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None
Changed line(s) 6 (click to see context) from:
* Tateh comforting his daughter with her late mother's wisdom in "Gliding," and telling her to imagine that Mameh is here with them, skating just ahead and out of sight.
to:
* Tateh comforting his daughter with her late mother's wisdom in "Gliding," and telling her to imagine that Mameh is here with them, skating just ahead and out of sight.sight.
* Coalhouse's death. While it's expected by this point that he'll be killed in spite of his surrender, Father clearly thinks that the police will spare him because he believes they're good people. When he's shot anyway, he ''screams'' a BigNo and collapses in pure agony.
* Coalhouse's death. While it's expected by this point that he'll be killed in spite of his surrender, Father clearly thinks that the police will spare him because he believes they're good people. When he's shot anyway, he ''screams'' a BigNo and collapses in pure agony.
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Changed line(s) 5 (click to see context) from:
* "Sarah Brown Eyes." Oh my '''GOSH.''' Coalhouse reminisces about the first time he met Sarah, quite some time after she's died. Sarah's actress reappears on stage to help visualize the reenactment, and the two sing a sweet, wholesome MeetCute duet worthy of an animated Disney film. Then Sarah's actress sings that final, sweet, drawn-out note and disappears into the darkness, leaving Coalhouse to return to his grim reality.
to:
* "Sarah Brown Eyes." Oh my '''GOSH.''' Coalhouse reminisces about the first time he met Sarah, quite some time after she's died. Sarah's actress reappears on stage to help visualize the reenactment, and the two sing a sweet, wholesome MeetCute duet worthy of an animated Disney film. Then Sarah's actress sings that final, sweet, drawn-out note and disappears into the darkness, leaving Coalhouse to return to his grim reality.reality.
* Tateh comforting his daughter with her late mother's wisdom in "Gliding," and telling her to imagine that Mameh is here with them, skating just ahead and out of sight.
* Tateh comforting his daughter with her late mother's wisdom in "Gliding," and telling her to imagine that Mameh is here with them, skating just ahead and out of sight.
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None
Changed line(s) 2 (click to see context) from:
* "Your Daddy's Son", where Sarah expresses the fear and pain she went through as a young, unwed, and pregnant black girl. It becomes clear that what she did to her son was not because she hated him or didn't want him, but was an act of desperation, and she's clearly grateful it didn't succeed.
to:
* "Your Daddy's Son", where Sarah expresses the fear and pain she went through as a young, unwed, and pregnant black Black girl. It becomes clear that what she did to her son was not because she hated him or didn't want him, but was an act of desperation, and desperation--some productions make it seem like she was so mentally broken that she wasn't even conscious of her actions at the time--and she's clearly grateful it didn't succeed.
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Changed line(s) 4 (click to see context) from:
* If you can get through "Till We Reach that Day" without crying, you deserve a medal. Sarah has been brutally murdered, mistaken for a would-be assassin, and not only do we see Coalhouse's pain, the entire community (the New Rochelle family, the citizens of Harlem, and the immigrants) mourn her.
to:
* If you can get through "Till We Reach that Day" without crying, you deserve a medal. Sarah has been brutally murdered, mistaken for a would-be assassin, and not only do we see Coalhouse's pain, the entire community (the New Rochelle family, the citizens of Harlem, and the immigrants) mourn her.her.
* "Sarah Brown Eyes." Oh my '''GOSH.''' Coalhouse reminisces about the first time he met Sarah, quite some time after she's died. Sarah's actress reappears on stage to help visualize the reenactment, and the two sing a sweet, wholesome MeetCute duet worthy of an animated Disney film. Then Sarah's actress sings that final, sweet, drawn-out note and disappears into the darkness, leaving Coalhouse to return to his grim reality.
* "Sarah Brown Eyes." Oh my '''GOSH.''' Coalhouse reminisces about the first time he met Sarah, quite some time after she's died. Sarah's actress reappears on stage to help visualize the reenactment, and the two sing a sweet, wholesome MeetCute duet worthy of an animated Disney film. Then Sarah's actress sings that final, sweet, drawn-out note and disappears into the darkness, leaving Coalhouse to return to his grim reality.
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None
Changed line(s) 2 (click to see context) from:
* "Your Daddy's Son", where Sarah expresses the fear and pain she went through as a young, unwed, and pregnant black girl. It climaxes when we realize that she is the woman who buried her still-living child found by Mother:
to:
* "Your Daddy's Son", where Sarah expresses the fear and pain she went through as a young, unwed, and pregnant black girl. It climaxes when we realize becomes clear that what she is the woman who buried did to her still-living child found by Mother:son was not because she hated him or didn't want him, but was an act of desperation, and she's clearly grateful it didn't succeed.
