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Theatre Gossip #403 - "Catch Our Act at the Met... In 2021! (Hopefully)"

Ease up on the spamming.

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by Anonymousreply 60010/14/2020

Was the spam lyric especially for London?

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by Anonymousreply 109/23/2020

Cha Cha Julie

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by Anonymousreply 209/23/2020

Did anyone see this?

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by Anonymousreply 309/23/2020

Bump for Usher Applause!

by Anonymousreply 409/28/2020

2020 Tony Award nominations preview: A slew of critically acclaimed plays take aim at top Broadway honors:

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by Anonymousreply 509/28/2020

Bump

by Anonymousreply 609/29/2020

From the last thread: What is the best 11 o'clock number?

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by Anonymousreply 709/29/2020

Not to dwell, but from the last thread: here's Ann absolutely stepping on Bebe's right foot in the 1997 Chicago Tony Awards performance. It throws Ann slightly off-balance, but she recovers quickly and shoots a glance at Bebe, who probably screamed at her as soon as they got offstage.

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by Anonymousreply 809/29/2020

Ann seemed to be having so much fun in the Encores b-roll. Why did she take such a different approach on Broadway?

by Anonymousreply 909/29/2020

Not an 11 o'clock number but an 8 o'clock one: Thanks heaps to whoever posted the video of the National Theatre's Carousel Waltz in the last thread. I saw that production at Lincoln Center, and it completely changed my mind about the show, which I'd been largely indifferent to before (blame Bustin' June and the Real Nice Clambake). Never mind the blurriness, it was great to see that opening again. (I may have teared up a little when the carousel appeared, even though I knew it was coming.) I'd love to know how long it took to rehearse that opening as there were so many (literal) moving parts -- surely it alone took up a whole day of tech.

Also: It's nice to be able to post in the Theatre Gossip thread again -- #402 was paywalled for far too long.

by Anonymousreply 1009/29/2020

[Quote] #402 was paywalled for far too long.

Spamming the thread actually kills it, rather than giving it a bump.

by Anonymousreply 1109/29/2020

R11 What do you mean, spamming the thread?

by Anonymousreply 1209/29/2020

R8: she must’ve learned it from one of the orphans from [italic]Annie[/italic].

by Anonymousreply 1309/29/2020

[Quote] What do you mean, spamming the thread?

Well, there's a well intentioned poster who posts video after video (I don't mean the person sharing links to NT Live etc. broadcast) in a short time when the thread gets slow. Muriel paywalls threads when that happens. It happened quite early last thread, I think around the 400 mark.

by Anonymousreply 1409/29/2020

So glad to have a new, un-paywalled thread so I can ask Our Valens if he has a capture of the Renée Fleming/ Vanessa Williams Kennedy Center concert.

by Anonymousreply 1509/29/2020

R14 Thanks. R15 Fuck, am still trying to find the solo Renee concert, so shall post both when I find them x

by Anonymousreply 1609/29/2020

WE SEE YOU, WHITE PAYWALL

by Anonymousreply 1709/29/2020

[Quote] WE SEE YOU, WHITE PAYWALL

You liked your own goddamned post, didn't you?

by Anonymousreply 1809/29/2020

The greatest eleven o'clock number "Rose's Turn."

R9, Reinking was on a podcast recently and talked about replacing an unannounced star (Liza?) in the Encores concert shortly before rehearsals began. Perhaps adrenaline and relying on instincts created a different performance than one with an extended rehearsal period?

by Anonymousreply 1909/29/2020

R18 uh, no.

by Anonymousreply 2009/29/2020

Reinking was in complete control here. I don't think she was relying on adrenaline or quick decisions.

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by Anonymousreply 2109/29/2020

In contrast, it feels like she imposes a characterization on Roxie here. And she's too damn butch. It's almost like she should be playing the monologue with a big cigar. (That's partly why Bebe and Chita were wrong for Roxie. Both have a touch of butch.)

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by Anonymousreply 2209/29/2020

11:00 number. " Sit Down......"

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by Anonymousreply 2309/29/2020

Eleven o'clock number. Despite the terrible choreography, " Brotherhood of Man."

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by Anonymousreply 2409/29/2020

Reinking did an excellent Gwen Verdon impersonation when she took over opposite DL fave Lenora Nemetz -- with Jerry Orbach still in the show -- toward the end of the run of the original "Chicago". There seem to be a certain number of dancers and dance teachers who kind of affected the way Gwen talked; I don't know why. She was the original, and the biggest star female dancer.

by Anonymousreply 2509/29/2020

Is Merle Louise still around? Always loved her, she was wonderfully daffy and had/has an extremely full life away from the theatre

by Anonymousreply 2609/29/2020

Various "Rose's Turn". Who's your favorite?

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by Anonymousreply 2709/29/2020

So wild to see JK Simmons in that Guys & Dolls clip. I love that song, if not necessarily that production. It was classic Jerry Zaks; loud, funny, fast and one-note.

by Anonymousreply 2809/29/2020

R16 You always come through for us!

by Anonymousreply 2909/29/2020

And r23 and r24 are both from Frank Loesser shows.

by Anonymousreply 3009/29/2020

Loesser is boetter at 11 o'clock numbers than most.

by Anonymousreply 3109/29/2020

For the Rose's Turn video, I like Tyne.

by Anonymousreply 3209/29/2020

Sit Down You're Rockin The Boat is not in any way an Eleven O'Clock Number.

Marry the Man Today is not exactly one either but it is closer.

Usually an Eleven O'Clock number is a solo. Usually emotional---often a turning point.

Looking for info, I see Wikipedia is way off on this one. The link below is closer to a traditional interpretation of what this term means.

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by Anonymousreply 3309/29/2020

Foe those who missed it on the last thread due to the playwall. That threads' Follies...

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by Anonymousreply 3409/29/2020

Pipeline.

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by Anonymousreply 3509/29/2020

Do we like Opera?

Elektra.

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by Anonymousreply 3609/29/2020

WE SEE YOU WHITE ELEKTRA

by Anonymousreply 3709/29/2020

Does anyone have "The Day I Stood Still" by Kevin Elyot?

by Anonymousreply 3809/29/2020

How many two handers and solo shows will come to Broadway when this is over? A lot, I would guess.

by Anonymousreply 3909/29/2020

[quote]How many two handers and solo shows will come to Broadway when this is over? A lot, I would guess.

Hugh Jackman and Sutton Foster may have to give up on "The Music Man" and instead revive "I Do! I Do!"

by Anonymousreply 4009/29/2020

[quote]Usually an Eleven O'Clock number is a solo. Usually emotional---often a turning point.

I don't believe I've ever heard that definition before. My understanding of an 11 o'clock number is it's any number that happens very late in the show, almost towards the end, and is a huge audience-pleaser for whatever reason.

by Anonymousreply 4109/29/2020

R41, read the link above. It gives a more traditional definition. If you went to BMI or any of the musical development program you would hear Rose's Turn, Being Alive, Memory, Cabaret, What I Did for Love. The impact comes from the communion of singer and audience without depending on production elements or chorus.

I like the way Michael Musto described it: "An 11 o’clock number is a song that comes toward the very end of a Broadway musical, when a leading character has a fit of emotion and pours it out in music."

The idiots on ATC and Broadway World have eroded the meaning over the last twenty years.

by Anonymousreply 4209/29/2020

So "The Miller's Son" isn't an 11 0'Clock number to Musto.

by Anonymousreply 4309/29/2020

By that definition, Send in the Clowns is the eleven o'clock number from Night Music.

Ever notice that Charlotte, Anne, and Henrik don't sing a note in the second act? They should have kept Two Fairy Tales

by Anonymousreply 4409/29/2020

I go back more than 20 years ago and always thought of it in terms of R41. Either solo or production number to get that about to slumber audience roused so they can get themselves home to the suburbs. Remember musicals started at 8:30 and could often be 3 hours. The audience members needed to be kept awake to see the end of the show and not be thinking that they had to get up early for work the next day.

by Anonymousreply 4509/29/2020

The best Hot Honey Rag was Mariette Hartley and Gretchen Wyler. That was something to see. Fabulous!

by Anonymousreply 4609/29/2020

In the 30s and 40s and even into the 50s, the 11 oclock number was usually by a character who was not central. But R&H really shifted the genre to a tighter focus and the number started going to a central character.

Memory is kind of old fashioned. Grizabella has no solo lines until Memory. This would have been more common in the past, but in the 80s it was a throwback.

by Anonymousreply 4709/29/2020

R46 apparently they won some kind of shared award for it!!!

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by Anonymousreply 4809/29/2020

I heard Mariette would always step on Gretch's foot during the Rag. Naughty Mariette.

by Anonymousreply 4909/29/2020

And I Am Telling You... is the 11 o'clock number to end all 11 o'clock numbers but it doesn't really qualify because it is at the end of the first act instead of right before the end of the show. Other than its placement, it is the quintessential 11 o'clock number.

by Anonymousreply 5009/29/2020

I saw the original production of Dreamgirls the night after the Tonys. Holliday didn't stop screaming, the audience didn't stop screaming and I was thinking why are all these people screaming?

by Anonymousreply 5109/29/2020

A young (and rather chunky) Bernie in DAMES AT SEA in 1973.

Still adorable.

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by Anonymousreply 5209/29/2020

[quote]And I Am Telling You... is the 11 o'clock number to end all 11 o'clock numbers but it doesn't really qualify because it is at the end of the first act instead of right before the end of the show. Other than its placement, it is the quintessential 11 o'clock number.

That's a very odd statement, since the term makes it clear that it's all about placement. An exciting number that comes anywhere else in the show but towards the very end is not an "11 o'clock number," it's just a really exciting number, sometimes called a show stopper depending on how big a hit it is with the audience.

And NEVER till till thread have I heard or read the definition that an 11 o'clock number can't be a production number and has to be a solo.

by Anonymousreply 5309/29/2020

R46, Gretchen Wyler was Lauren Bacall's understudy in Applause, but she never went on.

Carol Lawrence was Bacall's understudy in Waiting in the Wings, but she never went on either.

by Anonymousreply 5409/29/2020

R46 Bacall also never missed a performance of "Woman of the Year." I did, however, get to see DL favorite Louise Troy go on for Debbie Reynolds when Debbie collapsed. (Debbie was the third "Woman of the Year," following Bacall and Raquel.)

by Anonymousreply 5509/29/2020

Encoresh!

by Anonymousreply 5609/29/2020

Interesting that not a single 11 o'clock number I've seen proposed so far by anybody is by Rodgers & Hammerstein.

(And while we're here, "What I Did for Love".)

by Anonymousreply 5709/29/2020

[quote]Bacall also never missed a performance of "Woman of the Year." I did, however.

Sums it up quite well.

by Anonymousreply 5809/29/2020

A tepid, failed 11 o'clock number "All of My Life" in "Do Re Mi" tries to be a dramatic male version of "Rose's Turn" for Phil Silvers' character, but it's too dramatic in a musical comedy and doesn't really work. It didn't really work when Nathan Lane did it at Encores either. The rest of the score is pretty fine, though.

by Anonymousreply 5909/29/2020

[quote] Interesting that not a single 11 o'clock number I've seen proposed so far by anybody is by Rodgers & Hammerstein.

How would "You'll Never Walk Alone" sound when performed by a woman in a wheelchair?

by Anonymousreply 6009/29/2020

[quote]I’m also betting that Adam Rapp grabs a slot for “The Sound Inside.” He’s won acclaim for years Off-Broadway, and nominators will be eager to highlight his Broadway debut.

