940:"The authors ... have accomplished their conversion from the play with tact and grace. They have not attempted a complete transformation. On the other hand, they have not cheapened or falsified the play ... They were wise not to overload the musical with production numbers; their taste was unexceptionable when they chose not to turn their work into a brash, noisy affair, which would have been out of keeping with their theme. At the same time one cannot suppress a regret that they failed to be bolder: For there are times, particularly in the early stages, when the songs are merely a decoration. They give the impression that they are there because a musical requires music. They do not translate the story into the fresh and marvelous language that the rich resources of the musical stage make possible."
948:"Despite the pedigrees of the creators, the show opened to negative reviews, which is explained only partly by the score as heard on this cast recording. Elizabeth Allen, in the lead role, was criticized with backhanded compliments for being too young and attractive for the part, flaws not apparent on the album. Sergio Franchi, as her romantic partner, also came in for criticism, but comes off much better here. And the small supporting cast, featuring Carol Bruce as the proprietor of a pension, is also impressive. But the songs, for the most part, are not memorable."
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affairs, even a homosexual one, was quite revolutionary for 1965. He recalls, "I wrote lyrics which had some bite to them, and Dick
Rodgers thought the song was wonderful. Next day he called a lunch and kept slamming the lyrics against my forearm and saying, 'This will not do, this will not do', and I kept asking, 'Why?' The truth was, he'd shown the lyrics to his wife and she did not like it. He probably showed it to her out of enthusiasm. But you know, it's got stuff about sexuality in it."
192:, Richard Rodgers' daughter, to write the lyrics. Even so, Rodgers felt that the original play did not lend itself to musicalization; Sondheim agreed. According to Peter Filichia, "Sondheim didn't want to do the musical in the first place, but given that Laurents sought him – and had recommended him for 'West Side Story' when he was a novice — he accepted. Also a factor was that his now-deceased mentor Oscar Hammerstein had recommended that he succeed him as Rodgers' lyricist."
238:, who Laurents felt could manage the acting and singing but had a cold personality too contrary to that of the character. Rodgers' mistreatment of Sondheim left the lyricist feeling apathetic if not outright sour about the project, but he maintained his professionalism. The first run-through was disastrous, and Dexter immediately lost interest, leaving most of the work to his assistant-choreographer
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Fly" and "Bargaining" to be repetitive songs – victims of the lack of desire to rewrite, a type of song he named "mechanicals". Sondheim felt that
Rodgers need not have been so self-doubting "as songs like 'Take the Moment' and the show's title tune attest." Eventually Rodgers' self-doubt grew into paranoia, with Rodgers thinking that Sondheim and Arthur Laurents were plotting against him.
981:). Sondheim felt that Rodgers was not able to write a story in song so he ended up writing many of the lyrics first. Unlike his other partnerships in which composers responded with a collaborative give-and-take between lyrics and music, Sondheim felt that working with Rodgers was like "a set of assignments, either from me to Rodgers or Rodgers to me."
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leaving and making way for the next group of guests ("Last Week
Americans"). On hearing Renato had been there before she awoke, Leona goes to his store to make amends, but he tells her a relationship with her would be impossible because of her complicated outlook on life. His affection for her is gone, and they part as friends ("Thank You So Much").
