History Creator / StephenSondheim

16th Oct '17 6:51:50 AM AustinCarver13
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* AddedAlliterativeAppeal: Any Sondheim musical will include this, with lines like "I feel fizzy and funny and fine," "The realities remain remote," "The bong of the bell of the buoy in the bay," and the infamous "That's the puddle where the poodle did the piddle."
* AllMusicalsAreAdaptations: He's perhaps the only man ever to adapt a ''painting'' into a full-length musical. He's only done one completely original show: ''Anyone Can Whistle''.




to:

* CounterpointDuet: BIG fan of this, puts it in almost all his shows, and sometimes going [[UpToEleven one step further]] and making it into a trio, quartet, quintet, sextet, septet, or [[MassiveMultiplayerEnsembleNumber an ensemble number with as much as 8-part counterpoint!!]]
* {{Deconstruction}}: Present to some degree in most of his works, most notably the following:
** ''[=Into the Woods=]'' (fairy tales)
** ''Pacific Overtures'' (the sort of East-meets-West story best represented by ''The King and I'')
** ''{{Theatre/Assassins}}'' and ''Road Show'' (the American Dream)
* DoubleMeaningTitle: ''Follies'', ''Pacific Overtures'', perhaps to a lesser extent ''Company''
* DownerEnding: ''Assassins'', ''Theatre/WestSideStory'' (inherent in the [[Theatre/RomeoAndJuliet source material]]), ''Merrily We Roll Along'' (subverted in that it's placed at the beginning), ''Sweeney Todd'', ''Follies'', ''Evening Primrose''.
** Some stagings of ''Gypsy'', notably the 2008 production starring Patti [=LuPone=].
* GossipyHens: Most of the minor characters in ''Sunday in the Park with George'', and some Gossipy Roosters in the form of the soldiers in ''Passion''.
* ''{{Leitmotif}}''
* LyricalDissonance
* PatterSong: Uses these often in his musicals, such as "Getting Married Today" in ''Company,'' "The Contest" in ''Sweeney Todd,'' and "Now" in ''A Little Night Music.''
* {{Reconstruction}}: Arguably, ''Passion'', of the archetypal love epic.
* SanitySlippageSong: He's got several - "Epiphany" from ''Sweeney Todd,'' "Getting Married Today" from ''Company,'' "Live, Laugh, Love" from ''Follies,'' "Franklin Shepard Inc." from ''Theatre/MerrilyWeRollAlong,'' and "Rose's Turn" from ''Gypsy.''
** And really, any song containing the word "Ballad" in ''Assassins''.
* SlidingScaleOfIdealismVersusCynicism: Very cynical in most cases
* SubvertedRhymeEveryOccasion: More often inverted than played straight. Often he'll complete the rhyme, but in a way you'd never guess. Or he'll stuff in a bunch of internal rhymes where no other songwriter will dare.



* {{Deconstruction}}: ''Road Show'' (the American Dream)
15th Oct '17 3:45:37 PM PaulA
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Added DiffLines:

!!Tropes used frequently in works by Stephen Sondheim include:

* BreakTheFourthWall: Almost always PlayedForLaughs. Used to great effect in plays like ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'', ''Theatre/TheFrogs'', ''Theatre/{{Company}}'' and especially in the second act of ''Theatre/IntoTheWoods''.
14th Oct '17 5:55:24 PM PaulA
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* BreakTheFourthWall: Happens very frequently and almost always PlayedForLaughs. Used to great effect in plays like ‘’Sweeney Todd,’’ ‘’The Frogs’’, ‘’Company’’ and especially in the second act of ‘’Into the Woods.’’
14th Oct '17 1:11:23 PM AustinCarver13
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Added DiffLines:

* BreakTheFourthWall: Happens very frequently and almost always PlayedForLaughs. Used to great effect in plays like ‘’Sweeney Todd,’’ ‘’The Frogs’’, ‘’Company’’ and especially in the second act of ‘’Into the Woods.’’
4th Oct '17 11:08:10 PM PaulA
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* BreakTheFourthWall: Happens very frequently and almost always PlayedForLaughs.
4th Oct '17 9:13:59 PM AustinCarver13
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Added DiffLines:

* BreakTheFourthWall: Happens very frequently and almost always PlayedForLaughs.
4th Aug '17 1:37:43 AM PaulA
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* NoSongForTheWicked: Surprisingly, the villain in ''Evening Primrose'' (Ms. Munday) did not receive a song of her own, most likely because it was only written to fit within an hour of television broadcast time. Many fans think that if ''Evening Primrose'' were to be expanded for stage, Ms. Munday should deserve a song.



