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Stephen Sondheim (March 22, 1930 – November 26, 2021) was one of the 20th Century's most respected composers and lyricists of [[TheMusical musicals]]. He won seven UsefulNotes/{{Tony Award|Winners}}s, an UsefulNotes/AcademyAward, eight UsefulNotes/{{Grammy Award}}s, and the UsefulNotes/PulitzerPrize.
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Stephen Sondheim (March 22, 1930 – November 26, 2021) was one of the 20th Century's most respected composers and lyricists of [[TheMusical musicals]]. He won seven UsefulNotes/{{Tony MediaNotes/{{Tony Award|Winners}}s, an UsefulNotes/AcademyAward, MediaNotes/AcademyAward, eight UsefulNotes/{{Grammy MediaNotes/{{Grammy Award}}s, and the UsefulNotes/PulitzerPrize.
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* ''Here We Are'' (2023, produced posthumously) (book by David Ives; directed by Joe Mantello)
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* ''Here We Are'' ''Theatre/HereWeAre'' (2023, produced posthumously) (book by David Ives; Creator/DavidIves; directed by Joe Mantello)
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* ‘’Here We Are’’ (2023, produced posthumously) (book by David Ives; directed by Joe Mantello)
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* ‘’Here ''Here We Are’’ Are'' (2023, produced posthumously) (book by David Ives; directed by Joe Mantello)
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* ‘’Here We Are’’ (2023, produced posthumously) (book by David Ives; directed by Joe Mantello)
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* ''{{Leitmotif}}'': ''Sweeney Todd'' has many recurring motifs, almost in the style of an opera. Other musicals make use of repeated or developed themes, like a seven-note motif in ''Into The Woods'' that recurs several times and provides the main melody for two different songs ("Stay With Me" and "Giants in the Sky").
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* ''{{Leitmotif}}'': ''Sweeney Todd'' has many recurring motifs, almost in the style of an opera. Other musicals make use of repeated or developed themes, like a seven-note motif in ''Into The Woods'' that recurs several times and provides the main melody for two different songs ("Stay With Me" and "Giants in the Sky"). Sky"), or a different seven-note motif in ''Merrily We Roll Along'' that (literally) underscores the relationship of the main characters and appears in several numbers, most notably "Good Thing Going" and "Opening Doors."
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* NeverSpeakIllOfTheDead: Inverted in his books of collected & annotated lyrics, where he writes frank and incisive commentary about other lyricists' work, but only ones already dead. In his own words: "speaking ill exclusively of the dead seems to me the gentlemanly thing to do. The subject cannot be personally hurt, and his reputation is unlikely to be affected by anything you say, whereas publicly passing judgement on living writers is both hurtful and stifling."
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* NeverSpeakIllOfTheDead: Inverted in his books of collected & annotated lyrics, where he writes frank and incisive commentary about other lyricists' work, but only ones already dead. In his own words: "speaking words:
-->Speaking ill exclusively of the dead seems to me the gentlemanly thing to do. The subject cannot be personally hurt, and his reputation is unlikely to be affected by anything you say, whereas publicly passing judgement on living writers is both hurtful and stifling."
-->Speaking ill exclusively of the dead seems to me the gentlemanly thing to do. The subject cannot be personally hurt, and his reputation is unlikely to be affected by anything you say, whereas publicly passing judgement on living writers is both hurtful and stifling.
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He shared a birthday (born 18 years earlier) with Creator/AndrewLloydWebber, of all people.
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* ''Film/TheLastOfSheila'' (1973) -- ''not'' a stage musical; not a musical at all in fact. It's a 1973 theatrical feature film that he co-wrote the screenplay for. Sondheim's only screenwriting credit.
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* ''Film/TheLastOfSheila'' (1973) -- ''not'' a stage musical; not a musical at all in fact. It's a 1973 theatrical feature film that he co-wrote the screenplay for.for with Creator/AnthonyPerkins. Sondheim's only screenwriting credit.
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Adding link to Road Show page, cut out extraneous information.
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** In 2008 ''Bounce'' was re-worked, with some songs removed and others added, one character entirely cut, and the plot rewritten; the resulting piece is now called ''Road Show'' and it opened off-Broadway in November 2008, directed by John Doyle.
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** In 2008 ''Bounce'' was re-worked, with some songs removed and others added, one character entirely cut, and the plot rewritten; the resulting piece is now called ''Road Show'' and it opened off-Broadway Reworked as ''Theatre/RoadShow'' in November 2008, directed by John Doyle.
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* LoveHurts: His musicals are full of [[AwfulWeddedLife unhappy marriages]], [[AnyoneCanDie romances that end in tragedy]], and songs about the pain of unrequited love ("Send in the Clowns," "Losing My Mind," "Unworthy of Your Love," "Loving You").
