text:
Vince Carter has a mansion in Orlando, and the former Magic player made himself at home at Amway Center on Sunday night.
Wearing the uniform of the Dallas Mavericks for the second consecutive season, Carter scored 15 points, hit three 3-pointers and set up the game-winning shot to beat his old team 111-105.
"Vince plays well in Orlando, always has," Mavs coach Rick Carlisle said. "He's comfortable here."
Carter apparently is also comfortable coming off the bench these days.
Carlisle calls him an "important" influence for his team which has struggled most of the season while Dirk Nowitzki was sidelined.
Carter turns 36 on Friday, and he still can show you glimpses of "Vinsanity." He no longer is a focal point or a go-to guy.
Mostly, he tries to play economically, efficiently and smart, in a team concept.
With the Mavs ahead by two points with 25.6 seconds left, Carter initiated the offense and whipped a pass into the corner for Darren Collison, who drilled a three pointer.
"It was just a play that has a lot of options," Carter said. "You had to make a quick decision and I saw Jameer (Nelson) kind of sagging in and helping on the roll guy. I threw it to D.C. in confidence and told him that if you are open be ready to shoot the ball. He didn't hesitate and knocked down the shot. That is what our team is about or has become."
Carter was acquired by the Magic in 2009. He played a season and a half before Orlando dealt the former Daytona Beach Mainland High School star to Phoenix the following year.
"It is always fun to come back home and play in front of family and friends, especially now that I play on the West Coast (Western Conference) and only come one a year now," Carter said. "It is fun to be able to look up and see my friends and some I haven't seen in a while, but they come to show support."
Brian Schmitz is the Magic Insider for the Orlando Sentinel. You can reach him at firstname.lastname@example.com. And you can follow him on Twitter at http://twitter.com/@magicinsider.


text:
Stephen Sondheim
|Stephen Sondheim
c. 1976
|Background information
|Birth name
|Stephen Joshua Sondheim
March 22, 1930
New York City, New York, United States
|Musical theatre
|Composer, lyricist
|Years active
Stephen Joshua Sondheim (/ˈsɒnd.haɪm/; born March 22, 1930) is an American composer and lyricist known for his immense contributions to musical theatre for over 50 years. He is the winner of an Academy Award, eight Tony Awards (more than any other composer) including the Special Tony Award for Lifetime Achievement in the Theatre,[1] eight Grammy Awards, a Pulitzer Prize and the Laurence Olivier Award. Described by Frank Rich of the New York Times as "now the greatest and perhaps best-known artist in the American musical theater",[2] his most famous works include (as composer and lyricist) A Funny Thing Happened on the Way to the Forum, Company, Follies, A Little Night Music, Sweeney Todd, Sunday in the Park with George and Into the Woods. He also wrote the lyrics for West Side Story and Gypsy.
Sondheim has written material for movies, including the 1981 Warren Beatty film Reds, for which he contributed the song "Goodbye For Now". He also wrote five songs for the 1990 movie Dick Tracy, including "Sooner or Later (I Always Get My Man)" by Madonna which won the Academy Award for Best Song.
He was president of the Dramatists Guild from 1973 to 1981. In celebration of his 80th birthday, the former Henry Miller's Theatre was renamed the Stephen Sondheim Theatre on September 15, 2010, and the BBC Proms staged a concert in his honor. Cameron Mackintosh has described Sondheim as "possibly the greatest lyricist ever."[3]
- 1 Early years
- 2 Career
- 2.1 Mentorship by Oscar Hammerstein II
- 2.2 Early career
- 2.3 Collaborations with Hal Prince (1970–1981)
- 2.4 Collaborations with John Weidman (1976–)
- 2.5 Collaborations with James Lapine (1984–1994)
- 2.6 Later work
- 2.7 Upcoming projects
- 2.8 Conversation with Frank Rich
- 2.9 Work away from Broadway
- 2.10 Unfinished or canceled works
- 2.11 Books
- 3 Major works
- 4 Minor works
- 5 Honors and awards
- 6 Legacy
- 7 Personal life
- 8 Notes
- 9 References
- 10 Further reading
- 11 External links
Early years[edit]
Sondheim was born to a Jewish family in New York City, Etta Janet "Foxy" (née Fox) and Herbert Sondheim.[4] He grew up on the Upper West Side of Manhattan and later, after his parents divorced, on a farm near Doylestown, Pennsylvania. Herbert was a dress manufacturer and Foxy, his mother, designed the dresses. As an only child of well-to-do parents living in the San Remo on Central Park West, he is described in Meryle Secrest's biography, Stephen Sondheim: A Life, as having had an isolated and emotionally neglected childhood. While living in New York, Sondheim attended the Ethical Culture affiliated Fieldston School. Later, Sondheim attended the New York Military Academy and George School, a private Quaker preparatory school in Bucks County, Pennsylvania, where he wrote his first musical ("By George!"). He also spent several summers at Camp Androscoggin.[4] He graduated from George School in 1946.
Sondheim traces his interest in theatre to Very Warm for May, a Broadway musical he saw at age nine. "The curtain went up and revealed a piano," Sondheim recalled. "A butler took a duster and brushed it up, tinkling the keys. I thought that was thrilling."[5]
When Sondheim was ten, his father, a distant figure, abandoned him and his mother. His father sought custody of Stephen, but because he had left Foxy for another woman (Alicia), his efforts failed. Herbert and Alicia had two sons together. In his interview with Meryle Secrest, Sondheim explained that he was "what they call an institutionalized child, meaning one who has no contact with any kind of family. You're in, though it's luxurious, you're in an environment that supplies you with everything but human contact. No brothers and sisters, no parents, and yet plenty to eat, and friends to play with and a warm bed, you know?"
Sondheim hated his mother;[6] his mother was allegedly psychologically abusive,[7] projecting anger from her failed marriage onto him.[8] Sondheim said, "When my father left her, she substituted me for him. And she used me the way she used him, to come on to and to berate, beat up on, you see. What she did for five years was treat me like dirt, but come on to me at the same time."[9] At one point, she wrote him a letter saying that the "only regret [she] ever had was giving him birth."[10] When she died in the spring of 1992, he did not attend her funeral.[6][11]
Mentorship by Oscar Hammerstein II[edit]
At about the age of ten, around the time of his parents' divorce, Sondheim became friends with James Hammerstein, son of the lyricist and playwright Oscar Hammerstein II. The elder Hammerstein became Sondheim's surrogate father, and had a profound influence on him, especially in developing a love for musical theatre. It was at the opening of South Pacific, the musical Hammerstein wrote with Richard Rodgers, that Sondheim met Harold Prince, who would later direct many of Sondheim's shows. While at George School, Sondheim wrote a comic musical based on the goings-on of his school, entitled By George. It was a major success among his peers, and it considerably buoyed the young songwriter's ego; he took it to Hammerstein, and asked him to evaluate it as though he had no knowledge of its author. Hammerstein said it was the worst thing he had ever seen. "But if you want to know why it's terrible," Hammerstein offered, "I'll tell you." The rest of the day was spent going over the musical, and Sondheim would later say that "in that afternoon I learned more about songwriting and the musical theater than most people learn in a lifetime."[12]
Thus began one of the most famous apprenticeships in the musical theatre, as Hammerstein designed a kind of course for Sondheim on the construction of a musical. This training primarily involved having Sondheim write four musicals, each with one of the following preconditions:
- Based on a play he admired (which became All That Glitters);
- Based on a play he liked but thought was flawed, choosing the Maxwell Anderson play High Tor;
- Based on an existing novel or short story not previously dramatized (which became his unfinished Mary Poppins entitled Bad Tuesday,[13] not connected to the musical film and stage play scored by the Sherman Brothers);
- An original (which became Climb High).
None of these "assignment" musicals was ever produced professionally. High Tor and Mary Poppins have never been produced at all; the rights holder for the original High Tor refused permission and his musical Mary Poppins was not finished.[14]
Attracted to the school's theatre program, Sondheim began attending Williams College, a prominent liberal arts college in Williamstown, Massachusetts. He graduated magna cum laude in 1950, and was a member of Beta Theta Pi fraternity. His first teacher at Williams was Robert Barrow, and according to Sondheim
...everybody hated him because he was very dry, and I thought he was wonderful because he was very dry. And Barrow made me realize that all my romantic views of art were nonsense. I had always thought an angel came down and sat on your shoulder and whispered in your ear 'dah-dah-dah-DUM.' Never occurred to me that art was something worked out. And suddenly it was skies opening up. As soon as you find out what a leading tone is, you think, Oh my God. What a diatonic scale is—Oh my God! The logic of it. And, of course, what that meant to me was: Well, I can do that. Because you just don't know. You think it's a talent, you think you're born with this thing. What I've found out and what I believed is that everybody is talented. It's just that some people get it developed and some don't.[15]
He went on to study composition with the composer Milton Babbitt. Sondheim told biographer Meryle Secrest, "I just wanted to study composition, theory, and harmony without the attendant musicology that comes in graduate school. But I knew I wanted to write for the theatre, so I wanted someone who did not disdain theatre music. Milton, who was a frustrated show composer, was a perfect combination."[16] Babbitt and Sondheim were both fascinated with mathematics and together they studied songs by various composers, especially Jerome Kern. Sondheim told Secrest that Kern had the ability "to develop a single motif through tiny variations into a long and never boring line and his maximum development of the minimum of material." Sondheim then said of Babbitt, "I am his maverick, his one student who went into the popular arts with all his serious artillery."[16]
Sondheim says that when he asked Babbitt if he could study atonality, Babbitt replied "You haven't exhausted tonal resources for yourself yet, so I'm not going to teach you atonal."[17] Sondheim agreed, and despite frequent dissonance and a highly chromatic style, his music remains resolutely tonal.
