"Pavlovian" Musical Numbers
Harry MacAfee
time to post:
Some thread or another introduced the idea of "Pavlovian" Musical numbers
(i.e. numbers that by their very form almost guarantee a big hand - many of
these are good on their own merits, though). I was thinking (when I really
should have been studying) about the types of numbers that will get a hand,
whether they are good or not (and they actually can be):
=> The "Gospel" Number: "New" versions of "Brotherhood" (HTSIBWRT) and "Rockin'
the Boat" (Guys and Dolls)
=> The "Comedy Star" Duet": "Apple Doesn't Fall" (The Rink) and "Grass is
Greener" (Woman of the Year) (the exact same song by the way)
=> The "Raunchy Lady" Number: "Everybody's Girl" (Steel Pier), "Good to Mama"
(Chicago) [I know I'm using mainly Kander & Ebb examples, but heck, they're my
favorite)
=> The "Bits and Pieces" Number: "Betrayed" (Producers), "Late, Late Show" (Do
Re Mi), "Rose's Turn" (Gypsy)
Any others?
~Paul.
"Jean Prouvaire"
"Harry MacAfee" <sfca...@aol.comusical> wrote in message
news:20020427212309...@mb-ma.aol.com...
The contra-punctual (is that a word??) ensemble number: "Tonight" from WSS,
"One Day More" from Les Miz, "Christmas Bells" from Rent.
Well, they make _me_ salivate anyway...
--
______________________________
"I think this line's mostly filler."
David Thomson
Johnson, how could it fail to BTHD?
Larry Rekow
<jeanpS...@thebarricades.com> wrote:
+++++++++++++++++++++++++++++++++++++++++++++++++++++++
>The contra-punctual (is that a word??) ensemble number: "Tonight" from WSS,
>"One Day More" from Les Miz, "Christmas Bells" from Rent.
>
>Well, they make _me_ salivate anyway...
Yes, "contra-punctual" is a word, but probably not the one you want.
Not familiar with RENT, but certainly "One Day More" and the Quintet
from WSS contain a lot of counterpoint, so I suppose one could say
they were "contrapuntal".
"Contra-punctual" is when people get to the theatre just in time to
see either of those numbers.
Larry Rekow
- - - - - - - - - - - - - - - - - -
"Forget it, Jake. It's Chinatown."
Jason T.
"Harry MacAfee" <sfca...@aol.comusical> wrote in message
news:20020427212309...@mb-ma.aol.com...
> should have been studying) about the types of numbers that will get a
hand,
> whether they are good or not (and they actually can be):
>
>
The virile men's number: ACT II opener from Miss Saigon, Into the Fire from
Pimpernel, etc.
John Baxindine
> The contra-punctual (is that a word??) ensemble number
Contrapuntal.
> "Tonight" from WSS,
> "One Day More" from Les Miz, "Christmas Bells" from Rent.
>
> Well, they make _me_ salivate anyway...
That's the idea.
But if we carry this "Pavlov" concept much further, we'll end up
listing every kind of song commonly used in musical theater. People
use them because they work.
John
"Jean Prouvaire"
"Larry Rekow" <lre...@nospam.pacbell.net> wrote in message
news:kq5ncukevvj5offrg...@4ax.com...
> On Sun, 28 Apr 2002 12:37:48 +1000, "\"Jean Prouvaire\""
> <jeanpS...@thebarricades.com> wrote:
> +++++++++++++++++++++++++++++++++++++++++++++++++++++++
> >The contra-punctual (is that a word??) ensemble number: "Tonight" from
WSS,
> >"One Day More" from Les Miz, "Christmas Bells" from Rent.
> >
> >Well, they make _me_ salivate anyway...
> ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
> Yes, "contra-punctual" is a word, but probably not the one you want.
>
> Not familiar with RENT, but certainly "One Day More" and the Quintet
> from WSS contain a lot of counterpoint, so I suppose one could say
> they were "contrapuntal".
>
> "Contra-punctual" is when people get to the theatre just in time to
> see either of those numbers.
But that would make them very late indeed!
"Jean Prouvaire"
""Jean Prouvaire"" <jeanpS...@thebarricades.com> wrote in message
> > "Contra-punctual" is when people get to the theatre just in time to
> > see either of those numbers.
>
> But that would make them very late indeed!
