Sarah Waters's sixth novel returns to the complexities of historical lesbian romance, set this time in the years following the Great War. While some people complained that her last novel The Little Stranger didn't have any lesbian characters, I rather enjoyed it. However, I did appreciate the intricacies of The Paying Guests and I put off reading it for quite some time to prolong the pleasure. I always remember one comment on Fingersmith saying that there are some books you envy people for not having read yet - I think this is another one from Waters.
Frances Wray and her widowed mother are forced to take in lodgers when their once-majestic home on Champion Hill becomes unaffordable. These 'paying guests' are Lilian and Leonard Barber, injecting life into the house that Frances and Mrs Wray find difficult to deal with. Against expectations, Frances and Lilian strike up a friendship. This, however, leads to complications which, in turn, leads to something so unexpected that I almost put the book down to applaud before going back to marvel at the foreshadowing.
To say I enjoyed this book would be an understatement and I don't want to say too much about it. What I will say is that the atmosphere built in this novel teeters on the right side of claustrophobic and the characterisation is brilliant, from the protagonists down to the incidentals. The Paying Guests is a sumptuous novel and, yes, I do envy those yet to read it.
This book was read as part of the 'Women' reading challenge, details here.
Tuesday, 2 June 2015
Tuesday, 26 May 2015
Book Review: Inseparable: Desire Between Women in Literature by Emma Donoghue
This fascinating non-fiction book examines the representation of desire between woman in literature in six section: 'Travesties', 'Inseparables', 'Rivals', 'Monsters', 'Detection' and 'Out'. While it's full of detail and so will please any scholars interested in the subject, Inseparable is also an easy, sometimes amusing, read for non-academics. Donoghue infuses her non-fiction analysis with the same edge of humour that I enjoy so much in her fiction. Though, for me, this subject could never be dry and boring, she ensures it isn't so.
The 'Travesties' section looks at cross-dressing within texts from 990 onwards, including brief discussions on Shakespeare, Margaret Cavendish and Theophile Gautier amongst others. It examines the recurring depictions of 'The Female Bridegroom' and 'The Male Amazon' in a chapter that looks at the causes and consequences of cross-dressing and its heyday in the drama of the seventeeth century.
'Inseparables' begins with the Biblical account of Ruth and Naomi and covers the representation of love based on similarity. As this is one of my areas of interest, I perhaps found this chapter the most interesting, particularly the discussion on Charlotte Bronte's Shirley. It also highlighted some works I want to read, both for pleasure and study - as every chapter did.
'Rivals' is a fascinating analysis of what happens when a woman and man compete for the same love. It starts with Sappho and goes through Shakespeare, Richardson and some rather brilliant-sounding French texts before moving on to discuss what happens when the rivalry bubbles over. It examined some texts I was already familiar with, such as The Rainbow and The Fox, but, again, the ones I found most intriguing were the ones I've yet to read, most notably The Bostonians.
Perhaps the chapter on 'Monsters' contains the themes most familiar to observers of fiction about desire between women. It's interesting to see the texts these stereotypes stemmed from then we take a short tour through Dickens, Hardy and others. This is quite an uncomfortable chapter, though I particularly liked the section on ghost stories.
The fifth chapter on 'Detection' provided me with plenty of books I want to read somewhere down the line. Again, desire between women is a theme pretty familiar to readers of the crime genre and it looks at writers including Ruth Rendell, Agatha Christie and P.D. James. Given my sensation fiction roots, I was also pleased to see a discussion of The Woman in White in this chapter followed by an examination of two novels by Sarah Waters.
'Out', the final chapter, looks at the 'awakening' motif in texts from George Moore onwards. It's a nice shift in tone from the other chapters, looking at declared love instead of coded texts, but it also highlights the complexities of modern life. There's a section here on 'first love' which covers several texts I was already familiar with and, once more, a number of works mentioned in this chapter are now begging to be read.
