ANNOUNCER: This program is made by MPT, to enrich the diverse communities throughout our state, and is made possible by the generous support of our members, thank you.

MAN: This program was made possible in part by... KPMG LLP.

Tom DiGiovanni and Patrick O'Donnell.

Ed Grossman and Rochelle Stanfield.

And by the MPT Foundation New Initiatives Fund, established by Irene and Edward H. Kaplan.

(upbeat drums).

(Broadway medley).

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ AUDIENCE MEMBER: Yeah!

(applause).

ANAH AMBUCHI: Here we are, just piecing together just a few stories and artistic works, to reveal something of the nature of a Broadway legend and how his career may resonate with, well, our generation.

We are the Young Artists of America.

MADI HEINEMANN: Seven decades working in the theater, 21 Tony Awards with iconic collaborators, like Jerome Robbins, Stephen Sondheim, Andrew Lloyd Webber, and Jason Robert Brown.

It's impressive.

ANAH: It's overwhelming.

MADI: And, unattainable now if we're going to be honest.

So we're curious, how did he do it?

ANAH: Well, for one thing, Hal often said he loved to astonish audiences.

♪ Attend the tale of Sweeney Todd ♪ ♪ His skin was pale and his eye was odd ♪ ♪ He shaved the faces of gentlemen ♪ ♪ Who never thereafter were heard of again ♪ ♪ He trod a path that few have trod ♪ ♪ Did Sweeney Todd ♪ ♪ The demon barber of Fleet Street ♪ ♪ He kept a shop in London Town ♪ ♪ Of fancy clients and good renown ♪ ♪ And what if none of their souls were saved?

♪ ♪ They went to their maker impeccably shaved ♪ ♪ By Sweeney ♪ ♪ By Sweeney Todd ♪ ♪ The demon barber of Fleet Street ♪ ♪ Swing your razor wide, Sweeney ♪ ♪ Hold it to the skies ♪ ♪ Freely flows the blood of those who moralize ♪ ♪ His needs were few, his room was bare ♪ ♪ A lavabo and a fancy chair ♪ ♪ A mug of suds and a leather strop ♪ ♪ An apron, a towel, a pail, and a mop ♪ ♪ For neatness, he deserves a nod ♪ ♪ Does Sweeney Todd ♪ ♪ The demon barber of Fleet Street ♪ ♪ Inconspicuous, Sweeney was ♪ ♪ Quick and quiet and clean, he was ♪ ♪ Back of his smile, under his word ♪ ♪ Sweeney heard music that nobody heard ♪ ♪ Sweeney pondered and Sweeney planned ♪ ♪ Like a perfect machine, he planned ♪ ♪ Sweeney was smooth, Sweeney was subtle ♪ ♪ Sweeney would blink, and rats would scuttle ♪ ♪ Sweeney was smooth, Sweeney was subtle ♪ ♪ Sweeney would blink, and rats would scuttle ♪ ♪ Sweeney was smooth, Sweeney was subtle ♪ ♪ Keen he was, was Sweeney ♪ ♪ Sweeney, Sweeney, Sweeney, Sweeney ♪ ♪ Sweeney ♪ ♪ Attend the tale of Sweeney Todd ♪ ♪ Attend the tale of Sweeney Todd ♪ ♪ He served a dark and a vengeful god ♪ ♪ He served a dark and a vengeful god ♪ ♪ What happened then, well, that's the play ♪ ♪ And he wouldn't want us to give it away ♪ ♪ Not Sweeney ♪ ♪ Not Sweeney Todd ♪ ♪ The demon barber of Fleet Street ♪♪ ♪ ♪ (applause).

(applause).

ANAH: Sweeney Todd did astonish audiences.

But what's really surprising about Hal's journey, is that in his teens he had to overcome a kind of a dark period.

MADI: We can relate, right?

His dark period was also at a time of global crisis.

ANAH: In 1942, Hal was 14 years old.

As he thought about his future, he didn't know where he fit in.

MADI: In his words, a black cloud hung over everything.

But he emerged from this period extremely ambitious.

ANAH: Hal was known for taking risks.

To start, Hal sent a letter to the big-time director George Abbott, and pitched the idea to work for free.

MADI: From office boy to Tony winner.

ANAH: In that office, he learned the producing game.

MADI: He had to imagine.

ANAH: He had to pitch.

MADI: He had to hustle.

ANAH: And at the age of 28, Hal won his second Tony for producing.

AVA BENSON: However, what he really wanted to do was direct.

He was lucky enough to share the creative ups and downs of show business with two pals.

