The Best Lesser-Known Broadway Songs from the Best (and Worst) Lesser-Known Broadway Shows

I'm a huge fan of Broadway shows, and if you ever drop in on me listening to music, there's a pretty good chance it'll be show tunes. Because of that, I sometimes get tired of listening to the same classic songs from well-known shows over and over. But there are some terrific songs from shows that most people have never heard of, possibly because they were terrible shows that happened to have a good score (or at least a good song or two), possibly because they're dated and have fallen out of favor, or possibly because they just didn't have that "something" that a show needs to be a hit. But whatever the reason a show didn't make it, sometimes a song or two needs to be salvaged and loved. Here are a few Broadway numbers that you probably don't know, but that you should.

"Little Tin Box" from Fiorello (by Bock and Harnick)

The story of New York City mayor Fiorello LaGuardia won both the Pulitzer Prize for Drama and the Tony Award for Best Musical in 1960. In this number, a group of politicians imagine being grilled by a judge on the source of their income, one claiming he simply gave up smoking and saved his cigarette money to buy a yacht, another saying he turned in bottles for the nickel deposit to pay for his Rolls Royce, all saving up their pennies "in a little tin box." Other memorable numbers from the show: "Politics and Poker" and "I Love a Cop."

"What You Don't Know about Women" from City of Angels

One of my favorite musicals, City of Angels is the story of a writer whose characters come to life for him - characters based on people in his real life, as well as his own alter-ego, a hard-nosed, wise-cracking gumshoe. The film noir style is emphasized by having the real-life characters and settings in color and the book/film characters and sets in black and white. In "What You Don't Know About Women," the writer's long-suffering wife and his alter-ego's equally long-suffering secretary sing a duet lamenting their men's obliviousness. Other songs from this show worth listening to include "Double Talk," "Everybody's Gotta Be Somewhere," "You're Nothing Without Me," "The Tennis Song," and "Funny."

"The Gentleman is a Dope" from Allegro (Rodgers and Hammerstein)

This surprisingly terrible R&H show did run on Broadway for nine months, but was never a critical success . The overblown book tells the complete (and I mean COMPLETE) life story of a man named Joseph Taylor, from the day of his birth, through high school, college, getting married, starting a medical practice, and the eventual failure of his marriage and his return to his home town. It was just about as boring as it sounds, aided by ongoing commentary from a Greek chorus. Despite the horrible book, there were a few good songs, including this commentary on Joe by his nurse, Emily, but also "You Are Never Away" and "So Far."

"The Story Goes On" from Baby (Maltby and Shire)

This lovely musical is the story of how three couples in very different stages of life react to discovering that they're about to have a baby. It contains a number of sweet, moving, and funny songs that are often included in cabaret acts, since many of them tell a complete story and hold up well outside the context of the show. Other notable songs from the show include "I Want It All," "What Could Be Better?" and "Fatherhood Blues."

"Repent" from On the Twentieth Century (Coleman, Comden and Green)

This funny little musical takes place entirely on a train (the titular "Twentieth Century"), where a down-on-his-luck producer is chasing his former protege (and current ex-wife) in the hopes of riding her coattails back to success. Much slapstick hilarity ensues, including this song sung by an heiress/religious fanatic/escaped mental patient played in the original Broadway production by comedic legend Imogene Coca. The entire score is worth a listen, but don't miss "Veronique," "I've Got It All," "Our Private World," "Five Zeroes," "Life is Like a Train," and "She's a Nut" (which is well worth watching as well as listening to).

"Stars and the Moon" from Songs for a New World (Brown)

This musical is really a song cycle rather than a book musical, with the songs all focusing on moments of decision, and a small cast playing multiple roles but each still having a distinct character arc. Both the complexity of the music and the completeness of each song make them excellent choices for cabaret performances, which is where Brown's music has found much of its following, rather than through productions of the shows themselves. Other great listens from this production include "I'd Give It All for You," "King of the World" (click on the link from Brown's own impressive performance of that one), and "I'm Not Afraid."

"I Feel So Much Spring" from A New Brain (Finn)

William Finn's musicals tend to be somewhat autobiographical, and this one is no exception, having been written after he got out of the hospital where he was treated for a complicated and life-threatening malformation of blood vessels in his brain. Great songs from the show include powerful solos, trio and quartet work, and solos with complicated backup harmonies, some of the best being "Sailing," "And They're Off," and "Time and Music."

