When you say you don’t want to write the “wrong” song, I think what you are saying is that you have to understand why there is a song—what its purpose will be in the storytelling and how it serves that overall dramatic arc. SONDHEIM: I guess it comes from my training under Oscar: always think character and story, and then you think about the song.

Apparently, David Hockney stormed out at intermission. Someone heard him complain, “Where are the bloody dots?!”

Sunday ran for 604 performances, including previews, just shy of a year and a half. I happened to be at the theater one night after the show and the doorman told me that there was a group outside that would be thrilled to meet me. I walked out and was greeted by the St. Peter’s Girl Scout Troop No. 156 from Mansfield, Ohio. I visited with them and

I actually remember not being able to hear the bow music. So I went to the sound operator and asked if he could make it a little louder. He said, “No, I can’t. I’m turning up the stage mics to make the applause sound louder because it’s so weak.” LAPINE: Who told him to do that? STAROBIN: He told me it was an old Broadway trick.

croquetons—

And it comes right out of the scene. That’s the Rodgers and Hammerstein principle for carrying forward a dramatic moment. In this case, George is announcing that he has turned down a commission and that he doesn’t know what to do next.

majordomo,

Once when I was trying to get a song out of him, Steve said to me, “Do you want it Tuesday, or do you want it good?”

that it was the eighties and a lot of the crew was doing drugs.