Author: johspo

The Music of Bond…James Bond

Posted on by johspo

Director’s Note

James Bond, while a fictional character, is larger than life in pop culture. Many images come to mind when we think of Bond, the sexy spy, the killer, the lover. The music that goes with the films based on the books by Ian Fleming is iconic. While I am a Bond fan, I am not a Bond fanatic, but in directing this cabaret, I just might have become more of a fan as I find myself motivated to watch these films from my past again and watch some that I have not seen, for the first time.

I hope that tonight you will experience the ambiance of Bond through this diverse selection of Bond music and the atmosphere we have tried to create for you. As Bond says in No Time to Die, “Life is all about leaving something behind.” We hope we leave a memory behind with you. We are so grateful to have you at our first, “club style” cabaret, and hope to see you in January when we present “Bacharach Makes the Music Play!” Enjoy the show!

Cathy McCoskey

Biographies

Justin Cunningham has sung with the Bach Festival Society of Winter Park, 1982-1985. Winston-Salem Symphony Chorus 1985-2003.  Piedmont Opera Chorus (Rigoletto), 2002.  The Washington Chorus 2003-2006. The City Choir of Washington 2006-2018 – with a highlight was performing The Defiant Requiem: Verdi at Terezín at The Kennedy Center and Lincoln Center For The Performing Arts. The City Singers (2010-1016).  Bethesda Little Theatre 2012 to present.  Mini Musicals-on-the Move®️ 2013 to present.  The Sapphires (2016-present). Rejoined the City Choir of Washington in 2024.

Lauren Emanuel has performed with BLT since “A Swellegant, Elegant Party” in 2018. From 2021-2023, she served on BLT’s Board as the Development Director and as a member of the Marketing Committee. A dancer her whole life, Lauren has also choreographed several numbers for the group over the years. When not with BLT, taking a dance class, or watching James Bond movies with her husband, Lauren works for the U.S. Patent and Trademark Office as the Intranet Editor-in-Chief.

Jeffrey Hayes is a solo pianist and accompanist in Washington DC area since 1980. 
Highlights are: Census Chorale (1981 – 2013); Naval Research Lab’s Showboaters (Once Upon a Matttress); Corkran Players (six Gilbert and Sullivan operas); Ruby Glitz Trio (best selling casette “Live”, international conventions in Cleveland and Chicago); Duo Classico (concerts at Decatur House and with New York Philharminic violinist Gabriel Banat at Christ Church Alexandria); international song stylist Louise de Simone (CD…feeling fancy free); Bethesda Little Theatre (musical revues 2012 – 2022 and Bond to Bacharach cabaret series); Sapphires (seven themed cabarets); Mini-Musicals on the Move (West Side Story, Oklahoma, Guys and Dolls, Mary Poppins,The Music Man, six cabarets); hotel lounges (ANA, Monarch, Fairmont, Park Hyatt, three Ritz-Carltons); private parties, anniversaries, and weddings (too many to count).  He was honored with the Black Tie Arts Management’s Artist of the Year (1997) He developed, wrote, and is currently presenting an autobiographical cabaret “Once Upon a Time on Washington’s Finest Pianos.”

Kimberly Wilson Linson makes her return to performing after an almost 30 year hiatus.  During her time away from the public eye, she could be seen nightly by her three children in roles such as Sleeping Beauty, Frozen’s Anna, and her infamous rendition of “How much is that doggie in the window.” She has seen every James Bond movie and is thrilled to share the allure of the theme songs with everyone attending this unique cabaret.

Cathy McCoskey is thrilled to be directing her third show for BLT and performing in her 13th production with them. When not performing with BLT she is busy as their marketing director, performing and directing with Mini-Musicals on the Move, and performing with the Sapphires. She also enjoys performing with other local community theatres when the opportunity arises. She can often be spotted at a local pre-school with energetic pre-school children! In her spare time she enjoys rare evenings at home with her husband, walks with friends, and traveling with her husband and two grown children. Performing Bond music is a thrill that takes her back to her days of seeing the Bond movies in the theatres on the big screen.

Marissa Papatola Hailing from the frosty realm of Minnesota, Marissa is always on a mission to summon more snow. By day, she works to keep the digital world safe from villains. By night, she is a covert operative performing in the theater world — favorite roles include Fantine (Les Mis) and Sister Amnesia (Nunsense!). Marissa is a classically trained vocalist who loves spreading joy through performance and she’s delighted to return for her fourth mission with BLT. Marissa and her husband (thanks for holding down the fort so I could take on this mission) have built a delightful life of chaos with three kids, three pets, and two additional world travelers.

Leigh Wirth is thrilled to be performing in her first cabaret, especially to the music of Bond! Recent roles are Frau Blucher in Young Frankenstein (RMT), Cinderella’s Mother in Into the Woods (RMT). Madame in Cinderella (Har Shalom Players). Previously: Grace in Annie, Kim in Bye Bye Birdie, The Music Man; leadning roles at Source Theatre, Scena Theater, National Museum for Women in the Arts. She is a dancer of World Dance with Four Seasons Dancers.

“The Soul of Broadway” Program Guide

Posted on by johspo

The Soul of Broadway celebrates the music of Broadway that speaks to your heart and pulls at your emotions with a healthy dose of the rhythm and style of soul music. Our journey takes us from Broadway classics like Porgy and Bess to modern adaptations of the lives of legendary popstars like Tina Turner.  Here we sample a smorgasbord of musical genres—show tunes, pop and rap, jazz and folk. Of course, our selections are only the tip of the iceberg. If you would like to know more about our selections and their sources, we present a short guide for your information. The guide follows the order of the selections in our program.

On Broadway, written by Barry Mann and Cynthia Weill, in collaboration with Jerry Leiber and Mike Stoller.

The song was originally recorded by the Cookies—an R&B girl group—but was later revised for the Drifters. Their better-known version, with a rock-oriented groove and a more bluesy feel than the original, was a hit, reaching No. 9 on the Billboard Hot 100 in 1963. George Benson’s version, from his 1978 album Weekend in L.A., rose to No. 7 on The Billboard Hot 100 and No. 2 on the soul chart. The song was featured in the musical revue, Smokey Joe’s Café (1995), and highlighted in the Carole King musical, Beautiful (2013).

It Ain’t Necessarily So, composed by George Gershwin, lyrics by Ira Gershwin.

The opera, Porgy and Bess, from which this song is taken, was first performed in Boston on September 30, 1935, and then moved on to Broadway. It featured a cast of classically trained African American singers—a daring artistic choice at the time. George Gershwin chose John W. Sublett (Bubbles), an American tap dancer, vaudevillian, movie actor, and television performer. to create the role of Sportin’ Life. Since Sublett was unable to read music, Gershwin taught it to him as a tap rhythm. Sublett performed the role occasionally for the next two decades.

Summertime, composed by George Gershwin, lyrics by DuBose Heyward and Ira Gershwin.

Probably the best-known song from Porgy and Bess, “Summertime” is a popular and much recorded jazz standard. The song is sung several times throughout the opera, and its lyrics are the first words heard in Act I, where it is sung by Clara as a lullaby. The song was recorded for the first time by the original Clara, Abbey Mitchell Cook, on July 19, 1935, with George Gershwin playing the piano and conducting the orchestra.

