury Yeston, etc.) By the same token, William Finn's influence is largely being felt via his teaching at NYU, rather than through his work. (I adore him, but he's not been like Sondheim or Jason Robert Brown, forging leagues of followers/imitators.) (Apologies if this shows up more than once.)
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Chris, you're missing one person who, though not loudly so, may have been the most influential musical theatre force (for better or worse) of the the last 50 years: Lehman Engel. Not for his career as a conductor, but rather for founding the BMI Workshop, which has now trained (and in a few cases completely destroyed the hopes of...cough cough) nearly five decades' worth of composers and lyricists, including a few names on the list. He belongs up near the top, I'd think. (By extension, those who've followed him in leading the Workshop belong with him--Skip Kennon, Maury Yeston, etc.) By the same token, William Finn's influence is largely being felt via his teaching at NYU, rather than through his work. (I adore him, but he's not been like Sondheim or Jason Robert Brown, forging leagues of followers/imitators.)
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You then also need producers to admit when the opposite is true: when you have a project that's suited for off-Broadway but force it onto the main stem, you end up with a disaster. (See under: Story of My Life, Glory Days.)
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One of the plays that Sara is referring to is explicitly Wonder of the World (the one with the Newlywed Game sequence); not sure about the other(s).
Toggle Commented Aug 11, 2009 on I Don't Mean To Punt But... at Parabasis
I've left several shows early, for various reasons. In chronological order: 1) A vile (albeit professional) production of Once in a Lifetime at the late Helen Hayes Performing Arts Center in Nyack, shortly after the first intermission. (There were two.) 2) An endless production of As You Like It at my high school (left around 11; apparently there was still a half hour to go). 3) Intermission of opening night of an off-Broadway play with music to remain nameless. I was feeling ill, had work the next day, and my chair was slowly being edged onto a stairway by the chairman of the theatre's board of directors. (I did go back twice later in the run and enjoyed it much.) 4) The halfway point of Lee Evans's performance at 37 Arts a few years ago. I had laughed exactly once and decided I'd rather catch an earlier train. I hadn't paid, at least, but was still bitter than Billy Connolly was performing two floors down and I hadn't seen him instead. 5) Intermission of a reading of a musical at the same theatre as the play with music; I was liking the show immensely but had to leave to go to something involving a good friend. (I should have stayed, but for complicated reasons.)
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"I'll tell you a little secret that's just between you, me and the rest of the blogosphere . . . I want to be the Producer of the first hip-hop musical on Broadway" May I point your eyes at Kingdom?
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I've watched this way too many times for it to be healthy, and it still cracks me the fuck up every single time.
According to Wikipedia, "The name Cheesequake was derived from the Lenape Native American word Cheseh-oh-ke, meaning "upland" or "upland village"." Which doesn't really make it any better, but still.
Toggle Commented Aug 1, 2009 on worst rest area name ever? at Parabasis