While at Williams, Sondheim wrote a musical adaption of Beggar on Horseback, a 1924 play by George S. Kaufman and Marc Connelly, with permission from Kaufman and it had three performances.[18]
Early career[edit]
"A few painful years of struggle" followed for Sondheim, during which he continually auditioned songs, living in his father's dining room to save money; he also spent time in Hollywood writing for the television series Topper.[5] He devoured 1940s and '50s films and has called cinema his "basic language."[6] (His film knowledge got him through The $64,000 Question contestant tryouts.) Sondheim has expressed his dislike of movie musicals, favoring classic dramas like Citizen Kane, The Grapes of Wrath, and A Matter of Life and Death. He adds that "studio directors like Michael Curtiz and Raoul Walsh ... were heroes of mine. They went from movie to movie to movie, and every third movie was good and every fifth movie was great. There wasn't any cultural pressure to make art."[19]
In 1954, Sondheim wrote both music and lyrics for Saturday Night, which was never produced on Broadway and was shelved until a 1997 production at London's Bridewell Theatre. In 1998 Saturday Night received a professional recording, followed by a revised version with two new songs and an Off-Broadway run at Second Stage Theatre in 2000 and a full British premiere with the new songs in 2009 at London's Jermyn Street Theatre.[20] "I don't have any emotional reaction to 'Saturday Night' at all – except fondness," Sondheim says. "It's not bad stuff for a 23-year-old. There are some things that embarrass me so much in the lyrics – the missed accents, the obvious jokes. But I decided, Leave it. It's my baby pictures. You don't touch up a baby picture – you're a baby!"[6]
Sondheim's big break came when he wrote the lyrics to West Side Story, lyricizing Leonard Bernstein's music and Arthur Laurents's book. When he was 25, Sondheim was introduced to Bernstein, who had heard Saturday Night and quickly hired him to write the lyrics to West Side Story.[21] The 1957 show, directed by Jerome Robbins, ran for 732 performances. While this may be one of the best-known shows Sondheim ever worked on, he has expressed dissatisfaction with his lyrics, stating they do not always fit the characters and are sometimes too consciously poetic. It has been rumored that while Bernstein was off trying to fix the musical Candide, Sondheim wrote some of the music for West Side Story, and that Bernstein's co-lyricist billing credit mysteriously disappeared from the credits of West Side Story during the tryout, presumably as a trade-off.[22] Sondheim himself insisted that Bernstein told the producers to list Sondheim as the sole lyricist.
In 1959, he wrote the lyrics for the musical Gypsy. Sondheim would have liked to write the music as well, but Ethel Merman, the star, insisted on a composer with a track record. Thus, Jule Styne was hired.[23] Sondheim questioned if he should write only the lyrics for another show, but Hammerstein told him writing for a star would be valuable experience. Sondheim worked closely with book writer Arthur Laurents to create the show. It ran 702 performances.
Eventually Sondheim wrote both the music and lyrics for A Funny Thing Happened on the Way to the Forum. It opened in 1962 and ran 964 performances. The book, based on the farces of Plautus, was written by Burt Shevelove and Larry Gelbart. Sondheim's score was not especially well received at the time. Even though the show won several Tony Awards, including best musical, Sondheim did not receive a nomination. In addition, some critics felt the songs were not properly integrated into the farcical action.[citation needed]
At this point, Sondheim had participated in three straight hits. His next show ended the streak. Anyone Can Whistle (1964) was a 9-performance flop, although it introduced Angela Lansbury to musical theatre and has developed a cult following.
In 1965 he wrote the lyrics only for Do I Hear a Waltz?, with music by Richard Rodgers. He has said that this is the one project he has regretted.[6] In 1966, he semi-anonymously provided the lyric for "The Boy From...", a parody of "The Girl from Ipanema", a highlight of the off-Broadway revue The Mad Show. (The official songwriting credit went to the linguistically minded pseudonym "Esteban Rio Nido", which translates from the Spanish to "Stephen River Nest". In the show's playbill, the lyrics are credited to "Nom De Plume".)
After completing Evening Primrose, Jerome Robbins had tried to convince Sondheim to adapt Bertolt Brecht's The Measures Taken, but Sondheim admitted that he did not like the play and did not like a lot of his work. Robbins wanted to adapt another Brecht play The Exception and the Rule and called John Guare to adapt the book. Bernstein had not written for the stage in a while, and his contract conducting the New York Philharmonic was ending. Sondheim was invited to Robbins' house, who unbeknownst to him, was trying to be convinced to write the lyrics to a musical adaption of The Exception and the Rule. Guare was asked to convince Sondheim to do the lyrics. According to Robbins, if Sondheim didn't do it, Bernstein wouldn't do it. After Guare told him about the show, Sondheim agreed to do it. Guare asked, "Why haven't you all worked together since 'West Side Story'?" to which Sondheim replied, "You'll see". Guare recalled a moment when Robbins had put him in a house Robbins had rented for Gold and Fizdale, and he put Guare in a locked room, saying he could not come out until he was finished. Any finished papers were slid under the door. Guare said working with Sondheim was like being with an old college roommate, they just talked and talked. Guare heavily depended on Sondheim to help him "decode and decipher their crazy way of working." Guare said that Bernstein only worked after midnight and Robbins only worked in the bright and early morning. Guare also commented that Bernstein's score, which was supposed to be light, was heavily influenced by Bernstein's feeling he needed to make a major musical statement.[24]
Stuart Ostrow, who had ties with Sondheim with The Girls Upstairs (later titled Follies), agreed to produce the musical, now entitled A Pray By Blecht (later titled The Race to Urga). An opening date was set and they were in the middle of auditions when Robbins asked to be excused for a moment. He did not come back and Guare asked where he went and the doorman said he got in a limousine and was headed to Kennedy Airport. This caused Bernstein to burst into tears and say "It's over". Sondheim said of the project, "I was ashamed of the whole project. It was arch and didactic in the worst way."[25] He wrote one and half songs, and threw them both away (the only time he has ever done that). Eighteen years later, Bernstein and Robbins asked Sondheim to retry adapting the show, but Sondheim refused.[24]
He has resided in an East Side brownstone in Manhattan since his fortunes swelled from writing Gypsy in 1959. Sondheim said in 1969, he was playing music and he received a knock on the door. It was his neighbor, Katharine Hepburn, and she was in "bare feet – this angry, red-faced lady" and she told him "'You have been keeping me awake all night!". Hepburn had been practicing for her musical debut in Coco and was being distracted. Sondheim asked why she didn't ask him to play for her, which she stated she had lost his phone number. With a wry smile, Sondheim reflected back saying, "My guess is that she wanted to stand there in her bare feet, suffering for her art".[26]
Collaborations with Hal Prince (1970–1981)[edit]
After the completion of Do I Hear a Waltz, Sondheim devoted himself to both composing and writing lyrics for a series of varied and adventurous musicals, beginning with the innovative "concept musical" Company in 1970.
Sondheim's work is notable for his use of complex polyphony in the vocal parts, such as the chorus of five minor characters who function as a sort of Greek chorus in 1973's A Little Night Music. He also displays a penchant for angular harmonies and intricate melodies. His musical influences are varied; Sondheim has claimed that he "loves Bach" but his favorite period is Brahms to Stravinsky.[27] To fans, Sondheim's musical sophistication is considered to be greater than that of many of his musical theatre peers, and his lyrics are likewise renowned for their ambiguity, wit, and urbanity.
Sondheim collaborated with producer/director Harold Prince on six musicals between 1970 and 1981. Company (1970) centered on a set of characters and themes rather than a straightforward plot. Follies (1971) was similarly structured, filled with pastiche songs echoing styles of earlier composers. A Little Night Music (1973), a more traditionally plotted show based on the film Smiles of a Summer Night by Ingmar Bergman, was one of his greatest successes. Time magazine called it "Sondheim's most brilliant accomplishment to date."[28] Notably, the score was mostly composed in waltz time (either ¾ time, or multiples thereof.) Further success was accorded to A Little Night Music when "Send in the Clowns" became a hit single for Judy Collins. Although it was Sondheim's only Top 40 hit, his songs are frequently performed and recorded by cabaret artists and theatre singers in their solo careers.
By Bernstein premiered at the off-Broadway Westside Theatre on November 23, 1975 and closed on December 7, 1975. It ran for 40 previews and 17 performances. The lyrics and music were by Leonard Bernstein, with additional lyrics from other lyricists, including Sondheim. It was conceived and written by Betty Comden and Adolph Green and Norman L. Berman. The production was directed by Michael Bawtree with a cast of Jack Bittner, Margery Cohen, Jim Corti, Ed Dixon, Patricia Elliott, Kurt Peterson, and Janie Sell. The two known songs that had Sondheim contributions are "In There" from the adaption of The Exception and the Rule (which would later be named The Race to Urga) and a cut song from West Side Story "Kids Ain't (Like Everybody Else)".[29]
Pacific Overtures (1976) was the most non-traditional of the Sondheim—Prince collaborations, an intellectual exploration of the westernization of Japan. Sweeney Todd (1979), Sondheim's most operatic score and libretto (which, along with A Little Night Music, has been seen in opera houses), once again explores an unlikely topic, this time murderous revenge and cannibalism. The book, by Hugh Wheeler, is based on Christopher Bond's 1973 stage version of the Victorian original.[30][31][32][33][34]
Merrily We Roll Along (1981), with a book by George Furth, is one of Sondheim's more "traditional" scores and was thought to hold potential to generate some hit songs (Frank Sinatra and Carly Simon each recorded a different song from the show). Sondheim's music director, Paul Gemignani, said, "Part of Steve's ability is this extraordinary versatility." Merrily, however, was a 16-performance flop. "Merrily did not succeed, but its score endures thanks to subsequent productions and recordings. According to Martin Gottfried, "Sondheim had set out to write traditional songs... But [despite] that there is nothing ordinary about the music."[35] Sondheim and Furth have extensively revised the show since its initial opening. Sondheim later stated, "Did I feel betrayed? I'm not sure I would put it like that. What did surprise me was the feeling around the Broadway community – if you can call it that, though I guess I will for lack of a better word – that they wanted Hal and me to fail."[26]
In the late nineties, Sondheim reunited with Hal Prince for the musical comedy Wise Guys, a project that took a long time to complete that follows brothers Addison and Wilson Mizner. Though a Broadway production starring Nathan Lane and Victor Garber and directed by Sam Mendes was announced for Spring 2000,[36] the New York debut of the musical was delayed. Rechristened Bounce in 2003, the show was mounted at the Goodman Theatre in Chicago, and at the Kennedy Center in Washington, D.C.. Bounce received disappointing reviews and never reached Broadway. A revised version of Bounce premiered off-Broadway at The Public Theater under the new name Road Show from October 28, 2008 through December 28, 2008, under the direction of John Doyle.
