Well, at least spreading love for our wonderful NT Live poster, who has helped get a lot of us through these troubled times.
Warm fuzzy moment over. Resume the snark.
Hello and thank you for being a DL contributor. We are changing the login scheme for contributors for simpler login and to better support using multiple devices. Please click here to update your account with a username and password.
Hello. Some features on this site require registration. Please click here to register for free.
Hello and thank you for registering. Please complete the process by verifying your email address. If you can't find the email you can resend it here.
Hello. Some features on this site require a subscription. Please click here to get full access and no ads for $1.99 or less per month.
Well, at least spreading love for our wonderful NT Live poster, who has helped get a lot of us through these troubled times.
Warm fuzzy moment over. Resume the snark.
|by Anonymous||reply 329||9 hours ago|
The previous thread
|by Anonymous||reply 1||Last Tuesday at 12:29 PM|
Martine and Savion 1...
|by Anonymous||reply 2||Last Tuesday at 12:35 PM|
Martine and Savion 2...
|by Anonymous||reply 3||Last Tuesday at 12:36 PM|
Martine and Savion 2...
|by Anonymous||reply 4||Last Tuesday at 12:36 PM|
Oops...that was my fault.
|by Anonymous||reply 5||Last Tuesday at 12:36 PM|
|by Anonymous||reply 6||Last Tuesday at 2:10 PM|
If the title and the first five posts are any indication, this thread is already a FLOP.
|by Anonymous||reply 7||Last Tuesday at 2:14 PM|
I am the earth mother, and you are all FLOPS.
|by Anonymous||reply 8||Last Tuesday at 2:38 PM|
I wouldn't have had to, r7...
|by Anonymous||reply 9||Last Tuesday at 2:54 PM|
I think we should have a do-over
|by Anonymous||reply 10||Last Tuesday at 3:21 PM|
Muriel, please nuke this thread.
|by Anonymous||reply 11||Last Tuesday at 3:40 PM|
Why is the "Theatre Thread" the only one in which posters refuse to post because they don't like the thread title? Just fucking talk about Follies.
|by Anonymous||reply 12||Last Tuesday at 3:47 PM|
Because some thread titles are abysmal, r12, and this is one of them. It bears no relation to theatre. Next time, someone please take over from this thread starter. He’s grown stale. Quite stale.
|by Anonymous||reply 13||Last Tuesday at 3:50 PM|
Now come on - OP’s heart was in the right place!
Let’s finally answer something I asked about threads ago: did anyone see Anne Sexton’s play MERCY STREET (1969) at the American Place Theater? It starred Marian Seldes and Mel Dowd.
I’m kind of fascinated by Sexton’s life. The play’s supposedly very autobiographical.
|by Anonymous||reply 14||Last Tuesday at 3:52 PM|
MERCY STREET production
|by Anonymous||reply 15||Last Tuesday at 3:53 PM|
How the play was developed, along with others by two fellow playwrights:
|by Anonymous||reply 16||Last Tuesday at 4:16 PM|
Gawd, so many bitchy Bettys.
|by Anonymous||reply 17||Last Tuesday at 4:16 PM|
[italic]I WANNA TALK ABOUT “MERCY STREET” ! !
|by Anonymous||reply 18||Last Tuesday at 4:19 PM|
I've been reading Andrew Lloyd Webber's autobiography. Here's a few discussion points. (Sorry if these have been discussed before, I'm late to the party).
In the 1970s, a few dance clubs used "Don't Cry For Me Argentina" as their closing song. He doesn't say whether this was the final dance song or music played as the patrons left the club. And he doesn't say if it was just instrumental or if it was Julie Covington's original version.
London Cats 2nd Preview - “Elaine Stritch walked noisily out at the interval proclaiming Cats was a total disaster.” (This after he gave her a paycheck to do a voiceover for the Song & Dance recording).
I bet she knew that Grizabella had been written with Judi Dench in mind and she might have a chance to play it on Broadway, but upon seeing it, she realized how little Grizabella has to do in the show and left. I had always wondered how Judi Dench would play the role because she's not strong on power ballads. ALW says in the book that if she had continued in the show, he would have orchestrated it more like an Edith Piaf song.
Discussing our Miss Betty Buckley. (Keep in mind that Sondheim always hated what she did to his songs).
[quote]She seriously got it into her head that Trevor and the rest of the company were ostracizing her. The reason for Betty’s isolation was rather more mundane. Grizabella doesn’t have much to do apart from deliver her big song. Not so the rest of the cast. One serious problem appeared to be becoming intractable. The “alienated” Betty Buckley for some reason continued to sing “Memory” in every way conceivable other than give the audience the big notes. I finally pulled her aside and said "Just sing the fucking song!”
Betty replaced Bernadette Peters on Broadway in "Song & Dance." A bit of subtle shading from ALW: "I love Betty to bits but I’m not sure that she was born to play a twenty-something English girl from Muswell Hill.”
He states that Bernadette Peters had flu-like symptoms when she recorded "Song & Dance." Isn't that what they all say when the vocals don't sound so great? It's what they said about Tyne Daly's Gypsy and I think they said it about Julie Andrews on one of the "My Fair Lady" recordings.
He says that Milos Forman wanted him to play Mozart in the movie Amadeus. This is hard to believe. A composer with no acting experience is chosen to play a lead in a movie about a classical music composer, a subject which 1980s audiences may have no interest in whatsoever?
He seems to have a love/hate relationship with Tim Rice. Even with all ALW's success, he seems like a battered wife begging her abusive husband to take her back. Tim's just not that into you.
The book ends at the opening of Phantom of the Opera, but he does do a quick final chapter on his work since then. I found it interesting that he mentioned every show *except* Whistle Down The Wind. He quickly mentions: Aspects of Love, The Woman In White, Sunset Boulevard, The Beautiful Game, Love Never Dies, Stephen Ward, producing Bombay Dreams. I saw Whistle Down The Wind and I thought it was better than Love Never Dies and The Beautiful Game. He even had a hit single with Boyzone doing "No Mater What" from the show. What's up with that?
In addition, to his neediness for Tim Rice, he kind of comes off as a jerk in his marriages. He was married to his first wife, who seemed very devoted to him, then he just sort of fell in love with Sarah Brightman (who was also married). So they both divorced and married. Then he says, "There had been publicity about Sarah’s affair with the original Phantom keyboard player and, hugely fond of her as I still am, things weren’t the same for me after that." So they divorced and he remarried for a third time. It's almost like he could cheat on his wife but she wasn't allowed to do it.
All in all, he's had a very charmed life. Many doors easily opened for him and he had many amazing opportunities.
|by Anonymous||reply 19||Last Tuesday at 4:19 PM|
Charles Maryan passed away a couple years ago. He was a great guy.
|by Anonymous||reply 20||Last Tuesday at 4:27 PM|
Interesting. I'm not a huge ALW fan but his place in musical theatre is really singular.
If his other lyricists haven't filled Tim Rice's shoes, that's ALW's own fault. The talent is out there. I think Sir Andrew is unwilling to be challenged by a good writing partner.
I think Don Black and the others are pretty terrible, frankly.
|by Anonymous||reply 21||Last Tuesday at 4:29 PM|
[quote]He states that Bernadette Peters had flu-like symptoms when she recorded "Song & Dance." Isn't that what they all say when the vocals don't sound so great?
I love Bernie--really I do--but they said the same thing about the videotaped version of SUNDAY IN THE PARK WITH GEORGE. I heard over and over that she was unhappy with her own vocal performance "because she was getting over the flu when they recorded it."
Bernie often sounds like "the widdle girl with the code in her nose," anyway. You be the judge.
|by Anonymous||reply 22||Last Tuesday at 4:40 PM|
I thought Bernadette sounded just fine in both things so no reason to apologize.
|by Anonymous||reply 23||Last Tuesday at 4:42 PM|
[quote] He states that Bernadette Peters had flu-like symptoms when she recorded "Song & Dance." Isn't that what they all say when the vocals don't sound so great? It's what they said about Tyne Daly's Gypsy and I think they said it about Julie Andrews on one of the "My Fair Lady" recordings.
It was Julie's second version, the stereo recording from London (you can hear her sniffling during Just You Wait). Also, Mary Martin hated The Sound of Music cast recording because she was so ill and sounded it. There are a few places where she sounds almost like a contralto.
|by Anonymous||reply 24||Last Tuesday at 4:43 PM|
[quote]Also, Mary Martin hated The Sound of Music cast recording
She wasn't the only one! She's a dyke, ya know?
|by Anonymous||reply 25||Last Tuesday at 4:45 PM|
Yeah, I was sick when we recorded the Company record. That's why it looks like I'm drinking so much. I'm using alcohol to knock the germs out of my body.
|by Anonymous||reply 26||Last Tuesday at 4:46 PM|
Cast albums were usually recorded the Sunday after opening. With the stress and pressure and adrenaline of opening, it is no surprise that their immune systems are shot by second night leaving them open to getting sick.
|by Anonymous||reply 27||Last Tuesday at 4:48 PM|
Correct me if I'm wrong, r22, but if memory serves - Bernadette did the SITP video taping at the same time she was doing Song & Dance. I remember hearing at the time that she was sick when she did the S&D recording. She doesn't sound nearly as good on it as she did when I saw it.
|by Anonymous||reply 28||Last Tuesday at 4:52 PM|
This was posted in the Joan of Arc thread:
I remember when Helen Lawson was interviewed during the run of Joan! The Musical and was asked what it was like to play a Saint.
