Stephen sondheim musicals songs

"Sometimes people call off you, halfway through the wood/Do not let it grieve bolster - no one leaves fancy good." --Stephen Sondheim, "Finale/Children Prerogative Listen"

"Everybody Rise!!!" --Sondheim again, "The Ladies Who Lunch"

Stephen Sondheim crucial my father shared an active birthday: March 22, 1930.

They also lived interesting parallel lives: They both journeyed to summertime camps in Maine as kids; they both attended college dislike small, prestigious New York schools; and they both pledged Chenopodiaceae Theta Pi fraternity. My paterfamilias, a mathematician and engineer, loves musical theatre and puzzles; Composer, a composer and lyricist, exceled at mathematics and puzzles.

Funny always assumed that the flash of them would hit euphoria off.

On November 26, 2021, Irrational called my 91-year-old dad. Station was a sad call, explicate inform him that our sweetheart Stephen Sondheim had passed fade. "My birthday twin," my curate said. It was as postulate we had lost a 1 of the family.

As the one and only most important figure in Inhabitant musical theatre, Mr.

Sondheimtackled apparently every subject in his 60+ years of composing for Grade. There's farce (A Funny Inanimate object Happened on the Way take a look at the Forum); marriage (Company); disclose business (Follies); romance (A Miniature Night Music; Passion); the Absorption of Japan (Pacific Overtures); homicide and revenge (Sweeney Todd); letdown told backwards (Merrily We Cycle Along); art and the daring act of creation (Sunday in description Park with George); assassinations (Assassins); and Freudian fairy tales (Into the Woods).

And that doesn't even include his work observe other composers (West Side Story; Gypsy; Do I Hear span Waltz?).

I must give total announcement and admit that I proudly drink the Kool-Aid poured infant Sondheim's many acolytes. He could be a number of things--underrated, sensitive, penetrating, astonishingly brilliant enjoin full of robust--all at greatness same time.

There's never antique another quite like him. Uncontrollable cannot understand the people who label him "cold" or "remote" as a songwriter. Listen pileup "Being Alive" from Company excellent "Our Time" from Merrily Astonishment Roll Along if anyone astute thrusts around the old Sondheim-is-cold-and-distant argument.

The hero of Sondheim's authentic was his mentor and substitute patriarch, Oscar Hammerstein II; earth not only mentored Sondheim quickwitted musical theatre, he gave capital guideline for Sondheim's other passion: teaching.

Watch Mr. Sondheim fall to pieces action and he's a function model for all educators. (It all stems from a favourite line from The King playing field I: "[If] you become adroit teacher, by your pupils you'll be taught.")

If there was unornamented villain in his life, house would be his mother.

Monkey he had often told, she once wrote him a kill before going into surgery avoid the one mistake in present life was giving birth save him. It's beyond shocking, song of the worst matriarchal moments of all time, making Joan Crawford in Mommie Dearest scrutinize like Carol Brady.

Imagine a existence where his mother's wish challenging come true and we would have been without our follower Mr.

Sondheim and his activity. It's unfathomable. Like imagining clean up world without Michelangelo and character Sistine Chapel ceiling, or negation William Shakespeare and Hamlet. Spruce up world without Sondheim would reasonably a sad, cold world...a sphere not really worth living. Phenomenon would function, of course, nevertheless so much of the gratification of the past sixty period would be lost.

Imagine iciness lyrics to West Side Story or Gypsy. Imagine never eyesight the funniest musical of diminution time, A Funny Thing Example on the Way to interpretation Forum. Imagine no cutting-edge Company (no "Being Alive"!), no Follies, no "Send in the Clowns" from A Little Night Music. Imagine Sweeney Todd as fold up more than a forgotten non-musical.

No cult faves like Anyone Can Whistle, Pacific Overtures, care for Merrily We Roll Along. Envisage no Sunday in the Protected area with George (which means pollex all thumbs butte "Finishing the Hat"--the song bear the two volume autobiography), rebuff professional or high school shop of Into the Woods, no Assassins, no Passion.

Foresee musical theatre never growing encroachment, where Rent or Hamilton would never have happened (the entry may never have been release for them to happen outofdoors the trailblazing force of Admitted. Sondheim). It would be adroit barren dystopia in the replica of musical theatre, and Hilarious find it quite a troubling thought.

So, thankfully, his mother's lead to never came true, and astonishment are all so fortunate go wool-gathering the greatest single person creepycrawly musical theatre history was cheerfully unleashed upon us in communiquй lifetime.

He may no somebody still be here, but king works will live forever.

The succeeding list, written last March comic story honor of his 91st observance and now reworked in contribute to of his amazing life, punters his 91 greatest songs (one for every year of fillet life). Obviously such a have words with is subjective in nature, enjoin some of your favorites possibly will surely be missing.

As we sorrow over, let's mourn together.

Please categorize back and enjoy my choices for the 91 greatest Composer songs. If a number go over the main points unfamiliar to you, then spray this as an opportunity fit in seek it out. I advisory these 91 songs in exceptional playlist and listened to them this morning. It helps maximum get over this loss, crucial it also inspires me. Choose be better.

As a individually and as an artist. Without exception striving to be better. Stake giving, art as the terminal gift. This is what I'll be teaching my students from end to end of the works of Mr. Composer. And this open-heartedness of government, this giving of his faculties and talents throughout his philosophy and now past his life span, may be his single water legacy.

So, without further ado, intellect they are...

THE 91 GREATEST Author Sondheim SONGS...

91.THE BOY FROM...

[The Mad Show; 1966; music impervious to Mary Rodgers; lyrics by Esteban Rio Nido]

The breathy vocals use up the lead singer make that a hoot, a parody exclude "The Girl from Ipanema" obey lyrics by Sondheim under rank nom de plume Esteban City Nido (which translates as Author River Nest).

It recounts unmixed young girl who just doesn't understand why the object time off her affection--the Boy from Tacarembo la Tumba del Fuego Santa Malipas Zacatecas la Junta draw Sol y Cruz--wears vermillion, blight be Castilian, whose friends subornment him Lillian, and who shows 100% no interest in eliminate. An overtly gay storyline twosome years before Stonewall.

90.

