Delay until I can stop feeling so bad.

Sorry for the delays, if there's anyone who actually reads this blog. I'm under a lot of stress right now and it's just not plausible for me to write all of these right now. Thanks for your understanding, if there is anyone to thank.

La Cage aux Folles

Well, the musical I was supposed to review today is one that I'm having to order. I would remark on how I hate that all musical isn't digital yet, but that's a rant I don't really feel like pouring time into. Instead, today I'm listening to La Cage aux Folles. I've got a copy of the 2010 revival right in my CD case and it's already been ripped and I'm ready to go. :)

La Cage aux Folles has lyrics and music by Jerry Herman and the book was written by Broadway legend Harvey Fierstein. It originally opened up on Broadway in 1983 and ran for four years with 1,761 performances, which was a big deal at the time. The story focuses on a gay couple: George (the owner of a nightclub that the play is named after) and Albin (his star attraction at said nightclub). They both have a son (Jean-Michel) from a previous affair that George had and he is engaged to a girl (Anne Dindon) with ultra-conservative parents. It's a very fun musical with a message of acceptance and it was a risky move back when it opened. I'm glad it has withstood the test of time.

We start with a short little prelude and head into "We Are What We Are". This is a chorus song sung by the chorus "girls" at La Cage aux Folles. It's a nice introduction to the play and lets us know what we should expect. It's immediately followed by a reprise and we learn that Albin is preparing for his part of the show.

"(A Little More) Mascara" is sung by Albin as he's getting ready. It's a nice little song that basically shows that the little things in life can make us feel better.

"With Anne on My Arm" has Jean-Michel explaining why Anne isn't like any other girl he's ever been with and why she's the girl for him. This is a sweet song and you can tell he really loves this girl.

"With You on My Arm" is a duet between Georges and Albin where you can really feel the love between the two characters. This has to be one of my favorites in the whole musical.

"Song on the Sand" has Georges trying to ease into telling Albin about Jean's request for him not to show up at the dinner, but it doesn't end up working because Albin flees out to stage.

"La Cage aux Folles" has Albin entertaining the patrons of the club with a strong song and dance routine in his drag persona Zaza.

After this, Georges breaks the news to him and Albin is shocked and goes out on the stage to sing...

"I Am What I Am". This is most certainly the most famous song from the show, with only one other really even coming close. Albin accepts who he is and doesn't want to live any other way, regardless of what other people might think of him. You go, girl.

Act II begins with Georges making up to Albin with a reprise of "Song on the Sand" and he submits to him an idea to masquerade him as Jean's Uncle Al.

"Masculinity" has Georges trying to get Albin to act more like John Wayne and less flamboyant. It's hilarious and quite moving too, considering how hard Albin is working to try and be there for Jean on his important night.

Jean-Michel doesn't really like the idea of trying this, but Georges reminds him in "Look Over There" that Albin has been a wonderful and kind "mother" to him.

"Cocktail Counterpoint" occurs after Anne's family arrives. It's one of those polyphonic songs I adore with several characters singing their points of view at the same time. Jean's biological mother clearly isn't coming, and Albin emerges dressed in drag as his mother. After the dinner is burned, the characters all go to a restaurant where the owners know Albin and Georges.

"The Best of Times" is sung (at first) by Albin, who was asked to perform for the restaurant by people who recognized him. This is my favorite song in the play and has a wonderful message about not worrying about the past and to live life as if it's your last day alive. At the end of the song, Albin rips off his wig and the ruse is lifted.

The parents are appalled and do not want Anne to marry Jean-Michel. He asks for Albin's forgiveness for acting the way he did and then the paparazzi arrives to see the ultra conservatives having dinner with a gay couple. Georges gets them out of there on the condition that the young ones can marry and that they sneak through La Cage aux Folles in drag and take part in the revue for the night, leading into the Finale.

This is a wonderful musical that really hasn't aged all that much considering it's pretty much a period piece. The characters are all realistic, the songs are fun, and the message is a strong one. You couldn't ask much else from a musical.