"Dyke, ya know. They should have offered it to Mary."
|by Anonymous||reply 29||Last Tuesday at 4:55 PM|
WE SEE YOU WHITE DYKE MARY!
|by Anonymous||reply 30||Last Tuesday at 4:58 PM|
Which Broadway musical cast has been told they aren't coming back?
|by Anonymous||reply 31||Last Tuesday at 4:58 PM|
Are you asking, r31, or do you know?
|by Anonymous||reply 32||Last Tuesday at 5:00 PM|
[quote]Which Broadway musical cast has been told they aren't coming back?
In My Life
|by Anonymous||reply 33||Last Tuesday at 5:01 PM|
|by Anonymous||reply 34||Last Tuesday at 5:02 PM|
I was going to joke about Joan! when I vaguely remembered that there had been at least 1 Joan of Arc musical already.
I'd completely forgotten this one existed. Any one see it?
|by Anonymous||reply 35||Last Tuesday at 5:03 PM|
Then tell us, r31
|by Anonymous||reply 36||Last Tuesday at 5:04 PM|
|by Anonymous||reply 37||Last Tuesday at 5:07 PM|
|by Anonymous||reply 38||Last Tuesday at 5:13 PM|
Ann Reinking as Joan and Joel Grey as Le Dauphin in Goodtime Charley.
|by Anonymous||reply 39||Last Tuesday at 5:36 PM|
Ann of Arc
|by Anonymous||reply 40||Last Tuesday at 5:49 PM|
Would've been great stunt-casting ... Joan Van Ark IS Joan of Arc!
|by Anonymous||reply 41||Last Tuesday at 5:58 PM|
Falconetti sings! Falconetti dances!
|by Anonymous||reply 42||Last Tuesday at 6:19 PM|
No, r42, unfortunately not. She just...emotes.
|by Anonymous||reply 43||Last Tuesday at 6:23 PM|
R31, it's MRS. DOUBTFIRE, right? (Poor, poor Rob McClure.)
|by Anonymous||reply 44||Last Tuesday at 6:39 PM|
[quote] I'd completely forgotten this one existed. Any one see it?
YEs, and I stupidly paid full price for it. In my 33 years of theatergoing, it ranks in my top five worst shows I've ever suffered through.
|by Anonymous||reply 45||Last Tuesday at 7:02 PM|
They said there will be Broadway performances in this year's scaled-down Macy's Thanksgiving Day Parade. So the question is, which shows will get to perform?
|by Anonymous||reply 46||Last Tuesday at 7:19 PM|
R29, that was pretty lame.
|by Anonymous||reply 47||Last Tuesday at 7:24 PM|
[quote]it's MRS. DOUBTFIRE, right? (Poor, poor Rob McClure.)
Rob McClure was cute in Miscast, doing Mrs. Lovett.
|by Anonymous||reply 48||Last Tuesday at 7:28 PM|
R31 Is it West Side Story? Or can it be, please?
Isaac Cole Powell did a truly poor performance of On My Own for Miscast. Made even worse by the fact it seemed to have been pre-recorded and he was lip-syncing.
|by Anonymous||reply 49||Last Tuesday at 7:29 PM|
You've grown stale, r47. Quite stale.
|by Anonymous||reply 50||Last Tuesday at 7:38 PM|
R18 Is that the Albino from THE PRINCESS BRIDE?
|by Anonymous||reply 51||Last Tuesday at 7:39 PM|
I agree with both opinions about MISCAST, which was... a mixed bag. (I'm pledging MCC money anyway, because they do good work.)
McClure was good. Powell was not. I liked Rob Fairchild dancing around his roof, which I thought was charming. Some of the other song selections were pretty dubious.
I'm never clear what the "rules" are with these Zoom performances: don't you lose points for not singing live on camera? (It's fine if the music is prerecorded. But still.) If you are merely lip-synching, shouldn't you take the opportunity to, um, do something with the number?
|by Anonymous||reply 52||Last Tuesday at 8:02 PM|
I'm not confident WEST SIDE STORY, with its enormous expenses and very mixed word-of-mouth, will ever re-open/officially open.
|by Anonymous||reply 53||Last Tuesday at 8:04 PM|
R53 Not to mention ongoing expenses - they're going to have to be running the rain effect all through lockdown. I imagine most shows are having to have someone go in and run the set pieces through on a regular basis (I hope so, if not there's going to be a slew of stories once lockdown is over of stage equipment failing), but I doubt many would require as much clean up afterwards as that.
|by Anonymous||reply 54||Last Tuesday at 8:11 PM|
I feel confident it's not COMPANY. (Patti would have spilled the beans by now.)
|by Anonymous||reply 55||Last Tuesday at 8:28 PM|
[quote]I feel confident it's not COMPANY. (Patti would have spilled the beans by now.)
That gives them plenty of time to recast Bobbie.
|by Anonymous||reply 56||Last Tuesday at 8:31 PM|
I was going to post the Roxie monologue compilation someone made to illustrate why Melanie Griffith was a movie star and none of the others were, but the uploader has made the video private. What strikes me most about the Roxies shown (including Ann Reinking, Sandy Duncan, Ruthie Henshall, all the way down to Lisa Rinna) is how they're putting a character onto the monologue. Melanie Griffith just IS. None of her line readings sound rehearsed or calculated. And she gets the biggest laughs. She'd already started into the plastic surgery by the time she played Roxie, so it's not a case of her looks carrying her in the role.
|by Anonymous||reply 57||Last Tuesday at 9:24 PM|
[Quote] I had always wondered how Judi Dench would play the role because she's not strong on power ballads. ALW says in the book that if she had continued in the show, he would have orchestrated it more like an Edith Piaf song.
I'm skeptical that Dench would ever have sung "Memory." And if ALW planned to introduce the number for Grizabella, what was the placeholder before he decided on the number for the character? What material was Dench shown to get her to sign up for the show?
|by Anonymous||reply 58||Last Tuesday at 9:34 PM|
The Wiki page on Memory says this, which is rather, oh shall we say, ironic?
[quote]Andrew Lloyd Webber originally composed the tune for a proposed Giacomo Puccini project that he later abandoned. Although the tune was intentionally written in the style of Puccini, Lloyd Webber was concerned that he had unknowingly lifted it from one of Puccini's works. He asked his father, a noted expert on Puccini, for his opinion on whether it sounded like one of the composer's works; according to Lloyd Webber, his father responded: "It sounds like a million dollars!" Prior to its inclusion in Cats, the composition had also been earmarked for his early draft of Sunset Boulevard.
Yet another tune meant for a different show.
|by Anonymous||reply 59||Last Tuesday at 10:05 PM|
Was ALW's father American?
|by Anonymous||reply 60||Last Tuesday at 10:08 PM|
No. The reference on Wiki is to ALW's book, and he does have the quote as saying dollars. It's probably because, especially back then, that amount of money was looked on as something you could only make in America.
|by Anonymous||reply 61||Last Tuesday at 10:26 PM|
Why didn't he ask his father about those other songs that he lifted from Puccini? Like...say, Music of the Night?
|by Anonymous||reply 62||Last Wednesday at 5:04 AM|
|by Anonymous||reply 63||Last Wednesday at 5:31 AM|
ALW and CATS??! Bring back FOLLIES!
|by Anonymous||reply 64||Last Wednesday at 5:35 AM|
ALW worried that he had copied Puccini for Memory? I guess he was trying to deflect from the obvious fact that the opening bars of Memory are copied from Ravel's Bolero, just slowed down.
|by Anonymous||reply 65||Last Wednesday at 5:43 AM|
[quote]I'm skeptical that Dench would ever have sung "Memory." And if ALW planned to introduce the number for Grizabella, what was the placeholder before he decided on the number for the character? What material was Dench shown to get her to sign up for the show?
First remember that Cats premiered in London in May 1981. Judi Dench was a working actress, mostly stage and tv, not the star we know her as today.
The lyrics for Memory came from notes that T.S. Eliott had made but never turned into a poem. Additionally, Grizabella, the Glamour Cat was a written poem, but he didn't originally include it in the collection of poems because he thought it was too dark for children.
I can see Judi Dench singing Memory in an Edith Piaf style. It wouldn't have been the big power ballad it has become, I doubt ALW would have written in the big key changes in the song. In today's world, think of someone like Allison Janney doing it. Someone who people knew but was not a huge star, and so would play a featured role with a featured song.