Sittin’ on the Dock of the Bay, written by Otis Redding and Steve Cropper.

Redding started writing the lyrics in August 1967, while sitting in a rented houseboat in Sausalito, California. Redding recorded it twice in 1967, including once just three days before his death in a plane crash. The song was released on the Volt label in 1968, becoming the first ever posthumous single to top the charts in the U.S.

Ol’ Man River, composed by Jerome Kern, lyrics by Oscar Hammerstein II.

The most famous song from the 1927 musical Show Boat, “Ol’ Man River” is sung by Joe, a black stevedore on a showboat. The original Joe was played by Jules Bledsoe, but the most famous rendition of it was sung by Paul Robeson in the classic 1936 film version of the show.

A Million Dreams, written by Benj Pasek and Justin Paul.

This song debuted in the 2017 American film, The Greatest Showman, based on the story of P.T. Barnum, a famous showman and entertainer and creator of the Barnum & Bailey Circus. The number is performed by Ziv Zaifman, Hugh Jackman, and Michelle Williams in the original soundtrack, and has been covered by several artists.

Found/Tonight, arrangement by Alex Lacamoire

Released as a single, this mash-up of two songs from Hamilton: An American Musical (written by Lin-Manuel Miranda) —“The Story of Tonight”–and Dear Evan Hansen (written by Benj Pasek and Justin Paul) —“You Will Be Found”–was recorded by Miranda and Ben Platt, who originated the role of Evan Hansen, in an arrangement by Alex Lacamoire. It was released on March 19, 2018. Miranda and Blatt performed the song at the student-led demonstration, March for Our Lives, in support of gun control legislation, which took place in Washington, DC, on March 24, 2018. The proceeds from sales of this single were partially donated to the anti-gun violence movement.

Impossible Dream, composed by Mitch Leigh, lyrics by Joe Darion.

Probably the most popular song from the Tony-winning 1965 Broadway musical, Man of La Mancha, “Impossible Dream (or the Quest)” has attracted many vocal artists from both the pop and opera world, including Jack Jones, The Temptations, Shirley Bassey, Jose Carreras, Jacques Brel, Aretha Franklin, and Josh Groban. Composer Mitch Leigh received the Contemporary Classics Award from the Songwriter’s Hall of Fame for the song.

Dreamgirls, composed by Henry Krieger, lyrics by Tom Eyen.

This song is from the 1981 Broadway musical of the same name and is based on the show business aspirations of R&B acts, such as the Shirelles, James Brown, and Jackie Wilson, but closely mirrors the story of The Supremes.  “The “Dreams,” as the trio is called in the musical, make their club debut singing “Dreamgirls,” their first single. Dreamgirls won the Tony award and the Drama Desk Award for best book of a musical.

Man in the Mirror, written by Glen Ballard and Siedah, and produced by Michael Jackson and Quincy Jones.

This song was released on February 6, 1988, as the fourth single from Jackson’s seventh solo album, “Bad.” “Man in the Mirror” topped the Billboard Hot 100 for two weeks and was nominated for Record of the Year at the 31st Grammy Awards. Keeping the gospel choir arrangement, the song was remixed for the soundtrack of Jackson’s tribute tour, “Immortal.”

Make Them Hear You, composed by Steven Flaherty, lyrics by Lynn Ahrens.

This song is from the 1998 Broadway musical, Ragtime, based on the book of the same name by E.L. Doctorow. Set in the early 20th century, Ragtime follows three groups: African Americans, white upper-class suburbanites, and Jewish immigrants from Eastern Europe. “Make Them Hear You,” which is sung by Coalhouse Walker, Jr., a Harlem musician, is a plea for non-violence. The Broadway production won the Tony for best book of a musical and best original score.

Listen, written by Henry Krieger, Beyoncé Knowles, and others.

“Listen” was written for the 2006 film version of Dreamgirls, in which Beyoncé’s character sings the song in an expression of independence from her controlling husband. Columbia Records released “Listen” as the lead single from the soundtrack album of the movie on January 19, 2007.

Hardcore Poetry, written by Dennis Lambert and Brian Potter.

This song is from the second studio album of the same name by the American soul/R&B group, Tavares, released in 1974 on the Capitol label. It is a semi-sweet tribute to the rougher neighborhood of the city.

One Song Glory/Glory, arranged by Leslie Blaha

Jonathan Larson’s 1996 musical, Rent, is loosely based on Puccini’s opera La Bohéme. The story traces the ups and downs of struggling young artists living in New York in the 1980s. “One Song Glory” is sung by a singer-songwriter who has contracted AIDS and dreams of having a hit song as a legacy. Rent ran on Broadway for 12 years, winning many awards.

“Glory” is featured as the theme song in Selma, a 2014 historical film drama directed by Ava DuVernay, based on the 1965 Selma to Montgomery voting rights marches. The film was nominated for several awards, and the song “Glory,” written by Common (Lonnie Rashid Lynn) and John Legend, won the Academy Award and the Golden Globe Award for best original song.

We Are the World, written by Michael Jackson and Lionel Ritchie.

A charity single released by the supergroup USA for Africa in 1985, “We Are the World” sold more than 20 million copies, becoming the eighth best-selling single of all time. The song is also included the album of the same name. The 20th anniversary of “We Are the World” was celebrated in 2005. Radio stations around the world paid homage to USA for Africa’s creation by simultaneously broadcasting the charity song. Harry Belafonte commented that the song had “stood the test of time,” and anyone old enough to remember it can still hum along.

Get Ready/Dancing in the Street, arranged by Roger Emerson

A Motown song written by Smokey Robinson, “Get Ready” was written for The Temptations in 1966 and was designed as an answer to the latest dance craze, “The Duck.” The song topped the U.S. R&B singles chart, as did a later version by Rare Earth released in 1970.  One of Motown’s signature songs, “Dancing in the Street” was written by Marvin Gaye, William “Mickey” Stevenson, and Ivy Jo Hunter. The song was recorded by Martha Reeves & The Vandellas in 1964 and reached No. 2 on the Billboard Hot Chart.  This medley was created for the smash Broadway hit Motown: The Musical. 

I Heard It Through the Grapevine, written by Norman Whitfield and Barrett Strong.

Written for Motown Records in 1966 and first recorded by Gladys Knight & the Pips, “I Heard It Through the Grapevine” shortly became the biggest selling Motown single up to that time. The Marvin Gaye version was released as a single in 1968 and overtook the earlier version as the biggest selling single. The Gaye recording has since become an acclaimed soul classic and in 1998 was inducted into the Grammy Hall of Fame. Twenty years later, the Gladys Knight & the Pips version was also inducted into the Grammy Hall of Fame.

The Tracks of My Tears, written by Smokey Robinson, Pete Moore, and Marv Taplin.

A multiple award-winning R&B song, “The Tracks of My Tears” was originally recorded by The Miracles on Motown’s Tamia label in 1965 and is their most honored and most covered song. It has been ranked at, or near the top of many “best of” lists in the music industry over the last 50 years. On May 14, 2008, this version was preserved by the United States Library of Congress to the National Recording Registry as being of cultural, historical, aesthetic significance, and in 2021, Rolling Stone ranked the recording as “The Greatest Motown Song of All Time.”

