Thursday, May 5, 2022

Physicians' Untold Stories

 


Book: Physicians' Untold Stories: Miraculous experiences doctors are hesitant to share with their patients, or ANYONE!
Basic Information : Synopsis : Expectations : Thoughts : Evaluation : Book GroupBook References : Good Quotes : Table of Contents : References

Basic Information:

Author: Scott Kolbaba

Edition: Kindle

Publisher: Createspace Independent Publishing Platform

ISBN: 1530841577 (ISBN13: 9781530841578)

Start Date: April 20, 2022

Read Date: May 5, 2022

240 pages

Genre: Christianity, Short Stories

Language Warning: None

Rated Overall: 3 out of 5


Religion: Christianity-but very non-specific, could also be Jewish or Muslim the way it is written



Synopsis:

The author talks about how as a physician he encounters many unexplained things. This is common among other doctors. So he has collected 26 stories which he attributes to a greater power intervening, many times through coincidences, sometimes through miracles. He then talks about his own experiences. Then he gives background of each of the physicians who provided a story. Lastly, he talks about how he wrote the book.



Expectations:
  • Recommendation: Joy from my Book Group
  • How come do I want to read this book: It is part of my book group’s reading.
  • What do I think I will get out of it? Not sure

Thoughts:

It is interesting to read this book with all of its experiences. I do not recall Kolbata putting out definitions about miracles or even how God works in the lives of people. It is much more of an existential book, a book of experience. And then I think about my reading of C.S. Lewis’ book, Miracles which is more an exposition of possibilities and rebuttal to modern thought about how the supernatural can interfere in this world. Around the same time, I was reading Francis Callins book, The Language of God were talks about the need to put in a statistical analysis on what is a miracle what is a probability.


The book was written in 2016.


I think there are three classifications these things can fall into: Miracle, God working, or coincidence. As I read Kolbata’s stories I felt that there were some which did not fit neatly into one category or even into any of these three categories. By miracle I mean God intervenes directly and does something outside of medical or natural processes. God working is that God is working through the events of the world. And by coincidence I mean that even though the odds are small at times, there is a normal process which seems to answer why something happened.


Note, when you are looking at an event, there is the probability of something happening. Even if it is one out of a thousand possibility, it is still possible. It depends on which end of a tube you look at. If you are the person whom this happened to, then you might say it was a miracle or God working that it happened. On the other end of the tube, you can see where 999 other people did not get this same effect. Are you looking at a particular instance and so you fit within the probability or looking at the overall possibility?


And now that I said that, this is not intended as universal, but more how I am viewing it.


Introduction

Talks about Kolbaba becoming a doctor and some of the adversity he had to go through. He had been a doctor for thirty-five years. He talks about how he started collecting stores of the unexplained. He had a patient thought to get a lung test for a patient whose symptoms did not include lung disease. Turned out that there was a pulmonary embolism in his right lung which was causing the symptoms.

It was from this experience and hearing other physicians tell similar stories did Kolbata decide to write this book. It is Kolbata’s hope that we will know with as much certainty as I do that there is something more than what we can see with our eyes, and that prayers are important and may be answered immediately and sometimes in spectacular ways.

 

Part One: Divine Intervention

Chapter 1 If I Had Been Buckled

When a doctor was studying to be a physician, he and his pals had been out drinking. They got into a car wreck. Two things: 1) the night before he had a dream that all would be OK. 2) The driver told him not to buckle his seatbelt. If he had, he would have been killed as well.

Miracle, God working, or coincidence

Chapter 2 God’s Emissaries

A missionary doctor is at his breaking point after seven continuous, non-stop duties in the field. He needed relief. On the very day when he was going to walk out the door, a relief doctor showed up. There is a string of coincidences to make this doctor show up on this very day. This enabled the doctor to go on a one-month sabbatical.

Miracle, God working, or coincidence

Chapter 3 Music in the Emergency Department

A suture on a vein had broken loose and a man was bleeding profusely. He was unconscious. When he woke up he said that they played beautiful music. No music was being played in ER The conclusion was he died and was hearing heaven’s music.

Miracle, God working, or coincidence-I would be more thinking he was hallucinating, but I do not know if that is an effect of losing that much blood.

Chapter 4 The Burning Bus Part Two: Death and the Afterlife

Non-medical. A bus Kolbata’s daughter was riding in caught fire. All the people escaped. They were going to a choir competition which required uniforms, but all of the uniforms were destroyed in the fire. Through some spare uniforms, the generosity of the host school, and other parents, the choir was able to perform.

Miracle, God working, or coincidence-not sure what Kolbata was trying to show in this story. It is a heart warming story. It is a miracle all got off the bus. But the main point of the story seems to be how all the costumes came together and they were able to sing.


Part Two: Death and the Afterlife

Chapter 5 Grandma O’Hanlon

Story of a midwife-, Johannah O’Hanlon. She appears to the doctor’s wife who was going to be given a drug to reduce pain. O;Hanlon signaled the mother not to take the drug-she had eaten earlier and it would have probably killed her. O’Hanlon had died 22 years earlier.

Miracle, God working, or coincidence-Was this a hallucination? A vision? Or something induced in the mother’s mind?

Chapter 6 Mary’s Christmas Carol

A woman dies from getting an antibiotic after ankle surgery. There is a lot of activity in the operating room trying to revive her. She is revived. When she is being released from the hospital, she thanks the doctor and is able to describe everything which happened to her in the operating room while she was dead.

Miracle, God working, or coincidence

Chapter 7 A Call from Mom

Mom calls her doctor son right before she dies with a sense of closure

Miracle, God working, or coincidence-I would not say coincidence, but I would say that the mom was trying to get closure before she was going to die, or maybe because she got closure she was able to let go and die.

Chapter 8 Gus’s Last Salute

Gus was a World War Ii hero who got injured during the war. His legs got mangled during an artillery blast. He was full of gratitude that the doctors had made an effort to save his legs. He got Alzhemiers. A fellow doctor had the premonition to turn off the car radio right and thought about Gus when another doctor was receiving the call about Gus.

Miracle, God working, or coincidence

Chapter 9 Freezing Cold

Boy Scout leader who got altitude sickness, then because of the cold, developed hypothermia. A wandering forest ranger came across him when he was huddled in his sleeping bag. The doctor was going into a state where the body shuts down. But the reason why this story is being told is because thirty years later, he answered a knock on the door and was able to comfort a father who had just lost his son who was frozen to death. He was able to console him that the son did not suffer.

Miracle, God working, or coincidence

Chapter 10 The Ultimate Missionary

Missionary couple retires and is associated with the hospital where the doctor works at. On the morning of the husband’s death, the doctor is on her way out for vacation. She is startled to see the husband and then not there.