Again, I apologize for the chosen musical not being selected today, but it'll be done when I get it in the mail. :)

The Addams Family

Adaptations! There are lots of them in the musical world. This time, we're listening to the Addams Family musical. Now I won't be able to stop snapping my fingers. Thanks a lot, random generator.

The Addams Family has lyrics and music by Andrew Lippa and the book is by Marshall Brickman and Rick Elice. It opened up in 2010, and as of the current date, it's still open! If you want to see it, hurry, because it's closing on December 31.

What would you expect from the overture? If it didn't have that familiar finger snapping, I don't think anyone would want to see it (I'm kidding, of course). It's a pretty overture with lots of Gomez's dancing music thrown in there and some slow parts reminiscent of something Danny Elfman would create.

The first song is "When You're an Addams". It's a celebration of what it means to be an Addams. This song takes place at a family reunion for the Addams family. It's got a Latin feel to it and it's a pretty exciting song. You have to love Nathan Lane. The point is that an Addams loves all things weird, morbid, and dark. At some point in the song, they summon their ancestors from the dead.

"Pulled" is sung from the perspective of Wednesday to Pugsley. She's feeling strange (or in a non-Addams way, normal.) She's fallen in love with her normal boyfriend who is coming to dinner. She really seems to be disturbed by this. Oh, and she's torturing Pugsley during this song and you can hear his gleeful screams. Oh, you Addams'.

"Where Did We Go Wrong?" has Gomez and Morticia worrying about the ways Wednesday is changing and how very un-Addams like she is becoming. They want to cancel the dinner in order to keep it from getting "worse". It's a fun song only because of how peculiar the Addams family is.

"One Normal Night" has Wednesday and her boyfriend, Lucas, pleading with their families to be "normal" for one night. It doesn't go as terribly as one might expect. Wednesday appears in a bright yellow dress, Gomez and Lucas' father share a drink and Gomez shows him the pet squid. After an insult by Wednesday toward her mother, she runs off.

"Morticia" refuses Gomez's invitation to a tango. It's a pretty song, coming from such a weird guy. Of course, Gomez's idea of things that woman might want to hear would only work for an Addams.

"What If?" has Pugsley slipping a potion into Wednesday's drink that will bring out her dark side...Smart idea, kid. He's afraid that she'll never torture him again. You have to admire his masochism, I guess.

"Full Disclosure/Waiting" has the Addams' playing a game with their guests. They all have to confess something. This is an incredibly fun song. During the course of the song Morticia feels insulted by Gomez. Oh, I love Fester in this song. Pugsley's idea kind of falls on its face here as Lucas' mother drinks the potion on accident and Wednesday announces that she's marrying Lucas.

Act II starts with "Just Around the Corner" is a joyous song about death being around the corner. Morticia sounds like your typical Diva here.

"The Moon and Me" gives us an interlude here with a love song to the moon. It's funny and yet somehow sweet. The opening with the acoustic guitar is particularly pretty.

"Happy/Sad" is a song from Gomez that expresses his joy for Wednesday finding love, but lamenting her growing up. I can't say much about this song besides that, but I really like this one.

"Crazier Than You" has Lucas letting Wednesday shoot an apple off his head with her crossbow. It's a pretty awesome duet between the two and has them both gravitating toward each other. :)

"Let's Not Talk About Anything But Love" has Gomez and Fester trying to get Lucas' father to open up. You have to love these characters. It's great that the "normal" one is so apprehensive about love while the "weird" characters are all about love. The reprise has Grandma joining in.

"In the Arms" has Mal confessing his love with Alice (after having been embraced by the giant squid). I am all for more songs about cephalopods in musicals.

"Live Before We Die/Tango de Amor" has Gomez professing his love for Morticia after having inadvertently pissing her off the whole show. It erupts into a tango eventually and those are always fun, but it leaves something to be desired just listening to it. I'm sure it's awesome on stage.