Also, Cats was conceived originally as a dance piece and the London production wasn't as blown up as the Broadway production. In London, it wasn't even performed in a West End theater. The show was still evolving when they went into previews. Elaine Paige was given new lyrics in Memory during previews, so the song was still in flux.
|by Anonymous||reply 66||Last Wednesday at 7:30 AM|
[Quote] First remember that Cats premiered in London in May 1981. Judi Dench was a working actress, mostly stage and tv, not the star we know her as today.
Dench was not a film star but she was way more than simply a working actress. She had already received numerous BAFTA nods. And musical theatre wasn't her main gig.
|by Anonymous||reply 67||Last Wednesday at 7:34 AM|
[quote] In London, it wasn't even performed in a West End theater.
It opened at the New London Theatre, which is a West End theater. It's now the Gillian Lynne. It's recently been home to War Horse, School of Rock and ALW's upcoming Cinderella.
|by Anonymous||reply 68||Last Wednesday at 7:48 AM|
"And musical theatre wasn't her main gig." She had been Sally in London's "Cabaret." There's an anecdote that I read somewhere about Trevor Nunn being blown away the first time he heard Dench singing "Memory" at an audition (and I believe it was on the stage of the "Her Majesty's"). I wish there had been some recording of that audition....sigh.
|by Anonymous||reply 69||Last Wednesday at 7:55 AM|
???? "Memory" wasn't in the show but Dench sang it at an audition? And Judi Dench was not auditioning for ANY theatre gig in 1980.
|by Anonymous||reply 70||Last Wednesday at 7:58 AM|
Dench also starred n The Good Companions. She was a musical theater veteran.
And she never sang Memory. The song was written after she was injured.
|by Anonymous||reply 71||Last Wednesday at 8:11 AM|
Paige recalls hearing Memory on the radio before she got the call. It was an instrumental.
|by Anonymous||reply 72||Last Wednesday at 8:14 AM|
ALW does seem to exclude Whistle Down The Wind for some reason, but he does mention the recording of “Cold” by the Everly Brothers for the concept album and how it was a highlight of his career (he says something like he could have retired happily after that). He also mentions begging Jim Steinman to do Phantom with him and Steinman turning him down. Since Steinman came in to advise on School of Rock, obviously they get along well. There was also a 54 Below “NYC premiere” concert of Whistle a few years ago that he allowed. The show was originally written as a movie musical for Steven Spielberg, right? But Spielberg put it on the back burner when Kubrick finally gave up on his Holocaust movie and told Spielberg to do Schindler’s List (which, obviously, he did). ALW was famously livid with Hal Prince’s handling of Whistle so maybe he is still sore about it or wanted to wait until Hal died before telling the whole story.
|by Anonymous||reply 73||Last Wednesday at 8:31 AM|
R72, the instrumental version is called Bolero.
|by Anonymous||reply 74||Last Wednesday at 8:32 AM|
No disrespect to Dame Judi. And I understand some people's preferences for "actors who can sing" vs singers in stage musicals...
But can you imagine sitting around and listening to a Judi Dench album? A concert evening of Judi singing, even a younger version of her?
I equate her as a singer with Tyne Daly, maybe Linda Lavin. Pass.
|by Anonymous||reply 75||Last Wednesday at 8:38 AM|
Doing some research, Dench was going to double Grizabella and Jennydots. Also, since the play was conceived as a ensemble piece, there was no expectation that she would carry the musical climax of the show.
|by Anonymous||reply 76||Last Wednesday at 8:40 AM|
ALW had already written the vocal notes of Memory. The tune was there. Trevor Nunn was the one who was supposed to take the fragments of the Eliott poem and write the lyrics. Nunn was the head of the RSC at the time and he was having to juggle priorities so he was very late in completing the song.
|by Anonymous||reply 77||Last Wednesday at 8:42 AM|
Did Judi want out to do her sitcom, which premiered in November 1981? The injury (or "injury") allowed her a graceful exit.
|by Anonymous||reply 78||Last Wednesday at 8:44 AM|
r78 - No.
|by Anonymous||reply 79||Last Wednesday at 8:45 AM|
[quote]It opened at the New London Theatre, which is a West End theater.
Sorry about that, you are correct. I was thinking because it was outside the Shaftesbury Ave/Covent Garden corridor that it wasn't considered a West End theater. Is that area considered Holborn?
|by Anonymous||reply 80||Last Wednesday at 8:46 AM|
It was not certain that Trevor Nunn was going to write the lyrics. Don Black also wrote a set and Paige sang both before the decision to go with Nunn's was finally made.
That first production sounds like a shit-show.
|by Anonymous||reply 81||Last Wednesday at 8:46 AM|
How did Judi's shitty Britcom run so much longer than my shitty Britcom?
I mean, seriously--try sitting through that thing. Jesus.
|by Anonymous||reply 82||Last Wednesday at 8:46 AM|
Judi Dench gave one of my all-time favorite musical theatre performances in ALNM at the National. But then Desiree's singing voice doesn’t generally make or break the show.
I remember hearing that when she did Cabaret, there was an actual sign in the lobby that said something like, "Ms. Dench does not have a cold tonight. This is how her voice sounds."
|by Anonymous||reply 83||Last Wednesday at 8:47 AM|
I had multiple shitty britcoms, Lainey!
|by Anonymous||reply 84||Last Wednesday at 8:49 AM|
[quote]Did Judi want out to do her sitcom, which premiered in November 1981? The injury (or "injury") allowed her a graceful exit.
No. Cats premiered in May. I assume she would only sign a six month contract, so there would have only been a few weeks overlap where she rehearsed the sitcom during the day and performed Cats at night. And Grizabella is not a taxing role (Dench would be singing Piaf, think a French ballad accompanied by an accordion). I think they would have come to their senses, as they did, and have another actress perform Jenny Anydots, because that is a big dance sequence. ALW says in the book that they should have had a tap expert come from NYC to choreograph that number, because the Brits aren't noted for being dancers.
|by Anonymous||reply 85||Last Wednesday at 8:55 AM|
[quote]Judi Dench gave one of my all-time favorite musical theatre performances in ALNM at the National.
I didn't like her angry take on the song. "Don't bother, they're here" came off as "Oh, go fuck yourself" and I like to think that Desiree is more sad/melancholy over how things turned out rather than outright angry.
|by Anonymous||reply 86||Last Wednesday at 8:58 AM|
I prefer Follies. As a musical and as a topic of conversation.
|by Anonymous||reply 87||Last Wednesday at 8:59 AM|
And yours is the better choice, R86.
|by Anonymous||reply 88||Last Wednesday at 9:02 AM|
Not to Sondheim. He likes the simmering anger.
|by Anonymous||reply 89||Last Wednesday at 9:05 AM|
I thought the anger was a fine and revelatory choice.
|by Anonymous||reply 90||Last Wednesday at 9:07 AM|
R86, go find Bernadette doing it in the show on YouTube. THAT'S how that song should be done.
|by Anonymous||reply 91||Last Wednesday at 9:20 AM|
Glynis Johns' version has quite a bit of anger as well. Sondheim does not like renditions to play for tears. He'd probably hate Ruthie Henshall's TV performance.
|by Anonymous||reply 92||Last Wednesday at 9:20 AM|
[quote]And yours is the better choice, [R86].
Yes. Yes, it is.
The show is written in 3/4 time. You can't be angry in 3/4 time.
|by Anonymous||reply 93||Last Wednesday at 9:32 AM|
So...how did the camera feel about Barbara?
|by Anonymous||reply 94||Last Wednesday at 9:35 AM|
Watch her Hitchock Presents and you have your answer.
|by Anonymous||reply 95||Last Wednesday at 9:37 AM|
[quote] The show is written in 3/4 time.
Much or most of the score is in some form of triple meter but it's a gross over exaggeration to say the whole thing is in 3/4 time.
[quote]You can't be angry in 3/4 time.
"Let me get my hat and my knife!"
|by Anonymous||reply 96||Last Wednesday at 9:45 AM|
"Mean Girls" is not coming back.
|by Anonymous||reply 97||Last Wednesday at 9:50 AM|
Kudos to the costume and dog designer on that National Theatre ALNM. They made Dame Judi look at least 6 foot tall on that stage. When we met her afterwards, I couldn't believe this tiny older woman had just given that magnificent performance.
|by Anonymous||reply 98||Last Wednesday at 10:01 AM|
Sorry, WIG, not DOG.
|by Anonymous||reply 99||Last Wednesday at 10:01 AM|
I also saw the NT ALNM and Dench was pretty wonderful during the "You must meet my wife." They should re-release the album.
|by Anonymous||reply 100||Last Wednesday at 10:03 AM|
The end of SEND IN THE CLOWNS should be angry and bitter!!!!!
|by Anonymous||reply 101||Last Wednesday at 10:03 AM|
[quote]So...how did the camera feel about Barbara?
That style and shade of hair did her no favors.
|by Anonymous||reply 102||Last Wednesday at 10:19 AM|
Many shows won’t be coming back. It’s not just one.
|by Anonymous||reply 103||Last Wednesday at 11:13 AM|
Trevor Nunn made casting Dench as Grizabella a condition of him agreeing to direct, so I doubt she ever auditioned for the role.
|by Anonymous||reply 104||Last Wednesday at 12:41 PM|
[quote]I doubt ALW would have written in the big key changes in the song (MEMORY).
