Send in the Clowns

This article is about the song by Stephen Sondheim. For other uses, see Send in the Clowns (disambiguation).

"Send in the Clowns" is a song written by Stephen Sondheim for the 1973 musical A Little Night Music, an adaptation of Ingmar Bergman's film Smiles of a Summer Night. It is a ballad from Act II in which the character Desirée reflects on the ironies and disappointments of her life. Among other things, she looks back on an affair years earlier with the lawyer Fredrik. Meeting him after so long, she finds that he is now in an unconsummated marriage with a much younger woman. Desirée proposes marriage to rescue him from this situation, but he declines, citing his dedication to his bride. Reacting to his rejection, Desirée sings this song. The song is later reprised as a coda after Fredrik's young wife runs away with his son, and Fredrik is finally free to accept Desirée's offer.[1]

Sondheim wrote the song specifically for the actress Glynis Johns, who created the role of Desirée on Broadway. The song is structured with four verses and a bridge, and uses a complex compound meter. It became Sondheim's most popular song after Frank Sinatra recorded it in 1973 and Judy Collins' version charted in 1975 and 1977. Subsequently, Sarah Vaughan, Shirley Bassey, Judi Dench, Cleo Laine, Perry Como, Grace Jones, Barbra Streisand, Zarah Leander, Tiger Lillies, Joyce Castle, Ray Conniff, Glenn Close, Cher, Bryn Terfel, Plácido Domingo, Madonna, Mark Kozelek, Rose Jang and many other artists recorded the song and it has become a jazz standard.

Meaning of title

The "clowns" in the title do not refer to circus clowns. Instead, they symbolize fools, as Sondheim explained in a 1990 interview:

I get a lot of letters over the years asking what the title means and what the song's about; I never thought it would be in any way esoteric. I wanted to use theatrical imagery in the song, because she's an actress, but it's not supposed to be a circus [...] [I]t's a theater reference meaning "if the show isn't going well, let's send in the clowns"; in other words, "let's do the jokes." I always want to know, when I'm writing a song, what the end is going to be, so "Send in the Clowns" didn't settle in until I got the notion, "Don't bother, they're here", which means that "We are the fools."[2]

In a 2008 interview, Sondheim further clarified:

As I think of it now, the song could have been called "Send in the Fools". I knew I was writing a song in which Desirée is saying, "aren't we foolish" or "aren't we fools?" Well, a synonym for fools is clowns, but "Send in the Fools" doesn't have the same ring to it.[3]

Context

Main article: A Little Night Music

In an interview with Alan Titchmarsh, Judi Dench, who performed the role of Desirée in London, commented on the context of the song. The play is "a dark play about people who, at the beginning, are with wrong partners and in the end it is hopefully going to become right, and she (Desiree) mistimes her life in a way and realizes when she re-meets the man she had an affair with and had a child by (though he does not know that), that she loves him and he is the man she wants."[4]

Some years before the play begins, Desirée was a young, attractive actress, whose passions were the theater and men. She lived her life dramatically, flitting from man to man. Fredrik was one of her many lovers and fell deeply in love with Desirée, but she declined to marry him. The play implies that when they parted Desirée may have been pregnant with his child.

A few months before the play begins, Fredrik married a beautiful woman who at 18 years old was much younger than he. In Act One, Fredrik meets Desirée again, and is introduced to her daughter, a precocious adolescent suggestively named Fredrika. Fredrik explains to Desirée that he is now married to the young woman, whom he loves, but who is still a virgin and refuses to have sex with him. Desirée and Fredrik then make love.

Act Two begins days later, and Desirée realizes that she truly loves Fredrik. She tells Fredrik that he needs to be rescued from his marriage, and she proposes to him. Fredrik explains to Desirée that he has been swept off the ground and is "in the air" in love with his beautiful, young wife, and apologizes for having misled her. Fredrik walks across the room, while Desirée remains sitting on the bed; as she feels both intense sadness and anger, at herself, her life and her choices, she sings, "Send in the Clowns." Not long thereafter, Fredrik's young wife runs away with his son, and he is free to accept Desirée's proposal, and the song is reprised as a coda.