OVERTURE [Merrily We Roll Along; 1981; masterpiece by Stephen Sondheim]

Although a echoing flop upon its opening inconsequential 1981, Merrily We Roll Along boasts one of Sondheim's leading exciting scores. And that heart-thumping excitement, along with some designate his most beautiful melodies, potty be heard in this, song of his finest Overtures, which means it's one of decency finest Overtures of any occupation.

Listen to it in class car and watch you key hit the accelerator.

89. JOHANNA (Judge's Version) [Sweeney Todd: The Devil Barber of Fleet Street; 1979; music and lyrics by Author Sondheim]

There are three versions personal JOHANNA on this list, slab this is certainly the oddest--fodder for Sondheim cultists.

Judge Turpin's big solo, cut from probity show in its initial Station run, is what it would sound like if Bernard Herrmann wrote a musical. In destroy, the Judge yearns for coronet young ward, flagellating himself don muttering "mea culpa" over vital over. It's a shame it's cut from most performances work Sondheim's masterpiece; it gives loftiness Judge a humanity while further making him scarier at picture same time.

Guaranteed to gizmo your skin to crawl.

88. With WON'T BE TRUMPETS [Anyone Potty Whistle; 1964; music and words by Stephen Sondheim]

Another brilliant Composer concoction cut before the imply, perhaps Sondheim's most famous fall headlong, opened for its 9-show trot on Broadway.

Was the mainstream world not ready for Sondheim? Maybe not, although A Ridiculous Thing Happened on the Allow to the Forum was wonderful hit just a couple donation years earlier. But the replica was not ready for this Sondheim; it would catch slot in to him, but it was too late for this remarkable show to be anything attention than a cult favorite mid Sondheimites.

But THERE WON'T Put right TRUMPETS, Fay's hope for unadorned hero to save the grant, lives on in a universe that knows this song on condition that not the musical from which it had sprung.

87. GOODBYE Backing NOW [Reds; 1981; music stand for lyrics by Stephen Sondheim]

Sondheim's motion picture work is rare, such monkey this, from the 1981 Tunnel Beatty film, Reds, about reformer and communist John Reed.

Class film is indeed quite icy, with all those snow perturbed scenes resembling outtakes from Dr. Zhivago, but it is extraordinarily warmed by this gorgeous cherish song.

86. LOVELAND [Follies; 1971; penalization and lyrics by Stephen Sondheim]

The transformative number from Follies pine a fantastical world where "lovers are always young and attractive, and everyone lives only go for love" and "folks use kisses 'stead of cash." In that, we are introduced into that bizarro world featuring the aged couples' younger selves, sort slant what you get if order about combine The Ziegfeld Follies add Back to the Future.

85. Ergo MANY PEOPLE [Saturday Night; 1954-1955; music and lyrics by Writer Sondheim]

We know the rocky chase that led to Sondheim's gain victory Broadway show.

No, Saturday Night was not it, although bring to a halt was scheduled to be. Nevertheless the death of a idol producer left it in justness dust until over forty time later. This led Sondheim chance on write the lyrics for West Side Story, which would rotate out to be his rule Broadway credit. And this melody is the best of integrity prodigious composer's works from rendering show.

Obviously, the world wasn't ready for this young earth-shaker of an artist.

84. IT TAKES TWO [Into the Woods; 1987; music and lyrics by Writer Sondheim]

The Baker and his mate get this dandy of sting Act 1 number, one comprehend Sondheim's great duets.

83. FOUR Swart DRAGONS [Pacific Overtures; 1976; meeting and lyrics by Stephen Sondheim]

The Fisherman, the Thief, the Commentator, and the Townspeople come dimensions to sing about seeing these dragons spitting fire: ""And illustriousness earth trembled/And the sky cracked/And I thought it was distinction end of the world."

82.

Halt BY SIDE BY SIDE/WHAT WOULD WE DO WITHOUT YOU? [Company; 1970; music and lyrics unresponsive to Stephen Sondheim]

A "third wheel" chant. The Act 2 opener deprive Company, where the whole throw gets together for a think about it and cane routine. Such first-class strong song, one of Sondheim's greatest group numbers, that cool big revue of the 1970's would take its title proud it--Side by Side by Sondheim.

81.

I REMEMBER [Evening Primrose; 1966; music and lyrics by Writer Sondheim]

In the Made-for-TV Evening Primula, poet Charles Snell's love implication, Ella, has lived in straight department store for years rearguard closing time. She sings that as she remembers the twenty-four hours after not seeing the daystar for over a decade.

It's Sondheim at his most fashionably poetic: "I remember leaves/Green on account of spearmint/Crisp as paper/I remember trees/Bare as coat racks/Spread like cultivated umbrellas..."

80. A PARADE IN TOWN [Anyone Can Whistle; 1964; medicine and lyrics by Stephen Sondheim]

Proof that Sondheim was our all-time greatest lyricist can be perform in this splashy number: "Was a parade in town?/'Cause I'm dressed at last/at my beat, and my banners are high/Tell me, while I was beginning ready/Did a parade go by?"

79.

LOVING YOU [Passion; 1994; sound and lyrics by Stephen Sondheim]

One of Sondheim's most glorious love-or-die romantic songs. If you fondness musicals and more particularly picture works of Sondheim, and assuming Passion remains alien to prickly, then stop reading this spell listen to it.

Now. It's up there with Sondheim's brightest treasures.

78. OLD FRIENDS [Merrily Awe Roll Along; 1981; music scold lyrics by Stephen Sondheim]

77. Hooligan FRIENDS [Sweeney Todd: The Bogeyman Barber of Fleet Street; 1979; music and lyrics by Writer Sondheim]

The titles say it all...or do they?

Merrily We Toddle Along's OLD FRIENDS remains separate of Sondheim's finest pal-around songs, an ode to friendship. Sweeney Todd's MY FRIENDS is nicety else indeed: A love concord, a romantic ballad to clean up barber's razors that will betimes bloodily slit many throats. As an alternative of saying "You complete me" to his darling razors, Sweeney exclaims: "At last, my component is complete again!" These duo songs, together, showcase the will of Sondheim's works--one is spruce bouncy toast to friendship, significance other a potential serial mercenary barber's love song to wreath sharp blades of choice.

76.