Doesn't this statement sorta rewrite history? The only thing I seem to recall about Adam Rapp's career off-Broadway was that his plays were often reviled by critics. (IIRC, Charles Isherwood even once declared that he never wanted to review any of Rapp's plays ever again.) But now, thanks to "The Sound Inside," they're making it sound as if he was this undiscovered gem who's finally garnering the recognition he deserves. So which is true?

by Anonymousreply 6109/29/2020

R53, this may be a pre-1980s definition.

I have heard it described as the bookend to the "I want" song. That tells you where the main character wants to go. The 11:00 number tells you how pursuing that want changed them.

It is a bit surprising to see production numbers described as 11 O'clock numbers. Back in the day, when I was involved in musicals that was just understood to be something different. It is like the time a housepainter told me that green was a warm color. It is just not anything I ever expected to hear.

by Anonymousreply 6209/30/2020

r60=Jerry Lewis

by Anonymousreply 6309/30/2020

I don't know how Jerry Lewis couldn't see the irony of ending a Muscular Distrophy telethon, in front of many children in crutches and wheelchairs, and continued to sing his heart out "You'll Never Walk Alone"! He did this for years and years. I'm surprised those kids weren't bawling at this on camera. One of them should have smacked him.

by Anonymousreply 6409/30/2020

That's because just singing the more appropriate "You'll never walk" doesn't fit in with the music.

by Anonymousreply 6509/30/2020

What about amending the lyric to "You'll never walk anon" or is that too old-timey?

by Anonymousreply 6609/30/2020

Maybe "You'll never walk again." It needs to be two syllables. "You'll never walk at all?"

by Anonymousreply 6709/30/2020

I wonder if two of Jerry’s Kids did the Hot Honey Rag that they would warrant mid-song applause?

by Anonymousreply 6809/30/2020

What about "Climb Ev'ry Mountain"? That would be even more of a feat under those circumstances.

by Anonymousreply 6909/30/2020

We can't walk but we can cartwheel!

by Anonymousreply 7009/30/2020

[quote]I don't know how Jerry Lewis couldn't see the irony of ending a Muscular Distrophy telethon, in front of many children in crutches and wheelchairs, and continued to sing his heart out "You'll Never Walk Alone"!

Over the years, I've heard some people make this childish, tasteless joke. Maybe the truth is that Lewis assumed or hoped that his audience was smart and mature enough to understand the lyrics of the song as a metaphor -- which they are even in the original context of CAROUSEL -- rather than being literally about "walking."

P.S. It's "dystrophy:"

by Anonymousreply 7109/30/2020

Yuck. Metaphors are so 1992. 2020 is all about mind-numbing literalism.

by Anonymousreply 7209/30/2020

You'll Never Wet This Ass Pussy!

by Anonymousreply 7309/30/2020

Cardi B should have taken Taylor Swift's place in the [italic]Cats[/italic] movie. It still wouldn't be a good movie, but at least it might have sucked in a more interesting way.

by Anonymousreply 7409/30/2020

"We Are The Children of Metropolis" -- Judy Kuhn

by Anonymousreply 7509/30/2020

You are correct R45. Shows used to let out at 11:30 or thereabouts. That's why the number was called 11 o'clock. It came just about 15 or 20 minutes before the end of the show, usually as noted above, to rouse the audience and show off most of the company once more before the principals and supporting actors took over and finished up the story. Think "Get Me To The Church on Time" coming just before Higgins takes over for his final solo; "Sit Down, You're Rocking the Boat"; "Join the Circus" (Barnum), etc. Many shows opt to showcase either the principals or secondary characters, but the point is still to give the audience a bit of a break from the dramatic tension before the resolution of the story. Examples: "Buddy Beware" (Anything Goes); "My Mother's Wedding Day" (Brigadoon); "You're Just in Love" (Call Me Madam); "What Do The Simple Folk Do?" (Camelot); "Beggars at the Feast" (Les Miz). It's a little calm before the storm. The defining factors are not whether the number is big and splashy or an intimate solo or duet. It is the purpose it serves and its placement in the show.

""You've Got To Have A Gimmick" is the eleven o'clock number in Gypsy, NOT Rose's Turn, which is the climax and final number in the show.

by Anonymousreply 7609/30/2020

The 11 o'clock number was always the big rousing number before the finale. "Oklahoma" is the quintessential 11 o'clock song.( In fact, ANKLES AWEIGH actually has an 11 o'clock number called "An 11 O'Clock Song.) It wasn't till Gypsy that it changed to be a dramatic song sung as a solo.

by Anonymousreply 7709/30/2020

"I'm Going Back" was written specifically as an 11 o'clock number for Judy Holliday in "Bells Are Ringing" either out of town or in previews, where it was needed since apparently without it Sydney Chaplin was stealing the show. He must have been pretty good and also very hot, despite his Gertrude Lawrence-vocal unsteadiness on the OCR (and "Subways are For Sleeping" and "Funny Girl"), since he won the Best Supporting Tony in 1956 (in the year of "My Fair Lady", considered probably the most Golden Year of the Musical); Judy also ended up winning Best Actress over Julie Andrews.

by Anonymousreply 7809/30/2020

[quote]You are correct [R45]. Shows used to let out at 11:30 or thereabouts. That's why the number was called 11 o'clock. It came just about 15 or 20 minutes before the end of the show, usually as noted above, to rouse the audience and show off most of the company once more before the principals and supporting actors took over and finished up the story. Think "Get Me To The Church on Time" coming just before Higgins takes over for his final solo; "Sit Down, You're Rocking the Boat"; "Join the Circus" (Barnum), etc. Many shows opt to showcase either the principals or secondary characters, but the point is still to give the audience a bit of a break from the dramatic tension before the resolution of the story. Examples: "Buddy Beware" (Anything Goes); "My Mother's Wedding Day" (Brigadoon); "You're Just in Love" (Call Me Madam); "What Do The Simple Folk Do?" (Camelot); "Beggars at the Feast" (Les Miz). It's a little calm before the storm. The defining factors are not whether the number is big and splashy or an intimate solo or duet. It is the purpose it serves and its placement in the show.

I basically agree with you, and thanks for explaining, but several of your examples come way too early in the second acts of those shows to qualify as 11'o'clock numbers. The term specifically and very clearly refers to placement of the number shortly before the end of the show -- often the penultimate number, or perhaps the one before that. "Get Me To The Church on Time" would be a perfect example of an 11 o'clock number if it occurred a little later in Act II, but as it is, there are three full songs -- and probably about 45 minutes total running time of the show -- after it, so I really don't think that's a good example.

[quote]""You've Got To Have A Gimmick" is the eleven o'clock number in Gypsy, NOT Rose's Turn, which is the climax and final number in the show.

I agree that "Rose's Turn" is not the 11'o'clock number in GYPSY, but I don't think "Gimmick" is either, because -- again -- it comes too soon in the act. If anything, the "Let Me Entertain You" strip sequence is that show's 11 o'clock number. For the umpteenth time, people: An exciting, rousing number that comes any earlier than in the final half-hour or so of a show cannot and should not be called an 11 o'clock number, no matter how rousing and exciting it is, because the original and actual meaning of "11 o'clock number" is quite specific in terms of placement.

[quote]"Oklahoma" is the quintessential 11 o'clock song.

Excellent example.

[quote]"I'm Going Back" was written specifically as an 11 o'clock number for Judy Holliday in "Bells Are Ringing" either out of town or in previews, where it was needed since apparently without it Sydney Chaplin was stealing the show

I have never read or heard that reason for "I'm Going Back" having been written. First of all, Judy was the star of the show, and I'm sure the writers felt from the beginning that she needed some sort of a big, rousing final number. If she didn't have that number in that slot, her final song would be "The Party's Over," which comes about half an hour or more before the end of the show. It's a beautiful song but not of the type you would want to be your star's final number. Also, though I'm sure Sydney Chaplin was charming and funny and great in BELLS ARE RINGING despite his deficiencies as a singer, his role was really not the sort in which anyone can "steal the show."

by Anonymousreply 7909/30/2020

Ghosts with Leslie Manville.

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by Anonymousreply 8009/30/2020

Oklahoma at the Proms.

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by Anonymousreply 8109/30/2020

Jerome Robbins - Cock Sucker?

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by Anonymousreply 8209/30/2020

"Well darling, I really wouldn't know. He's never sucked my cock.”

by Anonymousreply 8309/30/2020

I've read that the writers (who were, of course, great friends of Judy's) felt they needed something socko for towards the end of the show. Sydney was supposed to have been really good in the show, and it was felt there was an inbalance in their impact by the middle to end of the 2nd act. That's why "I'm Going Back" was written to give the star 'last licks" impact, which it did.

by Anonymousreply 8409/30/2020

[quote]"I'm Going Back" was written specifically as an 11 o'clock number for Judy Holliday in "Bells Are Ringing" either out of town or in previews, where it was needed since apparently without it Sydney Chaplin was stealing the show.

I find it very hard to believe that Sydney Chaplin could have been "stealing the show" from the gifted and charming Judy Holliday in a musical that was specifically written for her and tailored to her talents.

by Anonymousreply 8509/30/2020

He was making a big impact, and apparently a bigger impact than they wanted, thus the creators fixed the show by giving Judy Holliday a big 11 o'clock number. Both won Tonys - she for Best Actress, he for Supporting, so it worked out- plus they were dating/lovers for a while. But strangely, Sydney's dad Charlie, didn't like Judy. Perhaps he felt she was too much like a female Charlie Chaplin for comfort.

by Anonymousreply 8609/30/2020

I'm on Charlie's side. I find Judy Holliday to be shrill, one note and overrated.

by Anonymousreply 8709/30/2020

Team Judy here. Wonderful actress -- funny with real sentiment and heart. Things that had been used to describe Charlie. While Charlie's impact was mostly in silents (and his films were wonderful), Judy did them with great scripts by the likes of Garson Kanin and Comden and Green, and directors like Jerome Robbins, George Cukor and Vincent Minnelli.

by Anonymousreply 8809/30/2020

Doesn't FOLLIES win because it has *4 count 'em 4* 11:00 numbers?

by Anonymousreply 8909/30/2020

The audience was so old that they had to wake them up four times.

by Anonymousreply 9009/30/2020

Surprised no one has mentioned “Superstar” from JCS. Certainly, the post-film addition of “You Must Love Me” to EVITA fits the bill as well. And while discussing ALW, “Unexpected Song” should be on the list, as well.

by Anonymousreply 9109/30/2020

Does "Back to Before" qualify as an 11 o'clock number, or if not -- "Make Them Hear You"? ("Ragtime," for you youngsters.)

by Anonymousreply 9209/30/2020

In A Chorus Line is "What I Did For Love" the 11 o'clock number or the spangled "One"?

by Anonymousreply 9309/30/2020

Whar I Did for Love is the 11 oclock Number.

by Anonymousreply 9409/30/2020

A most obvious (and effective) one...

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by Anonymousreply 9509/30/2020

Not quite the Hot Honey Rag. But... almost.

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by Anonymousreply 9609/30/2020

Is this an 11:00 number or a finale?

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by Anonymousreply 9709/30/2020

Only it’s not the 11 o’clock number. The 11 o’clock number in Mame is”That’s How Young I Feel.”

by Anonymousreply 9809/30/2020

"You Can't Stop the Beat" is really a finale.

by Anonymousreply 9909/30/2020

I disagree, r98. Walked is Mame's big solo number near the end.

by Anonymousreply 10009/30/2020

[quote]Certainly, the post-film addition of “You Must Love Me” to EVITA fits the bill as well.

