She Loves Me
A blurb about what some (myself) consider the perfect musical. What makes it perfect? Laura Benanti? Probably.
Background Info
This gem of a musical, She Loves Me is a romantic musical comedy based on the 1937 Hungarian play, Parfumerie, written by playwright Miklós László. Clearly, the man was a genius because this play has been adapted so many times. Movies, plays, and clearly, a musical. We follow the “he said, she said” fateful love story of Georg Nowack and Laura Benanti Amalia Balash.
I will have you know that I literally typed Laura Benanti instead of Amalia Balash and I laughed at myself for about three minutes.
The two leads have recently become coworkers at one of the finest parfumeries and do nothing but bicker. Little do they know, they’re in love.
Writers
Music and lyrics were written by the iconic team of Jerry Bock and Sheldon Harnick, respectively. The sheer genius these two men shared brought some of the most remarkable and incredible shows we have seen. If you don’t know about Jerry and Shelly, you need to hop on that train, and I’d be more than happy to be the ramp you can scurry up to get on the said train with this post. The book was written by Joe Masteroff, who was also known for writing the book for Kander and Ebb’s Cabaret. This show is, in my opinion, one of the staples and greatest examples of musical comedy. She Loves Me punctuated the Golden Age of Broadway with unforgettable music, some of the most beautiful lyrics ever written for the stage, and love radiated throughout the show.
Character List (in order of appearance)
ARPAD LASZLO (Tenor*) - Delivery boy at Maraczek's Parfumerie. His exuberance is infectious and commitment to his job remarkable. He is ambitious and adorable. *What’s cool about this show is that through the years, a lot of keys have changed for different performers. In the original keys, some might refer to Arpad as a Baritone. However, because of the type of character he is and the trope he serves, he is normally played by a Tenor. For many voices, it is by no means unreachable. It sits in a pretty practical range for most lower voices.
LADISLAV SIPOS (Baritone) - Not the brightest employee at Maraczek's Parfumerie. A confidant to Georg, he is an optimistic family man who looks like a huggable father. (I love this character.)
ILONA RITTER (Mezzo-Soprano) - Employed at Maraczek's Parfumerie. She is sexy and learned in the ways of romance, but longing for something more from the game of love. I do want to note that Ilona’s range requires her to sing lower than most of the comedic Mezzo roles of her day! It’s an interesting shift.
STEVEN KODALY (Tenor) - A well respected and liked employee at Maraczek's Parfumerie. Though he is considered dapper and occasionally charming, he is more of a shallow womanizer. Pronounced “koh-DIE”.
GEORG NOWACK (Baritone) - An established employee of Maraczek's Parfumerie, he resembles a hopeless romantic. Shy, intelligent, and soft-spoken.
MR. MARACZEK (Baritone) - Owner of Maraczek's Parfumerie. With a commanding presence, his dedication to the trade is rivaled only by his faithfulness to his wife.
AMALIA BALASH (Soprano) - The eager new employee at Maraczek's Parfumerie. Despite being a skilled saleswoman, she easily becomes intimidated and nervous. Attractive, bright, and a lover of literature.
Who’s Singing?
I had a few choices to decide on which recording I’d like to profile for the post, and although I love all of them, I have to go with the 2016 Broadway Revival Cast Recording. It truly is an all-star cast. Nicholas Barasch as Arpad Laszlo, Michael McGrath as Ladislav Sipos, Jane Krakowski as Ilona Ritter, Gavin Creel as Steven Kodaly, Zachary Levi as Georg Nowack, Byron Jennings as Mr. Maraczek, and Laura Benanti as Amalia Balash.
Let’s Do This
The number of times I’ve watched the broadcast of this is absolutely unhealthy. This show is genius. I can’t get enough of this. Time to unpack.
The Overture begins with the most beautiful triumphant chords. The grace note motif, then the falling brass. The accordion does their cadenza, then the violin, then the trumpet. We hear the melody that will later be used in Sipos’ solo, “Perspective”. I want to say how essential the offbeat tambourine is in this entire show. The ambiance and essence it creates is uncanny with the Hungarian style of music. I must say, I am a sucker most for Overtures that melt into the Opening Number. We hear a modified “Good Morning, Good Day” motif, and then Arpad’s horn honks, and we’re right into the story; no big finish, no grand Golden Age Overture ending; we are immersed in the story immediately.