"Move Toward the Darkness" is the finale song. Fester strapped himself to a rocket to get to the moon. It's a pretty good song for the finale with all the characters coming back to sing. It's about facing your fears and coming out strong.

Overall, I'd say it's an enjoyable show, though I doubt I'd pay full price to see it. I'd probably try getting lottery seats.

Applause

Ah! Another one I've only ever heard one song from. This one costed me $10, so it better be worth it! :p

Applause opened up on Broadway in 1970 and appeared on television in 1973. The music is by Charles Strouse, the lyrics are by Lee Adams, and the book is by Betty Comden and Adolph Green. It's based on the screenplay for the Bette Davis film All About Eve. The main character of the show is Margo Channing, a star who takes a sort of apprentice, Eve, unaware that Eve is planning to steal her career and man. Groovy, let's dig in.

The overture is upbeat, as an overture should be. You can definitely tell that the show was made in the 70s, given the instrument choice. There is a lot of nice brass in this one, almost like a marching band.

"Backstage Babble" is the first song and has Margo Channing's dressing room flooded with admirers. The dialogue by all the admirers is mostly in "yabba dabbas" and "blah blahs". It's a pretty clever song and a nice way to start the show off.

"Think How it's Gonna Be" has her fiance and director, Bill Sampson, telling her goodbye as he goes on a trip to Rome to direct a movie. Len Cariou has an absolutely dreamy voice (did I just say dreamy? Wow. Well, it's true)

"But Alive" has Margo feeling uneasy about attending the opening party alone, but she's still alive and that gives her a little confidence. She persuades her gay hairdresser to take her to the gay discotheque in The Village. She's a little...bitchy in this song, but that's okay, because she's a Broadway diva and they're allowed to be bitchy every now and then.

"The Best Night of My Life" has Eve summing up her feelings about winning the Tony at the beginning of the play. It's short and pretty and leaves me wondering if she's really the antagonist Wikipedia makes her out to be. Time will tell.

"Who's That Girl?" has Margo jokingly asking herself who she is when she sees herself in an old episode of The Late Show. She's a bit cynical about life, but she seems to be enjoying herself. This is another very upbeat song with a healthy dose of self-deprecation.

"Applause" has a "gypsy" singing about the best sound in the world...applause! Being the title song, it's probably no question that it's catchy.

"Hurry Back" is a longing song from Margo, who is dying to see Bill, who is still overseas.

Between this song and the next, Bill has made it home, and his homecoming party becomes disastrous after a misunderstanding.

"Fasten Your Seat Belts" is a strange one. I'm not quite sure what's happening in it. It's not bad, of course, but I'm not sure what's going on.

"Welcome to the Theatre" has Margo confronting Eve, who she isn't happy about. She basically tries to dissuade her from the career with this one. This song is dripping with venom, though it's fairly subtle at the beginning.

Bill accuses Margo of being paranoid about Eve and they fight. They say goodbye after this and Act I ends.

Act II starts with Margo missing a performance and is stuck in the country for a night.

"Good Friends" is a song about friendship and how one can rely on good friends. This is a pretty cookie cutter song, but I like the banjo accompaniment.

"She's No Longer a Gypsy" is a parody of a girl who became an instant success, obviously a jab at Eve, who took over for Margo after she couldn't make it. I like this song because of the jabs at narcissism and slight references to other musicals.

"One of a Kind" is a song from Bill to Margo after he's recognized what Eve was up to. He's still in love with her, but she's married to her career. The references to their past are funny and sweet.

"One Hallowe'en" has Eve remembering a Halloween. She's smugly congratulating herself on how good of an actress she is for fooling people. It's an upbeat song, for a villain. She is kind of a bitch too.

"Something Greater" has Margo realizing her career is over, but now she can be with Bill forever. It's basically about silver linings. Just because things are terrible, it doesn't mean there aren't good things to find. In this case, she gets to be with the one she loves. Bill joins in and we see happiness between the two.

The "Finale" answers the question "Why do we live this crazy life?". This finale harkens back to Applause, of course. It's a pretty good ending to a pretty good show.