* VillainSong: Surprisingly, the villain in ''Evening Primrose'' (Ms. Munday) did not receive one, most likely because it was only written to fit within an hour of television broadcast time. Many fans think that if ''Evening Primrose'' were to be expanded for stage, Ms. Munday should deserve a song.
4th Aug '17 1:32:00 AM PaulA
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!!!Works by Stephen Sondheim without their own pages, and his oeuvre in general, provide examples of:

* AddedAlliterativeAppeal: He loves this. Any Sondheim musical will include lines like "I feel fizzy and funny and fine," "The realities remain remote," "The bong of the bell of the buoy in the bay," and the infamous "That's the puddle where the poodle did the piddle."
* AllMusicalsAreAdaptations: He's perhaps the only man ever to adapt a ''painting'' into a full-length musical. He's only done three completely original shows: ''Anyone Can Whistle'', ''Company'', and ''Follies''.
** ''Follies'' was inspired by a picture of Gloria Swanson standing in the ruins of the Roxy Theater.
** And ''Company'' was originally based on a series of one-act plays by George Furth that were combined into the musical.

to:

!!!Works !!Works by Stephen Sondheim without their own pages, and his oeuvre in general, pages provide examples of:

* AddedAlliterativeAppeal: He loves this. Any Sondheim musical will include lines like "I feel fizzy and funny and fine," "The realities remain remote," "The bong of the bell of the buoy in the bay," and the infamous "That's the puddle where the poodle did the piddle."
* AllMusicalsAreAdaptations: He's perhaps the only man ever to adapt a ''painting'' into a full-length musical. He's only done three completely original shows: ''Anyone Can Whistle'', ''Company'', and ''Follies''.
** ''Follies'' was inspired by a picture of Gloria Swanson standing in the ruins of the Roxy Theater.
** And ''Company'' was originally based on a series of one-act plays by George Furth that were combined into the musical.
of:



* CounterpointDuet: BIG fan of this, puts it in almost all his shows, and sometimes going [[UpToEleven one step further]] and making it into a trio, quartet, quintet, sextet, septet, or [[MassiveMultiplayerEnsembleNumber an ensemble number with as much as 8-part counterpoint!!]]
* {{Deconstruction}}: Present to some degree in most of his works, most notably the following:
** ''[=Into the Woods=]'' (fairy tales)
** ''Pacific Overtures'' (the sort of East-meets-West story best represented by ''The King and I'')
** ''{{Theatre/Assassins}}'' and ''Road Show'' (the American Dream)
* DoubleMeaningTitle: ''Follies'', ''Pacific Overtures'', perhaps to a lesser extent ''Company''
* DownerEnding: ''Assassins'', ''Theatre/WestSideStory'' (inherent in the [[Theatre/RomeoAndJuliet source material]]), ''Merrily We Roll Along'' (subverted in that it's placed at the beginning), ''Sweeney Todd'', ''Follies'', ''Evening Primrose''.
** Some stagings of ''Gypsy'', notably the 2008 production starring Patti [=LuPone=].
* GossipyHens: Most of the minor characters in ''Sunday in the Park with George'', and some Gossipy Roosters in the form of the soldiers in ''Passion''.
* ''{{Leitmotif}}''
* LyricalDissonance

to:

* CounterpointDuet: BIG fan of this, puts it in almost all his shows, and sometimes going [[UpToEleven one step further]] and making it into a trio, quartet, quintet, sextet, septet, or [[MassiveMultiplayerEnsembleNumber an ensemble number with as much as 8-part counterpoint!!]]
* {{Deconstruction}}: Present to some degree in most of his works, most notably the following:
** ''[=Into the Woods=]'' (fairy tales)
** ''Pacific Overtures'' (the sort of East-meets-West story best represented by ''The King and I'')
** ''{{Theatre/Assassins}}'' and
''Road Show'' (the American Dream)
* DoubleMeaningTitle: ''Follies'', ''Pacific Overtures'', perhaps to a lesser extent ''Company''
*
DownerEnding: ''Assassins'', ''Theatre/WestSideStory'' (inherent in the [[Theatre/RomeoAndJuliet source material]]), ''Merrily We Roll Along'' (subverted in that it's placed at the beginning), ''Sweeney Todd'', ''Follies'', ''Evening Primrose''.
** Some stagings of ''Gypsy'', notably the 2008 production starring Patti [=LuPone=].
* GossipyHens: Most of the minor characters in ''Sunday in the Park with George'', and some Gossipy Roosters in the form of the soldiers in ''Passion''.
* ''{{Leitmotif}}''
* LyricalDissonance
Primrose''.



