Marvin Hamlisch

On stage 1 production

Each row is a staging this name appears in the cast list of, read from the production record rather than from the person record. The person record names works instead, and a work cannot say which run somebody was in — that is how Elaine Stritch ends up filed under Show Boat 1927 when she was in the 1994 revival. No row here says what part was played, because no cast list records it.

Also credited on6 works

A Chorus Line
They’re Playing Our Song
Smile
Sweet Smell of Success
A Chorus Line (2006 Revival)
The Goodbye Girl

These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.

In the literature8 passages

• When Enchanted Evenings appeared in 1997, Lloyd Webber’s Cats , directed by Trevor Nunn, was on the verge of surpassing Michael Bennett and Marvin Hamlisch’s A Chorus Line as Broadway’s longest running show, and Phantom stood in fourth place behind the then still running Les Misérables, Cats , and A Chorus Line on the all-time Broadway Hi…ebooks/Block, Geoffrey/Enchanted Evenings_The Broadway Musical from 'Show Boat' to Sondheim and Lloyd Webber - Geoffrey Block.txt
• Perhaps it sounds altruistic, but Sheldon Harnick’s remembrance of a conversation he had with Marvin Hamlisch best analyses what a theatre song must accomplish:ebooks/Citron, Stephen/Musical From the Inside Out, The - Stephen Citron.txt
• He [Marvin Hamlisch] had never done a show, and he was working with the very gifted lyric writer and composer, Ed Kleban [on A Chorus Line ]. They articulated the fact that they had a choice; they could have tried to write songs which might have had a chance in the commercial record market; or they could let Michael Bennett steer them in…ebooks/Citron, Stephen/Musical From the Inside Out, The - Stephen Citron.txt
• And stoic Marvin Hamlisch accepts critics as a necessary part of theatre. He is quick to point out the score of A Chorus Line, which most musicians feel breaks tremendously new ground in an original, yet non-arty, eminently show biz way, did not get across-the-board good reviews for its music. ‘The score got killed a few times,’ he adds.…ebooks/Citron, Stephen/Musical From the Inside Out, The - Stephen Citron.txt
• Despite the chaos, Styne was “lovable, likeable and very jovial” according to the show’s rehearsal pianist, Marvin Hamlisch, who was enjoying his first-ever Broadway job. Hamlisch verifies the long-held opinion that Styne was capable of coming up with a new melody at a moment’s notice. “I remember particularly one song that was not in ori…ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt
• Bennett hired many people who would become part of this show called A Chorus Line. He wanted Marvin Hamlisch, not necessarily because he’d recently won three Oscars for The Way We Were and The Sting, but because he’d been a Broadway dance-music arranger and therefore had an affinity for dancers. (They’d worked together on Henry, Sweet Hen…ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt

Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.

What this page does not know

• What this person played. No cast list we hold records a character against a performer.
• Which of the credits above the roles on this record — composer — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.