RYAN ROBBINS: One was composer/lyricist Stephen Sondheim.

They met when Hal was 20, and Steve was 18.

AVA: And the other friend, Mary Rodgers, also a writer and happened to be the daughter of Richard Rodgers!

The spirit of their relationship is captured in a song from Merrily We Roll Along.

STEPHEN SONDHEIM: The whole uh, sequence of "Opening Doors", which is two years, takes place over a period of two years in New York for these two songwriters and this other writer, the, the girl who, who's their best friend.

It's emotionally autobiographical, and it's outline of, of event is Hal Prince and your mother and me.

Your mother was hustling for jobs just the way I was, and Hal was already a successful producer, but we were all, "Hey, it's showbiz, it couldn't wait", you know.

It's the whole thing of seeing every show and talking about every show, and our lives, and then writing, and knocking on producers' doors.

All of that was really fun and really frenetic.

(typewriter clicking).

(piano music).

(groaning).

(groaning).

♪ I finished the one-act ♪ ♪ I got an audition ♪ ♪ I started the story ♪ ♪ Rehearsal pianist ♪ ♪ So where are we eating?

♪ ♪ I'm moving to Playboy ♪ ♪ The publisher called me ♪ ♪ I'm doing a rewrite ♪ ♪ My parents are coming I saw My Fair Lady ♪ ♪ I rewrote the rewrite ♪ ♪ I sort of enjoyed it ♪ ♪ I finished out the story ♪ ♪ I'm meeting an agent ♪ ♪ We'll all get together on Sunday ♪ ♪ 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!

♪ ♪ ♪ ♪ Ya da-da da-da da-da ♪ ♪ ♪ ♪ I called a producer ♪ ♪ I sent off the one-act ♪ ♪ I started the story ♪ ♪ He said to come see him ♪ ♪ I dropped out of college ♪ ♪ I met this musician ♪ ♪ I'm playing a nightclub ♪ ♪ They're doing my one-act!

♪ ♪ I'm working for Redbook ♪ ♪ I rewrote the ballad ♪ ♪ I finished the story ♪ ♪ We started rehearsals ♪ ♪ I threw out the story and then the musician ♪ ♪ I'm moving to Popular Science ♪ ♪ We're opening doors, Singing, "Look who's here!"

♪ ♪ Beginning to sail ♪ ♪ On a dime ♪ ♪ That faraway shore's ♪ ♪ Getting very near!

♪ ♪ We haven't a thing to fear ♪ ♪ We haven't got time!

♪ ♪ They're stopping rehearsals they ran out of money ♪ ♪ We lasted one issue my book was rejected ♪ ♪ The nightclub was raided I have to start coaching ♪ ♪ My parents are coming ♪ ♪ They screwed up the laundry ♪ ♪ My wallet was stolen ♪ ♪ I saw the musician ♪ ♪ We're being evicted ♪ ♪ I'm having a breakdown ♪ ♪ We'll all get together on Sunday ♪ ♪ They're slamming the doors ♪ ♪ Singing, "Go away!"

♪ ♪ It's less of a sail ♪ ♪ Than a climb ♪ ♪ That faraway shore's ♪ ♪ Farther every day ♪ ♪ We're learning to ricochet ♪ ♪ We still have a lot to say ♪ ♪ You know what we'll do?

♪ ♪ What?

♪ ♪ We'll do a revue ♪ ♪ What?

What?

♪ ♪ We'll do a revue of our own!

♪ ♪ What!

You're not serious!

♪ ♪ Nobody's ready!

♪ ♪ Apparently, somebody canceled a booking ♪ ♪ The songs aren't finished ♪ ♪ And what about costumes?

♪ ♪ And how do they learn all these numbers?

♪ ♪ I'll bring them the copies of everything later this evening ♪ ♪ Not to mention I still haven't finished the ♪ ♪ Synanon song or ♪ ♪ the Kennedy number ♪ ♪ And have we decided or not on the restaurant sketch?

♪ ♪ I need two or three days to replace it ♪ ♪ We'll worry about it on Sunday!

♪ ♪ 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!

♪ ♪ We're banging on doors, shouting, "Here again!"

♪ ♪ We're risking it all on a dime ♪ ♪ That faraway shore's looking near again ♪ ♪ The only thing left is when ♪ ♪ We know we should count to ten ♪ ♪ We haven't got time!

♪ ♪ We haven't got time!

♪ (applause).

SEGER OTT-RUDOLPH: We haven't got time.

That's the Hal Prince drive, right there.

At 10:00AM the day after an opening, he would always set up a meeting to talk about the next project.