One Night Only, written by Tom Eyen and Henry Krieger.

Written for the 1981 Broadway musical Dreamgirls, “One Night Only” was one of the first songs to be written for the play. In the show, it is performed twice in succession—a soul ballad by the character Effie White (Jennifer Holliday) and a dance version by Deena Jones & the Dreams (Sheryl Lee Ralph, Loretta Devine, and Deborah Burrell). Both versions appear as one track on the original 1982 Broadway cast album.

Just My Imagination (Running Away with Me), written by Norman Whitfield and Barrett Strong.

Released on the Motown label in 1971, “Just My Imagination” became the third Temptations song to reach number one on the US Billboard Hot 100. Today, this single is considered one the Temptations’ signature songs and is notable for recalling the sound of the group’s 1960s recordings. It is also the final single to feature founding members Eddie Kendricks and Paul Williams.

Proud Mary, written by John Fogerty.

Written for the Creedence Clearwater Revival and released as a single in 1969 and on the band’s second album “Born on the Bayou, “Proud Mary” became a major hit in the United States, peaking at No. 2 on the US Billboard Hot 100 in March 1969. A cover version by Ike and Tina Turner, released in 1971, did nearly as well, reaching No. 4 on the US Billboard Hot 100 and winning a Grammy Award.

Ease on Down the Road, written by Charlie Smalls.

Originally from the 1975 Broadway musical, The Wiz, “Ease on Down the Road” is performed three times in the show by Dorothy and her friends–the Scarecrow, the Tin Man, and the Cowardly Lion–as they dance down the Yellow Brick Road. Two versions of the song were released as singles: one associated with the Broadway show by Consumer Rapport in 1975; and a second recorded by Diana Ross and Michael Jackson for the feature film adaptation of The Wiz in 1978.

Home, written by Charlie Smalls

Also from The Wiz, “Home” was performed by Stephanie Mills in the stage production and by Diana Ross in the 1978 film adaptation, which was released on the soundtrack album.

What About Love, words and music by Brenda Russell, Allee Willis, and Steven Bray.

The Color Purple, which opened in 2005, recounts the journey of Celie, an African American woman in the American South from the early to the mid-20th century. The musical, based on the 1982 novel by Alice Walker and the 1985 film adaptation, was revived in 2015, winning two Tony Awards, including Best Revival of a Musical. “What About Love” is a duet between Celie and the jazz singer Shug Avery.

Lean on Me, written by Bill Withers.

Withers, an American singer and songwriter, had several hits over a career spanning eighteen years. “Lean on Me,” written in 1972, won the Grammy Award for Best Rhythm & Blues song in 1987. Withers wrote the song, he said, after moving from his small West Virginia town to Los Angeles, when he was missing the supportive community he left behind.

All in Love Is Fair, written by Stevie Wonder.

Stevie Wonder included this song in his sixteenth studio album, Innervisions, in 1973.  Barbra Streisand released “All in Love Is Fair” as a single in 1974 for her fifteenth studio album, The Way We Were. Several other artists, including Nancy Wilson and Cleo Laine, have recorded the song.

Seasons of Love, written by Jonathan Larsen.

This song, from the 1996 Broadway musical, Rent, is performed by the entire cast in the musical and in the 2005 film adaptation. The lyrics ask: what is the proper way to quantify the value of a year in human life. Since several of the characters have either HIV or AIDS, the song is often associated with World AIDS Day and AIDS awareness month.

You Can’t Stop the Beat, written by Marc Shaiman and Scott Wittman.

The big closing number to the 2002 musical, Hairspray, was not in the original 1988 movie, written and directed by John Waters, which dealt with racial segregation and “sizeism.” It was added, along with other original songs to the 2002 production.  The song pays tribute to “River Deep, Mountain High,” the 1966 hit by Ike and Tina Turner.

One Song Glory/Glory

Posted on by johspo

Get Inside “The Soul of Broadway!”

Bethesda Little Theatre presents an original musical revue featuring songs that represent the soul of Broadway. Explore the emotion, heart, and rhythm of Broadway through songs from The Wiz, Smokey Joe’s Cafe, RENT, and more! Don’t miss your chance to laugh, cry, and dance to songs by Michael Jackson, the Temptations, and Tina Turner. The Soul of Broadway, runs June 9, 10, and 11 at the Montgomery College Cultural Arts Center. (For tickets and more information click here: blt-online.org or call 202-796-3431.)

In our blog series “Inside the Numbers” we take you backstage with the performers to discuss a sampling of the songs they’ll be presenting; today we’re going to explore an original mashup, arranged by Leslie Blaha, of two songs: “One Song Glory,” from RENT, and “Glory,” from the soundtrack to Selma.

One Song Glory/Glory

This is a mashup of two songs from RENT and Selma.  Were you familiar with either song?

Amanda: I was only familiar with “One Song Glory” from Rent. It’s funny — I used to skip that track when I listened to the Rent soundtrack. As I grew older I started to appreciate it a lot more, how it builds from introspective and bitter to raging fury. Now it makes me think about mortality and mistakes. It’s a very valuable song.

Leslie: I was more familiar with “Glory,” from Selma. I wanted to include that song even though it wasn’t from a Broadway musical, because it fit really well into the social justice segment of the show. I came up with the idea of arranging the mashup when a member of the production team recommended “One Song Glory” as one of the songs.

What is your “One Song Glory” dream?  A bucket list wish?

Amanda: I’d like to direct and act in a Japanese play. Unfortunately, it’s really hard to find people who enjoy both acting and the Japanese language.

Kathleen: It may sound cliché, but I’m already living my “One Song Glory” dream. As the daughter of immigrants, I have done so many things that my ancestors could not have imagined. I continue to reach further and farther.

“Glory” hearkens to the gospel roots of soul music.  Do you have a connection to gospel music?

Kathleen: As a kid, I was exposed to different forms of music which also included gospel. I particularly would love the harmonies and melting of voices that the choir would produce.

Leslie: I was always really impressed with the range of gospel singers and the way a gospel choir works to support the soloists.

The spoken word segments of “Glory” convey the civil rights message of the 1960s and the fight that still continues.  Which part is the most significant to you?

Leslie: My favorite line is “When it go down we woman and man up/They say, “Stay down,” and we stand up. With the culture wars taking place these days, it’s important to remember that change comes when we fight for it. We can’t give up on defending the rights of every person, no matter which part of their identity is being attacked.

Kathleen: The more I learned and memorized the spoken word segments, the more affected I felt by its message. Being a person of color in the United States is no small feat, and the spoken words really highlight the continued struggle that many people in the BIPOC community continue to face.

Dreamgirls

Posted on by johspo

Get Inside “The Soul of Broadway!”

Posted on by blt2015

Bethesda Little Theatre presents an original musical revue featuring songs that represent the soul of Broadway. Explore the emotion, heart, and rhythm of Broadway through songs from The Wiz, Smokey Joe’s Cafe, RENT, and more! Don’t miss your chance to laugh, cry, and dance to songs by Michael Jackson, the Temptations, and Tina Turner. The Soul of Broadway, runs June 9, 10, and 11 at the Montgomery College Cultural Arts Center. (For tickets and more information click here: blt-online.org or call 202-796-3431.)