Which, having re-read the post, was rather the point of the joke, wasn't it?
Sorry. Re-engaged brain now...
--
parterre box
ideally with a line of people kicking. That could get a hand in
DIALOGUES OF THE CARMELITES.
The Tearful Reprise: ("A man ... may be hot... but he's not... when
he's ... oh, you can't ... sob, sob, sob ... Don't die, Emile!")
The Star Lady Gets Hot Routine: the less talent the above-the-title
broad has the better; if she can croak out one chorus and then get
thrown around by the boys for a few minutes, guaranteed hysteria in
the gallery. Works for everyone except Blythe Danner.
The Bellowing Adipose African-American Diva of a Certain Age Number:
no further description needed.
jj
Steve & Rhonda
"Rockin' the Boat" (Guys and Dolls)
And the "Old" versions in any production I've been in (GUYS AND DOLLS)
or seen (HOW TO SUCCEED.) The later versions just gilded the lily to a
point of excess.
O~O~O~O~O~O~O~O~O~O~O
"All day, the records play..."
-Bob Merrill
O~O~O~O~O~O~O~O~O~O~O
Steve & Rhonda
Re: "Pavlovian"
The Tearful Reprise: ("A man ... may be hot... but he's not... when he's
.. oh, you can't ... sob, sob, sob ... Don't die, Emile!")
-----------------
The Star Lady Gets Hot Routine: the less talent the above-the-title
broad has the better; if she can croak out one chorus and then get
thrown around by the boys for a few minutes, guaranteed hysteria in the
gallery. Works for everyone except Blythe Danner.
O~O~O~O~O~O~O~O~O~O~O
Kaffitimi
ideally with a line of people kicking. That could get a hand in
DIALOGUES OF THE CARMELITES. >>
Variation--The
after-an-exposition-number-or-two,-the-director/choreographer-builds-the-n
ext-plot-number-substituting-manipulative-mirth-for-magic-until-you-forget
-which-show-you're-watching song: The star sings a chorus, then suddenly
everyone commandeerable is opening new windows and putting on Sunday clothes.
If it's Gower, people stick out their asses and walk forward. If it's Fosse,
people stick out their asses and walk backward.
Steve & Rhonda
Fosse, people stick out their asses and walk backward.
If it's Tommy T. they do both, but not necessarily on the stage. With
Susie S. it's the choreographer who does the sticking, while
lip-puckered dancers do the walking...
John Baxindine
> The Selling of the Big Tune: beginning slowly and accelerating,
> ideally with a line of people kicking. That could get a hand in
> DIALOGUES OF THE CARMELITES.
You forgot to mention the prominent key change near the end.
John
Stephen Farrow
>
> If it's Gower, people stick out their asses and walk forward. If it's
> Fosse, people stick out their asses and walk backward.
> +++++++++++++++++++++++++++++
> If it's Tommy T. they do both, but not necessarily on the stage. With
> Susie S. it's the choreographer who does the sticking, while
> lip-puckered dancers do the walking...
..while manipluating at least three unlikely-seeming props.
Stephen
>
> O~O~O~O~O~O~O~O~O~O~O
> "All day, the records play..."
> -Bob Merrill
> O~O~O~O~O~O~O~O~O~O~O
--
"First of all, you're going to need a live chicken and a working
knowledge of Latin..."
Stephen Farrow
And the honking big-ass Money Note at the climax.
Stephen
>
> John
Kent
The "Inspirational" number: "Climb Ev'ry Mountain"; "You'll Never Walk
Alone", etc.
The "By Golly, I'll show them!" number: "And I Am Telling You I'm Not
Going", ___[there must be dozens I can't think of right now]
Kent
Steve & Rhonda
Re: "Pavlovian" Musical Numbers
Group: rec.arts.theatre.musicals Date: Mon, Apr 29, 2002, 2:47am From:
sfa...@chass.utoronto.ca (Stephen Farrow)
<<<If it's Gower, people stick out their asses and walk forward. If it's
Fosse, people stick out their asses and walk backward.
+++++++++++++++++++++++++++++
SN: If it's Tommy T. they do both, but not necessarily on the stage.
With Susie S. it's the choreographer who does the sticking, while
lip-puckered dancers do the walking...
++++++++++++++++++++++
.while manipluating at least three unlikely-seeming props.
Stephen Farrow