Sheldon Harnick

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 on16 works

Fiddler on the Roof
Fiddler on the Roof (2015 Revival)
Fiorello!
Man in the Moon
New Faces Of 1952
Portofino
Rex
She Loves Me
She Loves Me (2016 Revival)
Tenderloin
The Apple Tree
The Body Beautiful
The Rothschilds
Two’s Company
Vintage ’60
Jerome Robbins’ Broadway

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

• [196] Cited in Peter Stone, Jerry Bock, Sheldon Harnick and Joseph Stein , “Landmark Symposium: Fiddler on the Roof ”, Dramatists Guild Quarterly , New York, 1983, Vol.20, No.1, p. 27ebooks/Atkey, Mel/Million Miles from Broadway_ Musical Theatre Beyond New York and London, A - Mel Atkey.txt
• Jason Robert Brown’s “Christmas Lullaby” from Songs for a New World and Jerry Bock and Sheldon Harnick’s “Matchmaker, Matchmaker” from Fiddler on the Roof illustrate two different treatments of the use of passing tones (figures 1.51a and 1.51b ). In the case of “Christmas Lullaby,” accented passing tones serve as an ornament on a monosyll…ebooks/Bell, John & Chicurel, Steven R_/Music Theory for Musical Theatre - John Bell & Steven R. Chicurel.txt
• Thomas Z. Shepard, who is working with Sheldon Harnick on Molette , a new musical says: ‘I never think about musical form, because I feel most of it is dictated by the lyric. Perhaps I feel that way because I almost always work from words first.’ But Mr Harnick usually likes to let the composer write his melodies first. In 1976 he made an…ebooks/Citron, Stephen/Musical From the Inside Out, The - Stephen Citron.txt
• Sheldon Harnick who writes book, lyrics and music, adds that ‘one of the touchiest subjects for a composer-lyricist must be the moment when he says to the librettist, “I’m going to use your joke as a capper for my song”, but Jerry Herman finds the loveliest thing about all book writers I have worked with is they understand the word “colla…ebooks/Citron, Stephen/Musical From the Inside Out, The - Stephen Citron.txt
• Tom Shepard working with Sheldon Harnick on Molette recalls how it was: ‘It was interesting working with Sheldon to see how very methodical and imaginative he is. How after reading the story that we’re going to base something on he rereads it and then ruminates on it. Then he draws up a scenario and then he polishes the scenario. Then we…ebooks/Citron, Stephen/Musical From the Inside Out, The - Stephen Citron.txt
• When writing Fiddler on the Roof, lyricist Sheldon Harnick says, ‘we would both read the source, [the libretto] then Jerry [Bock, the composer] would go off to his studio to work on musical ideas which he would then put on to tape... to get the momentum going, it was much simpler to have music first. Then I didn’t have to search for the f…ebooks/Citron, Stephen/Musical From the Inside Out, The - Stephen Citron.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 — lyricist, book writer, 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.