Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
If you’re interested in learning how to sing and play the piano to your favorite musical theatre songs, look no further than Parsons Music Library. Some of the 50 songs from this collection of musical scores that are my personal favorites include “Santa Fe” from Newsies, “Proud of Your Boy” from Aladdin, and “Dancing Through Life” from Wicked. Newsies the Musical debuted in 2011 at the Paper Mill Playhouse, a theater located 20 minutes away from where I grew up. Most recently, the musical version of The Great Gatsby also made its debut at the Paper Mill Playhouse, featuring the powerhouse-voice of Jeremy Jordan (who has also played Jack in Newsies). If you are a male singer who wants to sound like this iconic performer, you should start with watching him belt his heart out to “Santa Fe” (and then learn it yourself with this score!).
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
One musical masterpiece that has left a mark on the Broadway stage is The Color Purple. Beyond its powerful performances and captivating narrative, the new Broadway cast recording (released in 2016) stands as a testament to the emotional depth embedded in this timeless production. And seeing as the movie adaptation hit late last year, I thought I would bring some recognition to the musical it was inspired by.
The Color Purple, adapted from Alice Walker’s Pulitzer Prize-winning novel, weaves a rich tapestry of storytelling, empowerment, and redemption. The new Broadway cast recording, capturing the live energy of the performances, transports listeners into the heart of the narrative, enveloping them in the struggles and triumphs of its characters.
The cast of The Color Purple not only possesses remarkable vocal prowess but also embodies the emotional complexity of their roles. From the soul-stirring melodies of Celie to the powerful anthems of empowerment, each track showcases the diversity and depth of the performers.
The Color Purple new Broadway cast recording contributes to the cultural landscape by amplifying narratives that are often marginalized. The celebration of African American culture, the exploration of sisterhood, and the unapologetic embrace of individuality contribute to its enduring legacy.
Some of my favorite musical highlights are as follows:
“I’m Here,” performed by Cynthia Erivo, stands as a towering pinnacle of vocal prowess and emotional intensity. The raw vulnerability and strength she brings to this anthem of self-discovery resonate long after the final note.
“What About Love?” is a dynamic duet between Jennifer Hudson and Cynthia Erivo. Hudson and Erivo create a harmonious blend of two powerhouse voices. Their chemistry elevates the song, infusing it with a poignant sense of longing and hope.
“The Color Purple,” the titular track, performed by the ensemble cast, serves as the musical thread that ties the narrative together. Its hauntingly beautiful melody captures the essence of the characters’ shared journey and the overarching theme of resilience.
The Color Purple new Broadway cast recording is more than a compilation of songs; it is a journey through the human experience, a celebration of resilience, and a testament to the transformative power of music. As the notes linger in the air, they carry with them the echoes of a narrative that has touched the hearts of audiences, leaving an indelible mark on the annals of Broadway history.
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
I remember my mom waking me up to go watch my first musical in the downtown of my city, much to my chagrin. I never showed an interest in musicals––really, ever––so spending the first few hours of my weekend attending a show about a movie I’d seen a billion times was never on the top of my bucket list.
Finding our seats in the dark and cramped theater after buying $8 bottles of water just added to my annoyance, especially after finding out that ushers would be watching vigilantly for phone users, so I couldn’t even resort to that. And then the show started. Immediately, I knew this was definitely NOT The Wizard of Oz I’d grown up watching. The dynamic expressions, the mercurial lighting, and the most handsome of musical notes filled every corner of my surroundings: I smiled, I relented.
The cast of Wicked, from the verdant “villain” of the story to the anthropomorphic bat-monkey-things that legitimately frightened me, were equal in energy to the score that is still stuck in my head. “Are musicals my new thing?” I thought to myself. Maybe not fully. Was I puerile to dismiss them in their entirety? Definitely.
So if you haven’t, I would highly recommend watching Wicked, it remains one of my favorite Saturday 12:10 pm’s ever; if you can’t attend a full show (they can be pretty popular), check out the score and imagine yourself on the indelible yellow brick road.
