The inspiration for the notes of the opening piano theme came to me while reading Terrence’s 60-page treatment, which was given to us by our producer, Garth Drabinsky, as the basis for writing these early songs. It was hard to set words to the tune in a natural way because of the syncopations, so it took me a while. Graciela’s choreography created this lovely stage moment, as Coalhouse and Sarah dance together but never touch. By Irene Sankoff and David Hein | 04/21/2020. Their most well-known musicals include Ragtime, Seussical, Once On this Island, and the animated film musical Anastasia, but the team has scored many other lesser-known shows over the past 30+ years as well. The box was lifted into the air, where it exploded. After that moment, we writers put our pens down and the production was officially “frozen.” Ahrens: After the physical and musical violence of the strike in Lawrence, Massachusetts, this song provides a small and intimate moment to let our hearts stop racing. The Difference Between Vocal Style and Vocal STYLING, Finding New Repertoire (Tip#1: Know Your Broadway Doppelgängers), View musicaltheatreresources’s profile on Facebook. After moving to New York, she worked in advertising, and then joined the creative team of Schoolhouse Rock (1973), a children’s television series of animated educational shorts. 3 - “Coalhouse’s Soliloquy”Flaherty: A dramatic musical monologue, which reminds the audience of why Coalhouse is on this particular mission. And I suppose bless America, too.” They became the first lyrics of the song, which Marin Mazzie performed so eloquently—a woman staying behind as her husband goes adventuring, who vows “to explore” in her own way.Flaherty: The music itself came directly out of Terrence’s words and begins as a delicate waltz that then reveals deeper emotional colors as it goes along (“But what of the people who stay where they’re put…”). At last, peace and quiet!”, 17 - “The Ragtime Symphonic Suite (Bonus Track)”Flaherty: The true icing on the cake for this composer! Interesting sidebar: If you look at the rest of the score, Mother’s numbers never “button”; she is unfinished and constantly evolving. It became a smash hit, with Ahrens and Flaherty winning Tony Awards, as well as Drama Desk and Outer Critics Circle honours for Best Musical. That’s the show biz. Stokes always insisted on the honesty of everything he said and sang. It’s not often that theatre songs become “liftable” anymore, but this one has achieved a wonderful life outside the show, which is probably indicative of the times we’re in and the many people who need to be heard. They were still front and center, but the sequence covered more dramatic ground.Ahrens: You can almost feel the sea breezes and see the band strutting down the boardwalk. The suite—which premiered earlier at the Hollywood Bowl under the baton of John Mauceri—again features Maestro Mauceri with our Broadway music director, David Loud, as the piano soloist. Some of these musicals haven’t been commercial hits, but a few have found new … Lyricist, librettist, and composer Lynn Ahrens (b. (You can hear this at 0:15-0:25, 0:39-0:48 and 1:03-1:11.) Which we did. However, it was 1988 before their first production, Lucky Stiff (‘A Dead Funny Musical’), opened at Playwrights Horizons, off-Broadway. 9 - “Gettin’ Ready Rag”Ahrens: This is a wonderful dance sequence in which Coalhouse gets spiffed up in preparation for seeing his Sarah—a shave, a shoeshine, a bowler hat.Flaherty: Stokes and the Harlem Ensemble gettin’ ready to win back Sarah. So even though this song is no longer part of the licensed version of the show, its theme still appears in the opening number (Houdini’s entrance) and in the number “Atlantic City” (during Houdini’s duet with Evelyn).Ahrens: The trick at the top of Act 2 was created by a well-known Las Vegas magician, Franz Harary, and I’m sure it cost a fortune.