Notes (W131n4)
Sweeney Todd [film], xxiii, 310, 331, 337, 355, 360–65 (361), 398, 402
Sweeney Todd (Bond) [play], 350, 351–52
Sweeney Todd (Pitt) [play], 352
Sweeney Todd Final Sequence, 358–60, W127n56
Sweeney Todd Prelude, 355, 356, W127n51
“Sweeney Todd” chord, 355, 356, 357, W127n48
Sweet Adeline (Kern and Hammerstein), 38, 189
Sweet Charity (Coleman and Fields), 348
Swerling, Jo, 237
Swift, Kay, 168
“Swing Low, Sweet Chariot” (African-American spiritual), W89n77
Swing Time (Kern and D. Fields) [film], 39
Symphony No. 3 (“Eroica”) (Beethoven), W129n78
Symphony in D Minor (Franck), 94
Symphonie fantastique (Berlioz), 355, 356, 357, 358
Symphony of Psalms (Stravinsky), W118n27
Synopses, W1–10
“Take Back Your Mink” (Loesser), 249
“Take Care of This House” (Bernstein and Lerner), 308
“Take Me Back to Manhattan” (Porter), 46
“Take the Moment” (Rodgers and Sondheim), 359
“Talking to My Pal “(Rodgers and Hart), W94n57
The Taming of the Shrew (Shakespeare), 10, 217, 218, 219, 221, 225–32, 315, 317, W116n60
“Tangled in the Winding Sheets” (Lloyd Webber and Hart), 400
Taruskin, Richard, xx
Taubman, Howard, 253, 254
“Taunting Scene” (Bernstein), 280, W117n20
Taymor, Julie, xxi
Tchaikovsky, Pyotr, 104, 145, 377, 378
Teachout, Terry, 185, W96n39
Templeton, Faye, 157
Terris, Norma, 24
Textual realism versus opulent adornment, xiv, 8, 55–56
“That Terrific Rainbow” (Rodgers and Hart), 103, 104, 107, 109, 178, 179
“That’s Him” (Weill and Nash), 147, 148, 187
Thayer, Alexander Wheelock, 126
Theatre Guild, 46, 58, 61, 63, 69, 70, 195, 263
“There’ll Always Be a Lady Fair” (Porter), 53, 164, 175, 221
“There’s a Boat Dat’s Leavin’ Soon for New York” (G. and I. Gershwin), 71, 82
“There’s a Small Hotel” (Rodgers and Hart), 90, 98–99, 100, 145, 180, 190, 228, W106n24
“There’s No Cure like Travel” (Porter), 44, 46
“They Didn’t Believe Me” (Kern), 22
They Knew What They Wanted (Howard), 235, 250, 251–52
“They pass by singin,’” 74, 79, 81, 171–72
“Think of Me” (Lloyd Webber and Hart), 403, 404, 408
“This Can’t Be Love Love” (Rodgers and Hart), 97
“This Is New” (Weill and I. Gershwin), 186
This Is the Army [film], 156
“This Nearly Was Mine” (Rodgers and Hammerstein), 206
“This Turf Is Ours” (Bernstein and Sondheim), W119nn33–34
Thomas, Linda Lee, 42
Thompson, Era Bell, 168
Thomson, Virgil, 63, 64, 70, 112, 136
Thornburn, David, 230
“Thou Swell” (Rodgers and Hart), 83
“The Three B’s” (Rodgers and Hart), 93–94
Three Sisters (Kern and Hammerstein), 157
The Threepenny Opera (Brecht and Weill), 112, 131, 132, 137, 142, 143, 144, 147, W95n12
Tibbett, Lawrence, 67, W87n39
“Till Good Luck Comes My Way” (Kern and Hammerstein), 25, 33, 35, 160, 162
The Time of the Cuckoo (Laurents) [play], 281, 308
A Time to Kill [film], 398
The Tinted Venus (F. Anstey), 136
Tip-Toes (G. and I. Gershwin), 59
Till the Clouds Roll By [film], 188
Titanic [film], 386
“To Be or Not to Be” (Porter), 217
“To Keep My Love Alive” (Rodgers and Hart), 110
To Kill a Mockingbird [film], 169
“Tom, Dick or Harry” (Porter), 218, 220, 226, 317