Ultimately, Emma Donoghue has written a book that is both informative and fascinating. Her subject knowledge is exemplary and her style engaging. I've already referred back to Inseparable for academic work and I have no doubt I'll be doing that again fairly frequently. Highly recommended!
The 'Travesties' section looks at cross-dressing within texts from 990 onwards, including brief discussions on Shakespeare, Margaret Cavendish and Theophile Gautier amongst others. It examines the recurring depictions of 'The Female Bridegroom' and 'The Male Amazon' in a chapter that looks at the causes and consequences of cross-dressing and its heyday in the drama of the seventeeth century.
'Inseparables' begins with the Biblical account of Ruth and Naomi and covers the representation of love based on similarity. As this is one of my areas of interest, I perhaps found this chapter the most interesting, particularly the discussion on Charlotte Bronte's Shirley. It also highlighted some works I want to read, both for pleasure and study - as every chapter did.
'Rivals' is a fascinating analysis of what happens when a woman and man compete for the same love. It starts with Sappho and goes through Shakespeare, Richardson and some rather brilliant-sounding French texts before moving on to discuss what happens when the rivalry bubbles over. It examined some texts I was already familiar with, such as The Rainbow and The Fox, but, again, the ones I found most intriguing were the ones I've yet to read, most notably The Bostonians.
Perhaps the chapter on 'Monsters' contains the themes most familiar to observers of fiction about desire between women. It's interesting to see the texts these stereotypes stemmed from then we take a short tour through Dickens, Hardy and others. This is quite an uncomfortable chapter, though I particularly liked the section on ghost stories.
The fifth chapter on 'Detection' provided me with plenty of books I want to read somewhere down the line. Again, desire between women is a theme pretty familiar to readers of the crime genre and it looks at writers including Ruth Rendell, Agatha Christie and P.D. James. Given my sensation fiction roots, I was also pleased to see a discussion of The Woman in White in this chapter followed by an examination of two novels by Sarah Waters.
'Out', the final chapter, looks at the 'awakening' motif in texts from George Moore onwards. It's a nice shift in tone from the other chapters, looking at declared love instead of coded texts, but it also highlights the complexities of modern life. There's a section here on 'first love' which covers several texts I was already familiar with and, once more, a number of works mentioned in this chapter are now begging to be read.
Ultimately, Emma Donoghue has written a book that is both informative and fascinating. Her subject knowledge is exemplary and her style engaging. I've already referred back to Inseparable for academic work and I have no doubt I'll be doing that again fairly frequently. Highly recommended!
Tuesday, 12 May 2015
Classic Film Review: Funny Lady (1975)
The sequel to Funny Girl (1968), Funny Lady continues the story of Fanny Brice (Barbra Streisand) and depicts her relationship with showman Billy Rose (James Caan) following her divorce from Nicky Arnstein (Omar Sharif). During the Depression she struggles to find work but she and Rose work together, reigniting her career and teaching him a few things in the process. The film also stars Roddy McDowall as Bobby Moore.
Given how wonderful Funny Girl is, this sequel was always going to struggle. However, for me, it does a good job in many respects. Streisand's portrayal of Brice as someone matured by her experiences with Arnstein is compelling, as are the scenes where she accepts that she still loves him. Perhaps the best scene of the film comes when Brice is ruminating on her relationship with Rose while singing 'Isn't This Better?' As an acceptance that a marriage/friendship that works is more useful than a passionate love, it's a poignant moment. I also enjoyed the big numbers, especially 'Let's Hear it For Me' and 'How Lucky Can You Get'. Like the original film, Funny Lady switches gear between comedy and tragedy rapidly, and manages to pull it off.
