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Numbers That You Would Love to See Cut From Classic / Big Hit Shows

broadwayindie
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Dinosaurs - War Paint (not big but still)

Break In A Glove - Dear Evan Hansen

Making Good (The Madame Morrible part before Wizard and I) - Wicked

Cooties - Hairspray

 

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NOWaWarning
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That damn dog song from Sunday in the Park with George
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I would cut nothing from KUNG KONG, TOOTSUE, and KUNKY BOOTS.
Jarethan
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I could not figure out how to correct my typo in the subject (when I discovered it after it was posted). Tried and gave up.
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I'd make the same cuts to Phantom as the Vegas spectacular did, except for leaving the chandelier drop at the end of Act I and keeping the intermission. Less is more, and this is a show that would play much better as a fast-paced thrill ride than the yawn it has become.

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Blocked: After Eight, suestorm, FindingNamo, david_fick, emlodik, lovebwy, Dave28282
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I thought I was well beyond my Phantom Phase when I saw the Vegas Spectacular but it rekindled my love for the show. The cuts in the score were only noticeable to those of us who used to listen to the recording continually. I agree with you it would be good to keep the chandelier crash in the middle.

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qolbinau
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This is a fun thread but think god these works are protected. If I went into a revival and saw many of these cuts I would just have to stop going to the theatre.
"Rose in Gypsy was like going through therapy for me. Playing Rose helped me put a lot of emotions to bed. There was so much lacking in Rose and that's why she had to prove herself through her children. [interviewer]In ways that reminded you of your mom?[/interviewer]. Let's just say the role was very interesting for me. That one was the most interesting [I've ever played]" - Bernadette Peters (2018)
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Editing a thread title#33
Posted: 11/12/19 at 7:01am

Jarethan said: "I could not figure out how to correct my typo in the subject (when I discovered it after it was posted). Tried and gave up. "

Try this:  Select Edit Message on the first post in this thread.

Then, scroll up to the Subject Line.

Update title to whatever is wanted.

Then, select Update Message.

Updated On: 11/12/19 at 07:01 AM
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Editing a thread title#34
Posted: 11/12/19 at 7:55am

AEA AGMA SM said: "magictodo123 said: "MattieIce2018 said: "Even though it's a pretty song, A Change in Me (added to Beauty and the Beast 4 years into its run) stops the pacing of Act 2 dead in its tracks"

Wow...that's so interesting that they added a song that late into the run! Do you know how much longer it ran after that song was added?
"

It was added when Toni Braxton was cast to play Belle. She demanded a solo in Act 2, as Belle's only realsolo in the show before that was "Home" (the "Belle Reprise" isn't really long enough to be considered a solo number).
"

I can’t believe Toni Braxton had the clout to “demand a song be written.” She’d be lucky to even be considered for a Broadway show today. 

"The sexual energy between the mother and son really concerns me!"-random woman behind me at Next to Normal "I want to meet him after and bang him!"-random woman who exposed her breasts at Rock of Ages, referring to James Carpinello
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Editing a thread title#35
Posted: 11/12/19 at 10:29am

Not a classic show, but I think you could cut both of Zoser's songs from Aida and nothing would be missed. Or, since I guess they do advance the plot a bit, at least shorten them.

Jimmy, what are you doing here in the middle of the night? It's almost 9 PM!
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Editing a thread title#36
Posted: 11/12/19 at 10:38am

"Now I Have Everything" from Fiddler. The only clunker in an otherwise perfect score.

"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
Alex Kulak2
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Editing a thread title#37
Posted: 11/12/19 at 11:12am

"Before It's Over" in Dogfight. It doesn't say anything that "Pretty Funny" didn't already say 45 minutes ago.

"Fearless" in Mean Girls. "Revenge Party" works far better as an Act I finale.

I was exposed to the movie version of Hello Dolly! first, so I can't say I really missed the song "Motherhood".