In the original stage version, would the "Montage" (which didn't make it into the film) be considered the 11 o'clock number? It's quite rousing and features the entire company.

by Anonymousreply 10109/30/2020

For fuck's sake, the 11 o'clock number wasn't there to "wake people up". If your show needs a song to wake people up, then you have a shitty show. It's there to have a main character(s) express that they've finally figured out how to solve the problems in their life that have been holding them back (and thus creating the drama and plot of the show you've been watching for 2 and a half hours). It's there to start wrapping up the story and segue into the finale though sometimes the 11 o'clock song can BE the finale.

"Gotta Have a Gimmick" is not an 11 o'clock number. It's a fun comic number sung by minor characters in the show.

by Anonymousreply 10209/30/2020

I think people are getting carried away. There is no rule about 11 o'clock numbers. Many shows do not have them and as I said before, they have changed over the years. Oklahoma had one, but Carousel did not. Musicals no longer follow the same pattern that they did in the 30's and 40's, when it was presumed that you had a big next to cloing number. And before that, Vaudeville had the same thinking. ("Next to closing on the bill" was the dreamed of slot.)

by Anonymousreply 10309/30/2020

Who greyed out this thread?

by Anonymousreply 10409/30/2020

I think "Eva's Final Broadcast" is EVITA's 11 o'clock number.

by Anonymousreply 10509/30/2020

"For fuck's sake, the 11 o'clock number wasn't there to "wake people up". If your show needs a song to wake people up, then you have a shitty show."

Au contraire.

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by Anonymousreply 10609/30/2020

R103, vaudeville was different. Second to the last would be more equivalent of a finale. The last act in vaudeville would be a haircut act. The point was to be to be so bad as to drive people out of the theater, to provide empty seats for the next show. (It was called a haircut act because it would play to the haircut rather than the face.)

Theater did not have continuous shows and did not encourage to audiences to walk out before the show was over.

by Anonymousreply 10709/30/2020

Dolores Gray was insistent that she get the third number in "Two on the Aisle."

by Anonymousreply 10809/30/2020

Why did this OP start the thread on the 23rd? To stop anyone else from doing it? The other #493 has a better title.

by Anonymousreply 10909/30/2020

[quote]There is no rule about 11 o'clock numbers.

There are two rules regarding an11 o'clock number: It HAS to come very close to the end of the show, and it has to be a big hit with the audience, whether it's a solo number, a duet, a trio, an ensemble number, a production number, whatever. For the last time, a number that comes more than a half hour or so before the end of a show cannot, by definition, be an 11 o'clock number, even it it's a show stopper.

[quote]He was making a big impact, and apparently a bigger impact than they wanted, thus the creators fixed the show by giving Judy Holliday a big 11 o'clock number.

What I'm saying is, regardless of whatever level of impact Chaplin was having with audiences, I'm sure the creators must have had it in mind from the beginning that they would write some sort of a big, 11 o'clock number for Holliday from the beginning. They would never have thought it would be fine to have "The Party's Over" be her last number in the show.

by Anonymousreply 11009/30/2020

What was the last musical with 2 intermissions? Anyone Can Whistle?

by Anonymousreply 11109/30/2020

I remember when I went to see the Chorus Line revival in late '96. It was my first time seeing the show. I had no idea there was no intermission and needed to pee so badly throughout the whole thing. To make matters worse, I had gotten myself front-row tickets and was seated in the center so had to wait for everyone else to clear out. Needless to say, I couldn't enjoy the second act.

by Anonymousreply 11209/30/2020

I meant '06.

by Anonymousreply 11309/30/2020

"The Apple Tree" had 2 intermissions during its initial run, I believe, but that was in the 1960s,

by Anonymousreply 11409/30/2020

For EVITA, isn't now "You Must Love Me" the 11 o"clock number?

by Anonymousreply 11509/30/2020

[quote]I had to be shaken awake four times during " Follies"

Pity they stopped shaking you.

by Anonymousreply 11609/30/2020

As an apology for me starting the Hot Honey Rag conversation in the last thread, have Isaac Cole Powell's dick

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by Anonymousreply 11710/01/2020

Your bushy atonement is duly noted and appreciated r117.

by Anonymousreply 11810/01/2020

If all those classic musical revivals started at 8:30 as their original productions did would audiences today be able to get through them without fading? Or would they be thinking two thirds of the way through My Fair Lady and Fiddler will this thing ever end? I've got to be up at 6 tomorrow morning. I hope to god it's got an 11 o'clock number.

Of course in those two musicals their hopes would be in vain and they would have to suffer through to the end. Unless you think Without You and Anatevka are 11 o'clock numbers.

by Anonymousreply 11910/01/2020

[Quote] The other #493 has a better title.

That thread can still be used. It will be a while, though...

by Anonymousreply 12010/01/2020

Oh, epic fail, R117. That's not his dick, as promised.

It is a mere photograph of his dick. Not the same. Not at all the same.

by Anonymousreply 12110/01/2020

It's an unimpressive dick, so what's the diff?

by Anonymousreply 12210/01/2020

Is that pic why Powell had a social media breakdown a while back. Someone posted about it on one of these threads but they didn't elaborate.

by Anonymousreply 12310/01/2020

wow are we numb. r117 posted a seemingly authentic full-body nude of an extraordinarily well built and talented young Broadway leading man, and we went right back to the pedantry of debating 11 o'clock numbers.

by Anonymousreply 12410/01/2020

The reaction to young Michael Arden's pee pee was much the same.

by Anonymousreply 12510/01/2020

BAJOUR!

by Anonymousreply 12610/01/2020

Isaac exposing his dick on stage would make a great 11 o'clock number. It could sing," I'm Still Here," delighting Follies fanatics.

by Anonymousreply 12710/01/2020

Follies fanatics would be equally delighted if it just shut up and spit.

by Anonymousreply 12810/01/2020

Any pics of Isaac on all fours?

by Anonymousreply 12910/01/2020

R126 you’re a bit early.

by Anonymousreply 13010/01/2020

I think it’s a nice dick R122

by Anonymousreply 13110/01/2020

I'm fine with the dick. It just doesn't interest me. I enjoy the rest of him. Any wagging his tail to camera?

by Anonymousreply 13210/01/2020

When young Mr. Powell presents hole, please post the photo.

Maybe it has more allure than his pedestrian penis.

by Anonymousreply 13310/01/2020

Why does a somewhat successful Broadway actor live in such squalor? Dirty clothes and sneakers in a pile on the floor like a teenager, a bed and box spring on the floor with nacreous sheets barely even on it, an empty beer bottle... and what appears to be a visible bottle of lube sticking out of the basket on the nightstand with a stapler (?) on top. Nice body, though. Stupid tattoo. Oh, Mary, but c’mon.

by Anonymousreply 13410/01/2020

Count me among those who think the classic purpose of the 11:00 number was to give the audience a wake-up nudge: Get Me to the Church on Time. Farmer and the Cowman, Shipoopi. Big D. Together. Wrong Note Rag.

But as someone said, not all shows adhere to that formula, especially more recent ones. Company for example, or Sunday in the Park.

by Anonymousreply 13510/01/2020

I seem to recall that the recent London revival of Half a Sixpence was filmed for broadcast. Does anybody know about this?

by Anonymousreply 13610/01/2020

I'm still at it, r116!

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by Anonymousreply 13710/01/2020

Any links to the Encores! "Me and My Girl" or "Mack and Mabel" would be greatly appreciated by this gay who has exhausted his Netflix watchlist and can't bear another minute of debate coverage.

by Anonymousreply 13810/01/2020

But they got out before 10:30. (Company maybe not initially but still it got out before or by 11 in any case not needing one.

by Anonymousreply 13910/01/2020

The 11 O'Clock number was performed in Elaine's dressing room.

by Anonymousreply 14010/01/2020

R123 He goes on and off social media quite often. I think the big one was because he said something along the lines of 'white people need mental healthcare too' and so a bunch of people tried to cancel him as being racist.

by Anonymousreply 14110/01/2020

Sondheim attended a drive-in performance of Assassins.

[quote]No one, not even Houk, got to meet or speak with Sondheim after the show. Ray did look over to this car and he smiled at her, she said.

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by Anonymousreply 14210/01/2020

I wonder if Sondheim has added electronic machinery to the dungeon. Twenty lashes at the press of a button etc.

by Anonymousreply 14310/01/2020

Well, r135, maybe there should be a wake-up number *and* an 11:00 number, because I'd consider Accustomed/Face the 11:00 number.

by Anonymousreply 14410/01/2020

If they did it at a drive in the stage had to be pretty high as the screens are so that people can look over the cars. And each car had one of those speakers that hang on the window that sound like AM transistor radios?

That Warner theater is a huge beautifully restored movie palace. What an odd place to plan to do a show like Assassins. Would it make any impact? Wicked or Aida maybe.

by Anonymousreply 14510/01/2020

R133 Do you think he has a butthole?

by Anonymousreply 14610/01/2020

I'm so glad Isaac Powell is cut! I loathe uncut dick

by Anonymousreply 14710/01/2020

Well, we know his old cunt.

by Anonymousreply 14810/01/2020

His name is Isaac. Of course he's cut.

by Anonymousreply 14910/01/2020

R145 From the looks of it they didn't use the stage but had the singers on backs of old trucks facing the audience. Not sure what they did for sound.

by Anonymousreply 15010/01/2020

I did not cut Isaac. I tried, but an angel stopped me.

by Anonymousreply 15110/01/2020

I guess some people can't grasp the concept that an Eleven O'Clock Number should be performed around eleven o'clock (back when curtains were at 8:30).

"The Farmer and the Cowman" is the first number in Act Two. "Shipoopi" is the second number in Act Two. "Together" (assuming you mean "Together, Wherever We Go" and not "Together" from the revival of GOOD NEWS or some other song) is the second number in Act Two. "Big D" is in the middle of Act Two (in a three-act show) with nineteen numbers to follow.

by Anonymousreply 15210/01/2020

oh yea, R152? What about matinee days? No 11 o clock number there!

by Anonymousreply 15310/01/2020

Most second acts struggle. The 11 o'clock number has to focus the proceedings, tie some things together, and prepare the show - and the audience - for landing. How it gets done is up to the authors and the director. But the song is the foundation for wrapping up the sucker and sending everyone home.

by Anonymousreply 15410/01/2020

OKLAHOMA! If your show sucks, put in " Oklahoma" as the 11 o'clock number and everyone will leave happy, except poor Jud. How can anyone not tap their toes to this classic?

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by Anonymousreply 15510/01/2020

Coming up at 11....

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by Anonymousreply 15610/01/2020

When my school did "Blood Brothers," they added "Tub Thumping" by Chumbawumba to perk up the prison scene. I don't recall how close to 11 O'Clock that was, though.

by Anonymousreply 15710/01/2020

[R114]: The original production of “The Apple Tree” had two intermissions, because it had three acts, three separate stories. And the star, I’m sure, needed time to get ready in between.

I saw it. With Barbara Harris, no less. She was wonderful.

by Anonymousreply 15810/01/2020

Bless you, R117. He (and it) are as beautiful as I imagined. Lucky, lucky Mr. Taylor.

by Anonymousreply 15910/01/2020

[quote]Lucky, lucky Mr. Taylor.

You can add a few more 'lucky's in there too.

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by Anonymousreply 16010/01/2020

R125, can you please perchance provide a link to the pic?

Also, where's pics of Max Von Essen's alleged tinymeat?

by Anonymousreply 16110/01/2020

Larry Kramer - Cock Sucker.

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by Anonymousreply 16210/01/2020

New York Philharmonic Celebrates Sondheim.