“Good Morning, Good Day,” one of the most underrated and beautiful opening numbers in the musical theatre canon, begins in my favorite key, B major. Arpad and Sipos begin having a conversation, greeting each other and discussing the parfumerie, among other things. Then, one by one, the other characters enter, preparing for work. Ilona is first to enter, with Arpad saying “She spent the night with Mr. Kodaly. They always kiss goodbye at the newsstand, then she walks around the block to make us think she’s been home.” In that line alone, we’ve defined that Kodaly and Ilona have a sexual relationship and that Ilona is dumber than a doorknob. Not long after Ritter enters, Kodaly comes out. He sings with such creative adjectives and sophisticated language. He greets Ritter as if they didn’t just have a rendezvous. Nowack enters and sings about such basic and beautiful things, such as the sun and the weather, in opposition to Kodaly’s necessity to magnify his own elegance and elan. The coworkers begin to hypothesize what would happen if they all took the day off. The melody here is a stepwise, ascending scalar motif that builds and builds with so much excitement. My favorite moment of the entire song is the climax, with Kodaly’s statement of “Champagne might be nice with hot hors d’oeuvres!” Gavin Creel’s placement throughout his career this show is simply breathtaking. He truly is one of the most versatile vocalists of our time. They then begin a round of the original melody, still fantasizing about the idea of taking a day off altogether on this beautiful day in Hungary. Ultimately, they decide not to, despite their longing for “a picnic.” Everything culminates in a big “Ah, well,” finished with a big button at the end.
We have moved into the Parfumerie where we are acquainted with the everyday goings-on at Maraczek’s in the song “Sounds While Selling.” Three customers enter and each is being helped by a different worker, Kodaly, Nowack, or Sipos. Sheldon Harnick used this song as a playground for incredible wordplay, as the song is set up as such: since each customer is having a separate conversation with the different clerks, the song is made up of fragments of each of their conversations. This results in such subtle hilarity. Personal favorites: “I would recommend a bath today.” “And a little brush for combing my teeth. Absolutely!” “Here’s an inexpensive perfume called rat.” “If you want to clip your earlobes, if you want to dye your hangnails.” and last but not least, “I would like an eyebrow under my chin.” I’m really glad to know that this type of humor isn’t limited to me cause this stuff is hilarious.
In a nice oom-pa-pa, Mr. Maraczek gets his solo, called “Days Gone By,” where he sings of his younger days, dancing in various venues. Bock and Harnick have this gift for writing nostalgic pieces. This song establishes Maraczek’s relationship with Nowack. He is constantly suspicious of him for a reason we don’t know yet.
In one of my favorite entrances written for a character ever, especially for that of a Golden Age female lead, Amalia Balash enters, desperately looking for a job. Nowack is initially dismissive of having an interview, stating that there isn’t really a need for more clerks/workers. A rather unpleasant customer enters as Amalia is speaking with Georg, and she tries out her selling skills right in front of the other clerks through her first solo, “No More Candy.” She is trying to sell a music box. Laura Benanti is masterful at everything she does. I would analyze, but I don’t want to spoil. It’s a really adorable, fun, and special moment.
The day is done and Amalia is hired. There’s a montage of Georg writing letters to his penpal lover, who is referred to throughout as “Dear Friend.” Unbeknownst to him, this happens to be his new coworker and evil nemesis, the devil herself, Amalia Balash (see below).
During the song, Arpad shows the shift in time, indicating that we have now arrived in Autumn. The intricacy concerning seasons and weather is such an interesting concept in this show. It brings a sentimentality to it that I don’t know how to define yet. The melody in this song is so hummable, too. Simple and kind of jazzy. Anyway, this is the song in which we realize that Georg and Amalia are lovers through letters and rivals through revenue.
Georg gets his solo, “Tonight at Eight.” A Bock and Harnick patter song was rather scarce, but this is a hallmark of the style. Zachary Levi is such a fun and energetic performer. He has such a cool and interestingly warm tone to his voice. In this song, Nowack is talking to Sipos about his date with “Dear Friend” that will commence at 8pm and describing the anxieties surrounding meeting this special person that he has such feelings for, yet has never met. It’s truly a masterpiece in writing on Bock and Harnick’s ends.
Amalia and Ilona become close friends and confidants during “I Don’t Know His Name.” Amalia describes her love life to Ilona and Ilona, deeply concerned, gives her advice on how to deal with this “Dear Friend.” Amalia reveals a lot about Georg through this song, stating that he also is a big literature fan, who also enjoys Chopin, along with many other sophisticated forms of art and enjoyment. Ilona is much more of a ravenous lover. The chord progression in this song is so out there, but it sounds completely together and connected.
