Theatre yesterday and today



Featured Posts
Recent Posts
Search By Tags
No tags yet.
Follow Me
  • Twitter Social Icon
  • Instagram Social Icon
  • Tumblr Social Icon
  • Google+ Social Icon


Carolyn Leigh was as smart and tough a lyricist who has ever written for the theatre. Better known today for her pop songs, and though only credited with four Broadway shows, she was nonetheless a talent to be reckoned with. Born on this date in 1926, she collaborated with a number of different composers over the course of her career and wrote dozens of songs which bared her distinctive stamp: a mix of the sweet and sour. There was an air of Dorothy Parker about her. Leigh’s lyrics were often barbed and witty, but unlike Parker, she had the ability to be crushingly romantic.

Carolyn Leigh (circa 1960s)

Her best known works for the stage included the Mary Martin Peter Pan (a complicated legacy) with composer Moose Charlap, as well as Little Me, the Neil Simon musical comedy pastiche with Cy Coleman writing the music. That show produced “Real Live Girl,” perhaps the best known song from her theatre work. Another Coleman musical, the Lucille Ball star vehicle Wildcat, offered “Hey, Look Me Over,” which went on to be recorded by such big names as Bing Crosby, Louis Armstrong, Judy Garland and Rosemary Clooney.

“Wildcat” sheet music cira 1960.

Leigh died at age fifty-seven leaving several musical theatre projects incomplete. One of them, in collaboration with composer Marvin Hamlisch, was Smile, about teenagers competing in a beauty pageant, based on the 1975 film of the same name. The musical continued on without her, opening on Broadway unsuccessfully in 1986, three years after her death. Only by then, her lyrics had been jettisoned and Howard Ashman had taken on the job of writing an entirely new set. It was an indignity that if Leigh had lived to see (in the old joke) probably would have killed her.

I use the word tough in describing Leigh, because it is an accurate one. Born in the Bronx, Carolyn Rosenthal came into this world three years before the Great Depression took hold and had a reputation as a street fighter. Hers was a hardscrabble life from early on, working her way out of a poor family life. She attended Queens College and NYU, but didn’t graduate. She went through a succession of secretarial jobs, keeping her personal ambition fueled by cigarettes and writing stories and poems on the side. With encouragement, she began to figure out how to write songs. It wasn’t easy. As she once said, “There is no course in writing lyrics.”

While at a job she hated, Leigh accidentally dialed a music publisher at Sunbeam Music. It was your average wrong number, but the result of the conversation was the man on the other end of the line agreeing to sign her to a contract to write lyrics. Amazing, right? This was how at age twenty-five, Leigh’s career got launched a short time later when “I’m Waiting Just for You,” written with Henry Glover was recorded by 1950s singing star, Pat Boone. The song became a hit, as did her second one, “Young at Heart,” written with Johnny Richards. Mostly due to Frank Sinatra’s famous recording, it is well remembered today. Personally, I’ve always found a rendition sung by Jimmy Durante on the old 1960s TV variety show The Hollywood Palace, a particularly rewarding listen … as well as a visual (that battered fedora!). But also because it offers the chance to hear the song’s rarely heard intro, even if Durante chooses to speak it (as you can see and hear in the link below):

As a pioneer in a male-dominated field, Leigh was out on the same limb as her fellow lyricist Dorothy Fields. As Stephen Sondheim has written, “they were virtually the only two prominent female practitioners in what was a man’s profession at the time.” He also believed that Leigh was, as he puts it, “not a stage writer.” Sondheim’s belief is that Leigh wrote mainly about aspects of herself, and that “except for gender pronouns, many of her theatre songs could be switched among the show’s characters with little disruption.”

Sondheim is correct that much of Leigh’s top drawer work was written for cabaret and pop stars like Sinatra. “Witchcraft,” was written specifically for his finger-snapping, effortless ‘50s style, that happily brought out the best in both Sinatra and Leigh. The same goes for such other hits with Cy Coleman like “The Best is Yet to Come,” When In Rome” and “The Rules of the Road,” a song perhaps not as well known as these others, but offers these beautifully crafted lyrics:

So these are the ropes, The tricks of the trade, The rules of the road.

You’re one of the dopes For whom they were made, The rules of the road.

You follow that kiss and recklessly miss A bend of the road, Then suddenly this The end of the road.

So love is a hoax, A glittering stream Of little