How did a song for a limited voice become a legendary showstopper?
In short: Stephen Sondheim’s Send in the Clowns defies the traditional definition of a showstopper. Written for an actress with limited vocal range, it became a massive commercial success. This lecture examines why this abstract, quiet song resonates so deeply and how it evolved into a standard for major vocalists.
The term showstopper historically refers to a performance so powerful it halts the action of a show for prolonged applause. Professor Dominic Broomfield-McHugh explores the irony of applying this label to Send in the Clowns, which was composed for Glynis Johns in the musical A Little Night Music. Unlike the high-energy numbers typically associated with the term, this song relies on abstract lyrics and a restricted vocal range.
The lecture traces the evolution of the showstopper from its origins in 1912 burlesque and minstrelsy to its mid-twentieth-century Broadway status. By analyzing the song's journey through covers by artists like Frank Sinatra, Judy Collins, and Sarah Vaughan, the lecture highlights the vulnerability required of performers who must manage audience reactions while staying in character.
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Sources
- Summary by Intellect · source: The Sondheim Showstopper: ‘Send in the Clowns - Dominic Broomfield McHugh
- Also: The Sondheim Showstopper: ‘Send in the Clowns’
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