Andrew Lloyd Webber's musical "Song and Dance" is a unique theatrical creation, notable for its two distinct acts: one told entirely through song and the other through dance. This innovative structure, which ultimately unites a love story, evolved from two separate pieces of music. The journey from individual compositions to a unified Broadway production in 1985 involved significant creative collaboration and adaptation, showcasing how disparate artistic
ideas can be woven into a cohesive narrative. The musical's development highlights the collaborative nature of theater, with contributions from lyricists and producers shaping its final form.
From Separate Concepts to a Unified Vision
The "Song" portion of the musical, initially titled "Tell Me on a Sunday," was specifically crafted for Marti Webb. It first saw the light of day at the Sydmonton Festival in the summer of 1979. Following this debut, it was recorded and broadcast as a one-hour television special by the BBC in January of the following year. This early presentation established the narrative core of the first act, focusing on a young English woman's experiences in New York City.
Concurrently, the "Dance" portion, based on Andrew Lloyd Webber's "Variations," had its own history. Recorded in 1978, this instrumental piece nearly became integrated into another of Lloyd Webber's famous works, "Cats." Its opening sequence was even utilized as the theme music for London Weekend Television's "South Bank Show." The idea to combine these two distinct musical entities came from producer Cameron Mackintosh. He proposed uniting them under the umbrella title "Song and Dance," a name that clearly acknowledged the primary artistic focus of each act, billing the combined piece as "a concert for the theatre."
Creative Adaptations and Orchestral Refinements
Bringing "Song" and "Dance" together required more than just a title; it necessitated creative adjustments to ensure a seamless narrative and musical flow. Lyricist Don Black played a crucial role in this process, altering some of the songs from the original "Tell Me on a Sunday" album and collaborating with Lloyd Webber on new material. This included the addition of songs such as "The Last Man in My Life," "I Love New York," and "Married Man." Notably, "Married Man" was set to the same tune as an earlier piece, "Sheldon Bloom," demonstrating a clever reuse of musical themes.
Further musical refinement involved the orchestration of "Variations." A new arrangement was produced for a sixteen-piece theater orchestra, adapting the original symphonic version that had been performed by the London Philharmonic Orchestra. Harry Rabinowitz, who had conducted the original, retained the baton for the stage production, ensuring continuity in musical direction. A key element in melding the two halves of the musical was the song "When You Want to Fall in Love." This tune, previously released by Marti Webb and Justin Hayward as "Unexpected Song," was later added to the score and strategically placed at the climax of the dance section, serving as a musical bridge between the two acts and their converging storylines.
Broadway Debut and Critical Recognition
The combined "Song and Dance" premiered on Broadway in 1985, bringing its unique two-act structure to American audiences. The production garnered significant attention, including several Tony Award nominations. Willa Kim was nominated for Best Costume Design, Jules Fisher for Best Lighting Design, Peter Martins for Best Choreography, and Richard Maltby Jr. for Best Direction of a Musical. These nominations highlight the comprehensive artistic effort involved in bringing the show to the stage, recognizing contributions across various creative disciplines.
The Broadway version also featured a slightly altered musical number list compared to its London predecessor, with songs like "So Much to Do in New York" and "English Girls" appearing in the American production. The cast album for the Broadway run, featuring Bernadette Peters, was released by RCA Victor, though it notably only included the "Songs" segment, with the "Dance" segment not being recorded for this album. This reflects the distinct nature of the two acts, even within the unified production.
