You know, the songs that are often cut or shortened for film or later revivals.
Some of mine:
"I'm Only Thinking of Him" - Man of La Mancha
"We'd Like to Thank You, Herbert Hoover"- Annie
"Parlor Songs" - Sweeney Todd
I guess I didn't mean peripehral as much as the songs that DON'T make the show.
"Mama, I'm a Big Girl Now" – Edna, Tracy, Velma, Amber, Prudy, and Penny
"This Ain't No Party" - Dreamgirls
I love them both so much, it's a shame they didn't make into the film versions.
I'd rather they kept in "Mama, I'm a Big Girl Now" and took out "You're Timeless to Me" which, on both Broadway and the film, just needlessly stops everything dead.
[quote]"We'd Like to Thank You, Herbert Hoover"- Annie
Love that one too.
"The Music That Makes Me Dance" from "Funny Girl".
"You Won't Be an Orphan for Long," "We'd Like to Thank You, Herbert Hoover," and "NYC" -- Annie
"My Ship" -- Lady in the Dark (insanely, it was cut for the movie, and is only done instrumentally)
"Fan Tan Fannie" -- Flower Drum Song (only done instrumentally in the movie)
"It Couldn't Please Me More (The Pineapple Song)," "Married," "Perfectly Marvelous" and "Don't Tell Mama" -- Cabaret (ditto)
"No Way to Stop It" and "How Can Love Survive?" -- The Sound of Music
A Weekend at Hareford from Me amd My Girl...
"On the S. S. Bernard Cohn" and "When We're 65" -- On a Clear Day You Can See Forever
"There's No Cure Like Travel" -- Anything Goes
Another vote for "Ain't No Party" -- Dreamgirls
"I Can Cook, Too" from On the Town
Songs I'm perfectly happy that they cut from the movie versions:
"My White Knight" -- The Music Man (I hugely prefer the song that replaced it, "Being in Love")
"An Ordinary Couple" -- The Sound of Music (again, I prefer the song that replaced it, "Something Good")
"Sitting Pretty" -- Cabaret (again, I prefer the song that replaced it, "Money Makes the World Go Round")
"Henry Street" and "Rat-a-Tat-Tat" -- Funny Girl (you lose the period flavor "Rat-a-Tat-Tat" provides, but it's just not a good song)
"Something Was Missing" -- Annie (a pretty song, but it always seems creepy and pedophilic in terms of how it's sung and when in the stage show)
"Bonjour, the Language Song" from the "Unsinkable Molly Brown". And "Chick-a-Pen" too from the same show.
You need to rewatch your FDS DVD, R6 - "Fannie" is in there (with a terrific vocal by BJ Baker), in montage with "Gliding Through My Memoree".
It's that sequence where the traditional family sees Nancy Kwan doing her fan dance in the club and it shocks them.
Also hugely missed from "Dreamgirls": the Deena part from "When I First Saw You" ("There comes a time...")
But I was so happy they somehow managed to include the songs that exist in little snippets in the show: "Step on Over," "Love, Love Ya, Baby" and "I'm Somebody"
"Don't Tell Mama" (Cabaret) owns this thread
My Time of Day and I've Never been in love before cut from the movie version of Guys and Dolls (a horrible movie of a great show starting with the miscasting of Frank Sinatra as Nathan Detroit).
"Fan Tan Fannie" is also performed earlier in the Flower Drum Song movie, with its lyric, when Mei Lei and her father first come to the nightclub. So it's actually in the film twice.
"Chavale" Fiddler on the Roof, cut from the obc recording
"The Music That Makes Me Dance" and "Who are You Now?" Funny Girl
"My White Knight"
I always loved the song "That's How Young I Feel" from MAME, particularly the dance break. No doubt the song was cut from the film to avoid the obvious "That's How Old You Look" jokes aimed at Lucy.
When Ann Miller joined the Broadway company, the choreographer Onna White came back and expanded the number, adding a fabulous tap dance that none of the previous leading ladies could have done.
That 'I'm A Big Girl Now' song from HAIRSPRAY sounds like it was stolen from the Pull-Ups commercial.
I wish they'd kept in 'I Have Dreamed' from THE KING AND I. And I agree with the two FUNNY GIRL songs that R17 mentioned. Both gorgeous ballads.