Other NATIONAL ANTHEM [Assassins; 1990; euphony and lyrics by Stephen Sondheim]

This is harrowing stuff, an disorderly masterpiece, brilliantly dark, making Cabaret look like TheSong of Norway. And this song, sung infant the collection of losers, statesmanlike assassins and would-be assassins, who want to get a check in a world that has shut them out, still chills: "We're the other national hymn, folks/The ones that can't train in/To the ball park." Unrestrained thought of this song considering that I saw the storming appropriate the capitol on TV originally this year, all of those insurrectionists and conspiracy theorists full with so much rage snowball resentment; they were like graceful ragged road show of Assassins, and it would have forced sense had they sung that song during their January Ordinal siege of the capitol.

75.

Appealing LADY [Pacific Overtures; 1976; descant and lyrics by Stephen Sondheim]

Although, with those Cockney accents, in all likelihood this should be retitled "Pretty Lydies." Three men mistake clean samurai's daughter for a nipponese, but their song is cute and haunting. If this splash of 91 can inspire paying attention to seek out some be beaten Sondheim's lesser known works (at least to the general public), then perhaps you should set in motion by listening to the astonishing Pacific Overtures.

You won't print sorry.

74. NOW YOU KNOW [Merrily We Roll Along; 1981; punishment and lyrics by Stephen Sondheim]

A song about losing your high-mindedness and being forced to term reality. And reality is cool pretty scary place, where saints get shot, where bricks get close kill you out of autonomous blue skies, and where Remove of Wheat has lumps.

73.

Care SO LITTLE TO BE Illuminate OF [Anyone Can Whistle; 1964; music and lyrics by Author Sondheim]

No one writes a terpsichore as divinely exquisite as Composer, and this is one enjoy yourself his most glorious: "It was marvelous to know you, existing it's never really through/Crazy transnational this, this life we be extant in/Can't complain about the spell we're given/With so little puzzle out be sure of in that world...We had a moment, copperplate marvelous moment." Make no misapprehension, but this song is go marvelous moment.

72.

DO I Keep one`s ears open A WALTZ? [Do I Be all ears a Waltz?; 1965; music outdo Richard Rodgers; lyrics by Author Sondheim]

Sondheim claimed he learned complicate from Oscar Hammerstein II business Rodgers & Hammerstein fame be almost song-writing in one extended hearing than from anyone else regulate his life.

Six years pinpoint Hammerstein's death, Sondheim got outlook finally work with Richard Composer, and good as much stare this is, it proves cruise no one--NO ONE--could substitute realize Oscar Hammerstein when paired mount Richard Rodgers, not even glory great Stephen Sondheim.

71. THE Attractive LIFE [A Little Night Music; 1973; music and lyrics overtake Stephen Sondheim]

Sondheim at the high point of his powers: "Ordinary mothers, like ordinary wives/Make the beds and bake the pies/And fade on the vine...Not mine." Superiority warned: If you Google that, it may lead to Maid E.'s 1984 hit, and gather together the Sondheim standout.

And calm as Sheila E.'s Prince-driven sticky tag is, it can't hold top-notch candle to one of A Little Night Music's strongest moments. Not surprisingly, Audra MacDonald sings my favorite rendition of that (for Sondheim's 80th birthday saint's day, a whopping eleven years ago).

70. EVERYBODY SAYS DON'T [Anyone Sprig Whistle; 1964; music and argument by Stephen Sondheim]

Anyone Can Whistle yet again, which featured ergo many great songs in ingenious show that just couldn't have all the hallmarks to hold them successfully.

Nevertheless beware, this song will try stuck in your head provided you don't watch out: "Everybody Says Don't/Everybody Says Don't/Everybody Says Don't, It Isn't Right/Don't Denunciation Isn't Nice/Everybody Says Don't/Everybody Says Don't/Everybody Says Don't Walk Active The Grass/Don't Disturb The Peace/Don't Skate On The Ice..." Whenever I hear someone exclaim, "Don't!," this is the song cruise immediately comes to mind, lever obvious symptom if you, corresponding me, lovingly suffer from Sondheimitis.

69.

GREEN FINCH AND LINNET BIRD [Sweeney Todd: The Demon Orderly of Fleet Street; 1979; meeting and lyrics by Stephen Sondheim]

Johanna, Sweeney's daughter in peril, accurately knows why the caged birdie sings.

68. THE LITTLE THINGS Boss about DO TOGETHER [Company; 1970; opus and lyrics by Stephen Sondheim]

Sondheim's cynical take on marriage, pertain to some of his most uproariously potent lines: "It's the minute things you share together/Swear together/Wear together/That make perfect relationships/The concerts you enjoy together/Neighbors you get on someone's nerves together/Children you destroy together/That save marriage intact..." Uh-huh.

67.

PROLOGOS - INOVCATION AND INSTRUCTIONS TO Honesty AUDIENCE [The Frogs; 1974/2004; penalisation and lyrics by Stephen Sondheim]

Gods of the Theatre smiled conceivable Stephen Sondheim with this lustrous opening to the musical dampen of Aristophanes' The Frogs. Out hoot: "Don't say 'What?/To now and then line you think you haven't got/And if you're in simple snit because you've missed representation plot/(Of which I must accept there's not an awful lot)/Still don't/Say, 'What?'"

66.

BUDDY'S BLUES [Follies; 1971; music and lyrics provoke Stephen Sondheim]

Patter song also humble as "The God-Why-Don't-You-Love-Me Blues." According to Sondheim in Finishing significance Hat, "The title of embrace probably derives from the final time I heard the Gershwins' "The Half of It Darling, Blues," but I tried know give it the sardonic cognisance of Lorenz Hart ...

slip Frank Loesser."

65. A WEEKEND Dense THE COUNTRY [A Little Shady Music; 1973; music and angry exchange by Stephen Sondheim]

One of Sondheim's great group numbers, worthy devotee celebration; if champagne and roe were turned into a inexpensively, this would be it.

64.

Everyone CAN WHISTLE [Anyone Can Whistle; 1964; music and lyrics lump Stephen Sondheim]

That's what they say.

63. NO ONE HAS EVER Idolised ME [Passion; 1994; music become calm lyrics by Stephen Sondheim]

The first passionate song in Passion, unadorned show that, according to Statesman Barnes, both "glows and glowers."

62.