In our blog series “Inside the Numbers” we take you backstage with the performers to discuss a sampling of the songs they’ll be presenting; today we’re going to explore the title song from “Dreamgirls,” focusing on the fictional Motown group the Dreams— famously inspired by the Supremes.

Have you seen the movie or the musical? What did you think of the story/music?

CAROLYN: I have seen the movie. I absolutely loved it. I sang it so much when I was younger on repeat. I particularly love “stepping to the bad side” very soulful and fast paced. The story is quite captivating particularly seeing how African American music was being stolen by Caucasian people and the impact that it had on groups trying to make it in the music business

BRETT: I saw the movie a long time ago. The music is incredible and really captures the feel of the Supremes! I wish I could have seen Jennifer Holiday and Sheryl Lee Ralph in the original Broadway cast.

KARAM: I have seen the movie many times and thought it was amazingly well done. I thought it was such a sad story for Effie White, the main character, but the music/singing/dancing was incredible.

Dreamgirls highlights the cost of ambition within an industry in which race and gender shape opportunities and expectations for artists, producers, and consumers. How does this resonate with your life experiences?

BRETT: I’m lucky to live with a lot of privilege but have faced sexism in my life. It can be frustrating and infuriating.

CAROLYN: I do feel to be a musical theatre artist you have to work extremely hard. There is a lot of competition which is definitely shown in the story of Dreamgirls. it is difficult to face rejection whether it be you simply weren’t a fit for the show or your skills weren’t up to snuff in the directors opinion. You just have to get on up and try again, rehone your craft. It is fantastic that musical theatre is becoming more open to all people and we are hearing more interesting stories and perspectives because of it.

What dream would you like to come true, for yourself or others?

BRETT: My dream is for us all to offer one another compassion and understanding. You never know what another person may be facing in their life. 

KARAM: A dream of mine is to live in a world in which pursuing singing and dancing and JOY is more viable for more people!

CAROLYN: My dream is for all people to have the opportunity to pursue their dreams. My personal dream is to share my voice and creativity throughout my life as it gives joy to myself, others, and most importantly, it tells a story.

“A Night Out on Times Square” Program Guide

Posted on by johspo

A Night Out on Times Square celebrates the musical variety on offer in Times Square. Our imaginary journey takes us to Broadway—new shows, revivals, and shows on tour—as well as clubs and cabarets. Here we sample a smorgasbord of musical genres—show tunes, pop and rap, jazz and folk. Of course, our selections are only the tip of the iceberg. If you would like to know more about our selections and their sources, we present a short guide for your information. The guide follows the order of the selections in our program.

Empire State of Mind

Music and Lyrics: Alicia Keys, Shawn Carter

Originally released in 2009, the song is about New York City. The title takes its name from Billy Joel’s “New York State of Mind.” Keys released a second version of the song in 2010.

King of New York

Newsies: The Musical
Music: Alan Menken
Lyrics: Jack Feldman
Book: Harvey Fierstein
Broadway premiere: March 2012

Newsies was inspired by the true story of the Newsboys Strike of 1899 in New York City. When mega-publishers Joseph Pulitzer and William Randolph Hearst raise distribution prices, Jack Kelly rallies his fellow newsies to strike.

All I Ask of You

Phantom of the Opera
Book and Music: Andrew Lloyd Webber
Lyrics: Charles Hart
Broadway premiere: January 1988

The longest-running show in Broadway history, Phantom of the Opera first opened on London’s West End in 1986. The brainchild of Andrew Lloyd Webber, Phantom is based on Gaston Leroux’s horror novel, which tells the story of the Phantom who haunts the stage of the Paris Opera and falls in love with a beautiful soprano.

Razzle Dazzle

Chicago
Music: John Kander
Lyrics: Fred Ebb
Book: Fred Ebb, Bob Fosse
Broadway premiere: June 1975

In the 1920s, the press and public were riveted by the subject of homicides committed by women. Chicago, set in jazz-age Chicago, is based on a 1926 play by reporter and playwright Maurine Dallas Watkins, who covered the 1924 trials of two women accused of murder.

The musical is a satire on corruption in the administration of criminal justice and “celebrity criminals.”  Following its first run on Broadway, Chicago was revived in 1996, and this production holds the record as the longest-running musical revival and the longest-running American musical in Broadway history.

I’m Not That Girl

Wicked
Music and Lyrics: Stephen Schwartz
Book: Winnie Holzman
Broadway premiere: October 2003

Building on characters and settings from L. Frank Baum’s classic 1900 novel, The Wonderful Wizard of Oz, and the 1939 film The Wizard of Oz, Wicked is told from the perspective of two witches in the Land of Oz—Elphaba (the Wicked Witch of the West) and Glinda (the Good Witch). The story traces their complicated relationship—opposing personalities, viewpoints, and love for the same man—as well as their reactions to the Wizard’s corrupt government.

I Just Can’t Wait to Be King

The Lion King
Music: Elton John
Lyrics: Tim Rice
Book: Roger Allers, Irene Mecchi
Broadway premiere: October 1997

Based on the 1994 Walt Disney animated feature film, The Lion King tells the tale of young Simba who overcomes adversity to become king of the pride. The musical features actors in animal costumes and giant hollow puppets.

Rock Island

The Music Man
Music, Lyrics, Book: Meredith Wilson
Broadway premiere: December 1957

The Music Man, the story of “Professor” Harold Hill, a con artist selling musical Instruments and uniforms to unsuspecting Iowa country folk, is Meredith Wilson’s love letter to turn-of-the-century midwestern America. Premiering in 1957, it has rarely been out of production, and is, in fact, enjoying a rousing revival on Broadway this year.

True Love

Frozen
Music and Lyrics: Kristen Anderson-Lopez, Robert Lopez
Book: Jennifer Lee
Broadway premiere: March 2018

Based on the 2013 film of the same name, Frozen centers on the relationship between two sisters who are princesses. Elsa has an uncontrollable power to freeze objects and people, and, after inheriting the throne, inadvertently causes the kingdom to become permanently frozen, nearly killing her sister, Anna. To save the day, Elsa must sacrifice and show true love.

Stupid with Love

Mean Girls
Music: Jeff Richmond
Lyrics: Neal Benjamin
Book: Tina Fey
Broadway premiere: April 2018

A coming-of-age story, based on a book by Tina Fey, Mean Girls takes us through the minefield that is high school for just about everyone—cliques, thwarted love, power struggles, wholesale meanness, and, finally, reconciliation and acceptance.

Don’t Tell Mama Piano Bar Segment

A fixture on the New York club circuit since 1982, Don’t Tell Mama has played host to cabaret singers, Broadway stars, and lovers of show, pop, and folk music. The name of the club comes from a song from Kander and Ebb’s musical Cabaret: “Don’t Tell Mama.” In our show, we are using the piano bar setting to feature some of the singers and songwriters that we lost to COVID—Armando  Manzanero, K.T. Oslin, Charley Pride, and John Prine.