ERIC PRICE: I would always get that kind of pushback from whoever was being invited to the meeting.

Like, "Are you kidding?

He wants us there at 10 the next morning?"

The reason why the posters hang on every available space on the office walls, is because he was unrelenting in his pursuit of the next thing.

SEGER: As producer, he continued to rack up shows that are now considered classics.

He always learned from his collaborators.

While he learned how to produce from George Abbott, what he really wanted to do was direct, like his pal, Jerome Robbins.

ANAH: Way back when he was a young boy, he was visualizing stories.

He would listen to the opera on the radio, and move metal figurines around on a cardboard stage.

SEGER: He finally found the perfect musical to direct on Broadway.

A sweet, romantic comedy involving pen pals and lonely hearts.

She Loves Me.

♪ Charming, romantic, the perfect cafe ♪ ♪ Then as if it isn't bad enough a violin starts to play ♪ ♪ Candles and wine ♪ ♪ Tables for two ♪ ♪ But where are you, dear friend?

♪ ♪ Couples go past me ♪ ♪ I see how they look ♪ ♪ So discreetly sympathetic ♪ ♪ When they see the rose and the book ♪ ♪ I make-believe ♪ ♪ Nothing is wrong ♪ ♪ How long can I pretend?

♪ ♪ Please make it right ♪ ♪ Don't break my heart ♪ ♪ Don't let it end ♪ ♪ Dear friend ♪ ♪ I am so sorry about last night ♪ ♪ It was a nightmare in every way ♪ ♪ But together you and I ♪ ♪ Will laugh at last night someday ♪ ♪ Ice cream ♪ ♪ He brought me ice cream!

♪ ♪ Vanilla ice cream!

♪ ♪ Imagine that!

♪ ♪ Ice cream, and for the first time ♪ ♪ We were together without a spat!

♪ ♪ Friendly ♪ ♪ He was so friendly ♪ ♪ That isn't like him ♪ ♪ I'm simply stunned ♪ ♪ Will wonders never cease?

♪ ♪ Will wonders never cease?

♪ ♪ It's been a most peculiar day!

♪ ♪ It's almost like a dream, and strange as it may seem ♪ ♪ He came to offer me ♪ ♪ Vanilla ♪ ♪ Ice ♪ ♪ Cream ♪ (applause).

HAL PRINCE: The first show I directed, for Broadway was She Loves Me.

I knew I could do it, but I didn't have an individual voice.

It's very important that you find what, what expresses you and makes your work unique.

SEGER: As a politically-minded person, Hal wanted to challenge his audience.

He wanted his stories to carry a broader meaning, a metaphor.

LUKA VAN HERKSEN: He was working on a musical version of The Berlin Stories, which became Cabaret.

In that collaboration, the team developed the story by playing a kind of "Yes, and" game.

JOHN KANDER: And not only does What If, what I call What If, uh bring you most of the good ideas, but also begins to solidify the collaboration so that you're all working on the same piece.

HAL: Cabaret, for one, was, was a black box with selective bits of scenery and one huge surprise.

And it was this waffled, wobbly, funhouse mirror, angled at the audience.

And they came in and sat down, and they could see this distorted view of themselves.

And it's like saying that's your metaphor, folks.

(drum roll).

(cymbal crash).

♪ ♪ ♪ Willkommen!

♪ ♪ Bienvenue!

♪ ♪ Welcome!

♪ ♪ Fremde, étranger, stranger ♪ ♪ Glücklich zu sehen ♪ ♪ Je suis enchanté ♪ ♪ Happy to see you ♪ ♪ Bleibe, reste, stay ♪ ♪ Willkommen!

♪ ♪ Bienvenue!

♪ ♪ Welcome!

♪ ♪ Im cabaret, au cabaret, to cabaret!

♪ SEBASTIAN: Give it up for our orchestra!

Our dancers.

♪ ♪ How about some slapstick?

Off they go.

Give it up for our strongmen.

And now, my specialty.

(tapping).

♪ Bleibe, reste, stay ♪ ♪ Willkommen!

♪ ♪ Bienvenue!

♪ ♪ Welcome!

♪ ♪ Im cabaret, au cabaret ♪ ♪ Wir sagen ♪ ♪ Willkommen!

♪ ♪ Bienvenue!

♪ ♪ Welcome!

♪ ♪ Fremde, étranger, stranger ♪ ♪ Glücklich zu sehen ♪ ♪ Je suis enchanté ♪ ♪ Enchanté, madame ♪ ♪ Happy to see you ♪ ♪ Bleibe, reste, stay ♪ ♪ Wir sagen ♪ ♪ Willkommen!