Songs that were cut from movie versions--
"Don't Tell Mama" CABARET
"That's How Young I Feel" MAME- although it was pretty evident why this was cut.
"No Way to Stop It" and "How Can Love Survive?" from THE SOUND OF MUSIC.
"Before I Gaze at You Again" from CAMELOT.
"Hello,Hello There" and "Long Before I Knew You" from BELLS ARE RINGING.
The "Somewhere" Ballet and reprise from WEST SIDE STORY.
"I Have Dreamed" from THE KING AND I.
Not a movie but "SONG FOR A SUMMER NIGHT" from the live performance TV taping of Frank Loesser's THE MOST HAPPY FELLA.
"The Miller's Song" and all of the quartets' songs in A LITTLE NIGHT MUSIC. In fact the quartet was cut.
"Bushel and a Peck" from GUYS AND DOLLS.
"There But For You Go I," "Come to Me, Bend to Me" from BRIGADOON.
"Spanish Rosie" from BYE BYE BIRDIE (the theatrical version)
"Together Wherever We Go" from GYPSY.
All the songs that were cut from the screen version THE UNSINKABLE MOLLY BROWN.
Debbie had nothing to sing in the final third of that movie.
What R5 said... I would also add "Who Are You Now?"
"Together Wherever We Go" is the biggest surprise that was cut as it's not what I would consider a peripheral song.
They could have easily disposed of "Little Lamb" and replaced it with a line where Louise wonders how old she is.
"Together Wherever We Go" was filmed for GYPSY but it had to be cut when they decided to dub most of Roz's singing after the fact. All her songs, including that trio, were recorded live as the cameras rolled. Presumably it proved too costly and/or difficult to post-dub all three actors. They probably felt the lousy film was too long anyway.
"You Wanna Bet" - SWEET CHARITY
I used to have a recording of the bootleg workshop version of "Rent" which had some really hilarious numbers that I now can understand being cut from the show. All I can remember is that Allison, Benny's fiancée whose name no one can remembers in the final show, actually has her own song. And there's a line that goes, "A tow truck, Allison! A tow truck!" It was fucking bizarre and kind of hilarious. Wish I still had that tape. (Or a cassette player, for that matter!)
Wow, someone actually prefers A Woman in Love to My White Knight from The Music Man? I think that was one of the worst substitutions ever.
I also love "How Can Love Survive" from SOM.
I hate how the films somehow think we're satisfied when we get to hear an instrumental version of the song playing somewhere in the background.
I agree with you, R26. But wasn't "My White Knight" written by Frank Loesser (uncredited, of course.) I presume the substitution was done to simplify royalties over the film and its soundtrack album. The song "Motherhood" which was dropped from the film HELLO, DOLLY! was written by someone other than Jerry Herman and most likely cut for similar reasons.
Just about every song I love from "Grease" the stage musical was jettisoned from the film.
r13 Another song the movie version had that the original cast recording didn't is "Heavy" which I loved and thought was a great metaphor to help move the story along.
Judge Turpins solo of Johanna (Mia maxima culpa!) from the OBC album.
Without that song, there is nothing in the musical to masturbate to!
[quote]"Together Wherever We Go" from GYPSY.
I've known that song my whole life but never knew it was from Gypsy. Apart from various performances of "Rose's Turn" on various Tony Awards broadcasts I've only know the Rosalind Russell film version.
RE. 24 - Barb's version of "Wanna Bet" on her compilation set is fantastic, including holding the final note forever - as she does so amazingly , on so many of her songs.
I love the Molly Brown film, and was shocked to listen to the OBC and find how shit most of the score was. Granted, the film only had 3 good songs as well, but Meredith Wilson really knew how to write a terrible song.
No love for "Western People Funny"?
[quote]Wow, someone actually prefers A Woman in Love to My White Knight from The Music Man?
That would indeed have been awful; but they actually replaced "My White Knight" with "Being in Love," not with a Barbra Streisand song by the Brothers Gibb.
[quote]They could have easily disposed of "Little Lamb" and replaced it with a line where Louise wonders how old she is.
Jule Styne was very protective of that song. They wanted to cut it from the stage show, and he wouldn't let them; I think he had it written into the rights for the music for the show that it cannot be performed without "Little Lamb."
