Politics.

However you live there's a part of you always standing by mapping out the sky.

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Anonymous asked: So why exactly do you like Sondheim?

aliveandfullofjoy:

wut i H8 sondheim?????????????

Interesting question. I mean, there’s a lot of reasons. From a music standpoint, I don’t think there’s any musical theatre composer ever with a more varied output, sound-wise. He’s a musical chameleon, blending his own theatrical sensibilities with the air of authenticity to whatever setting he’s writing for—he effortlessly goes from Bacharachian 70s New York to the old Ziegfeld follies to the waltzing Swedish countrysides to the style of Kabuki theatre to the blood-soaked streets of Victorian England. And that’s all in one decade. But the varied music wouldn’t mean anything unless it was actually good—which it is. Very, very good. Effortless is the word that comes to mind, because you can’t see any strain in any of his tonal changes, and that practically all of his shows have produced at least one song that could be included in a “very best of musical theatre” list is testament to that. 

Lyrically, he’s a goddamn acrobat, but I don’t think anyone would argue with that. “Withers wither with her” and all that.

Dramat(urg?)ically, there’s his constant boundary-stretching. It’s ballsy and almost always pays off. Company became a mirror on 1970s New Yorkers in the theatre, which had never been done before. Sweeney Todd made a tragic, soaring operetta out of a horrifying and grisly urban legend. Merrily We Roll Along goes backwards. Pacific Overtures is, of course, unlike literally anything else to ever play on Broadway. It doesn’t always pay off—Anyone Can Whistle is far too clever for its own good, and I don’t think Broadway audiences will ever truly be ready for something like Pacific Overtures—but he’s actually trying and that’s what matters. If you’re not challenging yourself, why do it? Steve-o is almost always challenging himself. 

And then humanistically, he just has this knack of tapping into something deep inside people that few other artists have. You’ll likely have an emotional reaction to Into the Woods no matter how young you are, but it’ll be drastically different from when you’re 16 to when you’re 40. “Being Alive”, “Losing My Mind”, “Moments in the Woods”, “Our Time”, “No More”, “Finishing the Hat”, even “Send in the Clowns”—these aren’t just songs designed to sell sheet music. These are musical representations of the human experience, and that’s something you just don’t get with every composer.

Like I get that some people may not totally gel with his writing style, but if any “serious” theatre student says they don’t like Sondheim, then I think they’re just not looking hard enough.

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During preparation for Woods, the musical director warned Kendrick that no Cinderella had ever nailed the big ballad, “On the Steps of the Palace,” an atonal whirlwind.

"There’s always a note or two that’s wrong, because the song is impossible," Kendrick says, "so I made it my mission to actually get the fucking notes right, which I didn’t realize was going to be such a problem." Doesn’t that sounds like the vow of a Type A overachiever, after all?

"I guess," Kendrick says reluctantly. She pauses, then bursts out laughing. "Or you could look at it like, well, that’s my fucking job."

excerpt from  "Anna Kendrick Had Her Heart Broken by a Hot Dog" by Amy Nicholson (via fuckyeahstephensondheim)