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by Anonymousreply 16310/01/2020

Sweeney Todd with Bryn and Emma.

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by Anonymousreply 16410/01/2020

Best 11 o'clock number ever: Never Met A Man I Didn't Like from the Will Rogers Follies. Fabulous photo montage by Tony Walton when Keith sang this number. Powerful message too. Thank you Coleman, Comden and Green.

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by Anonymousreply 16510/01/2020

^Such a good show.

by Anonymousreply 16610/01/2020

Thank you, r164. I just forwarded it to Worst Pies to check out Emma. O.K., but I'm afraid the effort is showing.

by Anonymousreply 16710/01/2020

Did Emma do any musical theatre after Me & My Girl?

by Anonymousreply 16810/01/2020

That concert Sweeney Todd isn't all that, but I'm thinking Emma Thompson has a better Mrs. Lovett in her that a strong director could bring out.

by Anonymousreply 16910/01/2020

What I saw, r169, was her effort in traversing the vocals.

by Anonymousreply 17010/01/2020

WEHT to Our Miss Brooks? Carb loading in quarantine? Making more apologies for his past behavior and "who he was allowed to become"?

by Anonymousreply 17110/01/2020

[Quote] Making more apologies for his past behavior and "who he was allowed to become"?

?

by Anonymousreply 17210/01/2020

[quote]WEHT to Our Miss Brooks?

It was on TCM this morning!

(Oh--and it's WHET. We do have traditions here.)

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by Anonymousreply 17310/01/2020

Brooks Amantokiss was a METOO perpretator?

by Anonymousreply 17410/01/2020

Wasn't it decided that Brooksie was the "fat jovial avuncular" actor who apologized for his past behavior in that long Medium post full of blind items earlier in the summer? I think it's since been deleted. It was published right around the time that someone on Facebook called out Brooks for being bitchy, two-faced, and a lil bit racist during THE CLOSET at Williamstown.

by Anonymousreply 17510/01/2020

He's fond of retelling the Maggie Smith "the blacks" story?

by Anonymousreply 17610/01/2020

Dick pics AND gossip? This thread is moving along nicely!

by Anonymousreply 17710/01/2020

r173 - Thank you, Walter.

by Anonymousreply 17810/01/2020

I never need to hear Emma Thompson "sing" again. In a stage musical or elsewhere, thanks.

by Anonymousreply 17910/01/2020

Did Isaac post these pics to his social media? or were they hacked?

by Anonymousreply 18010/01/2020

Isaac's pronoun is They?

by Anonymousreply 18110/01/2020

R180 More than likely sent to someone he was trying to hook up with - either real or catfished.

I hope I'm not shattering any innocence over the idea he and Wesley may not be totally monogamous.

by Anonymousreply 18210/01/2020

I miss the old DL anecdotes about Brooks getting his jollies during summer stock. Hell, I miss summer stock.

by Anonymousreply 18310/01/2020

I din't know Brooks was that old. Did he do summer stock with Ellen Travolta?

by Anonymousreply 18410/01/2020

I just noticed this on my Youtube line-up and it's probably already been posted...

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by Anonymousreply 18510/01/2020

The hair is very Merman here.

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by Anonymousreply 18610/01/2020

[quote]I guess some people can't grasp the concept that an Eleven O'Clock Number should be performed around eleven o'clock (back when curtains were at 8:30). "The Farmer and the Cowman" is the first number in Act Two. "Shipoopi" is the second number in Act Two. "Together" (assuming you mean "Together, Wherever We Go" and not "Together" from the revival of GOOD NEWS or some other song) is the second number in Act Two. "Big D" is in the middle of Act Two (in a three-act show) with nineteen numbers to follow.

Thank you. I don't know if people are being purposely annoying or honestly stupid in naming songs that occur WAY before the end of their shows as "11 o'clock numbers," but either way, this is getting ridiculous. One might assume the fact that the timing of the number is included in the description might clue people in as to what songs fit the category, but I guess not.....

by Anonymousreply 18710/01/2020

P.S. to name "The Farmer and the Cowman" rather than the title song as the 11 o'clock number in OKLAHOMA! is not at all funny if it's intended as a joke, and incredibly ignorant if it's intended as a factual statement.

by Anonymousreply 18810/01/2020

And on another note, re Isaac Powell: That's a very nice endowment, but to me, his body and face are so beautiful that the dick would never be the primary focus of interest.

by Anonymousreply 18910/01/2020

I still don't understand why someone as beautiful and talented as Isaac Cole Powell is with such a sniveling toad like Wesley.

by Anonymousreply 19010/01/2020

^ Love. He's doing it for love.

by Anonymousreply 19110/01/2020

Impossible. Tay Tay is unlovable.

by Anonymousreply 19210/01/2020

Loads...of love

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by Anonymousreply 19310/01/2020

Michael Arden’s penis was nothing to write home about.

by Anonymousreply 19410/01/2020

Fräulein Desmond...

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by Anonymousreply 19510/01/2020

[quote]Love. He's doing it for love.

And we all know how well that worked out for Elle Woods.

by Anonymousreply 19610/01/2020

Someone above mentioned they'd like to read DL tales of summer stock. Here's an old DL classic:

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by Anonymousreply 19710/01/2020

ALWAYS on DL if you post a nude photo of a man there's always at least a couple old cunty queens sniffing, "That's not much of a penis" despite the fact it's likely that said cunty old queen probably hasn't actually seen a live dick in many years. And, in 9 out of 10 cases, the penis in question is handsome and of considerable girth.

Mr. Powell is a very good looking, sexy young man with a deliciously well toned body and a pair of gorgeously long and supple legs. Oh, and a beautiful plump cock crowned with a magnificent halo of manly lush pubes. If he's not to your taste, then you have terrible taste and you should go die in a grease fire.

by Anonymousreply 19810/01/2020

[quote] Michael Arden’s penis was nothing to write home about.

I like when people use their penis to write in the snow.

by Anonymousreply 19910/01/2020

I guess this can't hurt his Broadway career, since there isn't a career to be had on Broadway right now anyway.

by Anonymousreply 20010/01/2020

re: Isaac

by Anonymousreply 20110/01/2020

In honor of tonight's full Harvest Moon, here's one of the greatest hits of the last century, Shine On, Harvest Moon. The song became a sensation when introduced by vaudevillians Nora Baye and Jack Norworth in the 1908 Ziegfeld Follies. (The song's also credited to them but that's highly disputed and unlikely.)

I know Bayes and Norworth recorded the song but surprisingly, I couldn't find their version on youtube. Instead, here's a nice lounge version with Der Bingle and Rosemary Clooney.

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by Anonymousreply 20210/01/2020

And here's a high kicking version with Gene Kelly and Miss Joey Heatherton.

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by Anonymousreply 20310/01/2020

Finally, here's Liza.

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by Anonymousreply 20410/01/2020

Spam

by Anonymousreply 20510/01/2020

Does anyone else on here think You Can't Take it With You is one of the most overrated bores of a play ever written? I've seen the film version, the tv-movie version and I was just trying to make it through the 1983 Broadway revival that was filmed for Showtime w/ Jason Robards and I just fucking hate this play. It's filled with characters that are quirky for quirky's sake and who grate on the nerves almost immediately. Talk about a play that ought to be buried alongside Tobacco Road and Life With Father.

by Anonymousreply 20610/01/2020

It wouldn't have been boring, had it had a better 11 o'clock number.

by Anonymousreply 20710/02/2020

Honestly surprised that Wes has such a nice dick

by Anonymousreply 20810/02/2020

R208 It's slightly annoying, even. Especially given his personality.

by Anonymousreply 20910/02/2020

[quote]Honestly surprised that Wes has such a nice dick

I didn't realize Wes's dick pic had been posted. Anyone here have it to share?

by Anonymousreply 21010/02/2020

Miss Ruth Etting

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by Anonymousreply 21110/02/2020

HAMILTON fans!

[quote]The cast got together to perform some new lyrics in partnership with When We All Vote. If you haven't registered to vote yet, time is running out. Need a little something to inspire you? Check out this video that Lin-Manuel Miranda and the cast of Hamilton put together in partnership with When We All Vote.

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by Anonymousreply 21210/02/2020

[quote]HAMILTON fans!

Almost no one on DL will admit to being a Hamilton fan.

I happen to think it's great, though.

by Anonymousreply 21310/02/2020

R206, this may not make any difference to you, but I wonder if you realize that maybe the reason you hate YOU CAN'T TAKE IT WITH YOU so much is that the basic situation and those types of characters have been copied SO many times, one of the most famous of many examples being THE MUNSTERS. I'm sure the whole thing seemed a lot fresher to audiences when the play premiered on Broadway almost 85 years ago. It's fine if you hate it regardless, but it's not the fault of the play if it has been imitated time and time again.

R200, what do you think there is about that photo of IP that would hurt his career in this day and age? Yes, he's completely nude in the photo, but he's not masturbating or having sex with anyone in it, and he doesn't even have an erection. If any of that other stuff were true, and especially if a photo or video leaked of him having sex with another guy, THAT might damage his career. But in 2020, I think a hot, nude photo with no sex and no erection can't hurt at all and, on the contrary, might only gain him some new fans.

by Anonymousreply 21410/02/2020

R210 see R160

by Anonymousreply 21510/02/2020

R204- Is the shadow on Liza's chest in that number really Isaac's erect penis?

by Anonymousreply 21610/02/2020

In the selfie of Isaac, I think Wes is passed out under the pile of dirty clothes.

by Anonymousreply 21710/02/2020

[quote]Does anyone else on here think You Can't Take it With You is one of the most overrated bores of a play ever written?

I've always disliked what Frank Capra did to the 1938 movie version. Great cast, but Capra turns it into his typical "triumph of the little guy" Capra-corn. I also dislike Capra's frantic movie version of "Arsenic and Old Lace." He sucked at adapting Broadway comedies.

by Anonymousreply 21810/02/2020

Thanks R215. Didn't realize that guy with cum splattered on his chest was Wes.

by Anonymousreply 21910/02/2020

[quote]Capra's frantic movie version of "Arsenic and Old Lace"

It's godawful. Cary Grant was directed to be a spastic ninny. He reminds me of Michael Crawford in Hello, Dolly!

by Anonymousreply 22010/02/2020

The only Capra film I ever loved was IT'S A WONDERFUL LIFE (and yes, it's corny as hell). Nothing else he ever did comes close, despite working with some incredible talent of that era. (I particularly dislike the hamminess of MISTER SMITH GOES TO WASHINGTON and MEET JOHN DOE.)

by Anonymousreply 22110/02/2020

Isaac has heard R134's criticism

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by Anonymousreply 22210/02/2020

I am so sick of everyone involved with HAMILTON feeling that they must teach the world how to live. It was just a show.

by Anonymousreply 22310/02/2020

[quote] [R206], this may not make any difference to you, but I wonder if you realize that maybe the reason you hate YOU CAN'T TAKE IT WITH YOU so much is that the basic situation and those types of characters have been copied SO many times, one of the most famous of many examples being THE MUNSTERS. I'm sure the whole thing seemed a lot fresher to audiences when the play premiered on Broadway almost 85 years ago. It's fine if you hate it regardless, but it's not the fault of the play if it has been imitated time and time again.

Yes, I understand the age of the play, but I can point at several other plays of that time that still hold up, even ones by Kaufman & Hart. So I wouldn't be so quick to blame age.

by Anonymousreply 22410/02/2020

You Can't Take It With You - Jason Robards.

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by Anonymousreply 22510/02/2020

The Beaux Stratagem - with corrected sound.