Good question: How are you nourishing your spirit?

Miracle, God working, or coincidence

Chapter 11 The Dime

A patient with a dime for a tattoo relates that his dead son collected coins. The son would find dimes wherever he went. Now the father does too. When the doctor goes to write up his notes, he finds a dime.

Miracle, God working, or coincidence

Chapter 12 “Get the Paddles!”

Man comes into emergency. His heart has stopped. They shock him three times before his heart starts going again. The doctor talks with him afterwards. He relates that his father, brother and wife had visited him. They all were dead and he thought they were taking him home.

Miracle, God working, or coincidence


Part Three: Healing

Chapter 13 Gone Fishin’

A doctor coworker had a stroke and was essentially brain dead and on life support systems. The hospital was going to pull the life-support if there was no improvement. The doctor started telling him some fishing tales: my tales were the only way to keep connected, but in ways that I never imagined at the time. Each day he would tell a story. It was something I could do, and probably the only thing I could do for my friend. The friend revived and he could tell the stories which the doctor did.

Miracle, God working, or coincidence-not being medical, I suspect the doctor telling the stories made a difference to the patient. There was a desire to live. It is said that in a coma a person can still hear and comprehend.

Chapter 14 A Series of Miracles

An extremely busy surgeon receives a gift from a relatively remote acquaintance. The doctor wants a soda and misses several exits where he can get a soda. But then he remembers that another hospital which he works at has a soda which he can get. His acquaintance’s granddaughter had just been brought in with multiple fractures. But this hospital was ill-equipped to handle such a complex case, until that morning. The granddaughter made a full recovery and was able to play as a concert pianist.

Miracle, God working, or coincidence

Chapter 15 The Dream

A doctor dreamed about his best friend dead from a heart attack. The friend had a physical and came out OK. The doctor wanted one more test to see how the arteries were.The arteries were clogged and an immediate heart bypass was done.

Miracle, God working, or coincidence

Chapter 16 Operating in the Philippines

On a mission trip to Philippines, a woman would not stop bleeding. Surgery was in a primitive setting.The bleeding was going faster than he could stop. She would bleed to death. He prayed and was given a vision to see how to operate and close off the bleeding. She recovered.

Miracle, God working, or coincidence

Chapter 17 Trouble on the Mountain

Doctor skiing on a black diamond course as a blizzard comes in.He found a skier who was hypothermic, very similar to how his father had been two years before-his father had died. The doctor felt this was a second chance to save someone. Through his action, he was saved.

Miracle, God working, or coincidence

Chapter 18 Shopping for a Miracle

A woman gives birth, but shortly afterwards, she develops blood clots. The doctor starts a three day treatment of a powerful blood thinner to dissolve the clots. On the third day, he gets a feeling and stops the treatment. The feeling persists and he goes into the hospital where he finds that she is going numb and has paralysis. There is confirmation that there is liquid on the spine which a surgery successfully corrects.

Miracle, God working, or coincidence

Chapter 19 The Lunch Meeting

A new chiropractor is in town. He goes to a meeting to meet other professionals and to network. But a person monopolizes his time with a story about how he helped a person who he recognized needed help. When the chiropractor gets back, he sees his patient. One of them he senses needs more than just an adjustment and calls him up. This ultimately leads to him being admitted for help and changes his life.

Miracle, God working, or coincidence

Chapter 20 A Friend in Trouble

The doctor goes to a conference and attends a seminar on a particular kind of treatment. A couple of weeks later a doctor friend of his has an accident and has this same condition. After getting approvals to do this treatment, it gets done. But it looks like a failure until right before he was to be taken off of life support. He mostly recovered, but needed to retire.

Miracle, God working, or coincidence

Chapter 21 Family Connections

Doctor is having a stroke and is not able to function. An unexpected text from his sister rouses him to action. The sister had a feeling she should do something at that time.

Miracle, God working, or coincidence

 

Four: Prayer

Chapter 22 Praying for a Miracle

Women with multiple sclerosis who are just a month at most from dying. hears a voice to say get up and walk and does.

Miracle, God working, or coincidence

Chapter 23 Three-Way Phone Call to Heaven

Asthma patient comes into emergency. Doctor would ordinarily send her home, but the home situation is not conducive to her at this time so she is admitted. She shows some improvement, but the next day is a little worse. When the doctor makes his rounds, she is on the phone. He considers what to do next. He orders another test. This shows blood clots. The phone call had been with her minister who was praying that the doctor would do the right test to find out what is wrong.

Miracle, God working, or coincidence

Chapter 24 Jason the Jet

Doctor is going on a badly needed extended weekend away. He booked two flights, only to cancel them because it did not feel right. On the third flight, he got on to the back. Shortly after lift off, a woman went into labor. He was the only doctor on board and had not delivered a baby in 30 years. The baby was born and is well.

.Miracle, God working, or coincidence

Chapter 25 The Morning Miracle

Student is playing goalie and gets kicked in the side. This damages his kidney. Doctor is concerned that the kidney may need removing. The school has a prayer session for him. At the same time, the pain goes away completely. Later there is a diagnosis of the kidney and no damage is found.

Miracle, God working, or coincidence

Chapter 26 Fasting for a Family

Doctor’s daughter is not able to have children. His comment is: Helplessness is not a good hand to deal to a physician, especially an orthopedic surgeon. After all, we are trained to fix things! (A good thing to remember when talking with a doctor and they are recommending all sorts of tests and treatment when they are puzzled.) Doctor begins to fast. This goes on for over a year. The daughter decides to adopt. After over a year of weekly fasting, the doctor gives up. Several months later, the daughter informs him that she is pregnant-conceiving right around the time when he gave up fasting. The baby was born, along with, in time, several other siblings and adoptions.

Miracle, God working, or coincidence


Conclusion: What Doctors Taught Me

Kolbata talks about himself, what makes him tick. He thinks most doctors have a sincere desire to share with the world their passion for family; their regard for hard work and determination; and there knowledge that there is a higher power. He talks about a doctor who is willing to adopt a girl, sight unseen because of her needs. most of my colleagues have a similar desire to do some good in the world by helping others.

They considered their families the most important part of their lives and their greatest accomplishments. I was truly surprised.

I think many have the impression that an elderly patient’s death would be relatively routine for physicians, but that is not the case. Long-term patients hold a special place in a doctor’s heart, and their deaths are often like losing family members. I think this is true, at least for those when there is a long term relationship, such as Dr Rooker with my Dad.

It seems that every terminal patient has something to look forward to, some goal that they want to accomplish. It became my job to move heaven and earth to try to accomplish that goal.” Dr Leyva who specializes in pediatric palliative care.

