Welcome to 2007! Amazing how time flies, isn't it? And in honor of the new year, I thought I'd dedicate this column to songs about new beginnings…

First off we have our title song of this column, "It's Not Where You Start, It's Where You Finish", the showstopping number from Cy Coleman & Dorothy Fields' musical SEESAW. After a troublesome start on the road, Michael Bennett brought in young Tommy Tune to help salvage the show, and this number - one that has no relevance at all to the plot, certainly helped to boost the show's revenues as well as launch Mr. Tune's career. It's joyous, giddy fun and as perfect an example of Broadway showmanship as one can find.

For those who need a start in romance, Ira Gershwin & Vernon Duke wrote "I Can't Get Started", a terrific piece introduced by Bob Hope & Eve Arden in THE ZIEGFELD FOLLIES OF 1936. Later lyrical variations include a version recorded by Nancy Walker in 1953, a duet version for Bing Crosby & Rosemary Clooney in 1958, and the classic jazz version recorded by Bunny Berigan.

And we can't forget the title song of the Richard Maltby Jr / David Shire 1977 musical revue STARTING HERE, STARTING NOW, a song which Barbra Streisand made famous on her COLOR ME BARBRA album .

Next we have a finale, the song "Sweet Beginning" from the Anthony Newley / Leslie Bricusse musical THE ROAR OF THE GREASEPAINT - THE SMELL OF THE CROWD. After an evening full of razzmatazz showbiz numbers, this touching finale sets the tone for a peaceful coexistence between the two adversaries, the poor "Cocky" and rich "Sir".

Another fun number within our theme is the song "Let's Begin" by Jerome Kern & Otto Harbach. It was written for the 1933 show ROBERTA, originally titled GOWNS BY ROBERTA, and famously recorded by Ella Fitzgerald for her Jerome Kern songbook, as well as by Jack Cassidy & Joan Roberts for the 1952 studio recording of the show (featuring songs from the film version as well).

In a saucier vein, the Lionel Bart / Laurie Johnson musical LOCK UP YOUR DAUGHTERS asks the question "When Does The Ravishing Begin?", and considering the show was based on an 18th century Henry Fielding/Bernard Miles play entitled RAPE UPON RAPE, I doubt it would be politically correct for today's audiences.

New Year's resolutions often lead to personal makeovers, and musical theater pieces love to have characters sing of their transformations. Notable examples would be Effie's song "I Am Changing" from Henry Kreiger & Tom Eyen's DREAMGIRLS, Ben Vereen's showstopper "A New Man" from the Grossman/Fitzhugh musical GRIND, Lizzie's poignant "Is it Really Me?" from the Jones & Schmidt score to 110 IN THE SHADE, "The Man I Used To Be" from Rodgers & Hammerstein's PIPE DREAM, and even the Gooch makeover reprise of "Bosom Buddies" from Jerry Herman's score to MAME. Another example would be the song "A Change In Me" by Tim Rice & Alan Menken, a lovely song added to the score of Disney's stage version of BEAUTY & THE BEAST when Toni Braxton took over the role of "Belle".

Continuing the resolutions we have songs where the singer wants to move ahead from their current relationship. Examples of this can be found in songs like Ilona's forceful "I Resolve" from Jerry Bock & Sheldon Harnick's SHE LOVES ME, Dot's "We Do Not Belong Together" from Stephen Sondheim's SUNDAY IN THE PARK WITH GEORGE, "What Did I Ever See In Him?" from Charles Strouse & Lee Adams' BYE BYE BIRDIE, "You Can Have Him" from Irving Berlin's score to MISS LIBERTY, or "Take Him" from Richard Rodgers & Lorenz Hart's PAL JOEY. (Funny, all these songs are about women leaving their men, but all written by male writers. Hmmm.)

But enough about embittered partners, let's end on a song of hope. In watching the finale of the recent Kennedy Center Honors. John Williams chose the finale to CANDIDE, music by Leonard Bernstein & lyrics by Richard Wilbur, to celebrate the work of Steven Spielberg. This stirring piece is perfect to exemplify new beginnings and the start of a new year…