You Learn

Jagged Little Pill
Music: Alanis Morissette, Glen Ballard
Lyrics: Alanis Morissette
Book: Diablo Cody
Broadway premiere: December 2019

Inspired by Alanis Morissette’s 1995 album, Jagged Little Pill deals with pain, healing, and empowerment. Running on Broadway from December 2019 to December 2021, the show won two Tony awards, as well as the Grammy Award for best musical theater album.

Nature Boy
Chandelier

Moulin Rouge! The Musical
Music and Lyrics: Various
Book: Josh Logan
Broadway premiere: June 2019

Based on the 2001 film Moulin Rouge, this jukebox musical is set in the Montmartre Quarter of Paris at the turn of the 20th century and tells the story of Christian, a young composer, who falls in love with Satine, the star of the Moulin Rouge. The score is a combination of original songs and popular music. “Nature Boy” was written in 1947 by eben ahbez and recorded by Nat King Cole in 1948. In “Chandelier,” written by Australian songwriter Sia in 2014, Christian, distraught over his separation from Satine, vows to get drunk on absinthe, forget everything, and “swing from the chandelier.” The musical won the Tony for Best Musical in 2019.

Burn
The Schuyler Sisters

Hamilton: An American Musical
Music, Lyrics, Book: Lin-Manuel Miranda
Broadway premiere: February 2015

Hamilton tells the story of American Founding Father Alexander Hamilton. The show’s score draws from hip-hop, R&B, pop, soul, rap, and traditional style show tunes, and casts non-white actors. Miranda described Hamilton as being about “American then, as told by America now.” Hamilton opened on Broadway in August 2015 and took home 11 awards, including Best Musical, at the 70th Tony Awards. “Burn,” sung by Eliza, Hamilton’s wife, is her response to the revelation about Hamilton’s extramarital affair and the heartbreak and public humiliation that drive her to burn his love letters to her. “The Schuyler Sisters” introduces Angelica, Eliza, and Peggy who are excited to be in a new age “amidst the powder keg of the early days of the revolution.”

Welcome to the Rock
Me and the Sky

Come from Away
Music, Lyrics, Book: Irene Sankoff, David Hein
Broadway premiere: March 2017

Set in a small town in Newfoundland during the week following the September 11 attack, Come from Away tells the true story of what happened when 38 planes were ordered to land unexpectedly at Gander International Airport. The characters in the musical are based on real Gander residents and some of the stranded travelers they housed and fed. “Me and the Sky” is based on the experience of Beverly Bass, the first female captain for American Airlines, who was forced to land in Gander during the September 11 attacks. Come from Away is the longest-running Canadian musical on Broadway.

You and Me (But Mostly Me)

The Book of Mormon
Music, Lyrics, Book: Trey Parker, Robert Lopez, Matt Stone
Broadway premiere: March 2011

A satirical examination of the beliefs and practices of The Church of Jesus Christ of Latter-day Saints, the musical traces the adventure of two missionaries as they attempt to preach the faith of the Church to the inhabitants of a remote Ugandan village. Written by the creators of South Park, the musical ultimately endorses the power of love and service.

What’s Love Got to Do with It

Tina Turner: The Musical
Music and Lyrics: Various
Book: Katori Hall
Broadway premiere: November 2019

A jukebox musical featuring the songs of Tina Turner, this musical depicts her life from her humble beginnings in Tennessee to her transformation into a rock and roll star. “What’s Love Got to Do with It?” was composed by Terry Britten and Graham Lyle.

Birdland Jazz Club Segment

The famous Birdland jazz club opened its doors in 1949 on Broadway and West 52nd Street—the heart of Manhattan’s theatre district. Home to some of the greatest names in bebop, the club was named after famed sax player Charlie “Yardbird” Parker. Other star attractions included trumpeters “Maxie” Kaminsky and Miles Davis, drummer Art Blakey, and saxophonists Cannonball Adderley and John Coltrane. “Birdland,” with music by Josef Erich Zawinul and lyrics by Jon Hendricks, was written in 1977. Zawinul, an Austrian jazz keyboardist, was one of the creators of jazz fusion, a musical genre that combined jazz with rock. “Nocturne for the Blues (Harlem Nocturne)” is a jazz standard from 1939, with music by Earle Hagen and lyrics by Dick Rogers.

The Music That Makes Me Dance

Funny Girl
Music: Jule Styne
Lyrics: Bob Merrill
Book: Isobel Lennert
Broadway premiere: March 1964

Based loosely on the life and career of Broadway star, film actress, and comedian Fanny Brice, Funny Girl charts Brice’s rise to fame and the rocky relationship between her and entrepreneur and gambler Nick Arnstein. The show’s producer, Ray Stark, was Brice’s son-in-law via his marriage to her daughter Frances. A showcase for Barbra Streisand, Funny Girl was revived in April 2022, with a new book by Harvey Fierstein.

Wedding Song

Hadestown
Music, Lyrics, Book: Anaïs Mitchell
Broadway premiere: March 2019

The Greek myth of Orpheus and Eurydice, celebrating the power of music, has inspired composers from Monteverdi, to Glück to Offenbach. Hadestown offers a modern twist to the myth. Eurydice, attempting to escape poverty induced by climate change, goes to a hellish industrial underworld. Her lover, Orpheus, a poor singer-songwriter, comes to rescue her and to show others how to escape. Like the myth, Hadestown does not have a happy ending. But, as Hermes sings at the end: “Someone’s got to tell the tale, whether or not it turns out well.”

Make You Feel My Love

Girl from the North Country
Music and Lyrics: Bob Dylan
Book: Conor McPherson
Broadway premiere: March 2020

Using Bob Dylan’s songs as background and dramatic color, Conor McPherson’s script highlights small-town middle American life in the depths of the Great Depression, embodied by the drifters and fugitives who end up in a boarding house in Duluth, Minnesota.

You Could Drive a Person Crazy

Company
Music and Lyrics: Stephen Sondheim
Book: George Furth
Broadway premiere: April 1970

Among the first book musicals to deal with contemporary dating, marriage, and divorce, Company tells the story of Bobby, a perpetually single man living in New York City, who seeks advice from and shares bachelor stories with his married friends who want him to “grow up” and get married. In a revival of Company in London in 2018, the character of Bobby was changed to Bobbie, a female role, with Sondheim’s approval. The West End production moved to Broadway in 2020 and was slated to open on Sondheim’s 90th birthday. However, the production came to a halt due to the coronavirus pandemic. The revival finally opened in December 2021.

Zazz

The Prom
Music: Matthew Sklar
Lyrics: Chad Beguelin
Book: Chad Beguelin, Bob Martin
Broadway premiere: November 2018

Four Broadway actors, down on their luck and looking for a cause, travel to the conservative town of Edgewater, Indiana, to help a lesbian student banned from bringing her girlfriend to the high school prom. With the help of like-minded students, the school puts on a more inclusive prom, including both LGBTQIA+ and straight couples.

She Used to Be Mine

Waitress
Music and Lyrics: Sara Bareilles
Book: Jessie Nelson (adapted from the book by Adrienne Shelly)
Broadway premiere: September 2016

Based on the 2007 film of the same name, Waitress tells the story of Jenna, a baker and waitress in an abusive relationship with her husband. Unexpectedly pregnant, she begins an affair with her doctor. She sees a pie baking contest and its grand prize as a way out of her troubles. Waitress made history on Broadway with the top creative spots filled by women—composer and lyricist Sara Bareilles, Jessie Nelson as book adaptor, Diane Paulus as director, and Lorin Latarro as choreographer.