What key changes? There are few, difficult jumps in notes (TOUCH ME), but I don't think there's a key change. It was later (especially Sunset Boooolevard) that ALW added key changes during a number, so that the star/singer could hit the money notes.
|by Anonymous||reply 105||Last Wednesday at 12:46 PM|
|by Anonymous||reply 106||Last Wednesday at 1:23 PM|
What a piece of shit.
|by Anonymous||reply 107||Last Wednesday at 1:25 PM|
Monster In A Box.
|by Anonymous||reply 108||Last Wednesday at 1:25 PM|
|by Anonymous||reply 109||Last Wednesday at 1:26 PM|
Is there a bootleg of Jerome Robbins Broadway on YT? I think it was filmed for Japan TV.
|by Anonymous||reply 110||Last Wednesday at 1:32 PM|
R81 I’ve always read that it was Tim Rice (then Elaine’s boyfriend) who wrote the alternate lyrics to Memory, not Don Black. Trevor Nunn opted to go with his own lyrics instead of Rice’s. Which pissed off Rice big time.
|by Anonymous||reply 111||Last Wednesday at 1:33 PM|
R82, Elaine yours had 29 episodes and Judi's only had 26.
|by Anonymous||reply 112||Last Wednesday at 1:46 PM|
[quote]Tim Rice (then Elaine’s boyfriend)
Tim wasn't Elaine's boyfriend. Tim was married. Elaine was his bit on the side.
Fun fact: Tim and his first wife, Jane Artereta, never finalized their divorce so she still holds the title Lady Rice.
|by Anonymous||reply 113||Last Wednesday at 1:47 PM|
Rice’s “Memory” lyrics are kind of lame and don’t evoke Eliot. He should stay in his wheelhouse (where he can be rather good). That said, I’d love to hear Elaine sing the alternate lyrics again just to hear how she interprets them (they were done live for a few performances).
|by Anonymous||reply 114||Last Wednesday at 1:48 PM|
ALW is a Lord, not Tim Rice. Rice is Sir, so wouldn’t his wife then be Dame? Where’s Lady Colin Campbell when you need her!
|by Anonymous||reply 115||Last Wednesday at 1:50 PM|
[quote]so she still holds the title Lady Rice.
Would that go well as a side with Lady Ham?
|by Anonymous||reply 116||Last Wednesday at 1:56 PM|
[quote]Rice is Sir, so wouldn’t his wife then be Dame?
I think Dame is only used when the woman has been knighted.
|by Anonymous||reply 117||Last Wednesday at 1:58 PM|
[quote] You can't be angry in 3/4 time.
Just wait a goddamn minute!
|by Anonymous||reply 118||Last Wednesday at 2:13 PM|
"No, I'd strike her first!"
|by Anonymous||reply 119||Last Wednesday at 2:20 PM|
R111 Both Black and Rice wrote a version. And then Nunn chose his own and watched the royalties pour in.
R115 The wife of a knight (Sir) can use the title Lady with her surname - so Sir Tim and his wife Lady Rice. Of course this is then confusing, as female members of the House of Lords are also known as Lady followed by their surname. But there's little the English aristocracy like better than those little drops of confusion over arcane things like titles that they can use as a kind of shibboleth to judge who's really part of the right set.
To preempt the question: the husband of a dame (the female equivalent to a knighthood) gets no title.
I just want to be clear, I only know this because I had to know it for a job. Don't want people thinking I'd voluntarily learn this stuff - I'm an anti-monarchist (best not to describe myself as a republican on a predominantly American website).
|by Anonymous||reply 120||Last Wednesday at 2:30 PM|
I was thinking about "As Time Goes By," R112. Which apparently didn't even start until 1992....
But felt like it had been on the air since the days of Sigmund Romberg. God, what a slog that maudlin thing was.
Whereas "Two's Company" was zippy! It still holds up.
|by Anonymous||reply 121||Last Wednesday at 2:57 PM|
Somebody mention Two's Company?
|by Anonymous||reply 122||Last Wednesday at 3:02 PM|
There's a good bootleg of The Muny production of JRB, and its very good.
|by Anonymous||reply 123||Last Wednesday at 3:02 PM|
A Fine Romance is awful. Judi looks like a washed out Bonnie Franklin and her husband tries to sell his crinkly charm before its expiration date.
Witless. Ugly. Bad British acting.
|by Anonymous||reply 124||Last Wednesday at 3:08 PM|
[quote]Bad British acting.
But The Great British Baking Show returns this month.
|by Anonymous||reply 125||Last Wednesday at 3:10 PM|
Why would someone want to see the Muny's JRB? They are not using the original designs and from the looks of it, does not use all of the original choreography.
What is the point?
|by Anonymous||reply 126||Last Wednesday at 3:14 PM|
^^The original used the original designs from each show represented and the original choreography (or something new by Robbins if the original was not documented).
|by Anonymous||reply 127||Last Wednesday at 3:15 PM|
The Muny production used the Robbins choreography, and the estate was involved. I had a friend in the cast. I think it was then replicated in Houston.
|by Anonymous||reply 128||Last Wednesday at 3:23 PM|
[quote]In any event, I’m with [R297]; sane drivers do not regularly run through lights and they certainly don’t drive against traffic. And yet bicyclists do this Constantly. It’s incredibly dangerous. I have a close call with one probably close to every day. Since I obey walk and don’t walk signs, cars are way, wayyyy less of a problem.
But it's definitely true in the case of Andrews and the London recording of MFL. That's the only recording from that period in which her voice does not sound great, and she made many recordings on which she sounds much better as late as 10 years later or more.
|by Anonymous||reply 129||Last Wednesday at 4:58 PM|
So Julie Andrews doesn’t obey traffic signals? That bitch.
|by Anonymous||reply 130||Last Wednesday at 5:15 PM|
Arrgh, sorry R130, the post I meant to respond to was the following:
[quote]He states that Bernadette Peters had flu-like symptoms when she recorded "Song & Dance." Isn't that what they all say when the vocals don't sound so great? It's what they said about Tyne Daly's Gypsy and I think they said it about Julie Andrews on one of the "My Fair Lady" recordings.
Julie really was not well at the time of the MFL London recording. It's obvious just from listening. Ironically, she keeps insisting that that recording is superior to the original Broadway cast, which is the opposite of the truth. I can only guess she says that because maybe she has a percentage of the sales of the London recording but not the Broadway?
|by Anonymous||reply 131||Last Wednesday at 5:45 PM|
Poor Dame Judi Dench. She fakes an injury to get out of that dreadful Cats show, and just as everyone has forgotten about it, they force her into doing the movie version 40 years later. She needs a crash course in assertiveness.
|by Anonymous||reply 132||Last Wednesday at 5:53 PM|
R67 Dench was mainly known in the UK at this point. She didn't break out in the US until MRS. BROWN in the late '90s. Also, BAFTAs were pretty meaningless outside the UK until the early 2000s. That is when they decided to become an Oscar precursor. Prior to that, they were held after the Oscars, usually in April or May. By then, most everyone had moved on from Oscar season. Not to mention, the BAFTA were (and still are) not aired live, for some reason.
|by Anonymous||reply 133||Last Wednesday at 6:24 PM|
FUCK JUDI DENCH AND HER BREEZY CUNT!
|by Anonymous||reply 134||Last Wednesday at 6:26 PM|
WE SEE YOU WHITE JUDY DENCH!
|by Anonymous||reply 135||Last Wednesday at 6:46 PM|
WE SEE YOU WHITE LILLIAS!
|by Anonymous||reply 136||Last Wednesday at 6:49 PM|
[quote]Not to mention, the BAFTA were (and still are) not aired live, for some reason.
I like to think it's in case Kathy Burke ever wins one (and yes I am using any chance to post this)
|by Anonymous||reply 137||Last Wednesday at 6:57 PM|
[quote] FUCK JUDI DENCH AND HER BREEZY CUNT!
But she’s a national treasure.
|by Anonymous||reply 138||Last Wednesday at 7:18 PM|
R131, see r24.
|by Anonymous||reply 139||Last Wednesday at 7:49 PM|
Everything about the OBCR of MFL is superior to the OLCR of the show, including the sound. The original mono is rich and full and actually much more satisfying than the lackluster stereo of the OLC. The only exception might be Harrison's performance, which is slightly more nuanced in London.
|by Anonymous||reply 140||Last Wednesday at 8:03 PM|
[quote] I like to think it's in case Kathy Burke ever wins one (and yes I am using any chance to post this)
Kathy Burke is a really great actress. It's too bad she burned out for awhile and took a break.
|by Anonymous||reply 141||Last Wednesday at 8:29 PM|
[Quote] Dench was mainly known in the UK at this point. She didn't break out in the US until MRS. BROWN in the late '90s. Also, BAFTAs were pretty meaningless outside the UK until the early 2000s.
