Singing Along the Great White Way (1960-1974) Quiz

Answer: The Fantasticks

'The Fantasticks', with a book by Tom Jones (the American lyricist, not the Welsh singer) based loosely on 'Les Romanesques' by Edmond Rostand, opened (in a very low budget production) off-Broadway in May of 1960. When it closed on 13 January 2002 it was the world's longest-running musical. The story is a kind of reverse-Romeo and Juliet, with two neighbors trying to get their children together. First they pretend to be having a feud, then have a hired actor pretend to abduct the girl, so that the boy can rescue her and they can all live happily ever after. All seems to go well, but the following day it all falls apart. By the end of the play, a sadder but wiser young couple are united.

The show is very popular in regional theatre, as it has a small cast, only requires a handful of musicians, and uses a minimalist set. Then there are the lovely songs, with music from Harvey Schmidt and lyrics by Tom Jones (still not the Welsh singer). 'Try to Remember' has been recorded by a number of artists, and stands on its own even out of the play's context. 'Plant a Radish', 'Metaphor', 'Soon It's Gonna Rain' and 'They Were You' have been less covered, but work brilliantly to promote the action of the show.

In the original cast, the part of El Gallo (the narrator and the hired abductor) was played by Jerry Orbach, who may be more familiar to television audiences from his long-running portrayal of Lennie Briscoe on 'Law and Order'. The theatre in The theatre Centre (a theatrical complex on the corner of Broadway and 50th Street) in which the 2010 revival was staged was renamed The Jerry Orbach Theatre in his honor.

Answer: Oliver!

Based on the Charles Dickens novel 'Oliver Twist', this musical with music and lyrics from Lionel Bart opened in the West End in 1960, and subsequently premiered on Broadway in January of 1963. That production won a Tony Award for Best Original Score. Even if you haven't seen the stage show, you may well be familiar with some of its musical content from the 1968 film adaptation, which won six Academy Awards.

'Food, Glorious Food' is the first number in the show, sung by the boys in the workhouse as they collect their watery gruel and fantasize about consuming more satisfying fare. It is followed by 'Oliver', in which Mr Bumble and Widow Corney discuss the best way to handle the troublesome orphan. Oliver sings 'Where is Love?' as he is sitting in the funeral parlour cellar, being punished for fighting; it is later reprised by Mr Brownlow's housekeeper. He is welcomed into Fagin's gang with the rousing 'Consider Yourself', after which Fagin outlines his expectations with 'You've Got to Pick a Pocket or Two'. Other songs you might have been singing on your way out of this show include 'It's a Fine Life', 'I'd Do Anything', 'Oom-Pah-Pah', 'As Long as He Needs Me', 'Who Will Buy' and 'Reviewing the Situation'.

Answer: Camelot

This classic show from Alan Jay Lerner and Frederick Loewe was based on T H White's Arthurian novel 'The Once and Future King'. It opened in 1960, featuring Richard Burton as King Arthur, Julie Andrews as Queen Guinevere, Robert Goulet as Sir Lancelot, and Roddy McDowall as Mordred. 'If Ever I Would Leave You' is sung by Lancelot, as he describes his ill-fated love for the queen.

The original cast recording of 'Camelot' was said to be a favorite with President Kennedy, leading to his administration being dubbed 'Camelot' in the press, especially retrospectively after its tragic ending. Most poignant in this regard are the lyrics to the title song, especially its reprise in the finale, as Arthur tells a young knight to keep the vision of Camelot alive for future generations:
"Don't let it be forgot
That once there was a spot,
For one brief, shining moment
That was known as Camelot."

Answer: Fiddler on the Roof

This story of life in the Russian town of Anatevka in 1905 opened on Broadway in 1964, and became the first Broadway show to run for over 3,000 performances. Significantly more positive in its portrayal of the times than were Sholom Aleichem's short stories on which it was based, it nevertheless gave audiences some idea of the conditions under which Jewish people in Eastern Europe lived at the time in which it was set. The central figure is Tevye, a milkman with five daughters (whose romances provide the main impetus for the plot). The part was played by Zero Mostel, who won a Tony for his performance, as did Maria Karnilova for her portrayal of his wife Golde.