James Caan as Billy Rose works very well. His interactions with Streisand before their marriage are brilliant and snippy, especially when he believes he knows best. For example, the catastrophic opening night which has scenery crashing everywhere and Brice trapped in her dressing room is comedic gold. The chemistry works in that it has to be one-sided - Rose adores her but Brice is still in love with Arnstein. It was also good that Sharif returned to hover in the background of this film. He was a link to the first film along with the brief appearances by their daughter, and I like that sort of grounding. Actually, I was a little disappointed that Brice's mother didn't make a small appearance since she was a memorable part of Funny Girl.
Ultimately, this is a bittersweet love story that showcases Streisand's talents and, as far as sequels go, it's a pretty good one.
Given how wonderful Funny Girl is, this sequel was always going to struggle. However, for me, it does a good job in many respects. Streisand's portrayal of Brice as someone matured by her experiences with Arnstein is compelling, as are the scenes where she accepts that she still loves him. Perhaps the best scene of the film comes when Brice is ruminating on her relationship with Rose while singing 'Isn't This Better?' As an acceptance that a marriage/friendship that works is more useful than a passionate love, it's a poignant moment. I also enjoyed the big numbers, especially 'Let's Hear it For Me' and 'How Lucky Can You Get'. Like the original film, Funny Lady switches gear between comedy and tragedy rapidly, and manages to pull it off.
James Caan as Billy Rose works very well. His interactions with Streisand before their marriage are brilliant and snippy, especially when he believes he knows best. For example, the catastrophic opening night which has scenery crashing everywhere and Brice trapped in her dressing room is comedic gold. The chemistry works in that it has to be one-sided - Rose adores her but Brice is still in love with Arnstein. It was also good that Sharif returned to hover in the background of this film. He was a link to the first film along with the brief appearances by their daughter, and I like that sort of grounding. Actually, I was a little disappointed that Brice's mother didn't make a small appearance since she was a memorable part of Funny Girl.
Ultimately, this is a bittersweet love story that showcases Streisand's talents and, as far as sequels go, it's a pretty good one.
Thursday, 30 April 2015
Book Review: The Dead Duke, His Secret Wife and the Missing Corpse by Piu Marie Eatwell
If the title of this book sounds baffling, it's nothing compared to the true story it relates. In 1897 a widow called Anna Maria Druce applied for permission to exhume her father-in-law's body. She claimed that Druce, a furniture dealer, had really been the alter-ego of the 5th Duke of Portland, an eccentric man who was reclusive in nature and delighted in tunnelling under his country estate. Mrs Druce claimed that the Duke had faked the death of Druce in 1864 and that the coffin would be found empty. This kicked off one of the most intriguing cases of the late Victorian era which captured the public's imagination and rivals the best tales contemporary novelists had to offer.
Although this is a riveting story to start with, it needs someone of Eatwell's talents to bring the disparate strands together. It may start with Anna Maria Druce but that's far from the end of the case and Eatwell does an excellent job of juggling the various aspects of it. The book is split into three 'acts' - 'Burial', 'Resurrection' and 'Revelation', a partitioning that works well for the most part. For me, the intrigue didn't disintegrate at all throughout the book - while one mystery might be 'solved' there were still things to be explored, creating layers of intrigue that lasted until the final pages.
Eatwell's research is exemplary and she's been fortunate enough to have been granted access to some very interesting things, which she relates towards the end of the book. Equally, her knowledge of the major and minor players in the tale is excellent and she shares just enough relevant information without the narrative becoming swamped. Her ability to recreate the atmosphere of late-Victorian London is also brilliant. This isn't a dry book that simply recounts facts but an engrossing one which attempts to put you in the shoes of the major players. When a writer does this successfully they can bring history to life and Eatwell is one such writer.
Ultimately, this is a thrilling non-fiction book which will appeal to fans of The Suspicions of Mr Whicher and other high-quality works of that type. I thoroughly enjoyed it and was sad that the rollercoaster ride of the 'Druce-Portland' case had to end, though not, I'm sure, as sad as some of the protagonists.
A review copy of this book was given to me in exchange for an impartial review.