And what has this got to do with a UK theatre star getting cast in a UK stage production?
|by Anonymous||reply 142||Last Wednesday at 8:41 PM|
[quote] And what has this got to do with a UK theatre star getting cast in a UK stage production?
Because it meant that Judi wouldn't be doing the Broadway production and Elaine Stritch still had a chance.
|by Anonymous||reply 143||Last Wednesday at 9:46 PM|
Elaine as an old pussy...
|by Anonymous||reply 144||Last Thursday at 4:16 AM|
The Eliot poem most like "Memory" is "Rhapsody on a Windy Night". They share a number of phrases.
R60, "looks like a million dollars" is a common expression in the English-speaking world. Maybe it was popularised in an old American movie, but you hear it even where the currency is pounds.
|by Anonymous||reply 145||Last Thursday at 4:38 AM|
[Quote] "looks like a million dollars" is a common expression in the English-speaking world.
A common expression among the generation from which ALW's father sprung? I'm skeptical.
|by Anonymous||reply 146||Last Thursday at 4:39 AM|
Rick McKay's Tribute to MARIAN SELDES from Broadway: The Golden Age Film Trilogy
|by Anonymous||reply 147||Last Thursday at 4:40 AM|
I have no idea what a million bucks looks like...
|by Anonymous||reply 148||Last Thursday at 4:41 AM|
|by Anonymous||reply 149||Last Thursday at 4:45 AM|
Yes, R146. The generation born in Australia in the 30s and 40s would say it, so I imagine it's the same in Britain. You have to remember how imbued that generation was with American movies and plays.
|by Anonymous||reply 150||Last Thursday at 4:51 AM|
Andrew's father really should have said, "A million quid".
|by Anonymous||reply 151||Last Thursday at 5:42 AM|
Americans use expressions like "penny wise and pound foolish" so why wouldn't those in other countries use "looks like a million bucks"?
|by Anonymous||reply 152||Last Thursday at 5:52 AM|
ALW was born in the 40s. His father was born in 1914.
[Quote] so why wouldn't those in other countries use "looks like a million bucks"?
Brits are a breed apart.
|by Anonymous||reply 153||Last Thursday at 7:08 AM|
Dorothy Loudon in BALLROOM (1978, Broadway)
|by Anonymous||reply 154||Last Thursday at 10:34 AM|
It could have been me!
|by Anonymous||reply 155||Last Thursday at 10:34 AM|
Oh, Dot, you didn't need yet *another* flop on your resume.
|by Anonymous||reply 156||Last Thursday at 10:44 AM|
Roz looks like she was having a ball...
|by Anonymous||reply 157||Last Thursday at 10:45 AM|
It's a shame they didn't make a "Wonderful Town" movie with Betty Bacall.
|by Anonymous||reply 158||Last Thursday at 10:48 AM|
Janis Paige, the original star of "The Pajama Game," turned 98 yesterday.
|by Anonymous||reply 159||Last Thursday at 10:54 AM|
She did it in '77....
|by Anonymous||reply 160||Last Thursday at 10:54 AM|
[Quote] Janis Paige, the original star of "The Pajama Game," turned 98 yesterday.
Another role I turned down!
|by Anonymous||reply 161||Last Thursday at 11:02 AM|
Why do they have that photo of Roz all glammed up with a cigarette holder in front of the theater at r157? She certainly never looked like that in "Wonderful Town."
|by Anonymous||reply 162||Last Thursday at 11:07 AM|
[quote] The only exception might be Harrison's performance, which is slightly more nuanced in London
I had a friend (unfortunately, now deceased) who hated the London recording because he felt Rex Harrison was trying to 'croon'.
On one of these threads I learned (after 40 years) why Lerner changed the lyrics to 'Show Me' from "Don't talk of June, don't talk of fall, don't talk at all, show me!" to "Please don't implore, beg or beseech, Don't make a speech, show me!" (because the Brits call it 'autumn', not 'fall') and the lyrics in 'Get Me to the Church on Time" from 'Stamp me and mail me' to 'Bond me and bail me' (because they don't 'mail' things, they 'post' them).
|by Anonymous||reply 163||Last Thursday at 11:22 AM|
The accents of the ensemble are better on the London recording, naturally.
|by Anonymous||reply 164||Last Thursday at 11:28 AM|
|by Anonymous||reply 165||Last Thursday at 11:39 AM|
The entire London recording is better. I can't stand the OBC.
Andrews' voice really matured in the three years between recordings. The London recording is the rich warm voice we all love, much more full throated. The Broadway recording is small and pinched and far too cute to be effective.
Y'all can have your OBC of Fair Lady. I wouldn't have it in my house.
|by Anonymous||reply 166||Last Thursday at 11:39 AM|
Cyrano - Act One.
|by Anonymous||reply 167||Last Thursday at 11:41 AM|
Thanks, as always, for the links.
I loved FLEABAG live. I was a fan of the series (S1, in particular) but the original play was even more wrenching to watch, even if it starts a bit slowly.
Does anyone know if she's doing a Season 3 at any point? I liked Season 2, but I could have lived without it, too.
|by Anonymous||reply 168||Last Thursday at 11:43 AM|
Cyrano - Act Two.
|by Anonymous||reply 169||Last Thursday at 11:45 AM|
Thank you R169.... you are the very best!
|by Anonymous||reply 170||Last Thursday at 12:14 PM|
I don’t know who that is in the picture of the album at r159, but it’s not Janis Paige.
|by Anonymous||reply 171||Last Thursday at 12:18 PM|
Did Julie Wilson join the production early in the run?
|by Anonymous||reply 172||Last Thursday at 12:49 PM|
It seems to be an Australian pressing of the Broadway Cast recording. Could it be Toni Lamond of the Australian production?
|by Anonymous||reply 173||Last Thursday at 12:51 PM|
IBDB doesn't say when she went in, r172.
|by Anonymous||reply 174||Last Thursday at 12:59 PM|
But it does note that Janis Paige played Babe from May 13, 1954, to Jun 23, 1955.
And lists no one else but Julie Wilson as a replacement Babe.
|by Anonymous||reply 175||Last Thursday at 1:07 PM|
R175 she left Pajama Game for It's Always Jan, the television series produced by her husband. Sigh...we don't have tv shows with titles like that anymore. I bet that opening credit sequence has lyrics somewhere because you can hear how "It's Al-ways Jannnnnn" would fit over it at the beginning and end.
|by Anonymous||reply 176||Last Thursday at 1:14 PM|
R161 Dolores did eventually do "The Pajama Game," at St. Louis Muny, opposite Stephen Douglass.
R162 [Why do they have that photo of Roz all glammed up with a cigarette holder in front of the theater at [R157]? She certainly never looked like that in "Wonderful Town."] That's a photo of Roz enacting one of the three "vignettes," meant to be scenes from the somewhat derivative stories just handed in by Ruth Sherwood.
R175 Janis Paige's "Pajama Game" replacements were Fran Warren, Julie Wilson and Pat Marshall.
|by Anonymous||reply 177||Last Thursday at 1:15 PM|
Good ol' Fran Warren!
|by Anonymous||reply 178||Last Thursday at 1:21 PM|
I'm running out the door to buy some Drene shampoo with Hairspring formula, r176...
|by Anonymous||reply 179||Last Thursday at 1:38 PM|
R168: Waller-Bridge has said she is done with Fleabag -- for now. In one interview I read (sorry, I have no idea where), she said that she *might* revisit the character when she (Fleabag) is older, perhaps menopausal, that that could be an interesting and new look at the character.
I also wish Waller-Bridge would write another season of Crashing, although, truth be told, I don't see how it would work. I love those characters, though.
|by Anonymous||reply 180||Last Thursday at 1:38 PM|
IBDB will correct their records if any of you supply them with proof of the missing replacement Babes.
A Playbill will do it.
|by Anonymous||reply 181||Last Thursday at 1:43 PM|
Phoebe Waller-Bridge is as overrated as BIPOC theater.
|by Anonymous||reply 182||Last Thursday at 3:22 PM|
Count me as another who prefers the OBCR of My Fair Lady to London.
|by Anonymous||reply 183||Last Thursday at 3:51 PM|
Was anyone from Follies in the Pajama Game?
|by Anonymous||reply 184||Last Thursday at 4:21 PM|
|by Anonymous||reply 185||Last Thursday at 4:28 PM|
|by Anonymous||reply 186||Last Thursday at 4:30 PM|
That Cyrano is a must-to-avoid. It has about as much panache as my _____(fill in the blank)
|by Anonymous||reply 187||Last Thursday at 5:02 PM|
David Merrick's 1973 musical version of Cyrano had a very short run but it really had its charms, mainly due to Christopher Plummer's performance in the title role. He won the Tony. The book and lyrics were by Anthony Burgess, of all people (A Clockwork Orange). The vinyl OBCR went out of print quickly because of the show's failure and became a collector's item.
|by Anonymous||reply 188||Last Thursday at 6:39 PM|
I don't believe that David Merrick had anything to do with that '73 Broadway "Cyrano" musical.
|by Anonymous||reply 189||Last Thursday at 7:00 PM|
Merrick's not that crazy.
|by Anonymous||reply 190||Last Thursday at 7:57 PM|
[quote]The entire London recording is better. I can't stand the OBC. Andrews' voice really matured in the three years between recordings. The London recording is the rich warm voice we all love, much more full throated. The Broadway recording is small and pinched and far too cute to be effective. Y'all can have your OBC of Fair Lady. I wouldn't have it in my house.