♪ ♪ Bienvenue!

♪ ♪ Welcome!

♪ ♪ Fremde, étranger, stranger ♪ ♪ Glücklich zu sehen ♪ ♪ Je suis enchanté ♪ ♪ Happy to see you ♪ ♪ Bleibe, reste, stay ♪ ♪ Wir sagen ♪ ♪ Willkommen!

♪ ♪ Bienvenue!

♪ ♪ Welcome!

♪ ♪ Im cabaret ♪ ♪ Au cabaret ♪ ♪ To cabaret!

♪ (applause).

ESTHER OU: With his next big creative project, Hal got to explore his authentic process of breaking creative boundaries even further.

This time, with Stephen Sondheim.

They combined short stories around a central theme, marriage, and a pivotal character, Bobby.

With that, the concept musical was born.

The collaborators wowed New York with this new approach in Company.

You could say they went crazy for it.

♪ Doo-doo-doo-doo ♪ ♪ Doo-doo-doo-doo ♪ ♪ Doo-doo-doo-doo doo-doo!

♪ ♪ You could drive a person crazy ♪ ♪ You could drive a person mad ♪ ♪ Doo-doo-doo-doo doo ♪ ♪ First, you make a person hazy ♪ ♪ So a person could be had ♪ ♪ Doo-doo-doo-doo doo ♪ ♪ Then you leave a person dangling sadly ♪ ♪ Outside your door ♪ ♪ Which it only makes a person gladly ♪ ♪ Want you even more ♪ ♪ I could understand a person ♪ ♪ If he said to go away ♪ ♪ Doo-doo-doo-doo doo ♪ ♪ I could understand a person ♪ ♪ If he happened to be gay ♪ ♪ Doo-doo-doo-doo doo ♪ ♪ Doo-doo-doo-doo ♪ ♪ But worse than that ♪ ♪ A person that ♪ ♪ Titillates a person and then leaves her flat ♪ ♪ Is crazy ♪ ♪ He's a troubled person ♪ ♪ He's a truly crazy person ♪ ♪ Himself!

♪ ♪ You left me undelivered ♪ ♪ You ghosted me!

♪ ♪ All rizz, nothing else ♪ ♪ 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 ♪ ♪ So single and attentive and attractive a man ♪ ♪ Is everything a person could wish ♪ ♪ But turning off a person is the act of a man ♪ ♪ Who likes to pull the hooks out of fish ♪ ♪ Knock, knock, is anybody there?

♪ ♪ Knock, knock, it really isn't fair ♪ ♪ Knock, knock, I'm working all my charms ♪ ♪ Knock, knock, a zombie's in my arms ♪ ♪ All that sweet affection ♪ ♪ What is wrong?

♪ ♪ Where's that loose connection?

♪ ♪ How long, oh Lord, how long?

♪ ♪ Bobby baby, Bobby bubi, Bobby ♪ ♪ You could drive a person buggy ♪ ♪ You could blow a person's cool ♪ ♪ Doo-doo-doo-doo doo ♪ ♪ Like you make a person feel all huggy ♪ ♪ While you make her feel a fool ♪ ♪ Doo-doo-doo-doo doo ♪ ♪ When a person says that you've upset her ♪ ♪ That's when you're good ♪ ♪ You impersonate a person better ♪ ♪ Than a zombie should ♪ ♪ I could understand a person ♪ ♪ If he wasn't good in bed ♪ ♪ Doo-doo-doo-doo doo ♪ ♪ I could understand a person ♪ ♪ If he actually was dead ♪ ♪ Doo-doo-doo-doo ♪ ♪ Exclusive you ♪ ♪ Elusive you ♪ ♪ Will any person ever get the juice of you?

♪ ♪ You're crazy ♪ ♪ You're a lovely person ♪ ♪ You're a moving, deeply maladjusted ♪ ♪ Never to be trusted ♪ ♪ Crazy person ♪ ♪ Yourself!

♪ ♪ Bobby is my hobby and I'm giving it up!

♪ (applause).

♪ ♪ ANAH: Over the years, Hal Prince became recognized as a positive force in creativity.

To him, storytelling wasn't just about imagination, it was about hard work.

♪ ♪ ANAH: The Phantom of the Opera closed on Broadway as the longest-running musical in Broadway history.

35 years!

That was the second collaboration with Andrew Lloyd Webber.

The first with Tim Rice was Evita.