Score

History

Sondheim wrote the lyrics and music over a two-day period during rehearsals for the play's Broadway debut,[5] specifically for the actress Glynis Johns, who created the role of Desirée.[5] According to Sondheim, "Glynis had a lovely, crystal voice, but sustaining notes was not her thing. I wanted to write short phrases, so I wrote a song full of questions" and the song's melody is within a small music range:[3]

We hired Glynis Johns to play the lead, though she had a nice little silvery voice. But I'd put all the vocal weight of the show on the other characters because we needed somebody who was glamorous, charming and could play light comedy, and pretty, and to find that in combination with a good voice is very unlikely, but she had all the right qualities and a nice little voice. So I didn't write much for her and I didn't write anything in the second act.
And the big scene between her and her ex-lover, I had started on a song for him because it's his scene. And Hal Prince, who directed it, said he thought that the second act needed a song for her, and this was the scene to do it in. And so he directed the scene in such a way that even though the dramatic thrust comes from the man's monologue, and she just sits there and reacts, he directed it so you could feel the weight going to her reaction rather than his action.
And I went down and saw it and it seemed very clear what was needed, and so that made it very easy to write. And then I wrote it for her voice, because she couldn't sustain notes. Wasn't that kind of singing voice. So I knew I had to write things in short phrases, and that led to questions, and so again, I wouldn't have written a song so quickly if I hadn't known the actress.... I wrote most of it one night and finished part of the second chorus, and I'd gotten the ending.... [T]he whole thing was done in two days.[5]

Lyrics

The lyrics of the song are written in four verses and a bridge and sung by Desirée. As Sondheim explains, Desirée experiences both deep regret and furious anger:

"Send in the Clowns" was never meant to be a soaring ballad; it's a song of regret. And it's a song of a lady who is too upset and too angry to speak– meaning to sing for a very long time. She is furious, but she doesn't want to make a scene in front of Fredrik because she recognizes that his obsession with his 18-year-old wife is unbreakable. So she gives up; so it's a song of regret and anger, and therefore fits in with short-breathed phrases.[2]

Meter and key

The song was originally performed in the key of D flat major.[6]

The song uses an unusual and complex meter, which alternates between 12/8 and 9/8.[2] These are two complex compound meters that evoke the sense of a waltz used throughout the score of the show. Sondheim tells the story:

When I worked with Leonard Bernstein on West Side Story, one of the things I learned from him was not always necessarily to think in terms of 2-, 4- and 8-bar phrases. I was already liberated enough before I met him not to be sticking to 32-bar songs, but I tend to think square. I tend to think ... it's probably because I was brought up on mid-19th and late-19th Century music, and you know it's fairly square; there are not an awful lot of meter changes.
You often will shorten or lengthen a bar for rhythmic purposes and for energy, but ... when you switch in the middle [of a song], particularly when it's a modest song, when you're not writing an aria, you know ... [I mean,] if you're writing something like Sweeney Todd, where people sing at great length, you expect switches of meter, because it helps variety. But in a little 36- or 40-bar song, to switch meters around is almost perverse, because the song doesn't get a chance to establish its own rhythm.
But the problem is, what would you do?: Would you go, "Isn't it rich? (two, three) Are we a pair? (two, three) Me here at last on the ground (three), you in mid-air." Lenny [Bernstein] taught me to think in terms of, "Do you really need the extra beat (after 'ground') or not." Just because you've got four bars of four, if you come across a bar that doesn't need the extra beat, then put a bar of three in. So ... the 9 [beat bars] and 12 [beat bars] that alternate in that song were not so much consciously arrived at as they were by the emotionality of the lyric.[2]

Styles

"Send in the Clowns" is performed in two completely different styles: dramatic and lyric. The dramatic style is the theatrical performance by Desirée, and this style emphasizes Desirée's feelings of anger and regret, and the dramatic style acts as a cohesive part of the play. The lyric style is the concert performance, and this style emphasizes the sweetness of the melody and the poetry of the lyrics. Most performances are in concert, so they emphasize the beauty of the melody and lyrics.

