Is there an issue? Send a MessageReason:
None
Changed line(s) 46 (click to see context) from:
* ''[[Theatre/CinderellaRodgersAndHammerstein Rodgers and Hammerstein's Cinderella]]'', the 2013 with a book by Douglas Bean, features "Music in You", where the Fairy Godmother assures Ella that she has something greater than her Godmother's magic on her side.
to:
* ''[[Theatre/CinderellaRodgersAndHammerstein Rodgers and Hammerstein's Cinderella]]'', the 2013 with a book by Douglas Bean, features "Music in You", where the Fairy Godmother aka, Marie assures Ella that she has something greater than her Godmother's Marie's magic on her side.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ''[[Theatre/CinderellaRodgersAndHammerstein Rodgers and Hammerstein's Cinderella]]'', the 2013 with a book by Douglas Bean, features "Music in You", where the Fairy Godmother assures Ella that she has something greater than her Godmother's magic on her side.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ''Theatre/CrossRoad'' has "Casa Nostalgia (Last ver.)", violinist Niccolo Paganini's final concert, and a confrontation between him and his [[DealWithTheDevil contracted devil]], Amduscias.
Is there an issue? Send a MessageReason:
None
Changed line(s) 145 (click to see context) from:
* "Let it Burn" from ''Theatre/ParadiseSquare'', in the midst of the race riots Nellie defiantly tells off the men burning down her and Willie's establishment, as the bar isn't what is important to her but her patrons, the friends and loved ones who stand behind her.
to:
* "Let it Burn" from ''Theatre/ParadiseSquare'', in the midst of the race draft riots Nellie defiantly tells off the men burning down her and Willie's establishment, as the bar isn't what is important to her but her patrons, the friends and loved ones who stand behind her.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* "Let it Burn" from ''Theatre/ParadiseSquare'', in the midst of the race riots Nellie defiantly tells off the men burning down her and Willie's establishment, as the bar isn't what is important to her but her patrons, the friends and loved ones who stand behind her.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ''Theatre/CarolineOrChange'': "Lots Wife". Caroline after her hateful outburst at Noah, after attending Church, begins to feel great guilt and shame for her actions concerning the laundry money, and begs God to free her from her greed.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ''Theatre/{{Treason}}'' has "Caught in the Crossfire" as the women after discovering the Gunpowder Plot, agree to turn their husbands in for their crimes, realizing that they can't sit idly by when innocents could be slaughtered in the planned blowing up of parliament.
Is there an issue? Send a MessageReason:
None
Changed line(s) 25 (click to see context) from:
* Subverted with "If I Can't Love Her," from ''Theatre/BeautyAndTheBeast''. Though it fits the thematic criteria, it takes place as the Act 1 finale, not near the end of the show, although there is a TriumphantReprise during the finale ultimo. Played straight however with Belle's "A Change in Me", as Belle realizes what her time with the Beast has done for her.
to:
* Subverted with "If I Can't Love Her," from ''Theatre/BeautyAndTheBeast''. Though it fits the thematic criteria, it takes place as the Act 1 finale, not near the end of the show, although there is a TriumphantReprise during the finale ultimo. Played straight however with Belle's "A Change in Me", which was added later in the run of the show, as Belle realizes what her time with the Beast has done for her.
Added DiffLines:
* ''Theatre/{{Carrie}}'': Margaret's "When There's No One". Fully plunged deep into her mental illness and convinced that Carrie is a witch, she solemnly comes to terms that to save her daughter's soul, she must kill her. In turn she also realizes the heartache and loneliness she will feel without Carrie in her life anymore.
Added DiffLines:
** Later "Marry The Man Today" has Adelelaid and Sarah humoursly resolve to marry Nathan and Sky, then work on their personalities after wedding.
Is there an issue? Send a MessageReason:
The title song is in the spot we associate with the eleven o'clock number (plus it's written and staged as a potential showstopper, which the gloomy "What Would You Do?" is not.
Changed line(s) 37 (click to see context) from:
* ''Theatre/{{Cabaret}}'' has "What Would You Do?", in which Fräulein Schneider, who has decided to end her engagement to the Jewish Herr Schulz as the rise of the Third Reich has begun to rapidly intensify in Berlin, sincerely asks Cliff and Sally, what would they do if they were in her situation?
to:
* ''Theatre/{{Cabaret}}'' has "What Would You Do?", in which Fräulein Schneider, who has decided to end her engagement to the Jewish Herr Schulz title song, where Sally resolves to go on living hedonistically as the rise of walls between the Third Reich has begun to rapidly intensify in Berlin, sincerely asks Cliff ShowWithinAShow and Sally, what would they do if they were in her situation?own world almost literally dissolve.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ''[[Theatre/KimberlyAkimbo2021 Kimberly Akimbo]]'' has "Before I Go" where Kimberly tells her parents that before she dies from her disease, they have to let go of the image they had of her, and accept her for who she is.