In 'If I Were a Rich Man', Tevye imagines how life might be, eventually asking whether it would spoil God's plans if he were to be rich, or even just a bit more comfortable. Tevye's devotion to his religion is made clear in his Job-like acceptance of the situation as being God's will, even if he wishes it could be different. Other memorable songs include 'Tradition', the opening number in which Tevye describes life in Anatevka; 'To Life', an affirmation that there is always hope in difficulty, as Tevye pledges his daughter Tzeitel to the town butcher, Lazar Wolfe; and 'Sunrise, Sunset', in which Tevye reflects on how quickly one's children grow and set up their own lives - it is sung at the wedding of Tzeitel and Motel, the poor tailor with whom she chooses to spend her future despite the break with tradition which this involves.

Answer: Man of La Mancha

'Man of La Mancha' uses a framework story of Miguel Cervantes being in prison during the Spanish Inquisition, and joining with the other inmates to perform a play based on his masterpiece 'Don Quixote'. The show opened on Broadway in 1965, and won five Tony Awards, including Best Musical. Richard Kiley won a Tony for his performance of Cervantes/Quixote.

There are a lot of nice songs, including 'Dulcinea', in which Don Quixote decrees that the serving woman Aldonza is in fact the lady whose life and honor he has sworn to defend, and 'Man of La Mancha (I, Don Quixote)' sung as Quijano transforms into Quixote and heads out on his quest.

But it is 'The Impossible Dream', first sung by Don Quixote in response to Aldonza's question as to what he thinks he is doing, and reprised several times, including the stirring finale, that has become a popular music standard, covered by any number of singers.

It was a favorite of both Robert and Ted Kennedy, and was played at the latter's memorial service in 2009.

Answer: Sweet Charity

The 1966 musical starts with Charity, an optimistic taxi-dancer, being pushed into a lake by her boyfriend Charlie, who steals her handbag; it ends with her being pushed into a lake by her fiance Oscar, who has realised he cannot marry her because he cannot stop thinking about all the other men in her life. 'Big Spender' is sung by Charity and the girls with whom she works as they try to encourage the audience at their show to fork out cash for a private dance. She sings 'If My Friends Could See Me Now' in the apartment of Vittorio, as she reflects on her luck in running into him just after he had a quarrel with his jealous girlfriend. Unfortunately for her, Ursula arrives, and Charity has to spend the night in Vittorio's closet. It's just as well she doesn't suffer from claustrophobia, as she is subsequently locked in an elevator with Oscar (who does); her support for him then leads to their engagement, before it all falls apart.

The role of Charity was originally performed by Gwen Verdon, for whom her husband Bob Fosse specifically designed the choreography. If you missed the show (book by Neil Simon, music by Cy Coleman, lyrics by Dorothy Fields), you might have seen the 1969 movie starring Shirley MacLaine, with John McMartin repeating his performance as Oscar.

Answer: Cabaret

Well, I could hardly use the title song, could I! 'Willkommen' is sung by the Master of Ceremonies of the Kit Kat Club as the opening number of the show (which had no overture, just leapt straight into things), setting the appropriate tone of decadence for the show, set in 1930s Berlin. Sally Bowles sings there, and boards at Fraulein Schneider's, along with Cliff, who hopes to make a living giving English lessons. Joel Grey brilliantly portrayed the sleazy, cynical, and more than a little sinister, MC on Broadway, and reprised the role in the 1972 movie. The part of Sally was played by Jill Haworth on Broadway, Judi Dench in the West End, and Liza Minelli in the movie.