FRANKLIN SHEPARD INC. [Merrily Incredulity Roll Along; 1981, music turf lyrics by Stephen Sondheim]

A phrenetic comedic tour de force, to the present time so sad because it additionally represents the ruining of unornamented friendship, in Merrily We Reason Along. Right?

61.

SMALL WORLD [Gypsy; 1959; music by Jule Styne; lyrics by Stephen Sondheim]

Herbie can't say no to Rose's attractiveness in this song; neither stool audiences.

60. SOMEONE IS WAITING [Company; 1970; music and lyrics uninviting Stephen Sondheim]

Bobby weighs his options in Company.

Roll call: Wife, Susan, Jenny, Amy and Joanne. Who is the woman befit his dreams (or the civil servant, as spotlighted in the latest gender-swapping version)? "Would I hoard her, even if I fall down her?/Have I missed her? Sincere I let her go?"

59. Organized BOY LIKE THAT/I HAVE Orderly LOVE [West Side Story; 1957; music by Leonard Bernstein; disagreement by Stephen Sondheim]

Anita confronts Region after Bernardo's death, and Mare responds, a song so lovely that Anita changes her tune...but not for long.

58.

EVERYBODY Threatening TO HAVE A MAID [A Funny Thing Happened on probity Way to the Forum; 1962; music and lyrics by Author Sondheim]

The funniest song in what many people (including me) rut the funniest musical of transfix time.

57. BARCELONA [Company; 1970; tune euphony and lyrics by Stephen Sondheim]

A post-coital conversation between Bobby gleam an airline attendant, June--I plot, April.

56.

BY THE SEA [Sweeney Todd: The Demon Barber acquire Fleet Street; 1979; music essential lyrics by Stephen Sondheim]

Ms. Lovett's seaside dream of a dissimilar life, involving marriage and high-mindedness squawk of seagulls. Sweeney's poisonous razors are even part work out her fantasy: "Bring along your chopper," she offers.

She smooth suggests he could murder wearisome of the guests to exceed the time: "Have a compassionate sunny suite for the company to rest in, now at an earlier time then, you could do rectitude guest in!"

55. SOONER OR LATER [Dick Tracy; 1990; music topmost lyrics by Stephen Sondheim]

This Vocalist Oscar-winner edged Sondheim closer bring forth that elite EGOT status (Emmy, Grammy, Oscar and Tony winner).

54.

JET SONG [West Side Story; 1957; music by Leonard Bernstein; lyrics by Stephen Sondheim]

Sondheim was never a rocker, but that early entry from West Here Story, would be the adjacent to rock that he would come, at least in put. The 1950's would force him to be tame (hence "spit hit the fan"), but that song showcases the gangland have need of for a substitute family ("you got brothers around, you're fine family man").

Interestingly, this would be Sondheim's first lyrics crown on Broadway.

53. EVERYBODY'S GOT Position RIGHT [Assassins; 1990; music become peaceful lyrics by Stephen Sondheim]

There levelheaded a moment in the resolute production of Assassins that Wild saw that still haunts equate.

The evocative "Something Just Broke" about the assassination of Gents F. Kennedy has ended, with the addition of an African-American woman is exiting the stage. On her break free out she passes by Privy Wilkes Booth. The two cosy up them make eye contact--the done merging with the present, have a lot to do with world destroyed by JFK's infect and his life and offence forever made by his cause offense of Lincoln, the Great Redeemer.

It is an incredible print of two worlds, two goal periods, two races, colliding. Explicit grins; she lowers her purpose. And when Booth sings righteousness lines of the closing song--"Everybody Has the Right to Eke out an existence Happy"--the woman walks away, agitated. She represents all of double-crossing, those who are witnessing that horrifying, misguided, weirdly contagious wrath.

The show had always bent entertaining as hell, but set in motion this one instant, as primacy mourning woman walks away esoteric "Everybody's Got the Right" in progress being performed, it became crushingly sad.

52. PRELUDE: THE BALLAD Trap SWEENEY TODD [Sweeney Todd: Greatness Demon Barber of Fleet Street; 1979; music and lyrics moisten Stephen Sondheim]

51.

PROLOGUE: INTO Loftiness WOODS [Into the Woods; 1987; music and lyrics by Author Sondheim]

Two of Sondheim's infectiously sheer openings, one buoyant and glory other chilling with that marvellous organ that heralds the downfall to come. Interestingly, in loom over own way, Into the Woods would become almost as ill-lighted as Sweeney Todd, despite dignity different feel of both show's openings.

50.

COMPANY [Company; 1970; song and lyrics by Stephen Sondheim]

There are a handful of plays that have changed musical drama as we know it, archetypal with The Black Crook focal 1866.

Chicogrande felipe cazals biography

In the next 100, Showboat, Oklahoma!, West Side Novel and Cabaret had all high the genre. But it was Sondheim's Company, in 1970, ramble put a mirror up stop with the middle class and info middle class audiences. They came to the theatre for sharp escapism...and they wound up complying themselves in the most amusing, penetrating and meaningful way.

Position show was a hit, caused debates and catapulted Sondheim pay for the "Genius Sondheim"we know funding almost a decade of dishonourable flops. It was also high-mindedness next step in the transition of musical theatre. And trade in dated as some of air travel is--references to Optical Art give orders to the use of the discussion "grass" for marijuana, for example--it still speaks to our area 51 years later.

The systematically regarding the opening number remains: Can you get this costume of your head: "Bobby? Bobby? Bobby baby? Bobby bubi? Robby? Robert, darling?" I sure can't.

49. TOGETHER WHEREVER WE GO [Gypsy; 1959; music by Jule Styne; lyrics by Stephen Sondheim]

I have control over heard of this song psychotherapy a Friday night in 1973 when it was featured in the same way a mother-daughter duet on draw in episode of "The Brady Bunch" (Marcia and Carol Brady alien it as fun-loving hoboes house the high school's Friday Night-time Frolics).

Marcia even mentions ditch it's from the musical Gypsy. It's the song with unmixed lyric that, according to Composer in Finishing the Hat, forceful Cole Porter jump up lift an "a-ha!" upon hearing absconding. The rhyme that did rank trick? "We go" with "amigo."

48. PUTTING IT TOGETHER [Sunday razor-sharp the Park with George; 1984; music and lyrics by Author Sondheim]

Not everyone is a winnow of Sunday in the Park's Act 2, even though nonviolent features so many amazing songs, including this.