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
The musical Les Misérables is the stage adaptation of Victor Hugo’s novel of the same name. The musical was initially written in French and first performed in 1980. After a short performance in Paris, Cameron Mackintosh produced an English-language version for British audiences. The DVD edition we have in our library is a copy of the recording on October 8th, 1995, the 10th anniversary of the musical Les Mis at Royal Albert Hall.
The story takes place in France in the early 19th century, about a French peasant’s desire for redemption. Jean Valjean was in jail for 19 years for stealing a loaf of bread and was released in 1815. Inspired by the Bishop, Valjean decided to break his parole and start his new life; however, a policeman named Javert refused to let him escape from justice but continued to hunt him for years. To avoid the wrath of Javert, Valjean found him in Paris on the eve of the 1832 Paris Uprising.
The release of the musical Les Misérables was overwhelmed by positive and negative comments, and some condemned the decision to convert classic literature into the musical. Nevertheless, the song “Do You Hear The People Sing?” is still on my playlist, and I will never forget the feeling when I first heard it.
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
It is an ancient Greek legend about the story of two lovers that ends up with them being separated by the Underworld for eternity. Singer and songwriter Anaïs Mitchell released her fourth album inspired by this famous tale, with a twist, back in 2006. It has been advertised as a “folk opera” which eventually became a stage production in 2019.
Hadestown tells the story of two lovers, Orpheus and Eurydice, trying to get through times of economic hardship. Unlike the original tale which highlights the location of the Greek Underworld, the stage production depicts a hellish industrial version of it. Orpheus reassures Eurydice that by composing songs he will find a solution to all their problems (“Wedding Song”). Other characters in the story are Hades, the ruler of a town where citizens are exploited for their labor, and Persephone, the beautiful and kind wife of the tyrant that rules Hadestown.
When Eurydice, unsure about Orpheus’ ability to provide for them, gets convinced by Hades to seek a better life in Hadestown, Orpheus sets on a journey to find her, which becomes the premise of the musical.
This successful musical, written by Anaïs Mitchell and directed by Rachel Chavkin, was a winner of 8 Tony Awards including Best Musical, and a Grammy Award for Best Musical Theatre Album.
Hadestown was the first musical I ever saw live when it began being performed in 2019. Not only does the story provide an original twist on a great classical tale, but also, the composition of the songs make this a stellar performance. The cast featuring Eva Noblezada and André De Shields have provided high quality performances for the last couple of years which help make this musical even more worth giving it a listen.
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
When analyzing the classic and most famous Broadway shows, similar answers typically arise. Many instantly associate New York Broadway with flashing lights, lines of dancers, or extremely costly sets that attempt to engage the audience in unthinkable ways. Many of my friends who are relatively new to the Broadway scene associate the industry with Wicked, Phantom of the Opera, Les Misérables, and The Lion King. These are some of the longest running Broadway shows to exist, with most taking their inspiration from childhood storylines and characters. Wicked, takes a spin of The Wizard of Oz and creates a masterpiece with some of the most iconic songs in Broadway history. The Lion King takes a classic Disney movie and brings it to life on a grand scale, supplemented with music by the legendary Elton John and Tim Rice. Phantom of the Opera, a stage adaptation of Gaston Leroux’s 1909 novel of the same name (and a book that I started but never finished) brings the entire theater to life, with a collapsing chandelier over the audience, an extremely costly set design, and one of the musicals that contains some of the greatest vocal control and range I have ever heard. There is a reason why it is the longest running show on Broadway, despite its recent announcement that the show is closing in 2023. Finally, Les Misérables, my favorite of all time and a book that I made over 1,500 pages in but have not finished, is a masterpiece. See one of my prior works to see exactly how and why I love the musical. But as it did to me, it captivated Broadway fans and has become one of the shows most synonymous with Broadway. If someone who has extreme reach and can pull up strings – bring it back. Thanks. Please. And thank you again.