Afterword: Divine Coincidences

Kolbata talks about how he almost did not become a doctor since he could not get the class he needed.

Divine coincidences-events and people who come together through inexplicable circumstances. Some of these coincidences seem like they can be explained through statistics. Such as the doctor who attends a class and then is able to use the technique a short time later. How many people were in the class? How often does that diagnosis happen? How many patients does a doctor see? From all of these you can tell if it is outside of the realm of the probable.

Why did I feel compelled to share these physicians’ stories? Because so often we take life for granted. Because in the press of ordinary, daily life, we forget that amazing things are happening all around us. Because sometimes we need a reminder that the physical world and the physical body can point to another, unseen reality.

About the Doctors

He goes through the biography of each doctor who has told him a story. He also talks a little bit about each story. Seems a bit repetitive.

How This Book Was Written

Took three years to write and he selected these 26 stories out of the 200 physician interviews. He both asked for the stories and was told them. Many times he would prime the pump by talking about his own story. Once he got the story together, he would have the doctor review it for accuracy.



Evaluation:

 Dr Kolbata wrote this book to share stories which his physician friends usually do not talk about-particularly when there are events in their lives which they cannot explain. There are 26 stories ranging from the mundane of getting a class which is needed to delivering a baby mid-flight to rescuing a frozen skier. Kolbata credits a higher power to each of these stories.


For the most part Kolbata lets the stories speak for themselves. The stories are short-about a page to three pages. That is both a strength and a weakness. The shortness lends itself to the simplicity of a tale. But at the end, I was expecting Kolbata to somehow tie these stories together with some grand thread-he does not. Consequently, it is a bit hard to understand where Kolbata wants to leave us: a series of feel good stories, leaving us to wonder if there is a higher power? What is the nature of this higher power? Or just to argue about where Kolbata would like us to go?



 
Notes from my book group:

Did Kolbata succeed in his desire for us to know with as much certainty as I do that there is something more than what we can see with our eyes, and that prayers are important and may be answered immediately and sometimes in spectacular ways.


Which story affected you the most? Which one seemed a bit common? Which one seems improbable? I had a tendency to break apart these stories into three categories: Miracle, God working, or coincidence. Do you think these categories are fair, complete or should be revised?


What do you think he showed through this collection of stories? Do you think it would convince a person who does not believe in supernatural intervention?


As you read these stories, what questions did you ask yourself? Or were you accepting the stories and the implications at face value? (Note: I do not like this question as it seems like I am attacking the veracity of the story. I am thinking more of the interpretation the author is leading us to accept.)


Kolbata notes that physicians as a whole want three things: passion for family, dedication to work, and knowledge that there is a higher power. Are these things you have sensed in your medical personnel?


What is a miracle? Note: C.S. Lewis gives as a definition an interference with Nature by supernatural power. (Miracle, Chp The Naturalist and the Supernaturalist) While Francis Collins in The Language of God says that a miracle is: a miracle is an event that appears inexplicable by the laws of nature and so is held to be supernatural in origin. He also points out that Miracles are not to be interpreted as divine acts against the laws of nature (for those laws are themselves expressions of God’s will) but as more profound revelations of the character of the divine relationship to creation.


Is this a book about miracles or unexplained occurrences? What is the difference?

When you experience or hear of an unexplained occurrence, how do you respond? How is wonder a good response, such as when Peter went to Jesus’ tomb (Luke 24:12)


What is the difference between a miracle and God's working in our world? if any?


Have you had either a miracle or God working in your life? Talk about it. How do you fulfill God’s desires when His workings has affected your life?


Francis Collins book, The Language of God. In that book, Collins says that Whatever the personal view, it is crucial that a healthy skepticism be applied when interpreting potentially miraculous events, lest the integrity and rationality of the religious perspective be brought into question.


Several times terms like logical conclusion or logical scientific explanation is used. How would you define this use of the word logical? How are they used in the book? Are they used properly?


Does explanation make things less of a miracle?


As we gain new understanding and knowledge, are there less miracles? Is there less of a “need” for miracles? (Knowledge leaves no room for chances. Lew Wallace, Ben-Hur, Book III, Chapter 2)


CS Lewis notes in his book Miracles (chp The Scope of This Book) that Every event which might claim to be a miracle is, in the last resort, something presented to our senses, something seen, heard, touched, smelled or tasted. And our senses are not infallible. Discuss this statement. Do any of the stories in this book give examples outside of this paradigm?


How do you want your life to change because you read this book?


Many of these questions are either from or adapted from LitLovers.

Why the title of Physicians Untold Stories?

Did the book seem fitting? Satisfying? Predictable?

Which story was the most convincing? Least?

Which story did you identify with?

Which one did you dislike?

Every book has a world view. Were you able to identify this book’s world view? What was it? How did it affect the story?

In what context was religion talked about in this book?

Why do you think the author wrote this book?

What would you ask the author if you had a chance?

What “takeaways” did you have from this book?

What central ideas does the author present?

What evidence does the author use to support the book's ideas?

Is the evidence convincing...definitive or...speculative?

Does the author depend on personal opinion, observation, and assessment? Or is the evidence factual—based on science, statistics, historical documents, or quotations from (credible) experts?

Are these idea’s controversial?

To whom and why?

How did this book affect your view of the world?

Of how God is viewed?

What questions did you ask yourself after reading this book?

Talk about specific passages that struck you as significant—or interesting, profound, amusing, illuminating, disturbing, sad...?

What was memorable?

 

Book References:
  • The Christmas Carol by Charles Dickens

Good Quotes:
  • First Line: Mr Kolbata, I’m sorry to tell you that you just don’t have what it takes to become a doctor.
  • Last Line: If there were no changes, they signed off, and the stories were complete.
  • if you really want to be good at something, you have to love it. Quoted from another doctor’s daughter in chp Conclusion
 
Table of Contents:
  • Introduction
  • Part One: Divine Intervention
    • Chapter 1 If I Had Been Buckled
    • Chapter 2 God’s Emissaries
    • Chapter 3 Music in the Emergency Department
    • Chapter 4 The Burning Bus Part Two: Death and the Afterlife
    • Chapter 5 Grandma O’Hanlon
    • Chapter 6 Mary’s Christmas Carol
    • Chapter 7 A Call from Mom
    • Chapter 8 Gus’s Last Salute
    • Chapter 9 Freezing Cold
    • Chapter 10 The Ultimate Missionary
    • Chapter 11 The Dime
    • Chapter 12 “Get the Paddles!”
  • Part Three: Healing
    • Chapter 13 Gone Fishin’
    • Chapter 14 A Series of Miracles
    • Chapter 15 The Dream
    • Chapter 16 Operating in the Philippines
    • Chapter 17 Trouble on the Mountain
    • Chapter 18 Shopping for a Miracle
    • Chapter 19 The Lunch Meeting
    • Chapter 20 A Friend in Trouble
    • Chapter 21 Family Connections
  • Four: Prayer
    • Chapter 22 Praying for a Miracle
    • Chapter 23 Three-Way Phone Call to Heaven
    • Chapter 24 Jason the Jet
    • Chapter 25 The Morning Miracle
    • Chapter 26 Fasting for a Family
  • Conclusion: What Doctors Taught Me
  • Afterword: Divine Coincidences
  • About the Doctors
  • How This Book Was Written
  • Acknowledgments
  • I’ve Had an Experience Like That Too!