"Who Will Love Me as I Am?" from Sideshow (Krieger and Russell)

A Broadway musical about a pair of Siamese twins in a freak show in the 1930s sounds like a bizarre idea, right? And to a lot of folks, it was, but it made the careers of the two actresses playing the twins, Alice Ripley and Emily Skinner. Although neither the original production nor the revival ran for all that long, it's a quirky little show that does get produced locally on occasion (and is a wonderful performance opportunity for pairs of sisters with similar looks and voices). The best songs from the show include "The Devil You Know," "We Share Everything," and "You Should Be Loved."

"Bluer Than You" from A...My Name is Alice (Evans and Holtzmann)

This all-female revue is a collection of wonderful solos and ensemble numbers for and about women from all walks of life. Sometimes funny, sometimes poignant, sometimes both, there are songs that every woman will be able to identify with. Other great numbers from this show include "All Girl Band," "Trash," "The Portrait," and "I Sure Like the Boys."

Other songs worth listening to:
"Putting It Together" from Sunday in the Park with George
"Dressed in Your Pyjamas in the Grand Salon" from Titanic: The Musical
"Oh the Thinks You Can Think" from Seussical
"Lost in the Wilderness" from Children of Eden
"Losing My Mind" from Follies
"Astonishing" from Little Women
"Not a Day Goes By" from Merrily We Roll Along
"Lily's Eyes" from The Secret Garden
"Love Who You Love" from A Man of No Importance
"I'm Still Hurting" from The Last Five Years
"Time Heals Everything" from Mack and Mabel
"The Ballad of Booth" from Assassins
"It's All Happening" from Bring It On
"Someone Like You" from Jekyll and Hyde
"I Will Be Loved Tonight" from I Love You, You're Perfect, Now Change
"A Quiet Thing" from Flora the Red Menace
"The Apple Doesn't Fall Very Far from the Tree" from The Rink
"Watch What Happens" from Newsies
"When You're an Addams" from The Addams Family
"Home" from Phantom (no, not that one, the one by Maury Yeston)

Happy listening!

You Don't Really Hate Broadway Music, You Just Think You Do

The other day I put together a list of great Broadway songs that kids will enjoy, but as I was putting it together, I had to eliminate a lot of great songs from the list because their subject matter was just a little too mature or complicated for young kids, or because they were too "ballad-y" or slow. But there are some terrific songs out there that adults who *think* they don't like Broadway music will be surprised to find that they enjoy. Most of these are from more contemporary musicals, but there are some from the earlier "golden era" of American musicals.

"Anthem" from Chess (Andersson and Ulvaeus)

A musical about chess, written by the guys from ABBA, seriously? Yes, seriously. In fact, if you lived through the 80s and listened to the radio ever, you already know a song from this show: "One Night in Bangkok." Not an especially typical song from the show, but certainly indicative of its varied, more-pop-than-legit-Broadway style. And yet, the score includes some gorgeous, more traditional ballads, including "Anthem," a moving and patriotic "love song" to Mother Russia. Other notable songs from the show include "Someone Else's Story," "A Model of Decorum and Tranquility" (a fascinatingly intricate quartet), "Nobody's Side," "Heaven Help My Heart," and "I Know Him So Well."

"The Story Goes On" from Baby (Maltby and Shire)

The musical "Baby" is the story of three couples who find themselves unexpectedly expecting: a young, unmarried pair of college students; a couple who has struggled with infertility; and an older pair of empty-nesters with completely different feelings about the possibility of having another child. This particular number is sung by the youngest mother-to-be as she thinks about how having a child connects her to her own mother and grandmother, and all the mothers before her. If this song doesn't bring a tear to your eye, you have a hard, hard heart. Other great songs from this show: "I Want It All," "What Could Be Better," "I Chose Right," and "Two People in Love."

"I Feel So Much Spring" from A New Brain (William Finn)

Yet another unexpected theme for a musical: a near-death experience from a blood vessel problem in the composer's brain. But as he comes to grip with his fear of dying, he learns to look at his life in a new way and discovers a new appreciation for those he loves. Songs range from funny to poignant, and include "I'd Rather be Sailing," "Time and Music," and "They're Off."