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by Anonymousreply 22610/02/2020

Broadway and Jews - A Love Story.

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by Anonymousreply 22710/02/2020

I turned down the offer to see Sam Barnett's cock.

by Anonymousreply 22810/02/2020

Eddie Albert replaced Jason Robards in the Ellis Raab "You Can't Take It With You." And he was better than Jason was in this role. It's much more suited to Eddie Albert. You could easily believe he went one morning to his Wall Street office, thought better of it and returned home. Jason is a wonderful actor and it was fun to see him give this a go. But it's not his natural territory. Eddie Albert walked in and smiled and owned it from then to the final curtain.

by Anonymousreply 22910/02/2020

We've come this far without discussing that Lin Miranda got HBO to make an entire documentary ABOUT HIS FATHER

by Anonymousreply 23010/02/2020

I believe he promised them house seats to HAMILTON.

by Anonymousreply 23110/02/2020

There's no escaping the Mirandas, is there?

by Anonymousreply 23210/02/2020

R230 ...the father who worked for Ed fucking Koch.

by Anonymousreply 23310/02/2020

Is there a better opening number than this one?

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by Anonymousreply 23410/02/2020

Maybe this one?

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by Anonymousreply 23510/02/2020

Or this?

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by Anonymousreply 23610/02/2020

"A Funny Thing," "Ragtime,"" and "Kiss Me Kate" have great opening numbers.

by Anonymousreply 23710/02/2020

Who has been enjoying Jason Danieley's mouthwatering cock since Marin left us?

by Anonymousreply 23810/02/2020

The Jean Stapleton You Can't Take It With You was much better than the Jason Robards

by Anonymousreply 23910/02/2020

For whatever reasons, YCTIWY has never really worked on film/video. But with a cast of really good character actors and a director who will move things along, it can still be very effective onstage. Even high school productions show this.

And I love that somebody else has pointed out that The Munsters is a ripoff of the basic plot.

by Anonymousreply 24010/02/2020

more isaac!

by Anonymousreply 24110/02/2020

I thought the Munsters were a rip-off of The Adams Family?

by Anonymousreply 24210/02/2020

And The Addams Family musical ripped off the plot too

by Anonymousreply 24310/02/2020

[quote]I thought the Munsters were a rip-off of The Adams Family?

The overall concept yes. The initial plot set up is ripped from YCTIWY.

by Anonymousreply 24410/02/2020

^ The pretty, sweet, all American girl has concerns about introducing her boyfriend/fiance to her extremely weird family.

by Anonymousreply 24510/02/2020

[quote]Yes, I understand the age of the play, but I can point at several other plays of that time that still hold up, even ones by Kaufman & Hart. So I wouldn't be so quick to blame age.

My main point was not specifically about the age of YOU CAN'T TAKE IT WITH YOU, but about the fact that the basic situation of the play -- an extremely weird and eccentric family interacd with normal people from the outside world -- has been copied to one extent or another by SO many subsequent plays, movies, and sitcoms, most notably THE MUNSTERS.

by Anonymousreply 24610/02/2020

I am r240, r244 and r245. I am not r246, who I assume originally posted about how often the main plot device of YCTIWY has been copied over the years and brought up The Munsters. Just to note there is more than one of us who has noticed this.

by Anonymousreply 24710/02/2020

Who cares?

by Anonymousreply 24810/02/2020

Incidentally, Carolyn Jones was a much prettier/sexier Morticia than Anjelica Huston.

by Anonymousreply 24910/02/2020

I can't see how you write off a PLAY because you hated the filmed adaptations you've seen.

Plays need to be seen live before you start judging them.

by Anonymousreply 25010/02/2020

Back to opening numbers. Food, Glorious Food is a good number and great as Oliver!'s opening number. Sets the scene, tone and atmosphere of both the period and the show perfectly for the audience.

I couldn't find a good video of the stage version with the original orchestrations and staging but the film's version scored by Johnny Green and staged by Onna White is excellent in its own right.

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by Anonymousreply 25110/02/2020

[quote] I can't see how you write off a PLAY because you hated the filmed adaptations you've seen.

What difference does it MAKE if I watch the PRODUCTION live in the theater or a filmed TAPE of the production? Except for the CLOse ups, it's same thing.

by Anonymousreply 25210/02/2020

[quote]I can capitalize words, TOO

Even INCOmplete ones r252.

by Anonymousreply 25310/02/2020

[quote] What difference does it MAKE if I watch the PRODUCTION live in the theater or a filmed TAPE of the production? Except for the CLOse ups, it's same thing.

No it's not and you're an idiot or unseasoned if you think so.

by Anonymousreply 25410/02/2020

I've been going to theater in NYC for 33 years. Whether or not I watch a production live or on (professional) tape is not going to alter what I think of the play's text. Sorry if you need to sit with a souvenir sippy cup and a playbill in order to figure out what you think.

by Anonymousreply 25510/02/2020

[quote]I've been going to theater in NYC for 33 years.

I've been going to theater in NYC for 46 years. Does that mean I trump you for understanding the difference between a live performance and a filmed or videoed one? Or simply reading the text on the page? Or even a different live performance?

Those experiences can be minor or extremely major.

by Anonymousreply 25610/02/2020

R223 They're so sanctimonious.

by Anonymousreply 25710/03/2020

If anybody hasn't been going to theater for at least 50 years it means they never saw the original Follies and has no right to have an opinion on anything concerning the theater at all.

by Anonymousreply 25810/03/2020

I saw Robards onstage in YOU CAN'T TAKE IT WITH YOU. I thought he was perfect. I don't know why he wouldn't be believable as a guy who impulsively ditched his Wall Street career. I didn't see Eddie Albert, but that might have been fine, too.

by Anonymousreply 25910/03/2020

Robards was famous for playing the lead in A THOUSAND CLOWNS, stage and film both. A character with many of the same qualities as Grandpa Vanderhof in YCTIWY. He rocked the house.

by Anonymousreply 26010/03/2020

Isaac Powell has a really gorgeous body and a full frontal nude selfie on the internet, and we're talking about Kaufman & Hart.

by Anonymousreply 26110/03/2020

It just hit me that Who's Afraid of Virginia Woolf is kind of a minimalist redo of You Can't Take It with You.

by Anonymousreply 26210/03/2020

R252, I worked on the Ellis Raab "You Can't Take it With You" and saw many performances with all the original cast and replacements. It was utterly charming and the audiences always loved it.

I also saw the video production.

The stage production was better by leaps and bounds. It just didn't translate well. You can't fault the cast. You can't fault the producers for trying. But that video is but a suggestion of what was up on stage for everyone to enjoy.

by Anonymousreply 26310/03/2020

In light of earlier discussion, I must point this thread towards another DL thread headed BREAKING!!! WALTER REED DOCTOR TO MAKE 11:00 ANNOUNCEMENT!

Is this Trump's 11 o'clock number?

by Anonymousreply 26410/03/2020

[quote] I've been going to theater in NYC for 46 years. Does that mean I trump you for understanding the difference between a live performance and a filmed or videoed one? Or simply reading the text on the page? Or even a different live performance?

No, it just makes you a prissy blowhard who always thinks he's right.

by Anonymousreply 26510/03/2020

I just figured that dramedy posted here.

by Anonymousreply 26610/03/2020

Please god no r266.

by Anonymousreply 26710/03/2020

[quote]I worked on the Ellis Raab "You Can't Take it With You" and saw many performances with all the original cast and replacements. It was utterly charming and the audiences always loved it. I also saw the video production. The stage production was better by leaps and bounds. It just didn't translate well. You can't fault the cast. You can't fault the producers for trying. But that video is but a suggestion of what was up on stage for everyone to enjoy.

I agree, and I think that's partly because comedies in general tend to come across worse on video than dramas. Any good play is best experienced live in a theater, but comedies especially, because there's nothing equivalent to the community experience of sitting in the midst of a live audience that's laughing heartily and frequently at a comedy. Here's hoping we will all someday be able to do that again.

by Anonymousreply 26810/03/2020

Isn't that second picture - where the dick looks so huge and his arm is obscuring his face - that's actually Wes Taylor, isn't it?

by Anonymousreply 26910/03/2020

R269 Yes, me saying add another lucky was meant to be about him being lucky to have a dick that size. I obviously wasn't clear enough, sorry.

by Anonymousreply 27010/03/2020

The Lion.

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by Anonymousreply 27110/03/2020

As You Like It with Rosalie Craig.

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by Anonymousreply 27210/03/2020

Waiting For Godik.

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by Anonymousreply 27310/03/2020

I'm not a fan of You Can't Take It With You or any of the K and H plays except for Once in a Lifetime. The movie is surprising faithful. Thank goodness it was made precode because it keeps the joke that got the biggest laugh when it ran on stage. My only regret is that the divine Jean Dixon who is incandescent in Holiday and My Man Godfrey didn't get to recreate the role she starred in when it opened on Broadway. She's probably the only person in the history of the world who could bring the house down on the last line. I wasn't there but I assume she did.

by Anonymousreply 27410/03/2020

Wrong on two counts, R274. Frank Capra's "You Can't Take It With You" was released in 1938, so it is definitely not pre-Code. And it is also not very faithful to the play, turning Edward Arnold's character of Anthony Kirby into a typical Capra rapacious villain.

by Anonymousreply 27510/03/2020

r274 is talking about the film version of Once in a Lifetime.

by Anonymousreply 27610/03/2020

You Can’t Take It With You is loads of fun to perform, especially for high school and community theatres and audiences continue to enjoy. The recent Broadway revival with JE Jones, Kris Nielsen, and Annaleigh Ashgord was well-gone. I went back to my HS to see a production 50 years after we did. It’s a good choice for young actors—they can learn comic timing and stage business without characters too complex for them. What to with Donald and Rheba is a challenge. Ashen we did it in 1972, white actors were cast (we had an almost exclusively white student body) and they played them as country hicks (with s few changes in dialogue), when Ibsaw my high school’s production in 2012, a black student played Donalf, a Latina played Athena, and a Black student played Grandpa (this was before JEJ did it) and no one batted an eye—he was a talented and powerful actor and the production was immensely the better for his presence.

by Anonymousreply 27710/03/2020

[quote][R274] is talking about the film version of Once in a Lifetime.

Yes, and if he was a better writer, that would have been clear.

by Anonymousreply 27810/03/2020

One day the world will realize that Lynne Trans-Smell Esmeralda is an insufferably middle-brow blowhard.

by Anonymousreply 27910/03/2020

Christ, R279, I loathe the guy too but you're literally trying to make "fetch" happen.

by Anonymousreply 28010/03/2020

Always such fun when the unhinged LMM haters stink up the theater threads. "Trans Smell" is such a knee slapper, all 500 times it's been used in these threads.

by Anonymousreply 28110/03/2020

When was that "In The Heights" movie supposed to come out? I saw a trailer of it around maybe the beginning of this year or was it like last holiday season? Miranda is all right, very over-rated as a writer, pretty bad as a performer, very effective as a self-promoter, but he tries to insert himself into all kinds of political things, and he adapted the Chernow book on "Hamilton", but he's not a historian like he is.

by Anonymousreply 28210/03/2020

^ Heights has been pushed to next summer.

When his father worked for piece of shit Ed Koch, he did accomplish much for the Latino community?

by Anonymousreply 28310/03/2020

R283 is that question mark an uncertainty?

by Anonymousreply 28410/03/2020

R276 got it immediately. Perhaps if you had better reading skills R278 you would have understood it immediately as well. Also the references to the script and cast made it apparent. You should have known Josephine Hull and not Jean Dixon starred in the original cast of YCTIWY.

by Anonymousreply 28510/04/2020

agree that r274 was perfectly clear and that r275 was out of line

by Anonymousreply 28610/04/2020

[quote] Thank goodness it was made precode because it keeps the joke that got the biggest laugh when it ran on stage.