Collaborations with John Weidman (1976–)[edit]
Pacific Overtures (1976) had music and lyrics by Sondheim and a book by John Weidman. It opened on Broadway at the Winter Garden Theatre on January 11, 1976, and closed after 193 performances on June 27, 1976
Assassins (1990) with music and lyrics by Sondheim and a book by Weidman. The show opened off-Broadway at the Playwrights Horizons on December 18, 1990, and closed on February 16, 1991 after 73 performances. The idea came from when Sondheim was a panelist at producer Stuart Ostrow's Musical Theater Lab, and he read a script by playwright Charles Gilbert. Sondheim asked Gilbert for permission to use his idea. Gilbert consented and offered to write the book; but Sondheim declined, having already had collaborator John Weidman in mind.[37]
Weidman would also write the book for Road Show, with music and lyrics by Sondheim.
Collaborations with James Lapine (1984–1994)[edit]
The failure of Merrily greatly affected Sondheim; he was ready to quit theatre and do movies or create video games or write mysteries. He was later quoted as saying, "I wanted to find something to satisfy myself that does not involve Broadway and dealing with all those people who hate me and hate Hal."[38] The collaboration between Sondheim and Prince would largely end after Merrily – until the 2003 production of Bounce, another failure.
However, instead of quitting the theatre following the failure of Merrily, Sondheim decided "that there are better places to start a show", and found a new collaborator in the "artsy" James Lapine. Sondheim saw a show in 1981 that gave him hope again. The show was Twelve Dreams, and it was an Off-Broadway play at the Public Theatre. Sondheim recalled after Merrily, "I was discouraged, and I don't know what would have happened if I hadn't discovered Twelve Dreams at the Public Theatre".[26] Lapine has a taste "for the avant-garde and for visually oriented theatre in particular." Their first collaboration was Sunday in the Park with George (1984), in which Sondheim's music evoked the pointillist painting technique of its subject, Georges Seurat. In 1985, he and Lapine won the Pulitzer Prize for Drama for Sunday in the Park with George. The show had its first revival on Broadway in 2008.
The Sondheim–Lapine collaboration also produced a musical reimagining classic fairy-tales, Into the Woods (1987). Their last work together was the rhapsodic Passion (1994), which was adapted from the Italian film Passione D'Amore by Ettore Scola. After a run of 280 performances, Passion became the shortest-running show to win the Tony Award for Best Musical.[39]
Later work[edit]
Regarding his interest in writing new work, Sondheim was quoted in a 2006 Time Out: London interview as saying, "No... It's age. It's a diminution of energy and the worry that there are no new ideas. It's also an increasing lack of confidence. I'm not the only one. I've checked with other people. People expect more of you and you're aware of it and you shouldn't be."[40] In December 2007, however, Sondheim said that, along with continued work on Bounce, he was "nibbling at a couple of things with John Weidman and James Lapine."[41]
Lapine created a "multimedia revue", formerly titled Sondheim: a Musical Revue, which had been scheduled to premiere in April 2009 at the Alliance Theatre, Atlanta, Georgia. However, that production was canceled, due to "difficulties encountered by the commercial producers attached to the project...in raising the necessary funds".[42][43] A revised version, Sondheim on Sondheim, was produced by the Roundabout Theatre Company and premiered on Broadway at Studio 54 in a limited engagement from March 19, 2010 in previews, opening April 22 through June 13. The cast featured Barbara Cook, Vanessa L. Williams, Tom Wopat, Norm Lewis and Leslie Kritzer.[44]
Sondheim collaborated with Wynton Marsalis in a musical "event", which was performed at New York City Center in an Encores! Special Event, titled "A Bed and a Chair: A New York Love Affair", which took place November 13–17, 2013. The staged concert was directed by John Doyle, with choreography by Parker Esse, and consisted of "more than two-dozen Sondheim compositions, each piece newly re-imagined by Marsalis."[45] The cast featured Bernadette Peters, Jeremy Jordan, Norm Lewis, and Cyrille Aimee with four dancers, and the Jazz at Lincoln Center Orchestra, conducted by David Loud.[46] Steven Suskin described the concert in Playbill as "neither a new musical, a revival, nor a standard songbook revue; it is, rather, a staged-and-sung chamber jazz rendition of a string of songs." He further added that "Half of the songs come from 'Company' and 'Follies'; most of the other Sondheim musicals are represented, including the lesser-known 'Passion' and 'Road Show'".[47]
Upcoming projects[edit]
It was announced in February 2012 that Sondheim will be collaborating on a new musical with David Ives. Sondheim has said that he has "about 20–30 minutes of the musical completed."[48][49][50][51][52] The show is tentatively called All Together Now and is assumed to follow the format of Merrily We Roll Along. Sondheim said of the project, "two people and what goes into their relationship...We'll write for a couple of months, then have a workshop. It seemed experimental and fresh 20 years ago. I have a feeling it may not be experimental and fresh any more."[53]
Conversation with Frank Rich[edit]
On April 28, 2002, during the Sondheim Celebration at the Kennedy Center, Sondheim and Frank Rich of the New York Times held a "conversation".[54][55] In March 2008, Sondheim and Rich appeared in four interviews/conversations in California[56][57][58] and Portland, Oregon[59] titled "A Little Night Conversation with Stephen Sondheim".[60][61] In September 2008, they appeared at Oberlin College in Oberlin, Ohio. The Cleveland Jewish News reported on the Oberlin event, writing: "Sondheim said: 'Movies are photographs; the stage is larger than life.' What musicals does Sondheim admire the most? Porgy and Bess tops a list which includes Carousel, She Loves Me, and The Wiz, which he saw six times. Sondheim took a dim view of today's musicals. What works now, he said, are musicals that are easy to take; audiences don't want to be challenged."[62][63] Sondheim and Rich had more conversations on January 18, 2009 at Avery Fisher Hall,[64] on February 2, 2009 at the Landmark Theatre, Richmond, Virginia,[65] on February 21, 2009 at the Kimmel Center, Philadelphia, Pennsylvania,[66] and on April 20, 2009 at the University of Akron College of Fine and Applied Arts, EJ Thomas Hall, Akron, Ohio.[67] The conversations were reprised at Tufts and Brown Universities in February 2010 and the University of Tulsa in April 2010.[68] They spoke again at Lafayette College on March 8, 2011.[69]
Sondheim had an additional "conversation with" Sean Patrick Flahaven (associate editor of The Sondheim Review) at the Kravis Center in West Palm Beach, Florida, on February 4, 2009, during which he spoke of many of his songs and shows. "On the perennial struggles of Broadway: 'I don't see any solution for Broadway's problems except subsidized theatre, as in most civilized countries of the world.'"[70]
On February 1, 2011, Sondheim sat down with The Salt Lake Tribune's former theatre critic Nancy Melich in front of an audience of 1200 at the Kingsbury Hall. Melich said of the night
He was visibly taken by the university choir, who sang two songs during the evening, 'Children Will Listen' and 'Sunday', and then returned to reprise 'Sunday'. During that final moment, Sondheim and I were standing, facing the choir of students from the University of Utah's opera program, our backs to the audience, and I could see tears welling in his eyes as the voices rang out. Then, all of a sudden, he raised his arms and began conducting, urging the student singers to go full out, which they did, the crescendo building, their eyes locked with his, until the final 'on an ordinary Sunday' was sung. It was thrilling, and a perfect conclusion to a remarkable evening—nothing ordinary about it.[71]
Work away from Broadway[edit]
Sondheim's career has been varied, encompassing much beyond the composition of musicals.
An avid fan of games, in 1968 and 1969 Sondheim published a series of cryptic crossword puzzles in New York magazine. In 1987, Time referred to his love of puzzlemaking as "legendary in theater circles," adding that the central character in Anthony Shaffer's hit play Sleuth was inspired by Sondheim. (There was a rumor that Sleuth was given the working title Who's Afraid of Stephen Sondheim?, but in a New York Times interview on March 10, 1996, Shaffer denied ever using the title.)[5] Sondheim's love of puzzles and mysteries can also be seen in the intricate "whodunit" he co-wrote with longtime friend Anthony Perkins, The Last of Sheila. This 1973 film, directed by Herbert Ross, starred Dyan Cannon, Raquel Welch, James Mason, James Coburn and Richard Benjamin.
He tried his hand at playwriting one more time – in 1996 he collaborated with Company librettist George Furth on a play called Getting Away with Murder. It was not a success, and the Broadway production closed after 29 previews and 17 performances.
His compositional efforts have included a number of film scores, notably a set of songs written for Warren Beatty's 1990 film version of Dick Tracy; one song, "Sooner or Later (I Always Get My Man)" (as performed by Madonna), won Sondheim an Academy Award.
Unfinished or canceled works[edit]
Sondheim was asked to translate Mahagonny-Songspiel, although he did not state the time. He said, "But, I'm not a Brecht/Weill fan and that's really all there is to it. I'm an apostate: I like Weill's music when he came to America better than I do his stuff before.... I love The Threepenny Opera but, outside of The Threepenny Opera, the music of his I like is the stuff he wrote in America – when he was not writing with Brecht, when he was writing for Broadway."[72] He was also asked to musicalize Nathanael West's A Cool Million with James Lapine around 1982, but he refused.[73][74]
Sondheim worked with William Goldman on Singing Out Loud, a movie musical, in 1992.[75] Sondheim stated that Goldman wrote one or two drafts of the script and Sondheim wrote six and a half songs, only to have director Rob Reiner lose interest in the project. The songs "Dawn" and "Sand" from the project were recorded for the albums Sondheim at the Movies and Unsung Sondheim.[72] Sondheim and Leonard Bernstein wrote The Race to Urga, scheduled to play at the Lincoln Center in 1969, but when Jerome Robbins left the project, it went unproduced.[76] Sondheim also wrote some new songs for a proposed Into the Woods film, including one entitled Rainbows, which Sondheim said will be in his second book (to be published in October 2011).[dated info] The project never got further than a readthrough.[72]
Sondheim, in 1991, was working with Terrence McNally on a musical entitled All Together Now. McNally said, "Steve was interested in telling the story of a relationship from the present back to the moment when the couple first met. We worked together a while, but we were both involved with so many other projects that this one fell through". The script, with concept notes by McNally and Sondheim, is archived in the Harry Ransom Humanities Research Center at the University of Texas at Austin. The story follows Arden Scott, a 30-something female sculptor, and Daniel Nevin, a slightly younger, sexually charismatic restaurateur.[77]
Sondheim wrote a book of annotations of his lyrics titled Finishing the Hat (2010), a collection of his lyrics "from productions dating 1954–1981. In addition to published and unpublished lyrics from West Side Story, Follies and Company, the tome finds Sondheim discussing his relationship with Oscar Hammerstein II and his collaborations with composers, actors and directors throughout his lengthy career."[78][79] This book, part one of a two-part series, is named after a song he wrote for Sunday in the Park With George. Sondheim said "It's going to be long. I'm not, by nature, a prose writer, but I'm literate, and I have a couple of people who are vetting it for me, whom I trust, who are excellent prose writers."[80][81] Finishing the Hat was published in October 2010. The review of the book in The New York Times stated that "The lyrics under consideration here, written during a 27-year period, aren't presented as fixed and sacred paradigms, carefully removed from tissue paper for our reverent inspection. They're living, evolving, flawed organisms, still being shaped and poked and talked to by the man who created them."[82] The book was number 11 on The New York Times Hardcover Nonfiction list for November 5, 2010.[83]
The follow-up book, Look, I Made a Hat: Collected Lyrics (1981–2011) with Attendant Comments, Amplifications, Dogmas, Harangues, Digressions, Anecdotes and Miscellany was released on November 22, 2011. The book begins with Sunday in the Park With George, where Finishing the Hat stopped, and includes sections on his work in movies and television.[84]
Major works[edit]
Unless otherwise noted, music and lyrics by Stephen Sondheim.
