Tag Archives: fiddler on the roof

Theatre Thursday :: examples of the musical theatre Bechdel Test? (A-L)

16 May

This probably shouldn’t be called a variant of the Bechdel Test; there are plenty of musicals where women speak to each other but don’t sing duets/trios/group numbers together.  But that’s what this list is, and I don’t think there’s an official name for it, so I’m just going with it.  Also, this doesn’t count group numbers that have individual lines sung by women and men both or songs that are sung by one woman with an all-female backup.  This is just a list of lady songs.  (Girls and women who sing musical theatre are always looking for songs like this to do in concerts with friends, it is known.)  And unfortunately, while the Bechdel Test proper excludes conversations held solely about men, this list cannot do so; since such a large proportion of the musical theatre catalogue as a whole is comprised of songs about romance, not including songs about romance on this list would make it itsy bitsy.  And this is only the musicals I am familiar with from the list.  Starred* items are ones that people I know have sung publicly in the past.

Annie by Charles Strouse: “Hard Knock Life,” sung by the orphans (I think this is why so many theatrically inclined little girls like Annie, because they can all be in it with their friends).*
Bernarda Alba by Michael John LaChiusa: is 100% ladies.  It’s an all-lady cast.  And it’s weird, but it’s fabulous.
Bye Bye Birdie by Charles Strouse: “What Did I Ever See In Him?” sung by Rosie and Kim.*
Carousel by Rodgers and Hammerstein: “You’re a Queer One, Julie Jordan,” sung by Carrie and Julie.*
Chicago by Kander and Ebb: “Cell Block Tango,” sung by Velma and the merry murderesses (this counts because they all have solos), “My Own Best Friend,” sung by Roxie and Velma (not in the film).
A Chorus Line by Hamlisch and Kleban: “At the Ballet,” sung by Sheila, Bebe, and Maggie.
Fiddler on the Roof by Bock and Harnick: “Matchmaker,” sung by Hodel, Chava, and Tzeitel.*
Grease by Casey and Jacobs: “It’s Raining On Prom Night,” sung by Sandy and a radio singer.*
Hairspray by Shaiman and Wittman: “Mama, I’m a Big Girl Now,” sung by Tracy, Penny, Amber, and their mothers.*
Into the Woods by Stephen Sondheim: “A Very Nice Prince,” sung by Cinderella and the Baker’s Wife.*
Legally Blonde by Benjamin and O’Keefe: “Ohmygod You Guys,” sung by Elle, Serena, Margot, Pilar and Company.*
The Light in the Piazza by Adam Guettel: “Statues and Stories,” sung by Margaret and Clara.
Little Women by Howland and Dickstein: “An Operatic Tragedy,” sung by all four sisters, “Our Finest Dreams,” sung by all four sisters, “I’d Be Delighted,” sung by Marmee, Meg, Beth, and Jo, and “Some Things Are Meant To Be,” sung by Beth and Jo.
Little Shop of Horrors by Menken and Ashman: the “Prologue,” sung by the Do-Wop Girls.*

–your fangirl heroine.

judging the fuck out of everyone in this room

Theatre Thursday :: platonic friendships and Broadway musicals

24 Jan

I figured, well, romance or at least sexual tension is usually involved in musicals, but sometimes, like I mentioned with Wicked, there is a platonic relationship that is also important (or as in the case of Wicked, definitely more important).  So I thought I’d take a look at that.  I’ve got the longest-running musicals open in another tab, and I’m just going through it non-scientifically and listing friendships in musicals I am somewhat familiar with.

  • Les Mis has the barricade boys, they’re buddies.
  • Phantom has Christine and Meg, for the duration of a song anyway.  They don’t interact that much after that, but they do have “Angel of Music,” and that counts for something?
  • I suppose you can count Simba and Timon and Pumbaa in The Lion King?
  • Some of the dancers (Bobby and Sheila, Paul and Morales) in A Chorus Line are friends.
  • I suppose the household objects befriend Belle in Beauty and the Beast?
  • Rent is definitely about friendships!  I mean, I know you can find people on the internet who ship just about every combination of these characters, and there are definitely romantic plots, but I’d argue that, for example, Mark and Roger as a friendship is of close to equal significance as Mimi and Roger as a romantic relationship.
  • Wicked is getting listed here, too, because really.  Wicked, despite its love (triangle) plot, is actually the greatest platonic (well, textually – I am of the internet, I know there are extrapolators) love story in musical theatre history.
  • The characters in Grease are allegedly friends.  They’re kind of crummy friends, because they’re always making fun of each other for showing characteristics that go against the grain of the group, but technically, they’re friends.  I guess.
  • If you’re talking about friendships amongst blood family, Fiddler has some of that with the sisters probably.
  • I guess I should also take the time to awkwardly mention Rocky Horror, where nobody is friends really, but if you squint Columbia and Magenta are.  (And there is also subtext here, yep.)
  • Hairspray has a lot of friends!  Tracy is friends with Penny, she’s friends with Seaweed and his sister and mom, etcetera.
  • The Avenue Q characters are such good friends that they raise money to buy one of them a monster school!
  • And Spring Awakening is not on this list, because it is not one of the 32 longest-running musicals, but I am going to mention it anyway, because while Melchior/Wendla is important to the plot, definitely, Melchior and Moritz as buddies is also super-important.  And though you only get the girls being buddies in/before “My Junk,” really, my friends and I definitely extrapolated a lot more cute sweet platonic ladyfriendship out of their little group.

Also interesting to note is that aside from Wicked and Fiddler where they’re sisters and I suppose Hairspray to an extent, most of the ladyfriendships are largely extrapolated out of only one scene.  Hm.

–your fangirl heroine.

funny stories with ribcages

Theatre Thursday :: a play-by-play of the 100 longest-running Broadway shows of all time

22 Mar

Italics if I’ve seen them staged, bold if I’ve seen them filmed, underlined if it was professional, *asterisked* if I was in it during my ridiculous adolescent theatrical career, linked if I’ve reviewed it live on here before.

The Phantom of the Opera (all of the feelings.  Phantom and I have a history wrought with many metaphors.)
Chicago (the revival; this was my eighth grade birthday party, as we remember.  One where I actually like the movie better than the stage production, surprisingly.)
Les Miserables
A Chorus Line
The Lion King (which I love as a cartoon, and the stage show was impressive, but the erotic tree ballet still freaks me out)
Beauty and the Beast
Rent (also all of the feelings.  Rent and I have another one of those metaphor histories.)
42nd Street (the revival)
Wicked (and more of those metaphors and whatnot.)
Fiddler on the Roof* (yes, I’m… done with this show forever.)
Hello, Dolly!
My Fair Lady
Hairspray (oh, junior high.  That cast album was my favorite.)
Avenue Q (and yet more metaphors.)
The Producers
Annie
Man of La Mancha
Mary Poppins
Oklahoma!
*
Smokey Joe’s Cafe (really?  This is one of the 100 longest running shows?  Really?  It doesn’t even have a plot.)
Hair
Spamalot
Evita
Dreamgirls
Billy Elliot
The King and I
Guys and Dolls
In the Heights
The 25th Annual Putnam County Spelling Bee
Kiss Me, Kate
Annie Get Your Gun

32 out of 100 shows seen.

I honestly thought I’d get more of the list.  None of the plays (I’ve read some, but).  It probably doesn’t help that I haven’t even heard of some of the shows, the ones from the 20s-70s especially.  But hey.  I guess it’s a new life goal.

–your fangirl heroine.