As I said, the show itself is pretty good, but not much to write home about. I wonder what the ole' randomizer will give us tomorrow? :)

South Pacific

This is one everyone should know. I mean, it'sSouth Pacific. Rogers and Hammerstein musicals are legendary for a reason. They're immediately recognizable, the lyrics are timeless (for the most part, considering most are period pieces), and the music is incredibly catchy.

The music is by Richard Rogers and the lyrics/book were written by Oscar Hammerstein II and Joshua Logan. It opened in 1949 on Broadway, during a time when the subject matter was still very much in the public mind due to reasons I'm not going to explain, because if you don't already know, I weep for humanity. Unfortunately, I can't find an mp3 version that contains all the songs, so this is going to be a bit condensed and the descriptions will be short. I'm really sorry for that. :( Let's get started.

The overture, as in typical R&H fashion, is sweeping and magnificent. It summarizes the musical themes of the show all into one orchestral piece.

The first song, "Dites-Moi", has a slow musical intro and two half-Polynesian children singing while they're playing together. It's a nice introduction.

"A Cock-Eyed Optimist" features Navy nurse Ensign Nellie Forbush singing to plantation owner Emile de Becque about staying positive that the outcome of the war will be fine. It's one of those upbeat numbers that you hear a lot in older musicals - especially R&H ones.

"Twin Soliloquies" has both of these characters singing to themselves about the love they have for the other. It's a sweet and romantic song that foreshadows some of the musical themes later on.

"Some Enchanted Evening" is probably one of the most popular songs in the history of showtunes. It has Emile expressing to Nellie his feelings and regales how he fell in love with her immediately. If you listen to a Broadway radio station, you're likely to hear this one at least once a week.

"Bloody Mary" is an example of how desperate the men on the island are getting when it comes to women. It's a pretty funny song and it's very hummable.

"There is Nothin' Like a Dame" has the soldiers all fantasizing about what it would be like if there were actual women on the island. It's yet another classic that you'll hear often.

"Bali Ha'i" is a song with a haunting melody about a mysterious island called Bali Ha'i. The Navy needs someone to go there to help them succeed in the war effort.

"I'm Gonna Wash That Man Right Out of my Hair" has Nellie deciding that she has fallen in love with Emile for little reason and that she'll spurn him. Pretty much immediately afterward, Emile visits and invites her to a party where he explains his past and asks Nellie to marry him. She accepts.

"A Wonderful Guy" is pretty much the opposite of the last song and is my absolute favorite song on the entire soundtrack. She's happy to be in love with Emile.

"Younger than Springtime" has Lt. Cable and Bloody Mary's daughter, Liat, falling in and, er, making love. It's a sweet song. Bloody Mary happily proclaims that Cable will be her son-in-law.

Now, because of the way this soundtrack is, we're skipping ahead to Act 2.

"Happy Talk" is a song by Bloody Mary urging Cable and Liat to marry and not to worry too much. Cable fears his racist family won't accept her and declines, which doesn't turn out well. This song is very catchy.

"Honey Bun" has Nellie dressed as a male sailor singing about his sweetheart. The song isn't really important, but it is good comic relief. As well all know, there needs to be comic relief in a play...especially in the second act when things are bound to get darker. After this, Emile tries to convince Nellie to marry him after a "fight" they had earlier. She claims she can't do it because she knows that Emile's children have a Polynesian mother. Lots of racism in this play.

"You've Got to be Carefully Taught" has Cable explaining that hatred, prejudice, and fear are not natural things and are taught to people at a young age. He's obviously not happy about it.

"This Was Nearly Mine" has Emile lamenting what he could have had. He decides to go with Cable to Bali H'ai. It's a sad song, obviously and what happens afterward is even more sad.

Cable ends up being killed and Emile narrowly escapes.

"Finale" as my cd calls it, is a reprise of "Dites-Moi". Emile, Nellie, and their children sing the song as the show closes. She has dropped her prejudices and we have a happy ending (for this set of lovers, at least.)