“Tonight” (Bernstein and Sondheim), 286, 287, 295, 298, 299, 300, 305, 329, 360, 405, W118n27
“Tonight” Quintet (Bernstein and Sondheim), 243
Tony motive (Loesser), 256, 257–58
“Too Darn Hot” (Porter), 219, 221, 317, 318
Too Many Girls [film], 190
Top Hat [film], 156
Tormé, Mel, 59
Tosca (Puccini) [opera], 403, W109n29, W115n46
Toscanini, Arturo, 103
“The Touch of Your Hand” (Kern and Harbach), 157
“Tradition” (Bock and Harnick), 347
Traubner, Richard, 21
“Travelin’ Light” (Loesser), W111n19
Tree, Beerbohm 267, 269
A Tree Grows in Brooklyn (Schwartz and Fields), 47
Trial by Jury (Gilbert and Sullivan), 145
Trilby (Du Maurier) [novel], 395
A Trip to Chinatown (Gaunt and Hoyt), 4
Tristan and Isolde [tale], 294
Tristan und Isolde (Wagner) [opera], 297, 298, 350, W122n77
“Trockadero Opening Chorus” (Kern and Hammerstein), 24
Trouble in Tahiti (Bernstein), 282, 308
“The Trouble with Women” (Weill and Nash), 140
“True Love” (Porter), 232
“Tschaikowsky” (Weill and I. Gershwin), 136, 139, 145
Tunick, Jonathan, 344
Turandot (Puccini), 393, 405, W132nn24–25
Turturro, John, 182
“Twin Soliloquies” (Rodgers and Hammerstein), 214
“Two a Day for Keith” (Rodgers and Hart), 89
Two by Two (Rodgers and Charnin), 213
“Two Little People” (Rodgers and Hammerstein), 207–8
“Two Sleepy People” (Loesser and Carmichael), 234
Ullmann, Liv, 213
“Una gioia” (Puccini), 392
Under Dialogue (Bernstein), 305, W122n75
“Unforgettable.” See “You Are Unforgettable”
“Ungeduld” (Schubert and Müller) [incorrectly designated as “Ständchen” in On Your Toes], 93, W91n28
Unger, Max, W96n36
“Up to the Moon” (Bernstein and Sondheim), 287–88, W118n31
“Uptown, Downtown” (Sondheim), 375, 377
Vallon’s theme (Kern), 35, W80n48, W101n9
Van, Bobby, 316, 318
Van Heusen, Jimmy, 159
Vaughan Williams, Ralph, 397, 403
Vedder, Eddie, 186
“The Venice Gavotte” (Bernstein), 243, 308
“Venus Entrance” (Weill), 137, 147
“Venus in Ozone Heights” (Weill), 150
Verdi, Giuseppe, 9, 64, 136, 143, 171, 219, 349, 388, W87n25, W107n11, W109n29
Verrett, Shirley, 211
Vertigo [film], 178
Very Good Eddie (Kern, Wodehouse, and Bolton), 4, 22
Very Warm for May (Kern and Hammerstein), 38, 215
“Very, Very, Very” (Weill and Nash), 140, 151
Violin Concerto in E Minor (Mendelssohn), 390
Villella, Edward, 103
Voltaire (pseudonym of François-Marie Arouet), 378
Wagner, Richard, 9, 27, 57, 63, 136, 143, 296–98, 307, 349, 388, 390
Waiting for Lefty (Odets) [play], 52, 92, 114, 136
Wake Up and Dream (Porter), 40
Walker, Robert, 187
Die Walküre (Wagner) [opera], 298, 300, 302, W78n6, W118n27
Walsh, Michael, 387, 390, 391, 392, W132nn21, W132n24
Walter, Bruno, 281
“Waltz Down the Aisle” (Porter), 44
“Waltz Suite” (Rodgers), W105n21
Warfield, William, 158, 166
“Warm All Over” (Loesser), 255, 256, 257
Warner, Jack, 325
Warren, Annette, 188
Watson, Emily, 181, 182
Watts, Richard Jr. 253
“We Do Not Belong Together” (Sondheim), 368
“We Open in
Venice” (Porter), 219, 221, 316, W107n11
“We Shall Never Be Younger” (Porter), 227, 228
Weber, Max, 346
Wedding Dream (Weill), 144, 145, 146, 186