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To begin with, his reasons for collaborating with
Rodgers were prompted out of obligations to others rather than a belief in the material. In his final meeting with Hammerstein, the dying lyricist recommended that Sondheim collaborate with Rodgers. Additionally, Mary Rodgers (the composer's daughter)
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Fioria and
Jennifer attempt to comfort Leona, who drunkenly reveals Eddie and Fioria spent the previous evening together, only to immediately regret her words ("Everyone Loves Leona"). The following day both the Yaegers and the McIlhennys check out of the pensione as Fioria is happy that everyone is
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One particular incident involved an infamous lyric change referring to a married couple in the song "We're Gonna Be All-Right". Sondheim's lyrics for the song tended to lean toward a more cynical view of marriage and his suggestion that the husband and wife might find consolation by having separate
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Later in the day, Renato's son Vito comes to tell Leona that Renato will be late for their meeting because one of his children is ill and needs to see a doctor. Realizing Renato is married, she cancels their rendezvous. He comes to the pensione and explains he and his wife have not loved each other
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While shopping, Leona sees a ruby glass goblet in a store window and goes inside to inspect it. The owner, Renato di Rossi, tells her it is an authentic 18th-century piece, not a reproduction. He offers not only to find her a matching glass to make up a pair, but to show her the sights of the city,
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In getting to know
Rodgers, Sondheim found a "funny, dour, difficult fellow" who was plagued with self-doubt, thinking that his musical abilities were failing him. This manifested itself in the composer's adamant unwillingness to consider rewriting anything. Sondheim considered "What Do We Do? We
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necklace for Leona, who is thrilled with his gift and agrees to extend her stay in Venice. She hosts a party in the garden of the pensione, and as the party is in progress, Renato's son Vito comes to tell his father that the jeweler wants his money; overhearing this, Leona happily gives him the
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Optimistic at a chance to do something unusual, Sondheim thought that Leona – the lonely and uptight
American – should not sing until the end of the show. Rodgers refused to consider such an innovation, bringing Sondheim to recognize that in the Rodgers and Hammerstein collaboration, it was
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for years but divorce is not an option, not only because the country doesn't permit it, but because they have their children to consider as well. To Leona, his casual attitude about extramarital affairs is wrong, but she still finds herself attracted to him, and agrees to keep their date.
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that had been presented in London. It was then he realized the original play did lend itself to musical adaptation, but the score
Rodgers composed wasn't very good. He enthusiastically contacted Laurents and the two discussed changes that could be made to improve the show.
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as such an exception, because its creators loved and respected the story) "why? musicals" gain nothing from having music added, usually resulting in a dilution of the original material. Sondheim accepted responsibility for being naive: Thinking that his participation in
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in the context of Mary
Rodgers's formulation of what she called a "why? musical". Such a musical is usually based on good source material but raises the question as to what the addition of music does to enhance the original. With rare exceptions (Sondheim cited
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Laurents rued the casting - he felt Allen was too young and colorless and
Franchi couldn't act - and ignored all the ongoing problems in favor of making his dream a reality, but most of all he regretted the break in his friendship with Sondheim after the show.
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as well. Leona refuses his offer and leaves, but returns the next day to buy the goblet. Later that day, a package with a second goblet is delivered to the hotel. Soon after, Renato arrives to invite Leona to join him for coffee in
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secreted in the toilet tank during a later visit to the Rodgers apartment, he realized he had been correct. The composer's chronic drinking proved to be a major problem throughout the rehearsal period and pre-Broadway run at the
250:, who served as a mediator among the warring factions. She was faced with an arduous task, given Rodgers' open dismissal of Sondheim's lyrics as "shit," as well as his eventual ban of Laurents from rehearsals completely.
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Meanwhile, the Yaegers are facing problems of their own. Eddie, finding himself enamoured with Signora Fioria, announces he wants to put distance between himself and the woman by returning to the United States.
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was the first choice for director, and he met with Laurents, Sondheim, and Rodgers, who fell asleep during their discussion. Laurents suspected Rodgers had been drinking, and when he discovered a bottle of
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from October 13, 1999, through November 14, 1999. For this production the dropped song "Everybody Loves Leona" was restored, lyrics were altered or added, and Laurents "revamped quite a bit of the book."
262:("Someone Woke Up"), where she is staying at the Pensione Fioria, where she is greeted by owner Fioria ("This Week Americans"). There she meets Americans Eddie and Jennifer Yaeger, who are living in
956:("Someone Like You" and "Take the Moment"); and he sang them on several televised shows. Franchi generally received excellent reviews of his singing performance on this show, his Broadway debut.
869:, Pasadena, California, where it ran from July 15 through August 19. The production was well received by the critics, and a cast recording was subsequently released on the Fynsworth Alley label.
