Center Theatre Group Blog

Bailey Pennick is Center Theatre Group’s Press Intern for Summer 2009. She is majoring in English at UC Berkeley.

Our experiences with musical theatre are personal.  We pull for our favorite characters and lament when the curtain finally comes down after the last bows, but the one thing that sticks with us as we walk out of those large double doors are the songs.  As we get into our cars (or walk down the stairs to the subway) it’s hard to shake a song that has entrenched its emotion, lyrics, and melody into our heads.  Whether it is simply catchy or exceedingly grand, a musical number that touches you cannot be forgotten.

If you would allow me to (semi) channel “High Fidelity” for a moment, here are my all-time “top three” Broadway musical numbers to date:

“Somewhere” - “West Side Story” by Leonard Bernstein and Stephen Sondheim. Performed by characters Maria and Tony

This song is musical perfection.  The rising energy and sweeping use of the string section create a whirlwind of emotion that only Leonard Bernstein can produce.  This heart-breaking musical score starkly contrasted with beautiful lyrics that embody all of the hope and love that Maria and Tony have for each other immediately allows the audience to relate to the character’s forbidden love and what a struggle it would be to truly obtain freedom.  Another aspect of this song that sets it apart from all musical numbers is the fact that it is so short; at less than two minutes long, the overflow of emotion pouring out of “Somewhere” showcases its brilliance.  There is no fanfare, no dancers or fireworks, just two beautiful voices in a perfect moment.  In the same musical number we can experience their feeling of undying hope and the inevitable hopelessness for their love.

Other noteworthy numbers in “West Side Story”: “Something’s Coming” (Tony), “Tonight” (Tony, Maria, Ensemble), “Maria” (Tony)

“And I Am Telling You I’m Not Going” - “Dreamgirls” by Henry Krieger and Tom Eyen.  Performed by the character Effie White

What makes this song so outstanding is that it is a love song (or more specifically a torch song), but it clearly focuses more on the empowerment of the singer.  Effie stands as a woman alone; without her friends/former backup singers or her lover, and this song proves that she does not need them.  Starting with just Effie’s trembling voice, the vulnerable lyrics coming out of her mouth transform into a powerful statement of self confidence and righteousness with the entire orchestra behind her: “Tear down the mountains, / Yell, scream and shout. /You can say what you want, /I’m not walkin’ out.”  The amount of power behind her words as she is being left by everyone she knows is admirable and completely unforgettable in this musical.

Other noteworthy numbers in “Dreamgirls”: “One Night Only” (Effie and Company), “Family” (Effie, C.C., Jimmy, Lorrell, Deena, Curtis)

“See Me, Feel Me/ Listening to You” - “The Who’s Tommy” by The Who (Pete Townshend and Des McAnuff). Performed by characters Tommy and Ensemble.

As any good musical knows, a powerful finale is the only way to go and “The Who’s Tommy” is no exception.  As a boy who not only reached maturity, but also gained back his ability to see, hear, and speak, Tommy cries out to the audience (the world) to pay attention to him: To see him!  Feel him! Touch him! Hear him! He has been reborn and he is ready to live his life among people he can finally interact with.  This intense emotional release comes in the form of “Listening to You” the second half of this final number.  The audience can experience the power that Tommy had over his followers as they repeat the same lyrics over and over.  The unison is haunting: “From you I get opinions. / From you I get the story.”  This complete control that Tommy has over the ensemble is mesmerizing.  As a listener, you get trapped in the lyrics being repeated until suddenly you become part of the mob that expects answers from Tommy.  There is a feeling of uneasiness as the show ends because Tommy’s life is clearly not over, instead it’s just beginning.  The fact that this song can make you question about what happens to Tommy after the curtains come down and the house lights come up is very powerful, just as Pete intended.

Other noteworthy numbers in “The Who’s Tommy”: “What About the Boy” (Captain Walker and Mrs. Walker), Pinball Wizard (Local Lads, Cousin Kevin, Ensemble), “I’m Free” (Tommy).

Blogmaster question:

What are your all-time three favorite musical numbers?

Bailey Pennick is Center Theatre Group’s Press Intern for Summer 2009. She is majoring in English at UC Berkeley.

Welcome to the Working Week

The week of June 8-12, 2009 is infamous through the halls of Center Theatre Group: twelve CTG employees were laid off last Tuesday and Wednesday purely for budget reasons.  This was my first week working as the Press Intern.  Most of my previous summer jobs were silly retail or food industry, but not this one.  The first moments working for Center Theatre Group initiated me into the (seemingly exclusive) club more commonly known as the adult work force, and the ugly truth that comes with membership.

With regards to work in general I believe that Elvis Costello said it best, “Oh I know it don’t thrill you, I hope it don’t kill you.”  This cynical sentiment was tested during my first few days.  As I sat at my desk, tearful employees would come through the Press office holding the dreaded brown envelope not ready to say good-byes.  At these moments the signature kindness of the Center Theatre Group broke through the dark clouds with long hugs and heart-broken tears; mostly assuring their friends that this was not the end.  Cutbacks, even necessary ones, always feel personal; especially in an organization that can be seen more as a close-knit family than as a business.  Everyone experienced salary cuts, everyone experienced the pain, and everyone came together to try and survive the storm together.

While the mood throughout the office was less than cheery, I continued to feel welcomed by the entire staff, which was touching and unexpected by me for obvious reasons.  I quickly realized that because I did accept an internship in the theater world, emotions ran particularly high all across the board.  The extremely sad moments were countered by the biting wit maintained by the CTG staff.  In an attempt to keep morale as high as it could be in the events of losing co-workers and friends, dark humored jokes and quips became the norm for office banter.  The consensus was that it was too soon.

As a fresh intern off from college for summer break, I know that I have not been here long enough to weigh in on the true importance of last week’s issues, but I do think that it is too soon to do a lot of things: too soon to have wounds completely healed, to make lay off jokes, to knock on wood.  Too soon to truly notice the absence of the valuable individuals that had to leave.