"Perspective,” Sipos’ solo, which is a complete and undeniable banger, is a lecture to Georg about how he has to submit to the people who are in charge of him, simply because in the grand scheme of things, we matter so little. In my opinion, this is the most Hungarian song in the show. The chorus starts slow and slowly gets faster and faster. The tambourine is playing on all of the upbeats, the woodwinds are going crazy. Sipos is an incredibly funny character, and this song amplifies so much about his mindset.
"Goodbye, Georg” is the song that is sung when Georg is forced to quit his job at Maraczek’s. During this, we hear a bit of reprise from Sounds While Selling. The clerks and employees say a heartfelt goodbye to Georg.
“Will He Like Me?” is one of the most underrated songs in all of musical theatre. This is Amalia’s version of “Tonight at Eight.” The entire song has this flow throughout. There is so much rubato, and it really is up to the singer to lead. We get to see the perspective of a woman that we have met at an emotional surface level. Amalia repeatedly reprimands herself for “carry[ing] on this way,” showing that she may have been in a situation where she was forced to keep her thoughts to herself. The bridge is the most beautiful part of the song. Benanti sings
“When I am in my room alone and I write, thoughts come easily; words come fluently then. That’s how it is when I’m alone, but tonight, there’s no hiding behind my paper and pen.”
That couplet alone is such a gorgeous explanation of one’s feelings. Amalia probably isn’t the kind of person who has had many successful dates or good relationships. This is a big moment for her. Musically, this song is everywhere. It explores such beautiful harmonic relationships. The orchestral accompaniment surges and wanes at just the right moment every single time. Brava to Benanti. Truly.
Now the time has come for Creel to unleash. “Ilona” is the emergence of a scene where Kodaly asks Ilona on a date. Hilarity and amazing vocals ensue. The choreography is simply iconic from this production. Dare I say, this show was Creel’s vocal Golden Age.
After all of the craziness that has just happened, Ilona is greatly upset by Kodaly because he tells her he must reschedule. Her song “I Resolve” is a song that honestly should be in many more people’s audition books. It’s got an interesting melody and has a lot of power.
We are nearing the end of Act One, and the date has finally started. Georg goes to meet this “Dear Friend” and discovers that the “Dear Friend” is Amalia Balash. His worst enemy. A few numbers ensue, including “A Romantic Atmosphere” which gives the ensemble (if the production has one) a little bit of time to shine.
Amalia believes that she has been stood up by this person she loves so dearly. She culminates the act in a beautiful solo, “Dear Friend.” She says “Please make it right. Don’t break my heart. Don’t let it end, dear friend.” I’ve always seen this song as sort of a double entendre; as if this is the moment that Amalia realizes that she has feelings for Georg. She is speaking to her penpal, her coworker, and they happen to be the same exact person.
I appreciate that the Entr’acte is on this recording. It’s a reprise of the motifs from “Days Gone By” and “Good Morning, Good Day.”
This leads to a scene in Mr. Maraczek’s hospital room (no spoilers, watch the musical) where Arpad is visiting to try to convince him to hire him on as a sales clerk. Arpad sees this is as the perfect opportunity to assist and help with Maraczek, and does so through his solo, “Try Me.” Maraczek begins coaching him through different scenarios, and Arpad runs with it. This song is really a monologue set to music, but it is so obviously a song. Every word in this song is so necessary. It also has one of the most musically complex arcs of any songs in this show thus far, which becomes a theme throughout the second act. Arpad truly astonishes Mr. Maraczek, leaving him to truly consider bringing him on as a clerk.
"Where’s My Shoe?” might be one of my favorite songs in this show. Amalia has fallen into a deep depression and calls in sick. Georg goes to visit her, and she insists that she must go to work. This duet is so funny in a similar way to the “Sounds While Selling” comedy. Amalia and Georg are having conversational dialogue through music. This is the bread and butter of romantic comedy.
Georg leaves “Vanilla Ice Cream” with Amalia as a sweet gesture. She discovers that he likes her. She realizes she likes him but actually verbalizes it this time. If you listen really closely, you can here the flutes playing the melody from “Dear Friend” during the opening section; the motif gives a hint that Amalia may be putting two and two together. The song is in four distinct sections, an ABAB form if you will. Amalia has this incredibly written sung monologue with “Vanilla Ice Cream.” Benanti truly fleshes out the music on the page and the lyrics in the script, because this is the kind of performance that I can’t get enough. The song ends with a cadenza, leading to a High B to be heard through the nation.
Some could say this began with “Try Me” but Act Two, truly beginning with “Vanilla Ice Cream” begins a string of solos for the four main characters. Georg gets his solo with “She Loves Me,” Ilona with “A Trip to the Library,” and Kodaly, with his grand farewell to Maraczek’s, “Grand Knowing You.” All of these songs are so brilliant. I’ll talk a little bit more about them down below.