♪ ♪ ♪ ♪ ANDREW LLOYD WEBBER: In both of those shows, was it not proven that the look of the show, and the whole style of the show really brought the music and the lyrics to life.

MADI: To Andrew Lloyd Webber, only Hal could envision their successful concept album, Evita.

Eva Peron, the first lady of Argentina, is perhaps best known for championing the rights of the descamisados, even as she herself lived a life of luxury.

Hal relished in the contradiction that was Evita.

♪ Please, gentle Eva ♪ ♪ Will you bless a little child?

♪ ♪ For I love you ♪ ♪ Tell Heaven I'm doing my best ♪ ♪ I'm praying for you ♪ ♪ Even though you're already blessed ♪ ♪ Please, holy Eva ♪ ♪ Will you feed ♪ ♪ A hungry child?

♪ ♪ For I love you ♪ ♪ Get them while they're young, Evita ♪ ♪ Get them while they're young ♪ ♪ I'm praying for you, even though you're already blessed ♪ ♪ Santa Santa Evita ♪ ♪ Madre de todos los niños ♪ ♪ De los tiranizados, de los descamisados ♪ ♪ De los trabajadores, de la Argentina ♪ ♪ And the money kept rolling in ♪ ♪ From every side ♪ ♪ Eva's pretty hands reached out and they reached wide ♪ ♪ Now you may feel it should have been a voluntary cause ♪ ♪ But that's not the point my friends ♪ ♪ When the money keeps rolling in, you don't ask how ♪ ♪ Think of all the people guaranteed a good time now ♪ ♪ Eva's called the hungry to her, open up the doors ♪ ♪ Never been a fund like the Foundation Eva Peron ♪ ♪ Rollin' rollin' rollin', rollin' rollin' rollin' ♪ ♪ Rollin' rollin' rollin', rollin' rollin' rollin' ♪ ♪ Rollin' rollin' rollin', rollin' rollin' rollin' ♪ ♪ Rollin' rollin' rollin', rollin' rollin' rollin' ♪ ♪ Rollin' on in, rollin' on in ♪ ♪ Rollin' on in, rollin' on in ♪ ♪ On in ♪ ♪ Would you like to try a college education?

♪ ♪ Own your landlord's house, take the family on vacation?

♪ ♪ Eva and her blessed fund can make your dreams come true ♪ ♪ Here's all you have to do my friends ♪ ♪ Write your name or your dream on a card or a pad or a ticket ♪ ♪ Throw it high in the air and should our lady pick it ♪ ♪ She will change your way of life for a week or even two ♪ ♪ Name me anyone who cares as much as Eva Peron ♪ ♪ Rollin' rollin' rollin', rollin' rollin' rollin' ♪ ♪ Rollin' rollin' rollin', rollin' rollin' rollin' ♪ (vocalizing) ♪ Rollin' on out, rollin' on out ♪ ♪ Rollin' on out ♪ ♪ On out ♪ (cheering) (clapping) (clapping) ♪ Rollin' rollin' rollin', rollin' rollin' rollin' ♪ ♪ Rollin' rollin' rollin', rollin' rollin' rollin' ♪ (vocalizing) ♪ Rollin' on in, rollin' on in ♪ ♪ Rollin' on in, rollin' on in ♪ ♪ Rollin' on in, rollin' on in ♪ ♪ Rollin' on in, on in ♪ (applause).

ESTHER: So, sure the money kept rolling in for producer Hal Prince, he was thrilled.

But don't forget Hal was a contradiction himself.

As a director, he was more concerned about finding new ways to tell a story, and its impact on the audience.

LUKA: He experimented with different sources of inspiration, including a Swedish film for A Little Night Music.

ESTHER: The first book musical, in the groundbreaking Showboat.

LUKA: And, an iconic photo of Gloria Swanson for Follies.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Only make-believe ♪ ♪ I love you ♪ ♪ Only make-believe ♪ ♪ That you love me ♪ ♪ Others find peace of mind in pretending ♪ ♪ Couldn't you?

♪ ♪ Couldn't I?

♪ ♪ Couldn't we?

♪ ♪ Make believe our lips are blending ♪ ♪ In a phantom kiss or two or three?

♪ ♪ Might as well make believe I love you ♪ ♪ For to tell the truth ♪ ♪ I do ♪ ♪ ♪ ♪ "What will tomorrow bring?"

♪ ♪ The pundits query ♪ ♪ Will it be cheery?

♪ ♪ Will it be sad?

♪ ♪ Will it be birds in spring ♪ ♪ Or hara-kiri?