Spoiler Request: Can I ask what that line is?

by Anonymousreply 28710/04/2020

"Nobody's Perfect!"

by Anonymousreply 28810/04/2020

what's your favorite part of Isaac's bod at r117? For me, it's either the delts or the thighs. Or maybe the abs, very defined without being overdone, and perfect semi-treasure-trail under his navel.

by Anonymousreply 28910/04/2020

PS nipples ever so slightly disappointing

by Anonymousreply 29010/04/2020

Does the play of "You Can't Take It With You" have the rival of the Edward Arnold's character committing suicide after meeting in the office? I don't remember that from when I saw the play years ago.

by Anonymousreply 29110/04/2020

Let's have James Lapine do another fucked up ANNIE revival! He can make it even darker and less fun than before!

by Anonymousreply 29210/04/2020

Annie as a Trannie? Very woke.

by Anonymousreply 29310/04/2020

[Quote] Annie as a T

It's been done.

by Anonymousreply 29410/04/2020

WE SEE YOU WHITE TRANNY ANNIE!

by Anonymousreply 29510/04/2020

No, R291. All that opening stuff in the YCTIWY film was Capra's addition.

In the play, Mr. Kirby is really just a straw man, a comic invention that works well in the big "dinner" scene without truly emerging as a human being.

by Anonymousreply 29610/04/2020

I’m sure there’s still some fun left from [italic]Oliver![/italic] that James Lapine can drain from it.

by Anonymousreply 29710/04/2020

[quote] Annie as a T [quote]It's been done.

And now Martin Charnin is dead. Coincidence, I think not!

by Anonymousreply 29810/04/2020

[Quote] And now Martin Charnin is dead. Coincidence, I think not!

It was a parody so no autorization needed, I guess. They had to change the title though, as there was uproar.

by Anonymousreply 29910/04/2020

*authorization

by Anonymousreply 30010/04/2020

The Decades marathon this weekend is Cheers. I hadn't remembered that Lilith's mother was played by Marilyn Cooper.

by Anonymousreply 30110/04/2020

A-Mezzo A-Malia.

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by Anonymousreply 30210/04/2020

Armelia McQueen has died. So sad. Just the sweetest lady.

by Anonymousreply 30310/04/2020

Thanks for that, R302. Interesting... it's a very "cabaret" version of those lovely songs, not necessarily a bad choice.

Foley was/is an unusual talent, but I've always liked her voice. (And she can rock out, too.) She really should have had a bigger career. I recall her being a decent actress. (I know Lapine replaced her with Bernie in ITW, but that's understandable.)

What happened?

by Anonymousreply 30410/04/2020

Was it coronavirus?

Very sad. 68 is too young.

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by Anonymousreply 30510/04/2020

[Quote] What happened?

She married a TV writer, I think.

She sort of fell between two stools. She looked like a prettier Liza Minnelli. But she had scrappy, character-ish energy. She was mostly cast in small parts and often not styled flatteringly. I can see how her career petered out.

Plus, Meatloaf aside, she seems mostly to have been bridesmaid or second choice in a lot of projects. She was credited with vocal arrangement on Bonnie Tyler's "Holding Out for a Hero" but why wasn't she given the track to record? I guess her stock was too low. She sang on a Steinman album around 1990 (a version of Burt Bacharach's "Little Red Book") but she had to share the spotlight with a few other female singers. It looks like she never had a starmaker.

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by Anonymousreply 30610/04/2020

I actually think singing rock did a number on Foley's voice. She had vocal trouble when touring, I read. Here's an early, more legit version of "Heaven Can Wait."

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by Anonymousreply 30710/04/2020

When Pigs Fly.

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by Anonymousreply 30810/04/2020

Thanks to Valens (as always!) at R271 for linking THE LION. Highly recommended.

I saw it a year or two ago, having heard great things about the live show off-BWAY. I was dubious about a solo, autobio musical (having suffered through a few before), but Scheuer is the real deal. A genuinely talent as a songwriter and performer.

by Anonymousreply 30910/04/2020

Samuel Beckett documentary.

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by Anonymousreply 31010/04/2020

Oh, it' actually titled "The Lion." I assumed that was a disguised title. I didn't click on the video.

by Anonymousreply 31110/04/2020

Foley/Eagles.

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by Anonymousreply 31210/04/2020

The Life of Reilly.

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by Anonymousreply 31310/04/2020

Loving the Ellen Foley love!

by Anonymousreply 31410/04/2020

More Ellen Foley

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by Anonymousreply 31510/04/2020

OMG....Rebecca thinks Harvey F. is the man she's going to marry???

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by Anonymousreply 31610/04/2020

No I won't give you the line because out of context it would be dead in the water. And the build up is long. Also it had a shock but recognition factor which it wouldn't have today which is why I said it could only be in a pre code movie. Watch the movie. It's delightful and pretty timely.

by Anonymousreply 31710/04/2020

There's Helen Schneider as well, r304. She seemed to prefer being a big fish in a smaller German pond. Her only Broadway credit is Ghetto for a one month run in 1989. And like Ellen, she attempted a rock career.

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by Anonymousreply 31810/04/2020

Helen...

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by Anonymousreply 31910/04/2020

There's an interesting website called americanradiohistory.com. It houses pdf scans of old music magazines (Billboard etc.). I remember reading a brutal review of a Foley concert from 1980ish. She was supporting a male (of course) rock band.

by Anonymousreply 32010/04/2020

R317, if you are talking about Once in a Lifetime, May does not have the last line in the play or the film....and it is not that funny in either.

by Anonymousreply 32110/04/2020

[quote]All that opening stuff in the YCTIWY film was Capra's addition.

Capra didn't write the screenplay.

by Anonymousreply 32210/04/2020

A German TV performance from the days when Helen played Sally Bowles in Berlin', at Theater Des Westens

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by Anonymousreply 32310/04/2020

"Maybe This Time" shouldn't be in CABARET. Helen is a talent. Glad she has had a good career.

by Anonymousreply 32410/04/2020

r324 = Kaye Ballard. That was 1987 and a TV performance. I wonder if she actually sang it in the production. If she did, was it a performance song or a book song? Somebody get Helen on the phone.

by Anonymousreply 32510/04/2020

Was "Maybe This Time" not in the London revival from 1986-ish? I presumed Not My Cassie sang it in the Broadway revival.

by Anonymousreply 32610/04/2020

Schneider along with Kelly Garrett was a contender for the American Evita. She with Garrett and Jane Olivor were kind of the great white hopes of Cabaret singing when the form was just about dead. Maybe you could add Donna Theodore in there as well. Schneider was the one who got the mainstream publicity, while Olivor was darling of the gay set, although Schneider played multiple sold out appearances at WH's Studio One. Garrett had been around for at least a decade before landing on Carson numerous times but going no further. Olivor was in the gay soft core "Saturday Night At the Baths" singing "Pretty Girl" and she's fairly unbearable.

by Anonymousreply 32710/04/2020

Garrett seemed like a mini Merman. Did she bring it down for a cabaret setting?

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by Anonymousreply 32810/04/2020

I had a Kelly Garrett. solo album once. Waste of money.

by Anonymousreply 32910/04/2020

R328, Stephen Holden's review of her act answers the question succinctly.

"Ms. Garrett, along with Shirley Bassey and Vikki Carr, belongs to the louder-is-better school of pop singing. And during her 50-minute show at the club, a spacious old-fashioned theater-turned-restaurant on the ground floor of the Edison Hotel, she never let up. She has a big, chesty contralto with a buzzing vibrato that she applies with equal force -- and an equal lack of interpretive discrimination -- to country, pop and Broadway material."

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by Anonymousreply 33010/04/2020

How dreadful.

by Anonymousreply 33110/04/2020

Kelly Garrett was no Karen Wyman.

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by Anonymousreply 33210/04/2020

Ugh. Enough of those untalented singers. Feh!

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by Anonymousreply 33310/04/2020

They're all just Lisa Minelli wannabees!

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by Anonymousreply 33410/04/2020

Jackass at R322: Capra's thirties movies were written by others at his direction. Robert Riskin was the author of the YCIWY screenplay, but first Capra told him how he wanted the story to go. The opening episode was his idea, not Riskin's.

by Anonymousreply 33510/04/2020

R334, It's M-i- Double N-then E-Double L-I.

by Anonymousreply 33610/04/2020

Tell them not me, r336. Back to Miss Foley...

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by Anonymousreply 33710/04/2020

Foley had a nice introduction with 3 Girls 3 but couldn't make any headway.

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by Anonymousreply 33810/04/2020

I don't think Foley has a very strong sense of herself as a performer. She had chops but... she went from Barry Manilow to the Springsteen/Post-Phil Spector of her debut album, to a Clash album with elements of cabaret, to an MOR, kinda sorta dance pop album.

I wonder how she and Patti would have worked together if the TV musical show (a different musical every week) had actually gone to series.

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by Anonymousreply 33910/04/2020

*Foley had

by Anonymousreply 34010/04/2020

She should have cut a studio version of "Lightnin' Strikes" (7:35).

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by Anonymousreply 34110/04/2020

Question about that video of The Life of Reilly at R313. That's not the documentary, is it? (I've never seen it.) The doc was called The Life of Reilly, but the stage show (which I saw in LA) was called Save it for the Stage. I've always wanted to see the doc, but it's hard to find. Did they at some point start calling the show The Life of Reilly?

by Anonymousreply 34210/04/2020

R342 Oh, no, that may be my fault. When I downloaded Reilly, it was three different pieces, the show, more of the show, and then more of the show. So, I could easily have mislabeled it.

by Anonymousreply 34310/04/2020

That's cool, Valens, thanks. It didn't look professionally shot, so I didn't think it was the doc, but not having seen it, I wasn't sure.

Yes, he shouted a LOT. I'm trying to remember which theater we saw him at in LA. I think it was the El Portal, but maybe in one of their smaller rooms, because we were in the front row and he spit all over us.

by Anonymousreply 34410/04/2020

R344 Here you go.

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by Anonymousreply 34510/04/2020

r344 I saw it at the El Portal, too ... I think it was at the Debbie Reynolds main stage.

by Anonymousreply 34610/04/2020

Sally Ann...

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by Anonymousreply 34710/04/2020

Does anyone have any idea if the sequel to Golden Age was finished? Any chance of a release from the McKay estate?

by Anonymousreply 34810/04/2020

thanks, R345!

by Anonymousreply 34910/04/2020

Hey, R285 -- I knew what movie you were referring to, but what you wrote was not completely clear: "I'm not a fan of You Can't Take It With You or any of the K and H plays except for Once in a Lifetime. The movie is surprising faithful." Also, you screwed up "surprisingly."

by Anonymousreply 35010/04/2020

I'd forgotten that Annie Golden was Cliff's girlfriend.

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by Anonymousreply 35110/04/2020

Annie Golden was in the first episode of Filthy Rich, but seemingly Juliette Lewis has replaced her.

by Anonymousreply 35210/04/2020

Annie Golden: Somewhere That's Green and Suddenly Seymour

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by Anonymousreply 35310/04/2020

Faith's...

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by Anonymousreply 35410/04/2020

What is the origin of that clip at R339?

"This One's For You" is a perfectly charming little pop song, but not very complex. I love how Ellen Foley approaches it (along with the film crew) like it was some Edith Piaf or Jacques Brel ballad.

by Anonymousreply 35510/04/2020

And no ill will toward Faith Prince. I've enjoyed her onstage....

