Enchanted Evenings:The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber by Block, Geoffrey (good story books to read .TXT) 📕

Ballad of Sweeney Todd)

No. 29: FINAL SCENE (PART I) (TODD, MRS. LOVETT) (Vocal Score, p. 351)

Beggar Woman’s music for “Lucy” and underscoring (Epiphany)

“No, no, not lied at all” (Poor Thing) together with “Lucy… I’ve come home again” (Epiphany)

“Mrs. Lovett, you’re a bloody wonder” (A Little Priest)

“The history of the world, my pet” (A Little Priest)

“By the sea Mister Todd” [fragment] (By the Sea)

“And life is for the alive, my dear” (A Little Priest) [Sweeney throws Mrs. Lovett into the oven]

No. 29A: FINAL SCENE (PART II) (TODD) (Vocal Score, p. 359)

“There was a barber and his wife” (Poor Thing) [Tobias slits Sweeney’s throat]

No. 29B: THE BALLAD OF SWEENEY TODD (COMPANY) (Vocal Score, p. 362)

“Attend the tale of Sweeney Todd” (The Ballad of Sweeney Todd)

Appendix T: Sunday in the Park with George (1984)

Musical Numbers

Act I

“Sunday in the Park with George” (Dot)

“No Life” (Jules, Yvonne)

“Color and Light” (Dot, George)

“Gossip” (Celeste #1, Celeste #2, Boatman, Nurse, Old Lady, Jules Yvonne)

“The Day Off” (George, Nurse, Franz, Frieda, Boatman, Soldier, Celeste #1, Celeste #2, Yvonne, Louise, Jules, Louis)

“Everybody Loves Louis” (Dot)

“Finishing the Hat” (George)

“We Do Not Belong Together” (Dot, George)

“Beautiful” (Old Lady, George)

“Sunday” (Company)

Act II

“It’s Hot Up Here” (Company)

“Chromolume #7” (George, Marie)

“Putting It Together” (George, Company)

“Children and Art” (Marie)

“Lesson #8” (George)

“Move On” (George, Dot)

“Sunday” (Company)

Appendix U: The Phantom of the Opera (1988)

Contents

Prologue

The stage of the Paris Opéra, 1905

Auctioner, Raoul, and Company

OVERTURE

Act I, Paris 1861

Scene 1:

The Dress Rehearsal of Hannibal

“Think of Me” (Carlotta, Christine, and Raoul)

Scene 2:

After the Gala

“Angel of Music” (Christine and Meg)

Scene 3:

Christine’s Dressing Room

“Little Lotte … / The Mirror … (Angel of Music)” (Raoul, Christine, and Phantom)

Scene 4:

The Labyrinth Underground

“The Phantom of the Opera” (Phantom and Christine)

Scene 5:

Beyond the Lake

“The Music of the Night” (Phantom)

Scene 6:

Beyond the Lake, the Next Morning

“I Remember …/ Stranger Than You Dreamt It …” (Christine and Phantom)

Scene 7:

Backstage

“Magical Lasso” (Buquet, Meg, Madame Giry, and Ballet Girls)

Scene 8:

The Manager’s Office

“Notes …/ Prima Donna” (Firmin, André, Raoul, Carlotta, Giry, Meg, and Phantom)

Scene 9:

A Performance of Il Muto

“Poor Fool, He Makes Me Laugh” (Carlotta and Company)

Scene 10:

The Roof of the Opera House

“Why Have You Brought Me Here …/ Raoul, I’ve Been There” (Raoul and Christine)

“All I Ask of You” (Raoul and Christine)

“All I Ask of You (Reprise) (Phantom)

Act II, Six Months Later

Scene 1:

The Staircase of the Opera House, New Year’s Eve”

“Masquerade/Why So Silent” (Company)

Scene 2:

Backstage (Raoul and Giry)

Scene 3:

The Manager’s Office

“Notes …/ Twisted Every Way … (André, Firmin, Carlotta, Piangi, Raoul, Christine, Giry, and Phantom)