However, mixed in with the Broadway giants, the past decade and change has brought to Broadway some of the most underrated and beautiful masterpieces Broadway has ever seen. Although COVID, lack of demand, rising rental costs, and ultimately a stream of bad luck, shows such as Dear Evan Hansen, Waitress, Next to Normal, Beetlejuice, Be More Chill, Dogfight, Heathers, Something Rotten, The Prom, and She Loves Me have been cut short and their greatness is impossible to compare with shows that have survived for 30+ years.
One of those shows, whose Broadway run should have been much longer in my opinion is Beautiful: The Carole King Musical. Before I get into why the musical is my feature for this post, I want to touch upon how I found out about the piece.
I’ve touched in some of my other posts that I was in a musical my senior year and knew nothing about anything. I could not read sheet music (as I forgot after I quit saxophone before middle school), was stiff as a board in my dancing, did not know tap, could not sing, and could not tell you the difference between tenor and bass. Yet somehow, I got a speaking role and had a two-line solo in 42nd Street about traveling shoes and newspapers. Despite that, as I was trying to impress a girl and become immersed in the experience, I had to learn all about Broadway culture. It seems like a dumb reason, but once I got involved into it, I was immersed for real. And so, I went through every single musical I could, listening to them, learning the lyrics, watching clips on YouTube and actually getting to go to one in New York my freshman year for the first time ever. And somewhere, in between, as I was a huge Waitress fan and Jessie Mueller was the original cast performer for the role of Jenna, I checked out some of her other work. Lo and behold, she also played the titular character of Carole King in the musical Beautiful.
I watched a bootleg of the musical (as it was closed after I found it) and was instantly hooked. The music within the musical is all modern and sped up adaptations of some of the most classic songs that Carole King produced and wrote during her hay day. And hearing those songs that I grew up with, but in a newer and crisper way was something that I enjoyed incredibly. With that, today’s focus is on Beautiful: The Carole King Musical.
To begin, Beautiful opened on Broadway on January 12th, 2014, and made it just short of six years, taking its final bow on October 27th, 2019. The musical performed over 2,400 times and was critically acclaimed, taking home two Tony awards in 2014: Best Performance by an Actress in a Leading Role in a Musical, and Best Sound Design. The musical relives the career and life of Carole King, a songwriter from New York City who started songwriting in 1958. From 1958-2000, King had 118 songs appear on the Billboard 100. It explores her personal life with her first husband Gerry Goffin, who she met while at Queens College (where both of my cousins go) and became writing partners with, her career, and the success of her music. Despite rising to commercial success with Goffin, their marriage was eventually doomed, as Goffin had admitted he was having an affair, had a daughter with his mistress (in real-life, not the production), and was a substance abuser. All these factors contributed to their downfall as a couple and decision to divorce. Despite this, King also had solo success once her career took off. She became one of the most prolific songwriters of her time.
Beautiful played at the Stephen Sondheim Theatre, sharing the privilege with past musical productions such as Anything Goes, Mrs. Doubtfire, Bye Bye Birdie, Cabaret, and Daddy Long Legs (which received an off-Broadway revival recently). After its close, Beautiful cemented itself as the 28th most performed show in history, just 100 performances shy of The Producers and about 40 more than Annie.
Some of my favorite songs are “1650 Broadway Medley,” “Some Kind of Wonderful,” “Will You Still Love Me Tomorrow?”, “Take Good Care of My Baby,” and “One Fine Day.” “1650 Broadway Medley” is a masterpiece that sheds light to the talent and musical masterpieces (by artists other than King) that stemmed from the Brill Building, a music studio located in Manhattan, New York where Carole King began her career. “Some Kind of Wonderful,” opens with Carole and Gerry singing the song together, and then transforming it in the later half to show how their song was then picked up by the Drifters, who shot the song to success. The version in the musical is a lot more modern and quicker compared to the version performed by the Drifters. However, some of the string melodies are still present in the song. The buildup in between King and Goffin’s version to the Drifters’ is an awesome transition. “Will You Still Love me Tomorrow” takes a similar approach in the musical. The first time it is performed in the musical is Carole singing the song by herself, presumably in the early stages of writing it. However, two songs later, the same song is sung and performed in a grand manner, in the style of doo-wop by The Shirelles. Once again, the musical version is sped up and the quality is a bit crisper. However, despite that, the same base and notes to the original version are still present in the piece. The strings in my opinion really hold the song together, as I am a sucker for strings. It adds more depth and volume to the piece, ultimately supplementing the voices of the Shirelles very well.