But the idea of sitting around listening to that voice for the length of an entire album?

Shoot me.

by Anonymousreply 35610/04/2020

[Quote] What is the origin of that clip at [R339]?

It's from 3 Girls 3, which was part variety show and part narrative about three young women trying to make it in show business. Foley's co-stars were Debbie Allen and Mimi Kennedy.

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by Anonymousreply 35710/04/2020

I remember watching it. They had "the singer", "the dancer" and "the comedienne".

by Anonymousreply 35810/04/2020

R350 you should give it up. Everyone but you knew what I was saying. But if you insist on being an asshole the size of Brazil go for it.

by Anonymousreply 35910/04/2020

Ladies, can't we settle this with pistols?

by Anonymousreply 36010/04/2020

Maybe This Time preceded both the stage and screen versions of Cabaret. It was written as a one off for Kaye Ballard's cabaret act in the early 60s. When Fosse went looking for additional material for Liza in the screen version of Cabaret, someone remembered it and suggested it and there you go.

by Anonymousreply 36110/04/2020

R361, Liza had even recorded Maybe This Time in the mid-60s.

by Anonymousreply 36210/04/2020

Maybe This Time had become a cabaret staple by the time of the show.

by Anonymousreply 36310/04/2020

I think Liza had recorded "Maybe This Time" at least a couple of times already, maybe one version was on a live album.

by Anonymousreply 36410/04/2020

R361 Everyone stole from Kaye.

by Anonymousreply 36510/04/2020

I stole "If You Hadn't But You Did."

by Anonymousreply 36610/04/2020

I stole "My Coloring Book."

by Anonymousreply 36710/04/2020

That makes sense. I had often wondered why "Maybe This Time" wasn't nominated for Best Song.

by Anonymousreply 36810/04/2020

I stole her double headed black dildo.

by Anonymousreply 36910/04/2020

I hit her follow spot.

by Anonymousreply 37010/05/2020

Were Kander and Ebb ever a couple? Fred Ebb is a bit of a footnote in the real Looking for Mr Goodbar case, which I found interesting

by Anonymousreply 37110/05/2020

I was astonished to read recently that the wonderful lyricist Fred Ebb was never out. Never open about being gay, not ever, through a lifetime of making musical theatre, hanging with LIza, Bacall, Chita, etc.

Can someone confirm? I realize he was part of another generation, but I was shocked nonetheless.

What about John Kander?

by Anonymousreply 37210/05/2020

I remember reading an interview with them where Kander and Ebb said they were never a couple. Same with Comden and Green.

by Anonymousreply 37310/05/2020

Due to Miss Armelia's passing, decided to rewatch the filmed-for-tv Ain't Misbehavin' last night. What a dynamite group of performers.

What struck me was how much material McQueen has compared to the other ladies. Sure, they all get a chance to strut and hog the limelight, but of the three McQueen seems to do the most - by herself and with the rest of the ensemble. She has so much stagetime that I think if the show were to be revived today, her track might have a good shot at a Lead nomination.

I did notice that McQueen's first big solo "Squeeze Me" was cut from the broadcast. Anyone know why? I'm assuming some combination of running time or Standards & Practices purposes. Having never seen the original production, I have no idea how the number was staged but can imagine it being a little too suggestive or "adult." The broadcast also notes "Nell Carter starring in" so perhaps someone at NBC pulled a Helen Lawson and cut the song as to not overshadow their new TV star?

by Anonymousreply 37410/05/2020

I never saw the show other than the TV Broadcast and "Squeeze Me" was the number that made me fall in love with McQueen. Her giggling is just adorable.

by Anonymousreply 37510/05/2020

"Squeeze Me" was performed very simply. She sang it pretty straight, as I recall, downstage, standing in front of the back of the piano. The little giggle she gives was for a moment when the spotlight closes in on her and appears to "squeeze" her. Just unfussy, smart staging and she just delivered the song, with no pyrotechnics. A lost art.

by Anonymousreply 37610/05/2020

I went to check the televised Ain't Misbehavin' on YouTube. There's a good quality version that doesn't have "Squeeze Me," which is probably what you saw, R374, but it's in this version, around the five minute mark. The copy is not as good, unfortunately.

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by Anonymousreply 37710/05/2020

Brava, Armelia!

What a privilege it was to see the original company in the original production. During the finale was only time I've actually seen people get up out of their seat and dance in the aisles during a Broadway show. I wish I had been smart enough to join them.

by Anonymousreply 37810/05/2020

Who replaced Irene Cara?

by Anonymousreply 37910/05/2020

That whole original company of AIN'T MISBEHAVIN was truly magic.

by Anonymousreply 38010/05/2020

Thank you for this R377! I did indeed watch the version with better picture quality and not chopped into segments. It cuts from "Honeysuckle Rose" to a shot of audience applause and then back to the Henderson's back at the piano for "Handful of Keys."

So glad to see this performance of "Squeeze Me." Armelia is in a word - adorable. Such wonderful phrasing and technique too.

by Anonymousreply 38110/05/2020

R378, Charlayne Woodard took Irene Cara's role when the show moved to Broadway.

by Anonymousreply 38210/05/2020

I can't quite imagine Cara playing what Woodard described as the stereotypical dumb/childlike black girl. Did anyone see Cara in the show?

by Anonymousreply 38310/05/2020

Why did Irene Cara think going topless in "Fame" was a good career move?

by Anonymousreply 38410/05/2020

Nudity was very common in the 1970s.

by Anonymousreply 38510/05/2020

R383, I think Cara was a better actress than she was given credit for. She could have pulled it off.

Also, remember the role was built on Cara. I think Woodard was uncomfortable because as a replacement, she has less impact on shaping the material. But as the original, Cara would have had the part tailored to her. (There was no script---just a bunch of songs and performers.)

by Anonymousreply 38610/05/2020

R384 I think there was a thread about her tits. Ain't Misbehaving, along with Piaf were the only Broadway shows released in my country. Watched them both so many times, was amazed at the talent. Would kill for a copy of Piaf now.

Anyhoo, Kiri Te Kanawa - 'I am not a car wash cunt'.

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by Anonymousreply 38710/05/2020

[Quote] I think Woodard was uncomfortable because as a replacement, she has less impact on shaping the material.

And probably because Woodard was an unambiguous, dark skin black woman. Those old stereotypes tended to be pushed with people who looked like Woodard, not Cara.

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by Anonymousreply 38810/05/2020

Yerma.

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by Anonymousreply 38910/05/2020

Woodard did a tv musical called "Cindy" which was a black Cinderella tale with Clifton Davis as the Prince, possibly Nell Carter was in too, not long before "Ain't Misbehavin' ". I remember it was cute, but no one ever brings it up.

by Anonymousreply 39010/05/2020

Was that the same piece Cleo Laine did in the UK with... Elisabeth... Somebody.

by Anonymousreply 39110/05/2020

Thanks R389, you continue to be the best thing of 2020.

by Anonymousreply 39210/05/2020

Cameron Mackintosh - Cocksucker - Act One.

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by Anonymousreply 39310/05/2020

R393 A very literal LOL

by Anonymousreply 39410/05/2020

r391, no. Cindy was an off-Broadway musical that produced an album I have somewhere gathering dust; it had an original score. Cleo's was CindyElla, whose score was made up of folk songs. Kind of a jukebox musical. And the Elizabeth was Elisabeth Welch. Something of a legend whose career began in the 1920s. That too produced an album.

by Anonymousreply 39510/05/2020

Thanks, r395.

by Anonymousreply 39610/05/2020

Are you sure it wasn't this version?

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by Anonymousreply 39710/05/2020

I saw the original cast in Ain't Misbehavin 11 times. I am so happy that it was filmed for people to enjoy. I didn't know it was done. 11 of the best theatrical experiences of my life. Very sorry Woodard feels the way she does. She was wonderful. And hilarious in a knowing way.

by Anonymousreply 39810/05/2020

I saw the show several times as well and by the time they did the NBC taping, the cast had gotten too comfortable in the roles and didn't give us that unexpected flash. Too much had been hashed out already. Even the Tony Awards number is considerably better than what they did for the taping.

by Anonymousreply 39910/05/2020

Not that I'm trying to horn in on Valens' turf, but here is Cindy w/ Charlaine Woodard.

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by Anonymousreply 40010/05/2020

Charlaine's one woman show had a bit where she talked about doing the revival of AM. She said that in the middle of "Keepin out of Mischief Now", she heard Nell say to one of the crew "who wants a chicken wing?"

by Anonymousreply 40110/05/2020

I read an interview with the producer of the original cast album of Ain’t Misbehavin, and he made some comment that the more takes the cast did of a song the less energy each new take had.

by Anonymousreply 40210/05/2020

Well I guess I'll keep clear of the tape. Who wants wonderful memories smudged? What year was it done? I saw performances that were better than the obc. The recording doesn't capture it at its best.

by Anonymousreply 40310/05/2020

Weren't most cast albums recorded on the Sunday after opening back then? I wouldn't be surprised if the cast didn't have many takes in them.

by Anonymousreply 40410/05/2020

I saw the last Broadway preview of Ain't Misbehavin'. It was electrifying fun, and the audience roared at the end. One of the best shows I've seen, and the OBCR brings it all back. (I, too, found the NBC taping to be less electric. Of course, it always helps to be in the actual audience.)

by Anonymousreply 40510/05/2020

R400 Ha, go for it, darl. Good share.

Blithe Spirit with Noel, Betty, Claudette and Mildred.

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by Anonymousreply 40610/05/2020

Holy shit! Thank, r406.

by Anonymousreply 40710/05/2020

Yes, thank you! Elisabeth Welch...

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by Anonymousreply 40810/05/2020

R408, Welch was in "Jerome Kern Goes to Hollywood" and it was heralded as one of the great Broadway performances but she lost the Tony to Bebe for Sweet Charity.

by Anonymousreply 40910/05/2020

R406 I KNOW! Took awhile, but got the fucker.

by Anonymousreply 41010/05/2020

r406 - I imagine Marion felt herself in very starry company!

by Anonymousreply 41110/05/2020

Please find the 1987 London FOLLIES !

by Anonymousreply 41210/05/2020

I saw the 1987 London FOLLIES. Somebody please wipe it from my memory.

by Anonymousreply 41310/05/2020

R412 Not out there, and I don't do handbags. One must have some standards.

by Anonymousreply 41410/05/2020

The Follies bootleg must be out there if Aurora Borealis posted multiple numbers from it. Or is he that guy - Ethan Mordred - y'all sometimes talk about?

by Anonymousreply 41510/05/2020

R415 I meant a real filming...am sure a handbag is out there.

by Anonymousreply 41610/05/2020

Aurora Borealis, r415?

by Anonymousreply 41710/06/2020

It's a thing of beauty, r417....

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by Anonymousreply 41810/06/2020

At this time of year?

by Anonymousreply 41910/06/2020

Why not?

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by Anonymousreply 42010/06/2020

Broadway soon to announce its staying closed until Fall 2021...

by Anonymousreply 42110/06/2020

Aurora has uploaded audio of Betty as the Witch in the workshop of ItW

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by Anonymousreply 42210/06/2020

Leslie Caron - Cock Sucker.