Although this is a riveting story to start with, it needs someone of Eatwell's talents to bring the disparate strands together. It may start with Anna Maria Druce but that's far from the end of the case and Eatwell does an excellent job of juggling the various aspects of it. The book is split into three 'acts' - 'Burial', 'Resurrection' and 'Revelation', a partitioning that works well for the most part. For me, the intrigue didn't disintegrate at all throughout the book - while one mystery might be 'solved' there were still things to be explored, creating layers of intrigue that lasted until the final pages.
Eatwell's research is exemplary and she's been fortunate enough to have been granted access to some very interesting things, which she relates towards the end of the book. Equally, her knowledge of the major and minor players in the tale is excellent and she shares just enough relevant information without the narrative becoming swamped. Her ability to recreate the atmosphere of late-Victorian London is also brilliant. This isn't a dry book that simply recounts facts but an engrossing one which attempts to put you in the shoes of the major players. When a writer does this successfully they can bring history to life and Eatwell is one such writer.
Ultimately, this is a thrilling non-fiction book which will appeal to fans of The Suspicions of Mr Whicher and other high-quality works of that type. I thoroughly enjoyed it and was sad that the rollercoaster ride of the 'Druce-Portland' case had to end, though not, I'm sure, as sad as some of the protagonists.
A review copy of this book was given to me in exchange for an impartial review.
Tuesday, 28 April 2015
Book Review: Call the Midwife by Jennifer Worth
The inspiration for the hit television series, this is the first of Jennifer Worth's books about her experiences as a midwife in 1950s London. Written in episodic chapters, this is an engrossing memoir that is informative, moving and amusing in places.
One of Worth's strengths is the ability to explain without being condescending. Yes, by the very nature of the subject matter, things do get a little gory at times, but this tempered by moments of sheer beauty. Worth manages to conjure up her youthful self brilliantly and isn't afraid to highlight her own inexperience, naivety and, occasionally, prejudice.
The tales in this book have been used to a greater or lesser extent in the television adaptation. Even so, I heartily recommend reading the book for the subtle differences that are sometimes more enjoyable for being true. Perhaps my favourite of these is Worth's recounting of how involved Sister Julienne got in trying to encourage handyman Fred's pig-breeding activities. I laughed out loud, partly from the situation that ensues and partly due to Worth's expert recounting of it.
Several tales in this book span multiple chapters, maintaining the compact feeling of the book while allowing expansion on the stories of certain people. The story of a young woman coerced into prostitution is particularly dark, fitting into a wider analysis of the trade in East London at that time. Equally, the case of Mrs Jenkins and her experiences in the workhouse is heartbreaking.
There's a reason that this book is a best-seller and has been adapted into a hugely successful television series. Quite simply, it's well-written and heartfelt and I'm looking forward to reading the next book very soon.
One of Worth's strengths is the ability to explain without being condescending. Yes, by the very nature of the subject matter, things do get a little gory at times, but this tempered by moments of sheer beauty. Worth manages to conjure up her youthful self brilliantly and isn't afraid to highlight her own inexperience, naivety and, occasionally, prejudice.
The tales in this book have been used to a greater or lesser extent in the television adaptation. Even so, I heartily recommend reading the book for the subtle differences that are sometimes more enjoyable for being true. Perhaps my favourite of these is Worth's recounting of how involved Sister Julienne got in trying to encourage handyman Fred's pig-breeding activities. I laughed out loud, partly from the situation that ensues and partly due to Worth's expert recounting of it.
Several tales in this book span multiple chapters, maintaining the compact feeling of the book while allowing expansion on the stories of certain people. The story of a young woman coerced into prostitution is particularly dark, fitting into a wider analysis of the trade in East London at that time. Equally, the case of Mrs Jenkins and her experiences in the workhouse is heartbreaking.
There's a reason that this book is a best-seller and has been adapted into a hugely successful television series. Quite simply, it's well-written and heartfelt and I'm looking forward to reading the next book very soon.