"I Can Do Better Than That" from The Last Five Years (Jason Robert Brown)

The most interesting conceit of this musical is that the two main characters follow opposite timelines, with Cathy reliving the relationship beginning with its breakup and going backwards until their meeting, and Jamie starting when the meet and ending at the end of the relationship. The show itself is not to everyone's taste, and is probably not the best introduction to musical theatre for a non-fan, but the songs stand alone as stories beautifully, and JRB's melodies and arrangements are catchy and memorable. Other great songs from this score include "Still Hurting," "Climbing Uphill" (especially hilarious to anyone who's ever auditioned for a show, but still pretty funny if you haven't), "Shiksa Goddess," and "The Next Ten Minutes."

"The Streets of Dublin" from A Man of No Importance (Ahrens and Flaherty)

I dare you to not sing along with this charming love song to a city (you'll do the accent, too - you know you will). It'll make you want to book the next plane to Ireland. I particularly enjoy the orchestration, with guitar, tin whistle, and fiddle giving it a true Irish pub feel. Other wonderful - albeit quite different - songs from this show include "Love Who You Love," "Going Up," and "Books."

"Don't Marry Me" from Flower Drum Song (Rodgers and Hammerstein)

R&H's 1958 musical didn't do badly on Broadway, but its Asian stereotypes have not aged well, and a 2002 Broadway revival with a completely rewritten book (but mostly unchanged score) lasted only six months. There are a number of fun songs from the show, however, including "I Enjoy Being a Girl," "A Hundred Million Miracles," and "Love, Look Away."

"Expressing Yourself" from Billy Elliot (Lee Hall and Elton John)

Continuing the theme of "unexpected plots," this musical about a young boy from a mining town in Northern England who wants to be a ballet dancer contains very non-traditional musical styles, although this particular piece has a very vaudeville feel. Other great songs include "Electricity," "Once We Were Kings," and "Deep Into the Ground."

"This is the Moment" from Jekyll and Hyde (Wildhorn, Bricusse, and Cuden)

Not surprisingly, this score includes a number of powerful emotional songs for the title character - well, characters, actually. The big eleven o'clock number is sung by the lead actor as he transforms back and forth between his two personas (David Hasselhoff, of all people, does a rather impressive performance of this number), but I find this earlier song from Dr. Jekyll as he triumphantly prepares to take his formula for the first time to be as impressive a number. Other numbers worth listening to from this show include "Facade," "Someone Like You," "No One Knows Who I Am," and "In His Eyes."

"Lonesome Polecat" from Seven Brides for Seven Brothers (Mercer, Kasha, Hirschhorn, and de Paul)

A funny song to listen to, this number is even better when the marvelous prop choreography is included, as six of the seven brothers mourn their singleness while cutting logs, incorporating axes, saws, and stumps into the slow and graceful dance. But my favorite part is the hilarious contrast of the soft, almost lullaby-like melody and balletic dance with lyrics like "can't make no vows to a herd of cows" and "a man can't sleep when he sleeps with sheep." Other delightful numbers from this show (most of which are even better when watching the choreography) include "Bless Your Beautiful Hide," "Goin' Courtin'," "Sobbin' Women," and "Wonderful Day."

"Take Me or Leave Me" from Rent (Jonathan Larson)

Disclaimer: I don't like this show. (Sorry. Please don't hurt me.) But boy are there some terrific songs in this score, and this is one of several that I can't help singing along with. Other singable songs include "Seasons of Love," "One Song Glory," "Light My Candle," "What You Own," and "I'll Cover You."

"Two Nobodies in New York" from [title of show] (Jeff Bowen)

A musical about writing a musical is an interesting concept even for non-musical fans, and this show pokes fun at itself in a way that's just as entertaining for non-theatre buffs as it is for musical fans. With only four characters, the songs are simple, with no huge production numbers, but rely on clever lyrics and rhymes and realistic storytelling. Other fun songs include "What Kind of Girl Is She?," "Nine People's Favorite Thing," and "Filling Out the Form."