[quote]Another song the movie version had that the original cast recording didn't is "Heavy"
They do perform "Heavy" in the movie.
"I Have Dreamed" is the best song in the score. Still don't get that one.
"Those Magic Changes" from Grease.
I think I read somewhere that An Ordinary Couple was replaced by Something Good because Christopher Plummer wasn't confident singing it. Then they dubbed his voice anyway.
Here's the other side of it: songs written for film versions that were included in later revivals. Not sure why, this is a huge peeve of mine. Like the addition of "You Must Love Me" into the Evita revival, and "Hopelessly Devoted to You" in Grease.
An Ordinary Couple is one of R+H's worst songs.
One song from a movie that should be put into the show is "Just Leave Everything to Me" from Hello Dolly. Fabulous song.
Shipoopi. That's all.
Shipoopi is in the movie, isn't it?
Shipoopi is in the movie, but they cut about ten minutes out of it. HUGE dance number as written for the show.
"Fie on Goodness" is one of my favorite songs from Camelot, but it's nearly always cut. God forbid one of the boring ballads or lengthy book scenes get shortened.
R34, I love "Western People Funny." I also love "My Lord and Master." Two great songs from the King and I.
[quote]One song from a movie that should be put into the show is "Just Leave Everything to Me" from Hello Dolly. Fabulous song.
I never understood why they used it to replace "I Put My Hand In," which is just as good.
Maybe they were hoping for an Oscar song nomination.
I'm surprised no one has mentioned "I Got Lost In His Arms" from Annie Get Your Gun.
Baby, Dream Your Dream - Sweet Charity.
Blow, Gabriel, Blow - Anything Goes.
"Try to Remember" from fantastical "The Fantasticks".
"Before I Kiss the World Goodbye" from Jennie
I wish they'd kept "The Big Doll House" in the Hairspray movie.
I'm so glad to see there are other fans of these "little" songs out there. My sister always made fun of me for liking "We'd Like To Thank You, Herbert Hoover" and "How Can Love Survive" when we were kids.
They cut/changed a lot of songs from BEST LITTLE WHOREHOUSE IN TEXAS. "Doatsy Mae" is like all these other examples. I can totally understand why it was cut but it's one of my favorites.
[quote]I never understood why they used it to replace "I Put My Hand In," which is just as good.
Perhaps because "I Put My Hand In" is pretty much addressed directly to the audience whereas "Just Leave Everything to Me" is addressed to the people on the streets of NYC. Film is a realistic medium and it makes more sense to have Dolly introducing herself to the people on screen than those in the audience.
Look at Betty Hutton singing "You Can't Get a Man With a Gun" straight out to the audience in ANNIE GET YOUR GUN for an example of awkward and un-cinematic it is to replicate a stage performance on film.
r39 It is a proven fact that AN ORDINARY COUPLE causes cancer.
I would think the main reason for "Just Leave Everything to Me" was to give Streisand the chance to open the movie with a flashier vocal than the more staid "I Put My Hand In" could provide.
I Am Ashamed That Women Are So Simple, from Kiss Me Kate.
Moonshine Lullaby from Annie Get Your Gun.
I Have Dreamed was recorded for the movie version of The King and I and is on the soundtrack album.
"Frank Mills" -Hair
I blush to admit I always liked the cheesy pop number "Who Do You Think You Are?" from THE WIZ. It's not on the OBC album and it isn't in the movie either. It's a rather lame, repetitive song that is nevertheless maddeningly catchy.
Ah, but Underneath.
They should just give Phyllis two songs for Loveland, I can't choose between this and Lucy and Jessie.
Another Suitcase in Another Hall - Evita
Another Suitcase never gets cut. It was just given to hag-donna for the film.
Ah But Underneath is crap, crap, crap. Can't hold a candle to "Lucy and Jessie." It's just Sondheim showing off, masturbating in public.
And "My White Knight" is a much more interesting and beautiful song than "Being in Love," whether Loesser wrote it or not. However - that slot in the show was the most likely place to put a new song that might qualify for an Oscar nomination.
And the reference to "A Woman in Love" is not to Streisand but the song which replaced "I've Never Been in Love Before" in the movie of "Guys and Dolls" - previous poster got his song replacements mixed up is all.