There's not much more that can be said of a musical like this, as most R&H plays follow a certain formula and this musical is VERY well-known. Still, I'm glad to listen to it through again. I again apologize for the shortness and the delay. The next review won't be like this.

Shock Treatment

We now come to the first movie musical in the bunch. In this case, it's never been a stage show before and has only ever appeared in film form. Today's musical is Shock Treatment, which is a "spiritual sequel" to the Rocky Horror Picture Show. I know the vast majority of RHPS fans hate this movie, but I find it to be pretty good.

Shock Treatment was written as a sort of sequel to RHPS by Richard O' Brien. The film was released in 1981, which explains the sound of the show being more like the music of that decade. The reception for the movie at the time was not flattering, and I can certainly see why, though I still enjoy the film. The characters Brad and Janet are not played by the original actors that played them in RHPS, though the Brad in this film is played by the actor that was the original choice for the character in RHPS.

Let's get into it.

We get an opening narration about a man who lived everything entirely too fast.

Next we get the overture which displays the country feel many of the songs have, while a a large crowd enters a sound stage, filling up the room. We see Brad and Janet grabbing their own seats.

We're introduced to the first song, "Denton U.S.A.". It's a very cheesy song about the supposed innocence of Denton. You know, if you have to sing about how innocent you are...you probably aren't. But, I'm getting ahead of myself. The whole town seems to be into this television studio as if it's their entire lives. Right off the bat, you get the feeling that something is very wrong with this town. Almost in a pseudo-Lovecraftian way.

Betty Hapschatt (yes, that minor character from RHPS) speaks to a judge, played by Charles Gray, the criminologist from the previous film. We see the symbol for Farley Flavors, which looks frighteningly like a swastika. It seems that Betty and Ralph split up in between the films. We're also introduced to Bert Schnick, the blind, German host of the show "Marriage Maze." He'll be important later. Brad and Janet are picked for the show to come up to the stage for marriage counseling. Poor Brad seems to be an emotional wreck. I'd assume this is because of the trauma from the end of the previous film.

"Bitchin' in the Kitchen" has Brad and Janet calling upon the appliances they see in commercials to help them with their marriage and life problems. It's weird, I know, but remember what film this is a sequel to. Brad is wheeled off to Dentonvale, a tv show/madhouse.

We're introduced to Dr. Cosmo and Nation McKinley. They're played by Richard O' Brien and Patricia Quinn. They're married in this film. Bert has Janet's parents are answering quiz questions in a gameshow for a new home on another tv show on this crazy network. Apparently, someone has bought Cosmo's tv show.

"In My Own Way" has Janet singing to Brad about her own dilemma of being married to an emotionally shattered man. While she's upset that Brad is no longer the man she knew, she still loves him. This song uses some of the same guitar riffs that songs in RHPS did.

Brad is in an insane asylum now and Janet receives gifts from her mother. Janet's father is kind of a jerk.

He starts a song called "Thank God I'm a Man". This is a strange song and definitely my least favorite in the whole film. Not only because it offends me personally, but because it's really a terrible song. Thank the gods that it's short.

The judge and Betty drink coffee in their office. Apparently, Bert has some plans for Janet that Cosmo and Nation are apprehensive about. The weird people in charge of the station try to convince Janet she's not happy and introduce her to Farley Flavors via tv.

"Farley's Song" is a perfect example of a villain song. He's cocky, arrogant, and overtly evil. He's also awesome. He'll tell you so himself. I like this character a lot.

Farley wants Janet to be his idea of the perfect girl next door for his media empire...and world domination. I don't get it either. Janet is pretty excited about the prospect of being a star. They all decide to go to bed. Meanwhile, the judge and Betty do some snooping around the studio to uncover something or the other.

"Lullaby" has the characters singing about how sleep will hopefully bring clarity to their problems. It's a pretty inconsequential song that's clearly meant for padding, but I really like it's catchiness. I find myself singing this one every now and then. We also see that nearly no one in town ever actually goes home. We also return to a pretty funny scene with the judge and Betty.