References:

Saturday, February 12, 2022

Putting It Together: How Stephen Sondheim and I Created Sunday in the Park with George

Book: Putting It Together: How Stephen Sondheim and I Created Sunday in the Park with George
Basic Information : Synopsis : Characters : Expectations : Thoughts : Evaluation : Book Group : New Words : Book References : Good Quotes : Table of Contents : References

Basic Information:

Author: James Lapine, Stephen Sondheim

Edition: epub on Libby from the San Francisco Public Library

Publisher: Farrar, Straus and Giroux

ISBN: 9780374720223

Start Date: January 27, 2022

Read Date: February 12, 2022

416 pages

Genre: Book Group

Language Warning: Low

Rated Overall: 2 1/2 out of 5



Synopsis (Caution: Spoiler Alert-Jump to Thoughts):

The first part of the book talks about how Lapine developed as a playwright, then a director. He approached Stephen Sondheim about doing a musical together and Sondheim accepted.


Most of the rest of the first part is how things were being put together at the last moment, even as they were approaching their Broadway premiere.


The second part of the book is the script to the musical, Sunday in the Park with Geroge.


Also there are many pictures of the things and people who are relevant to the musical.

 
 
Cast of Characters:

Excerpted from the chapter called and only those who have a conversation in the book:

  • Lapine, James (Book and direction)
  • Sondheim, Stephen (Music and lyrics)
  • Azenberg, Emanuel (Producer and General Manager)
  • Bishop, André (Artistic Director (Playwrights Horizons))
  • Smith, Philip* (General Manager of the Shubert Organization; now Chairman)
  • Weitzman, Ira (Program Director (Playwrights Horizons))
  • Baranski, Christine (Clarissa [later renamed Yvonne] (Playwrights Horizons))
  • Bryne, Barbara (Old Lady; Blair Daniels, an art critic)
  • D’Arcy, Mary (Celeste #2; Elaine)
  • Ferland, Danielle (Louise, the daughter of Jules and Yvonne)
  • Grammer, Kelsey (Young Man; Soldier; Alex Savage (Playwrights Horizons))
  • Ivey, Dana (Yvonne, Jules’s wife; Naomi Eisen, a composer)
  • Kimbrough, Charles ( Jules, another artist; Bob Greenberg, the museum director)
  • Mastrantonio, Mary Elizabeth (Celeste #2 (Playwrights Horizons))
  • Opel, Nancy (Frieda, a cook; Betty, an artist)
  • Parry, William (Boatman; Charles Redmond)
  • Patinkin, Mandy (George)
  • Peters, Bernadette (Dot; Marie, George’s grandmother)
  • Spiner, Brent (Franz, a servant; Dennis, a technician)
  • Vaughan, Melanie (Celeste #1; Waitress)
  • Westenberg, Robert (Soldier; Alex, an artist)
  • Ferren, Bran (Special Effects)
  • Hould-Ward, Ann (Costume Design)
  • Morse, Tom (Sound Design)
  • Straiges, Tony (Scenic Design)
  • Ford, Paul (Piano)
  • Gemignani, Paul (Musical Director)
  • Sperling, Ted (Synthesizer)
  • Starobin, Michael (Orchestrator)
  • Murray, Johnna (Associate to James Lapine)
  • Zinn, Randolyn (Movement Director)
  • Robertson, Loretta (Stage Manager)
  • Lyons, John (Casting Director)
  • Breglio, John (Mr. Sondheim’s lawyer)
  • Douglas, Sarah (Associate of Flora Roberts, Mr. Sondheim’s agent)
  • Graham, Stephen (Producer)
  • Grody, Kathryn (Wife of Mandy Patinkin)
  • Lane, George (Mr. Lapine’s agent)
  • Verlizzo, Frank (Artwork)

*Deceased



Expectations:
  • Recommendation: Peter in my book group
  • When: January 2022
  • Date Became Aware of Book: January 2022
  • How come do I want to read this book: Mostly because it is my book groups pick

Thoughts:

I admit, as I was reading this book for the first time, the book did not take me as being personally interested in it. It is a book we are reading for my book group, which I lead. So I really do need to read it. Still, I was wondering why was this book written and where would I pick up things which interested me? The book never perked my interest. But I suspect it is just me as there are others who felt Putting It Together was a worthwhile read. The part which I learned was that creating a theater show is not a straight line operation. The writer may have an idea of where it is heading, but it will become modified as the writing progresses. Also in this case, the production was going even before the writing was completed for the first act.



So how did some pretty big names become attracted to this show? My guess is that the Sondheim name attached to it made a difference.


Georges Seurat - A Sunday Afternoon on the Island of La Grande Jatte

The play is about Seurat and his work on the Sunday Afternoon painting and then about his personal life, with it being presented in a more modern day media.


A note: much of the book is a series of conversations. Many I did not find very useful. When denoting who the conversation was with, I would put in the name. If I copied the name from the list of characters it was last name first. But if I typed it, it is usually first name first. Hence the inconsistency.



Prelude

Lapine talks about writing what he calls “the book” which I think is the script for the play/musical. He recalls the pleasure of working with Sondheim and the pain of being the director. That is what this book or story is about-This book was born that night, as I sat in the Hudson Theatre.


It covers from 1982-1984. Most of the book is interviews or as he prefers conversations with those who worked on the play. He went back and talked with 40 different people. The dialogue was two way, where his subjects also were invited to ask questions. Lapine was reminded that memory is uniquely personal and, as time passes, the facts of an event are often rewritten to reflect the teller and the stories he or she chooses to hold true. Sometimes emotional recall wins the day over fact. I am not the same person, the same writer, the same director I was then, and many of the people I spoke to are quick to make a similar point about themselves. This really reminds me of what Anne DIllard says in The Writing Life, where she notes from Graham Greene that a novel takes perhaps years to write, the author is not the same man at the end of the book as he was at the beginning…


Seems like there are two reasons why Lapine wrote this book

  • This book, then, is a mixed salad: one part memoir, one part oral history, one part “how a musical gets written and produced.”