♪ ♪ Don't worry, dearie ♪ ♪ Don't worry, lad ♪ ♪ I'll have our future ♪ ♪ Suit your whim ♪ ♪ Blue chip preferred ♪ ♪ Putting it in a synonym ♪ ♪ Perfect's the word ♪ ♪ We're in this thing together ♪ ♪ Aren't cha glad?

♪ ♪ Each day from now will be ♪ ♪ The best day you ever had ♪ ♪ ♪ ♪ You're gonna love tomorrow ♪ ♪ Mm-hm ♪ ♪ You're gonna be with me ♪ ♪ Mm-hm ♪ ♪ And if you love tomorrow ♪ ♪ I'm giving you my personal guarantee ♪ ♪ Say toodle-oo to sorrow ♪ ♪ Mm-hm ♪ ♪ And fare thee well, ennui ♪ ♪ Bye-bye ♪ ♪ You're gonna love tomorrow ♪ ♪ As long as your tomorrow is spent with me ♪ ♪ Today ♪ ♪ Was perfectly perfect, you say ♪ ♪ Well, don't go away ♪ ♪ 'Cause if you think you liked today ♪ ♪ You're gonna love tomorrow ♪ ♪ Mm-hm ♪ ♪ You're gonna be with me ♪ ♪ Mm-hm ♪ ♪ And if you love tomorrow ♪ ♪ Then think of how it's gonna be ♪ ♪ Tomorrow's what you're gonna have a lifetime of ♪ ♪ With me!

♪ ♪ I may burn the toast ♪ ♪ Oh, well ♪ ♪ I may make a rotten host ♪ ♪ Do tell ♪ ♪ But no matter what goes wrong ♪ ♪ Love will see us through ♪ ♪ Till something better comes along ♪ ♪ I may vex your folks ♪ ♪ Okay ♪ ♪ I may interrupt your jokes ♪ ♪ You may ♪ ♪ But if I come on too strong ♪ ♪ Love will see us through ♪ ♪ Till something better comes along ♪ ♪ I may play cards all night ♪ ♪ And come home at three ♪ ♪ Just leave a light ♪ ♪ On the porch for me ♪ ♪ Well, nobody's perfect!

♪ ♪ Hi Girls ♪ ♪ Ben, Sally ♪ ♪ I may trump your ace ♪ ♪ You're gonna love tomorrow ♪ ♪ Please do I may clutter up the place ♪ ♪ You're gonna be with me ♪ ♪ Me, too ♪ ♪ But the minute we embrace ♪ ♪ To Love's old sweet song ♪ ♪ Dear, that will see us through till something ♪ ♪ Love will keep us true till something ♪ ♪ Love will help us hew to something ♪ ♪ Love will have to do ♪ ♪ Till something better comes along ♪ ♪ ♪ (applause).

ANAH: "You're Gonna Love Tomorrow", from Follies.

A show that epitomized Hal's paradox.

Some shows can be flops at the box office and still be considered a great artistic success.

He learned to reframe his losses.

Hal credits his wife for that wisdom.

ERIC: He always had a vision that was higher, that was bolder than you would have yourself.

But then once you saw his vision, you were willing to follow wherever he wanted to go.

And in a way you sort of inherited that ambition too.

You have to believe that there's a destination you're moving towards, Hal always did.

♪ Somewhere ♪ ♪ Somewhere ♪ ♪ Somewhere ♪ ♪ Somewhere ♪ ♪ There's a place for us ♪ ♪ Somewhere a place for us ♪ ♪ Peace and quiet and open air ♪ ♪ Wait for us, somewhere ♪ ♪ Somewhere ♪ ♪ There's a time for us ♪ ♪ Some day a time for us ♪ ♪ Time together with time to spare ♪ ♪ Time to learn, time to care ♪ ♪ Some day ♪ ♪ Some day ♪ ♪ Somewhere ♪ ♪ We'll find a new way of living ♪ ♪ Some day ♪ ♪ We'll find a way of forgiving ♪ ♪ Some day ♪ ♪ Somewhere, Some day a time ♪ ♪ Somewhere ♪ ♪ Hold my hand and we're halfway there ♪ ♪ Hold my hand and I'll take you there ♪ ♪ Somehow ♪ ♪ Some day ♪ ♪ Somewhere!

♪ ♪ There's a place for us ♪ ♪ Ahh!

♪ ♪ Ahh!

♪ (applause).

ERIC: Every piece of work he created was unbelievably daring and compelling, and like nothing you had ever seen before.

He always wanted to chart new territory, to make a new beginning.

And in that way, all the experience he accrued over decades of artistry, still made him like a kid with every show.

