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Episode 123 - 13 (Becoming a Man)

Release Date: 08/06/2025

So Much Stuff to Sing

We now enter the 1990s with William Finn and James Lapine's landmark musical Falsettos. It's an interesting show with a rather convoluted creation process, leading to something quite idiosyncratic and entirely its own thing. Shannon is a strong Pro, Erik is a confused Maybe, and the song is "Unlikely Lovers." Content warning: this show, this song, and this episode feature discussions of HIV/AIDS and related topics that may be difficult for some listeners. All clips are from Falsettos 2016 Broadway Cast Recording featuring Christian Borle, Andrew Rannels, Tracie Thomaas, and Betsy...

Episode 145 - Move On

So Much Stuff to Sing

While the 80s were undeniably the age of the megamusical, they were also a time when more artistically inclined shows found alternative methods of making their way to Broadway. One of the first of these -- and perhaps the most artisitic -- was Stephen Sondheim's return to Broadway (after a relatively short absence). Along with his new collaorator, James Lapine, Sondheim gave us his most personal and most emotional work yet, and he and Lapine earned the Pulitzer Prize for their effort. In this episode, we discuss "Move On" from Sunday in the Park with George. Do we cry? You bet we do! All...

Episode 144 - Memory

So Much Stuff to Sing

A new day has begun, indeed. The 1980s brought many changes to Broadway, especially the arrival of the London-import megamusical that would run, well, seemingly forever, and its champion, Andrew Lloyd Webber. Join us we talk about how Broadway was changing, how Cats fed into that, and try to pinpoint what, exactly "Memory" -- with lyrics by Trevor Nunn -- is actually about. Editor's note: This is the second (and hopefully final) episode of the same recording session where Shannon's audio was weird. Our apologies. All clips are from the 1983's Cats: Original Broadway Cast Recording...

Episode 143 - Epiphany

So Much Stuff to Sing

The end of the 70s and, in some ways, the end of an era. Starting with Cabaret, we have traced the changes happening in theater in the wake of the end of the Golden Age. More mature themes and language, less traditional storytelling, new kinds of music, and simply a broader range of acceptable topics -- all of these changes and more occurred extrmely rapidly. And while it's hard to pinpoint exact when this period ended, Sweeney Todd feels like as good as a place as any. An artistic masterpiece, a Tony triumph, a cultural landmark, but ultimately a commercial failure, and maybe the last big...

Episode 142 - At the Ballet

So Much Stuff to Sing

1975. The Broadway musical is maturing and evolving, and while it's probing deeper than ever before, this new style of musical has yet to produce a record-breaking smash. Enter A Chorus Line. The first show to set any number of performance records, A Chorus Line was an unlikely smash, seeing as it had no famous stars, was written by a group of relatively unknown theatrical creators, and was about dancers at an audition. And yet, director and choreogreapher Michael Bennett saw the potential in the everyday struggles of Broadway dancers, and he turned it into a landmark. In this episode, we...

Episode 141 - Barcelona

So Much Stuff to Sing

We enter the 1970s: the era of Sondheim and Prince, of a modern Broadway for modern audiences, and of something new and vital that comes to take the place of a Broadway musical formula that had ceased to please. Everything kicks off with Sondheim's 1970 masterpiece Company: directed by Prince, with a book by George Furth and choreogeraphy by Michael Bennet, the show would usher in a new type of Broadway musical, whether audiences and critics were ready or not. Here, we talk about "Barcelona" as capturing much of what defines this new era on Broadway. All clips are from the 1970 cast...

Episode 140 - Black Boys/White Boys

So Much Stuff to Sing

The 60s roll on, and we come to the show that, more than any other, defines the 1960s musical: Hair. The ultimate hippie musical that broke barriers and box office records, Hair has become synonymous with the late 60s counterculture, even though its creators weren't truly a part of it. Still, it addresses sex, race, and numerous other taboo topics head-on in a way that is still uncommon to see, as we learn when we talk about the paired songs "Black Boys" and "White Boys." Please note, this episode contains frank discussions of sex, race, and other sensitive topics. Listener...

Episode 139 - Willkommen

So Much Stuff to Sing

And so, with a seemingly endless wash from the cymbals, we enter the modern era. It's 1966, Hal Prince has taken to directing instead of producing, and John Kander and Fred Ebb are going to give life to his vision of a musical about Weimar-era Berlin that would be unlike anything Broadway had ever seen. Cabaret was the show, and, fittingly enough, we're talking about the first song they wrote for that show: "Willkommen." All clips are from the 1966 cast album of Cabaret featuring Joel Grey and are protected by the Fair Use guidelines of Section 107 of the Copyright Act for criticism and...

Episode 138 - If I Were a Rich Man

So Much Stuff to Sing

The 1960s would eventually completely revolutionize huge swaths of the American cultural landcape, including Broadway. But as is often the case, the early part of the decade looks a lot like the decade before: talented young writers, composers, directors, and producers pushing at the boundaries of what Rodgers & Hammerstein had done. It was the Golden Age of the Broadway Musical, and its last masterpiece was Bock and Harnick's Fiddler on the Roof from 1964. Produced by Hal Prince, directed by Jerome Robbins, and starring the indomitable Zero Mostel, the show was an absolute smash, and...

Episode 137 - Rose's Turn

So Much Stuff to Sing

As the 1950s came to a close, Broadway continued to push and expand what could be done in a musical and what was expected of a night at the theater. Stars were becoming less powerful and less of a draw, though some stars found ways to maintain their status by proving that they had a place in the new style of show tha cared more about the truth of a character than simply star power. Once such star was Ethel Merman, and her final original stage role was also her greatest: playing Rose in 1959's Gypsy. Composer Jule Styne joined most of the West Side Story Team -- Robbins, Bernstein, and Sondheim...

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