Everyone is getting ready for the day ahead and Janet meets up with Cosmo who transitions us into the next song.

"Little Black Dress" has Cosmo explaining about how dressing up is his favorite thing in the world and how a little black dress is truly the greatest piece of clothing. Janet agrees, dons the black dress and sings with him. Um, I think I can see why people dislike this movie so much now. There's a LOT of padding. Luckily the songs that are padding are typically catchy and good.

"Me of Me" has Janet singing for the camera in an 80s music video or something. It's pretty hard to follow this movie.

Apparently the crowd goes wild and Janet leaves to give Brad some medication. Brad is noticeably upset and so are Janet's parents. Janet is turning into quite a bad person.

"Shock Treatment" is the title song and it's a great one. I'm not sure what it's about, but we get to hear a lot of Cosmo, Nation, and whoever the nurse played by Little Nell is. It's obvious what they're planning to do with Brad, and it's not pretty. The judge, seeing the spectacle, sums it up nicely: "Macabre, isn't it? The blind leading the blind." Bert can also sing and dance, apparently.

The town is crazy for Janet, though not for any good reason. Bert and Farley have plans for Janet and she's fallen for their fame game hook, line, and sinker.

"Carte Blanche" is a very short song taking place on a balcony. It's pretty pointless.

Betty and the judge are hatching up a scheme. Janet's mother feeds Brad some sedatives. Poor Brad.

"Looking For Trade" is a drug trip Janet has after having one too many cosmos and pills. The set is very cool for this one, with bright red lights. Brad actually gets to sing a little in this one. Janet hallucinates seeing Brad all over the place.

Janet wakes up to some fans annoying her. The judge and Betty scheme to break Brad out of the asylum. He gives some dramatic one liners at every point, like an ex-Bond villain should.

"Look What I did to my Id" has the characters singing about their futures in television. It's another pretty inconsequential song to the plot, but it's a good look at the television obsessed culture in our country.

Farley is getting ready for the show and a song "Breaking Out" is sung by a local band called Oscar Drill. During this song, the judge and Betty break Brad out of his prison. Appropriate, I suppose.

We see the villains all laughing at a round table during an interview. Apparently, Farley is Brad's brother and he resented Brad for getting what he never could in Janet and a stable upbringing. Janet walks onto the stage and is crowned Miss Mental Health. The president of a car company gives a key to Janet for a new car. Farley enters the scene and addresses the audience. Brad breaks in with the judge and Betty.

"Duel Duet" is a duet song between Brad and Farley about their sibling rivalry. It takes place in their minds and it's awesome. Did I mention they're played by the same person? Brad REALLY kicks some ass in this song and kicks Farley to the curb mentally. Bert makes a comment that probably refers to him being an ex-Nazi. Lovely. Janet chooses to go back to Brad. Farley makes some sort of speech to attempt to get his audience back. They all leave with him on some sort of journey. Brad and Janet are reunited and start singing.

"Anyhow, Anyhow" is an upbeat song with Brad, Janet, the judge, and Betty singing about how they're going to survive no matter what life throws at them. We also cut to all the townspeople in straightjackets singing a reprise of "Denton U.S.A." It really is a madhouse. Our heroes hot wire the car that Janet won and drive out of the studio.

"The sun never sets on those who ride into it".

After watching this film again, I may have been too lenient on it. Most of the songs are filler and the plot doesn't really make much sense. The songs that are memorable are actually good and the songs that are bad are horrible. I've seen worse movies and though this one is decent, it certainly doesn't live up to its predecessor. I'd just listen to the song "Shock Treatment" and call it a day.