JASON ROBERT BROWN: Hal was starting to work on, uh on this show about the Leo Frank case, and uh, the composer dropped out and said he wanted to work on something else.

And Hal said "Oh, I know, there's that kid who works with Daisy, let's ask him if he wants to write it".

HAL: I asked him to do Parade when Alfred brought me this strange idea, and very compelling idea, of musicalizing the life of Leo, life and death of Leo Frank.

And he did a wonderful score.

But he gets better and better and better because he honors the craft and because he's a stunning musician.

ESTHER: Their collaboration in Parade speaks powerfully to the evils of intolerance and injustice.

A long-overdue revival opened on Broadway in 2023 after it premiered 25 years earlier.

As Leo considers the possible outcome of his trial, he and his wife Lucille sing of their newfound appreciation for one another.

♪ ♪ ♪ I will never understand ♪ ♪ What I did to deserve you ♪ ♪ Or how to be the man ♪ ♪ That I'm supposed to be ♪ ♪ I will never understand ♪ ♪ If I live a thousand lifetimes ♪ ♪ Why you did the things you did ♪ ♪ For me ♪ ♪ Just look at you ♪ ♪ How could I not be in love with you?

♪ ♪ What kind of fool could have taken you for granted ♪ ♪ For so long?

♪ ♪ All the wasted time!

♪ ♪ All the million hours!

♪ ♪ Pushing you away ♪ ♪ Building up my wall ♪ ♪ All the days gone by ♪ ♪ To glare ♪ ♪ To pout ♪ ♪ To push you out ♪ ♪ And I never knew anything ♪ ♪ At all ♪ ♪ I never knew anything ♪ ♪ At all ♪ ♪ I will never understand ♪ ♪ How all the world misjudged you ♪ ♪ When I have always known ♪ ♪ How lucky I must be ♪ ♪ I will never understand ♪ ♪ How I kept from goin' crazy ♪ ♪ Just waitin' there ♪ ♪ 'Til you came home ♪ ♪ To me ♪ ♪ Now, look at me ♪ ♪ Now that you're finally here with me ♪ ♪ Now that I know I was right to wait ♪ ♪ And everyone else was so wrong ♪ ♪ For so long!

♪ ♪ All the wasted time!

♪ ♪ All the wasted time!

♪ ♪ All the million hours!

♪ ♪ Years on top of years ♪ ♪ Still too proud to crawl ♪ ♪ All the days gone by ♪ ♪ To feel that I don't satisfy ♪ ♪ And I never knew anything ♪ ♪ At all ♪ ♪ I never knew anything ♪ ♪ At all!

♪ ♪ All the wasted time!

♪ ♪ All the million hours!

♪ ♪ Leaves too high to touch ♪ ♪ Roots too strong to fall ♪ ♪ All the days gone by ♪ ♪ To never show I loved you so ♪ ♪ And I never knew anything ♪ ♪ At all ♪ ♪ I never knew anything ♪ ♪ At all!

♪ ♪ ♪ ♪ ♪ ♪ ♪ MADI: Wasted time?

Not Hal Prince.

He was too busy pushing the boundaries of storytelling.

He said... RYAN: You can't keep on recycling revivals, and you can't keep betting on the efforts of guys like me who've been around.

You have to take the next step, and you have to bet on the next generation.

♪ Something is stirring ♪ ♪ Shifting ground ♪ ♪ It's just begun ♪ ♪ Edges are blurring ♪ ♪ All around ♪ ♪ And yesterday is done ♪ ♪ Feel the flow ♪ ♪ Hear what's happening ♪ ♪ We're what's happening ♪ ♪ Don't you know?

♪ ♪ We're the movers and we're the shapers ♪ ♪ We're the names in tomorrow's papers ♪ ♪ Up to us, man, to show 'em ♪ ♪ It's our time, breathe it in ♪ ♪ Worlds to change and worlds to win ♪ ♪ Our turn coming through ♪ ♪ Me and you, man ♪ ♪ Me and you!

♪ ♪ Feel how it quivers, on the brink ♪ ♪ What?

♪ ♪ Everything!

♪ ♪ Gives you the shivers, makes you think ♪ ♪ There's so much stuff to sing!

♪ ♪ And you and me ♪ ♪ We'll be singing it like the birds ♪ ♪ Me with music and you the words ♪ ♪ Tell 'em things they don't know!

♪ ♪ Up to us, pal, to show 'em ♪ ♪ ♪ ♪ It's our time, breathe it in ♪ ♪ Worlds to change and worlds to win ♪ ♪ Our turn, we're what's new ♪ ♪ Me and you, pal ♪ ♪ Me and you!