"You Can't Stop the Beat" from Hairspray (Shaiman and Wittman)

This peppy, upbeat 60s-inspired score is full of fabulous songs - you'll feel like you know every number, even if you've never heard them before. Other great songs you'll find yourself singing along to include "Good Morning, Baltimore," "Welcome to the 60s," "Mama, I'm a Big Girl Now," "I Can Hear the Bells," "Big, Blonde, and Beautiful," and "Without Love."

"Let It Go" from The Full Monty (David Yazbek)

A bunch of unemployed steelworkers decide to take up stripping to help meet their bills. At times funny and at times poignant and despairing, this musical is surprisingly deep for its surface plot. Other great songs from the score include "Man," "Big Black Man," and the sweetly haunting "You Walk with Me."

"Big Bright Beautiful World" from Shrek, the Musical (Tesori and Lindsay-Abair)

Capturing the same irreverent humor as the animated film on which it was based, this song sums up the whole style of the musical as young Shrek's parents unceremoniously toss him out of the house and into the "big, bright beautiful world." Other great songs include "I Know It's Today," "Travel Song," "I Think I Got You Beat," and "The Ballad of Farquaad."


Other great songs and shows to check out:
"Always Look on the Bright Side of Life" from Spamalot (Eric Idle) - also "I am Not Dead Yet," "The Song That Goes Like This," ""Find Your Grail," and "You Won't Succeed on Broadway."
"We Can Do It" from The Producers (Mel Brooks) - also "I Wanna Be a Producer," "If You've Got It, Flaunt It," "Keep It Gay," and "Springtime for Hitler."
"Not for the Life of Me" from Thoroughly Modern Millie (Tesori and Scanlan) - also "The Speed Test," "They Don't Know," "Forget About the Boy," and "Gimme Gimme."
"What is This Feeling" from Wicked (Stephen Schwartz) - also "The Wizard and I," "Dancing Through Life," "Popular," "One Short Day," "For Good," and of course, "Defying Gravity."
"Mine" from On The Twentieth Century (Comden and Green) - also "Never," "Repent," "I've Got It All, " "Veronique," and "Five Zeros."
"Make Them Hear You" from Ragtime (Ahrens and Flaherty) - also "Prologue," "The Crime of the Century," "New Music," "What a Game," "Till We Reach That Day," "Your Daddy's Son," and "On the Wheels of a Dream."
"You're Nothing Without Me" from City of Angels (Coleman and Zippel) - also "The Tennis Song," "What You Don't Know About Women," "Everybody's Gotta Be Somewhere," "Ya Gotta Look Out for Yourself," and "Funny."

Broadway Music for Kids

OK, I've covered pop music for kids and classical music for kids, so no-one who knows me should be surprised in the least that I'm following it up with the best Broadway music for kids. There are some marvelous shows out there that are specifically geared for younger audiences (Honk!; A Year with Frog and Toad; You're a Good Man, Charlie Brown; Matilda) come to mind. But even aside from those shows, there are some terrific songs from non-kid shows that can serve as wonderful introductions to the huge genre that is show tunes.

I'll start my list with some classics that you, the parent, may already know - you'll see plenty of Rodgers and Hammerstein on this list, as well as Lerner and Lowe and Kander and Ebb, and some names you may not recognize unless you're a theatre buff. (Please note that I have avoided Disney shows, mainly because your kids probably already know 90% of the music from their shows.) But I'll follow it up with some more contemporary composers, plus some terrific songs from shows that were...well, not so terrific.

Classics from the Golden Age of Theatre

"The Stepsisters' Lament" from Cinderella (Rodgers and Hammerstein)

Any number from this show is a particularly good introduction to theatre for a number of reasons: 1) the original 1957 television production is commercially available; 2) kids are already familiar with the story; 3) there is plenty of broad comedy that even the youngest kids will enjoy; and 4) the colorful, fantastical sets and costumes are a treat for the eyes. "The Stepsisters' Lament", in which Cinderella's stepsisters pout that the prince is paying attention to another girl instead of them, wondering "Why would a fella want a girl like her, a girl who's merely lovely? Why can't a fella ever once prefer a girl who's merely me?", is a particularly good choice because it's funny, singable, and short. Other good kids' songs from this show include "In My Own Little Corner", "Impossible", "Ten Minutes Ago," and "The Prince is Giving a Ball".