Christmas has finally rolled around, and snow has permeated the streets of Hungary. The company, including the shoppers and ensemble, has come to Maraczek’s to do their final shopping in the last “Twelve Days to Christmas.” This song has such energy. I love this as a big ensemble number.
The musical culminates with Amalia and Georg confessing their love to each other and revealing that they are each other’s “Dear Friends.”
Audition Songs
This show is chock-full of incredible solo material that you can bring into auditions.
“No More Candy” - Amalia Balash, Db4-Fb5
What you need for this song is charm. You also need a lovely head voice. It is kind of stern in its approach. It’s a charming little song that would get you noticed, as this is one of Amalia’s lesser-performed solos (of her FOUR like how amazing is that). I could see this being a good song for an audition for Carrie Pipperidge from Carousel. In terms of more modern shows, I feel like this song would be really good for Alice Beineke in The Addams Family (as this is undeniably her energy), Jennie Brinker in Allegro, Phoebe D’Ysquith in A Gentleman’s Guide to Love and Murder, Mary Poppins in Mary Poppins, Princess Fiona in Shrek, Hope Cladwell in Urinetown, and possibly most of all, Glinda Upland in Wicked.
“Tonight at Eight” - Georg Nowack, D#3-E4
Patter, not the craziest range, really energetic and frantic energy. This is definitely chaotic good. Great song for auditions.
“Perspective” - Ladislav Sipos, A2-E4
This song is so undeniably matter of fact. Great for more dry and sarcastic characters.
“Will He Like Me?” - Amalia Balash, B3-F#5
Some of the most beautiful lyrics of the Golden Age are found in this song. If you’re going out for a Julie Jordan type, this is your song. A more serious Soprano who might have some room to play quirky is what’s perfect for this song. I highly HIGHLY recommend this for people. The song is beautiful and so full of heart. The melody is gorgeous and simple. You can play with the lyrics in so many ways. This is a great song to make completely your own.
“I Resolve” - Ilona Ritter, A3-Bb4
I love that this song isn’t very rangy, but it’s great to pick a cut from. Kind of a pre-angst.
“Dear Friend” - Amalia Balash, Db4-F5
This song sits up there. This is recommended for Sopranos who have a lighter voice. Big melancholy hours with this one. Again, recommended for a Julie Jordan type.
“Try Me” - Arpad Laszlo, Bb2-E4
This song was, according to a couple of voice teachers that I talked to, a perfect song to give out, then the revival happened and everyone and their little brother started singing it. I do think this is an incredible song. Great character piece for a younger singer.
“Vanilla Ice Cream” - Amalia Balash, D4-B5
When someone who’s been behind the audition table for a long time hears She Loves Me, they immediately think “Vanilla Ice Cream.” This song is perfect in so many ways because of so many reasons. There is an opportunity for self-realization, comedy, honesty, and high notes. This song is not for the faint of heart.
“She Loves Me” - Georg Nowack, Eb3-F4
This song is SO fun. Baritones and Tenors who might sit a little lower can take their crack at this song. I wouldn’t call this patter, but it’s definitely a character piece. I’d love to see this song in more audition books!
“A Trip to the Library” - Ilona Ritter, G3-C#5
Ilona’s songs are great for belters who don’t have the crazy high belt notes that are expected for just about every Mezzo these days. Great character piece. Patter sections included.
“Grand Knowing You” - Steven Kodaly, D3-A4
It is completely unbeknownst to me how this has not become THE Tenor showpiece. It has everything you want: Narcissism, high notes, and is incredibly fun to sing. More people should have this in their books! Of course, those who can sing it well. Gavin Creel set that bar really high.
To Wrap It Up
This show as a whole is sort of a gift to the musical theatre lover. It has the perfect aspects of a musical comedy. My favorite device used is that every single principal has a solo! Amalia has four, Georg has two, Ilona has two, Kodaly has one (completely to himself), Sipos has one, Arpad has one, and Maraczek has one too! It feels whole in a way. Act Two consists of mostly solos, one after the other; but while watching, it doesn’t feel like it’s slowing down. The pace surges the entire show. There are spots where it drags in my opinion. Though fun and showy, the end of Act One does drag in some spots. “A Romantic Atmosphere” was skipped for a reason :/
I love this score so much. It has so much personality and flair. I would recommend that every fan of musical theatre listens to this cast recording, or if you can find it. watch the broadcast of the last Broadway revival. It’ll make your heart a little fuller.
Get it.