As for “Take Good Care of My Baby,” the song is very simplistic, and quite frankly too quick. The song, written by Carole and Gerry was performed by Bobby Vee in 1961. This is also interesting, as the Bobby Vee version is not a duet. The producers of the show decided to make the song a duet between Carole and Gerry, something that I liked throughout the show as the songs made popular by the artists who sang them did not dominate the show. Most of the songs have Carole herself performing them. Finally, “One Fine Day,” made famous by The Chiffons and drawing inspiration from doo-wop is one of the best songs on the album. Once again, the song is sped up and is modernized, which is a nice touch on the classic piece. The background vocals complete the song and add immense depth. This was the first song that I heard off the entire album and was one of the main reasons that I got hooked to the piece.
All in all, those main songs do not aim to take away from the beauty of the other pieces. I simply just could not highlight the beauty of them all and chose to focus on a select few. Despite hearing most of these pieces from being the son of a musician who played at weddings with my grandpa and played all the biggest hits at the time starting from age 11, I never knew the history behind each of these songs. And the fact that they were all written by Carole King was new to me. I will always regret not being able to see the show in person, but at least I have the music to keep the show alive forever.
Finally, the show was able to spread its beauty without having a complicated set. The set itself really is just a compartmentalized wood wall in the back and a relatively empty main stage. There are no witches flying around, or falling chandeliers, or superhero battles attached to safety harnesses, or a mechanical King Kong, or a full circus like Moulin Rouge, or a giant plant puppet that grows as the production continues. It is basic, beautiful, and supplements the music that is being performed.
I personally think that those musicals that focus on the music and do not try to go too over the top are severely overlooked. Dear Evan Hansen and Hamilton are very similar. Both do not have extremely over-the-top sets, and in the case of Dear Evan Hansen, there is barely any set at all. There is a huge LED screen that lights up and has graphics going across it, as well as very basic sets such as a bed or a couch. I mean, Dear Evan Hansen and Hamilton obviously have resonated better and more widely than Beautiful has, so maybe it is not the best comparison, but all really focus on the story and the music, using the set only when necessary.
In conclusion, if you have not already checked out Beautiful, I highly suggest you come to Parsons Music Library and find the CD. Give it a listen, and I guarantee you will love it.
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
Known for his phenomenal Broadway show Rent, Jonathan Larson was a musical genius of the 80s and 90s. Recently popularized by Netflix in the film tick, tick… BOOM! starring Andrew Garfield, this musical tells the tale of Jonathan Larson’s trials and tribulations as an almost 30-year-old musical writer in New York City (before the creation of Rent). Although Larson sadly passed away before he could see Rent’s Broadway debut, his impact on the world of music will never be forgotten.
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
Waitress: The Musical holds a very strong place in my heart and might have the strongest memories and feelings attached to it than any other album could do in my life. And it all started pretty recently.
My senior year of high school, I gave up playing club soccer for the spring. I had played soccer year-round my whole life and wanted to take a break from club sports. I finished my senior season with the high school team as captain and thought that would be a fitting end to the journey. So, I did track and field in the spring to spruce it up and try and build on my winter times (which I had done for 4 years). Since the practices did not eat up nearly as much time as soccer, I still felt I needed something to do.
And so, through a few of my friends who were involved, I somehow got myself roped into joining a school musical (42nd Street). It was more intimidating than anything I had ever done, given I had never tapped, danced, sang, nor acted in my life. It was so out of my comfort zone and I felt worlds apart from anyone else. Given that I try to immerse and be the best that I can at anything I do, naturally, I tried to get myself adjusted to the world of arts.