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Changed line(s) 1 (click to see context) from:
* "Back to Before" is a song that could be seen as a tearjerker. Mother knows that Father's promise of restoring the status quo is impossible, as too much has changed and she will embrace it. Marin Mazzie (the original Mother) really sells the song and was reduced to tears after recording it. Gains new resonance now that Mazzie has passed away, making it possibly even sadder.
to:
* "Back to Before" is a song that could be seen as a tearjerker. Mother knows that Father's promise of restoring the status quo is impossible, as too much has changed and she will embrace it. Marin Mazzie Creator/MarinMazzie (the original Mother) really sells the song and was reduced to tears after recording it. Gains new resonance now that Mazzie has passed away, making it possibly even sadder.
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Added DiffLines:
* "Your Daddy's Son", where Sarah expresses the fear and pain she went through as a young, unwed, and pregnant black girl. It climaxes when we realize that she is the woman who buried her still-living child found by Mother:
-->'''Sarah''': I buried my heart in the ground!
-->'''Sarah''': I buried my heart in the ground!
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Changed line(s) 1 (click to see context) from:
* "Back to Before" is a song that could be seen as a tearjerker. Mother knows that Father's promise of restoring the status quo is impossible, as too much has changed and she will embrace it. Marin Mazzie (the original Mother) really sells the song and was reduced to tears after recording it. Gains new resonance now that Mazzie has passed away, making it possibly even sadder.
to:
* "Back to Before" is a song that could be seen as a tearjerker. Mother knows that Father's promise of restoring the status quo is impossible, as too much has changed and she will embrace it. Marin Mazzie (the original Mother) really sells the song and was reduced to tears after recording it. Gains new resonance now that Mazzie has passed away, making it possibly even sadder.sadder.
* If you can get through "Till We Reach that Day" without crying, you deserve a medal. Sarah has been brutally murdered, mistaken for a would-be assassin, and not only do we see Coalhouse's pain, the entire community (the New Rochelle family, the citizens of Harlem, and the immigrants) mourn her.
* If you can get through "Till We Reach that Day" without crying, you deserve a medal. Sarah has been brutally murdered, mistaken for a would-be assassin, and not only do we see Coalhouse's pain, the entire community (the New Rochelle family, the citizens of Harlem, and the immigrants) mourn her.
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None
Changed line(s) 1,7 (click to see context) from:
* "Your Daddy's Son."
* Almost any part of the show can turn on the waterworks post- "Nothing Like the City."
** You mean post-Prologue, right?
* Three words-- "Sarah Brown Eyes".
* "Back to Before" is a song that could be seen as a tearjerker, Mother knows that Father's promise of restoring the status quo is impossible, as too much has changed and she will embrace it.
** Marin Mazzie (the original Mother) really sells the song and was reduced to tears after recording it.
*** Gains new resonance now that Mazzie has passed away, making it possibly even sadder.
* Almost any part of the show can turn on the waterworks post- "Nothing Like the City."
** You mean post-Prologue, right?
* Three words-- "Sarah Brown Eyes".
* "Back to Before" is a song that could be seen as a tearjerker, Mother knows that Father's promise of restoring the status quo is impossible, as too much has changed and she will embrace it.
** Marin Mazzie (the original Mother) really sells the song and was reduced to tears after recording it.
*** Gains new resonance now that Mazzie has passed away, making it possibly even sadder.
to:
* Almost any part of the show can turn on the waterworks post- "Nothing Like the City."
** You mean post-Prologue, right?
* Three words-- "Sarah Brown Eyes".
**
***
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None
Changed line(s) 7 (click to see context) from:
*** Even sadder now that Mazzie has passed away, truly we can't never go back to before.
to:
*** Even sadder Gains new resonance now that Mazzie has passed away, truly we can't never go back to before.making it possibly even sadder.
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Changed line(s) 7 (click to see context) from:
*** Extra sadder now that Mazzie has passed away, truly we can't never go back to before.
to:
*** Extra Even sadder now that Mazzie has passed away, truly we can't never go back to before.
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added for Marin
Changed line(s) 4 (click to see context) from:
* Three words-- "Sarah Brown Eyes".
to:
* Three words-- "Sarah Brown Eyes".Eyes".
* "Back to Before" is a song that could be seen as a tearjerker, Mother knows that Father's promise of restoring the status quo is impossible, as too much has changed and she will embrace it.
** Marin Mazzie (the original Mother) really sells the song and was reduced to tears after recording it.
*** Extra sadder now that Mazzie has passed away, truly we can't never go back to before.
* "Back to Before" is a song that could be seen as a tearjerker, Mother knows that Father's promise of restoring the status quo is impossible, as too much has changed and she will embrace it.
