Inside ANYTHING GOES background and analysis by Scott Miller Anything Goes is widely considered one of the great classics of the American musical theatre, and yet most people seeing it – and working on it – don’t really understand what it is.
Inside BARE background and analysis by Scott Miller bare is difficult to pin down. In form, it’s closer to an opera than a musical, but it’s not exactly either. It’s clearly the artistic child of Rent, but it’s also very much its own thing.
Inside GREASE background and analysis by Scott Miller The year is 1959, a pivotal moment in American cultural history, when rock and roll was giving birth to the Sexual Revolution and everything in America culture was about to be turned upside down.
Anyone Can Whistle, an absurdist social satire about insanity and conformity (among a dozen other things) is probably the bravest show Stephen Sondheim wrote, at least until Assassins. It was also a spectacular flop when it first hit Broadway in 1964, running only nine performances before closing.
To that end, this score is a study in the 21st century, postmodern American musical, dominated by songs about big emotions, but far more sophisticated than is immediately apparent. Its easy-going style and casual-sounding lyrics give all the songs a sense of simplicity and spontaneity, but there’s a lot going on inside.
Inside EVITA background and analysis by Scott Miller Harold Prince, director of masterpieces like Cabaret, Company, Follies, and several more, is one of the true geniuses of the American musical, as responsible for its dramatic evolution in the second half of the last century as anyone.
Also, the melody of her big love song, “Inside Your Heart” is foreshadowed as the accompaniment to the second verse of Meredith’s lullaby to Edgar, “A Home for You,” and another part of the “Inside Your Heart” melody shows up as a short figure between phrases in the same song.
Inside HEDWIG AND THE ANGRY INCH background and analysis by Scott Miller She makes her entrance like a star dying to be born – goose-stepping through the audience with the arrogant aplomb of Marlene Dietrich and Jim Morrison; decked out like a trailer-park tart’s idea of a glam-rock fox, in stone-washed denim, an Aryan-yellow, blow-dried mane and red-glitter lipstick; accompanied by the ...
Inside CRY-BABY background and analysis by Scott Miller All my movies are very moral. The underdog always wins. The bitter people are punished, and people who are happy with themselves win. They’re all about wars between two groups of people, usually involving fashion, which signifies morals.