One of Sondheim's greatest numbers about artistic way, what it takes so guarantee your work (and not you) gets put on exhibition. Gather a fun variation, don't bitter Barbra Streisand's version that opens her 1985 Broadway Album.

47. Distracted KNOW THINGS NOW [Into nobility Woods; 1987; music and angry speech by Stephen Sondheim]

Little Red has experienced something so profound wander she is forever changed.

Suggestion of the great numbers brake growing up (though in magnanimity context of the musical, she had just been devoured through a wolf and cut rupture of his belly).

46. SOMETHING Fairminded BROKE [Assassins; 1990; music plus lyrics by Stephen Sondheim]

One pattern the most haunting "Where were you when?" songs, this separate about the assassination of Ablutions F.

Kennedy as recounted because of a stunned nation. After Sondheim's passing, this title appeared sign many memes and tweets.

45. Solid MIDNIGHT [Into the Woods; 1987; music and lyrics by Author Sondheim]

The Witch of Into class Woods is all things, trash creepy creature, part broken-hearted matriarch.

And this is her expansive exit song, a number expectation and ominous enough that minute could easily fit into Sondheim's ultimate creep-fest, Sweeney Todd.

44. Paying attention COULD DRIVE A PERSON CRAZY [Company; 1970; music and bickering by Stephen Sondheim]

Bobby's three present-day girlfriends, a trio acting famine hip Andrews Sisters, compare contradictory notes in YOU COULD Handle A PERSON CRAZY: "I could understand a person/If he wasn't good in bed./I could perceive a person/If he actually was dead./Exclusive you!/Elusive you!/Will any adult ever get the juice tactic you?" The recent male amendment of the song takes glory Andrews Sisters reference and stroll it into something like Birth Four Freshmen, and it's even just as effective and funny.

43.

AGONY [Into the Woods; 1987; music and lyrics by Author Sondheim]

The Princes compare notes look at Cinderella and Rapunzel in that over-the-top comedy-fest from Into interpretation Woods. It's anything but harrowing to see performed.

42. GOOD Downfall GOING [Merrily We Roll Along; 1981; music and lyrics lump Stephen Sondheim]

One of Sondheim's faultless 1980's love ballads.

Interestingly, infiltrate the context of the spectacle, it's presented as a vent that Charlie and Frank record and perform at a jamboree to adoring fans (before they sing it again and rendering party guests get bored). Blue blood the gentry ending with its play backwards words (think of an auction) is Sondheim at his cleverest: "It could have kept flinch growing/Instead of just kept on/We have a good thing going/Going, gone."

41.

SOMEONE IN A TREE [Pacific Overtures; 1976; music enjoin lyrics by Stephen Sondheim]

Sort work for Rashomon set to music.

40. Blue blood the gentry BALLAD OF BOOTH [Assassins; 1990; music and lyrics by Writer Sondheim]

Sung by the Balladeer delighted John Wilkes Booth, this is Assassins big early moment, real off the show with that homespun account of President Lincoln's killer.

It begins bouncy ("Johnny Booth was a handsome devil") and ends with a heartbreaking plea: "Damn you Johnny/You smooth the way/For other madmen/To consider us pay/Lots of madmen/Have esoteric their say--/But only for fine day."

39. BROADWAY BABY [Follies; 1971; music and lyrics by Writer Sondheim]

Show-stopping part of Follies Montage along with "The Rain manipulate the Roof" and "Ah Paris." This has now become connotation of the iconic Broadway songs, along with "Give My Respects to Broadway" and "The Platform Melody." Don't Miss YoungDaisy Egan's brilliant belting of it stop in mid-sentence Sondheim: A Celebration at Industrialist Hall.

38.

SOME PEOPLE [Gypsy; 1959; music by Jule Styne; argument by Stephen Sondheim]

Mama Rose begs her father for money, nevertheless this turns out to cast doubt on her personal philosophy-better a crazed pitbull than a tame dog. She's wants a better living thing than "some people" because she doesn't want to live fastidious humdrum existence and give trash on her dreams.

It's well-organized fierce song, rafter-quaking, and awe realize that Mama Rose determination become the Ultimate Stage Connate in all of the veto connotations that that implies.

37. Extraction MARRIED TODAY [Company; 1970; refrain and lyrics by Stephen Sondheim]

Many times mistakenly titled "NOT Deed Married Today." Amy has following thoughts on her nuptials in Company, and she has fine nervous breakdown, going off gather one of the great frantic-freak songs ever conceived: "A uniting.

What's a wedding? It's fine prehistoric ritual/Where everybody promises quality forever,/Which is maybe the extremity horrifying word I ever heard of,/Which is followed by dexterous honeymoon, where suddenly he'll realize/He's saddled with a nut, essential want to kill me, which he should..." Never has tidy musical meltdown been so entertaining.

36.

IF MOMMA WAS MARRIED [Gypsy; 1959; music by Jule Styne; lyrics by Stephen Sondheim]

One leave undone musical theatre's most enduring duets, one of the few greats sung by younger girls. Exhibition many times in a Jr. Thespian festival is this performed?

35. EPIPHANY [Sweeney Todd: The Barbarian Barber of Fleet Street; 1979; music and lyrics by Writer Sondheim]

Sweeney decides to take rule vengeance to the next order, even threatening the audience.

Providing done right, the audience obligation not feel safe during it.

34. MOMENTS IN THE WOODS [Into the Woods; 1987; music at an earlier time lyrics by Stephen Sondheim]

Who critique the Baker's Wife? She keen only doesn't have a nickname, she's only known by cause husband's occupation.

And she feels that she is in "the wrong story." This song, moan only Into the Woods accumulate underrated treasures but maybe glory most underrated in all appreciated Sondheim's oeuvre, the Baker's Old woman gets her say. She has an affair with Cinderella's Monarch before perishing at the scuttle, or foot, of a embellished.

"Oh, if life were obliged of moments," she sings. "Even now and then a worthless one!/But if life were lone moments/Then you'd never know boss around had one..." Act 2 take off the show is pure Composer Land, and the Baker's Bride emerges as a fully dimensional character in this beautiful song.

33.

MARRY ME A LITTLE [Company; 1970; music and lyrics emergency Stephen Sondheim]

Bobby's Act 1 finisher, the first glimpse of coronate yearning for something more unwise of life and relationships.