- Saturday Night (1954, though unproduced until 1997) (book by Julius J. Epstein and Philip G. Epstein)
- West Side Story (1957) (music by Leonard Bernstein; book by Arthur Laurents; directed by Jerome Robbins)
- Gypsy (1959) (music by Jule Styne; book by Arthur Laurents; directed by Jerome Robbins)
- A Funny Thing Happened on the Way to the Forum (1962) (book by Burt Shevelove and Larry Gelbart; directed by George Abbott)
- Anyone Can Whistle (1964) (book by Arthur Laurents; directed by Arthur Laurents)
- Do I Hear a Waltz? (1965) (music by Richard Rodgers; book by Arthur Laurents; directed by John Dexter)
- Company (1970) (book by George Furth; directed by Hal Prince)
- Follies (1971) (book by James Goldman; directed by Hal Prince)
- A Little Night Music (1973) (book by Hugh Wheeler; directed by Hal Prince)
- Pacific Overtures (1976) (book by John Weidman; directed by Hal Prince)
- Sweeney Todd (1979) (book by Hugh Wheeler; directed by Hal Prince)
- Merrily We Roll Along (1981) (book by George Furth; directed by Hal Prince)
- Sunday in the Park with George (1984) (book by James Lapine; directed by James Lapine)
- Into the Woods (1987) (book by James Lapine; directed by James Lapine)
- Assassins (1990) (book by John Weidman; directed by Jerry Zaks)
- Passion (1994) (book by James Lapine; directed by James Lapine)
- Bounce (2003) (book by John Weidman; directed by Hal Prince); retitled Road Show
- The Frogs (1974) (book by Burt Shevelove); second version (2004) (book by Nathan Lane)[85]
- Road Show (2008) (book by John Weidman; directed by John Doyle); (formerly titled Bounce, Wise Guys and Gold!)
Revues and anthologies[edit]
Side By Side By Sondheim (1976), Marry Me A Little (1980), You're Gonna Love Tomorrow (1983) Putting It Together (1993), and Sondheim on Sondheim (2010) are anthologies or revues of Sondheim's work as composer and lyricist, featuring both songs performed and cut from productions. Jerome Robbins' Broadway features "You Gotta Have a Gimmick" from Gypsy, "Suite of Dances" from West Side Story, and "Comedy Tonight" from A Funny Thing Happened on the Way to the Forum. A new revue, Secret Sondheim ... a celebration of his lesser known work, conceived and directed by Tim McArthur, plays the Jermyn Street Theatre, London, in July 2010.[86]
Sondheim's work is also featured in The Madwoman of Central Park West, including the songs "Pretty Women" and "Everybody Ought to Have a Maid".[87]
Minor works[edit]
- I Know My Love (1951), play, Sondheim wrote a Christmas carol for it
- A Mighty Man is He (1955), play, wrote song Rag Me That Mendelssohn March
- Girls of Summer (1956) (incidental music by Sondheim; play by N. Richard Nash)
- Take Five (1957) revue
- Invitation to a March (1960) (incidental music by Sondheim; play by Arthur Laurents)
- The World of Jules Feiffer (1962) (incidental music by Sondheim; sketches by Jules Feiffer)
- Hot Spot (1963) (music mostly by Mary Rodgers; lyrics mostly by Martin Charnin)
- The Mad Show (1966) (music mostly by Mary Rodgers; lyrics mostly by Marshall Barer) wrote the lyric for "The Boy From...", a parody of "The Girl from Ipanema". (Credited as Esteban Rio Nido [a translation of Stephen Sondheim])
- Illya Darling (1967), unused number I Think She Needs Me (music by Manos Hadjidakis and lyrics by Sondheim)
- Twigs (1971), play by George Furth, wrote song Hollywood and Vine (Music by Stephen Sondheim and lyrics by George Furth)
- The Enclave (1973) (incidental music to the play by Arthur Laurents)
- Candide – Second Version (1974) (new lyrics by Sondheim; original lyrics by Richard Wilbur; music by Leonard Bernstein; book by Hugh Wheeler)
- By Bernstein (1975)- music and lyrics by Leonard Bernstein, additional lyrics by Betty Comden, Adolph Green, John Latouche, Jerry Leiber, and Stephen Sondheim; written and conceived by Comden and Green, with Michael Bawtree, Norman L. Berman and the Chelsea Theatre Center.[88]
- Hey, Love (1993 Off-Broadway),(Music mostly by Mary Rodgers)
- Getting Away with Murder (1996 on Broadway), a "comedy thriller" (non-musical play), co-written with George Furth.[89]
- King Lear (2007), incidental music for a Public Theater production of the Shakespeare tragedy, composed with orchestrator Michael Starobin. The production was directed by James Lapine and starred Kevin Kline.
Film and TV[edit]
- Topper (circa 1953), a non-musical television comedy series for which Sondheim co-wrote eleven episodes.
- Evening Primrose (1966), a made-for-TV musical about a secret society of people living in department stores and the romance between Ella, a department store denizen, and Charles, a poet who decides to live in the department store after renouncing the world. Four songs, including the cabaret standard "Take Me To The World" and the well-loved, if lesser-known, ballad "I Remember".
- A Funny Thing Happened On the Way to the Forum (1966), a movie adaptation of the musical. Zero Mostel reprised his role as Pseudolus.
- The Last of Sheila (1973), a nonmusical film mystery written with Anthony Perkins. Perkins and Sondheim received a 1974 Edgar Award from the Mystery Writers of America for Best Motion Picture Screenplay.
- Sondheim appears in the 1974 PBS television version of the play June Moon by George S. Kaufman and Ring Lardner. In the film, Sondheim plays a wise-cracking pianist named Maxie Schwartz.
- "The Madam's Song", also called "I Never Do Anything Twice", for the film The Seven-Per-Cent Solution (1976).
- The score for Alain Resnais's film Stavisky (1974).
In 1976 Sondheim appeared, together with theatre critic Frank Rich, John Weidman (book for Pacific Overtures) and members of the original cast of Pacific Overtures in a television program titled "Anatomy of a Song." Sondheim plays piano as cast sings the song "Someone in a Tree". Sondheim discusses his working methods, the genesis of the show, and names "Someone in a Tree" his favorite song to date.
- A Little Night Music, (1977) a movie adaptation of the stage work. Several of Sondheim's songs were dropped for the film version. However, he wrote a completely new song entitled "The Glamorous Life" to take the place of the song by the same name from the stage version. Sondheim also wrote new lyrics to "Night Waltz."
- Music for the film Reds starring Warren Beatty (1981), including the song "Goodbye For Now."
- Five songs for Warren Beatty's film Dick Tracy (1990), including "Sooner or Later (I Always Get My Man)", which won the Academy Award for Best Song.
- Two songs for the film The Birdcage (1996) "It Takes All Kinds" (not used) and "Little Dream".
- Cameo as himself in the 2003 film Camp.
- Sondheim had a guest part on The Simpsons episode "Yokel Chords" as himself (2007).
- Sweeney Todd, (2007) a movie adaptation of the stage work, made with Sondheim's participation and approval, was directed by Tim Burton, featuring a largely nonmusical cast led by Johnny Depp and Helena Bonham Carter. All choral numbers were cut to focus more on the primary characters. The movie, in the USA and abroad, grossed over $150 million.
- Follies, allegedly in pre-production is the film of Sondheim's Follies, with a script by Aaron Sorkin.[citation needed] In an interview in 2008, Sondheim said "There is a move afoot to do Follies movie with a well-known director and a well-known star, and I'm not going to tell you who they are."[90]
- Six By Sondheim (2013), an HBO documentary by James Lapine, with performances by Audra McDonald, Darren Criss, Jeremy Jordan, America Ferrera, Jarvis Cocker and Sondheim.[91][92]
Honors and awards[edit]
- Sondheim at 80
Several benefits and concerts were performed to celebrate Sondheim's 80th birthday in 2010. Among them were the New York Philharmonic's Sondheim: The Birthday Concert, which was held March 15 and 16, 2010 at Lincoln Center's Avery Fisher Hall and hosted by David Hyde Pierce. The concert included Sondheim music and songs performed, in some cases, by the original performers. Lonny Price directed, with Paul Gemignani conducting. The performers included: Laura Benanti, Matt Cavenaugh, Michael Cerveris, Victoria Clark, Jenn Colella, Jason Danieley, Alexander Gemignani, Joanna Gleason, Nathan Gunn, George Hearn, Patti LuPone, Marin Mazzie, Audra McDonald, John McMartin, Donna Murphy, Karen Olivo, Laura Osnes, Mandy Patinkin, Bernadette Peters, Bobby Steggert, Elaine Stritch, Jim Walton, Chip Zien, the 2009 Broadway revival cast of West Side Story and a ballet performed by Blaine Hoven and Maria Riccetto set to Stephen Sondheim's score of Warren Beatty's Reds. Jonathan Tunick also made a special appearance to pay tribute to his longtime collaborator.[93][94] The concert was telecast on the PBS "Great Performances" show during November 2010,[95] and the DVD of the performance was released on November 16, 2010.