Thanks, R60, that was a find.
You win the prize for naming the most "peripheral showtune" on the thread so far.
"Have an Eggroll" was the only one of Roz's songs that was filmed with her singing live on set in GYPSY. The rest she pre-recorded (and then they were replaced with Lisa Kirk, or in a couple of cases, mixed with Kirk's vocals).
The famous story (apocryphal?) is that Merman got ahold of Roz's pre-recordings and would play them at parties to give everyone a good laugh.
I always liked "Near to You," which didn't make it into the film of Damn Yankees. It's still in the show, though.
Isn't nearly every Merman story apocryphal?
I loved "Just Leave Everything to Me" as the underscore to "Waiters Gallop." Especially as they moved along twirling and snapping the tablecloths.
Even as a child I felt embarrassed watching the waiters gallop in the movie. It truly is the height of gayness on celluloid. All those mustaches.
Almost the entire score from the Shirley Booth, Melvyn Douglas flop JUNO. Some of the score is heartbreaking and beautiful.
I thought the reason "Ah, But Underneath" is used is when the actress isn't a dancer. It was used originally in the London cast for Diana Rigg and the Papermill Playhouse for Dee Hoty- who also sings "Lucy and Jessie" on the cast album.
[quote]I thought the reason "Ah, But Underneath" is used is when the actress isn't a dancer
Didn't stop me!
Blythe Danner, bumping into chorus boys
I think I read that Streisand asked for a "list" song (a la Cole Porter) for her first song in Hello Dolly, and Herman obliged her.
And may I just add that I hate Michael Crawford in that movie. And I love the cute ass of the actor playing the other clerk.
R42, the dance number is longer onstage than in the movie? That number in the film is pretty epic.
R47, great call. I love that song. one of my all time faves, thanks for mentioning it.
I think Michael Crawford is oddly attractive in Hello Dolly. But agreed about the other clerk.
Tommy Tune as Ambrose was awful though...freakishly tall.
"Absent Minded Me" from Funny Girl never even made it to the final stage version, but it appears on Streisand's People album. It's a great song.
I wonder what the contributions to this thread will be once Les Miserables opens on December 25.
"How Can Love Survive" owns this thread. Best song in the Sound of Music. I guess it was because Eleanor Parker couldn't sing.
"You Can't Catch a Man with a Cunt" from "Broadway Showgirls of 1933."
Sepulchral, R68, sepulchral.
"Who Taught Her Everything She Knows." from the stage version of "Funny Girl." Cut from the movie. Great song. Sadly all the Mother Brice songs are cut from the film.
The Broadway version of "Funny Girl" is full of songs that didn't make the film. And it's off because I think the film is flawed because there's this long, long dry patch with no songs whatsoever.
(Posted erroneously in another thread.)
"We'd Like to Thank You, Herbert Hoover" was ignored in both filmed versions of "Annie." It probably wouldn't have worked in Huston's glum version but it could have been included in the TV version. But they did do right by "NYC" in the TV adaptation.
"We'd Like to Thank You Herbert Hoover" is, thankfully, included in the new Broadway production.
There's a lot of confusion and misinformation in this thread.
"'My Ship" -- Lady in the Dark (insanely, it was cut for the movie, and is only done instrumentally).'"
Almost all of the songs from LADY IN THE DARK were cut from the abysmal movie version, so this is a bad example. "My Ship" is at least heard as underscoring in the movie.
"'Fan Tan Fannie' -- Flower Drum Song (only done instrumentally in the movie)."
As someone else pointed out, the song was NOT cut from the film. It's performed in full, with the lyrics, as Linda's nightclub number about 10 or 15 minutes in.
Also: "You Wanna Bet" never made it into SWEET CHARITY, so that's another bad example. The melody of the song was retained with a new set of lyrics, and it became the title song, "Sweet Charity."
As someone else noted, "Shipoopi" is a fairly long production number in the movie of THE MUSIC MAN, so I highly doubt that it was "10 minutes" longer in the stage version.
And as for "I Put My Hand In," I like the music of that number, but some of the lyrics are not very good at all. Also, I believe this is the song that's heard as underscore in "The Waiters' Gallop" in the movie, not "I Put My Hand In." (Maybe that's what the previous poster meant.)