I'm being 100 percent serious, not nasty, when I say that maybe you should your hearing checked. Andrews sounds awful on most of the London recording -- ill and tired, plus she had already started to fall more deeply into that very bad habit of talking or declaiming rather than singing a lot of her lyrics. Listen to her performances of "Show Me" on both albums, for example. Far superior on the OBCR.
|by Anonymous||reply 191||Last Thursday at 8:11 PM|
I just do not agree, R191. And "Show Me" is exactly the performance I would choose to support my point.
On the OBC, she sounds as if she is a soubrette who just escaped a production of "The Boy Friend." On the London recording, she sounds like a woman with strong, clearly reasoned opinions and a good deal of spine. Her more seasoned knowledge of the character and how to play it shines through.
I also think the stereo recording enriches the entire LP.
|by Anonymous||reply 192||Last Friday at 4:18 AM|
R166 is probably a Brit who can't bring themselves to compliment Americans about anything nor admit that sometimes the American version of something is better.
|by Anonymous||reply 193||Last Friday at 4:21 AM|
Sorry. R166 was born and raised in the midwest. He bought his London cast recording at Rose's Discount Records in Chicago.
|by Anonymous||reply 194||Last Friday at 4:57 AM|
As an old geezer, all this bickering over MFL has brought back memories of the times I'd argue with a complete stranger in Tower Records over which version of a particular show was better than another, a concept of which people under 40 have no idea.
I miss the old days
|by Anonymous||reply 195||Last Friday at 5:04 AM|
I remember those "discussions" very well, R195. You brought back a lot of memories with that post. I learned so much from having those physical recordings in front of me. Streaming can never replace it.
btw... The Lincoln Center 1965 "CAROUSEL" recording is the best!
|by Anonymous||reply 196||Last Friday at 5:20 AM|
I purchased my Flahooley (the Capitol re-issue) at Peaches.
|by Anonymous||reply 197||Last Friday at 5:27 AM|
I got my By the Beautiful Sea at the same time.
|by Anonymous||reply 198||Last Friday at 5:29 AM|
R194. Rose’s! Oh what memories—taking the Lake Street El from Oak Park downtown and discovering a world of obscure show albums. Also, first store this goyische boy encountered that closed “for the holidays” (Rosh Hashanah And Yom Kippur).
|by Anonymous||reply 199||Last Friday at 5:31 AM|
In case people missed it, this NYT critics' piece is worth a look.
And even more entertaining, the NYT readers' responses, including a well-deserved pile on to one critics' whining
[quote]In two decades of professional theater going, here are some things I have been shushed for: coughing, unwrapping a cough drop, reading a Playbill, writing a note and checking texts when I had left a baby at home with a fever.
OMG. If your baby is home with a fever while you're at the theatre 1) it's not my responsibility and 2) you are truly a shitty mother who needs to rethink here priorities. No, you should not be texting while the show is on.
|by Anonymous||reply 200||Last Friday at 5:49 AM|
My god, yes, Rose's Records. As a Northwestern student, I lived for those sale events for new releases! Thanks for reviving those memories.
|by Anonymous||reply 201||Last Friday at 6:35 AM|
Is it true Ben Bagley didn't pay some of the old dames who sang on his albums?
|by Anonymous||reply 202||Last Friday at 6:38 AM|
I'm sure Kate got paid...
|by Anonymous||reply 203||Last Friday at 8:01 AM|
[quote]I just do not agree, [R191]. And "Show Me" is exactly the performance I would choose to support my point. On the OBC, she sounds as if she is a soubrette who just escaped a production of "The Boy Friend." On the London recording, she sounds like a woman with strong, clearly reasoned opinions and a good deal of spine. Her more seasoned knowledge of the character and how to play it shines through. I also think the stereo recording enriches the entire LP.
Well....seriously, maybe your ears and mine are constructed differently, because my opinions on all of the above are the exact opposite of yours. The sound quality of the stereo MFL is famously inferior to the mono original, and I can't believe you actually think that performance of "Show Me" on the London recording -- with Andrews talking or shouting half of the song, rather than singing it -- is any good, let alone better than the original. To each their own!
|by Anonymous||reply 204||Last Friday at 8:07 AM|
That is what it comes down to, r204. You two should prefer the sound of your favored recordings. It's like....some people prefer their Send in the Clowns to be melancholy and some prefer it...FUCKING ANGRY.
|by Anonymous||reply 205||Last Friday at 8:25 AM|
Some prefer a shooky-shooky beat...
|by Anonymous||reply 206||Last Friday at 8:27 AM|
But does anyone prefer Kay Medfory GYPSY?
|by Anonymous||reply 207||Last Friday at 8:30 AM|
|by Anonymous||reply 208||Last Friday at 8:30 AM|
[quote]r205 It's like....some people prefer their Send in the Clowns to be melancholy and some prefer it...FUCKING ANGRY.
We should discuss that some time!
|by Anonymous||reply 209||Last Friday at 8:38 AM|
[quote]But does anyone prefer Kay Medfory GYPSY?
I don't. It's way too Medfory for my tastes.
|by Anonymous||reply 210||Last Friday at 8:45 AM|
Sheesh, r210....some people.
|by Anonymous||reply 211||Last Friday at 8:56 AM|
Kay couldn’t sing for shit and her phrasing was oh so predictable.
|by Anonymous||reply 212||Last Friday at 9:11 AM|
Your BUTT is predictable!
|by Anonymous||reply 213||Last Friday at 9:17 AM|
^^ sorry R212 - I don’t know why it makes me crack up so much to always parrot that : )
It’s the 2nd Grader in me
|by Anonymous||reply 214||Last Friday at 9:19 AM|
Dunno about your inner second grader r214, but personally I have always found butts to be singularly UNpredictable.
Which is one of their charms.
|by Anonymous||reply 215||Last Friday at 9:33 AM|
I always felt the best way to interpret SEND IN THE CLOWNS is to be self-deprecating while hiding the anger at him in the first part, and then anger at herself in the second part for embarrasing herself until the end where she becomes resigned to it but with a little bit of hope.
|by Anonymous||reply 216||Last Friday at 11:03 AM|
The song only works with a performer who can really plumb the depths of the song...
|by Anonymous||reply 217||Last Friday at 11:17 AM|
I think a good, sensitive performance of "Send in the Clowns" should combine feelings of sadness/regret/melancholy as well as some bitterness and anger, but to play the whole song for angry bitterness would be a big mistake.
|by Anonymous||reply 218||Last Friday at 11:43 AM|
Taps. It needs...taps.
|by Anonymous||reply 219||Last Friday at 11:50 AM|
Guess what, YouTube allows us all to easily compare Julie Andrews' recording of "Show Me" on the original Broadway cast and the London cast albums of MY FAIR LADY. Here is the far superior performance from the Broadway recording -- her voice is pure and clear, the belt sections are powerful, and she actually sings the notes while fully acting the song to the hilt.
|by Anonymous||reply 220||Last Friday at 11:51 AM|
[quote] Janis Paige's "Pajama Game" replacements were Fran Warren, Julie Wilson and Pat Marshall.
All of whom sang on pitch.
|by Anonymous||reply 221||Last Friday at 11:56 AM|
And here is the far inferior (IMHO) performance from the London album. Julie sounds under the weather (which she apparently was during the sessions), which may partly explain why she talks or shouts most of song rather than singing it, and when she does actually sing the notes that are written, her pitch is droopy.
|by Anonymous||reply 222||Last Friday at 11:56 AM|
The London version at R222 is shrill, cynical, charmless. Pass.
And the Freddy sucks.
|by Anonymous||reply 223||Last Friday at 12:00 PM|
You appear to be right, r173. This is Toni in the show.
|by Anonymous||reply 224||Last Friday at 12:00 PM|
Where else can you find a continuing comparison of two performances by the same singer of a lesser song from a great musical . . . except on DL?
|by Anonymous||reply 225||Last Friday at 12:17 PM|
|by Anonymous||reply 226||Last Friday at 12:35 PM|
Well played, R226! You are the real Data Lounge deal.
|by Anonymous||reply 227||Last Friday at 1:07 PM|
It looks like Toni had a Toni, r224! I'm watching Miss Nesbitt on Naked City....
SEASON 3 • EPISODE 2 • DEAD ON THE FIELD OF HONOR • DRAMA / CRIME DRAMA
Beau Choiseul (Logan Ramsey) is a strict believer in chivalry. One day he sees a man arguing discourteously with his girl friend---so he shoots him. Grandmaman: Cathleen Nesbitt. Vivianne: Ann Williams. Parker: Horace McMahon. Arcaro: Harry Bellaver. Flint: Paul...
|by Anonymous||reply 228||Last Friday at 1:12 PM|
TONI! TONI! TONI!
|by Anonymous||reply 229||Last Friday at 1:17 PM|
The song requires some balls. Eliza is pissed at how she has been treated and she lets it fly. None of that is captured in the OBC.