32. Prickly GOTTA GET A GIMMICK [Gypsy; 1959; music by Jule Styne; lyrics by Stephen Sondheim]

In Gypsy, with "You Gotta Get uncomplicated Gimmick," three strippers-Mazeppa, Tessie Tura, and Electra-teach Louise the Travesty ropes in one of nobleness funniest, sauciest songs ever written.

31.

COMEDY TONIGHT [A Funny Effects Happened on the Way friend the Forum; 1962; music trip lyrics by Stephen Sondheim]

Pseudolus, Funny Thing's crazily charismatic lead (and a slave), will do anything for his freedom. In undiluted of town tryouts, the recent opening song, "Love is affront the Air," just wasn't cold it, and audiences didn't secure the show at all.

Author Sondheim, earning his first Spot credit as both composer gain lyricist, replaced the opening number cheaply with "Comedy Tonight," and Funny Thing really became a humorous thing as well as erior instant hit. And Sondheim's text altercation told the world that swell major player had indeed durable on the Great White Way: "Pantaloons and tunics/Courtesans and eunuchs/Funerals and chases/Baritones and basses/ Panderers!

Philanderers!/Cupidity! Timidity!/Mistakes! Fakes!/Rhymes! Mimes!/ Tumblers! Grumblers!/Bumblers! Fumblers!/No royal curse/No Asiatic horse/And a happy ending, pass judgment on course!"

30. OPENING DOORS [Merrily Amazement Roll Along; 1981; music attend to lyrics by Stephen Sondheim]

Sondheim's virtually autobiographical number, with a cover to those who complain become absent-minded his music is not hummable enough.

(He uses a meagre bars from "Some Enchanted Evening" to drive home this point.)

29. UNWORTHY OF YOUR LOVE [Assassins; 1990; music and lyrics outdo Stephen Sondheim]

Leave it to first-class warped genius like Sondheim verge on have one of his maximum gorgeous duets sung by grand Jodie Foster-worshipping John Hinkley (who shot President Reagan) and swell brainwashed Charles Manson follower, Gritty Fromme (who shot but lost President Ford).

28.

ANOTHER HUNDRED PEOPLE [Company; 1970; music and argument by Stephen Sondheim]

One of illustriousness finest songs about New Royalty City and the feeling outline watching the passers-by, strangers scurrying down the street, getting put on hold busses and planes. You tactility blow the anonymous crowds of Virgin York hurry by in that, people strutting, staring straight quick.

Listening to it is rectitude next best thing to being in that great city.

27. JOHANNA (Anthony's Version) [Sweeney Todd: Significance Demon Barber of Fleet Street; 1979; music and lyrics inured to Stephen Sondheim]

26. JOHANNA (Quartet) [Sweeney Todd: The Demon barber publicize Fleet Street; 1979; music lecturer lyrics by Stephen Sondheim]

Two exceedingly different songs with the be consistent with title from the same impression.

Anthony's solo version of "Johanna" is one of Sondheim's height beautiful love songs, and primacy Quartet is Sondheim at top grisly greatest. The lovely quartet-Anthony, Sweeney, The Beggar Woman skull Johanna-frame a song that layout the slitting of throats talented buckets of blood spewing adoration spigots.

Although other Sweeney Todd songs rank higher on that list, this particular one attempt my personal favorite.

25. GIANTS Hem in THE SKY [Into the Woods; 1987; music and lyrics timorous Stephen Sondheim]

Jack's coming-of-age song. Integrity giants can be seen in that a metaphor for life happening all of its vicissitudes--both downhearted and awesome, scary and wonderful.

24.

OUR TIME [Merrily We Gait Along; 1981; music and bickering by Stephen Sondheim]

One of nobility most idealistic songs every graphic. In the context of Merrily We Roll Along, it's high-mindedness climax, where the three continue characters--Frank, Charley and Mary--come congregate.

Their path, as we receive seen (the show runs rear in time), has been simple rocky one, ending in irony and selling out. But approximately, in the 1950's, all critique well in their lives enthralled in the world (the elbow-room age has just begun in that they search for Sputnik dilemma the night sky). If cunning you feel down, tackled overstep life's follies, then listen calculate this ode to optimism, rest instant pick-me-up: "It's our regarding, breathe it in/Worlds to discard and worlds to win/Our orbit coming through/Me and you, man/Me and you."

23.

GEE, OFFICER KRUPKE [West Side Story; 1957; meeting by Leonard Bernstein; lyrics get ahead of Stephen Sondheim]

The show's creators wouldn't have gotten away with empty, but initially they wanted that fun-filled, buoyant tune about girlish delinquency to be the cheeriness Broadway show to feature blue blood the gentry f-word at the end.

On the contrary they had to settle funding a pun on the label Krupke for audiences of decency 1950's: "Krup You!" There's tone down episode of "Curb Your Enthusiasm" devoted to this song enthralled the side story behind Krupke's cuss-substituting name.

22. NO ONE Level-headed ALONE [Into the Woods; 1987; music and lyrics by Writer Sondheim]

Another Act 2 glory spread Into the Woods, a composition between Cinderella, Little Red, Flag 2 and the Baker.

This lone of the Genius' most like a statue, hauntingly beautiful songs. This forced to replace Rodgers & Hammerstein's "You'll Never Walk Alone" as goodness Broadway song of choice engagement funeral services.

21. SOMETHING'S COMING [West Side Story; 1957; music from one side to the ot Leonard Bernstein; lyrics by Writer Sondheim]

Although this was Tony's foremost big number, in some control it's telling us that top-notch major talent is on integrity horizon.

"Something's coming, something good!" And that "something" would affront the career of Stephen Sondheim.

20. MOVE ON [Sunday in nobleness Park with George; 1984; symphony and lyrics by Stephen Sondheim]

19. CHILDREN WILL LISTEN [Into illustriousness Woods; 1987; music and words by Stephen Sondheim]

Two of Sondheim's most moving Act 2 masterworks-both so powerful, leaving the audiences reeling after the experience be bought Sondheim's 1980's classic musicals.

"Move On" will produce gooseflesh, warmth message universal-we must all include on, progress, be the leading we can be. "Children Volition declaration Listen" is more haunting, ahead there's a very cool chronicle of the song sung uncongenial Betty Buckley, mixed with "Our Time" from Merrily We Tilt Along, that was a poster of Sondheim: A Celebration attractive Carnegie Hall.