  • Another reason I decided to write this: it would have been so helpful to me as both writer and director to have had a book like this to read in 1982, before I embarked on my first Broadway show.


From Ohio to Sondheim

Lapine recounts how he fell in love with the theater-there was a Broadway actor who came from his home time. This included giving Jerry Van Dyke a minor paper cut on his nose. When Lapine moved to Connecticut, he was able to see more Broadway shows. But his personal theater experience was limited. He was a photographer in training.


He got a job at Yale, producing the theater magazine. A requirement was to teach a class. Also there was a requirement to do something outside of your expertise. He directed Gertrude Stein’s Photographs. One of the pictures was A Sunday Afternoon on the Island of La Grande Jatte.It was a success and it got taken to New York where it won an Obie.


This opened the door to more directing gigs. This has the first of conversations with Graham Nash.This opened the door to meet with Sondheim.



Stephen Sondheim

Meeting Sondheim for the first time. Sondheim was already well established as a premiere Broadway person. Conversation with Sondheim.


Sondheim: I thought, I don’t want to be in this profession; it’s just too hostile and mean-spirited. He commented on the reception one of his works got. There is more dialogue, when Lapine notes that Sondheim never tried to have a long-running show. Instead Lapin was taken aback and asked why. You [Sondheim] answered, “Their subjects are always so interesting to me, I assume they would be interesting to others as well.” Wasn’t Sondheim concerned that the investors would get back their money? Doesn’t a long-running show also indicate quality? It seems like Sondheim is saying that if he follows his North Star, that quality will take care of itself and that the show will be successful. The talk was about their initial meeting which Lapine did not think there was anything would come out of it as far as a working relationship-they both felt that there was kindred spirits.


Then a second conversation with Sondheim. They discuss themes and variations. Then another meeting which ends up being a series of weekly meetings. There was a lot of back and forth. Sondheim wanted to get into the minds and mannerisms of each character before he would write a song for that character. He said that I was about to say, that’s the point. It’s not a waste to write a bad song. It’s a waste of time to write a wrong song.


Sondheim: Songs—music—can be very intrusive. That’s what worried me.


Conversion now between two friends discussing how they worked together, revealing some of their thoughts at the time working together.


Lapine talking to Sondheim: When you say you don’t want to write the “wrong” song, I think what you are saying is that you have to understand why there is a song—what its purpose will be in the storytelling and how it serves that overall dramatic arc.


Goes on to an interview with Stephen Graham, Andre Bishop and Ira Weitzman. Lapine visits Paris and the island. More talk with Sondheim about collaboration.


Sondheim and Lapine travel to Chicago to both view the painting and to talk with the experts. The things which they were bringing out in the play were confirmed by the experts.


Quotes from Stephen Sondheim’s Look, I Made a Hat about the concepts of color and light.This lead to Sondheim using more rhythm and language than rhyme in his songs for the play. In the dialogue with Lapine and Sondheim, they talk about how they worked in sync with each other.




Sondheim goes off-Broadway

The play would be put together as a workshop-not a common path to a full blown play in those days.


Conversation with Bishop and Weitzman. Bishop talks about how he was having troubles with Mrs. Richard Rodgers who was head of the New York Council on the Arts-a source of funding.


Short interview with Sondheim.


Casting-how Bernadette Peters and Mandy Patinkin got involved. And then the other parts-talking with John Lyons-who was the casting director; Gemignani, Paul (Musical Director); Baranski, Christine; Ferland, Danielle;Mastrantonio, Mary Elizabeth; Open, Nancy; and Spiner, Brent. There are some pretty talented actors in this group.


Lapine noted that Sondheim told him that If an actor is not the world’s best singer, they at least have to be musical. They have to have confidence as a singer. That was a lesson I learned the hard way.


Lapine about casting: I want to create a workspace where I don’t have to feel afraid of making mistakes, and I want to be surrounded by people who feel similarly.


On to design. Short conversation with Straiges, Tony and first conversation with Sperling, Ted.


Then to costumes: Hould-Ward, Ann conversation. Talks about the iron dress which Peters wore so she could step right out of the costume.


A short paragraph on lighting. Then the music team: more conversation with Gemignani, Paul


More on script development, along with the songs. Interview with William Parry. Short conversations with . Bernadette Peters, Mandy Patinkin, and Ferland, Danielle. Then with one of the stage managers-Robertson, Loretta. Then Nancy Opel (actor), and then Steven Sondheim.


Because Mandy Patinkin was George and George was an artist, Lapine had Patinkin learn to draw. Patinkin said: You can’t give me a better gift than a task. Isn’t that true? If you have a meaningful task, you have purpose. Purpose is what we all desire.


Conversation with Mastrantonio, Mary Elizabeth about how a song would develop. Then Melanie Vaughn. Then Open, Nancy; and Spiner, Brent. Then Weitzman, Ira; Baranski, Christine and Vaughan, Melanie


Another conversion with Sondheim-about how Dog Song came about. Then Johnna Murray.


Another conversation with Andre Bishop, then Sondheim. Sondheimg: Let’s try this”—a semi-improvisational thing that you do. It’s something I wasn’t used to, but it’s part of the same process, which is, Just let me get the feel of it. It was the way you worked, so I worked that way, too. This talks about the flexibility each person must have, working with someone else.


Because this was a workshop, there were performances in progress. The play did not have a completed first act and definitely no second act. Sondheim had found his niche-this was the way he wanted to work. He was able to see what worked and what did not work in front of an audience who knew this was not a finished product. One of the suggestions which came out of this was for Dot’s character-rather than saying she was learning to read, show that she was. Conversation with Andre Bishop

BISHOP: I came to realize that even legendary artists as experienced and successful and knowledgeable as Sondheim needed to be bolstered and supported.

LAPINE: Steve was vulnerable and maybe a little insecure, like the rest of us.

BISHOP: And I always point this out as the greatest piece of advice that anyone has ever given me about producing—plays, musicals, readings, whatever; you must always say something supportive.

Important outside of the theater too. Be supportive.


Now that there were audiences, the stress increased. Patnikin was having a tough time of it. In a previous show, Lapine was given the advice, Why do you want to have an actor in your show that doesn’t want to be there? This is probably good advice for anything. If I had been told this when I was supervising, I might have approached certain people differently. On the other hand, there is a need to understand and help a person out with insecurity.I suspect one has to ask yourself, is this a good fit for a person? Or is the person lacking confidence?