Sunset Boulevard

Today we have another Webber musical and this one isn't nearly as...different...as Starlight Express was. The play originally debuted at the Sydmonton Festival in 1991 and 1992. The show has lyrics by Don Black and Christopher Hampton and music, of course, by Andrew Lloyd Webber. It won Tonys for Best Musical, Best Book, and Best Score. I certainly hope it lives up to that hype. :)

We start with "Overture/I Guess it Was 5AM." The overture itself is majestic and somber. It's fairly haunting. "I Guess it Was 5AM" starts talking about a murder. The song sounds pretty jazzy and I can't help but feel like it has elements of film noir.

"Let's Have Lunch" is the next song. The narrator, Joe, is a struggling screenwriter. Some repo men attempt to repossess his car. This is a very catchy song. He brings his script to a producer who shoots it down. He seems desperate for a job. Near the end of the song it has some great polyphony between the characters.

"Every Movie's a Circus" has a character named Betty telling Joe she likes his script. He has her distract the repo men and he avoids them...briefly. This leads to...

"Car Chase". It's exactly what it sounds like. It's an exciting instrumental piece, not unlike what one might hear in a decent action movie. He makes it to a garage at an old, run-down mansion.

"At the House on Sunset" has Joe wondering where he is. He's beckoned inside the house by aging silent film star, Norma Desmond. She never made the transition from silent-films over to movies.

"Surrender" has Norma singing about how things used to be. You can feel how heartbroken she is about no longer being in the limelight.

"With One Look" is a song you'll hear on any Broadway radio station and with good reason. There's something about it that sends chills down your spine. Norma exclaims how she is still capable of performing and that she doesn't need to speak to capture the hearts of the audience. It almost brings tears to my eyes just listening to this one. The version I listened to is the version that has Glenn Close in the role of Norma and she really tears it up.

"Salome" has Norma speaking with Joe about a script she wrote that she wants DeMille to direct called, well, Salome. She explains what the film will be about and that she wants to play the lead role. Joe sees potential in the script and convinces her to let him revise the script. There's a lot of energy in this song. Joe gives his own commentary about the incoherency of the plot, but he promises to attempt to revise it.

"The Greatest Star of All" has Max, Norma's butler, explaining why he loves her and why he stays with her. This version has George Hearn playing Max, and he never disappoints. Words cannot explain the feeling he puts into this song. After this, Joe makes observations about Norma's fame with her crying in the background.

Next is a reprise of "Every Movie's a Circus" and a MAJOR tone shift. This song is very upbeat, likely to offset the very sad songs before. Joe talks with Betty and it leads into...

"Boy Meets Girl". It seems Joe and Betty are diving into a romance. It's a cute song. Betty gives Joe some advice about what to do with the ending of "Salome". Some of the lyrics are pretty funny in-context of the time period the show takes place in.

"Back at the House on Sunset" has Max explaining that he writes all of Norma's fanmail. Apparently Norma is incredibly fragile and attempts to commit suicide. Joe is not happy with the circumstances, but continues to write.

The next song is "New Ways to Dream". Norma sings about how her films made people dream and think imaginatively. It's another very pretty song with echoes of "With One Look". Joe thinks on how beautiful Norma still is.

"Completion of the Script" has Joe finishing the script during a huge rainfall. Not long after the narration, organ music plays and Norma says Max will deliver the script to Demille. Joe thanks Norma for trusting him and Norma thanks Joe for finishing it. She's incredibly possessive of Joe now and she falls to pieces when he speaks of wanting to leave. Creepy.

"The Lady's Paying" has Norma giving a birthday party to Joe. Joe is given an entirely new wardrobe by a flamboyant tailor. It reminds me of the songs in Phantom that the owners of the theatre sing. Joe plans to go to a New Year's Eve party, but Norma doesn't want him to go.

"New Year's Eve" has Norma throwing her own party with Joe wanting to leave. The two dance the tango.

"The Perfect Year" continues the tango and I'm fairly certain that isn't the only dance they're doing (wink wink nudge nudge). Joe's in a bit of a pickle now. He finally figures out that there were no other guests. Norma is in love with him. He's freaked out. He ducks out.

