The Theme From…Songs Written for Film
Under the aegis of the 92Y
“The popularity of the movie musical has had its ups and downs. A film with no music is rare. Movie music has remained an essential piece of film making. Those songs written specifically for a film have the power to capture the imagination of an audience.”
Brandon Victor Dixon performs “Pure Imagination” (Leslie Bricusse/ Anthony Newley- Charlie and The Chocolate Factory 1971) and “When You Wish Upon a Star” (Leigh Harline/Ned Washington- Pinocchio 1940). Renditions are diaphanous; lullaby style. The artist has graceful stage presence. Piano is tender.
“I feel that music on the screen can seek out and intensify the thoughts of characters…” Bernard Herman, film composer. Marvelous old movie images scroll across the screen.
Kara Lindsay’s “Santa Fe” (Alan Menken/Jack Feldman-Newsies 1992) is engagingly ingenuous. “In 1975, Barbra Streisand appeared in Funny Lady, a sequel to Funny Girl. The emotional breakdown John Kander and Fred Ebb wrote for her would earn their first Academy Award nomination.” Julia Murney took narration at it’s word. Rendition of “How Lucky Can You Get?” is seriously over the top.
“Music and film are inseparable. They always have been and they always will be.” Martin Scorcese. “Robert De Niro thought the original title song for the film ‘New York, New York’ was not strong enough.” Kander and Ebb grudgingly rewrote what became not only a hit but an anthem for the city. “It was one hundred times better than the first version.”
“My music is best understood by children and animals.” Leopold Stokowski. Nikki Renee Daniels and Jeff Kready sing to Kready’s very cute daughters Louise and Lena with “Always Look on the Bright Side of Life.” (Eric Idle- The Life of Brian 1979), first from theater seats, then onstage with a little two-step. Kready serenades the little one with “You’ve Got a Friend in Me” (Randy Newman – A Toy Story 1995) earning a priceless grin. Vocals are warm. Daniels later returns with a cozy “Have Yourself a Merry Little Christmas” (Hugh Martin/ Ralph Blane- Meet Me in St. Louis 1944).
New to me, the lovely “Two Little Sisters” (Carly Simon – Marvin’s Room 1996) is prettily harmonized by Julia Murney and Pearl Son. Farah Alvin gives us a palpably soulful “The Rose” (Amanda McBroom – The Rose 1979) until it erupts into unnecessary shouting.
Johnny Mercer’s 10 line “Moon River” is noted as a simple refrain “that came to mean so many things to so many people.” Zachary Noah Piser’s interpretation is earnest. We close with Katherine Henly performing “The Rainbow Connection” (Paul Williams/Kennth Ascher-The Muppet Movie) Ever poignant.
This is the first in an excellent series for which Artistic Director/Writer/Pianist/MD Paul Masse seems to have had difficulty in finding sufficiently apt quotes. (I excluded them.) Most seem unconnected to the subject. Nonetheless, the song range is good, artists invested. As always, the series delivers find sound, lights, and camera work.