Move conversations: Kelsey Grammer, Brent Spinner, Ferland, Danielle Gemignani, Paul. Gemignani noted that things were not smooth and that Lapine was getting stressed when things did not go right. The fact is, it’s not a popularity contest. Get the job done.


Conversation with Robertson, Loretta on the song Finishing the Hat. Lapine thought the song gave the whole production coherence. Conversations with Nancy Opel, Sondheim and Michael Starobin.


Lapine talks a bit having dinner with Sondheim and Sondheim wanting to do his next show with him. This was such a great vindication for Lapine that he was going in the right direction. There is always a sense of uplifting when someone wants to be with you.


Sondheim goes into how he composed-serially. He said that the theory he learnt was from Milton Babbitt. Lapine and Sondheim went in various ways they thought about creating the play. Such as Seurat used 12 colors and there are 12 notes in an octave. But it did not work. On the other hand, they had this wonderfully expressive painting with a silent painter, so they could make up a lot of things. Sondheim notes that he [didn’t] think he [Seurat] would have been any fun to have dinner with.


Lapine quotes Emmanuel (Manny) Azenburg, saying: The book of a musical is a very underrated thing. It’s a vital organ that gets dismissed and nobody knows who wrote it. But if you have a book that doesn’t engage, you don’t really hear the music,


Lapine notes there is not one set way of creating a musical. Lapine and Sondheim have used three different processes in three different musicals-he goes through the three. One thing which Lapine does is to write a sentence or two to make sure that the writing and music are in sync with the focus.


Towards the end of the workshop, what they had of the second act was presented-it was very incomplete. Conversations with Sondheim, Mastrantonio, Mary Elizabeth, Opel, Nancy. These performances showed what worked and what did not work.



Lapine goes Broadway

Lapine and Sondheim had taken the summer off after the workshop. Lapine has a conversation with Azenberg, Emanuel about producing Broadway shows. Sondheim’s reputation is what allowed the play to be pushed to Broadway, even though the second act was not there.


Conversations with Sondheim about his work habits. Then a letter threatening that they hold off production until another show gets produced. But that faded away


Conversation with Brent Spiner. Andre Bishop, then Sondheim on going to Broadway so fast. Some trimming of the show. Then talking with Kathryn Grody-Mandy Pantkin’s wife-he had been offered a part with Dustin Hoffman. Then back to Sondheim, discussing getting Peters on board, filling out the Dot role.


Talks about how Broadway contracts are governed. Then conversation with Sarah Douglas who worked with Sondheim’s agent Flora Roberts. One thing said was that Roberts was passionate about Sunday. I wonder what would make a person that way? When Roberts did not know something or understand, she would ask. I’ll have Manny Azenberg come to the office. We’ll have sandwiches over the desk, and he’ll teach us about pools.” He came in, and that’s what happened before the meeting with the Dramatists Guild.


Talked with his agent, George Lane. It was said that Sondheim could have asked for a lot more and taken more of Lapine’s share, but he wanted just the minimum of the Guild’s agreement. Conversation with Sondheim’s lawyer-Breglio, John about how the contract was finessed.Lapine ends up getting paid the minimum.


The question of who to bring forward from the workshop to Broadway came up. There were people who Lapine found difficult to work with. Conversation with Vaughan, Melanie. And then D’Arcy, Mary. Others left to be part of other shows based upon what people saw at the workshop. So new people were brought in. Conversation with Kimbrough, Charles. Noted that he was told to see Sunday when it was a workshop--he was sold on it.He talked about Sondheim’s relationship with a previous playwright. Also he thought that Lapine coming into Broadway through a workshop background worked to Lapine’s advantage.


Conversation with Barbara Bryne. She wanted to be in character at the start of the play.


Conversation with Straiges, Tony on stage design. Talked about the rake of the stage-a theater stage that slopes upwards, away from the audience. Interesting, this is where the term upstaging comes from. When the person in back is higher than the person closer to the audience. I did not know that.


Conversation with Hould-Ward, Ann on costuming. Mostly about budget and negotiations.


Back to Sondheim about the second act and the art being “inventive.” This brought to a conversation with Bran Ferren-about projection mapping. This brought in the chromolume-a made up machine. It was built with lasers.


You would think sound and Sondheim would go together. But there was more than that. Conversation with Tom Morse, sound person. Actors not mic’d, Lapine wanted an “acoustic” sound. Much different than today.


Conversation about the artwork/posters with Verlizzo, Frank. He said that The poster is longevity personalfied. Wonder how he really meant this? About the show? The artist? The people shown in a poster?


The Music Team. Sondheim’s usual orchestra conductor was busy. But Sondheim was given advice that leading a large orchestra on Broadway is different than a smaller version. Conversation with Starobin, Michael who led the orchestra-who was the rehearsal pianist so he already had a taste of what the show was about. He felt the orchestra added punctuation to the actor’s voice. During the audition, Starobin over orchestrated Sondheim's work-sounded too busy. But got the job anyway. Seems like there was some friction and respect among the music people. Gemignani, Paul comments about working with the various people Sondheim has worked with. Then Starobin talks about working with Gemignani. He also goes through the process of scoring the musical. The talking with Paul Ford and Ted Sperling.


There was a need for a person to look at character movement-that would be choreography. Conversation with Zinn, Randolyn. Talked about the development of the movement of various characters. I get the feeling that she helped the show move up to the next level visually.


And then there was stage management with Charles Blackwell. Short dialog with Robertson, Loretta and Azenberg, Emanuel.


Sondheim and Lapine worked on streamlining the musical, to remove superfluous parts of it, added in some places to make it more meaningful. Even cutting out whole songs. Most of the musical was familiar to those who did the workshop, but needed to be taught to the new actors.


Short dialogue with Westenberg, Robert . Talking about having to let go an actor. Conversation with Dana Ivey. Then Kimbrough, Charles . Back to costumes with Hould-Ward, Ann . She noted that Lapine seemed in control and was able to communicate well what he wanted. Lapine was in awe how a costume could accent a scene and a message.


Conversation with Starobin, Michael on bringing in the orchestra. Starobin was trying things which he felt could get him fired. But on the other hand, there was something of a relief knowing that is the worst which could happen. He notes that Gemignani is the best conductor on Broadway because he conducts acts, not songs.



The Booth Theater

Kimbrough, Charles thought Lapine was tough because he knew what he wanted and got it. Then Bernadette Peters had concerns about the wardrobe. And making it work. Hould-Ward, Ann explained how the mechanical dress Peters wore worked. Ted Sperling about a comment he made on the dress. Then about Bernadette Peters playing an old woman in the second act.