"This Time Next Year" takes place at the New Year's party Joe's friend is throwing. It's a high energy song as a drunken party should reflect. The characters all talk about what they wish to do with the year and what they hope to be doing by this point next year. It really sounds like a good Webber song. He plans to stay with Artie and calls Max to have him bring his suitcase, but it seems Norma has cut her wrists with his razor.

When Joe returns back to Norma's house in "New Year's Eve: Back at the House", she isn't happy. Joe placates her by finishing Salome. He stays with her and the act finishes out.

There is an intermission song in "Entr'acte" and Act II starts.

"Sunset Boulevard" picks back up with Joe singing about his current situation at Sunset Boulevard. This is a haunting song about the problems of living in Hollywood. This song is probably my second favorite in the show behind "With One Luck" and "As if we Never Said Goodbye".

"There's Been a Call/Journey to Paramount" is about a phonecall Paramount apparently made to the house. Norma believes DeMille is interested in the film, but won't call back until she's ready. She dresses up extravagantly and makes her way to the studio. Someone working at the gate recognizes her. DeMille is ready to see her.

"As if we Never Said Goodbye" has several people recognizing Norma and greeting her warmly. This song is another very recognizable one. It uses the same melody as "With One Look" and is about how familiar the world of Paramount. It's truly a beautiful song. It's definitely a tie between the aforementioned song and this one for my favorite song.

"Paramount Conversations/Surrender(reprise)" has us figuring out that Norma was only called for the use of her car in a future film. Norma is too delusional to see it and still believes that they'll call her back in soon.

Next, we get a reprise of "Girl Meets Boy". Betty isn't so happy about how Joe has been avoiding her, but she continues to help him come up with an idea. It's a nice little look at a character that isn't Norma. :p

"Eternal Youth is Worth a Little Suffering" has several characters getting Norma ready for stardom again. It's much like "The Lady's Paying" in that certain characters are this song that will likely never be heard from again.

"Who's Betty Schaefer?" has Norma figuring out that Joe has a thing going on with Betty. She is very upset, as we'll see.

"Betty's Office at Paramount" has Joe and Betty writing in her office. Ooh, romance~ Clearly, this won't end well.

"Too Much in Love to Care" has Betty explaining that Artie wants her to move to Tennessee with him. She doesn't wish to do this and tells Joe she's in love with him. We finally get a big song for Betty and Joe. Joe doesn't know how to feel and is conflicted. They decide that they're too much in love to care if their love is foolish or not. We also learn Max was the director of Norma's early films.

"New Ways to Dream (reprise)" is sung by Max and it's an explanation of how he discovered Norma and helped her rise to stardom. Max was Norma's first husband. It's a beautiful song and shows why Max really cares for her so much.

"The Phone Call" has Norma calling Betty. It's a scathing song that has her telling Betty just what Joe is "up to". Joe takes the phone away from Norma and tells Betty that she should see for herself the place he is living in. You can feel how desperate Norma is not to lose Joe.

"The Final Scene" has a (literally) thunderous opening. Joe tells Betty about how he is basically Norma's pet and he enjoys it. He doesn't want to leave the things he has gained with Norma to go back to his apartment. Joe tells Betty to go back to Artie and she tearfully leaves. Norma goes to Joe and thanks him. Joe is packing his things to head back to his hometown in Ohio. He tells Norma the truth about what Paramount wanted her for and about her fan mail. She breaks down and shoots Joe. She's in complete mental shock and in a delusional breakdown. She thinks she's on the set of Salome and descends. The song has a lot of throwbacks to earlier songs in the show. She gives a final speech to a person she believes to be Mr. DeMille. She delivers the immortal line "And now, Mr. DeMille, I'm ready for my close up." It's very sad, especially given everything Norma has gone through. Even being insane, you can feel her pain.

I loved this musical. It has everything that a musical needs to interest me and it has a LOT of heart. It's, of course, based on the famous movie of the same name and it really lives up to it. Webber hits it out of the park with the music for this one, and Glenn Close is absolutely breathtaking as Norma. I DEFINITELY recommend listening to this one.