My Favorite Sondheim: Broadway Songwriters Choose Their Most Cherished Sondheim Songs

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22 Mar 2010

Two Broadway writers chose Sunday in the Park With George as their favorite Sondheim song. Pictured: Mandy Patinkin.">
Two Broadway writers chose "Finishing the Hat" from Sunday in the Park With George as their favorite Sondheim song. Pictured: Mandy Patinkin.

To mark the 80th birthday of groundbreaking composer-lyricist Stephen Sondheim, asked Broadway songwriters to do the impossible — pick their favorite songs by the master. From Ahrens to Zippel, we got an earful.

Considering that Sondheim's professional songwriting career ranges from 1954 (Saturday Night) to 2010 (the current Broadway revue Sondheim on Sondheim), there are hundreds and hundreds of songs — and "another hundred," even — from which to pick. Our songwriter sources grumbled that choosing just one was madness, but that was the deal, with the understanding that the kinder way to package this list would be to say that the choice made should be considered "a" favorite among many rather than "the" favorite.

We spread our net wide and snagged the composers and lyricists we could, concentrating on those in the generations that came after Sondheim changed the face of the American musical theatre. (Hey, we love Charles Strouse, John Kander and Jerry Herman, but we sought out writers who might have grown up on Sondheim, or who came of age, creatively, during his rich career.)

Happy birthday, Mr. Sondheim. Give us more to see.



Lin-Manuel Miranda
photo by Joseph Marzullo/WENN

Lin-Manuel Miranda, composer-lyricist of In the Heights, chooses "Barcelona" from Company. "It is unbearably beautiful, funny, and concise. Can anyone ever write a morning-after song after 'Barcelona'? Once again, Steve invents a new type of song, and executes it perfectly. And bit by bit, song by song, he has expanded the world of what musical theatre can encompass."


Alan Menken
photo by Aubrey Reuben

Alan Menken, composer of "Beauty and the Beast," "The Little Mermaid," "Aladdin," Sister Act, Leap of Faith and Little Shop of Horrors, chooses "Everybody Ought to Have a Maid" from A Funny Thing Happened on the Way to the Forum. "Simple, fun, hilarious, brilliantly infectious, clever and, yet, uncomplicated. It's what the best of Broadway is all about."


Steven Sater
photo by Greg Kalafatas

Steven Sater, lyricist of Spring Awakening, chooses "Pretty Women" from Sweeney Todd. "Two men who have loved the same woman, one about to slit the other's throat (for having taken her) — and somehow they are of one heart, one mind in song. A long melodic line of yearning, followed by the swift pulsing need to count the ways of female beauty ('Letter writing/Flower picking') — as if the mind were chasing after the legato of the heart. It is surely one of the most sublime and arresting moments of song-as-theatre."


Jeff Marx
photo by Aubrey Reuben

Jeff Marx, composer-lyricist of Avenue Q, chooses "Good Thing Going" from Merrily We Roll Along. "It's so simple, so sweet, so smart, and so lovely. It runs through my head so often. I just love it."


Robert Lopez
photo by Aubrey Reuben

Robert Lopez, composer-lyricist of Avenue Q, chooses "Another Hundred People" from Company. "Because it makes me sorry/grateful that I cannot find space in our apartment for an electric harpsichord. When I was a teenager growing up in Manhattan, I checked the scratchy LP of Company out of the Jefferson Market public library, and this song kindled in me an incredibly strong sense of New York ethnocentrism. I couldn't imagine why anyone would want to live anywhere else. It lasted until I had kids, and finally developed an appreciation for peace and quiet. We then moved to Park Slope, Brooklyn. Ahhhh."


Scott Frankel
photo by Aubrey Reuben

Scott Frankel, composer of Grey Gardens and Happiness, chooses "With So Little to Be Sure Of" from Anyone Can Whistle. "This song has always touched me. It manages to convey simple and direct thoughts with a musical lyricism deftly counterbalanced with just the right amount of harmonic tension. Sigh. Happy Birthday, Steve!"