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that evening. When the McIlhennys show her their purchase of a set of glasses exactly like hers, Leona believes Renato misrepresented their value, but Signora Fioria assures her they are
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Hammerstein that was the path breaker, because Rodgers was an "archconservative", whose innovations were restricted to superficial gimmicks (for example, no string instruments in
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money. However, when she discovers Renato has received a commission on the sale of the necklace, she accuses him of being interested only in her money, and he leaves.
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The production did not recoup its investment, but several songs, including the title song, received radio play. RCA released a single of two of the songs recorded by
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in 2001. Musical excerpts (not included on the original cast recording) include the overture, Lezione in Inglese, We're Going to the Lido, Everybody Loves Leona.
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The 13 March 1975 performance of the 1975 Equity Library production was recorded on audiocassette and is held in the Equity Library Theatre collection.
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614:"Perfectly Lovely Couple" – Leona Samish, Renato Di Rossi, Mr. McIlhenny, Mrs. McIlhenny, Jennifer Yaeger, Eddie Yaeger, Giovanna and Signora Fiora
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was presented by the St. Louis Municipal Opera, with a cast also including Fleury D'Antonakis (reprising her Broadway role as Giovanna),
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in 1992. A KeelanMusic review gives a very favorable review to the Original Cast recordings, irrespective of the Broadway criticisms.
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With the passage of time, Sondheim, the longest surviving member of the original creative team, has reflected on what went wrong with
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instead headlining those two engagements opposite Holgate. Also in the summer of 1967 Monique van Vooren encored as Fioria in the
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764:(Jennifer Yaeger). With Holgate encoring as Renato opposite Collins as Leona, the production was scheduled for two subsequent
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and have come to Venice for a vacation, and the McIlhennys, an older couple on a package tour ("What Do We Do? We Fly!").
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in the lead role of spinster Leona Samish. By the time the project began to jell, however, Hammerstein had died, and
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as Vito (Carol Bruce had originally been announced as encoring her Broadway role of Fioria for Kenley Players).
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as an Original Cast Spotlight Album. A remastered version was released on compact disc and cassette tape by
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638:"Two by Two" - Leona, Vito, girl, Eddie, Jennifer, Fioria, male companion, Mr. McIlhenny, Mrs. McIlhenny
572:"What Do We Do? We Fly!" – Leona Samish, Mrs. McIlhenny, Mr. McIlhenny, Eddie Yaeger and Jennifer Yaeger
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direct the show, but later regretted the choice. Dexter insisted on giving the lead role of Leona to
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in London staged the musical and in March 2014, Charles Court Opera further revived the show at
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9 August 1967 "Maurice Chevalier is Billed for N.E. Summer Theaters" by Harold F. Angione p.3
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was a good friend of Sondheim and forcefully urged him to consider a collaboration.
644:"Everybody Loves Leona" - Leona (restored in the George Street Playhouse production)
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was a quick way to make money off of good source material – an effort that failed.
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1562:"Encores! 2015-16 Musical Season Includes Tony Winner and Richard Rodgers Rarity"
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and closed on September 25, 1965, after 220 performances. Choreography was by
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Dorothy Collins would reprise her role of Leona in the summer of 1967 when
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In the summer of 1972 Ronald Holgate again encored as Renato in a tour of
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was called in to work on the dance routines and brought with him his wife
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IndieLondon.co.uk: "Landor Theatre brings a taste of Venice to London"
602:"Moon in My Window" – Jennifer Yaeger, Signora Fioria and Leona Samish
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17 May 1966 "Play at Pabst is 'Interesting Evening'" by Tom Smith p.2
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1979:
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A recording of the Pasadena Playhouse production was released by
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Tony Award for Best Performance by a Leading Actress in a Musical
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1840:
Background information and production details at RNH theatricals
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In 1997, Sondheim was sent a recording of a concert version of
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667:, with scenery and costumes by Beni Montresor and lighting by
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in Park Good Three-Fouths of Time" by Scott Hockenberry p.65
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played Renato and Fleury D'Antonakis again played Giovanna.
