I happen to like Broadway musicals. Lets see if anyone else does, enough to watch some links.
The Ladies who Lunch by Elaine Stritch. She can’t sing, but she sure can perform.
Hi, btthegreat, I recommended a Forum change to Cafe Society.
Funny enough, when I thought of performances of Broadway songs on YouTube the very first one I thought of is actually from the very same show that your submission comes from.
This one performed by Madeline Kahn. Damn but I loved Madeline Kahn.
Madeline Kahn performing “(Not) Getting Married Today”
Moved MPSIMS --> Cafe Society.
Of all the versions of these two songs I’ve heard, these two ladies are the best. And I disagree with the statement that Stritch “can’t sing.”
And here’s Mandy Patinkin, singing another Sondheim song, *Buddy’s Blues.
*
It’s no accident that we’ve all chosen Sondheim songs. In my experience, they’re the most difficult to sing, for a soloist.
Great show – I saw the '95 revival on Broadway with Jane Krakowski and Boyd Gaines.
Oh wow, that must have been awesome for Veanne Cox’s version of “(Not) Getting Married Today.” Even Sondheim said that he was blown away by it.
They’re also the most difficult to play, as a pianist! I play auditions all the time (I make my living as an Off-Broadway music director/pianist–getting my Broadway break any time now, thankyouverymuch), and whenever someone brings in a Sondheim song, well, let’s just say it’ll make you come to Jesus real quick.
Are you guys on the Jason Robert Brown bandwagon? The Last 5 Years is STUNNING.
For an absolutely amazing use of lyrics there’s The Bride’s Lament from The Drowsy Chaperone. Basically it takes an admittedly stupid metaphor and lyric and turns it into something beautiful, tender, and with tons of emotional depth.
For sweetness and a beautiful tune, there’s More I Cannot Wish Youfrom Guys and Dolls
In a humorous vein, there’s Everyone’s a Little Bit Racist and The Internet is for Porn from Avenue Q 
I saw a production of that this year and thought it was something pretty special.
I’m all aboard the Sondheim train and think this song is particularly amazing Every Day a Little Death
But if I had to pick a show that was all killer (no filler) I’d have to plump for Ragtime. I will never get sick of that musical.
Right!?!? I’m playing for a musical theater class at a university right now, and we entered the Sondheim portion of the class. Sight-reading (well, I’d played a few of them before) 13 Sondheim songs in an afternoon is . . . not the most relaxing of experiences.
Hey, at least you’re a pianist. I teach voice, and every once in a while someone will want to sing “Being Alive” or “Giants in the Sky” and I have to somehow pull it together enough to play in their lessons without completely fucking them up.
(On the other hand, “Bring in the Clowns” is quite easy to play, but somehow still sounds impressive.)
You folks may have made a mistake responding. I am known elsewhere as the Broadway troll. I never stop!
Here’s two more for now.
Ben Vereen in Pippin singing and dancing his way to a tony nomination. Glory
Two veterans having a fine time reliving a smash. Bea Arthur and Angela Lansbury in Mame. They may be a hint rusty twenty years later but…
they sure have fun . They can milk even a corny line. http://youtu.be/xaW3YTAzkXA
“Send In The Clowns”? I’d heard (and this may just be Broadway legend instead of truth) that the reason it’s such a simple song is because it was written during tryouts to fit Glynis Johns’ limited vocal range. Of course, because it’s Sondheim, it’s a GOOD song for all that it’s so simple.
Patina Miller. Also in Pippin:
That would be the one.
(I’ve been up since 3:30am.)
Agreed; it’s so lovely. Interestingly enough, since you also liked L5Y, Jason Robert Brown actually auditioned to be the composer of Ragtime, back when whoever held the rights was shopping around for someone to musicalize it. He (obviously) didn’t get the job, but it’s interesting to hear his take on it. It’s called “Something Like Home”, and you can find it if you Google around a bit.
[QUOTE=Eonwe]
Right!?!? I’m playing for a musical theater class at a university right now, and we entered the Sondheim portion of the class. Sight-reading (well, I’d played a few of them before) 13 Sondheim songs in an afternoon is . . . not the most relaxing of experiences.
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You have my sincere sympathy, my piano-playing brother.
[QUOTE=fachverwirrt]
Hey, at least you’re a pianist. I teach voice, and every once in a while someone will want to sing “Being Alive” or “Giants in the Sky” and I have to somehow pull it together enough to play in their lessons without completely fucking them up.
[/QUOTE]
Ugh. That’s when you say, “How about some nice Rodgers and Hammerstein, eh?”
[QUOTE=jayjay]
“Send In The Clowns”? I’d heard (and this may just be Broadway legend instead of truth) that the reason it’s such a simple song is because it was written during tryouts to fit Glynis Johns’ limited vocal range.
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Wikipedia, for what it’s worth, supports this theory. The interesting thing about that whole show, A Little Night Music, is that almost every song is a waltz! And the ones that aren’t are in 12/8, which might as well be a waltz to the everyday listener. I’m not sure I’ve ever heard a specific reason why he did that, but I suppose it’s to lend the show a chamber-y, whimsical feel…