The Roundabout Theatre Company benefit Sondheim 80 was held on March 22, 2010. The evening included a performance of Sondheim on Sondheim, plus dinner and a show at the New York Sheraton. There was "a very personal star-studded musical tribute" with new songs by contemporary musical theatre writers. The composers, who sang their own songs, included Tom Kitt and Brian Yorkey, Michael John LaChiusa, Andrew Lippa, Robert Lopez and Kristen Anderson-Lopez, Lin-Manuel Miranda (accompanied by Rita Moreno), Duncan Sheik, and Jeanine Tesori and David Lindsay-Abaire. Bernadette Peters performed a song (unnamed) that was dropped from a Sondheim show.[96][97]
The New York City Center birthday celebration and benefit concert on April 26, 2010 featured (in order of appearance): Michael Cerveris, Alexander Gemignani, Donna Murphy, Debra Monk, Joanna Gleason, Maria Friedman, Mark Jacoby, Len Cariou, B.D. Wong, Claybourne Elder, Alexander Hanson, Catherine Zeta-Jones, Raul Esparza, Sutton Foster, Nathan Lane, Michele Pawk, the original cast of Into the Woods; Kim Crosby, Chip Zien, Danielle Ferland, & Ben Wright, Angela Lansbury, and Jim Walton. This concert was directed by John Doyle and co-hosted by Mia Farrow. During the concert, greetings were read. These greetings were written by: Sheila Hancock, Julia McKenzie, Milton Babbitt, Judi Dench, and Glynis Johns. After Catherine Zeta-Jones performed "Send in the Clowns," a recorded greeting from Julie Andrews was played. During her greeting, she sang a little of "Not a Day Goes By." Patti LuPone, Barbara Cook, Bernadette Peters, Tom Aldredge and Victor Garber were originally scheduled to perform, but withdrew from the concert. One of the beneficiaries of the concert was Young Playwrights Inc.[98][99]
On July 31, 2010, a BBC Proms concert was held to celebrate Sondheim's 80th Birthday at the Royal Albert Hall in London. It featured songs from many of his musicals, including a performance of "Send in the Clowns" from A Little Night Music by Judi Dench (reprising her role as Desirée from the 1995 production of that musical), and performances from many other stars of opera, Broadway, stage and screen, including Bryn Terfel and Maria Friedman.[100][101]
On November 19, 2010, The New York Pops performed at Carnegie Hall to celebrate Sondheim's 80th birthday, led by Steven Reineke. Kate Baldwin, Aaron Lazar, Christiane Noll, Paul Betz, Renee Rakelle, Marilyn Maye (singing "I'm Still Here"), and Alexander Gemignani were all on hand to sing songs including "I Remember", "Another Hundred People", "Children Will Listen", and "Getting Married Today". Sondheim made an on-stage appearance during the concert's encore of his song "Old Friends".[102][103]
- Honors
Sondheim has received the following honors:
- Hutchinson Prize for Music Composition (at college graduation, 1950)
- Elected to The American Academy of Arts and Letters (1983)
- Kennedy Center Honors, Lifetime Achievement, (1993)
- The Algur H. Meadows Award, Southern Methodist University, Dallas, Texas (November 12, 1994, taped and televised on the A&E television network January 12, 1995)[104]
- Special Award, Olivier Award, 2011, "in recognition of his contribution to London theatre"; the award was presented at the ceremony by Cameron Mackintosh and Angela Lansbury.[105][106]
- UK's Critics' Circle 2011 Award for Distinguished Services to the Arts, March 2012, for "what is effectively a lifetime achievement award", as Mark Shenton (Drama section chairman) commented.[107]
- Awards
He has won these awards:
- Pulitzer Prize in Drama, Sunday in the Park with George (1985)
- Academy Award for Best Song, "Sooner or Later (I Always Get My Man)" from Dick Tracy (1990)
- Company (1970, Best Score from an Original Cast Album)
- A Little Night Music (1973, Best Score from an Original Cast Album)
- "Send in the Clowns" (1975, Song of the Year)
- Sweeney Todd (1979, Best Cast Show Album)
- Sunday in the Park With George (1984, Best Cast Show Album)
- Into the Woods (1988, Best Musical Cast Show Album)
- Passion (1994, Best Musical Cast Show Album)
- West Side Story (2010, Best Musical Cast Show Album)
- A Funny Thing Happened on the Way to the Forum (1963, Best Musical)
- Company (1971, Best Musical, Best Score, Best Lyrics)
- Follies (1972, Best Score)
- A Little Night Music (1973, Best Musical, Best Score)
- Sweeney Todd (1979, Best Musical, Best Score)
- Into The Woods (1988, Best Score)
- Passion (1994, Best Musical, Best Score)
- Special Tony Award for Lifetime Achievement in the Theatre (2008)
- Company (1969–70, Best Musical, Outstanding Music, Outstanding Lyrics)
- Follies (1970–71, Outstanding Music, Outstanding Lyrics)
- A Little Night Music (1972–73, Outstanding Music and Lyrics)
- Sweeney Todd (1978–79, Outstanding Musical, Outstanding Music, Outstanding Lyrics)
- Sunday in the Park with George (1983–84, Outstanding Musical, Outstanding Lyrics)
- Into the Woods (1987–88, Outstanding Musical, Outstanding Lyrics)
- Passion (1993–94, Outstanding Musical, Outstanding Music, Outstanding Lyrics)
- Road Show (2009, Music and Lyrics)
- Sweeney Todd (1980, Best New Musical)
- Follies (1987, Best New Musical)
- Candide (1988, Best New Musical)
- Sunday in the Park with George (1991, Best New Musical)
- Merrily We Roll Along (2001, Best New Musical)
- Society of London Theatre Special Award, Stephen Sondheim (Honorary Award)
Stephen Sondheim is also a member of the American Theatre Hall of Fame[108]
- Young Playwrights
This organization, founded by Sondheim in 1981, is intended to introduce young people to writing for the theatre. He is the Executive Vice President.[109]
- The Stephen Sondheim Center for the Performing Arts
The Stephen Sondheim Center for the Performing Arts opened December 7–9, 2007, and is located at the Fairfield Arts & Convention Center in Fairfield, Iowa. The Center opened with performances from seven Broadway performers, including Len Cariou, Liz Callaway, and Richard Kind, all of whom had taken part in the musicals of Sondheim.[110][111] The center is the first one in the world named after him, with a Broadway theatre the second.
- The Stephen Sondheim Society
In 1993 the Stephen Sondheim Society was set up to promote and provide information about the works of Stephen Sondheim. Sondheim - the Magazine is the Society magazine devoted to Sondheim's work, and is sent to every member of the Society. The Society aims to create a greater interest and appreciation of them by means of circulating information and providing a focal point where those interested can share such interests. It issues news, provides education, maintains a database of information, organizes productions, meetings, outings, and other events, assists with publicity and promotion, publishes articles, and performs other tasks. It runs a website at www.sondheim.org.
- The Stephen Sondheim Society's Student Performer of the Year Competition
An annual event, the competition gives 12 young musical theatre students from top UK drama schools and universities the opportunity to compete for a prize of £1,000. Per Sondheim's request, a prize is also offered for a new song by a young composer, judged by George Stiles and Anthony Drewe. Each contestant performs one Sondheim song and one new song.
- Media
Most of the episode titles from the television series Desperate Housewives reference his work in some way, through the use of either song titles or lyrics.[112][113][114][115] The final episode in the series is titled "Finishing the Hat" (airing May 13, 2012).[116]
- Musical Theatre Development
In 1990, Sondheim took the Cameron Mackintosh chair in musical theatre at Oxford, and in this capacity ran workshops with promising writers of musicals, such as George Stiles, Anthony Drewe, Andrew Peggie, Paul James, Stephen Keeling and others. These writers jointly set up the Mercury Workshop in 1992, which eventually merged with the New Musicals Alliance to become MMD, a UK-based organisation developing new musical theatre, of which Sondheim continues to be patron.
- The Sondheim Award
The Signature Theatre, Arlington, Virginia, established a new award, "The Sondheim Award", "as a tribute to America's most influential contemporary musical theatre composer." The first award was presented at a gala fund-raiser on April 27, 2009, with help from performers Bernadette Peters, Michael Cerveris, Will Gartshore and Eleasha Gamble. Sondheim himself was the first recipient of the award, which also includes a $5000 honorarium for the recipients' choice of a nonprofit organization.[117][118][119] The 2010 honoree was Angela Lansbury, with Peters and Catherine Zeta-Jones as honorary hosts for the Gala Benefit held on April 12, 2010.[120] The 2011 honoree was Bernadette Peters.[121] Other awardees have been Patti LuPone (2012),[122] Hal Prince (2013) and Jonathan Tunick (2014).[123]
- The Stephen Sondheim Theatre
A Broadway theatre at West 43rd Street in New York City, The Henry Miller's Theatre, was renamed The Stephen Sondheim Theatre on September 15, 2010, in honor of his 80th birthday. In attendance were Nathan Lane, Patti LuPone, and John Weidman. Sondheim said of the naming, "I'm deeply embarrassed. Thrilled, but deeply embarrassed. I've always hated my last name. It just doesn't sing. I mean, it's not Belasco. And it's not Rodgers and it's not Simon. And it's not Wilson. It just doesn't sing. It sings better than Schoenfeld and Jacobs. But it just doesn't sing." Lane said of the day, "We love our corporate sponsors and we love their money, but there's something sacred about naming a theatre, and there's something about this that is right and just."[124]
- The Sondheim Review
Sondheim is the only living composer to have a quarterly journal published in his name.[citation needed] The Sondheim Review, founded in 1994, exists to chronicle and promote the works of Stephen Sondheim.[125]
Personal life[edit]
Sondheim has been described as being extremely introverted, a largely solitary figure. In an interview with Frank Rich, Sondheim said that "the outsider feeling – somebody who people want to both kiss and kill – occurred quite early in my life."[6] He lives with his partner, Jeff Romley.[126] Sondheim lived with Peter Jones, a dramatist, for several years until 1999.[126][127]
- ^ "Tony Awards Legacy Facts and Trivia" tonyawards.com. Retrieved March 14, 2010
- ^ Rich, Frank."Conversations With Sondheim" The New York Times , March 12, 2000, Magazine Section 6, p. 38
- ^ Fanshawe, Simon."An iconoclast on Broadway"The Guardian , December 12, 2000
- ^ a b Secrest bookThe New York Times
- ^ a b c Henry, William A, III (December 7, 1987). "Master of the Musical; Stephen Sondheim Applies a Relentless". Time. Retrieved March 19, 2007.
- ^ a b c d e f Rich, Frank (March 12, 2000). "Conversations With Sondheim". The New York Times. Retrieved January 17, 2007.