First preview. Turns out it did not go very well. Sondheim explains that this is how Broadway is, rising expectations, it is not a workshop. Lapine expresses how he was not ready for this. Paul Ford’s thoughts of excitement and deflation. Conversation with Tom Morse.


Paying customers started coming and it was terrible. Then Sondheim. Starobin on sound or lack of it. Hould-Ward, Ann on crowd reaction. Azenberg, Emanuel thoughts on crowd reaction. John Lyons dialogue with Lapine. Also Sperling, Ted.


Previews. Thoughts from Baranski, Christine , then Dana Ivey, Mary D’Arcy, Barbara bryne, Nancy Opel, WIlliam Parry. Interesting how the actors now were taking possession of the show, “our” show. Then Sondheim, Mandy Pantikin, Bernadette Peters, Peters notes that shows go wrong when the director loses focus. Philip Smith, the producer. Then Sondheim again.


From the feedback, they trimmed scenes and made things tighter. Both Peters and Pantikin wanted to get things right. Gemignani, Paul helped keep things together.He notes that whenever the actors feel secure, they have more freedom to grow and expand the song. Talked with Robertson, Loretta about growing from the previews. Then dialog with Mary D’Arcy, Mandy Pantikin, then how Azenberg, Emanuel gets involved with a show.


Conversation with Sondheim. An audience needs to be able to show its appreciation. It helps validate their enjoyment and encourages anyone on the fence to get on board.


Johnny Cash came to see the preview of the show.


Lapine talking with Patnikin told him that he has learned to be more supportive of actors, but I can’t fake it and sometimes I can get very lost in the details of the work. Peters noted that Patnikin could be difficult to work with particularly since he was getting so much into the Seurat character who was complex and on the whole not a very nice person to be around. Azenberg, Emanuel noted that part of the job [of being a director] is to seduce an actor into being better. Kathyrn Grody, Patnikin’s wife, noted that once Lapine started taking charge, Patnikin felt better. To communicate better, Lapine started giving Patnikin written notes at the end of the day and not in person. Patnikin noted this gave him time to digest what Lapine was saying. Kathyrn Grody noted that as the show was getting closer, Patnikin was a nervous wreck-he saw professional help which gave him good perspective.


Even during previews, there were two songs which were not in the show yet. Sondheim had not written them yet. Conversation with Sondheim about what was going on behind the scenes. He notes that the problem with songwriting is figuring out what you are going to do. Lapine thought the song Children and Art explained the show while Lesson #8 explained George. The two discuss what stressed them out and how they approached their craft. To Sondheim, the words come first, then the rhythm. Sondheim says that in every score he writes, there is a Harold Arlen song-a heart that is breaking. In putting together a song, Sondheim would look for rhyming words and quatrains. Then he does some free associations. Oscar Hammerstein made a career out of preaching in music. Sondheim notes that when the music is used correctly, then the whole thing comes together.

Starobin, Michael and Gemignani, Paul getting the last two songs less than a week before the opening. Orchestration was not there so it began with just a piano, but the orchestra figured it out and played along. Exciting. Then Kimbrough, Charles gave his take. Along with William Parry. Then Mandy Patinkin talked about the difference the two songs made.

Lapine made a final plea at the final rehearsal. He got emotional and it resonated with the actors. William Parry and Mandy Patinkin give their take on it.

Opening night Show was good. Reviews were not on previous shows.



Finale.

Awards the musical received include things like New York Drama Critics and the Drama Desk Award for Best Musical. They also received a large number of nominations for the Tony’s. But was disappointed to receive none.This let down put awards into perspective for Lapine. Conversation with Robertson, Loretta.


But it did receive the Pulitzer Prize for Drama, a rare award for a musical.


In retrospect, Lapine does not think he could have put together the same show now (2021) as when they did. It would have had a different metamorphosis. He also was greeted with the “rising” star type of title-everything would be compared to this show. But also he had a recognizable name. The musical still sends a message to him.


Then he talks about endings: There are mixed feelings when you are facing the finality of an effort—on the one hand, relief, and on the other, trepidation as you send it into the world.



Sunday in the Park with George (script for the musical)

The script of the musical is at the end of the book. The first scene shows how regimented George is. Dot loves her life with George, but missing a life with George. George does not connect with her emotionally. You are left with how come George and his mother are estranged, yet she wants to watch him. Various people either analyze George or make fun of him.


Dot is learning to read. She is now going with a baker.


Act II opens with the actors in the position of the painting, like how it closed Act I. George sees the painting and has a series of thoughts including, Could darkness be an inviting place? I wonder if Lapine ever read CS Lewis’ Till We Have Faces. In there Lewis says: Holy places are dark places. It is life and strength, not knowledge and words, that we get in them. Holy wisdom is not clear and thin like water, but thick and dark like blood.


The characters on the painting reflect. They talk about how George died.


Scene changes to 1984. George’s great-grandson and George’s daughter, Marie, are reading at a presentation. The great-grandson is also named George and is a modern artist who creates a machine to show the works of arts. The idea is that like George Seurat, this modern George was creating a technique for creating art not used before.


During the showing, modern George shows a picture of Sunday in the Park. He notes that Monet, Renoir, and Sisley withdrew their submissions because of his painting from the Eighth Impressionist Exhibition. From the musical you get the impression that it was because of Seurat’s painting. But that seems to be just one of the reasons


There is a bit of technical mambo-jumbo from modern George about a microcomputer controlling the voltage regulator.


A dialogue/music about art not being easy and is expensive. .


An art critic notes that once modern George was new and exciting, but now he is getting repetitive.


there are only two worthwhile things to leave behind when you depart this world: children and art. Said by Marie, Are there not other things in this world? Such as improving others? Living truly? ….


Said by Marie, Isn’t it lovely how artists can capture us. Do they really? What makes an artist? Is it the ability to see beyond the surface and bring it out? What are they capturing? Are we not that at other times Or if the artist is seeing something else?


There is a dialogue between modern George and his assistant about quitting. They both are quitting to do something different. But is that reason enough? Should we quit doing something which is bringing good to do something different? I am not judging them, but more the statement. I do not think it is something out there as a rule.



Evaluation:

Putting It Together by James Lapine just did not connect with me. I suspect it may be that my interests do not lie in the same direction as the authors. The book is a series of conversations Lapine has with actors, production staff, executives and, of course, Steven Sondheim concerning the creation and the start of production of the musical, Sunday in the Park with George. Lapine does provide some commentary around many of the conversations.


To me, most of the conversations were not that interesting, and only illuminated how ill-prepared the musical was for an audience. Some of the conversations, particularly with Sondheim, shed light on the process of writing songs for musicals. Other conversations gave hints about how management of actors and staff affected the musical coming together.