641:"We're Gonna Be Alright" – Eddie Yaeger and Jennifer Yaeger
605:"We're Gonna Be Alright" – Eddie Yaeger and Jennifer Yaeger
587:"No Understand" – Signora Fioria, Eddie Yaeger and Giovanna
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The musical opened on Broadway on March 18, 1965, at the
1479:"Jersey Footlights; Distinguished Visitors at Auditions"
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Laurents originally conceived the production as a small
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that summer: however Collins' maternity leave mandated
1406:"Do I Hear a Waltz? (Kenley Players Production, 1967)"
617:"Thank You So Much" – Renato Di Rossi and Leona Samish
581:"Here We Are Again" – Leona Samish, Vito and Ragazzi
1749:. New York, NY: Alfred A. Knopf. pp. 176–178.
199:production, rejected Martin as too old for Leona.
1852:Detailed plot synopsis, guidetomusicaltheatre.com
1734:. New York, NY: Alfred A. Knopf. p. 141-143.
2860:
1367:Not Rodgers' Best Effort" by Cecil Smith p.IV-13
926:The original production received mixed reviews.
865:A 2001 revival of the musical was staged at the
258:New York City secretary Leona Samish arrives in
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721:as Eddie Yaeger. The production encored at the
678:The musical received three nominations for the
608:"Do I Hear a Waltz?" – Leona Samish and Company
301:
2453:Best Worst Thing That Ever Could Have Happened
2115:Sweeney Todd: The Demon Barber of Fleet Street
2091:A Funny Thing Happened on the Way to the Forum
2008:Sweeney Todd: The Demon Barber of Fleet Street
1944:A Funny Thing Happened on the Way to the Forum
1578:newyorkcitytheatre.com, accessed April 3, 2016
988:Ultimately Sondheim understood the failure of
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1872:
895:in May 2016. It was directed by Evan Cabnet.
725:in May–June 1966. Also in the summer of 1966
584:"Thinking" – Renato Di Rossi and Leona Samish
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1433:
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1295:, Sondheimguide.com, accessed July 18, 2012
1279:, Sondheimguide.com, accessed July 18, 2012
807:headlining as Leona: also in the cast were
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1623:"42nd Street Moon dances to a new 'Waltz'"
701:made its regional theatrical debut at the
144:. It was adapted from Laurents' 1952 play
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1786:"Sergio Franchi--Italy's Romantic Tenor"
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713:as Leona led a cast which also included
682:: Elizabeth Allen was nominated for the
150:, which was the basis for the 1955 film
1835:at the Stephen Sondheim Reference Guide
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1187:masterworksbroadway.com, March 23, 2015
853:A revised production was staged at the
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1769:"Spotlight Albums." (April 17, 1965).
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1551:The Park Theatre, accessed 15 May 2016
569:"This Week Americans" – Signora Fioria
21:Do I Hear a Waltz? (Jo Stafford album)
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1351:ovrtur.com, accessed January 12, 2016
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1788:Keelanmusic.com, retrieved 2/05/2014
1732:Do I Hear a Waltz? Finishing the Hat
1496:sondheimguide, accessed July 1, 2009
921:
694:, but lost in all three categories.
575:"Someone Like You" – Renato Di Rossi
552:
1712:
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1166:(1998). New York: Alfred A. Knopf,
1145:(2000). New York: Alfred A. Knopf,
729:made its West Coast premiere, with
590:"Take the Moment" – Renato Di Rossi
13:
1800:Fynsworth Alley, 3020621262, 2001.
1708:. 21 March 1965. RCS 47–8552.
1339:Paper Mill Playbill, May/June 1966
914:as Mauro, the second in 2014 with
14:
2910:
2798:The Madwoman of Central Park West
2657:The Madwoman of Central Park West
1806:
1639:Taubman, Howard (19 March 1965).
822:starred as Leona in a revival of
1814:Do I Hear a Waltz?