- ^ King, Robert A., The Psychoanalytic Study of the Child (1972), Yale University Press, ISBN 0-300-11996-8, p. 310
- ^ Secrest, p. 30
- ^ Schiff, Stephen (2010). "Deconstructing Sondheim". The Sondheim Review (Sondheim Review, Inc.) XVII (2): 17. ISSN 1076-450X.
- ^ Kakutani, Michiko (March 20, 1994). "Sondheim's Passionate "Passion"". New York Times. Retrieved April 7, 2012.
- ^ Secrest, p 272, "Sondheim was in London when his mother died and did not return for her funeral."
- ^ Zadan, Craig, Sondheim & Co., New York: Harper & Row, 1974 & 1986 p. 4 ISBN 0-06-015649-X
- ^ "Sondheim's Saturday Night at the Jermyn Street Theatre – MusicalCriticism.com (Musical Theatre review)". MusicalCriticism.com. Retrieved October 18, 2011.
- ^ Secrest, pp. 78–79
- ^ Schiff, Stephen (2010). "Deconstructing Sondheim". The Sondheim Review (Sondheim Review, Inc.) XVII (2): 16. ISSN 1076-450X.
- ^ a b "An early influence". The Sondheim Review (Sondheim Review, Inc.) XVII (4): 6. 2011. ISSN 1076-450X.
- ^ Horowitz, Mark Eden, Sondheim on Music, New York: Scarecrow Press, 2003, p. 117, ISBN 978-0-8108-4437-7, ISBN 0-8108-4437-0
- ^ Lipton, James. "The Art of the Musical Stephen Sondheim" The Paris Review, accessed September 4, 2013
- ^ Mitchell, Elvis (August 28, 2003). "Sondheim, Film Aficionado; Choices for Telluride Festival Show Nonmusical Side". The New York Times. Retrieved March 28, 2008.
- ^ "Sondheim's Saturday Night to Play London's Jermyn Street Theatre in 2009". Playbill. Retrieved October 18, 2011.
- ^ Schiff, Stephen (2010). "Deconstructing Sondheim". The Sondheim Review (Sondheim Review, Inc.) XVII (2): 18. ISSN 1076-450X.
- ^ Suskin, Steven (1990). Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre. New York: Schirmer Books. p. 697. ISBN 0-02-872625-1.
- ^ Zadan, p.38
- ^ a b Secrest, Meryle."Chapter 10:Being Alive" Stephen Sondheim: A Life (1998, 2011), (books.google.com), Vintage Books, ISBN 978-0-307-94684-3, pp.188–189
- ^ Abernathy, June."Sondheim's Lost Musical" sondheim.com, accessed February 5, 2012
- ^ a b c Wolf, Matt. "Stephen Sondheim: An audience with a theatre legend" The Independent, April , 2013
- ^ interview on Sunday Arts, ABC (Australia) TV August 5, 2007 An Audience With Stephen Sondheim2007 ABC Australia TV interview downloadable ("Episode 26")
- ^ "A Precious Fancy". Time. March 19, 1973. Retrieved March 19, 2007.
- ^ "Sondheim Guide / Other Stage Work". Sondheimguide.com. Retrieved October 18, 2011.
- ^ Berkvist, Robert. "Stephen Sondheim Takes a Stab at Grand Guignol". New York Times, February 25, 1979
- ^ "'Sweeney Todd'". Sondheim.com. Retrieved March 22, 2010
- ^ Wheeler, Hugh; Sondheim, Stephen. "Sweeney Todd script, Introduction by Christopher Bond". Hal Leonard Corporation, 1991, ISBN 1-55783-066-5, p. 1
- ^ "'Sweeney Todd' listing" "Based on a Version of "Sweeney Todd" by Christopher Bond". Sondheimguide.com. Retrieved March 22, 2010
- ^ Brown, Larry. "'Sweeney Todd' Notes". Larryavisbrown.homestead.com. Retrieved March 22, 2010
- ^ Gottfried, Martin (photos By Martha Swope), Sondheim, New York: Harry N. Abrams, Inc., 1993, pgs. 146–147 ISBN 978-0-8109-3844-1 ISBN 0-8109-3844-8
- ^ Bahr, David (October 12, 1999). "Everything's coming up Sondheim". The Advocate. Retrieved March 19, 2007.
- ^ Michael Cerveris (2008). "Story of Assassins". Amazing Journey. Retrieved August 9, 2008.
- ^ in Gottfried, Sondheim, p.153
- ^ Simon, Lizzie (2013-02-26). "A Theater Group Breaks Into Song". The Wall Street Journal. Retrieved 2013-08-09.
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- ^ Hetrick, Adam. "Liz Callaway Cast in World Premiere of iSondheim: a Musical Revue". Playbill.com, February 4, 2009
- ^ Gans, Andrew and Hetrick, Adam. "Atlanta's Alliance Theatre Cancels Sondheim Revue; Brel Will Play Instead". Playbill.com, February 26, 2009
- ^ Jones, Kenneth. "Sondheim on Sondheim, a New Musical Reflection of a Life in Art, Begins on Broadway". Playbill.com, March 19, 2010
- ^ "Stephen Sondheim and Wynton Marsalis' Collaboration for City Center Has New Title; Parker Esse Will Choreograph" Playbill, August 15, 2013
- ^ Champion, Lindsay. "Meet the Jazzy Cast of Sondheim & Marsalis' 'A Bed and a Chair', Starring Bernadette Peters & Jeremy Jordan" broadway.com, November 7, 2013
- ^ Suskin, Steven. "Stephen Sondheim and Wynton Marsalis Offer a Comfortable Bed and a Chair at City Center" playbill.com, November 14, 2013
- ^ "Powerhouse Scribes Stephen Sondheim & David Ives at Work on New Musical" BroadwayWorld.com, February 29, 2012
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- ^ Wappler, Margaret. "Stephen Sondheim has '20 or 30 minutes' written of a new musical" Los Angeles Times (blogs), February 2012
- ^ "BWW Exclusive: Stephen Sondheim Drops Hint About New Musical with David Ives!" BroadwayWorld.com, February 29, 2012
- ^ Jones, Kenneth. "Stephen Sondheim Collaborating With David Ives on New Musical" Playbill.com, February 29, 2012
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- ^ "An Evening with Stephen Sondheim and Frank Rich listing. Phillyfunguide.com, accessed November 16, 2008
- ^ "Stephen Sondheim with Frank Rich listing", ejthomashall.com. Retrieved November 16, 2008
- ^ "Sondheim conversation set for TU". Tulsa World. April 18, 2010. Retrieved October 18, 2011.
- ^ "A Life in the Theater: Broadway Legend Stephen Sondheim Visits Campus · About · Lafayette College". Lafayette.edu. March 9, 2011. Retrieved October 18, 2011.
- ^ Maupin, Elizabeth. "Sondheim talks. And talks. And talks." Orlandosentinel.com, February 5, 2009
- ^ "More from Sondheim". The Sondheim Review (Sondheim Review, Inc.) XVII (4): 6. 2011. ISSN 1076-450X.
- ^ a b c Cerasaro, Pat."Stephen Sondheim Talks Past Present Future" broadwayworld.com, November 3, 2010
- ^ Bixby, Suzanne (2008). "Jumping In". The Sondheim Review (Sondheim Review, Inc.) XVI (4): 28. ISSN 1076-450X.
- ^ Isenberg, Barbara."Meet Mr. Plucky : To James Lapine, directing his new play 'Luck, Pluck & Virtue' means booting Horatio Alger smack dab into the '90s" LA Times, August 1, 1993
- ^ "'Singing Out Loud' listing" sondheimguide.com, accessed August 4, 2011
- ^ Long, Robert. "Broadway, The Golden Years: Jerome Robbins And The Great Choreographer-Directors: 1940 To The Present" (2003). Continuum International Publishing Group. ISBN 0-8264-1462-1, pp 133–134
- ^ Frontain, Raymond-Jean (2011). "Mutual admiration". The Sondheim Review (Sondheim Review, Inc.) XVII (3): 30–33. ISSN 1076-450X.
- ^ Hetrick, Adam."Stephen Sondheim and James Earl Jones Set for TimesTalks This Fall" playbill.com, August 16, 2010
- ^ Table of Contents randomhouse.com
- ^ Haun, Harry."Exclusive! Sondheim Explains Evolution from Bounce to Road Show". Playbill.com, August 12, 2008
- ^ Gardner, Elysa. "Sondheim sounds off about writing songs". USA oday, October 9, 2008
- ^ Brantley, Ben."Sondheim's Rhymes and Reasons". The New York Times, October 21, 2010
- ^ Hardcover Nonfiction listThe New York Times, November 5, 2010
- ^ Jones, Kenneth."Stephen Sondheim's "Look, I Made a Hat," Part Two of His Career in Lyrics, in Stores Nov. 22" playbill.com, November 22, 2011
- ^ "'The Frogs', 1974 Yale University Production" sondheimguide.com. Retrieved April 28, 2010
- ^ Gans, Andrew."London's Jermyn Street Theatre to Offer Secret Sondheim with Cutko, Armstrong and McArthur" playbill.com, May 27, 2010
- ^ "'The Madwoman Of Central Park West' cast album list" castalbumcollector.com. Retrieved May 14, 2010
- ^ "'By Bernstein'" sondheimguide.com, accessed August 8, 2011
- ^ "'Getting Away With Murder' Listing" sondheimguide.com. Retrieved March 27, 2011
- ^ "Sondheim Reveals 'Follies' Is Headed To Film", BroadwayWorld, May 6, 2008. Retrieved December 28, 2011
- ^ Champion, Lindsay. "HBO to Air Six By Sondheim Documentary, Featuring Jeremy Jordan, Audra McDonald, Darren Criss & More" broadway.com, July 26, 2013
- ^ McNulty, Charles. Review: HBO's 'Six by Sondheim' is a stylish salute to a Broadway legend" LA Times, December 6, 2013
- ^ Gans, Andrew. "Benanti, Gleason, Pierce, Stritch, Walton, Zien Join Philharmonic Sondheim Celebration". Playbill.com, January 8, 2010
- ^ Ross, Blake. "About Last Night: The Stars on Sondheim". Playbill, March 16, 2010
- ^ Hetrick, Adam."Starry Sondheim: The Birthday Concert Airs on "Great Performances" Nov. 24". Playbill, November 24, 2010
- ^ Jones, Kenneth. "Everybody Rise! Roundabout's Sondheim 80 Celebrates a Master's Milestone". Playbill.com, March 22, 2010
- ^ Ross, Blake."About Last Night: Inside Sondheim's Birthday". Playbill.com. Retrieved March 23, 2010
- ^ Hetrick, Adam. "Lansbury, Zeta-Jones, Lane, Cariou, Gleason, Zien Sing Sondheim at City Center April 26". Playbill.com, April 26, 2010
- ^ Gardner, Elysa."Broadway stars salute Stephen Sondheim"USA Today, April 27, 2010
- ^ BBC Proms Programme bbc.co.uk, accessed August 1, 2010
- ^ Staff."Judi Dench Sings 'Send in the Clowns' for Sondheim's 80th" broadwayworld.com, July 31, 2010
- ^ Rafter Keddy, Genevieve."Photo Coverage: The New York Pops Celebrate Stephen Sondheim's 80th Birthday" broadwayworld.com, November 21, 2010
- ^ Jones, Kenneth. "Sondheim at Carnegie Hall" playbill.com, November 21, 2010
- ^ "Television and Radio listings sondheimguide.com. Retrieved June 10, 2010
- ^ Stephen Sondheim to receive special Olivier Award" bbc.co.uk, March 4, 2011
- ^ Bennett, Ray.Olivier Awards 2011: 'Legally Blonde,' Stephen Sondheim Dominate" HollywoodReporter.com, March 13, 2011
- ^ Gans,Andrew. Stephen Sondheim Receives UK Critics' Circle 2011 Award for Distinguished Services to the Arts" Playbill.com, March 9, 2012
- ^ "Theater Hall of Fame members". Retrieved February 9, 2014.