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Editing a thread title#38
Posted: 11/12/19 at 11:46am

"Before It's Over" in Dogfight. It doesn't say anything that "Pretty Funny" didn't already say 45 minutes ago.

I'm not sure that I agree with this - it represents a pretty significant shift in Rose's thinking and development as a character since she sang "Pretty Funny."

Jimmy, what are you doing here in the middle of the night? It's almost 9 PM!
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Editing a thread title#39
Posted: 11/12/19 at 1:08pm

NOWaWarning said: "That damn dog song from Sunday in the Park with George"

OMG yes. I just cackled.

 

Loopin’theloop
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Editing a thread title#40
Posted: 11/12/19 at 1:23pm
No Matter What and A Change in Me (Beauty & the Beast)

Blood in the Water (Legally Blonde)

Tender Shepherd (Peter Pan)

Something Bad (Wicked)

No More (Into the Woods)

Falcon in the Dive (The Scarlet Pimpernel)

All of Fame and any of the new songs for Victor Victoria


rattleNwoolypenguin
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Editing a thread title#41
Posted: 11/12/19 at 2:23pm

I can’t stand “Wonderful” from Wicked.

Just make it a scene and make it a brief scene.

You know they’re gonna cut that song when they make the movie.



“Ireland” and just the whole Irish subplot to Paulette in Legally Blonde has never truly worked for me.


“Change in Me” is so odd to me because Belle doesn’t really change at all. The Beast does cause it’s the Beast’s story.

CUT EVERY SCUTTLE SONG FROM LITTLE MERMAID
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Editing a thread title#42
Posted: 11/12/19 at 6:34pm

Loopin’theloop said: "No More (Into the Woods)"

The movie is proof that doing so ultimately makes the story much worse. It’s an enormous part of  bothThe Baker and Mysterious Man’s characters, and is arguably the emotional crux of the whole show.

VintageSnarker
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Editing a thread title#43
Posted: 11/12/19 at 7:14pm

Apparently unpopular opinion? I love Little Lamb. Played right it's one of the few quiet moments Louise gets to herself. 

Done right, Rich Man's Frug can be a great number. If the director or choreographer don't care to make it interesting for the audience I can see how it can be tedious.

Waitress: Club Knocked Up

A Little Night Music: Liaisons

Wicked: Dear Old Shiz

On A Clear Day: Wait Till We're Sixty-Five

I don't know. Even songs that aren't my favorite generally serve a purpose in good shows. They illuminate something about the plot or characters. There's a ton I would cut from Memphis, Cats, This Ain't No Disco, Scandalous, etc. but then there wouldn't actually be a story.

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Editing a thread title#44
Posted: 11/12/19 at 7:44pm
^ interesting point, but while not great numbers, Club Knocked up and Dear Old Shiz do serve a conventional purpose- they’re both scene change songs. They arguably would stop the show if it were to go to black and come up on a new scene, so they both keep the momentum going into the next scene- and the latter gives Glinda a chance to change and not only for the set to change.
JuneJune
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Editing a thread title#45
Posted: 11/12/19 at 8:05pm

I've only seen the '19 revival of Kiss Me, Kate!, so while I don't know how it fared in other productions, I didn't care at all for "Brush Up Your Shakespeare." It felt like a number that was just there to pass time (which it probably was for costume changes or whatever else), and got little to no laughs from my theatre. I might've found it funnier if it was shorter, but in my opinion it just dragged on. 

More recently, "No Reason" in Beetlejuice. In my opinion, it's not all that catchy, and the show spends enough time without this number establishing Delia and Lydia's dynamic. Feels like a filler song. I wish they'd just have a quick back and forth instead and have Adam and Barbara come out sooner. 

Alex Kulak2 said: """Fearless" inMean Girls. "Revenge Party" works far better as an Act I finale."