'Cabaret', 'Willkommen' and 'Tomorrow Belongs to Me' (with its premonitory indications of the Hitler Youth, and what was to befall Berlin in the near future) are among the few songs that have been included in every version of the show. Revivals have made a lot of changes in the rest of the libretto, often including two songs that were added for the movie: 'Maybe This Time' and 'Money'.

Answer: Hair

When it debuted in 1968, 'Hair: The American Tribal Love-Rock Musical' was more than a little controversial. Not only did it use rock music instead of the more traditional style of music expected in a Broadway show, but it also featured nudity (albeit briefly!), and gave a positive portrayal of the hippie movement, including advocacy of drug use and resistance to American involvement in the Vietnam War. The opening song, 'Aquarius', set the tone, which was continued with such numbers as 'Hashish', 'Hair', 'Hare Krishna', 'Easy to be Hard', 'What a Piece of Work is Man' and 'Good Morning Starshine'.

The book and lyrics for the show came from Gerome Ragni (who played Berger) and James Rado (who played Claude), and the music from Galt MacDermott. A medley of 'Aquarius' and 'Let the Sunshine In' was released by The 5th Dimension, reaching the top of the Billboard Hot 100 chart for six weeks in June of 1969. In July of that year, Oliver had a No. 3 hit with 'Good Morning Starshine'.

The structure of 'Hair' was very fluid - in line with the ethos of the show, it was seen as a workshop production that evolved as the members of the "tribe" (the term used to refer to the cast) changed their feelings about their characters. The 1979 movie of the same name has some characters with the same names, but involves significant personality and plot changes.

Answer: Jesus Christ Superstar

'Jesus Christ Superstar' started life as a concept album from Andrew Lloyd Webber and Tim Rice in 1970. The show opened on Broadway in 1971 labelled as a rock opera - there were very few spoken lines, with most of the action being conveyed in song. Although loosely based on Biblical accounts of the last weeks of the life of Jesus, it adds elements with no scriptural (or theological) basis for dramatic effect. It also intentionally included a number of anachronisms, reminders of its non-historical nature.

The song 'I Don't Know How to Love Him' incorporates the popular conception that Mary Magdalene (who sings it) was a prostitute, an idea which has little contemporary support from theologians. Nevertheless, it is a beautiful love song, and was a popular hit when recorded by several different singers, including Helen Reddy and Yvonne Elliman who both had Top 40 hits with it at the same time. The original soundtrack version was from Yvonne Elliman, who played the role in the original Broadway cast. Barry Dennen (as Pontius Pilate) had also sung that role on the album. Jeff Fenholt replaced Ian Gillan as Jesus (played in the 1973 film by Ted Neeley, who had been understudy for the role on Broadway), and Ben Vereen got to perform the showstopper 'Superstar' as Judas.

Answer: A Little Night Music

This 1973 musical from Stephen Sondheim (with a book by Hugh Wheeler) was inspired by the 1955 Ingmar Bergman comedy 'Smiles of a Summer Night', and used for its title the English translation of Mozart's 'Eine Kleine Nachtmusik' (K525). The cast of characters in this complex romantic comedy includes: Frederik, a middle-aged man who has been married for nearly a year to 18 year old Anne, who is still a virgin; his son Henrik, aged 19; Anne's servant Petra, who is initially interested in seducing Henrik; his former lover Desiree, a glamorous actress; Desiree's daughter Fredrika; Desiree's current lover Count Carl-Magnus Malcolm and his wife Charlotte, a school friend of Anne. A close look at some of the names and ages will give you a hint of what is to unfold.

Desiree sings 'Send in the Clowns' in the second act, as she reflects sadly on Fredrik's declaration that he has always loved her, but as a dream rather than a reality, and expresses her regret that she had turned down his marriage proposals back in the day. Sondheim wrote it specifically for the vocal talents of Glynis Johns, who played Desiree on Broadway. It has since become a jazz standard, with cover versions including those of Frank Sinatra in 1973, and Judy Collins, whose version charted in both 1975 and 1977 - her performance was Grammy Song of the Year in 1976.