What Becomes of the Brokenhearted

Ain’t Too Proud: The Life and Times of the Temptations
Music and Lyrics: The Temptations
Book: Dominique Morisseau
Broadway premiere: March 2019

This jukebox musical is based on the story and music of The Temptations—an American vocal group from Detroit, who released a series of successful singles and albums during the 1960s and 1970s. The Temptations and are among the most successful groups in popular music.

Six

SIX: The Musical
Lyrics, Music, Book: Toby Marlow, Lucy Moss
Broadway premiere: October 2021

A British import, SIX is a modern re-telling of the lives of the six wives of Henry VIII, presented as a pop concert. The six Queens take turns singing and telling their story to see who suffered the most with Henry, and who should therefore become the group’s lead singer. SIX started life at the Edinburgh Festival Fringe in 2017, a presentation by Cambridge University students, followed by professional productions on London’s West End, Broadway, and internationally. SIX was the first new musical to open on Broadway since the beginning of the pandemic.

You Will Be Found

Dear Evan Hansen
Music and Lyrics: Benj Pasek, Justin Paul
Broadway premiere: November 2018

Evan Hansen, a high school senior suffering with social anxiety, is assigned by his therapist to write letters to himself. One of his letters is mistakenly made public, inadvertently leading to the suicide of a fellow student. Evan invents an important role for himself in the tragedy, which leads to unhappiness and disruption in the community. After confessing to his role, Evan mentally writes himself one last letter, taking responsibility for the impact he has had on his community. Dear Evan Hansen had its world premiere at Arena Stage in Washington, DC, before moving to Broadway in 2018. At the 71st Tony Awards, it won six awards, including Best Musical, Best Book, and Best Score.

Six

Posted on by johspo

Bethesda Little Theatre presents an original musical revue featuring songs from all the Broadway shows you’ve been wishing you could see in one night but couldn’t… until now. Come From Away, Six, Dear Evan Hansen, Chicago, Tina: The Tina Turner Musical, Company, Hadestown, Hamilton, and more. We even have some side trips to some of the wonderful music clubs Times Square has to offer. Don’t miss your chance to see numbers from some of the hottest shows on Times Square! A Night Out on Times Square, runs June 10, 11, 12 and 17, 18, 19 at the Montgomery College Cultural Arts Center. (For tickets and more information click here: blt-online.org or call 202-796-3431.)

In our blog series “Inside the Numbers” we take you backstage with the performers to discuss a sampling of the songs they’ll be presenting; today we’re going to explore a number from “Six,” a modern retelling of the lives of the six wives of Henry VIII presented as a pop concert, as the Queens take turns singing and telling their story to see who suffered the most due to Henry and should, therefore, become the group’s lead singer.

Question to the Choreographer: What are you hoping to accomplish/convey with this number and where are you drawing your inspiration?

Lauren: My hope is that the ladies in this number look like they are having a ton of fun on stage! I got inspiration from watching videos of professional performances of this song, and also just from the music–it is an upbeat, pop song!

There seems to be more original musicals developed today that are rooted in history – do we love or hate this trend?

Editor’s Note: Seems to be a clear consensus here! What say you, dear audience? Tell us in the lobby after the show!

Cathy: Personally, I love it! I have always loved history. While the musicals might not be 100% accurate, I hope they spark an interest in history with people who might not have liked history before.

Alicia: I’m very into this trend and so far it’s been done really well (e.g., Hamilton, Six). The way the stories are told are interesting and fun and also tell a part of the story that many of us weren’t taught in school.  I think it’s also a way to attract new audience members to the theatre; look at what a success Hamilton was and continues to be. 

Marissa: LOVE IT! WANT MORE OF THIS! As a double major – political science and music – I used to joke about how a combined senior project would have to be a musical about politics but that I wasn’t a composer so I’d have to just do two separate projects (one thesis and recitals).

Jessica: I love it! There’s a reason we still talk about these historical moments in the present day. These stories endure because they’re interesting and entertaining, why wouldn’t they make good musicals?

What do you love most about doing this song? What is the most challenging?

Alicia: What I love most about this song is that I get to sing with a group of 5 other incredibly talented woman and the message is to own our own story.  It’s a powerful message and to sing alongside these ladies has really been a privilege. 

Marissa: Well, if you read our Inside the Numbers on “You Learn,” my answer is the same here – the people! So great to sing such an empowering song with five other tremendous women!

Editor’s Note: Of COURSE you read our other Inside the Number features, right? Because you’re so excited to see the show that you need to eat up all you can in advance!

Jessica: I love how empowering it is. I tear up when I hit this song on the album. Challenging—hitting the countdown right! You’d think counting down from 5 would be easy and yet somehow my brain cannot seem to remember that 3 comes after 4.

Cathy: I love doing it with these five talented ladies! The song has such a great rock beat and makes you just want to dance.

Now all I do is sing!

Does this song resonate on a personal level at all? Are there parts of it that are relatable to today? (Hopefully nothing about beheading.)

Jessica: I personally think we should bring beheadings back (jk jk). The fact that this song still resonates today in terms of seeing women as individuals rather than just the love interest section of a man’s story means we still have a way to go as a society (if that makes any sense). 

Marissa: Nothing about beheading! But in general, this song is such a great reminder that you can own the narrative and the ability to reframe things and shift your perspective can be so powerful.

There are some fun lines in this song – how do you make sure to emphasize them and make them land?

Marissa: They are fun lines! And they come quick so they can be hard to hit but I think it just comes down to every singer’s favorite thing – enunciate. enunciate. enunciate.

Jessica: The British accent helps.

Cathy: You’re right there are some great lines in this song. I am hoping the choreography will help emphasize the fun lines. Of course, we all have to think about the intonation, facial expressions, and timing. That helps too.

Alicia: The choreography gives us quite a bit of creative freedom on our specific solo lines to emphasize them. In the sections where we sing in unison, we are making sure that we hit those consonants, which is so important because there are a lot of words. And we only have one song to tell the story (not a whole show!).

Anything else to add?

Cathy: I first heard about the show, Six, in 2019 before it came to Broadway. I instantly fell in love with all the music! I am so excited to finally get to perform one song from the show!

Editor’s Note: Six is coming back to DC if you’re looking for a new show to catch! But come see us first :-).

Jessica: As RuPaul would say, “let’s make herstory!”

Rock Island

Posted on by johspo

Bethesda Little Theatre presents an original musical revue featuring songs from all the Broadway shows you’ve been wishing you could see in one night but couldn’t… until now. Come From Away, Six, Dear Evan Hansen, Chicago, Tina: The Tina Turner Musical, Company, Hadestown, Hamilton, and more. We even have some side trips to some of the wonderful music clubs Times Square has to offer. Don’t miss your chance to see numbers from some of the hottest shows on Times Square! A Night Out on Times Square, runs June 10, 11, 12 and 17, 18, 19 at the Montgomery College Cultural Arts Center. (For tickets and more information click here: blt-online.org or call 202-796-3431.)