I used to not care for "Fearless," but it grew on me when I realized that my favorite moments in Mean Girls happened to be dance numbers. (I respect where you're coming from though)

I'd actually like to remove "More Is Better." It feels long to me, and it wasn't a song that I cared to listen after I left the theatre. And it ruins the energy that "Whose House is This" built up. I get that Aaron and Cady need a moment, but I at least wish that the number was shorter, or dare I say just better in general?

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Editing a thread title#46
Posted: 11/12/19 at 8:55pm

Jarethan said: "

I am not againstgreat songwriting, Ifind those two Follies songs boring...it may be that I have seen Follies and listened to the various recordings too many times, but I not longer have patience with those songs.

I know the intention of By The Sea...that doesn't mean that I haveto listen to the song to appreciate how pathetic the relationship is...there areplenty of ways in which that is demonstrated. Hereto, it is probablyworth noting that I have also seen the show, movie, TV taping, and listened to the OCR so many times that I am bored with what I consider either lesser or unpleasant songs.

cut songs that drag **** by all means but don’t cut necessary story beats.

Same thing with Little Lamb. I have taken it off the playlist, along with All I Need is the Girl because they bore me at this point. Also, seen the show many times, the movie many times, listened to the Lansbury recording many times. I don't have interest in listing to Little Lamb any more. I am tired of it.

 

 

"

But Jarethan, my DEAR friend, surely you realize that getting tired of a song on an album one has played many times isn't the same as believing a song should be removed from a show!

I couldn't be more bored with "The Lees of Old Virginia" at this point, nearly 50 years after I saw 1776 and bought the vinyl OBCR. But that doesn't mean the song isn't a welcome moment of comic relief in the midst of all the life-and-death bickering over the Declaration.

As for "In Buddy's Eyes" and "Too Many Mornings", I found them difficult when I saw the original when I was 17. My ear didn't really understand Sondheim's minimalism, even while I was reveling in the pastiche numbers in the score. But MY appreciation for the book songs has only grown over time: I still love the pastiche numbers, but, if anything, I like the "book score" (using the creator's terms) even more. (Did you see the last FOLLIES at the Ahmanson? Ron Raines and Victoria Clark turned "Too Many Mornings" into something akin to the famous duet between Butterfly and Pinkerton. It was astonishing and fully justified the break for intermission which followed.) Anyway, I realize the FOLLIES score is something where you and I will have to agree to disagree.

I trust it is clear that however obstinate my argumentation, no disrespect is intended in this thread. I still very much value your opinion.

ETA "By the Sea" is the last bit of comic relief in the SWEENEY score. More importantly to me, it is the moment when I realize Mrs. Lovette isn't merely "eminently practical as always" but just as looney as Sweeney is, with nowhere near the excuse. I think it's an important moment of character development; without it, "Nothing's Gonna Harm You" wouldn't be nearly so menacing. Of course, none of this is to say you can't be tired of listening to recordings of it.

Updated On: 11/12/19 at 08:55 PM
VintageSnarker
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Editing a thread title#47
Posted: 11/12/19 at 9:10pm

Phillytheatreguy10 said: "^ interesting point, but while not great numbers, Club Knocked up and Dear Old Shiz do serve a conventional purpose- they’re both scene change songs. They arguably would stop the show if it were to go to black and come up on a new scene, so they both keep the momentum going into the next scene- and the latter gives Glinda a chance to change and not only for the set to change."

Fair point. In good shows, I guess I rarely want numbers cut altogether. But I wish they could be replaced with better songs that also serve as active transitions, give a tertiary character a solo, etc. In bad shows I'm just waiting for it to be over so there are definitely songs that could be trimmed to get you out of the theater faster. Bad shows also tend to be very repetitive about reiterating the themes, explaining what the characters want, etc. 

As long as a song isn't offensive or complete trash, I'm generally on the side of it working with the right execution. With the right performances, direction, staging, etc. most songs from good shows should work. 

