https://youtu.be/xVA4ryuMeI4
"I'm Dorothy Gale from Kansas"

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sheepfilms
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Monterey Bay Aquarium
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let's talk about Bridgerton tea, my ask is open
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we're not kids anymore.
DEAR READER
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@dorothyfields
https://youtu.be/xVA4ryuMeI4
Here’s the latest edition to my collection of Spotify playlists celebrating Broadway’s songwriters, with more than four hours of songs by Dorothy Fields, from “I Can’t Give You Anything But Love” and “The Way You Look Tonight” to “Big Spender” and “It’s Not Where You Start.” Enjoy!
Editor’s Notes
(from July/August 2015 Musical Theatre Issue of #TheDramatist)
Source: Getty Images
History was made June 7, 2015 when the Tony Award for Best Musical went to Fun Home – the first musical created by an all-female writing team – Jeanine Tesori (music) and Lisa Kron (book and lyrics) – to win in that category.
Let’s put this in historical context with some facts. The Best Score category (originally called Best Composer) was created in 1947, but the Best Musical and Best Book of a Musical (sometimes called Author of a Musical or, in 1950, Libretto) categories were not created until 1949. Here are some notable highlights:
• 1949: Kiss Me, Kate wins the first Tony Award for Best Musical and Author of a Musical (book). The writing team includes a woman, BELLA SPEWACK with her husband Sam Spewack, and Cole Porter (music & lyrics).
• 1960: Once Upon A Mattress is nominated for Best Musical. The writing team includes MARY RODGERS (music), Marshall Barer (lyrics), and Jay Thompson, Marshall Barer and Dean Fuller (book). It is the first Best Musical nomination for a show composed by a woman. There was no Best Score category from 1952 through 1961.
• 1963: CAROLYN LEIGH (lyrics) and composer Cy Coleman (music) received a Best Score nomination for Little Me, making her the first woman to be nominated in this category.
• 1973: MICKI GRANT becomes the first woman composer (solo or team) to be nominated for Best Score (music & lyrics); the first solo woman to be nominated for Best Book of a Musical; and the first female solo writer to be nominated for Best Score, Best Book and Best Musical – all for Don’t Bother Me, I Can’t Cope. She wrote it all AND she starred in the show. She was the first woman to do that. 1,065 performances on Broadway, ya’ll. Respect. (If my hasty fact checking is correct, she was the first solo person – male or female – to write the book, music, lyrics and star in the same Broadway musical. If I missed someone, email me and please accept my apologies.)
• 1978: ELIZABETH SWADOS (Runaways) becomes the first person – male or female – to be nominated for Best Score (music & lyrics), Best Book, Best Choreographer, Best Director, and Best Musical for the same show. No one has done it since. Respect.
• 1991: MARSHA NORMAN becomes the first solo woman to win Best Book of a Musical for The Secret Garden. She and LUCY SIMON become the first all-female writing team to be nominated for Best Score.
• 2006: LISA LAMBERT (music & lyrics) – writing with Greg Morrison (music & lyrics) – becomes the first woman composer/lyricist to win Best Score for The Drowsy Chaperone.
• 2013: CYNDI LAUPER becomes the first solo woman to win Best Score (music & lyrics) for Kinky Boots.
Of the 68 shows that have won the Tony Award for Best Musical, 51 of those shows have had all-male writing teams (75%), sixteen have had at least one female on the writing team (23.53%), and one has had an all-female writing team (1.47%).
Of the 56 times the Tony Award for Best Score as been awarded, 49 of those have gone to all-male writing teams (87.5%), five have had at least one female on the writing team (8.93%) and two have gone to all-female writers (3.57%).
Of the 50 times the Tony Award for Best Book of a Musical has been awarded, 44 of those have had all-male writers (88%), two have had both male and female writers (4%), and four have been all-female writers (8%).
• Most nominations for a woman composer: five for JEANINE TESORI • Most nominations for a woman lyricist/bookwriter: nine for BETTY COMDEN (writing with Adolph Green)
JOEY [email protected]
Dorothy watching over sound check for George Abud: Never Been Young. Tonight at 7 pm at 54 Below.
"Diga Diga Doo" as heard in After Midnight on Broadway.
United Solo is the world’s largest solo theatre festival on 42nd Street in New York City. Follow at Facebook.com/UnitedSolo and Twitter.com/UnitedSolo
Heads up, NY.
Tovah Feldshuh, currently appearing on Broadway in Pippin, singing "Pink Taffeta Sample, Size 10," a number cut from Sweet Charity
Philip Chaffin sings this song from "By The Beautiful Sea" on his forthcoming Dorothy Fields album. Read all about it on Playbill.com.
PS Classics co-founder and A&R director Philip Chaffin has begun recording his fourth solo album, this one dedicated to the songs of lyricist Dorothy Fields, Playbill.com has learned.
This is great news, and the musical staff on the album is top notch!
It’s Not Where You Start (Seesaw) | Shirley MacLaine
Shirley MacLaine Live At The Palace
Jo Stafford singing "I'll Buy It," with music by Burton Lane, from the CBS TV musical Junior Miss.
“There’s Gotta Be Something Better Than This” from Sweet Charity (Original London Cast, 1967)
music Cy Coleman lyric Dorothy Fields
performance Josephine Blake, Paula Kelly, Juliet Prowse
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Meanwhile, Across the Pond: London Cast Recordings of Broadway Hits, Day 4
This is most certainly my favorite song in the score—and perhaps by favorite in Cy Coleman’s catalog. I find the hook in the accompaniment irresistible. All three ladies give joyous and idiosyncratic performances here (click on their names to learn more about them), and the recording is more complete than the version found on the OBCR.
You may want to check out my earlier post from this recording of Prowse singing “You Should See Yourself”.
One of my favorite songs, too. And it contains what is probably my most favorite lyric in all of musical theater: “When I sit at my desk on the forty-first floor/In my copy of a copy of a copy of Dior.”
Think about what Dorothy Fields did with those last nine words. This character’s fondest dream isn’t to have a Dior original. Or a copy. But a copy of a copy of a copy. Every sad little thing you need to know about that character in nine short words. Incredible.
As I wait for bosses to clear the work, I shall hum this to make myself feel better. My go to song for feel-sorry-for-myself nights, a Jerome Kern (I believe) collaboration with Dorothy Fields (I believe too. Life’s hard without googling…. ). Here sung wonderfully by Ella Fitzgerald, but the version in my head is usually Fred Astaire and Ginger Rogers.
I can’t remember whether I did a Kern day. I definitely haven’t put up Fields. I have a request for William Finn. I shall line them all up.
“On the Sunny Side of the Street” from Lucky in the Rain (2000 Studio Cast Recording)
music Jimmy McHugh lyric Dorothy Fields
performance Barbara Cook
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Read More
(Click through for video.)
Let’s get all 1920’s up in this bitch.
Fuck Yeah Remixes!
“You Should See Yourself” from Sweet Charity (Original London Cast)
music Cy Coleman lyric Dorothy Fields
performance Juliet Prouse
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I seem to have fallen down a Sweet Charity rabbit hole, inspired by this video. And I ain’t even mad.
And I love Prouse’s take light, bouncy take on this song. The Verdon version (verd-sion?) somewhat annoys me.