* {{Pastiche}}: Over half the songs in ''Follies'' are pastiches (not parodies) of the styles of older composers, lyricists and musical forms. The score of ''Assassins'' also consists mostly of pastiches of different American musical styles like patriotic marches and '80s pop.
* PatterSong: Uses these often in his musicals, such as "Getting Married Today" in ''Company,'' "The Contest" in ''Sweeney Todd,'' and "Now" in ''A Little Night Music.''
* {{Reconstruction}}: Arguably, ''Passion'', of the archetypal love epic.
* SanitySlippageSong: He's got several - "Epiphany" from ''Sweeney Todd,'' "Getting Married Today" from ''Company,'' "Live, Laugh, Love" from ''Follies,'' "Franklin Shepard Inc." from ''Theatre/MerrilyWeRollAlong,'' and "Rose's Turn" from ''Gypsy.''
** And really, any song containing the word "Ballad" in ''Assassins''.



* ShoutOut: In the opening of ''Pacific Overtures'', the Reciter sings of far off lands where, among other things, women are being praised, which is arguably a ShoutOut to 'In Praise of Women' from Sondheim's previous musical ''A Little Night Music''.
* SlidingScaleOfIdealismVersusCynicism: Very cynical in most cases
* SubvertedRhymeEveryOccasion: More often inverted than played straight. Often he'll complete the rhyme, but in a way you'd never guess. Or he'll stuff in a bunch of internal rhymes where no other songwriter will dare.
* ThatRemindsMeOfASong: Used dramatically in ''Follies'', in which half the songs are numbers that the women used to sing in their days in the Ziegfeld Follies-esque show, but are used to point up the melancholy of the story.
* VillainSong: He's good at this.
** Surprisingly, the villain in ''Evening Primrose'' (Ms. Munday) did not receive one, most likely because it was only written to fit within an hour of television broadcast time. Many fans think that if ''Evening Primrose'' were to be expanded for stage, Ms. Munday should deserve a song.
** Everything except the parts sung by the Balladeer in Assassins counts as villain songs.
* WhiteDwarfStarlet: Half the cast of ''Follies'', a show which does a little examining of this very phenomenon.

to:

* ShoutOut: In the opening of ''Pacific Overtures'', the Reciter sings of far off lands where, among other things, women are being praised, which is arguably a ShoutOut to 'In Praise of Women' from Sondheim's previous musical ''A Little Night Music''.
* SlidingScaleOfIdealismVersusCynicism: Very cynical in most cases
* SubvertedRhymeEveryOccasion: More often inverted than played straight. Often he'll complete the rhyme, but in a way you'd never guess. Or he'll stuff in a bunch of internal rhymes where no other songwriter will dare.
* ThatRemindsMeOfASong: Used dramatically in ''Follies'', in which half the songs are numbers that the women used to sing in their days in the Ziegfeld Follies-esque show, but are used to point up the melancholy of the story.
* VillainSong: He's good at this.
**
Surprisingly, the villain in ''Evening Primrose'' (Ms. Munday) did not receive one, most likely because it was only written to fit within an hour of television broadcast time. Many fans think that if ''Evening Primrose'' were to be expanded for stage, Ms. Munday should deserve a song.
** Everything except the parts sung by the Balladeer in Assassins counts as villain songs.
* WhiteDwarfStarlet: Half the cast of ''Follies'', a show which does a little examining of this very phenomenon.
song.
7th Jul '17 12:28:18 AM JulianLapostat
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Sondheim has also done the movie scores for two films: Creator/WarrenBeatty's ''Film/{{Reds}}'' and Alain Resnais' ''Stavisky.'' His collected lyrics (with his comments and recollections) have been published in two volumes: ''Finishing the Hat'' and ''Look, I Made a Hat.''

to:

Sondheim has also done the movie scores for two films: Creator/WarrenBeatty's ''Film/{{Reds}}'' and Alain Resnais' Creator/AlainResnais' ''Stavisky.'' His collected lyrics (with his comments and recollections) have been published in two volumes: ''Finishing the Hat'' and ''Look, I Made a Hat.''
23rd Jun '16 11:38:39 AM NEinDC
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Sondheim has also done the movie scores for two films: Creator/WarrenBeatty's ''Film/{{Reds}}'' and Alain Resnais' ''Stavisky...''

to:

Sondheim has also done the movie scores for two films: Creator/WarrenBeatty's ''Film/{{Reds}}'' and Alain Resnais' ''Stavisky...''Stavisky.'' His collected lyrics (with his comments and recollections) have been published in two volumes: ''Finishing the Hat'' and ''Look, I Made a Hat.''


Added DiffLines:

* NeverSpeakIllOfTheDead: Inverted in his books of collected & annotated lyrics, where he writes frank and incisive commentary about other lyricists' work, but only ones already dead. In his own words: "speaking ill exclusively of the dead seems to me the gentlemanly thing to do. The subject cannot be personally hurt, and his reputation is unlikely to be affected by anything you say, whereas publicly passing judgement on living writers is both hurtful and stifling."
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