"Lonely Room" from "Oklahoma"
[quote] Isn't nearly every Merman story apocryphal?
No, but most of them aren't true!
It's hard to imagine anyone actually loving "Lonely Room."
I can see why they cut "Over the Rainbow" from The Wizard of Oz. It really slowed the picture down.
"The song sounds like something for Jeanette MacDonald, not for a little girl singing in a barnyard."
Louis B. Mayer and Mervyn LeRoy
Her'es two examples that are to a large extent the polar opposite of each other.
I love many of the songs and the subplot of the stage version of CABARET. But that doesn't mean that it all shouldn't have been cut from the film of CABARET. They were cut for a reason and a very good one. Fosse had another vision for the film and it worked brilliantly.
Now, for an example of a song that's much better than its version in the stage show. The film version of "Glamorous Life" is one of Sondheim's greatest works, much better than the stage version which is still very good. Of course this doesn't change the fact that the movie of A LITTLE NIGHT MUSIC is a piece of shit.
I loved how the Judi Dench ALNM mixed both versions of A Glamorous Life. It's a pity that Sondheim apparently wasn't a fan.
I too dispute the assertion that "Shipoopi" is much longer in the show than it is in the movie. They might have cut a few measures here and there, but I believe all the sections of the dance music are still there.
I'm with R92- almost all of Shipoopi is ther
I think the melody of "I Put My Hand In" is better - much better - than "Just Leave Everything to Me," which is clearly an attempt to give Streisand a "driving" number a la Don't Rain on My Parade. They did the same thing with the movie arrangement of "So Long Dearie"
[quote]Almost all of the songs from LADY IN THE DARK were cut from the abysmal movie version, so this is a bad example. "My Ship" is at least heard as underscoring in the movie.
No, it not's. It's never sung in the film, and it's the song from that musical I particularly love.
You didn't read the condition in the OP very well for someone who is acting like a pompous know-it-all.
No love for Funny Girl's Cornet Man, in spite of its indecipherable lyrics?
A corn-flower blue Norfolk suit
R96 I like it... prefer it to 'Roller Skate Rag' that replaced it. FUNNY GIRL was the first Broadway show I saw.
But wasn't that a case of going back to the original. There was a rollerskating number out of town (Roller Skate Rag?)that was cut. However, the image remained on the show poster.
I agree, R82. Even as a kid i stopped watching the film of FUNNY GIRL after 'Don't Rain on My Parade'.
I also agree with R94 that 'Just Leave Everything to Me' does sound like a ripoff of '...Parade'.
I think that "Little Lamb" is of strategic importance in the dramatic trajectory of the show, even if it can feel like a maudlin interruption to the turbulent energy and fun of the rest of the show. At this point, the show has really been Rose and June's story, but here we're slowly being prepared for the rising importance of Louise's story. It drives home the idea that these little girls have been seriously robbed of a normal childhood and gives you a moment to concentrate on this particular little girl and win you to her side, perceive her loneliness and longing for affection. Then when "All I Need Is the Girl" comes along, you see that she's a blossoming woman, but still as lonely and lovelorn as ever. So when the moment comes when her mother pushes her out onstage to strip, in effect whoring her out, you see the heartbroken resignation in her submission to her fate. She'll never be loved or cherished, but the show must go on. And Herbie sees what's going on, and it's the final straw for him: when he walks out on her, it's the end of love for the Hovick family. And so on with the show.
Did not know that R98. Interesting as that logo with rollerskates is such a part of that show both on stage and film. Thanks for the info.
IIRC Cornet Man really doesn't serve any particular storytelling in the show, does it? Is it the number where Nick Arnstein first sees Fanny perform?
Roller Skate Rag in the film, OTOH, shows us that Fanny is really meant to be a comedienne and not a glamour girl. And it leads into I'd Rather Be Blue and Nick's fascination with Fanny.
Elaine Joyce, one of the roller skating girls
[quote] I think that "Little Lamb" is of strategic importance in the dramatic trajectory of the show, even if it can feel like a maudlin interruption to the turbulent energy and fun of the rest of the show.
What, R103? Is that all you've got to offer?