Maury Yeston
photo by Aubrey Reuben

Maury Yeston, composer-lyricist of Nine, Phantom and Titanic, chooses "Finishing the Hat" from Sunday in the Park With George. "It is impossible for me genuinely to specify any individual song by Stephen Sondheim that could so rise above all of his other great ones that it could rank as my single standout favorite. But if my life, or someone else's, depended on it, if I was compelled to declare one (out of all the masterpieces of humor, pathos, simultaneous contradictory emotions, soaring melody, patter, catchy tune, atonal riffs) would have to be 'Finishing the Hat.' Why? Because it's about what we do when we write, paint, sculpt, compose, and I personally never cease to marvel at how we put something there that wasn't there before. And it's about the aching frustration of capturing (or trying to) wisps of experience — the ephemera that constantly elude us and never quite translate into our work as we imagined. It is a tour de force of songwriting. And the music depicts the rhythm and musical cadence of intellect better than anything I've ever heard. In Mann's 'Dr. Faustus,' a teacher declares to the young protagonist that the one human emotion more powerful than love is: interest. I never quite understood the profundity of that line until I heard 'Finishing the Hat.'"


Michael Korie
photo by Aubrey Reuben

Michael Korie, lyricist of Grey Gardens, Happiness and The Grapes of Wrath, chooses "Someone in a Tree" from Pacific Overtures. "[It] reminds us that history is subjective as an old man, his ten-year-old self, and a warrior recall the signing of a treaty, not by facts recorded in books but by what these ordinary folks personally glimpsed and overheard — clinks, thumps and murmurs, fragments which form the whole. It's a song that is simultaneously suspenseful, funny, inspiring, thrilling to hear and to watch, and so deeply compassionate about what it means to be human. The first time I heard it during a preview of the original production, I honestly think it changed my life, and it still stuns me every time."


Andrew Lippa
photo by Aubrey Reuben

Andrew Lippa, composer-lyricist of jon & jen, The Wild Party and The Addams Family, chooses "In Praise of Women" from A Little Night Music. "When I was in high school I couldn't stop listening to 'In Praise of Women' from A Little Night Music. First, its cleverness always astonishes: 'Fidelity like mine to Desiree/and Charlotte, my devoted wife.' Brilliant. And second, I loved that final F-sharp that Laurence Guittard sang. I'd lift the arm of my record player over and over and over and play that note incessantly. I tried to sing along but was never as good as him!"


Stephen Flaherty
photo by Aubrey Reuben

Stephen Flaherty, composer of Ragtime, Seussical, A Man of No Importance and Once On This Island, chooses "Johanna" from Act Two of Sweeney Todd. "My favorite Sondheim score is Sweeney Todd. If I have to pick a favorite musical moment from that score I'd chose the 'Johanna (Quartet)' near the top of Act Two. It is sheer perfection in its combination of several memorable themes, all of which are brilliant individually and musical-theatre heaven when combined. Murder never sounded so beautiful!"


David Yazbek
photo by Aubrey Reuben

David Yazbek, composer-lyricist of Women on the Verge of a Nervous Breakdown, Dirty Rotten Scoundrels and The Full Monty, chooses "The Ladies Who Lunch" from Company. "Because of the 'everybody dies' line. You've listened to most of this witty, sardonic bossa-nova with clever rhymes and a clever rhyme-scheme sung by a clever, jaded, New York character and it's almost the end of the song and he's saved the up-note and now he gives it to you and it's on the word 'Dies' and you understand the terror behind it all. Especially when it's Stritch and the note comes out with no vibrato like a drill-bit into your heart."


Jeff Bowen
photo by Aubrey Reuben

Jeff Bowen, composer-lyricist of [title of show], chooses "God, That's Good" from Sweeney Todd. "Nobody does giant plot-driven ensemble numbers like Mr. Sondheim and for me 'God That's Good' takes the cake...or rather...pie."


Lynn Ahrens
photo by Aubrey Reuben

Lynn Ahrens, lyricist of Ragtime, Seussical, A Man of No Importance and Once On This Island, chooses "Finishing the Hat" from Sunday in the Park With George. "In one last line, Sondheim manages to sum up the bliss of creating something new. And the childish urge to show it to someone. 'Look, I made a hat...where there never was a hat.' Who among us can't relate?"


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