Is there an issue? Send a MessageReason:
None
Changed line(s) 42 (click to see context) from:
* The "Quo Vadis" duet from ''Theatre/CesareIlCreatoreCheHaDistrutto'', the second-to-last song in the musical, is a duet between Cesare Borgia and Creator/DanteAlighieri (a vision in Cesare's mind) about Cesare's decision to leave the CorruptChurch and become a soldier, and whether HeWhoFightsMonsters risks being corrupted from outside the church as well as from within. * The London production of ''Theatre/CharlieAndTheChocolateFactory'' used the [[Film/WillyWonkaAndTheChocolateFactory 1971 film's]] "Pure Imagination," while the Broadway production has "The View From Here" as its Eleven O'clock Number.
to:
* The "Quo Vadis" duet from ''Theatre/CesareIlCreatoreCheHaDistrutto'', the second-to-last song in the musical, is a duet between Cesare Borgia and Creator/DanteAlighieri (a vision in Cesare's mind) about Cesare's decision to leave the CorruptChurch and become a soldier, and whether HeWhoFightsMonsters risks being corrupted from outside the church as well as from within.
* The London production of ''Theatre/CharlieAndTheChocolateFactory'' used the [[Film/WillyWonkaAndTheChocolateFactory 1971 film's]] "Pure Imagination," while the Broadway production has "The View From Here" as its Eleven O'clock Number.
* The London production of ''Theatre/CharlieAndTheChocolateFactory'' used the [[Film/WillyWonkaAndTheChocolateFactory 1971 film's]] "Pure Imagination," while the Broadway production has "The View From Here" as its Eleven O'clock Number.
Is there an issue? Send a MessageReason:
None
Changed line(s) 42 (click to see context) from:
* The London production of ''Theatre/CharlieAndTheChocolateFactory'' used the [[Film/WillyWonkaAndTheChocolateFactory 1971 film's]] "Pure Imagination," while the Broadway production has "The View From Here" as its Eleven O'clock Number.
to:
* The "Quo Vadis" duet from ''Theatre/CesareIlCreatoreCheHaDistrutto'', the second-to-last song in the musical, is a duet between Cesare Borgia and Creator/DanteAlighieri (a vision in Cesare's mind) about Cesare's decision to leave the CorruptChurch and become a soldier, and whether HeWhoFightsMonsters risks being corrupted from outside the church as well as from within. * The London production of ''Theatre/CharlieAndTheChocolateFactory'' used the [[Film/WillyWonkaAndTheChocolateFactory 1971 film's]] "Pure Imagination," while the Broadway production has "The View From Here" as its Eleven O'clock Number.
Changed line(s) 50 (click to see context) from:
* The "Quo Vadis" duet from ''Theatre/CesareIlCreatoreCheHaDistrutto'', the second-to-last song in the musical, is a duet between Cesare Borgia and Creator/DanteAlighieri (a vision in Cesare's mind) about Cesare's decision to leave the CorruptChurch and become a soldier, and whether HeWhoFightsMonsters risks being corrupted from outside the church as well as from within.
to:
* The "Quo Vadis" duet from ''Theatre/CesareIlCreatoreCheHaDistrutto'', ''Theatre/AChristmasCarolTheMusical'': "Yesterday, Tomorrow and Today", Scrooge after seeing what the second-to-last song in future may hold for him, and for Tiny Tim, vows to the musical, is a duet between Cesare Borgia Ghosts that he will strive to change his ways, and Creator/DanteAlighieri (a vision in Cesare's mind) about Cesare's decision to leave live the CorruptChurch and become a soldier, and whether HeWhoFightsMonsters risks being corrupted from outside Christmas spirit, everyday for the church as well as from within. rest of his life.
Is there an issue? Send a MessageReason:
None
Changed line(s) 140 (click to see context) from:
* "All The Wasted Time" from ''Theatre/{{Parade}}'', Leo and Lucille finally realize that they do genuinely love one another.
to:
* "All The Wasted Time" from ''Theatre/{{Parade}}'', ''Theatre/{{Parade|1998}}'', Leo and Lucille finally realize that they do genuinely love one another.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ''Theatre/{{Chess}}'' has "Endgame", as the titular Endgame of the match takes place, Anatoly is pressured by all sides of his philosophies regarding the worlds social/international eco-structure, his standing with Florence and Svetlana, and his own passion for chess.
Added DiffLines:
* "Welcome to the World" from ''Theatre/AManOfNoImportance''. Alfie finally sieges control of who he is, and confidently accepts himself as a gay man.
** Before that Lily's "Tell Me Why", as she makes it clear, that while she did push for him to marry a nice girl, he should have always known that, while it would have taken some time, she would have accepted Alfie's homosexuality, and that no matter the situation, she would always love her brother.
** Before that Lily's "Tell Me Why", as she makes it clear, that while she did push for him to marry a nice girl, he should have always known that, while it would have taken some time, she would have accepted Alfie's homosexuality, and that no matter the situation, she would always love her brother.
Is there an issue? Send a MessageReason:
None
Changed line(s) 129 (click to see context) from:
* "Oklahoma!" from ''Theatre/{{Oklahoma}}'' as the company celebrates that soon the territory will be a full blown stat in the United States.
to:
* "Oklahoma!" from ''Theatre/{{Oklahoma}}'' as the company celebrates that soon the territory will be a full blown stat state in the United States.