I basically went to Playbill and found every contemporary musical that was currently playing on Broadway and listened to every single album. Some albums were played more than just once, as I continually listened to them until the lyrics were etched into my brain. Even if I was not totally invested in Broadway like my friends, I at least wanted to know everything about the culture and what I was getting myself into just as I do with any job or sport.
And through it, I heard Waitress. And I listened to it over and over and over and over and over. It became my second most-listened-to album in 2019 on Spotify and three of the songs were in my top 5. The lyrics and the songs were just ultimately too good and did not sound like a traditional Broadway musical songs. When I was younger, I felt a lot of Broadway was dance-heavy numbers, with raging horns and jazz beats, lights, eccentric acting (I did not like stage acting, I felt it was too jittery or not as deep as a film), and crazy costumes. And yet, Waitress was kind of the complete opposite. It took music from Sara Bareilles, a mainstream artist that was consistently played on the radio and turned it into a story. I was hooked. I obviously realized there were tons of other musicals like this, but it was the first one that really opened my eyes to another side of theatre.
To make a long story short, it became a habit to listen to the music, and I got pretty good at a couple of the songs on piano. The year I started listening, all of a sudden, an announcement was made that the show was closing January 5th, 2020. I was lowkey upset because I wanted to go so bad to the show, but I would never want to drop the pricey amount to go watch it live.
And then, like the grace of God’s warm light, I was bestowed with three tickets to watch the show. It was gifted as a birthday present. Me and two others got to watch the show two weeks before close, a week before Christmas, and made a whole day trip. We took a bus to NYC at noon, walked around the city for a couple hours, ice skated in Central Park, went out to eat at a nice restaurant, saw the tree at Rockefeller Center at night, and then saw the show at night. The show was even better in person and I got to watch it with people I loved.
Ultimately, after that moment, I knew that album had other sentimental value that could never be replaced. However, a couple of months afterward, I had not actually listened to the album again. Things happened that almost ruined the musical for me and the memories I had attached to it, but I put a positive twist on it and tried to forget some of the negatives.
Welcome back to Parsons Playlists! Today’s playlist is curated by Music Library student assistant Kinme (class of 2022) and features a playlist that was inspired by the musical Newsies.
Newsies: The Musical
Synopsis (from Broadway.com):
“Based on the real-life Newsboy Strike of 1899, this new Disney musical tells the story of Jack Kelly, a rebellious newsboy who dreams of a life as an artist away from the big city. After publishing giant Joseph Pulitzer raises newspaper prices at the newsboys’ expense, Kelly and his fellow newsies take action. With help from the beautiful female reporter Katherine Plumber, all of New York City soon recognizes the power of ‘the little man.'”
“Santa Fe” from Newsies
(Jack’s act one closer where he is contemplating leaving New York and finding a better place for himself after losing a battle against Pulitzer)
“Seize The Day” from Newsies
(A show-stopping number from act one where Jack and Davey rally the newsies to take a stand. Filled with amazing taps and acrobatics)
Editor’s note:Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
The musical The Last 5 Years, written by Jason Robert Brown, is not the typical musical theatre love story. The story is about the failed marriage of a young actress named Cathy (played by Anna Kendrick in the 2014 movie version) and a young writer named Jamie (played by Jeremy Jordan in the movie version) who, in trying to find a balance between a successful career and a healthy relationship, end up hurting each other. However, the story is being told by both parts of the relationship that are living the same story in different timelines: Cathy starts singing about the end of her marriage in “Still Hurting”, but the following song, “Shiksa Goddess” is sung by Jamie five years before when he had just met Cathy. The Last 5 Years conveys these two different timelines with distinct chord progressions and instrumentation for the songs of each character respective to their timeline, representing how a story should be looked at from different perspectives before taking a stance.
This score includes most of the songs in the musical, such as “Still Hurting,” “Shiksa Goddess,” “Moving Too Fast,” and more. The scores are useful for any beginner-intermediate piano player or musical theatre singer who loves this heartbreaking musical.