Monday, 27 April 2015
Whoa? Whoa
I think, after the last few days, the word I'm looking for is definitely 'whoa'.
The big news is that on Friday I passed my viva with minor corrections. The extra-special viva playlist obviously worked. It contains all my magic powers and if I ever go anywhere without it I'll lose my doctorate... Fortunate that my headphones are surgically attached to my skull then, isn't it?
Five minutes before my viva I was having a major wobble and, unsurprisingly, music dragged me through it. These two songs got me in the lift and through the door. Betty Blue Eyes and Merrily We Roll Along - who'd have thunk?
Thanks to everyone for helping me on Friday, especially my dad, Sal, Claire and my brilliant supervisor. A few drinks were in order and, to celebrate, I even had a pink cocktail. This is me, said cocktail and Edmund, my present from Sal:
So after all that excitement on Friday, I was wondering why I'd agreed to read a short story out at the Jackanory event on Saturday. The piece I regaled them with was 'Shredded Timbers', my prize-winning story from a few months ago. I think the reading went well though, I have to say, I was still a little bit bemused from the day before!
However, the twists and turns of life may have thrown something else in my path. Let's just say that if I was looking for the reason why I made the rather silly decision to attend Jackanory the day after my viva, I found it. As ever, Sondheim says it best...
The big news is that on Friday I passed my viva with minor corrections. The extra-special viva playlist obviously worked. It contains all my magic powers and if I ever go anywhere without it I'll lose my doctorate... Fortunate that my headphones are surgically attached to my skull then, isn't it?
Five minutes before my viva I was having a major wobble and, unsurprisingly, music dragged me through it. These two songs got me in the lift and through the door. Betty Blue Eyes and Merrily We Roll Along - who'd have thunk?
Thanks to everyone for helping me on Friday, especially my dad, Sal, Claire and my brilliant supervisor. A few drinks were in order and, to celebrate, I even had a pink cocktail. This is me, said cocktail and Edmund, my present from Sal:
So after all that excitement on Friday, I was wondering why I'd agreed to read a short story out at the Jackanory event on Saturday. The piece I regaled them with was 'Shredded Timbers', my prize-winning story from a few months ago. I think the reading went well though, I have to say, I was still a little bit bemused from the day before!
However, the twists and turns of life may have thrown something else in my path. Let's just say that if I was looking for the reason why I made the rather silly decision to attend Jackanory the day after my viva, I found it. As ever, Sondheim says it best...
"We're opening doors, singing, "Here we are!"
We're filling up days on a dime.
That faraway shore's looking not too far.
We're following every star,
There's not enough time!"
Friday, 24 April 2015
What's In a Playlist?
Me and music is one of those long-lasting affections. It'll outlast all my relationships, mean more to me than most things in this world and keep me going through troubled times. Usually, it perks me up, reminds me that there's something worth carrying on for. In compiling this playlist - designed to keep me positive - I had to dispense with many songs I consider favourites because they're so sad. You'd expect there to be more Judy here, for instance, but Judy invariably breaks my heart.
So here is my extra special playlist, split into categories. I realised pretty quickly that anything connected to Jerry Herman and Stephen Sondheim needed to be in its own categories. Those two masters of the musical have a lot to answer for. My adoration of Merrily We Roll Along, in particular, is on display.