I suspect that if you love the theater, this book would be of interest to you. Even then there are some big names such as: Bernadette Peters, Mandy Patnikin, Kelsey Grammer, and Brent Spriner. But for me, this book just did not resonate.


 
Notes from my book group:



Body of the Book



Lapine wrote this book for two reasons:

  • This book, then, is a mixed salad: one part memoir, one part oral history, one part “how a musical gets written and produced.”

  • Another reason I decided to write this: it would have been so helpful to me as both writer and director to have had a book like this to read in 1982, before I embarked on my first Broadway show.

Do you think he accomplished his goal?


Before reading this book, how did you think a show got put together? Do you think Sunday In The Park with George is how these are normally done?


What surprised you about how a show is developed?


Lapine was reminded that memory is uniquely personal and, as time passes, the facts of an event are often rewritten to reflect the teller and the stories he or she chooses to hold true…. I am not the same person, the same writer, the same director I was then, and many of the people I spoke to are quick to make a similar point about themselves. Discuss this statement. Should you trust any autobiography given this statement? How do we shape our memories to fit into how we want to think of ourselves?


In the initial dialogue with Sondheim, Sondheim brings up that he was not worried about long-running shows. Besides having people come out night after night, how do shows have long runs? How does quality of production and script mix into having a long running show? .Do you think Sondheim was concerned about investors getting back their money? Doesn’t a long-running show also indicate quality?


Sondheim and Lapine discuss bad songs and wrong songs. What makes a song wrong? Why is it the wrong song, even if it is good?


Sondheim notes that when the music is used correctly, then the whole thing comes together. What does he mean by this?


Lapine said I want to create a workspace where I don’t have to feel afraid of making mistakes, and I want to be surrounded by people who feel similarly. Is this a good way to work? How does a person or an organization get to be this way? How do you react when a person makes a mistake? Particularly if there is a lot of hurt involved? Is the statement about whenever the actors feel secure, they have more freedom to grow and expand the song a reciprocal of lack of fear of making mistakes?


When Lapine told Patnikin to learn how to paint/draw, Patnikin said: You can’t give me a better gift than a task. Is this true? How do you feel when you are given a meaningful task?


Why is Lapine concerned about Sondheim leaving the show? What does this say about Lapine? What does it say about Sondheim staying with the show?


If you attended a workshop performance, would you feel cheated not having the full musical? Or would you feel like you were informed? Would you even go?


When talking with the person who did the posters, Verlizzo said posters were longevity personalfied. What is meant by that phrase?


An audience needs to be able to show its appreciation. It helps validate their enjoyment and encourages anyone on the fence to get on board. How does an appreciative audience affect the actors? The audience?


Azenberg noted that part of the job [of being a director] is to seduce an actor into being better. Anybody want to comment on this?



Scripts

The George Seurat character asks the question, Could darkness be an inviting place? What is your answer to this question? Is there an attraction to dark places? How do you think Lapine would react to a statement CS Lewis makes in his book “‘Till We Have Faces”: Holy places are dark places. It is life and strength, not knowledge and words, that we get in them. Holy wisdom is not clear and thin like water, but thick and dark like blood.


It seems like Lapine shows the painters as being uncaring. Is this true? Is this how you see painters? Is Dot’s critique of George, only caring about things, not people true?


Is there significance in the musical Sunday in the Park with George?


In the second act, there is the thought of being stuck in a rut. The modern George has his seventh version of the Chromolume. Why do you think we are driven to do something new? Is it a disservice to a person to be happy doing the same thing again? Why is newness expected?


Marie says that there are only two worthwhile things to leave behind when you depart this world: children and art. Discuss this statement. Are there other things worthwhile leaving behind after you die?


Marie also says Isn’t it lovely how artists can capture us?'' Do they really? What makes an artist? Is it the ability to see beyond the surface and bring it out? What are they capturing? Are we not that at other times Or if the artist is seeing something else?


When you see a play or a musical now, what appreciations do you bring to the production that you might not have before?


How do you want your life to change because you read this book?



Many of these questions are either from or adapted from LitLovers.

Why the title of Putting It Together?

Every story has a world view. Were you able to identify this story’s world view? What was it? How did it affect the story?

Why do you think the author wrote this book?

What would you ask the author if you had a chance?

What “takeaways” did you have from this book?

What central ideas does the author present?

Describe the culture talked about in the book.

How is the culture described in this book different than where we live?

What economic or political situations are described?

Does the author examine economics and politics, family traditions, the arts, religious beliefs, language or food?

How did this book affect your view of the world?

Talk about specific passages that struck you as significant—or interesting, profound, amusing, illuminating, disturbing, sad...?

What was memorable?

 

New Words:
  • proboscis-the nose of a mammal, especially when it is long and mobile such as the trunk of an elephant or the snout of a tapir.
  • pastiche-an artistic work in a style that imitates that of another work, artist, or period.
  • pointillist-The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a fuller range of tones.
  • leitmotifs-a recurrent theme throughout a musical or literary composition, associated with a particular person, idea, or situation.
  • interstitial-of, forming, or occupying interstices.
  • raked stage- A sloping stage which is raised at the back (upstage) end. All theatres used to be built with raked stages as a matter of course. Today, the stage is often left flat and the auditorium is raked to improve the view of the stage from all seats.
  • proscenium-the part of a theater stage in front of the curtain.
  • Arpeggiated-play (a chord) as a series of ascending or descending notes.
  • gavotte-a medium-paced French dance, popular in the 18th century
  • Chromolume-made up word.
Book References:
  • Georges Seurat: Un dimanche après-midi à l’Île de la Grande Jatte (A Sunday Afternoon on the Island of La Grande Jatte, sometimes titled A Sunday on La Grande Jatte—1884)
  • Look, I Made a Hat by Stephen Sondheim
  • Finishing the Hat by Stephen Sondheim
  • The Complete Rhyming Dictionary by Clement Wood

Good Quotes:
  • First Line: I was sitting in the Hudson Theatre in 2017, watching a Broadway revival of Sunday in the Park with George, a musical for which Stephen Sondheim wrote the music and lyrics and I wrote the book.
  • Last Line: Light fades to black
  • Songs—music—can be very intrusive. That’s what worried me. Steven Sondheim, Chp Steven Sondheim
  • there are only two worthwhile things to leave behind when you depart this world: children and art. Act II
 
Table of Contents:
  • Dramatis personae
  • From Ohio to Sondheim
  • Stephen Sondheim
  • Sondheim goes off-Broadway
  • Lapine goes Broadway
  • The Booth Theater
  • Finale.

References: