Beyond Sondheim and Hammerstein
A closer look at three essential Broadway lyricists
Shalom, Broadway lovers!
In today’s FREE edition of MARQUEE: The Broadway Maven’s Weekly Blast: a video essay that advocates for the lyrical brilliance of three classic wordsmiths (Alan Jay Lerner, Fred Ebb, and Frank Loesser); reviews of two West End shows (Mean Girls and Why am I So Single?); a Broadway Blast about Guys and Dolls; a Piano Talk about “Hurricane” from Hamilton; a poll about possible FREE classes in December; and a Last Blast about Evita.
VIDEO ESSAY: Classic Broadway lyricists are often overshadowed by Stephen Sondheim and Oscar Hammerstein II. This video reclaims the work of Alan Jay Lerner (My Fair Lady, Camelot), Frank Loesser (Guys and Dolls, How to Succeed in Business Without Really Trying), and Fred Ebb (Cabaret, Chicago). It spotlights each lyricist's work as well as four examples of their greatest lyrics. The video will help students prepare for the November 12 and 19 two-part series of Lyricist Lessons, which is FREE to Broadway Maven Members.
LONDON TRIP REPORT: Seeking to recharge my musical theater batteries without having to fly from my home in Israel all the way to New York, I spent the last few days seeing shows in London's West End, always a refreshing encounter with non-Broadway musical theater.
Of the two musicals I saw, the most impactful by far was a newly staged production of Mean Girls, which I attended with several friends (including two Maven Scholars!) in celebration of my birthday.
The Mean Girls cast forged a tight comedic connection with a deeply engaged audience, many of whom were custom-dressed for the Wednesday night performance ("on Wednesdays we wear pink"). The evening was a celebration of the humor, heart and smarts that make this show one of the truly great pieces of the 21st century.
The video projections delighted and sometimes surprised us, and the acting was terrific, especially the woman playing Ms. Norbury and the actress embodying the central role of Cady Heron. Cady transitions from homeschooled loner to high school fresh face to the leader of the Plastics clique, all set to Jeff Richmond's infectious score and Nell Benjamin's playful lyrics, which continue to tickle me despite my familiarity with them.
Mean Girls is filled with fun inside jokes delivered by book writer Tina Fey, including the fact Cady's name is repeatedly mispronounced "catty," something mean girls definitely are -- and something I am about to be regarding the other musical, the truly dreadful Why Am I So Single?,
Single aimed for profundity on the ways modern technology affects the pursuit of love relationships, but instead it teemed with jokes that didn't land, often to uncomfortable silence. To be fair, about half of the moribund lines were delivered by the lead character, performed by an understudy the night I attended. The Maven Scholar who joined me described the show's problem as follows: "Most jokes rely on the audience members being knowledgeable of musical theater, British culture and/or queer culture, creating quite a niche demographic."
This sophomoric show is the sophomore effort of Lucy Moss and Toby Marlow, the team behind the smash hit SIX. Their new musical failed to come close to their previous vivacious and engaging work, although there were a few fun numbers (one about dating apps called “Meat Market”) and the third-billed actor, playing Artie, brightened the stage whenever he was on it because of his knack for comedic timing. Maybe he could do a seminar for the rest of the show's team.
Despite the Single misfire, I had a royal good time on my trip and am eager to return for more West End fun. In fact, I might start with another ticket to Mean Girls...
BROADWAY BLAST: In Frank Loesser’s Guys and Dolls, Nicely-Nicely Johnson's plaintive plea in "Sit Down, You’re Rockin’ the Boat" is often misquoted as "someone save me," but the original lyric is actually "someone fade me." The confusion is understandable, but "fade me" is a gambling term, meaning to take the opposite side of a bet. In context, Nicely is metaphorically acknowledging that he's on a losing streak—he’s desperately pleading for someone to take a chance and back him, even if it’s just to prove him wrong. This phrase perfectly captures the desperation and anxiety of a gambler at the end of his rope, and it cleverly ties into the high-stakes world of Guys and Dolls, where every decision can tip the balance between fortune and ruin. Understanding this lyric deepens our sense of Nicely’s panic, making it clear that he’s not just asking for help—he’s begging for someone to reassert some control over the chaos, even if it’s at his expense.