'A Step in the Right Direction' - Bedknobs and Broomsticks
'Finale' - Call Me Madam
'Cactus Time in Arizona' - Girl Crazy
'Processional' - The Sound of Music
'Golden Ticket' - Willy Wonka and the Chocolate Factory
'If My Friends Could See Me Now' - Sweet Charity
'Portobella Road' - Bedknobs and Broomsticks
'Substitutiary Locomotion' - Bedknobs and Broomsticks
'The Turnable Song' - Something in the Wind
'Put On a Happy Face' - Bye Bye Birdie
'Rosie' - Bye Bye Birdie
'It's a Lovely Day Today' - Call Me Madam
'That's Entertainment' - The Bandwagon
'Pick Yourself Up' - Swing Time
'Moses' - Singin' in the Rain
'One Brick At a Time' - Barnum
'If I Ruled the World' - Pickwick
'Thank You Very Much' - Scrooge
'Stereophonic Sound' - Silk Stockings
'Come Follow the Band' - Barnum
'The Colours of My Life Reprise' - Barnum
'Museum Song' - Barnum
'Out There' - Barnum
'I Like Your Style' - Barnum
'On How to Be Lovely' - Funny Face
'No Way to Stop It' - The Sound of Music
'Leave It to the Ladies' - Blitz
'Down the Lane' - Blitz
'The Roses of Success' - Chitty Chitty Bang Bang
'I Don't Care' - In the Good Old Summertime
'Ten Minutes Ago' - Cinderella
'Impossible' - Cinderella
'Join the Circus' - Barnum
'A Parade in Town' - Anyone Can Whistle
'Open a New Window' - Mame
'That's How Young I Feel' - Mame
'Suffragette March' - Mrs Santa Claus
'Whistle' - Mrs Santa Claus
'Bosom Buddies' - Mame
'Put On Your Sunday Clothes' - Hello, Dolly!
'Before the Parade Passes By' - Hello, Dolly!
'Some People' - Gypsy
'Mame' - Mame
'Chin Up, Ladies' - Milk and Honey
'Side by Side'/'What Would We Do Without You' - Company
'I Am What I Am' - La Cage aux Folles
'Something's Coming' - West Side Story
'Everybody Says Don't' - Anyone Can Whistle
'Just Go to the Movies' - A Day in Hollywood
'It's a Hit' - Merrily We Roll Along
'Tap Your Troubles Away' - Mack and Mabel
'Someone Woke Up' - Do I Hear a Waltz?
'Do I Hear a Waltz?' - Do I Hear a Waltz?
'Overture' - Merrily We Roll Along
'Now You Know' - Merrily We Roll Along
'Old Friends' - Merrily We Roll Along
'The Hills of Tomorrow'/'Merrily We Roll Along' - Merrily We Roll Along
'Our Time' - Merrily We Roll Along
'Opening Doors' - Merrily We Roll Along
'Ever After' - Into the Woods
'Human Again' - Beauty and the Beast
'Just Around the Corner' - The Addams Family
'Where Did We Go Wrong' - The Addams Family
'Walk Through the Fire' - Buffy the Vampire Slayer
'This Is My Life' - Bad Girls: The Musical
'Once We Were Kings' - Billy Elliot
'This is the Moment' - Jekyll and Hyde
'I Do, I Do, I Do, I Do, I Do' - Mamma Mia!
'Always Look on the Bright Side of Life' - Spamalot
'Bruce' - Matilda
'When I Grow Up' - Matilda
'One Normal Night' - The Addams Family
'One' - A Chorus Line
'Who's That Boy?' - Soho Cinders
'Steal the Pig' - Betty Blue Eyes
'Another Little Victory' - Betty Blue Eyes
'A Star is Born' - Hercules
'Nobody' - Betty Blue Eyes
'Anything Can Happen' - Mary Poppins
'Naughty' - Matilda
'You Can't Stop the Beat' - Hairspray
'Finale B' - Rent
'When I Find My Baby' - Sister Act
'Raise Your Voice' - Sister Act
'Sunday Morning Fever' - Sister Act
'Spread the Love Around' - Sister Act
'Come So Far (Got So Far to Go)' - Hairspray