- ^ "Young Playwrights site". Youngplaywrights.org. Retrieved October 18, 2011.
- ^ Jones, Kenneth. "Near Cornfields Worthy of Hammerstein, a Theatre Named for Sondheim Rises in Midwest". Playbill.com, May 31, 2007
- ^ Hetrick, Adam. "Original Cast Members Fete Sondheim at New Midwest Arts Center Dec. 7–9". Playbill.com, December 4, 2007
- ^ Hetrick, Adam. "Tomlin to Join Fifth Season of 'Desperate Housewives'". Playbill.com, September 12, 2008
- ^ Episode list, "Desperate Housewives" IMDB
- ^ Widdicombe, Ben. Gossip, Daily News (New York), March 23, 2005, p. 22; "Desperate Housewives" writer Marc Cherry, who congratulated Sondheim in a filmed statement, admitted the composer was such an inspiration that each episode of his blockbuster show is named after a Sondheim song."
- ^ Chang, Justin. Variety, "Sondheim, Streisand infuse Wisteria Lane", December 20–26, 2004, p. 8; "Broadway-literate fans may have noticed the skein's first three post-pilot episodes... are all named after classic Stephen Sondheim showtunes...."
- ^ Sperling, Daniel. "'Desperate Housewives' final episode title revealed" digitalspy.com, April 19, 2012
- ^ Jones, Kenneth. "Signature Creates Sondheim Award, to Be Presented at April 2009 Gala". Playbill.com, October 6, 2008
- ^ Horwitz, Jane. "Backstage" column Washington Post, October 8, 2008
- ^ Jones, Kenneth. Peters and Cerveris Celebrate Sondheim at DC Sondheim Award Gala April 27". Playbill.com, April 27, 2009
- ^ Jones, Kenneth. "Garber, Mazzie, Danieley and More Celebrate Lansbury in DC Gala April 12" Playbill.com, April 12, 2010
- ^ Jones, Kenneth. "Bernadette Peters Gets Sondheim Award April 11; Stephen Buntrock, Rebecca Luker, Euan Morton Sing". Playbill.com, April 11, 2011
- ^ Jones, Kenneth. "Laura Benanti, Howard McGillin and More Sing the Praises of Patti LuPone in DC Sondheim Award Gala April 16" Playbill.com, April 16, 2012
- ^ Purcell, Carey. "Signature's Sondheim Award Gala, Featuring Ron Raines, Heidi Blickenstaff and Pamela Myers, Honors Jonathan Tunick April 7" playbill.com, April 7, 2014
- ^ "It might not sing, but it's right and just". The Sondheim Review (Sondheim Review, Inc.) XVII (3): 4. 2011. ISSN 1076-450X.
- ^ The Sondheim Review www.sondheimreview.com, 2012. Retrieved May 31, 2012.
- ^ a b Brown, Mick (September 27, 2010). "Still cutting it at 80: Stephen Sondheim interview". The Telegraph (UK). Retrieved 19 November 2013. "Sondheim has spoken in the past of feeling like an outsider – 'somebody who people want to both kiss and kill' – from quite early on in his life. He spent some 25 years – from his thirties through his fifties – in analysis, did not come out as gay until he was about 40, and did not live with a partner, a dramatist named Peter Jones, until he was 61. They separated in 1999. For the past six years he has been in a relationship with Jeff Romley, 32, a personable young man with even good looks..."
- ^ Franks, Alan. "Stephen Sondheim: 'My ideal collaborator is me'". Times Online, April 25, 2009
- Gottfried, Martin. Sondheim (1993), New York: Harry N. Abrams, Inc., ISBN 0-8109-3844-8
- Secrest, Meryle. Stephen Sondheim: A Life (1998), New York: Alfred A. Knopf, ISBN 0-679-44817-9
- Zadan, Craig. Sondheim & Co (1986, 2nd ed.), New York: Harper & Row, ISBN 0-06-015649-X
Further reading[edit]
- Guernsey, Otis L. (Editor). Broadway Song and Story: Playwrights/Lyricists/Composers Discuss Their Hits (1986), Dodd Mead, ISBN 0-396-08753-1
External links[edit]
- The Stephen Sondheim Society Web site of The Stephen Sondheim Society
- The Quotable Stephen Sondheim Page
- Stephen Sondheim | PlaybillVault.com
- Stephen Sondheim Papers at the Wisconsin Center for Film and Theater Research
- Stephen Sondheim at the Internet Broadway Database
- Stephen Sondheim at the Internet Off-Broadway Database
- Stephen Sondheim at the Internet Movie Database
- MusicalTalk Podcast featuring interview with Sondheim, Depp, Burton, Rickman, Carter and others.
- MusicalTalk Podcast discussing the concert production of Sweeney Todd held at the Royal Festival Hall in the summer of 2007 in London. This episode features Emma Williams who along with being a MusicalTalk presenter, also starred as Johanna for this concert.
- MusicalTalk Podcast with an in depth introduction to the work of Stephen Sondheim
- Stephen Sondheim online-with Finishing The Chat
- The Stephen Sondheim Reference Guide Comprehensive listings of productions and recordings information
- James Lipton (Spring 1997). "Stephen Sondheim, The Art of the Musical". The Paris Review.
- Fresh Air NPR radio interview with Sondheim from 2000 (20 minutes, streaming audio)
- Kennedy Center interview with Sondheim, conducted by Frank Rich in 2002 (90 minutes, streaming video)
- Stephen Sondheim Center for Performing Arts
- MMD – developing new musical theatre with Sondheim as patron
- Stephen Sondheim "The Story So Far" podcast series produced by Sony BMG Masterworks
- News article "Sondheim 'Story So Far' available 9/30, including previously unreleased tracks", BroadwayWorld.com
- Review "Sondheim has more story to tell" USA Today, 10/8/08
- Stephen Sondeim: Alumni of Distinction – New York Military Academy archives page
- Stephen Sondheim symposium held at Goldsmiths, University of London, in 2005
- BroadwayWorld.com interview with Stephen Sondheim, December 20, 2007
- Review of "Finishing the Hat: Collected Lyrics (1954–1981)" November 2010
|Awards and achievements
|Preceded by
Harold Prince
|Special Tony Award for Lifetime Achievement in the Theatre
|Succeeded by
Jerry Herman
- Stephen Sondheim
- American musical theatre composers
- American musical theatre lyricists
- Best Song Academy Award winning songwriters
- Drama Desk Award winners
- Edgar Award winners
- Ethical Culture Fieldston School alumni
- Fellows of St Catherine's College, Oxford
- Grammy Award-winning artists
- Jewish classical musicians
- Jewish American composers and songwriters
- Kennedy Center honorees
- Laurence Olivier Award winners
- LGBT musicians from the United States
- LGBT composers
- LGBT Jews
- Members of the American Academy of Arts and Letters
- New York Military Academy alumni
- People from New York City
- Pulitzer Prize for Drama winners
- Puzzle designers
- Tony Award winners
- United States National Medal of Arts recipients
- Recipients of the Praemium Imperiale
- Williams College alumni
- 1930 births
- Living people
- Honorary Members of the Royal Academy of Music
- Gay musicians
- Fellows of the American Academy of Arts and Sciences
- Ivor Novello Award winners
- American Theater Hall of Fame inductees

subset: commoncrawl


text:
Judge refuses lower bond for Kane armed robbery suspect
By Dan Campana For The Beacon-News January 25, 2013 1:56PM
Antwon Powell, 32, Glendale Heights, charged with Armed Robbery, St. Charles, Illinois
Updated: February 28, 2013 6:51AM
A Glendale Heights man accused in a St. Charles armed robbery remains in Kane County Jail after a judge refused to lower his bail.
Antwon Powell, 32, was arrested in December after a palm print found inside a plastic cigar bag linked him to the May 19 robbery in a bank parking lot in the 1500 block of West Main Street in St. Charles.
Police previously said a 37-year-old man was approached by two men, one brandishing a gun in the parking lot. They took $140, a watch, an iPhone and a bag with cigars, according to court records.
Powell, whose bail was set at $500,000, has pending felony cases in DuPage County on forgery and identity theft charges. He has previous forgery and drug convictions from 2009, as well.
Powell is scheduled to return to court in Kane County on Feb. 13, records show.


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Let's make this simple: Nintendo is suffering, but there's a logical solution. At the very least, please -- do this.
Word has it that the cable operator is working on a mobile service that will primarily rely on Wi-Fi to deliver voice, text messaging, and data services. When Wi-Fi isn't available, the service will use spectrum from traditional cellular carriers.
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11:22 [PhD][Update] Gautham Sekar Cryptanalysis and Design of Symmetric Cryptographic Algorithms
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date city state venue 05/11/2013 Charlotte NC Tremont Music Hall


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Research in 2010 to assess progress in meeting accommodation needs
Creating a fairer Britain
- Gloria Buckley MBE, Romany Gypsy and manager of three authorised sites.