♪ ♪ Feel the flow ♪ ♪ Hear what's happening ♪ ♪ We're what's happening!

♪ ♪ Long ago ♪ ♪ All we had was that funny feeling ♪ ♪ Saying someday we'd send 'em reeling ♪ ♪ Now it looks like we can!

♪ ♪ Someday just began ♪ ♪ ♪ ♪ It's our time, breathe it in ♪ ♪ Worlds to change and worlds to win ♪ ♪ Our turn coming through ♪ ♪ Me and you, pal ♪ ♪ Me and you!

♪ ♪ Years from now ♪ ♪ We'll remember and we'll come back ♪ ♪ Buy the rooftop and hang a plaque ♪ ♪ This is where we began ♪ ♪ Being what we can ♪ ♪ ♪ ♪ It's our heads on the block ♪ ♪ Give us room and start the clock ♪ ♪ Our dreams coming true ♪ ♪ Me and you, pal ♪ ♪ Me and you!

♪ ♪ Me and you!

♪ ♪ Me and you!

♪ ♪ Me and you!

♪ ♪ Me and you!

♪ ♪ Me and you!

♪ ♪ Me and you!

♪ ♪ Me and you!

♪ (applause).

ANAH: Maybe we're the next generation.

Here, telling you about another time and, storyteller who made a difference.

Hal did it, so what are we to do?

SEGER: Well, the same thing Hal did.

Imagine, innovate... ESTHER: Collaborate!

LUKA: Pitch and hustle.

SEBASTIAN: Take risks!

GRACE PRESSLEY: But don't be afraid to challenge your audience.

MADI: And, most importantly... ♪ Do the work ♪ ♪ Do it now ♪ ♪ If there's something to say, then say it ♪ ♪ Find your team ♪ ♪ Find your voice ♪ ♪ Put it out into the world ♪ ♪ Do the work ♪ ♪ Get it done ♪ ♪ When you're finished you start the next one ♪ ♪ Will it last?

♪ ♪ Will it count?

♪ ♪ Time will tell ♪ ♪ Fill the space ♪ ♪ Do the work, pal ♪ ♪ And do it well ♪ ♪ ♪ ♪ Do the work ♪ ♪ Find a way ♪ ♪ If it matters to you then prove it ♪ ♪ Make a point ♪ ♪ Make a stand ♪ ♪ And then get it on the stage ♪ ♪ What you see, what you feel ♪ ♪ Is the start of an inspiration ♪ ♪ Give it truth, give it sound, give it a life ♪ ♪ Take a chance ♪ ♪ Do the work, pal ♪ ♪ And do it right ♪ ♪ If there's something that you're dying to express ♪ ♪ There is no one that can guarantee success ♪ ♪ But you do it nonetheless ♪ ♪ You've got to tell your story ♪ ♪ Tell your story ♪ ♪ Tell the story with whatever's close at hand ♪ ♪ Use a canvas or a stage or baby grand ♪ ♪ Take a look and take a stand ♪ ♪ You've got to tell your story ♪ ♪ Tell your story ♪ ♪ Any reason can be good enough to start ♪ ♪ If you've emptied out your pockets or your heart ♪ ♪ What a love for the art ♪ ♪ You've got to tell your story ♪ ♪ Tell your story ♪ ♪ See the vision in your head and take control ♪ ♪ It'll cost you every atom in your soul ♪ ♪ Let the rhythm start to roll so you can tell your story ♪ ♪ Tell your story ♪ ♪ Do the work ♪ ♪ Take a step ♪ ♪ Make it reckless and unexpected ♪ ♪ Make it brave ♪ ♪ Make it wrong ♪ ♪ But for God sakes make it now ♪ ♪ Do the work ♪ ♪ There you go ♪ ♪ Get back up if you get rejected ♪ ♪ Plant the seed and then see how it grows ♪ ♪ On your mark ♪ ♪ Count to ten ♪ ♪ Do the work, pal ♪ ♪ And on it goes ♪ ♪ On it goes ♪ ♪ On it goes ♪ ♪ On it goes ♪ ♪ On it goes ♪ ♪ On it goes ♪ ♪ On it goes ♪ ♪ On it goes ♪ (applause).

(music plays through credits).

MAN: This program was made possible in part by... KPMG LLP.

Tom DiGiovanni and Patrick O'Donnell.

Ed Grossman and Rochelle Stanfield.

And by the MPT Foundation New Initiatives Fund, established by Irene and Edward H. Kaplan.

♪ ♪