'You Shall Go to the Ball' - Soho Cinders
'Long As I'm Here With You' - Thoroughly Modern Millie
'How the Other Half Lives' - Thoroughly Modern Millie
'For Now' - Avenue Q
'Take a Look' - Alison Jiear
'Don't Fence Me In' - The Andrews Sisters and Bing Crosby
'In the Mood' - Bette Midler
'Zing a Little Zong' - Bing Crosby
'Walkin' My Baby Back Home' - Bing Crosby and Judy Garland
'Don't Rain On My Parade' - Bobby Darin
'Taking the World By Storm' - Bonnie Langford
'I'm On My Way' - The Cliff Adams Singers
'High Hopes' - Doris Day
'Something's Gotta Give' - Ella Fitzgerald
'I've Gotta Be Me' - Glee Cast
'The Way You Look Tonight'/'You're Never Fully Dressed Without a Smile' - Glee Cast
'In the Mood' - Glenn Miller
'American Patrol' - Glenn Miller
'Five Little Miles From San Berdoo' - Jane Russell
'I Concentrate On You' - Judy Garland
'Just in Time' - Judy Garland
'Who Cares?' - Judy Garland
'You've Got Me Where You Want Me' - Judy Garland and Bing Crosby
'New York, New York' - Liza Minnelli
'Hello, Dolly' - Liza Minnelli and Judy Garland
'Chicago' - Liza Minnelli and Judy Garland
'Gonna Build a Mountain' - Matt Monroe
'Dearie' - Ray Bolger and Ethel Merman
'Hey, Look Me Over' - Rosemary Clooney and Bing Crosby
'That's Me' - ABBA
'We Didn't Start the Fire' - Billy Joel
'You May Be Right' - Billy Joel
'Birdhouse in Your Soul' - Kristin Chenoweth and Ellen Greene
So here is my extra special playlist, split into categories. I realised pretty quickly that anything connected to Jerry Herman and Stephen Sondheim needed to be in its own categories. Those two masters of the musical have a lot to answer for. My adoration of Merrily We Roll Along, in particular, is on display.
Classic Musicals
'A Step in the Right Direction' - Bedknobs and Broomsticks
'Finale' - Call Me Madam
'Cactus Time in Arizona' - Girl Crazy
'Processional' - The Sound of Music
'Golden Ticket' - Willy Wonka and the Chocolate Factory
'If My Friends Could See Me Now' - Sweet Charity
'Portobella Road' - Bedknobs and Broomsticks
'Substitutiary Locomotion' - Bedknobs and Broomsticks
'The Turnable Song' - Something in the Wind
'Put On a Happy Face' - Bye Bye Birdie
'Rosie' - Bye Bye Birdie
'It's a Lovely Day Today' - Call Me Madam
'That's Entertainment' - The Bandwagon
'Pick Yourself Up' - Swing Time
'Moses' - Singin' in the Rain
'One Brick At a Time' - Barnum
'If I Ruled the World' - Pickwick
'Thank You Very Much' - Scrooge
'Stereophonic Sound' - Silk Stockings
'Come Follow the Band' - Barnum
'The Colours of My Life Reprise' - Barnum
'Museum Song' - Barnum
'Out There' - Barnum
'I Like Your Style' - Barnum
'On How to Be Lovely' - Funny Face
'No Way to Stop It' - The Sound of Music
'Leave It to the Ladies' - Blitz
'Down the Lane' - Blitz
'The Roses of Success' - Chitty Chitty Bang Bang
'I Don't Care' - In the Good Old Summertime
'Ten Minutes Ago' - Cinderella
'Impossible' - Cinderella
'Join the Circus' - Barnum
Herman and Sondheim
'A Parade in Town' - Anyone Can Whistle
'Open a New Window' - Mame
'That's How Young I Feel' - Mame
'Suffragette March' - Mrs Santa Claus
'Whistle' - Mrs Santa Claus
'Bosom Buddies' - Mame
'Put On Your Sunday Clothes' - Hello, Dolly!
'Before the Parade Passes By' - Hello, Dolly!
