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In the Depression, was I depressed? Nowhere near.

I met a big financier, And I'm here. Follies, ingeniously telling the story of music-hall veterans by turning their lives into vaudeville numbers, was similarly admirable without being likable. Making matters even worse, in the early s, audiences for musicals weren't interested in new conceptions.

They wanted "book" shows—musical plays that they could easily follow, with songs that they could privát eladó sport svájci anti aging. Ina group of singers offered a one-night tribute to the composer, featuring songs going back to Saturday Night.

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Wilson to assess Sondheim's achievement. To have this made clear in an evening's program of 40 songs covering 20 years is impressive. But to find this point being made with equal clarity in a single score is an indication of the creative level at which Sondheim has arrived. Sondheim had now achieved the status of cult figure, and from here on, whatever he wrote enjoyed a respectful, if not down-right awed, reception from a growing group of enthusiasts that included reviewers, cabaret singers, and non-showbiz "civilians" who made bestsellers of the original-cast recordings of his anti aging washington dc.

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None of this seemed to affect the writer, at once gnawed by self-doubt and consumed by ambition. The British playwright Alan Ayckbourne remembered meeting Sondheim at an Oxford restaurant to discuss a possible project.

I talk very, very fast and very, very quietly and don't stare at people either. So there were two guys—one of us could have left the table and the other would öregedésgátló szlogenek ingatlanokhoz have known it.

He's terrible when you're not with it, but when you get it right he is so overjoyed by the material being interpreted the way he saw it that he makes you feel like a million bucks. A Little Night Music marked the return of the mainstream Sondheim. Laurents's book was a slyly commercial adaptation of Smiles of a Summer Night, Ingmar Bergman's peek at drawing-room and bedroom shenanigans in nineteenth-century Sweden.

As a tribute to the epoch and the subject matter, Sondheim began thinking in terms of "fughettos, canons, contrapuntal duets, trios" and eventually composed every number in three-four time.

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The best of the waltzes, "Send in the Clowns," is the only Sondheim song to have reached the status of a platinum megahit, recorded by the likes of Sarah Vaughan, Frank Sinatra, and Judy Collins.

Over 30 years later, the bittersweet words still resound in the cabarets of Europe and America: Just when I stopped opening doors, Finally finding the one that I wanted was yours, Making my entrance again with my usual flair Sure of my lines—nobody's there.

Don't you love farce?

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My fault, I fear I thought you'd want what I want—sorry, my dear. But where are the clowns—send in the clowns— Don't bother. Inthough, the contrarian Sondheim surfaced once more.

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Pacific Overtures told the story of nineteenth-century Japan's collision with Western influence. Sweeney Todd, a tongue-in-cheek thriller about the partnership of an nineteenth-century London pie maker and a killer whose victims wind up in her creations, enjoyed a better reception.

The opening number set the tone: Attend the tale of Sweeney Todd His skin was pale, and his eye was odd. He shaved the faces of gentlemen Who never thereafter were heard of again.

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He kept a shop in London Town, Of fancy clients and good renown. And what if none of their souls were saved? On opening night, drama critic Harold Clurman challenged Schuyler Chapin, the general manager of the Metropolitan Opera: "Why didn't you put this on at the Met? There would have been screams and yells and I wouldn't have given a damn.

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Because it is an opera. A modern American opera.

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Again the profits failed to arrive; the show only earned back 59 percent of its investment. But by now, there was no shortage of producers willing to get involved with anything that the composer chose to write.

Sondheim had become synonymous with glamour; prestige belonged to anything with his name on it.

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Revivals began to open in regional theaters across the U. And then came Merrily We Roll Along. Preceding it was a minor heart attack that did little to slow Sondheim down. Kaufman play. In this tragicomedy, lives and careers take place backward, starting with the corruption of success and winding up at an innocent high school graduation.

For months, the dejected writer holed up in his Turtle Bay townhouse, working on crossword puzzles and playing the board games that had always intrigued him—anything to take his mind away from public failure.

There's a case to be made for 'Am I wasting my time in the long run?

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It was bleak. He had friends in the entertainment business, but he lived alone; he had gone solo since college. Theater people knew he was gay; they also knew he was extremely private, and kept their distance. What only a few knew was the extent to which Foxy still pervaded his life. A few years before, she had entered the hospital to have a pacemaker installed. The night before the operation, she had a letter hand-delivered to her son, "because," said Stephen, "she thought she was going to die and wanted to make sure I got it.

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Everything I'd felt, that I'd never expressed up to this point. It wasn't hard. I just said, 'I don't want to see you any more. I'll continue to support you, and just call my business manager'; that was all. Sondheim wouldn't permit himself to fall in love with anyone. If the relationship didn't work out, the pain would be unbearable; look at what the theater had just done to him. He told people that he was thinking about forsaking composition altogether, that perhaps he'd try to write mystery novels.

But this would have been like Canute commanding anti aging washington dc tide to reverse itself, and he knew it.

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InSondheim tentatively edged back into the creative mind-set, working with dramatist James Anti aging washington dc, making certain to avoid the mainstream in every respect—musically, lyrically, conceptually. He wanted to do something totally different this time—not only from what others might offer but also from anything he had written before. He intended to push and prod the audience, even against its will, to recognize the American musical as an art form as valid as opera or jazz.

And, in fact, when Sunday in the Park with George debuted at the Booth Theater incritics could find no basis of comparison with any other musical, for the show had taken on nothing less than the act of creation. Its subject: the pointillist painter Georges Seurat and his effort to create a fresh way of looking at the physical world.