"The Brotherhood of Man" from How to Succeed in Business Without Really Trying (Frank Loesser)

The story of a young man trying to quickly climb the business ladder in the early 1950s, the show itself is somewhat dated ("Cinderella, Darling", a song in which the secretaries discuss the importance of marrying the boss, was cut from the 1995 revival), many numbers from the score have held up well, and this jazzy, upbeat number is great fun to sing along to. Other songs from the score that kids might enjoy include "Coffee Break," "Been a Long Day," Happy to Keep His Dinner Warm," and "I Believe in You".

"I Cain't Say No" from Oklahoma (Rodgers and Hammerstein)

Classic Rodgers and Hammerstein, half the fun of this particular number is the delightful accent ("s'posin' that he says that yer sweeter'n cream an' he's gotta have cream er die"), and the other half of the fun is the delightful melody. The show itself has some dark and mature themes (shotgun weddings, stalking, murder), but it balances them with many fun and upbeat numbers, including "The Surrey with the Fringe on Top," "Kansas City", "Many a New Day," and "All Er Nuthin'".

"Shy" from Once Upon a Mattress (Mary Rodgers)

This whimsical retelling of the story of the princess and the pea was penned by Mary Rodgers, daughter of Richard Rodgers and an accomplished composer and children's author in her own right. The hilarity of this number is that Princess Winnifred (aka "Fred"), who has just swum the moat to meet the prince because she was too impatient to wait for the drawbridge, is anything but "shy". Carol Burnett originated the role on Broadway, and there have been multiple revivals and television versions starring Sarah Jessica Parker, Tracey Ullman, and others as Winnifred. Other delightful numbers in the show include "Sensitivity," "The Swamps of Home," and "Happily Ever After."

"Do-Re-Mi" from The Sound of Music (Rodgers and Hammerstein)

This one is so obvious that I almost didn't include it in the list. The Sound of Music is practically a primer in musical theatre. It's a great introduction because the movie version is so well done, and it's a staple in community theatre so you can easily find an affordable live production nearby just about any time. It also has an interesting historical setting, so can serve as a kickoff for a discussion of what it must have been like living under the fear of Nazi invasion. The entire score is wonderful numbers, but particular standouts for kids include "My Favorite Things," "Sixteen Going on Seventeen," "The Lonely Goatherd," and "So Long, Farewell."

"Tevye's Dream" from Fiddler on the Roof (Bock and Harnick)

Another musical with a great historical context, Fiddler on the Roof is the story of a devout Jewish milkman living in a small Russian village in 1905. Tevye, his wife, and his five daughters struggle with balancing their religious and cultural traditions with the "new world" that keeps encroaching on them. Tevye arranges a marriage for his eldest daughter, but she talks him into breaking the agreement so that she can marry for love. Tevye, fearing his wife's wrath, pretends to have a dream in which he receives a sign that the arranged marriage will be a terrible disaster, and that the love match will be blessed. The score is a marvelous blend of sweet and poignant songs ("Sabbath Prayer," "Far from the Home I Love," "Chaveleh," "Anatevka"), and funny and upbeat ones ("Miracle of Miracles," "If I Were a Rich Man," "Now I Have Everything," "Do You Love Me?").

"Fugue for Tinhorns" from Guys and Dolls (Frank Loesser)

Better known by most people as "I Got the Horse Right Here" or "that horse racing song", "Fugue for Tinhorns" introduces us to the world of Guys and Dolls with three gamblers proclaiming the relative merits of the horses they are betting on. With funny lyrics ("For Paul Revere I'll bite, I hear his foot's all right - of course, it all depends if it rained last night" and "I go for Valentine, 'cause on the morning line, the guy has got him figured at five to nine"), cleverly intertwined vocal lines, and colorful accents, it's no wonder that this number is usually performed with little to no choreography - it doesn't need it! The score is full of catchy tunes, and kids will especially enjoy "A Bushel and a Peck," "Adelaide's Lament," "Take Back Your Mink," "Marry the Man Today," and of course, "Sit Down, You're Rockin' the Boat".