R100's post was informed and considered. Your infantile response brings to mind the old aphorism, "children should be seen and not heard" (though the less we see of your type around here the better).
Instagram is more your speed.
Right on, R104. Thank you for your good points well made, R100.
The entire score to HENRY, SWEET HENRY might seem peripheral, being one of those seldom-heard flops. It is full of big, brightly overstated tunes. In contrast, it contains a lovely little snippet called DO YOU EVER GO TO BOSTON? that captures a confused teen's awkward attempt to break the ice with her loving but mainly-absent father. Listening to that scene-song conjures up a neat bit of forgotten theater.
Anyone who likes the belting-and-brass musicals of the 60s, shows like MAME and FUNNY GIRL, would do well to get a copy of HENRY, SWEET HENRY. It's mostly fun in spite of Don Ameche who gets saddled with the worst material. Alice Playten, the pint-sized Ethel Merman, has two villainous songs that are to die for.
No thoughts on the Carrie and Bring it On cast recordings?
Also, I know nothing about this 35MM show: worth buying the recording?
[quote] There was a rollerskating number out of town (Roller Skate Rag?)that was cut. However, the image remained on the show poster.
The cut song that inspired the Funny Girl logo was called "I Did It On Rollerskates (and I Can't Wait to Do It On Skis)". It's a little comedy waltz number that doesn't sound like the movie's "Roller Skate Rag".
I can't imagine Streisand, who was walking through Funny Girl 6 months into the Broadway run (unless she knew their was a celebrity in the house), could have ever donned roller skates nightly and skated her way through a rigorous dance number like Roller Skate Rag on stage.
Btw, aren't those Irene Sharaff roller skating costumes with the shoulder grapes and striped velvet sheaths from the film to die for?
Is that really Barbra doing the roller-skating in the film? It doesn't look like camera tricks although there could have been strings or something pulling her along.
That said, I love "Roller Skate Rag." It's a fun song and great moment in the film.
Today we're living in a shanty...
Can I derail and state:
I'd love to see a revival of "On The Twentieth Century" -- the musical.
I love this show.
Peripheral Aniticpation is good for the soul but bad for the heart.
Two more frm Hallelujah Baby!
"Talking to Yourself"
kcguy,elder..yes old enough to have seen when i was a teen
The Germans at the Spa.
Whyyyy was this cut for the revival?! It doesn't really centre around Guido like the other songs but it's such a catchy melody and turns into such a frenzy of voices.
Oh the lilt, the cadence, the rhyming of "How can love survive." The worst omission in the history of cinema!
As a 48 yr-old who has known the music from the movie version of Sound of Music since I was a kid, it was interesting to me to download and listen to Broadway songs that didn't make the cut. To me it seems they were cut for good reason, as seem much more "routine" and not as inspired as the rest of the soundtrack. Is it because they haven't been pounded into my head for the last 40 years, or were they not included for good reason?
Do we have any A New Brain experts here? Malcolm Gets sang a cut song from that show at the LA Gay Men's Chorus Anniversary benefit a number of years back and I would kill to know there was a bootleg out there of it.
Does the gay love song from The Full Monty count as a peripheral showtune? Or is the whole show too peripheral?
Neither Eleanor Parker nor Richard Hayden could sing, r117. I imagine, to a degree, this might have played a part in cutting their songs, although they probably could have brought Marni in and had her dorp her voice and dub Parker. Although both are excellent, the one that really hurts is "How Can Love Survive?" which says something about the relationship of Elsa and the Captain.
And "No Way to Stop It" can be really chilling if done right. But I do understand that one being dropped.
The characters of Elsa and Max seem much more peripheral in the movie. I never felt like Elsa and Von Trapp had much of a relationship to stand in the way of him and Maria. The first time I saw the stage version I couldn't understand why those characters were getting so many scenes and songs.
"Why Should I Wake Up?" CABARET.
Is anyone familiar with the musical "La Strada"? It was Bernadette Peter's Broadway revue. It closed after one performance. I'm kind of curious because it could have worked as a musical. The music and lyrics were by Lionel Bart ("Oliver").
The great Larry Kert was in it also.
Hell is for Children by Pat Benatar
All the men in my life keep getting killed by Candarian Demons
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