In our blog series “Inside the Numbers” we take you backstage with the performers to discuss a sampling of the songs they’ll be presenting; today we’re going to explore the opening number to “The Music Man,” a crowd favorite that very few people know is titled “Rock Island.”

Alright gents, there’s a lot of rhythm and a lot of words here – how’s it going?

Justin: It’s coming. We are getting it up to speed and it gets better every time we do it. Getting off book will be the fun part. 

Aref: Number of words: no problem. Rhythm: no problem. Choreo/staging: no problem. Hardest part is tempo, which we are conquering, courtesy of Leslie Blaha in the beginning with her blasted metronome.

Gordon: I’m lucky I only have a few lines so the rhythm and words don’t pose a problem for me personally. It’s the other guys who need to be concerned.

Arthur: Personally, I think it’s going well. I do hope that I don’t end up running out of breath during my spiels. If so, let’s hope there’s an O2 tank back stage.

Eric: Going as well as it could be. There’s still practice to be done to get it closer to ready.

Aref Dajani and Arthur Glover first learning the words.

What did you think when Cathy first handed you this song?

Aref: WOAH/WHOA! When I heard “Music Man”, I thought, “Ya Got Trouble” which is so much fun!

Editor’s Note: And might have even MORE words in it!

Gordon: I knew it was a difficult piece to do. A few years ago I was in a production of “The Music Man,” and I remember that the folks in “Rock Island” never did quite get it right!

Editor’s Note: Our guys are on the case though and it’s going to be a great rendition!

Arthur: I really didn’t think about it, my mind went blank and the first thing that popped in my head was, “What is this?” 

Eric: Oh no. How are we going to do this?

Editor’s Note: Sounds like they’re figuring it out! Can’t wait for you all to see how it’s come together!

Justin: I thought it was an interesting choice.  But trying to find an all-male group number that works for a cast as varied as ours is not as easy as it sounds.  

Jeff Hayes, Justin Cunningham, and Darren Midkiff

Music Man – love it, hate it, or something in between?

Editor’s Note: Sounds like lots of folks have some favorite tunes from this show; seems appropriately named.

Gordon: I really like it. Although I played the mayor (non-singing role) in the show referenced above, it was fun playing a character who always had a lot to say even when he didn’t know what he was talking about, which was most of the time!

Arthur: I always liked the musical Music Man. When I was in my school choir, I really enjoyed the song 76 Trombones.

Eric: It’s a classic for a reason. I don’t like too many classic shows, but everyone likes “The Music Man”.

Justin: I like the show. Not my favorite ever. Though Marian the Librarian is a great song!

Aref: Love love love it!! Or as Arthur exclaims, “He’s a what? He’s a WHAT?!!

Putting words and choreography together

How do you mentally prepare for a song like this before you walk on stage?

Eric: Don’t panic and forget everything!

Aref: There is only one way to mentally prepare for a song like this: Lots of faith in the other six guys! 

Gordon: The two things I try to remember are (1) timing is crucial, and (2) the words must be understandable, even though they are spoken very rapidly.

Justin: FOCUS. FOCUS. FOCUS.

Arthur: Practice, practice, practice, take a shot of oxygen and have FUN. 

Practice makes perfect!

Anything else to add?

Aref: My grandfather was a traveling salesman for hardware with exclusive rights for a super popular product at the time. His territory was the entire states of Missouri, Kansas, Iowa, and Nebraska and he traveled exclusively by train, so the opening “River City, next stop!” would have totally resonated with him, though more like Kansas City, Dubuque, or Omaha.

Arthur: Since our show is about Times Square, it seems we could change the name of the train station from River City Junction to Pennsylvania Station, which is near the heart of Times Square – I know the territory. 

Editor’s Note: That’s an inside joke – come see the show to understand it!!

The Usual Suspects

You Learn

Posted on by johspo

Bethesda Little Theatre presents an original musical revue featuring songs from all the Broadway shows you’ve been wishing you could see in one night but couldn’t… until now. Come From Away, Six, Dear Evan Hansen, Chicago, Tina: The Tina Turner Musical, Company, Hadestown, Hamilton, and more. We even have some side trips to some of the wonderful music clubs Times Square has to offer. Don’t miss your chance to see numbers from some of the hottest shows on Times Square! A Night Out on Times Square, runs June 10, 11, 12 and 17, 18, 19 at the Montgomery College Cultural Arts Center. (For tickets and more information click here: blt-online.org or call 202-796-3431.)

In our blog series “Inside the Numbers” we take you backstage with the performers to discuss a sampling of the songs they’ll be presenting; today we’re going to explore how the ladies are doing with their take on “You Learn” from Jagged Little Pill featuring the songs of Grammy winner Alanis Morissette.

Tickets at blt-online.org!

To what extent was this song or Alanis Morissette in general a part of your childhood / teenage angst years?

Editor’s Note: Everyone had some teenage angst, right? Seems like Alanis Morissette didn’t make it into our cast’s teenage angst CD collection – what was in yours??

Kathleen: This song in particular was not a part of my teenage years, but I loved Alanis’ sound growing up. My favorite song was always “You Oughta Know” as I felt her pain and angst. 

Brett: I’ll be honest, I hadn’t heard this song until we started learning it for the show! Alanis was not part of my angsty listening rotation.

Marissa: I definitely listened to Alanis Morissette and knew this was her song but I don’t remember having her on repeat at any point, though I did end up learning a lot of her lyrics.

Casting the number

This song covers a lot of how we experience life (love, laugh, cry, choke, bleed) – how does it do this so effectively? Or doesn’t it?

Alicia: The choreography is where a lot of this comes through.  Lauren has done a great job of illustrating the “angsty-ness” through the dance and uses the dance to interpret the love, laugh, cry, choke, bleed. 

Lauren: I think this song really captures how it feels to be human; we’ve all experienced those emotions and you do learn. For me, this song feels more poignant after the last couple of years with the pandemic. So much life happened–and didn’t happen– and I think this song captures those feelings well. 

Marissa: I think one of the things that’s so interesting about this song musically is that laundry list of emotions / verbs are all sung the same way. That repetition really hammers home the fact that through it all – good, bad, even down to the choices you make – the one constant is that you learn from everything.

Kathleen: I feel it takes you through the highs and lows of life. It portrays the hardships yet reminds you that there is a lesson somewhere in all the chaos. 

Brett: This song has such simple lyrics, but they really do capture a lot of the beauty and pain of life. We learn from each experience we have and the music brings out the bittersweetness of that.

Kathleen, Marissa, and Lauren

How does the choreography play into the story this song is telling?

Editor’s Note: Lucky for us, we get to hear from the choreographer herself! Not only to we get the benefit of her insights here, you will get a chance to see her bring her own choreography to life in the show!

Lauren: Well, I tried to choreograph moves that show life is a group event and that the emotions the song talks about are ones that we can all relate to. You’re not alone when you feel like you’re living and learning–even when life gets hard and isn’t going the way you want it to. I hope the choreography enhances the raw emotions discussed in the song.

Marissa: Oh man. Lauren has done such a tremendous job with the choreography. She has made such fluid and beautiful sequences that the depth of the message really comes through. I just hope we can do it justice!