Other great numbers to check out:
"Anything You Can Do" from Annie Get Your Gun (Irving Berlin) - also "Doin' What Comes Natur'lly," "You Can't Get a Man with a Gun," "There's No Business Like Show Business," "Who Do You Love, I Hope", and "I Got the Sun in the Mornin'".
"I Won't Grow Up" from Peter Pan (Charlap, Styne, Leigh, Comden and Green) - also "I Gotta Crow," "I'm Flying," and "Hook's Tango".
"I Don't Need Anything But You" from Annie (Strouse and Charnin) - also "It's the Hard Knock Life," "I Think I'm Gonna Like It Here," "Easy Street," "You're Never Fully Dressed Without a Smile," and "NYC".
"Getting to Know You" from The King and I (Rodgers and Hammerstein) - also "I Whistle a Happy Tune," "March of the Royal Siamese Children," "A Puzzlement," "Shall I Tell You What I Think of You?", and "The Small House of Uncle Thomas".
"There Once Was a Man" from The Pajama Game (Adler and Ross) - also "Racing with the Clock," "Once a Year Day," "Steam Heat," "Think of the Time I Save," and "7-1/2 Cents".
"I am the Very Model of a Modern Major-General" from The Pirates of Penzance (Gilbert and Sullivan) - also "Climbing Over Rocky Mountain," "When the Foeman Bares His Steel," and "With Catlike Tread".

Contemporary/Lesser Known Songs

"What a Remarkable Age" from Titanic (Maury Yeston)

Yet another interesting historical setting, in this number the upper-class passengers acknowledge how privileged they are to live in an age of technological advancements, not only the ship they are sailing on, but things like cellophane and the parachute - and alternating with them are the ship's servers, acknowledging who privileged they are to be serving their wealthy "clientele" so worthily and so well. Many people think of this as a "dark" musical, but I find it a fascinating study of the various classes, as well as how people react to their imminent deaths (many with surprising nobility and self-sacrifice). Other notable songs include "In Every Age," "Dressed in Your Pyjamas in the Grand Salon," "Lady's Maid," and "Doing the Latest Rag."

"Twenty Million People" from My Favorite Year (Ahrens and Flaherty) -

Based on the 1982 film of the same name, which starred Peter O'Toole as drunken, Erroll Flynn-esque superstar Allan Swann (played by Tim Curry in the musical) and Mark Linn-Baker as Benjy Stone, a young writer assigned to keep Swann sober and out of trouble until his appearance on "The King Kaiser Comedy Cavalcade" (similar to Sid Caesar's "Your Show of Shows"), this musical offers the audience a glimpse of the backstage chaos that goes into creating a variety show. "Twenty Million People" pretty much sums up the whole plot, with the star throwing a tantrum (caution: he does repeatedly exclaim, "This is crap!" during this song), the writers frantically rewriting material and making sure the actors all have the current script, costumers and makeup artists making last-second touch-ups, actors having stage fright, and the audience sitting down by their television sets, completely unaware of the insanity that is happening. The show involves a great deal of physical and visual comedy which doesn't always translate into recordings, but other fun songs from the show include "Funny/The Duck Joke," and "Professional Showbizness Comedy".

"On the Steps of the Palace" from Into the Woods (Stephen Sondheim) - Prologue

Another fairytale adaptation, this time a darker look at multiple tales, including Cinderella, Jack and the Beanstalk, and Rapunzel, Sondheim's score is complicated but clever, and although extremely difficult to sing in many cases, it's fascinating to listen to. In this particular song, Cinderella explains her dilemma of whether or not to allow herself to be caught by the prince, in the end admitting, "I know what my decision is, which is not to decide. I'll just leave him a clue - for example, a shoe - and then see what he'll do..." The first act of the show is lighter in tone than the second, and can stand on its own - in fact, the "Junior" version of the show is merely the first act, with some simplified music - but the second act introduces some complications, finally ending with all the characters having gotten their wishes (for good or for ill), and yet ending exactly where we began, with Cinderella murmuring once again, "I wish..." Other songs which are interesting to listen to (some may be less interesting or possibly inappropriate for younger children) include "Prologue," "I Know Things Now," "He's a Very Nice Prince," "It Takes Two," "Agony," "No One is Alone," and "Witch's Rap."