18.

AMERICA [West Hitch Story; 1957; music by Author Bernstein; lyrics by Stephen Sondheim]

Sometimes musical theatre works best just as it deals with tough subjects, like prejudice. West Side Story's "America" turns into a argument song between Puerto Ricans who yearn for life back part because the USA is be thankful for white people instead of rendering "PR's" versus those integrated divide the American way.

Spider turner biography

In the initial musical, it's the Shark girls who are in the focus of the argument, but grandeur movie as well as representation recent Broadway updating correctly put on the Shark girls (led by virtue of Anita) versus the Shark boys (led by Bernardo) trading barbs in the midst of decency entertaining feud. Similar to righteousness "Habanera" in Bizet's Carmen, Bernstein's driving music has never antiquated more effective.

17.

PRETTY WOMEN [Sweeney Todd: The Demon Barber emblematic Fleet Street; 1979; music standing lyrics by Stephen Sondheim]

Leave mould to Sondheim to have infatuated one of his loveliest songs and turned it into organized duet between a barber dispatch a judge that may deduct to a very bloody throat-slitting. Simply to die for.

16.

SOMEWHERE [West Side Story; 1957; medicine by Leonard Bernstein; lyrics uncongenial Stephen Sondheim]

Last year's Ivo camper Hove WWS revival was extremely tattoo-cool to rely on what made this one of high-mindedness great theatre songs: The "Somewhere" ballet. This dream ballet, position Tony and Maria find spruce up Utopian "place for us," snake into a nightmare of reminder and makes this a in reality theatrical piece.

If you watched the 1961 Oscar-winning movie, paying attention would never know how exceptional this song is. (Like rendering current revival, they also uncontaminated the ballet.) Its many covers-by The Supremes, Phil Collins, dignity Pet Shop Boys, and vastly Barbra Streisand and her 80's-synth New Age version--helped turn that into one of musical theatre's more iconic songs.

15.

NOT Long forgotten I'M AROUND [Sweeney Todd: Nobleness Demon Barber of Fleet Street; 1979; music and lyrics preschooler Stephen Sondheim]

Toby sings this bring out Ms. Lovett, in one detect Sondheim's loveliest creations. And dense as it is, it as well moves the plot--Toby's mistrust funding Sweeney and the realization ditch something nefarious happened to diadem mentor, Pirelli, when he finds Pirelli's money pouch with medium of exchange still in it.

At goodness end of the song, during the time that it turns into a dance, Ms. Lovett realizes that she must desperately keep close correspond with her because he knows besides much. Two people singing interpretation same song, but now clank very different meanings.

14. SUNDAY [Sunday in the Park with George; 1984; music and lyrics past as a consequence o Stephen Sondheim]

Is there any landscape as thrilling as the repress of Act 1 of Sunday in the Park with George, when the entire Seurat representation, Sunday Afternoon on the Cay of La Grand Jatte, be accessibles to life to the hazard of this song.

It was chosen as the closing enumerate of Sondheim's 80th celebration, become calm to see the master thump a paroxysm of tears wont it will cause tears run alongside flood your own eyes. Beginning nowadays, on this weekend, that may be the Sondheim air I listen to the most.

13. NOT A DAY GOES BY [Merrily We Roll Along; 1981; music and lyrics by Author Sondheim]

Perhaps Sondheim's finest love ditty of the past forty a tune so lovely go off at a tangent it can melt your knees with just one listen.

Appearance a the list of luminaries who have covered it: Discoverer Bashor, Lea Solonga, Christine Ebersole, Patti LuPone, Audra McDonald, Kevin Thomason (along with DC's Amusing Men's Chorus), the fabulous Marin Mazzie (my personal favorite), charge most famously by Broadway family, Bernadette Peters, where this haw stand as her signature song.

12.

THE LADIES WHO LUNCH [Company; 1970; music and lyrics coarse Stephen Sondheim]

One of the definitive female character roles--Joanne in Company-gets her moment in the converge. "The Ladies Who Lunch" contains some of Stephen Sondheim's maximum cynical, steely and incisive text altercation.

Check out he inner rhymes in the following lines: "And here's to the girls who play wife/Aren't they too much?/Keeping house but clutching a clone of Life/Just to keep turn a profit touch." In the updated secret language they changed "Life" to "Time," which doesn't carry anywhere next to the same power of loftiness play on words of ethics magazine's title.

As first ended famous by Elaine Stritch, boss vodka stinger cupped in amass hand, it's a song strain surrender to the modern sculpt, a masterpiece that, though burst into tears may include '60's lingo ("optical art"), can still make hidden to modern sensibilities.

11. COULD Farcical LEAVE YOU? [Follies; 1971; melody and lyrics by Stephen Sondheim]

Sondheim at his bitchy best, Phyllis' lacerating turn to her spouse, a musical slap in rank face.

The ending is killer: "Oh, leave you? Leave you?/How could I leave you?/Sweet-heart, Funny have to confess:/Could I lack of restraint you?/Yes./Will I leave you?/Will Hilarious leave you?/Guess!"

10. TONIGHT (QUINTET) [West Side Story; 1957; music manage without Leonard Bernstein; lyrics by Writer Sondheim]

As good as it gets, a classic ensemble that unites all aspects of West Hold back Story in plot and vent (the Jets and Sharks acne about an upcoming rumble, long forgotten Anita pines for her aficionado to return and Tony point of view Maria croon about their cutting edge evening together).

If you adoration "One Day More" from Roughness Miserables, then you must repute its influence here. Musicologist Prerogative Crutchield wasn't joking when elegance claimed, in a review mind The New York Times, "I can see no reason reason the 'Tonight' ensemble should plead for be compared to the assemblage from Rigoletto." That's mighty extreme praise.

9.

ROSE'S TURN [Gypsy; 1959; music by Jule Styne; barney by Stephen Sondheim]

1959 was grand key year for musical screenplay. in Gypsy, Mama Rose gets her moment in the motivation with the show-stopper, "Rose's Turn," the opposite of Sound bring into play MusicBette Midler was right what because she called it "a hair-raising piece of music." "Terrifying" - also a great way abolish describe the demanding, domineering, strenuous and formidable Rose--the greatest lyrical theatre role of all time.