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Editing a thread title#48
Posted: 11/13/19 at 1:40am

GavestonPS said: "Jarethan said: "

I am not againstgreat songwriting, Ifind those two Follies songs boring...it may be that I have seen Follies and listened to the various recordings too many times, but I not longer have patience with those songs.

I know the intention of By The Sea...that doesn't mean that I haveto listen to the song to appreciate how pathetic the relationship is...there areplenty of ways in which that is demonstrated. Hereto, it is probablyworth noting that I have also seen the show, movie, TV taping, and listened to the OCR so many times that I am bored with what I consider either lesser or unpleasant songs.

cut songs that drag **** by all means but don’t cut necessary story beats.

Same thing with Little Lamb. I have taken it off the playlist, along with All I Need is the Girl because they bore me at this point. Also, seen the show many times, the movie many times, listened to the Lansbury recording many times. I don't have interest in listing to Little Lamb any more. I am tired of it.

 

"

But Jarethan, my DEAR friend, surely you realize that getting tired of a song on an album one has played many times isn't the same as believing a song should be removed from a show!

I couldn't be more bored with "The Lees of Old Virginia" at this point, nearly50 years after I saw 1776 and bought the vinyl OBCR. But that doesn't mean the song isn't a welcome moment of comic relief in the midst of all the life-and-death bickering over the Declaration.

As for "In Buddy's Eyes" and "Too Many Mornings", I found them difficult when I saw the original when I was 17. My ear didn't really understand Sondheim's minimalism, even while I was reveling in the pastiche numbers in the score. But MY appreciation for the book songs has only grown over time: I still love the pastiche numbers, but, if anything, I like the "book score" (using the creator's terms) even more. (Did you see the last FOLLIES at the Ahmanson? Ron Raines and Victoria Clark turned "Too Many Mornings" into something akin to the famous duet between Butterfly and Pinkerton. It was astonishing and fully justified the break for intermission which followed.) Anyway, I realize the FOLLIES score is something where you and I will have to agree to disagree.

I trust it is clear that however obstinate my argumentation, no disrespect is intended in this thread. I still very much value your opinion.

ETA "By the Sea" is the last bit of comic relief in the SWEENEY score. More importantly to me, it is the moment when I realize Mrs. Lovette isn't merely "eminently practical as always" but just as looney as Sweeney is, with nowhere near the excuse. I think it's an important moment of character development; without it, "Nothing's Gonna Harm You" wouldn't be nearly so menacing. Of course, none of this is to say you can't be tired of listening to recordings of it.
"

I think you raise very valid points.  As I previously indicated, overexposure does play a big role in some of my personal observations.  I saw Follies 5 times in its original Broadway run, once in Boston with Uptown Downtown instead of Lucy and Jessie l, and Can That Boy Foxtrot instead of I’m Still Here and I too  loved the pastiche songs in particular.  I did see the recent Follies twice, but both times with BP.  I have opined many times that that was the only production of Follies in which I felt the male leads were the standouts (and I have always been a huge BP fan, not so much Jan Maxwell).  I have to admit that I never developed an appreciation of the two Follies songs that I singled out.

Re By The Sea, I know that your observation is right-on...I just wish it was a better song.  Again, however, over familiarity doesn’t help.

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springwillcome
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Editing a thread title#49
Posted: 11/13/19 at 2:29am
The bottom line from newsies
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Editing a thread title#50
Posted: 11/13/19 at 9:42am

Jarethan said: "Re By The Sea, I know that your observation is right-on...I just wish it was a better song. Again, however, over familiarity doesn’t help."

I don't think "By The Sea" is a bad song at all, but it just doesn't hang together with the rest of the score, to my ears. It sounds jarringly different to me. I wouldn't want to simply cut it, for the reasons given elsewhere in this thread, but I wouldn't hate it if it were replaced!

For a Sondheim song I could simply do without, I'd cite "It Would Have Been Wonderful" from A Little Night Music.