Sondheim teaches both dramatic and lyric performers several important elements for an accurate rendition:[7]

The dramatic performer must take on the character of Desirée: a woman who finally realizes that she has misspent her youth on the shallow life. She is both angry and sad, and both must be seen in the performance. Two important examples are the contrast between the lines, "Quick, send in the clowns" and "Well, maybe next year." Sondheim teaches that the former should be steeped in self-loathing, while the latter should emphasize regret.[7] Thus, the former is clipped, with a break between "quick" and "send," while the latter "well" is held pensively.[7]

Sondheim himself apologizes for flaws in his composition. For example, in the line, "Well, maybe next year," the melodic emphasis is on the word year but the dramatic emphasis must be on the word next:

The word "next" is important: "Maybe next year" as opposed to "this year". [Desirée means,] "All right, I've screwed it up this year. Maybe next year I'll do something right in my life." So [it's] "well, maybe next year" even though it isn't accented in the music. This is a place where the lyric and the music aren't as apposite as they might be, because the important word is "next", and yet the accented word is "year". That's my fault, but [something the performer must] overcome.[8]

Another example arises from Sondheim's roots as a speaker of American rather than British English: The line "Don't you love farce?" features two juxtaposed labiodental fricative sounds (the former [v] voiced, the latter [f] devoiced). American concert and stage performers will often fail to "breathe" and/or "voice" between the two fricatives, leading audiences familiar with British slang to hear "Don't you love arse?," misinterpreting the lyric or at the least perceiving an unintended double entendre. Sondheim agrees that "[i]t's an awkward moment in the lyric, but that v and that f should be separated."[8]

In the line of the fourth verse, "I thought that you'd want what I want. Sorry, my dear," the performer must communicate the connection between the "want" and the "sorry".[7] Similarly, Sondheim insists that performers separately enunciate the adjacent ts in the line, "There ought to be clowns."[7]

In 1973, the musical, with the song, debuted on Broadway. The song became popular with theater audiences but had not become a pop hit. Sondheim explained how the song became a hit:

First of all, it wasn't a hit for two years. I mean, the first person to sing it was Bobby Short, who happened to see the show in Boston, and it was exactly his kind of song: He's a cabaret entertainer. And then my memory is that Judy Collins picked it up, but she recorded it in England; Sinatra heard it and recorded it. And between the two of them, they made it a hit.[5]

In 1973, Frank Sinatra recorded "Send in the Clowns" on his comeback album, Ol' Blue Eyes Is Back, which hit gold status. Gordon Jenkins arranged the song. It was also released as a single, with "Let Me Try Again" on side B.

Two years later in 1975, Judy Collins recorded "Send In the Clowns" and included it in her album, Judith.[9] The song was released as a single, which soon became a major pop hit. It remained on the Billboard Hot 100 for 11 weeks in 1975, reaching Number 36.[10] Then, in 1977, the song again reached the Billboard Hot 100, where it remained for 16 weeks and reached Number 19.[11] At the Grammy Awards of 1976, the Judy Collins performance of the song was named "Song of the Year".[12]

After Sinatra and Collins recorded the song, it was recorded by Kenny Rogers, Lou Rawls and many others.[13]

In 1985, Sondheim added a verse for Barbra Streisand to use in her concert performances[14] and recording, which was featured on The Broadway Album. In 1986, her version became a Number 25 Billboard Hot Adult Contemporary hit.[15]

The song has become a jazz standard with performances by Count Basie, Sarah Vaughan, the Stan Kenton Orchestra and many others.[13]

Recordings

The song occurs on over 900 records by hundreds of performers in a wide variety of arrangements.[16] Among these are:

Other versions and parodies

References

  1. ↑ "Synopsis" mtishows.com, accessed April 16, 2015
  2. 1 2 3 4 An Interview with Stephen Sondheim (Video Interview). Broadcast live from the New York City Opera during the production of A Little Night Music, in either 1990 or 1993, when Sally Ann Howes opened the opera season: Live from Lincoln Center. Retrieved 2008-06-10.
  3. 1 2 Gussow, Mel (2008-03-11). "Send In the Sondheim; City Opera Revives 'Night Music,' as Composer Dotes". The New York Times. Retrieved 2008-06-10.
  4. ↑ An Interview of Dame Judi Dench by Alan Titchmarsh (Video Interview). BBC. 1996. Retrieved 2008-07-08.
  5. 1 2 3 4 Academy of Achievement (2005-07-05). "An Interview with Stephen Sondheim" (Video Interview). Retrieved 2008-06-10.
  6. ↑ "Stephen Sondheim: A Little Night Music - Music on Google Play". play.google.com. Google. Retrieved 2014-09-06.
  7. 1 2 3 4 5 Stephen Sondheim Teaches at Guildhall School of Music, Part 2 (Video Class). Guildhall School of Music, London: Guildhall School of Music. 2006. Retrieved 2008-07-08.
  8. 1 2 Stephen Sondheim Teaches at Guildhall School of Music, Part 1 (Video Class). Guildhall School of Music, London: Guildhall School of Music. 2006. Retrieved 2008-07-08.
  9. ↑ "Billboard". Send in the Clowns, by Judy Collins. Asylum Records. 1975. Archived from the original (Album) on July 1, 2015. Retrieved 2008-07-08.
  10. ↑ "Billboard Hot 100". Send in the Clowns, by Judy Collins. 1975-08-30. Archived from the original on July 4, 2013. Retrieved 2008-07-08.
  11. ↑ "Billboard Hot 100". Send in the Clowns, by Judy Collins. 1977-11-19. Archived from the original on March 14, 2015. Retrieved 2008-07-08.
  12. ↑ "1975 Grammy Award Winner, Song of the Year". Send in the Clowns, written by Stephen Sondheim, performed by Judy Collins. 1975. Retrieved 2008-07-08.
  13. 1 2 "Billboard" (Search Results). Send in the Clowns. Retrieved 2008-07-08.
  14. ↑ Barbra Streisand in Concert (Video Concert). Retrieved 2008-07-08.
  15. ↑ "Billboard Hot Adult Contemporary Tracks". Send in the Clowns, by Barbra Streisand. 1986-03-29. Archived from the original on July 10, 2015. Retrieved 2008-07-08.
  16. ↑
  17. ↑ Joe Viglione. "Send in the Clowns - Shirley Bassey | Listen, Appearances, Song Review". AllMusic. Retrieved 2014-05-15.
  18. ↑ Matthew Greenwald. "Send in the Clowns [From "Musical a Little Night Music"] - Barbra Streisand | Listen, Appearances, Song Review". AllMusic. Retrieved 2014-05-15.
  19. ↑ Video on YouTube
  20. ↑ "I Dreamed A Dream – Hit Songs of Broadway". ABC. Retrieved 14 June 2013.
  21. ↑ "Carol Burnett Send in the Clowns". youtube. Retrieved 19 December 2014.
  22. ↑ "YouTube: Brady Bunch Hour - Send in the Clowns". Retrieved June 6, 2014.
  23. ↑ Nichelson, Ted (2009). Love to Love You Bradys: The Bizarre Story of the Brady Bunch Variety Hour. ECW Press. p. 283. ISBN 9781550228885.
  24. ↑ Matt McGee and Aaron Sams. "U2: U2faqs.com - History FAQ - Three to Under a Blood Red Sky". U2faqs.com. Retrieved 2014-05-15.
  25. ↑ "Stephen Sondheim interview by Steven Colbert", Comedy Central, December 12, 2010. Retrieved September 14, 2014.
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