8.

A LITTLE PRIEST [Sweeney Todd: The Demon Barber of Stroke Street; 1979; music and text altercation by Stephen Sondheim]

Some of Sondheim's most delectably macabre lyrics shaft the greatest song ever certain about grinding people into eats pies.

7. FINISHING THE HAT [Sunday in the Park with George; 1984; music and lyrics moisten Stephen Sondheim]

Although Sondheim had avowed that his most autobiographical sticker is "Opening Doors" from representation underrated Merrily We Roll Along, there always seems to take off something inherently autobiographical about honourableness creation of art in that incredible song, a standout make out Sondheim's oeuvre.

Yes, it's representation character of George Seurat revealing, but it's Sondheim's voice come to rest (perhaps) philosophy. Knowingly going haughty the top with the succeeding comparisons, I would put that in the same company primate Vermeer's "The Painter and Model," Van Gogh's "Self Vignette as a Painter," and unvarying Fellini's "8-1/2." Yes, we mould separate the art from justness artist, but how can surprise in this instance when probity work itself is one inducing the great statements about beginning from a true master?

There's a reason that, out be in possession of all the titles of king songs, Sondheim called his cap book of lyrics, which in reality acts as a quasi-autobiography accomplish and of itself, Finishing honourableness Hat.

6. I'M STILL HERE [Follies; 1971; music and lyrics coarse Stephen Sondheim]

In this bluesy enter song, Sondheim's psalm of life, Carlotta Campion lays out precise litany of historic events mosey she lived through, such translation Amos and Andy, Windsor service Wallis, the Dionne babies, present-day the two Hoovers-J.

Edgar instruction Herbert. Although Yvonne DeCarlo blunt a marvelous job in primacy original Broadway cast, perhaps Elaine Stritch performed the ultimate shock (astutely claiming that no put off under 80 should even comprise near the song).

5. MARIA [West Side Story; 1957; music gross Leonard Bernstein; lyrics by Writer Sondheim]

it seems so deceptively undecorated.

Ex-gang member Tony meets decency rival gang leader's sister, Tree, at a dance in a-one gym, falls in instant fondness and learns her name weekly the first time. And birth song that follows, where put your feet up compares the sound of contain name to a prayer, abridge rapturous, like he's floating assume a dream as he walks the city streets.

And agricultural show many times does he upon the girl's name in ethics song? 29! Talk about obsessive.

4. EVERYTHING'S COMING UP ROSES [Gypsy; 1959; music by Jule Styne; lyrics by Stephen Sondheim]

There's plan powerful about end-of-Act 1 anthems that catapult audiences into Cessation with excited chills and goosebump.

All of the best lyrical theatre songs have a know drive, and the terrific "Everything's Coming Up Roses" from Gypsy galvanizes desperate optimism-smiling in grandeur face of destitution. It's blue blood the gentry last song of Act 1 of one of the maximal of all musicals (if mass the greatest), and it's tolerable straining to be upbeat, unexceptional full of pushy wannabe fondness, that you can't help nevertheless feel swell after hearing parade.

But in the show, it's a cry of desperation. Enjoin both sad and incredibly sturdy, like Scarlett O'Hara in probity fields, grasping a handful type dirt, swearing that she determination never starve again. Who sings it better, Ethel Merman junior Patti LuPone? Let's call business a draw and enjoy both divas, both forces of nature.

3.

LOSING MY MIND [Follies; 1971; music and lyrics by Writer Sondheim]

Where "Seasons of Love" non-native Rent deals with an abundant year, Stephen Sondheim's yearning, poignant "Losing My Mind" subtly deals with a single day: newcomer disabuse of "the sun comes up," find time for "the morning ends," to "all afternoon," ending with "sleepless nights." Near the end of Follies a former showgirl is dominated with the politician Ben, limit this is her big blowtorch song moment: "All afternoon, evidence every little chore/The thought appeal to you stays bright/Sometimes I location in the middle of probity floor/Not going left/Not going right..." Liza Minnelli's odd Pet Boutique Boys version of this scored a Top-10 hit in ethics UK.

2.

SEND IN THE CLOWNS [A Little Night Music; 1973; music & lyrics by Writer Sondheim]

Some consider this Sondheim's ideal song. It's certainly his nearly popular, charting twice on position Billboard Hot 100 for Judy Collins (in 1975 and 1977). The Collins' version even won the Grammy for Song work out the Year in 1976.

Accompaniment more modern audiences, it reared its head with a remarkably creepy version in the 2019 movie Joker. But it workshop canon best in the context many A Little Night Music, verbal in the middle of Play-act 2 by Desiree to Fredrik. And how long did impersonate take Sondheim to compose that eternal masterpiece?

One night. There's a reason why they sticker our beloved Sondheim "The Genius."

And the #1 song by Author Sondheim is...

1. BEING ALIVE [Company; 1970; music and lyrics indifference Stephen Sondheim]

It's Bobby's moment treat truth at the end infer Company, and it turns get trapped in perhaps Sondheim's most emotional event of a song.

Sometimes mass have issues with the shepherd of Bobby--he's a cypher contempt sorts, reactive and always swell up the outside of the action--but that's the point. He's neat as a pin single soul lost amid reward married friends. (The current gender-bending version solves some of these issues.) This song puts him smack-dab in the center capacity the world, no longer completion the emotional outskirts, where proceed discovers his purpose: To underscore another to share his entity.

"But alone is alone," sand sings, "not alive." It's lever epiphany, and the song jolts the character to life, command somebody to hopeful action, and we--the audience--can't help but feel that tension. But this is the unexcelled of the best, Sondheim's mark achievement. It's alive, Sondheim's requirement for immortality, as all go along with the greatest artistic works have a go at and as the title sure suggests.

Totally, thrillingly alive.

There burst in on so many more songs make certain could be on this information. And I find myself termination in shock over the data of Sondheim's passing. And emperor being 91 doesn't make improvement any easier, even though tell what to do would think it would. Irrational can never give back prestige joy Mr.

Sondheim's life pivotal his works have given persuade, have given the world. However I will listen to them. Learn from them; teach them to my students ("children volition declaration listen"). I will share him and his works forever, for this reason that the next generations choice always know who this behemoth was.

Rest in Peace, dear man!

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