PIANO TALK: It's hurricane season in the southeastern United States, and as America copes with the damage from Helene and Milton, Broadway Maven co-host and music educator Mateo Chavez Lewis has shared some commentary on the score of the turbulent "Hurricane" from Hamilton on his Music Theatre Theory YouTube channel. If you watch it, and find yourself wanting more, Mateo will be teaching a FREE three-part course on the music of Hamilton in November. Sign up here.
SEE A SHOW WITH THE BROADWAY MAVEN: David will be attending the Monday night, November 4 production of Forbidden Broadway: Merrily We Stole a Song with several Broadway Maven students and MARQUEE readers, and he's buying drinks before the show! If you'd like to be included in a FREE drawing for a ticket, hit reply to this E-mail with the word "drawing" and if you're selected, we'll let you know.
See Maven Scholar Tatiana Atehortua’s review here.
🇮🇹 CHI PARLA ITALIANO QUI 🇮🇹? During an early November trip to Florence, I'm giving an Italian-language speech about Stephen Sondheim. Broadway Maven Members and MARQUEE readers who speak (or are learning) the language are invited to meet me online at a time to be determined so I can practice delivering the one-hour speech and answering questions about it. I'm excited to share my enthusiasm about Sondheim in the country where A Funny Thing Happened on the way to the Forum and the Shakespearean source play for West Side Story are set. Write me at DavidBenkof@gmail.com if you are open to helping. Grazie!
Mateo Chavez Lewis’s three-part class on the score of Hamilton is going to be a delight for the ear, the eye, the brain, and the funny bone. From his piano, Mateo will break down the innovative music of this landmark revolutionary show. Three consecutive Sundays in November (see calendar).
HOMEWORK: The video above (this week’s lead story) will be great preparation for “Lyricist Lessons,” a Members-only class held Tuesday, November 12 and Tuesday, November 19 at Noon ET.
Note: A full calendar of upcoming classes is always available at TheBroadwayMaven.com.
• Sunday, November 3 Noon and 7 pm ET “Broadway, Rap, and Broadway Rap” — part of “The Music of Hamilton with Mateo Chavez Lewis” (FREE, register here)
• Sunday, November 10 Noon and 7 pm ET The music of Hamilton Act One (FREE, register here)
• Tuesday, November 12 Noon ET Lyricist Lessons part one (Members Only)
• Sunday, November 17 Noon and 7 pm ET The music of Hamilton Act Two (FREE, register here)
• Tuesday, November 19 Noon ET Lyricist Lessons part two (Members Only)
• Monday, November 25 Noon ET “Transition: Broadway's surprising history between Oklahoma! and Carousel“ with Broadway Nation host Prof. David Armstrong (Members Only)
• Tuesday, November 26 Noon to 2 pm ET SondheimFest part one (FREE)
• Tuesday, November 26 7 to 9 pm ET SondheimFest part two (FREE)
• Tuesdays December 3, 10, and 17 Sondheim: Bit by Bit (Members Only)
NOTE: As always, Broadway Maven Members do not have to sign up or pay for anything. Just show up!
LAST BLAST: "High Flying Adored" from Andrew Lloyd Webber and Tim Rice's Evita is far more than a song of praise for an ascendant First Lady of Argentina. It's a masterful use of the Icarus myth, symbolizing Eva Perón’s meteoric rise and devastating crash. The song hints that Eva’s undoing came not just from her failing health but from a relentless drive that ultimately consumed her. It’s more than a commentary on her political power—it’s a meditation on human nature, hubris, and how the pursuit of glory can turn ambition into self-destruction.
ANSWERS TO SEPTEMBER 26 ROSH HASHANA QUIZ (link): Guys and Dolls, Les Misérables, Hello, Dolly!, Come from Away, Company, A Chorus Line, Dear Evan Hansen, Rent, CATS, Avenue Q
Broadway Maven David Benkof helps students further their appreciation of musical theater through his classes, his YouTube channel, and MARQUEE: the Broadway Maven’s Weekly Blast. Contact him at DavidBenkof@gmail.com.
We saw a terrific production of "Kiss Me Kate" in late June at the Barbican. While the lead who played Frederick/Petruchio (Adrian Dunbar) did not have the strongest voice, his acting was impeccable. The rest of the cast (which included Stephanie Block as Kate) sang, danced, & acted up a storm, & the set (with 3 sides--backstage, Fred's & Lily's dressing rooms, & the "Taming of the Shrew" set) was amazing. We (my wife, my 23 year old son, & I) thoroughly enjoyed the show.