Gypsy and Traveller communities are an integral part of 21st century Britain. Some committed, forward-looking local authorities have pioneered ways of meeting the needs of these nomadic groups to preserve their traditional lifestyle, while accessing health and education services and maintaining good relations with other communities.
In other areas, however, Gypsies and Travellers continue to be the focus of social tension with accommodation issues at the core. People living near unauthorised sites often object to developments without planning permission or where the environment is being damaged. Such concerns receive widespread coverage in local and national media.
Nobody benefits from such confrontations; least of all the Gypsies and Travellers themselves. Romany Gypsies and Irish Travellers are legally recognised as ethnic groups, and protected from discrimination by the Race Relations Act (1976, amended 2000) and the Human Rights Act (1998). In terms of health and education, they are one of the most deprived groups in the Britain.
Previous studies, such as 'Common Ground', a major report published by the Commission for Racial Equality in 2006, have demonstrated how a lack of authorised sites for Gypsies and Travellers perpetuates many of these problems. The Government has required all local authorities in England 'to increase significantly the number of Gypsy and Traveller sites in appropriate locations with planning permission in order to address underprovision' by 2011.
We were formed in 2007 to protect and promote equality and human rights, to work towards the elimination of discrimination and harassment and to promote good relations within and between groups. As part of this remit, we have reviewed the progress made since 2006. Have things improved in the last three years? Will the Government target be met by 2011?
We undertook studies to assess the current situation in England - work on this issue in Wales and Scotland is also underway.
You can download this briefing as a pdf
Download an Easy Read version (pdf)
This report is informed by two pieces of research which we commissioned.
Further research was undertaken in 2010 to follow up progress on meeting accommodation needs.


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text:
Patterson Mountain
06/07/14 (Sat)
Seattle Hiking
Kelly A. Cleman
Sun Mountain Lodge Lobby
You do not need to be a Mountaineers member to register for this hike, but you will need to register as a Mountaineers guest and sign a waiver to participate. Please contact the Mountaineers Program Center at (206) 521-6001 for more information.
This trip is part of National Trails Day. See the Celebrating Trails in the Methow website for more information.
Total mileage: 8.5 miles, elevation gain 1800 feet. Includes all... More
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Message Board
Reginald Hill Message Board
Talk about the novels, new and used books that Hill has written!
Author Hill's Book Reviews
Bones And Silence
A shooting occurs next door to a policeman as he watches. The occupants claim the victim committed suicide. The cop knows he saw a murder. The policeman doggedly pursues the truth as one of the witnesses disappears. In a subplot, the same policeman is picked to play God in a play to be held by the town for tourists....
Death's Jest-Book
This story features British detectives Andy Dalziel and Peter Pascoe. Dalziel, the senior of the two is an old-fashioned policeman, unbound by the new codes of political correctness sweeping the force. Pascoe, younger and more idealistic, still cannot hide the grudging admiration for his boss. Pascoe is troubled though by letters he is receiving from ex-con Franny Roote that seemingly points to Roote's involvement in a number of unsolved crim...
Dialogues of the Dead
Delacorte, Jan 2002, 23.95, 424 pp. ISBN: 0385336004 Mid Yorkshire County Library and the local newspaper Mid Yorkshire Gazette jointly host a literary contest. Two librarians Dick Dee and Rye Pomona sift through the myriad of entries in order to reduce the number for the final judging. Dick finds a strange entry "First Dialogue" that mirrors a murder just reported in the paper, but the submission provides more detail. Not long afterward, ...
Good Morning Midnight
HarperCollins, Oct 2004, 24.95, 448 pp. ISBN: 0060528079 A decade ago a man committed suicide in the Moscow House in Yorkshire. Now his son Pal Maciver kills himself in the same place in the same manner while his spouse Sue Lynn was playing patient-doctor in the bed of her lover Tom Lockridge. Detective Superintendent Andy Dalziel and Detective Chief Inspector Peter Pascal head the inquiries into what is obvious, a locked door suicide. As t...
Hill booklist
Good Morning, Midnight
Palinurus Maciver was the name given both to the father and the son. They had something more in common in that they both died in the same room of the same house and in the same way. But this was no inherited disease. They both committed suicide on the same date, ten years apart, using rifles that were identical and with a copy of Emily Dickinson's collected poems open on the desk in front of them. They both died to the sound of Schumann's Childhood ...
Killing the Lawyers
Joe Sixsmith and his cat Whitey are both black, live and work in Luton and are private detectives. Well, Sixsmith is the detective; his cat is his sounding board who gives him inspiration and goes everywhere with him. The action starts early in this book with a lawyer being murdered shortly after Joe has consulted him. The police are alerted when a third partner is attacked while on the phone to Joe. The story moves along swiftly with Joe being empl...
On Beulah Heights
The fact that "Fat Andy" Dalziel was in charge of the case 15 years ago when three little girls disappeared--and wasn't solved--has long bothered him. And now, another child has gone missing, which opens up old wounds and sets forth new ones. The Yorkshire villages are on edge, and threatening signs begin to appear, spray painted here and there. In "On Beulah Height" author Reginald Hill continues his excellent Dalziel and Pascoe series in top form. Y...
Under World
Reginald Hill paints a graphic picture of life as a coal miner. The community of Burrthorpe is one made up of miners and their families. They have been through a harrowing strike during which they made enemies of the local police. Apart from the usual characters that make up the Dalziel and Pascoe series, like Sergeant Wield and Ellie Pascoe, the main people in this book are these villagers. Years earlier a small girl disappeared and the police closed ...
Reginald Hill
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The Douglas Tigers topped Carson in four games Thursday night to secure a spot in next week's Division I volleyball playoffs.
After Douglas won the first two games, 25-20 and 25-19, Carson mounted a rally to win the third game, 25-19.
The Tigers, now likely the third seed in the Sierra League behind Bishop Manogue and Galena, turned it around with a 25-18 win in the fourth game to grab the victory.
The Tigers, 7-9 in league, built a 17-7 lead in the opening game on the strength of strong play at the net by Jenna Broussard and Katie McCollough. …


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Updated Jan 11, 2013 - 12:04 pm
Cardinals lose defensive backs coach Townsend to Mississippi State
The Arizona Cardinals will have at least one more position to fill on their coaching staff.
Deshea Townsend, who just finished his second season as the team's assistant defensive backs coach, is leaving to be the defensive backs coach at Mississippi.
He tweeted the news, more or less, Friday.
Go Dawgs!!!! It's Official!!!— Deshea Townsend (@desheatownsend) January 11, 2013
Townsend was added to the Arizona staff shortly after defensive coordinator Ray Horton was hired. While some may view his defection as a sign Horton is not going to replace Ken Whisenhunt as head coach, it could just be a chance for Townsend to progress in his career as a coach.
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Cardinals News
- NFL writer: Cardinals wide receiver Larry Fitzgerald 'bound to improve' in 2014
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- Steve Keim, Cardinals GM - Friday April 18Will the Cardinals draft a quarterback?
- John McClain, NFL insider - Thursday April 17Who will the Texans draft?
- Daniel Jeremiah, NFL.com writer - Tuesday April 15NFL.com writer Daniel Jeremiah talks about the NFL draft.
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Design Life Now
National Design Triennial: Design Life Now
The third National Design Triennial brings together the experimental designs and emerging ideas of 87 designers and firms who are leaders, innovators, or emerging figures in the world of design. The exhibition features work created between 2003-2006, including animation, new media, fashion design, robotics, architecture, product design, and graphic design.
national design triennial, Design Life Now, exhibitions, animation, new media, fashion design, robotics, Architecture, product design, graphic design, 21st century, ch:exhibition=35350897
What a Mess
When creating Design Life Now: National Design Triennial, the curators decided not to organize the exhibition by discipline (graphic design, product design, architecture, and so on), or by theme (green, social, formal, technological, etc). Instead, the show is more like life, where diverse objects and images sit beside each other in loose affiliations. Some rooms in our exhibition focus loosely around a topic, such as medical innovations, large-scale technology projecs, or social media, but by and large, the exhibition likes to mix things up.
Design Life Now, Triennial, Exhibition, loose, affiliations, focus, topics, mix, curatorial decision, diversity, critical reception, review, Architect's Newspaper, Chip Kidd, Alison Berger


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San Martino Casa Landi is located in Castellina in Chianti, in the heart of Chianti Classico Gallo Nero region.... More Info »
Farmhouse Molinuzzo is an old stone farmhouse dating back from 1600, restored and divided into spacious apartments... More Info »
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Dr. Dre Brings His Guns To The Gym
Apr 26, 2012 10:59 AM
But not to worry, these ones aren't loaded!
The 47-year-old rapper was snapped leaving Equinox in West Hollywood on Wednesday afternoon, and we can't believe how buff his bod is!
While we weren't expecting Dre to tweet about his gym schedule like say, Kim Kardashian, we find it interesting that he seldom posts updates on the social networking site. Of course, we should have known better, as his bio reads: "This is Dr. Dre's official Twitter page. Dr. Dre does not tweet. #DETOX."
Links: Dr. Dre
SEE THE GALLERY Dr. Dre Works On His Fitness


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You hate missing out on events. We get it, we're fans too. Whether it's your favorite band, festival, or a big game you've been dying to catch, here's how you can get the email you want for the events you love!
If you're serious about getting in (after all, you are reading a ticketing blog), you should be receiving some of these customizable alerts: ...Topic(s): Product


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Everyones anatomy and diet are somewhat unique, and as a result, their outputs will vary. The amount of fiber you consume can have a huge impact on how 'sticky' and subject to streaking your deposits are as can how hydrated you are. So, bottom line, your results may vary, but the majority of people don't have an issue.
I've not studied whether Toto's seat positions a person at a different location than others...that's eminently possible, but I don't know. I do know that it tends to be fairly deeply dished, and most people will only find one comfortable position, whereas a flatter one, a person could shift moderately forward or backward, and that could make a difference. That's one aspect of the Toto seats some people don't like...I find mine comfortable. Another reason there are choices in life - one thing rarely works for everyone for one reason or another.


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Good Behavior Calming Pheromone Collar
Sentry (Sergeant's Pet Care)
Mimics the pheromone that the mother cat produces to calm and assure her kittens. A convenient alternative to pheromone diffusers - the collar goes where your cat goes! Recommended for Separation Anxiety, Excessive Meowing, Destructive Behavior, and Inappropriate Marking.
Breakaway collar.
Lavender Chamomile Fragrance
For cats and kittens - Up to 15" Neck.
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