![]() The show was Where’s Charlie?, and I’d just turned 10. It happened during Ray Bolger’s captivating song and dance sing-along show-stopper, “Once in Love With Amy,” at the St. ![]() And now that I think of it, the theatre, which had also been “virtually unknown” to me when Sondheim was making his name there, had as much to do with changing my life as the Fab Four. Word choice is on my mind at the moment because I’m reading Sondheim on Music: Minor Details and Major Decisions (Scarecrow Press 2005), a series of his conversations with Library of Congress music specialist Mark Eden Horowitz. But “changed my life” was too easy to say, too facile, and my friend was uneasy using “trump” (“can we still use that word?”), a verb I’ve been avoiding for the past five years. ![]() I explained that Sondheim’s work was virtually unknown to me, while I’d been living in the music of the Beatles since the mid-1960s. T hey changed my life.” That was my response to an email from a friend asking: “So the Beatles trump Sondheim?” She was referring to my reviews of Get Back, the book and the film, written at a time when the cultural media was dominated by tributes and remembrances in the aftermath of the composer’s death. “ I was fortunate enough to meet him and chat about songwriting.” ![]()
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