"Here I Am" from Dirty Rotten Scoundrels (David Yazbek)

Based on the hilarious 1988 film starring Michael Caine and Steve Martin as a pair of con men attempting to fleece wealthy women (and - SPOILER! - getting fleeced themselves by one of their marks, played by Glenne Headley), the 2004 musical starred John Lithgow, Norbert Leo Butz, and Sherie Renee Scott. In this charming number, the "American soap queen" arrives at a tropical destination, bubbling with exuberance at the adventures before her. The plot involves seduction, double-crosses, and a good amount of sexual innuendo, so is not especially appropriate for young children, but there are still a few songs that are fun even out of context, including: "Chimp in a Suit" (in which a character emphasizes that clothes don't make the man) and "Like Zis/Like Zat".

"The Sad Tale of the Beauxhommes" from Once On This Island (Ahrens and Flaherty)

A musical which deserves to be much more well-known than it is, "OOTI" (as theatre folk often refer to it) tells the tale of the conflict between the poor natives and the wealthy mixed-race "Beauxhommes" on an island in the French Antilles, and how they are brought together by the love of a native girl for an injured Beauxhomme, all supervised by the gods of love, water, the earth, and death. The delightful score by the composers of Ragtime. Seussical, A Man of No Importance, Lucky Stiff, and Rocky (and who also composed and performed a lot of songs for Schoolhouse Rock) includes many pretty and catchy tunes, including "We Dance," "One Small Girl," "Wating for Life," "Mama Will Provide," "Some Say," and "Why We Tell the Story."

"A Trip to the Library" from She Loves Me (Bock and Harnick)

Based on the same Hungarian play that inspired the Jimmy Stewart film "The Shop Around the Corner", Judy Garland's musical film "In the Good Old Summertime", and the Tom Hanks and Meg Ryan film "You've Got Mail", She Loves Me is the story of two store employees that can't stand each other but strike up a friendship via correspondence (not knowing each other's real identity), and eventually fall in love. This funny and charming number is sung by one of the other store employees, who has just been dumped by her womanizing boyfriend (yet another employee), and discovers that she's been chasing after the wrong kind of man all along. Other terrific songs from this score include "Vanilla Ice Cream," "Dear Friend," and "Twelve Days to Christmas".

"When I Get My Name in Lights" from The Boy from Oz (Peter Allen)

The life story of Australian singer/songwriter Peter Allen, this musical was put together using strictly Allen's existing body of work. Characters include the legendary Judy Garland and her daughter Liza Minelli, to whom Allen was married for some time, despite his homosexuality. Although the show itself is not particularly child-friendly, the pop score includes many familiar and fun tunes, such as "Best That You Can Do," "I Honestly Love You," and "Everything Old is New Again."

"Little People" from Les Miserables (Schoenberg and Boublil)

Children will love this song of "child empowerment", sung by the young character Gavroche, as he exposes the villain Javert, summed up in the lyrics, "And little people know when little people fight, we may look easy pickings but we've got some bite." Although many of the songs in the score are somewhat heavy or emotionally overwrought, kids will enjoy "Castle on a Cloud," "Masters of the House," and "Do You Hear the People Sing?".

"Seize the Day" from Newsies (Menken and Feldman)

Technically, Newsies is a Disney musical, but it's not really in the same category as shows like The Lion King, Aladdin, Little Mermaid, etc., so I'm going to include it. I did struggle with choosing just a single song from this youthful and energetic show, but this particular number is one of my favorites. Other great songs include "King of New York," "The World Will Know," "Carrying the Banner," and "Something to Believe In."

"Neat to Be a Newsboy" from Working (multiple)

This unusual plotless musical, based on Studs Terkel's book of the same name, is a study of people from all walks of life and how they feel about what they do for a living. Characters include a waitress, a teacher, a housewife, a businessman, a hooker, a CEO, some truckers, masons and a construction worker, a cashier, a retiree, and more. Kids will particularly enjoy the story of this young entrepreneurial newsboy, but also "Lovin' Al," about a valet driver; "Millwork" and "Brother Trucker" (both written by James Taylor); "It's an Art," about being a waitress; "Cleanin' Women," about laborers working towards a better life for their children; and "Something to Point to," which talks about our human need for tangible accomplishments.

