Charles Strouse

There's a first performance for you.

There's a first performance for you.

That was her genius. That's why I can laugh at it. I can also laugh at it because I've had, you know, some successful shows. But her genius was really taking a young kid like me. I was quite young when I was there. I was around 18 or so. And I know from my own experience with my own children what it is to be searching for an identity. And she...

That was her genius. That's why I can laugh at it. I can also laugh at it because I've had, you know, some successful shows. But her genius was really taking a young kid like me. I was quite young when I was there. I was around 18 or so. And I know from my own experience with my own children what it is to be searching for an identity. And she...

That was her genius. That's why I can laugh at it. I can also laugh at it because I've had, you know, some successful shows. But her genius was really taking a young kid like me. I was quite young when I was there. I was around 18 or so. And I know from my own experience with my own children what it is to be searching for an identity. And she...

in her soft, brilliant way, was able to contribute to my identifying who I was.

in her soft, brilliant way, was able to contribute to my identifying who I was.

in her soft, brilliant way, was able to contribute to my identifying who I was.

Yes, it does. Well, there are a number of feelings I have about the song. The first one always had been and still stays with me. It's the one song in this show of a personal nature in the show that could not have been written in the 30s. And I could say the same perhaps for Hard Knock Life, but Hard Knock Life was a bit of dramatic music where I was kind of outside it in a way.

Yes, it does. Well, there are a number of feelings I have about the song. The first one always had been and still stays with me. It's the one song in this show of a personal nature in the show that could not have been written in the 30s. And I could say the same perhaps for Hard Knock Life, but Hard Knock Life was a bit of dramatic music where I was kind of outside it in a way.

Yes, it does. Well, there are a number of feelings I have about the song. The first one always had been and still stays with me. It's the one song in this show of a personal nature in the show that could not have been written in the 30s. And I could say the same perhaps for Hard Knock Life, but Hard Knock Life was a bit of dramatic music where I was kind of outside it in a way.

But here's a song of a girl during the Depression, and this song definitely could only have been written in the 70s, the harmonies and the kind of melodic. So I thought... If nothing else, I mean, I didn't think the show was going to be successful, but I certainly felt as though critics were going to say, now wait a second, how could they write this?

But here's a song of a girl during the Depression, and this song definitely could only have been written in the 70s, the harmonies and the kind of melodic. So I thought... If nothing else, I mean, I didn't think the show was going to be successful, but I certainly felt as though critics were going to say, now wait a second, how could they write this?

But here's a song of a girl during the Depression, and this song definitely could only have been written in the 70s, the harmonies and the kind of melodic. So I thought... If nothing else, I mean, I didn't think the show was going to be successful, but I certainly felt as though critics were going to say, now wait a second, how could they write this?

Everything else was, we'd like to thank you, Herbert Hoover, and I don't need anything but you. They were kind of pastiches using Harry Warren and Cole Porter and those kind of Gershwin composers as the filter, so to speak. But that song, no. And it was just out of another era completely. So that was my first thing about it.

Everything else was, we'd like to thank you, Herbert Hoover, and I don't need anything but you. They were kind of pastiches using Harry Warren and Cole Porter and those kind of Gershwin composers as the filter, so to speak. But that song, no. And it was just out of another era completely. So that was my first thing about it.

Everything else was, we'd like to thank you, Herbert Hoover, and I don't need anything but you. They were kind of pastiches using Harry Warren and Cole Porter and those kind of Gershwin composers as the filter, so to speak. But that song, no. And it was just out of another era completely. So that was my first thing about it.

The second thing about it was that nobody could sing it because it was so rangy. And the third thing about it, which is... It's just curious. I've worked with a number of collaborators... though I've worked mostly with Lee Adams, but, you know, I've done a show with Sammy Kahn, with Alan Jay Lerner, with Richard Maltby. I mean, there have just been a lot of them, Stephen Schwartz in my life.

The second thing about it was that nobody could sing it because it was so rangy. And the third thing about it, which is... It's just curious. I've worked with a number of collaborators... though I've worked mostly with Lee Adams, but, you know, I've done a show with Sammy Kahn, with Alan Jay Lerner, with Richard Maltby. I mean, there have just been a lot of them, Stephen Schwartz in my life.

The second thing about it was that nobody could sing it because it was so rangy. And the third thing about it, which is... It's just curious. I've worked with a number of collaborators... though I've worked mostly with Lee Adams, but, you know, I've done a show with Sammy Kahn, with Alan Jay Lerner, with Richard Maltby. I mean, there have just been a lot of them, Stephen Schwartz in my life.