1309:ibdb.com, accessed April 3, 2016
566:"Someone Woke Up" – Leona Samish
2889:Compositions by Richard Rodgers
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315:George Street Playhouse (1999)
195:Rodgers, who was producing the
19:For the Jo Stafford album, see
2774:I Can Get It for You Wholesale
2194:Stephen Sondheim's Old Friends
2022:Sunday in the Park with George
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1185:"Forgive Me, Stephen Sondheim"
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717:(Collins' husband) as Renato,
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578:"Bargaining" – Renato Di Rossi
1:
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1007:
887:The musical was presented by
547:
163:
2884:Musicals by Stephen Sondheim
2437:Original Cast Album: Company
2296:Everything's Coming Up Roses
1509:curtainup.com, July 15, 2001
1507:"Review, Pasadena Playhouse"
1383:Premieres at the Opera" p.4g
1052:
1049:Original Broadway production
906:has mounted two revivals of
302:Original cast and characters
44:Original Broadway Cast Album
7:
2894:Musicals by Arthur Laurents
2526:The Seven-Per-Cent Solution
1230:Playbill 1999 Bio Cast List
1216:Playbill 1965 Bio Cast List
1020:in 1965, and was chosen by
253:
10:
2915:
1819:Internet Broadway Database
1730:Sondheim, Stephen (2010).
318:Pasadena Playhouse (2001)
188:was asked by Laurents and
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1458:– via worldcat.org.
1101:Best Actress in a Musical
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1064:
1061:
1058:
910:, the first in 1998 with
859:New Brunswick, New Jersey
834:whose cast also included
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106:New Brunswick, New Jersey
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2499:Getting Away with Murder
2303:Together, Wherever We Go
2166:Side by Side by Sondheim
1828:at the Sondheim Database
1747:Stephen Sondheim: A life
1745:Secrest, Meryle (1998).
1164:Stephen Sondheim: A Life
1055:
944:William Ruhlmann wrote:
832:New York Public Library
611:"Stay" – Renato Di Rossi
230:Laurents suggested that
2879:Musicals based on plays
2310:You Gotta Get a Gimmick
1595:Playbill, April 4, 2016
1536:(subscription required)
1328:Waukeesha Daily Freeman
1014:original cast recording
855:George Street Playhouse
2899:Musicals set in Venice
2692:The Time of the Cuckoo
1904:Awards and nominations
1697:original Broadway cast
1612:Playbill, May 11, 2016
1564:Playbill, May 10, 2015
1377:St Louis Post-Dispatch
1044:Awards and nominations
838:(Jennifer Yaeger) and
828:Equity Library Theatre
792:as Leona and featured
289:Renato arrives with a
147:The Time of the Cuckoo
87:The Time of the Cuckoo
2331:Getting Married Today
2147:Merrily We Roll Along
2015:Merrily We Roll Along
1494:"'Do I Hear A Waltz'"
1318:Laurents, pp. 217-219
1205:Laurents, pp. 213-217
1196:Laurents, pp. 213-214
768:-area engagements of
733:as Leona leading the
707:Milwaukee (Wisconsin)
2380:Not While I'm Around
2338:The Ladies Who Lunch
2289:Let Me Entertain You
2187:Sondheim on Sondheim
2099:A Little Night Music
1987:A Little Night Music
1625:. 30 September 2014.
1534:Charles Court Opera
1484:, September 12, 1999
893:New York City Center
737:production in which
735:Valley Music Theater
723:Paper Mill Playhouse
690:; and nominated for
111:Pasadena, California
2275:Gee, Officer Krupke
2247:One Hand, One Heart
2180:Putting It Together
1695:Do I Hear a Waltz?
1419:Camden Courier-Post
1263:accessed 07/10/2023
1248:accessed 07/10/2023
1233:accessed 07/09/2023
1219:accessed 07/09/2023
1082:Best Original Score
811:(Eddie Yaeger) and
688:Best Original Score
661:46th Street Theatre
494:Fleury D'Antonakis
2806:La Cage aux Folles
2782:Anyone Can Whistle
2641:Do I Hear a Waltz?
2633:Anyone Can Whistle
2480:The Last of Sheila
2419:Look, I Made a Hat
2373:Send In the Clowns
2359:Could I Leave You?
2212:Something's Coming
1958:Do I Hear a Waltz?
1951:Anyone Can Whistle
1845:2011-04-14 at the
1825:Do I Hear a Waltz?
1798:Do I Hear a Waltz?
1668:Do I Hear a Waltz?
1664:Ruhlman, William.