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Up To Eleven is a defunct trope
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* CounterpointDuet: BIG fan of this, put it in almost all his shows, and sometimes going [[UpToEleven one step further]] and making it into a trio, quartet, quintet, sextet, septet, or [[MassiveMultiplayerEnsembleNumber an ensemble number with as much as 8-part counterpoint!!]]
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* CounterpointDuet: BIG fan of this, put it in almost all his shows, and sometimes going [[UpToEleven one step further]] further and making it into a trio, quartet, quintet, sextet, septet, or [[MassiveMultiplayerEnsembleNumber an ensemble number with as much as 8-part counterpoint!!]]
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* {{Pastiche}}: A major part of his musical style is homaging or parodying other musical styles. The patter section of the first song in ''Theatre/AnyoneCanWhistle'' is a pastiche of composer/arranger Kay Thompson; the waltzes in ''Theatre/ALittleNightMusic'' are in the style of Composer/MauriceRavel, and in ''Theatre/{{Follies}}'' many of the songs imitate specific composers and lyricists; for example, Sondheim has explained that "Losing My Mind" is based harmonically on "The Man I Love" by Music/GeorgeGershwin, but the lyric is in the style of Dorothy Fields.
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* {{Pastiche}}: A major part of his musical style is homaging or parodying other musical styles. The patter section of the first song in ''Theatre/AnyoneCanWhistle'' is a pastiche of composer/arranger Kay Thompson; the waltzes in ''Theatre/ALittleNightMusic'' are in the style of Composer/MauriceRavel, Music/MauriceRavel, and in ''Theatre/{{Follies}}'' many of the songs imitate specific composers and lyricists; for example, Sondheim has explained that "Losing My Mind" is based harmonically on "The Man I Love" by Music/GeorgeGershwin, but the lyric is in the style of Dorothy Fields.
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* ''{{Leitmotif}}''
* LyricalDissonance
* LyricalDissonance
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* ''{{Leitmotif}}''
''{{Leitmotif}}'': ''Sweeney Todd'' has many recurring motifs, almost in the style of an opera. Other musicals make use of repeated or developed themes, like a seven-note motif in ''Into The Woods'' that recurs several times and provides the main melody for two different songs ("Stay With Me" and "Giants in the Sky").
*LyricalDissonanceLyricalDissonance: A frequent trope in his work is for a character to claim one thing in the lyrics, while the music or orchestration clearly suggest they're lying or in denial.
* {{Pastiche}}: A major part of his musical style is homaging or parodying other musical styles. The patter section of the first song in ''Theatre/AnyoneCanWhistle'' is a pastiche of composer/arranger Kay Thompson; the waltzes in ''Theatre/ALittleNightMusic'' are in the style of Composer/MauriceRavel, and in ''Theatre/{{Follies}}'' many of the songs imitate specific composers and lyricists; for example, Sondheim has explained that "Losing My Mind" is based harmonically on "The Man I Love" by Music/GeorgeGershwin, but the lyric is in the style of Dorothy Fields.
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* {{Pastiche}}: A major part of his musical style is homaging or parodying other musical styles. The patter section of the first song in ''Theatre/AnyoneCanWhistle'' is a pastiche of composer/arranger Kay Thompson; the waltzes in ''Theatre/ALittleNightMusic'' are in the style of Composer/MauriceRavel, and in ''Theatre/{{Follies}}'' many of the songs imitate specific composers and lyricists; for example, Sondheim has explained that "Losing My Mind" is based harmonically on "The Man I Love" by Music/GeorgeGershwin, but the lyric is in the style of Dorothy Fields.
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* {{Pastiche}}: A major part of his musical style is homaging or parodying other musical styles. The patter section of the first song in ''Theatre/AnyoneCanWhistle'' is a pastiche of composer/arranger Kay Thompson; the waltzes in ''Theatre/ALittleNightMusic'' are in the style of Composer/MauriceRavel, and in ''Theatre/{{Follies}}'' many of the songs imitate specific composers and lyricists; for example, Sondheim has explained that "Losing My Mind" is based harmonically on "The Man I Love" by Music/GeorgeGershwin, but the lyric is in the style of Dorothy Fields.
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* {{Pastiche}}: A major part of his musical style is homaging or parodying other musical styles. The patter section of the first song in ''Theatre/AnyoneCanWhistle'' is a pastiche of composer/arranger Kay Thompson; the waltzes in ''Theatre/ALittleNightMusic'' are in the style of Composer/MauriceRavel, and in ''Theatre/{{Follies}}'' many of the songs imitate specific composers and lyricists; for example, Sondheim has explained that "Losing My Mind" is based harmonically on "The Man I Love" by Music/GeorgeGershwin, but the lyric is in the style of Dorothy Fields.