Weede, Robert, 249
“A Weekend in the Country” (Sondheim), 359
Weidman, John, 346
Weill, Kurt, xx, xxvi, 5, 6, 82, 115, 116, 117, 125, 130–52, 186–88, 195, 262, 278, 316, W95n12, W104n47
“Well, Did you Evah?” (Porter), 215
Welles, Orson, 116, 186, 353
“We’re the Greatest” (Bernstein and Sondheim), W118n33
“Were Thine That Special Face” (Porter), 219, 220, 226, 317
West, Mae, 82
West Side Story (Bernstein and Sondheim) [musical], xv, xix, xx, xxv, xxviii, 3, 9, 10, 11, 12, 14, 15, 16, 31, 54, 112, 147, 199, 231, 233, 238, 243, 279–308 (284, 289), 335, 338, 341, 346, 347, 348, 350, 351–52, 354, 382, 390, 393, 405
Synopsis (W9–10)
Discography and Filmography (W24–25)
Appendix A (W30)
Appendix Q (W61–62)
Notes (W73n2, W84n23, W111n34)
West Side Story [film], xxiii, 280, 309, 310, 317, 327–32 (328), 360, 361, 402, W125nn24–25
West Side Story “Finale,” 306, W122n75
Westley, Helen, 160
“Westwind” (Weill and I. Gershwin), 137, 147, 148
Whale, James, 156, 159
“What a Joy to Be Young” (Porter), 45
“What Do You Do in the Infantry” (Loesser), 235
“What Is a Man?” (Rodgers and Hart), 107, 108
“What Is This Thing Called Love?” (Porter), 40, 224
“What You Want Wid Bess?” (Gershwin and Heyward), 78–79
“What’s the Use of Wondrin’” (Rodgers and Hammerstein), 197, 204, 206, 340
What’s Up? (Lerner and Loewe), 262, 278
Wheeler, Hugh, 346, 349, 350, 359
“When the Children Are Asleep” (Rodgers and Hammerstein), 210–11, 313
“Where Does It Get You in the End?” (Bernstein and Latouche), 286, 288, W118n29
“Where Is the Life That Late I Led?” (Porter), 219, 220, 224, 318
Where’s Charley? (Loesser), 47, 85, 235, 236, 237, 244, 245
“Where’s That Rainbow?” (Rodgers and Hart), 83
“Where’s the Mate for Me?” (Kern and Hammerstein), 32, 33, 34–35, 36, 38, 161, 162, W105n11, W121n66
Whipple, Sidney B., 102
Whistle Down the Wind (Lloyd Webber and Steinman), 408, 409
A White House Cantata (Bernstein), 308
White, Miles, 195
White, Sammy, W101n5
White, Willard, 70, 173
Whiteman, Paul, 409–10, W105n21
Whitmore, James, 318
“Who?” (Kern and Hammerstein), 22
“Who Am I?” (Weill and Nash), W99n28
“Why Can’t the English?” (Lerner and Loewe), 265, 274, W114n30
“Why Can’t You Behave?” (Porter), 218, 222, 223, 226
“Why Do I Love You?” (Kern and Hammerstein), 24, 27, 160, 162, 200
Wicked (Schwartz), xxvii
Wildcat (Coleman and Leigh), 348
Wilder, Alec, 110
The Wild Rose (Friml, Stothart, and Hammerstein), 21
Wildflower (Stothart, Youmans, Harbach, and Hammerstein), 21
Will Rogers Follies (Coleman and Comden and Green), 348
Williams, Camilla, 67
Williamson, Nicol, 213
Wilson, Alexandra, 383
Wilson, Edwin, 211
Wilson, Eileen, 188
Wilson, Patrick, 399
Wiman, Dwight, 90
Winger, Debra, 392
Winninger, Charles, xxiv, 160, 163, 191, W101n5
Winters, Lawrence, 67
Wise, Robert, xxv, 310, 327, 328
Wise Guys (Sondheim). See Road Show
“Wishing You Were Somehow Here Again” (Lloyd Webber and Hart), 403
“With a Little Bit of Luck” (Lerner and Loewe), 265, 266, 326, W114n32, W115n46
“Without You” (Lerner and Loewe), 265–66, 271, 272, 273