Other contemporary songs to check out:
"What It Means to be a Friend" from 13: The Musical (Jason Robert Brown)

"Trash" from A...My Name is Alice (multiple composers) - also "Welcome to Kindergarten, Mrs. Johnson," "Bluer Than You," and "All Girl Band"
"We Want to Take the Ladies Out" from Just So (Drewe and Stiles) - also "There's No Harm in Asking," "The Parsee Cake Walk," and "Please Don't Touch My Stove".
"The Rum Tum Tugger" from Cats (Andrew Lloyd Weber) - also "Mungojerrie and Rumpleteazer," "Growltiger's Last Stand," "Macavity: The Mystery Cat," "Skimbleshanks, the Railway Cat," and "Mister Mistoffelees".
"Oh My God, You Guys" from Legally Blonde (O'Keefe and Benjamin) - also "So Much Better," "Whipped Into Shape," and "Bend and Snap".
"My Strongest Suit" from Aida (John and Rice) - also "Fortune Favors the Brave," "The Gods Love Nubia," and "Every Story is a Love Story".

"Wonderful Town"

I often post comments or review of shows that are put on by the Reagle Music Theatre of Greater Boston. This summer, they've already put on some terrific productions: "Guys and Dolls" starring Brent Barrett in June, and "Kiss Me, Kate" starring Rick Hilsabeck and Sarah Pfisterer in July. And tonight, their final summer production opens: "Wonderful Town."

Sadly, this charming little show is not terribly well-known. The musical was written in 1953, based on a 1940 play titled "My Sister Eileen" which, in turn, was based on  a series of short stories published in the New Yorker by Ruth McKenney. The book of the musical was written by the authors of the play, Joseph A. Fields and Jerome Chodorov, the lyrics were written by the well-known Broadway team of Betty Comden and Adolph Green, and the music was composed by Leonard Bernstein. The original Broadway production starred Rosalind Russell as Ruth, and the 2003 revival starred Donna Murphy (who grew up in nearby Topsfield MA), and later Brooke Shields.

The story is set in 1935, when Ruth and Eileen Sherwood, a pair of young sisters from Ohio, move to Greenwich Village. Witty but plain Ruth is an aspiring writer, and lovely and popular Eileen is an aspiring actress.

The two find themselves a stereotypical cheap apartment, which shakes nearly to pieces on a regular basis due to nearby subway construction, and which is filled with a stream of crazy and fascinating people, including neighbors Wreck the football player and his girlfriend Helen, heavily-accented and volatile landlord Mr. Appopolous, returning "customers" of former tenant Violet, some Brazilian navy cadets, various assorted artsy residents of their Christopher Street neighborhood, and three of Eileen's admirers: Frank, the manager of the local Walgreen's; Bob, a magazine editor; and Chick, a newspaper reporter.

 

Ruth becomes frustrated at rejection after rejection of her stories, while Eileen is enjoying her popularity despite her lack of success in finding an acting job. Eileen gets arrested for accidentally causing a riot, but in typical fashion, charms the entire police force. Ruth promises to bail her out, but in the meantime, Mr. Appopopolous threatens to evict them - until Eileen gets a job offer as a nightclub singer, and he relents, realizing she'll have a regular paycheck. The night of her first performance, Eileen panics and pulls Ruth onstage to join her.

The two are a hit, and to add to the jubilation, Chick appears with a job offer from his paper for Ruth, and Bob declares his love for her, and they all live happily ever after.


The score of the show includes a number of catchy (if not exactly familiar) tunes: Ohio ("Why, oh why, oh why-oh, why did I ever leave Ohio?"), One Hundred Easy Ways ("You're met a charming fellow and you're out for a spin. The motor fails and he just wears a helpless grin. Don't bat your eyes and say, 'What a romantic spot we're in.' Just get out, crawl under the car, tell him it's the gasket and fix it in two seconds flat with a bobby pin. That's a good way to lose a man."), A Little Bit in Love, and Wrong Note Rag. The ensemble dance numbers, including Conquering New York, Conga, and Swing, keep the energy level high and showcase the fun dance styles of the 30s.



I have not seen Reagle's production yet, but if the quality is anywhere near the previous summer shows, there will be gorgeous sets and costumes, spectacular dancing, wonderful voices, and lots of fun to be had with the residents of Christopher Street. Get your tickets now!