** Marin Mazzie (the original Mother) really sells the song and was reduced to tears after recording it.
*** Extra sadder now that Mazzie has passed away, truly we can't never go back to before.
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None
Changed line(s) 3 (click to see context) from:
** You mean post-Prologue, right?
to:
** You mean post-Prologue, right?right?
* Three words-- "Sarah Brown Eyes".
* Three words-- "Sarah Brown Eyes".
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None
Changed line(s) 1 (click to see context) from:
* "Your Daddy's Son."
to:
* "Your Daddy's Son.""
* Almost any part of the show can turn on the waterworks post- "Nothing Like the City."
** You mean post-Prologue, right?
* Almost any part of the show can turn on the waterworks post- "Nothing Like the City."
** You mean post-Prologue, right?
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Well, uh, that was a big cut. Lots of personal lines removed, and \'the entire thing\' isn\'t much of an example.
Changed line(s) 1,9 (click to see context) from:
* ''Ragtime''. Pretty much the whole thing, but especially "Your Daddy's Son."
* '''Till We Reach That Day''. I will never forget being ten years old, at my first-ever Broadway show, ''bawling my eyes out'' at poor, dead Audra [=McDonald=].
* This troper is a wreck at the final verse of "Make Them Hear You" [[spoiler: just before Coalhouse is killed]], particularly the lines:
--->'''Coalhouse''': Teach every child to raise his voice\\
And then my brothers, then will justice\\
Be demanded by ten million righteous men\\
Make them hear you\\
When they hear you, I'll be near you again . . .
* For this troper, the Epilogue is a pretty calm song, compared to the enormous tearjerkers listed above, but when [[spoiler: an adorable, tiny Coalhouse Walker III runs out into Mother's arms]], she starts bawling.
* '''Till We Reach That Day''. I will never forget being ten years old, at my first-ever Broadway show, ''bawling my eyes out'' at poor, dead Audra [=McDonald=].
* This troper is a wreck at the final verse of "Make Them Hear You" [[spoiler: just before Coalhouse is killed]], particularly the lines:
--->'''Coalhouse''': Teach every child to raise his voice\\
And then my brothers, then will justice\\
Be demanded by ten million righteous men\\
Make them hear you\\
When they hear you, I'll be near you again . . .
* For this troper, the Epilogue is a pretty calm song, compared to the enormous tearjerkers listed above, but when [[spoiler: an adorable, tiny Coalhouse Walker III runs out into Mother's arms]], she starts bawling.
to:
* ''Ragtime''. Pretty much the whole thing, but especially "Your Daddy's Son."
* '''Till We Reach That Day''. I will never forget being ten years old, at my first-ever Broadway show, ''bawling my eyes out'' at poor, dead Audra [=McDonald=].
* This troper is a wreck at the final verse of "Make Them Hear You" [[spoiler: just before Coalhouse is killed]], particularly the lines:
--->'''Coalhouse''': Teach every child to raise his voice\\
And then my brothers, then will justice\\
Be demanded by ten million righteous men\\
Make them hear you\\
When they hear you, I'll be near you again . . .
* For this troper, the Epilogue is a pretty calm song, compared to the enormous tearjerkers listed above, but when [[spoiler: an adorable, tiny Coalhouse Walker III runs out into Mother's arms]], she starts bawling."
* '''Till We Reach That Day''. I will never forget being ten years old, at my first-ever Broadway show, ''bawling my eyes out'' at poor, dead Audra [=McDonald=].
* This troper is a wreck at the final verse of "Make Them Hear You" [[spoiler: just before Coalhouse is killed]], particularly the lines:
--->'''Coalhouse''': Teach every child to raise his voice\\
And then my brothers, then will justice\\
Be demanded by ten million righteous men\\
Make them hear you\\
When they hear you, I'll be near you again . . .
* For this troper, the Epilogue is a pretty calm song, compared to the enormous tearjerkers listed above, but when [[spoiler: an adorable, tiny Coalhouse Walker III runs out into Mother's arms]], she starts bawling.
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None
Changed line(s) 8 (click to see context) from:
When they hear you, I'll be near you again . . .
to:
When they hear you, I'll be near you again . . . .
* For this troper, the Epilogue is a pretty calm song, compared to the enormous tearjerkers listed above, but when [[spoiler: an adorable, tiny Coalhouse Walker III runs out into Mother's arms]], she starts bawling.
* For this troper, the Epilogue is a pretty calm song, compared to the enormous tearjerkers listed above, but when [[spoiler: an adorable, tiny Coalhouse Walker III runs out into Mother's arms]], she starts bawling.