Scene 4:

A Rehearsal for Don Juan Triumphant (Christine, Piani, Ryer, Carlotta, Giry, and Company)

Scene 5:

A Graveyard in Perros

“Wishing You Were Somehow Here Again” (Christine)

“Wandering Child …/ Bravo, Monsieur …” (Phantom, Christine, and Raoul)

Scene 6:

Before the Première (Raoul, André, Firmin, Firemen, and Phantom)

Scene 7:

Don Juan Triumphant (Carlotta, Pianig, Passarino, and Company)

“The Point of No Return” (Phantom and Christine)

Scene 8:

The Labyrinth Underground

“Down Once More …/ Track Down This Murderer … (Company)

Scene 9:

Beyond the Lake (Christine, Phantom, Raoul, and Company)

Outline of The Phantom of the Opera,

Act I, Scenes 5 and 6

Scene 5: Beyond the lake

I have brought you (Phantom)

Opening verse to both “Music in the Night” and “Point of No Return,” first heard as underscoring (under the words “Little Lotte”) when Raoul first meets Christine in her dressing room). The melody is based on a whole-tone scale: E F (ascending) D C (descending)

Reused in Don Juan Triumphant (“Don Juan Triumphs once again!”) as the verse for the song “The Point of No Return.”

“The Music of the Night” (complete tune sung by the Phantom)

Scene 6: The next morning

The Phantom at his organ (instrumental only)

Reused in Don Juan Triumphant (“Serve the meal and serve the maid!”) (Don Juan C)

“Masquerade” (papier-mâché music box)

The beginning of a tune that was heard once before when we saw the music box up for auction in the Prologue to act I. The complete tune opens act II.

I remember (Christine) (Don Juan B)

E-F-B (ascending) F-E (descending) F-B (ascending); Note the prominent use of the tritone between F and B.

Reused in Don Juan Triumphant (“Here the sire may serve the dam”)

“Angel of Music” (Christine)

Second phrase of the original song, beginning with the words “Father once spoke of an angel.” The complete song was heard in Christine’s dressing room.

Damn you! (Phantom)

Curse you! (Phantom) Don Juan A

Beginning with the words “Curse you!” the orchestral underscoring of this passage consists of a melodic variant derived from the whole-tone scale later prominent in the phrase “Those Who Tangle with Don Juan” (the rehearsal scene in act II, scene 4) and reused in Don Juan Triumphant (“Passarino, faithful friend”)

Damn you … Curse you … (Phantom)

Elongation of the first four notes of “Music of the Night” (chorus)

Stranger than you dreamt it—(Phantom)

The material is reused by the Phantom directly before the performance of Don Juan Triumphant, but not in the opera itself

Yet in his eyes (Orchestra)

The orchestra and only the orchestra presents this dramatically important melody for the first time. John Snelson calls this melody the “Sympathy” theme and Jessica Sternfeld labels it the “Yet in his eyes” phrase. It will return four times, the last three of which are sung in three different conversations: Christine to Raoul on the roof (“Yet in his eyes”), Raoul to Christine shortly before Don Juan Triumphant (“You said yourself he was nothing but a man”), and Christine to Phantom in his lair during the final scene (“This haunted face holds no horror for me now”).

Come we must return (Phantom) Recitative

Outline of The Phantom of the Opera Act II, Scene 7

Scene 7: “Don Juan Triumphant”

Thematic Material in Don Juan Triumphant

Don Juan A    Those who tangle with Don Juan motive

Don Juan B    I remember motive

Don Juan C    The Phantom at his organ

Don Juan D    I have brought you motive

Don Juan E    Gypsy motive (Furtively, we’ll scoff and quaff)

Don Juan F    No thoughts within her head

Orchestra (Introduction)

Turbulent variation on the Those who tangle with Don Juan motive (Don Juan A) followed by I remember (Don Juan B)

CHORUS

Here the sire may