1650:The New York Times
1643:Do I Hear a Waltz?
1608:Do I Hear a Waltz?
1591:Do I Hear a Waltz?
1575:Do I Hear a Waltz?
1548:Do I Hear A Waltz?
1482:The New York Times
1440:Do I hear a waltz?
1393:Newport Daily News
1306:Do I Hear a Waltz?
1141:Laurents, Arthur,
1116:Best Scenic Design
1002:Do I Hear a Waltz?
990:Do I Hear a Waltz?
966:Do I Hear a Waltz?
933:The New York Times
908:Do I Hear a Waltz?
867:Pasadena Playhouse
847:Do I Hear a Waltz?
824:Do I Hear a Waltz?
801:Do I Hear a Waltz?
786:Do I Hear a Waltz?
770:Do I Hear a Waltz?
758:Monique van Vooren
746:Do I Hear a Waltz?
699:Do I Hear a Waltz?
692:Best Scenic Design
532:Christopher Votos
458:Benjamin Springer
405:Madeleine Sherwood
125:Do I Hear a Waltz?
91:by Arthur Laurents
31:Do I Hear a Waltz?
2874:Broadway musicals
2856:
2855:
2814:Birds of Paradise
2761:
2760:
2751:The Turning Point
2735:Bonjour Tristesse
2684:Home of the Brave
2649:Hallelujah, Baby!
2560:
2559:
2412:Finishing the Hat
2173:Marry Me a Little
2001:Pacific Overtures
1833:Do I Hear a Waltz
1560:Clement, Olivia.
1531:Do I Hear a Waltz
1505:Hitchcock, Laura.
1381:Do I Hear a Waltz
1361:Los Angeles Times
1291:Do I Hear A Waltz
1275:Do I Hear a Waltz
1183:Filichia, Peter.
1162:Secrest, Meryle,
1143:Original Story By
1127:
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922:Critical response
727:Do I Hear a Waltz
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178:Oscar Hammerstein
158:Katharine Hepburn
121:
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1966:Evening Primrose
1888:Stephen Sondheim
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1016:was released by
900:42nd Street Moon
836:Melanie Chartoff
752:(Eddie Yaeger),
686:; nominated for
553:
541:Zachary Infante
518:Nick Potenzieri
468:Jennifer Yaeger
462:Claybourne Elder
365:Anthony Crivello
351:Renato de Rossi
321:Encores! (2016)
312:Broadway (1965)
306:
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272:Piazza San Marco
213:Colonial Theatre
186:Stephen Sondheim
142:Stephen Sondheim
140:, and lyrics by
64:Stephen Sondheim
42:
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2830:Nick & Nora
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2743:The Way We Were
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2617:West Side Story
2597:
2595:Arthur Laurents
2591:
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2459:
2445:Six by Sondheim
2424:
2399:
2394:Sooner or Later
2387:No One Is Alone
2282:A Boy Like That
2254:Tonight Quintet
2199:
2153:
2139:West Side Story
2075:West Side Story
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820:Rosalind Harris
711:Dorothy Collins
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521:Nino Del Prete
482:Annie Wersching
401:Mrs. McIlhenny
370:Richard Troxell
330:Elizabeth Allen
304:
256:
240:Wakefield Poole
236:Elizabeth Allen
221:Shubert Theatre
174:Richard Rodgers
170:chamber musical
166:
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134:Arthur Laurents
132:with a book by
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2131:Into the Woods
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1921:Saturday Night
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818:In March 1975
805:Patrice Munsel
788:which starred
784:production of
778:Kenley Players
750:Clifford David
739:Richard Torigi
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907:
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790:Anita Bryant
785:
769:
754:Enzo Stuarti
745:
743:
726:
719:Joel Fabiani
698:
696:
677:
673:
669:Jules Fisher
665:Herbert Ross
658:
623:
538:Eddy Martin
515:James Dybas
506:Sarah Stiles
498:Carla Bianco
477:Anna Belknap
451:Stuart Damon
428:Jack Manning
395:Karen Ziemba
335:Penny Fuller
296:
288:
284:
280:
268:
257:
244:Herbert Ross
229:
201:
194:
190:Mary Rodgers
176:, lyrics by
167:
151:
145:
124:
123:
122:
85:
29:
2464:Screenplays
2345:Being Alive
2317:Rose's Turn
2057:Here We Are
1647:. Theater.