But not on the OBC.
It's not an easy role to sing 8 times a week. I suspect Miss Andrews had some expert vocal instruction during the run of My Fair Lady so that she could get through it. She went into it a natural talent and an experienced singer, but not a trained singer. If her voice has changed after a year and a half on Broadway and if she has learned how to sing the song and survive, that's all good. She would not survive 8 a week singing as she did on the OBC.
|by Anonymous||reply 230||Last Friday at 1:25 PM|
It really did surprise me how much worse she was on the London album. She is still good, but the acting and singing are so much better on the OBC. As someone said, she needs balls and she needs to let it fly, so either in the course of the run she lost that or she could not do it because she was ill.
Really interesting to compare.
|by Anonymous||reply 231||Last Friday at 1:30 PM|
There's pitchy moments on the OLC but she's more upfront in the mix and with less reverb on her vocal she has more presence in the soundscape.
|by Anonymous||reply 232||Last Friday at 1:33 PM|
R201 I’m the native Oak Parker who posted about Rose’s, but I also went to Northwestern and would take friends on the El to Rose’s and lunch at the English Room at Fields with their exquisite cheese soup. Oh les beaux jours..,.
|by Anonymous||reply 233||Last Friday at 1:54 PM|
|by Anonymous||reply 234||Last Friday at 2:02 PM|
What exactly was the thinking behind doing a recording of the London cast at all? Freddy was the only lead not on the OBCR. Not counting Mrs. Pearce.
|by Anonymous||reply 235||Last Friday at 2:02 PM|
R232, that is the hard thing. The OLC is better produced, but her performance is not as good.
So it all rests on what you value.
|by Anonymous||reply 236||Last Friday at 2:03 PM|
Well, if Kritzerland were to re-release the OBC and OLC together, they could fix some bum notes as they did with Jerry Orbach on the OBC of "Promises, Promises."
|by Anonymous||reply 237||Last Friday at 2:09 PM|
So that it would be in stereo, r235?
|by Anonymous||reply 238||Last Friday at 2:11 PM|
While I was doing a show in Chicago, Barbara Cook made an appearance at Rose Records and I approached and fawned all over her (this would be around 1983). I also gave her a tape cassette of my songs...which she never sang or recorded. I cry myself to sleep every night thinking about that.
|by Anonymous||reply 239||Last Friday at 2:11 PM|
Did you right about getting high with some guy in the sky?
|by Anonymous||reply 240||Last Friday at 2:13 PM|
|by Anonymous||reply 241||Last Friday at 2:13 PM|
Hangman - Act One.
|by Anonymous||reply 242||Last Friday at 2:39 PM|
Hangman - Act Two.
|by Anonymous||reply 243||Last Friday at 2:40 PM|
Everybody's Talking Bout Jamie.
|by Anonymous||reply 244||Last Friday at 2:42 PM|
|by Anonymous||reply 245||Last Friday at 2:44 PM|
Whoever did that album cover at R226 has a misguided sense of New York geography.
|by Anonymous||reply 246||Last Friday at 3:09 PM|
No BONNIE FRANKLIN in that lineup, R245 ? ? ?
She could have slapped the hell out of little Patrick if given a scene from "Mame".
|by Anonymous||reply 247||Last Friday at 3:32 PM|
|by Anonymous||reply 248||Last Friday at 3:40 PM|
Thank you, r245. Lorna's Time Heals Everything was wonderful, as was Leslie's and Flo's Kiss Her Now.
|by Anonymous||reply 249||Last Friday at 4:34 PM|
I agree. Julie sounds like shit on that London album.
|by Anonymous||reply 250||Last Friday at 5:37 PM|
[quote]What exactly was the thinking behind doing a recording of the London cast at all? Freddy was the only lead not on the OBCR. Not counting Mrs. Pearce.
The main reason, and the obvious one (so obvious I'm surprised you missed it), for re-recording MY FAIR LADY with the London cast was that the OBC recording JUST missed being recorded in stereo. Which makes it all the more ironic that the sound quality on the London recording is actually far worse than the Broadway.
[quote] The OLC is better produced, but her performance is not as good.
The OLC is definitely NOT better produced, in my opinion. There's a lot of distortion in the sound, the stereo is not very well done, some of the conducting is just awful, and there are other flaws to it as well. The only major improvement, as someone else noted, is that the ensemble members and the singers of the smaller roles all sound believably British, which of course they were, whereas on the OBC they sound flat-out American.
|by Anonymous||reply 251||Last Friday at 8:14 PM|
Replying to a comment way back, you're right, Merrick didn't produce the Christopher Plummer Cyrano. In my dotage I was conflating that production with Merrick's attempts in the late 1960s to mount a musical version with Anthony Newly, which never happened.
Oddly, I am currently sitting here watching an over the air broadcast of the Cyrano film with José Ferrer. And spell check wanted to replace Ferrer with ferret.
|by Anonymous||reply 252||Last Friday at 9:09 PM|
^ Newley, not Newly. Sorry.
|by Anonymous||reply 253||Last Friday at 9:16 PM|
Yes the MFL OLC was all about getting the performances in stereo. That was a VERY big deal in those early days of stereo. The London recording was the first one we bought after getting a big console stereo player. We wouldn't have even considered the mono version, especially given the London set's golden cover and gatefold package. Well worth the extra $1 we had to pay.
|by Anonymous||reply 254||Last Saturday at 5:18 AM|
When did three track recording start?
|by Anonymous||reply 255||Last Saturday at 5:22 AM|
What R254 said. Stereo was a huge improvement and was enormously popular.
Beware the queens who tell you monaural is just as good, or even better. They are insane. It is not.
For a period, monaural recordings were rejigged to create a simulated stereo and that did not always work out. The original monaural versions of those recordings often provided a better listening experience.
|by Anonymous||reply 256||Last Saturday at 7:13 AM|
Of course, stereo was a huge improvement but the stereo albums were sometimes not well-recorded. Engineers had a long time to perfect the microphone placement and other elements that contributed to excellent monaural recordings. There was a lot of experimentation in those early stereo recordings -- some things worked and others didn't.
|by Anonymous||reply 257||Last Saturday at 7:19 AM|
I love YT’s Valens with the heat of a thousand suns.
|by Anonymous||reply 258||Last Saturday at 8:43 AM|
You're right, r257, but in those days we took what we could get. And we liked it!!
|by Anonymous||reply 259||Last Saturday at 9:39 AM|
Shirley MacLaine - Indiana Dinner (1955)
|by Anonymous||reply 260||Last Saturday at 9:48 AM|
Shirley MacLaine - The Art Of Conversation (1955)
|by Anonymous||reply 261||Last Saturday at 9:51 AM|
I forgot that there was a time when Lorna could really sing. Acting, however...
|by Anonymous||reply 262||Last Saturday at 9:56 AM|
Phedre with Mirren.
|by Anonymous||reply 263||Last Saturday at 10:36 AM|
|by Anonymous||reply 264||Last Saturday at 10:38 AM|
|by Anonymous||reply 265||Last Saturday at 10:40 AM|
[quote]And spell check wanted to replace Ferrer with ferret.
Would've been OK with me.
|by Anonymous||reply 266||Last Saturday at 10:44 AM|
Hansard was such a piece of crap. And hearing David Hare during the interval when it was broadcast, you realized that he considers himself brilliant.
|by Anonymous||reply 267||Last Saturday at 10:48 AM|
The National could happily perform far less Bennett and Hare....but they are obsessed with them.
|by Anonymous||reply 268||Last Saturday at 10:54 AM|
It is really bizaree. Bennett and Hare had a couple interesting plays a few decades ago. But most of their output is tedious and mediocre. But by hiring directors and actors more gifted than these writers they manage to somehow makes their plays merely seem dull rather than incompetently written.
Writing one (or maybe two) good plays does not give most writers a lifetime pass. Why these two?