'Some People' - Gypsy
'Mame' - Mame
'Chin Up, Ladies' - Milk and Honey
'Side by Side'/'What Would We Do Without You' - Company
'I Am What I Am' - La Cage aux Folles
'Something's Coming' - West Side Story
'Everybody Says Don't' - Anyone Can Whistle
'Just Go to the Movies' - A Day in Hollywood
'It's a Hit' - Merrily We Roll Along
'Tap Your Troubles Away' - Mack and Mabel
'Someone Woke Up' - Do I Hear a Waltz?
'Do I Hear a Waltz?' - Do I Hear a Waltz?
'Overture' - Merrily We Roll Along
'Now You Know' - Merrily We Roll Along
'Old Friends' - Merrily We Roll Along
'The Hills of Tomorrow'/'Merrily We Roll Along' - Merrily We Roll Along
'Our Time' - Merrily We Roll Along
'Opening Doors' - Merrily We Roll Along
'Ever After' - Into the Woods
Modern Musicals
'Human Again' - Beauty and the Beast
'Just Around the Corner' - The Addams Family
'Where Did We Go Wrong' - The Addams Family
'Walk Through the Fire' - Buffy the Vampire Slayer
'This Is My Life' - Bad Girls: The Musical
'Once We Were Kings' - Billy Elliot
'This is the Moment' - Jekyll and Hyde
'I Do, I Do, I Do, I Do, I Do' - Mamma Mia!
'Always Look on the Bright Side of Life' - Spamalot
'Bruce' - Matilda
'When I Grow Up' - Matilda
'One Normal Night' - The Addams Family
'One' - A Chorus Line
'Who's That Boy?' - Soho Cinders
'Steal the Pig' - Betty Blue Eyes
'Another Little Victory' - Betty Blue Eyes
'A Star is Born' - Hercules
'Nobody' - Betty Blue Eyes
'Anything Can Happen' - Mary Poppins
'Naughty' - Matilda
'You Can't Stop the Beat' - Hairspray
'Finale B' - Rent
'When I Find My Baby' - Sister Act
'Raise Your Voice' - Sister Act
'Sunday Morning Fever' - Sister Act
'Spread the Love Around' - Sister Act
'Come So Far (Got So Far to Go)' - Hairspray
'You Shall Go to the Ball' - Soho Cinders
'Long As I'm Here With You' - Thoroughly Modern Millie
'How the Other Half Lives' - Thoroughly Modern Millie
'For Now' - Avenue Q
Jazz, Easy Listening Etc
'Take a Look' - Alison Jiear
'Don't Fence Me In' - The Andrews Sisters and Bing Crosby
'In the Mood' - Bette Midler
'Zing a Little Zong' - Bing Crosby
'Walkin' My Baby Back Home' - Bing Crosby and Judy Garland
'Don't Rain On My Parade' - Bobby Darin
'Taking the World By Storm' - Bonnie Langford
'I'm On My Way' - The Cliff Adams Singers
'High Hopes' - Doris Day
'Something's Gotta Give' - Ella Fitzgerald
'I've Gotta Be Me' - Glee Cast
'The Way You Look Tonight'/'You're Never Fully Dressed Without a Smile' - Glee Cast
'In the Mood' - Glenn Miller
'American Patrol' - Glenn Miller
'Five Little Miles From San Berdoo' - Jane Russell
'I Concentrate On You' - Judy Garland
'Just in Time' - Judy Garland
'Who Cares?' - Judy Garland
'You've Got Me Where You Want Me' - Judy Garland and Bing Crosby
'New York, New York' - Liza Minnelli
'Hello, Dolly' - Liza Minnelli and Judy Garland
'Chicago' - Liza Minnelli and Judy Garland
'Gonna Build a Mountain' - Matt Monroe
'Dearie' - Ray Bolger and Ethel Merman
'Hey, Look Me Over' - Rosemary Clooney and Bing Crosby
Bits & Bobs
'That's Me' - ABBA
'We Didn't Start the Fire' - Billy Joel
'You May Be Right' - Billy Joel
'Birdhouse in Your Soul' - Kristin Chenoweth and Ellen Greene
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