960:Post mortem
902:company of
840:Barbara Lea
774:Julia Meade
762:Karin Wolfe
715:Ron Holgate
680:Tony Awards
655:Productions
486:Sarah Hunt
441:Richard Poe
409:Luce Ennis
380:Carol Bruce
340:Alyson Reed
232:John Dexter
182:Mary Martin
136:, music by
96:Productions
2863:Categories
2542:Dick Tracy
1606:"Encores!
1589:"Encores!
1130:References
1123:Nominated
1110:Nominated
1095:Nominated
1077:Tony Award
1008:Recordings
979:No Strings
936:observed,
918:as Leona.
842:(Fioria).
815:(Fioria).
813:Denise Lor
756:(Renato),
548:Soundtrack
436:Jack Riley
418:Nancy Opel
385:Lynn Cohen
309:Character
164:Background
153:Summertime
2727:Anastasia
2593:Works by
2475:(1953–54)
2268:Somewhere
2050:Road Show
2036:Assassins
1994:The Frogs
1772:Billboard
1702:LP record
1449:756946852
1349:"Listing"
1293:Broadway"
1062:Category
1023:Billboard
647:"Perhaps"
633:Cut songs
491:Giovanna
248:Nora Kaye
225:New Haven
156:starring
2766:Director
2609:Musicals
2518:Stavisky
1913:Musicals
1843:Archived
1776:New York
1704:album).
1259:NY Times
1153:, p. 212
1065:Nominee
889:Encores!
563:Overture
276:antiques
254:Synopsis
219:and the
197:Broadway
116:Encores!
101:Broadway
2324:Company
2233:America
2226:Tonight
2123:Company
2043:Passion
1980:Follies
1973:Company
1817:at the
1679:3 April
1244:Variety
1068:Result
830:of the
826:by the
130:musical
16:Musical
2849:(2009)
2841:(2008)
2833:(1991)
2825:(1989)
2817:(1987)
2809:(1983)
2801:(1979)
2793:(1974)
2785:(1964)
2777:(1962)
2754:(1977)
2746:(1973)
2738:(1958)
2730:(1956)
2722:(1949)
2719:Caught
2714:(1948)
2695:(1952)
2687:(1945)
2668:(1991)
2660:(1979)
2652:(1967)
2644:(1965)
2636:(1964)
2628:(1959)
2620:(1957)
2602:Writer
2553:(1996)
2545:(1990)
2537:(1980)
2529:(1976)
2521:(1974)
2502:(1996)
2483:(1973)
2472:Topper
2456:(2016)
2448:(2013)
2440:(1970)
2142:(2021)
2134:(2014)
2126:(2011)
2118:(2007)
2110:(1993)
2102:(1977)
2094:(1966)
2086:(1962)
2078:(1961)
1753:
1645:opens"
1447:
1277:Songs"
1170:
1149:
1059:Award
766:Boston
624:
620:Finale
597:Act II
529:Mauro
291:garnet
260:Venice
217:Boston
180:, and
60:Lyrics
2838:Gypsy
2822:Gypsy
2790:Gypsy
2703:Films
2676:Plays
2625:Gypsy
2491:Plays
2404:Books
2219:Maria
2204:Songs
2150:(TBA)
2107:Gypsy
2083:Gypsy
1936:Gypsy
1899:Works
1423:Waltz
1365:Waltz
1073:1965
1056:Year
803:with
558:Act I
512:Vito
208:vodka
128:is a
114:2016
109:2001
104:1999
99:1965
82:Basis
50:Music
2711:Rope
2534:Reds
2240:Cool
1751:ISBN
1681:2016
1456:2022
1445:OCLC
1168:ISBN
1147:ISBN
1089:and
1012:The
898:The
264:Rome
71:Book
1706:RCA
930:of
891:at
880:in
780:of
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