Do they have a piss tape of the Queen or something?
|by Anonymous||reply 269||Last Saturday at 11:02 AM|
Stereo didn't become a vast improvement until multi track recording moved way past 3 and 4 track.
|by Anonymous||reply 270||Last Saturday at 11:04 AM|
For absolutely no reason...
|by Anonymous||reply 271||Last Saturday at 11:07 AM|
My beloved Valens, do you have the 25th anniversary Miss Saigon?
|by Anonymous||reply 272||Last Saturday at 11:08 AM|
The one wing the glasses, Maggie Stredder, died in the past year or so.
|by Anonymous||reply 273||Last Saturday at 11:09 AM|
Car Man live was the sexiest show I've ever seen on stage. I was hard the entire night.
|by Anonymous||reply 274||Last Saturday at 11:14 AM|
Why did a mention of Hansard start a conversation about David Hare? Though speaking of him, I'm Not Running was absolutely dire.
|by Anonymous||reply 275||Last Saturday at 11:47 AM|
|by Anonymous||reply 276||Last Saturday at 11:51 AM|
Who was the dame with the eye patch, r273?
|by Anonymous||reply 277||Last Saturday at 11:54 AM|
|by Anonymous||reply 278||Last Saturday at 12:02 PM|
For no reason at all, may I present another Ethel:
|by Anonymous||reply 279||Last Saturday at 12:05 PM|
R275, because those British names all sound alike to me and I got confused.
|by Anonymous||reply 280||Last Saturday at 12:16 PM|
I, for one, still enjoy Alan Bennett's work (or what good directors and casts can do with them) but will also agree that his best days are past.
|by Anonymous||reply 281||Last Saturday at 12:39 PM|
[quote]Writing one (or maybe two) good plays does not give most writers a lifetime pass. Why these two?
Hey! I resemble that remark.
|by Anonymous||reply 282||Last Saturday at 12:54 PM|
The shocking thing was that the songs in Hallelujah were suggested by the director during development. Even with them, it was a real slog, but the idea of that play without them .....
And seeing Madness of George III on NTLive without the direction and performances that made the original production so great revealed how undergraduate the writing is.
|by Anonymous||reply 283||Last Saturday at 2:36 PM|
Rewatching R279, am I nuts, or is Vivian Vance just barely staying in character during parts of "Shortnin' Bread"? Who can blame her?
|by Anonymous||reply 284||Last Saturday at 2:57 PM|
R256, I completely agree that stereo sound is generally a great improvement over mono -- BUT a poorly engineered stereo recording like the London cast album of MY FAIR LADY can be inferior in sound quality to a beautifully engineered mono recording such as the original Broadway cast album of MY FAIR LADY. Plus the fact that, in this case, the performances are different, and the London album is inferior in that respect as well.
|by Anonymous||reply 285||Last Saturday at 4:01 PM|
[quote]Stereo didn't become a vast improvement until multi track recording moved way past 3 and 4 track.
I disagree, I think some of the earliest stereo recordings sound great, including some of the earliest stereo cast albums, like CANDIDE, BELLS ARE RINGING, and the Julie Andrews CINDERELLA. But not the London MY FAIR LADY.....
|by Anonymous||reply 286||Last Saturday at 4:07 PM|
I remember hating the gimmicky quadraphonic mix of the Company cast album, specifically "Getting Married Today" with Beth Howland magically transporting from quadrant to quadrant, line to line.
|by Anonymous||reply 287||Last Saturday at 4:15 PM|
Ah, but the Quadrophonic COMPANY "Ladies Who Lunch" is very interesting. We all know how Elaine's performance was recorded. Elaine is pretty much solo on the 4th channel of the Quadrophonic recording. You can tune her out and just enjoy the orchestration. Or, possibly, have yourself the best ever karaoke "Ladies Who Lunch."
|by Anonymous||reply 288||Last Saturday at 4:57 PM|
"But to all of you, it has taken me 42 years to climb those eight steps."
|by Anonymous||reply 289||Last Saturday at 6:11 PM|
Toni Lamond's half-sister...
|by Anonymous||reply 290||Last Saturday at 6:44 PM|
|by Anonymous||reply 291||Last Saturday at 6:46 PM|
Miss Saigon - 25th.
|by Anonymous||reply 292||Last Saturday at 6:49 PM|
Get that braying cow OUT of here!
|by Anonymous||reply 293||Last Saturday at 7:13 PM|
Thanks for posting the Miss Saigon 25th, but when I clicked I got the message "We're sorry. You can't access this item because it is in violation of our Terms of Service." Kim never had it so rough.
|by Anonymous||reply 294||Yesterday at 1:15 AM|
I get the same message R294
|by Anonymous||reply 295||Yesterday at 3:04 AM|
Have we heard anything new about the musical that won't be reopening?
|by Anonymous||reply 296||Yesterday at 5:37 AM|
You mean all of them, R296?
|by Anonymous||reply 297||Yesterday at 5:40 AM|
I'm tellin' ya...what Broadway needs to make a comeback is a revival of The Moon is Blue!
|by Anonymous||reply 298||Yesterday at 6:55 AM|
|by Anonymous||reply 299||Yesterday at 7:58 AM|
That's hilarious. Good for Barbra.
|by Anonymous||reply 300||Yesterday at 8:14 AM|
Not always, but sometimes you just gotta love Streisand.
|by Anonymous||reply 301||a day ago|
The fuck I do.
|by Anonymous||reply 302||a day ago|
What is Ms. Fonda’s beef with Babs?
|by Anonymous||reply 303||a day ago|
There isn't one, r303. But some people are just gonna...
|by Anonymous||reply 304||a day ago|
Things I Know To Be True.
|by Anonymous||reply 305||a day ago|
The Best Worst Thing that Ever Could Have Happened.
|by Anonymous||reply 306||a day ago|
It's True! It's True! It's True!
|by Anonymous||reply 307||a day ago|
Sorry, no idea why Saigon won't play, seems fine from my end. Is it downloadable?
|by Anonymous||reply 308||a day ago|
OMG, r306, Joanna Merlin is SO young! Maybe it's because she isn't wearing a judge's robe.
|by Anonymous||reply 309||21 hours ago|
Judges' robes are so aging.
|by Anonymous||reply 310||21 hours ago|
R308 All I get is the Google Drive logo along with "We're sorry. You can't access this item because it is in violation of our Terms of Service. Find out more about this topic at the Google Drive Help Center." None of the normal Drive options. I've tried in both Safari and Firefox.
PS I finally watched Hangmen this morning and enjoyed it very much!
|by Anonymous||reply 311||20 hours ago|
R311 Bummer. Sorry.
|by Anonymous||reply 312||20 hours ago|
R312 You've given us all so much throughout this quarantine that I remain forever grateful. xx
|by Anonymous||reply 313||20 hours ago|
R313 You are very sweet.
Faith Healer with Michael Sheen, Indira Varma and David Threlfall. Socially distanced theater
|by Anonymous||reply 314||19 hours ago|
Is "Faith Healer" an Irish play?
|by Anonymous||reply 315||19 hours ago|
R312 is Person of the Year here on DL.
Fuck the Froy/Madden troll.
|by Anonymous||reply 316||19 hours ago|
Yes, Faith Healer is by Brian Friel who wrote Dancing at Lughnasa. It's a brilliant play made up of monologues
|by Anonymous||reply 317||19 hours ago|
I have seen one very good production of Faith Healer. And I have seen one very bad production. Both were moving because the script is so good.
|by Anonymous||reply 318||18 hours ago|
R296 That poster said it was Mean Girls
|by Anonymous||reply 319||18 hours ago|
I saw the original Broadway production of “Faith Healer, “ with James Mason, his wife, and Donal Donnelly. Fascinating piece. Chilling finale.
For a long time, Mason’s was the only autograph I ever sought, and got. That play took courage. I don’t think he did a lot of stage work.
|by Anonymous||reply 320||17 hours ago|
I'm reading that there are theaters and people pushing to make 12 hour tech days only 8 hours and rehearsals will be 5 days a week instead of 6. It's part of the "we see you white theater" thing. Is tech racist?
|by Anonymous||reply 321||16 hours ago|
I do not know about the tech stuff, but a lot of the practices that have been protested as classist (such as unpaid internships) are now being classfied as racist.
If it helps wrest theater jobs out of the hands of the wealthy, I am all for it.
|by Anonymous||reply 322||16 hours ago|
Yes, its such a hardship to work the occasional 12 hour day with plenty of -- PLENTY OF -- breaks during the very brief period a show is teaching.. Every doctor, nurse, police and fireman regularly works 12 hour shifts and doesn't bitch. There is nothing classicist or racist about it. Grow up.
|by Anonymous||reply 323||15 hours ago|
R323 Well, according to the Smithsonian Institute, "hard work is the key to success" is a white culture thing.
|by Anonymous||reply 324||11 hours ago|
*Institution, sorry. Specifically, the National Museum of African American History and Culture
|by Anonymous||reply 325||11 hours ago|
r324 you could say the same for Japanese culture, etc etc.. This is so bizarre.
|by Anonymous||reply 326||10 hours ago|
Being on time is a white culture thing/bad?
|by Anonymous||reply 327||10 hours ago|
LOL! Blacks are just swindling white people's guilt.
|by Anonymous||reply 328||10 hours ago|
Unpaid work is exploitation. It should be banned.
|by Anonymous||reply 329||9 hours ago|
Yes indeed, we too use "cookies." Don't you just LOVE clicking on these things on every single site you visit? I know we do! You can thank the EU parliament for making everyone in the world click on these pointless things while changing absolutely nothing. If you are interested you can take a look at our privacy/terms or if you just want to see the damn site without all this bureaucratic nonsense, click ACCEPT and we'll set a dreaded cookie to make it go away. Otherwise, you'll just have to find some other site for your pointless bitchery needs.
Become a contributor - post when you want with no ads!