The Wizard of Oz (Arlen and Harburg), 85, 156, W125n25
Wodehouse (P.G.) and Bolton (Guy), 4, 43, 46
Woll, Allen, W79n51
“A Woman in Love” (Loesser), 322
The Woman in White (Lloyd Webber and Zippel), 408, 409, W75n22
Wonderful Town (Bernstein, Comden, and Green), 233, 282, 301, W123n79
Wood, Natalie, 280, 310, 328, W73n2
“Wooden Wedding” (Weill and Nash), 147
Woollcott, Alexander, 21
Word and Music [film], 190
“The Worst Pies in London,” 356, 357, 358
“Wouldn’t It Be Loverly?” (Lerner and Loewe), 265, 274, 325, 326
Wright (Robert) and Forrest (George), 14, W77n20
“Wunderbar” (Porter), 44, 319
Wuthering Heights [film], 320
Wynn, Keenan, 318
Yale Broadway Masters, W74n8
Yankee Doodle Dandy [film], 4, 156, W125n25
“Yesterday” (Beatles), 391
“Yesterdays” (Kern and Harbach), 157
Yeston, Maury, xxvi, 388
Yon, Pietro, 42
York, Richard, 47
“You Are Love” (Hammerstein and Kern), 162, 200, 206, W81n59
You Can’t Take It with You (Kaufman and Hart) [play], 52
“You Did It” (Lerner and Loewe), 266, 271, 325, 327
“You Do Something to Me” (Porter), 40
“You Must Meet My Wife” (Sondheim), 359
“You Mustn’t Kick It Around” (Rodgers and Hart), 110, 180
“You Took Advantage of Me” (Rodgers and Hart), 83, 89
“You’ll Never Walk Alone” (Rodgers and Hammerstein), 197, 207–9, 312, 382
Youmans, Vincent, 156
Young, A. S. (“Doc”), 71
“Young People” (Loesser), 257
“Your Eyes” (Larson), 393
“Your Fault” (Sondheim), 371
“You’re Devastating” (Kern and Harbach), 157
“You’re Just in Love” (Berlin), 243
“You’re Nearer” (Rodgers and Hart), 190
“You’re the Top” (Porter), 40, 49, 53, 57, 159, 164, 165, 218
Zadan, Craig, 282
Zaks, Jerry, 49, 165, 337
Zeffirelli, Franco, 171, 291
Ziegfeld, Florenz, 20, 21, 22
“Zip” (Rodgers and Hart), 94, 103, 104, 107, 177–78, 179
“Zodiac Song” (Weill and I. Gershwin), 137, 138, 139
Zorbá (Kander and Ebb), 347
Zorina, Vera, 190
SYNOPSES
Anything Goes
Reno Sweeney (Ethel Merman), an evangelist turned bar hostess, gets such a kick out of Billy Crocker (William Gaxton) that she boards a Europe-bound liner to dissuade him from pursuing Hope Harcourt (Bettina Hall). Although Billy dreams of Hope all through the night, Hope is determined to marry an English peer. Crocker has boarded without a ticket, so is forced to adopt a number of disguises. Also aboard is a wistful little man, the Reverend Dr. Moon (Victor Moore), whom J. Edgar Hoover has branded “Public Enemy 13.” Moon’s ambition is to rise to the top of Hoover’s list. With a minister and former evangelist as passengers the captain hopes to cheer his Depression-ridden travelers with a revival meeting. Reno obliges with a rousing anthem directed at the archangel Gabriel. On landing, Hope discovers she has become an heiress. She drops her Englishman and consents to marry Billy. The Englishman turns his attention to Reno, while Moon, learning he has been judged harmless and dropped from the FBI list, walks away muttering nasty things about Hoover.
Enchanted Evenings:The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber Page 61