Alicia: The modern dance choreography that Lauren developed helps to tell the story. At times we’re dancing together and at times we’re dancing separate, but it comes together beautifully to tell the story. 

Kathleen: The choreography is set up so that not only do you hear the story telling but you feel it. It aligns with the build up and takes you on the journey. 

Brett: Lauren’s choreography is so beautiful and evocative. She’s captured the emotions behind every line with grace and subtlety.

Brett and Alicia

What’s the hardest part about learning this number?

Brett: The lyrics are repetitive but a little different every time, which can be a challenge to memorize! 

Marissa: Remembering who is singing when and which chairs to move!

Kathleen: I found the hardest part to be learning the song in parts. I’ve come to love this song and I have to stop myself from singing lines that are not assigned to me. 

Alicia: The hardest part about learning this number for me is the music.  It’s such a recognizable song – everyone knows the words and the melody so we all want to make sure we do it justice.  Nailing the harmonies and our respective solo lines is where I’m focusing as we get down to the wire.

Lauren: I think the music has been a hard part to learn for this number. This is such a well-known song so we have how we think it should sound in our head, which isn’t quite what this arrangement is calling for! Also, as the choreographer, I really hope the moves aren’t too hard to learn!

Editor’s Note: Sounds like the verdict is really that it’s the music so Lauren is off the hook!

Kathleen, Lauren, Alicia, and Marissa rehearsing with Jeff

Anything else to add?

Kathleen: I’ve enjoyed working with this team of lovely women and look forward to seeing it all come together. 

Brett: I love working on this song with these incredible women. They make it easy to play old friends, even though some of us just met a few months ago!

Marissa: The people! Such a wonderful group of strong women to make great music and dance together!!

You Could Drive a Person Crazy

Posted on by johspo

Bethesda Little Theatre presents an original musical revue featuring songs from all the Broadway shows you’ve been wishing you could see in one night but couldn’t… until now. Come From Away, Six, Dear Evan Hansen, Chicago, Tina: The Tina Turner Musical, Company, Hadestown, Hamilton, and more. We even have some side trips to some of the wonderful music clubs Times Square has to offer. Don’t miss your chance to see numbers from some of the hottest shows on Times Square! A Night Out on Times Square, our new original production running June 10, 11, 12 and 17, 18, 19 at the Montgomery College Cultural Arts Center. (For tickets and more information click here: blt-online.org or call 202-796-3431.) In our blog series “Inside the Numbers” we take you backstage with the performers to discuss a sampling of the songs they’ll be presenting; today we’re going to explore how the guys are doing with their take on “You Could Drive a Person Crazy” from Company by Stephen Sondheim.

As a song that was originally sung by women but flipped in the revival, how fun is it to sing this Andrews sisters-style song?

Aref: Hilarious. Most funny of all if folks in the audience don’t even get that it’s gender bender, IF we sing with conviction! Women drive men crazy all the time: the whole premise behind “I Love Lucy”.

Note from the editor: except now you all know because you’ve gotten a sneak peek!

Justin: I love Sondheim and The Andrews Sisters, so it’s a perfect combination. And, it is really fun to sing this with Martin and Aref.

Martin: If you’re accustomed to hearing songs a specific way, gender swapping can make learning lyrics more difficult.  But, it can also add a whole other level with different, and sometimes more provocative, interpretations.

This song is quintessential Sondheim with a lot of words that come quickly, coupled with tight harmonies that are relentless, what’s the hardest part of learning it?

Note from the editor: thankfully these guys all have previous experience with Sondheim!

Martin: The close harmonies are very difficult. When you couple that with choreography and the Andrews Sisters, it becomes challenging. But Sondheim frequently is challenging.

Aref: Zero problem for me as I performed in a production of “Company” many years ago, where Musical Director Jeff Hayes actually watched to cheer me on. In this song, I have the melody line, so I find it super easy to learn, something all sopranos take for granted. 😉 I feel sympathy for the other guys in the trio; it’s Sondheim!!

Justin: The words aren’t that hard. I sang “Putting It Together” from Sunday in the Park with George a few years back (which I have never recovered from), so this will be far easier.  For me, the hard part will be the harmonies. I’ll get it, eventually.  The other two singers and Jeff will need to be patient.

These boyfriends have a lot to say about their girlfriend, Bobbi. Does this song remind you of any previous relationships?

Justin: Oy!

Note from the editor: maybe if you get lucky, Justin will share more of his experiences after a show if you can catch him in the lobby!

Martin:  Although the song doesn’t really remind me of any of my relationships, I am similar to the main character Bobby in that I am a single person who has navigated the dating arena.  

Aref: Um, um, the song reminds me of a lot of  relationships where, um, um, I was the Bobby. I have driven my share of women crazy…when I was living my life as a straight man. (Sorry, ladies!)

Have you seen the revival? How fun is the gender swapping and does it help make the show more relevant today?

Justin: I have not seen the revival. I don’t think the gender swap makes it any more or less relevant. 

Aref: I have not seen the revival but what I think would be a really fun gender bender would be my other song in the production – the heavy testosterone song “All I Ask of You” from “Phantom.” I would be the tormented opera singer, where I seek comfort in the arms of…Laura.

Martin: My final year of college, I actually played Bobby in Company.  I have also seen the original production as well as the revival.  To be honest, I think the show works better with the lead being a male.  The songs and the message ring truer for me that way. That said, I love to gender swap songs. It gives an artist so much more material and awards them with new possibilities and limitless interpretations.

You could drive a person crazy

You could drive a person mad

First you make a person hazy

So a person could be had

– Stephen Sondheim

Anything else you’d like to add?

Aref: This song is an interesting choice for gender bender as it is so Andrews Sisters. Wouldn’t it be fun to add some boy band style choreography?

Note from the editor: we can’t give away *all* our secrets…guess you’ll have to come see for yourself if the choreographer for this number worked in any boy band moves!

Justin: It will be fun to do.  Hopefully, the blocking will not be difficult!

Audition for A Night Out on Times Square!

Posted on by johspo

Join us for A Night Out on Times Square! Bethesda Little Theatre is auditioning all voice parts for an original new musical revue featuring songs from all the Broadway shows you’ve been wishing you could see in one night but couldn’t… until now. Come From Away, Six, Dear Evan Hansen, Chicago, Tina: The Tina Turner Musical, Company, Waitress…. we’ve got them all and more. With opportunities for solos, small group numbers, and even some jazzy side trips to Birdland, you don’t want to miss your chance to shine.

Auditions will be held at Palisades Hub, 5200 Cathedral Ave NW, Washington, D.C. 20016 No reservations are required and people auditioning will be taken on a first come basis.

Proof of full COVID vaccination per CDC guidelines required at time of audition.

Audition dates: Sunday, February 20: 7 – 9 and Tuesday, February 22: 7 – 9

Audition requirements:
• Sing one song, ballad or up-tempo, that fits your voice. An accompanist will be provided. Be sure to bring music in the key you will be performing the song. No recorded tracks please.
• Be prepared to move for a simple dance combination.
• You will be asked to read a short portion from the script.
• You will be asked to complete an audition form. You may bring a resume to attach.
• You will be asked to complete a conflict calendar, so please have your conflicts available.

You must be 18 or older by the first rehearsal.