Why Am I Inspired By the Songs of Stephen Sondheim?
As I said in my last post, the theme of the Maslon Law Firm’s holiday project is “Inspiration – Pass It On”. My inspiration – “Studying the Songs of Sondheim.” So why am I inspired by the songs of Stephen Sondheim? And can he teach any lessons to those of us who draft disclosure and communication documents for a living?
I’ve been a fan of musical theater at least since high school, when I got a chance to play Tevye in Fiddler on the Roof. I still love the classic musicals, but I find the shows of Sondheim to be more funny, moving and ultimately challenging than those of any other composer. From the twisted fairy tales of Into the Woods to the revenge of the murderous barber, Sweeney Todd, to the life and art of painter George Seurat in Sunday in the Park With George, Sondheim brings rich characters to life through his songs.
Sondheim’s songs are complex and work on many levels, making them fascinating and satisfying to study. While his music is often beautiful or stirring, the lyrics are always paramount and feature some of the greatest rhymes ever. For example, from Company:
When a person’s personality is personable,
He shouldn’t oughta sit like a lump.
It’s harder than a matador coercin’ a bull
To try to get you off of your rump.
Or, from A Little Night Music (note the two rhymes per line):
DeMaupassant's candor would cause her dismay.
The Brontes are grander but not very gay.
Her taste is much blander, I'm sorry to say.
But is Hans Christian Andersen ever risque?
But rhymes are only one example of Sondheim’s amazing choices of words. Consider the line in “I’m Still Here” from Follies in which the character reminisces: “Then you career from career to career.” And sometimes the lyrics are literally inspiring, as in “Our Time” from Merrily We Roll Along: “It’s our time, breathe it in, Worlds to change and worlds to win.”
I heard Sondheim speak a few years ago, and it struck me how much he loves wordplay – the challenge of finding that perfect combination of words to communicate precisely and economically what is going on. In the Preface of his 2010 book of collected lyrics and commentary, “Finishing the Hat,” Sondheim articulates his three principles of lyric writing:
They were not immediately apparent to me when I started writing, but have come into focus via Oscar Hammerstein’s tutoring, Strunk and White’s huge little book The Elements of Style and my own sixty-some years of practicing the craft . . . . In no particular order, and to be inscribed in stone:
Content Dictates Form
Less is More
God is in the Details
all in the service of
Clarity
without which nothing else matters.
Not to trivialize Sondheim’s art, but doesn’t the above describe the best principles for drafting disclosure documents? Don’t you wish the writers of more 10-Ks, press releases and proxy statements would think more about Sondheim’s principles? For example, as the Compensation Discussion and Analysis sections of many proxy statements approach (or exceed) 20 pages, wouldn’t it be great if the writers practiced “Less is More” and always had “Clarity” as their mantra?
Anyone Can Whistle
In addition to being inspired listening to Sondheim’s music and reading the lyrics, I am also “Studying the Songs of Sondheim” in my voice lessons. Thanks to the magic of karaoke background tracks, here is my rendition of one of my favorite Sondheim songs, “Anyone Can Whistle”.
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