“Soliloquy,” also known as “My Boy Bill,” may be my favorite Broadway musical song of all time. (I don’t know, it’s between that and “Losing My Mind” from Sondheim’s “Follies.”) It certainly is among the most ambitious of all the songs from the genre, an emotionally wide-ranging, musical equivalent of a Shakespearean monologue. Both the song’s lyricist, Oscar Hammerstein, and especially its composer, Richard Rodgers, were at the top of their form when they created it, and the top of their form can match any songwriter who ever lived. It’s also a tour de force for the singer, a seven-and-a-half minute musical mountain that only the very best even dare try to scale
The song comes at a key moment in the plot of “Carousel,” when the brutish and none-too-bright hero, Billy Bigelow, has learned that his wife is pregnant. The arrested-development adolescent muses about the joys and ultimately the responsibilities of his impending fatherhood, and having accepted the fact that his child might be a girl, makes a fateful vow at the song’s climax: Continue reading
Ethics Alarms 