It's delightful, it's delicious, it's dlevy!

I post about musicals a lot. Find me on Twitter: @itsdlevy.

I'm collecting all of my best writing from around the web and beyond at the untitled itsdlevy project.

You might also enjoy my other Tumblrs, Fuck Yeah Stephen Sondheim and Fuck Yeah Dorothy Fields.

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98 plays
Lauren Bacall,
Woman of the Year [National Tour Cast]


Lauren Bacall sings the revised “I Wrote the Book” in the first national tour of Woman of the Year.

In the Broadway production, this number was staged as a trio: Tess Harding assisted by two cleaning ladies (with charming broom-sweeping choreography). For the national tour (directed and choreographed by Joe Layton), the number was revised so that Tess Harding sings it with the cartoonists, who in turn sing the second half to help cheer her up after her marriage falls apart.

160 plays
Lauren Bacall,
Woman of the Year [National Tour Cast]


Lauren Bacall sings the new title song written for the first national tour of Woman of the Year.

This is the song used in the licensed version of the show, not the one heard on the original cast album.

42 plays
Barbra Streisand and Larry Blyden,
On A Clear Day You Can See Forever (Outtake)

"Wait Till We’re 65" didn’t make it into the final cut of the film version of On A Clear Day You Can See Forever, but it was recorded for the movie.

Wait, here’s an alternate take of Streisand’s “Shall We Dance/Hello Young Lovers” with much higher quality audio.

Streisand’s unreleased “Shall We Dance” is like the poor cousin of Liza’s “Losing My Mind,” which is to say that it’s terrible and absolutely essential that you hear it.

58 plays
Samuel Holmes,

In shuffling through iTunes for that last post, when this number came up I googled the name, because I thought “that’s not what this song was called on Broadway.” And then I thought “why are they mumbling the word ‘Broadway.” And then I realized they entirely rewrote the song to make it Judenrein, but i guess that makes sense for a UK tour.


You can tell a lot about someone by the type of music they listen to. Hit shuffle on your mediaplayer and write down the first 20 songs. Rules: No skipping! Then pass this on to 10 people :)

  1. "Let’s Call The Whole Thing Off" - Fred Astaire, Fred Astaire’s Finest Hour
  2. "If You Can Find Me, I’m Here" - Gary Beach, Sondheim at the Movies
  3. "Desirée" - Neil Diamond, In My Lifetime
  4. "You’ll Never Get Away From Me" - Judy Kaye, private recording
  5. "Who Are You Now?" - Judy Kuhn, Just In Time: The Songs of Jule Styne
  6. "Fly Like An Eagle" - Seal, Best Of 1991-2004
  7. "Multitudes of Amys" - Will Roland, private recording
  8. "Star Song" - Spamalot UK Cast Recording 
  9. "My Own Best Friend" - Ella Fitzgerald (single)
  10. "What Did I Ever See In Him" - Susan Egan and Ann Reinking (private recording)
  11. "Rockin’ in Rhythm" - Sophisticated Ladies Original Cast Recording
  12. "With A Little Bit of Luck (reprise)" - My Fair Lady 1965 Odessa Musical Comedy Theater Company (in Russian)
  13. "It’s Like" - Enter Laughing Off-Broadway Cast Recording
  14. "There But For You Go I" - Robert Goulet, Brigadoon 1966 Television Cast Recording
  15. "Finale" - Company, Original London Cast Recording
  16. "Weekend Lover" - Rupert Holmes, Singles
  17. "From Texas: Big ‘D’" - Julie Andrew and Carol Burnett, Julie and Carol at Carnegie Hall
  18. "Slamming Doors" - (instrumental track from a private recording of the 1971 Los Angeles production of A Funny Thing Happened on the Way to the Forum)
  19. "It’s A Most Unusual Day" - Jane Powell, That’s Entertainment soundtrack
  20. "I’ll Get By" - Michael Feinstein, Isn’t It Romantic

This list was generated through iTunes. Because my music collection is dispersed over many different places (iTunes, Spotify, physical discs), this list under-represents newer recordings (which I mostly listen to on Spotify, even if I own them in hard copy) and my pop/rock stuff, which mostly hasn’t made it onto my computer (and again, I listen to quite a bit through Spotify). You used to be able to get one giant list on Spotify that included everything on any of your playlists plus everything on your local drive, but they seem to have removed that. Alas.

I’m not tagging people because I don’t want to burden anyone but if you’re reading this and feel like doing it, knock yourself out.

Okay, the whole album isn’t fake duets. Phew. What’s funny is that in this video, Barbra talks at length about the magic that comes from spontaneity in the studio with a duet partner.

Maybe when the album arrives I’ll write my follow-up rant, “you can’t turn a song into a duet just by having two people sing different lines.” 

The first track from Partners, Barbra’s upcoming album of duets (apparently only with men?), has been released. It’s not bad, but one gets the sense that Barbra and Billy recorded their parts on opposite coasts rather than in the room together.

This recording technique became popular in the early 90s, first with Natalie Cole’s “Unforgettable” duet with her late father, and then with Sinatra’s Duets albums which didn’t have the “singing with the dead” excuse. At least with Sinatra, one had the sense at the time that he wasn’t in the best of health and so couldn’t handle the rigors of making an album the traditional way. Barbra? Pretty sure that’s not the case. And the recording suffers for it.

A duet is more than just having two voices singing at the same time, and Barbra knows that. That’s why she and Neil Diamond recorded a proper duet version of “You Don’t Bring Me Flowers” after a DJ’s mixing of their two solo records became a hit. If you’re not going to make room for the interplay of two artists encountering each other and the magic that can unleash, why bother?