- WORK FROM HOME SONG YOUTUBE HOW TO
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What happened instead was I brought the letters in, Steve read them, really liked them, and decided to write the song in between the letters.
WORK FROM HOME SONG YOUTUBE SERIES
The idea was that I would go home and write a series of letters that described the key evolution of one of the main characters in the show, and Steve would inhale the letters and then exhale them as a song. It was a scene we all assumed would become a song. When we were working on “Pacific Overtures,” I remember there was one event in the second act that had yet to be written. And Steve, of course, had a trail of seven or eight consequential, form-bending shows behind him, and I was just a guy who was trying to find a way not to be a lawyer.Īmong other things, Steve was just very open to what interested him regardless of where it was coming from or where it was going. We were structural equals in the sense that Steve’s job was to write the score and my job was to write the book. This was not about a mentorship relationship. I’d been living on one side of a line in which I was a Stephen Sondheim fan and all of sudden I had stepped across the line, and I was now going to become his collaborator. And so, my first face-to-face encounter with Steve was a meeting in Hal’s office in which the three of us were getting together to talk about this Broadway show that we were going to do together. He convinced Steve that there was a show there.
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I could imagine it having music, but it doesn’t feel like a musical to me.” But Hal was, if nothing else, persistent. As I recall, Steve’s first reaction was, “This is interesting. He told me he was going to send it to Steve to see what he thought. To Hal that meant there was probably a problem with the play, and he thought it needed to be a musical.
WORK FROM HOME SONG YOUTUBE HOW TO
Hal called me up and he said his designer, Boris Aronson, couldn’t figure out how to design the play that I’d written. On Hal Prince introducing him to Sondheim to collaborate on “Pacific Overtures,” which evolved into a musical after Weidman wrote the play while a law student at Yale
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The four songs which constitute the follies section at the end of the show still seem to me to be one of the greatest sequences ever written for the musical theater. In 1998, my wife, Lila, and I, along with James Lapine and his wife, Sarah, went to the Paper Mill Playhouse to see a revival of “Follies.” As we came out of the theater, I remember Lapine chuckled, turned to me, and said, “You know, if you wrote something like that, why would you bother to write anything else?” So, I think “Follies” was the first time I really tuned in to the genius of what Steve was creating. And I just thought that what the two of them were putting up on stage was astonishing and that the collection of songs was extraordinary. I think my first real, conscious awareness of the extraordinary work that Steve was doing in conjunction with director and producer Hal Prince came when I saw “Company,” and to an even greater degree when I saw “Follies.” I remember going with my girlfriend to see “Follies” at the Winter Garden Theatre.
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I was just a high school kid sitting in the audience, mostly being knocked out by Bernstein’s music and Robbins’ choreography - although I think I could recite the lyrics to “Gee, Officer Krupke,” which Steve wrote, the first time I walked out of the theater. I loved it, but I was not looking at it as somebody who might one day work in the theater.
WORK FROM HOME SONG YOUTUBE MOVIE
My first exposure to Steve’s work was the movie version of “West Side Story.” I think I saw it two or three times. On his first encounter with Sondheim’s work The interview has been edited for clarity and length. The Gazette spoke with John Weidman ’68, who collaborated with Sondheim on “Pacific Overtures,” “Assassins,” and “Road Show,” about their working relationship and decades-long friendship. The composer and lyricist Stephen Sondheim, who transformed American musical theater in the 20th century, died Nov.