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This second (and final) volume sees Sondheim amend some of the omissions in his last book, and of course is a study of his lyrical contributions from SUNDAY IN THE PARK WITH GEORGE to his most recent ROAD SHOW, with a litany of attendant side-notes that enhance and reveal his craft.
Other reviewers had noted that the greater part of this book examines the evolving developments of his WISE GUYS/BOUNCE/ROAD SHOW odyssey and this is devoid of any criticism of collaborators - a noble feat, considering the public spats and litigation that flowered this particular theatrical effort.
The essays in this book are less frequent than before, and his wonderful perceptions of the theatrical lyricists that colored his last endeavor are reduced to two minor articles in brief overview of some of the lesser-known practitioners like John La Touche and Hugh Martin. I could have done with more of these, as Sondheim has a natural facility for criticism. Other essays detail his... read more
As a Sondheim fan (though not as monomaniacally worshipful as some) I have positive but not unmixed feelings about this book, as I did about the previous volume, Finishing the Hat. Overall I'd highly recommend both, in fact think they are invaluable for anyone interested at all in American musical theatre. But to the old expression that children, law, and sausage are three things one should not watch being made, I might add a fourth: art. As with the first book, I sometimes shook my head in dismay and wonderment, asking myself, "was that REALLY what you were thinking when you wrote ...?" I was so disappointed to find that the wittiest line in West Side Story was not an intentional play on words, but a compromise because SS couldn't drop an f-bomb. ("Krup you" is witty. The f-bomb wouldn't even have been funny.) The letdown in this volume was to find that the shooting-gallery setting in Assassins (my favourite of his works) was in the source material, not Sondheim's invention. In sum,... read more
In terms of structure this second volume of Stephen Sondheim's collected lyrics is much like his first: after a one-paragraph summary of the show and an introductory note on its development from a concept to a full production, we get the lyrics, including cut songs and alternate versions, surrounded by just enough plot summary that the songs make sense and interspersed with annotations on the logic behind the songs, the stories behind them, the successes and failures (in Sondheim's eyes) of a line, a verse, a whole lyric. Short essays on general musical-theater themes appear in boxouts at intervals throughout. A few photos, all black-and-white, are nice enough but pale in comparison to the other images: reduced pages that show the original handwritten workings for various songs, with alternate readings crowding each other out. They aren't always fully legible, but the general insight into the evolution of a song is invaluable. On a larger level, the annotations and essays reveal... read more
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