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by Anonymousreply 42310/06/2020

How about some really old gossip? I’m reading an interesting book about Fred and Adele Astaire, and in it Adele gave an interview where she thought George Gershwin was impotent. “George loved all the girls but absolutely I know he was impotent,” said Adele. “He never got terribly involved with anybody. He was a neuter. I would’ve had George except he wasn’t given to women. And he wasn’t given to men either. I think that’s what caused his brain tumor—something wasn’t getting stimulated.“

by Anonymousreply 42410/06/2020

Sweeny Todd - starring Neil Patrick Harris.

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by Anonymousreply 42510/06/2020

Cameron Mackintosh - Still Sucking - Act 2.

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by Anonymousreply 42610/06/2020

R406 And this is Blithe Spirit with Betty and Noel.

by Anonymousreply 42710/06/2020

Well, r424, if something wasn't getting stimulated, I don't think the tumor would have been on his brain.

by Anonymousreply 42810/06/2020

I have heard some people suggest that George Gershwin was gay but deeply closeted, for obvious reasons. It would be nice to claim one of the greatest composers in all of history as gay, but of course, it doesn't really matter, and anyway, we have so many others :-)

by Anonymousreply 42910/06/2020

If he was gay, then it does matter. We shouldn't have gay history?

by Anonymousreply 43010/06/2020

They aren't having live concerts until 2022, so sadly, Fall of 2021 sounds optimistic for Broadway.

by Anonymousreply 43110/06/2020

R425 you mean "Sweeny Todd starring George Hearn and Patti LuPone" -with Neil Patrick Harris

by Anonymousreply 43210/06/2020

R432 I wanted to throw the little shit a bone. I am still in therapy after his Sondheim birthday performance.

by Anonymousreply 43310/06/2020

Betty is really good in that Blithe Spirit. Was Mildred's wandering accent a character choice?

by Anonymousreply 43410/06/2020

HI Valens, thanks for making the confinement bearable for so many of us. Do you happen to have Imelda´s version of Gypsy among your treasures? I really enjoyed Virginia Woolf, BTW. Thanks again!

by Anonymousreply 43510/06/2020

[quote][R425] you mean "Sweeny Todd starring George Hearn and Patti LuPone" -with Neil Patrick Harris

No, you mean SWEENEY Todd.

by Anonymousreply 43610/06/2020

She really was quite comfortable on the stage, r434. She was smart to go that route, like Angie. And they both had the discipline and stamina to do it.

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by Anonymousreply 43710/06/2020

R435 Sure, shall throw it up tomorrow. Is......interesting.

by Anonymousreply 43810/06/2020

Someone should throw up an audio boot as well. It's instructive to compare.

by Anonymousreply 43910/06/2020

R33- Sit Down You’re Rocking The Boat is the definition of an 11 oClock number. And I think it’s the best one. You don’t know what you’re talking about.

by Anonymousreply 44010/06/2020

R439 You mean of Gypsy? As many here have said she was actually good in Gypsy, and the broadcast version was bizarrely not what they saw on stage, it would be cool to compare. To feel out what the truth is. Cause from what I saw, her mama Rose stunk.

by Anonymousreply 44110/06/2020

[quote]Sure, shall throw it up tomorrow

Pics please.

by Anonymousreply 44210/06/2020

Someone should throw up on Imelda.

by Anonymousreply 44310/06/2020

r441 yes.

by Anonymousreply 44410/06/2020

R441 I saw Imelda live. She was not good. But Lara Pulver's Louise was much much worse.

by Anonymousreply 44510/06/2020

I saw Imelda on a two show day. She was way more than good. The rest of the cast I could take or leave.

by Anonymousreply 44610/06/2020

Sorry, I've seen Imelda now in Gypsy, Virginia Woolf and Follies and she has stunk out loud in all of them. She is a terrible stage actress.

by Anonymousreply 44710/06/2020

You saw her in recordings of stage performances. Not an ideal situation.

by Anonymousreply 44810/06/2020

Broadway will re-open next summer.

by Anonymousreply 44910/06/2020

Come Summer...

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by Anonymousreply 45010/06/2020

R448 face it, she sucks on stage!

by Anonymousreply 45110/06/2020

[Quote] face it, she sucks on stage!

Your opinion doesn't weigh as much as you do.

by Anonymousreply 45210/06/2020

Does anyone have a complete version of Bette in Hello Dolly?

by Anonymousreply 45310/06/2020

Regarding the TV version of [italic]Ain't Misbehavin'[/italic], with all the money lavished by Columbia on [italic]Annie[/italic] (which Nell Carter would, of course, later end up in), you'd think their TV division would have enough money to clear the music rights in perpetuity, not just for one broadcast, so they could at least put it out on video. I have never seen a legal release in any medium.

by Anonymousreply 45410/06/2020

Imelda was an excellent Baker's Wife in INTO THE WOODS. And she was a very fine Rose (saw it live) but missed the mark for me because the character she created lacked a certain charm.

by Anonymousreply 45510/06/2020

The audience ate her up.

by Anonymousreply 45610/06/2020

Imelda must have one of the most varied careers in musical theatre. She played Dorothy Fucking Gale on stage.

by Anonymousreply 45710/06/2020

[quote] The audience ate her up.

Pics please.

No, wait. On second thought, no thanks

by Anonymousreply 45810/06/2020

R457 in what?

by Anonymousreply 45910/06/2020

Somewhere in the regions.

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by Anonymousreply 46010/06/2020

Gershwin died at the age of 38. He was popular, handsome and rich and came from a conservative Jewish background. And everyone knows Jewish men are the horniest. No girlfriends. No wife. And in that era not to be married at the age of 38? Yes I know Kitty Carlisle claimed to be a girlfriend but look who she ended up marrying. Who else? No one.

Adele Astaire said he was not a heterosexual. 'If he had been I would have known.' You can imagine all the women in showbiz of the era gossiping and trading stories about the men they were seeing and sleeping with. And there was no talk about THE most available bachelor of the day? She said as has been noted he was a 'neuter.' Which I assume she meant what we would today call a person who was asexual. In show biz? Not in a million years. This man was so closeted he was suffocating to death.

by Anonymousreply 46110/06/2020

R460 Was Imelda the oldest Dorothy ever? Or does the title still belong to Diana Ross?

by Anonymousreply 46210/06/2020

[quote]Was Imelda the oldest Dorothy ever? Or does the title still belong to Diana Ross?

Ahem.

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by Anonymousreply 46310/06/2020

[quote] You saw her in recordings of stage performances. Not an ideal situation.

One production, you may have an argument. Two, your cause is weakening, but go on. Three, the problem is obviously Imelda and not the recordings, otherwise there would be several other recordings where good people come off badly.

It's Imelda, hon.

by Anonymousreply 46410/06/2020

Ben Gazarra and Barbara Bel Geddes are not so hot in that TV excerpt from "Cat on a Hot Tin Roof." I'm not going to deem them failures in their roles. I didn't see the production.

by Anonymousreply 46510/06/2020

Didn't Ethel Merman allow Gershwin to finger her and that's how she was cast in Girl Crazy?

by Anonymousreply 46610/06/2020

[quote] Didn't Ethel Merman allow Gershwin to finger her and that's how she was cast in Girl Crazy?

Sort of. She carried a piano in there. I wrote Rhapsody in Blue on it.

by Anonymousreply 46710/06/2020

R467 Carried a piano, in her where?

by Anonymousreply 46810/06/2020

Judging performances from a few minutes of video is foolish. I would have killed to have seen Bel Geddes and Gazzara live.

by Anonymousreply 46910/07/2020

Would you like to see them dead?

by Anonymousreply 47010/07/2020

Covita

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by Anonymousreply 47110/07/2020

I have seen Imelda many times on stage, Follies (2), Gypsy, VW, Sweeney Todd (3), Entertaining Mr. Sloane and, I think, maybe a couple other times. I did not care about her VWat the beginning but she was great in the third act. Her Lovett was the best I have ever seen. And she is always great. Yes, I am a fan. I also agree that I cannot watch 20 minutes of the Gypsy on video. But that happens with a lot of opera voices, on stage/live they are great, on tape/record, yowza.

by Anonymousreply 47210/07/2020

RR/PL

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by Anonymousreply 47310/07/2020

The Lincoln Project is freakin' brilliant. Any thoughts as to who the singer is? (they haven't said, yet).

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by Anonymousreply 47410/07/2020

They are thugs, just like the thing they oppose. Don’t trust them; they are snakes in the grass.

by Anonymousreply 47510/07/2020

sounds like Carolee Carmello to me doing Covida. Any other thoughts?

by Anonymousreply 47610/07/2020

Imelda's Rose is brilliant. That stated, it needed to be dialed back a bit for the camera. But she is the first Rose I've ever seen who gives us a Trumpian-scaled child abuser and master manipulator. That's what it takes to go the distance with the story arc of GYPSY.

A characterization like we usually see in which Rose charm's folks to get things done doesn't really explain anything that happens in the show. Why the husbands all left. Why June leaves. Why Herbie leaves. Why even Mr. Grantzinger won't meet her. A seasoned producer, he knows an ego when he sees it. She's a raging narcissist who charms folks for a while. But only for a while. And once she is comfortable enough and provoked enough, out comes the real Rose.

She's cruel to those kids in the first scene. That's a big risk. But then she and the director built on it. The performance she delivers is full of wonderful detail. Beating her hand into June's letter while snarling, "I'm her mother and I made her" is breathtaking. She is equally strong in the dressing room scene with Louise late in Act 2. And she is consistently narcissistic to the end. Staunton gave Louise a mother to hate and to fear and to manage and to finally have to accept.

But, yes. I would have liked there to be more time to adjust things for the camera. Perhaps record it without an audience to get things better calibrated. But hands down, she is the best Rose. Only Patti Lu can compare favorably.

by Anonymousreply 47710/07/2020

I don't think it even registered in the broadcast, that performance was done at such a clip, but I thought it was a brilliant choice for Imelda to seize up when Louise hugs her in the kitchen, before "Some People." The character to whom Rose shows the least love is the one who will never abandon her.

by Anonymousreply 47810/07/2020

Imelda's "Everything's Coming Up Roses" was also the first time where it occured to me that her family are not scared of her so much as they are scared FOR her.

by Anonymousreply 47910/07/2020

[quote]The Lincoln Project is freakin' brilliant

Just never forget that as soon as Trump is done they're going to turn those same tactics on Democrats.

by Anonymousreply 48010/07/2020

A Rose without surface charm is not Rose. Songs like "Small World" and "You'll Never Get. Away From Me" are there to show how she manipulates people by flattering and flirting. If you think that Patti and Imelda were the best Rose, I'm guessing you didn't see Lansbury. And Merman. by all accounts, was full of charm.

by Anonymousreply 48110/07/2020

Tommy Rall has died at age 90. No obit I can link to at the moment.

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by Anonymousreply 48210/07/2020

Dems have to learn how to be as aggressive politically as Repubs -- that's why those ads from Lincoln Project done the Repubs are so good.

by Anonymousreply 48310/07/2020

The singer in that Lincoln Project “Evita” vid sounds like Laura Benanti to me.

by Anonymousreply 48410/07/2020

R482 NOOOOOOOOOOOOOOOOOOOOOOOOOO

by Anonymousreply 48510/07/2020

Gypsy.

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by Anonymousreply 48610/07/2020

Agree about Lansbury, r481. She was sexy, scrappy, and she benefited from the addition of the continued bowing after the applause ended.

by Anonymousreply 48710/07/2020

The Crucible with Richard Armitage - Act One.

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by Anonymousreply 48810/07/2020

The Crucible - Act Two.

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by Anonymousreply 48910/07/2020

And as I am sure nobody has seen it, for comparisons sake, Imelda in Follies.

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by Anonymousreply 49010/07/2020

Is R484 that horrible AndPeggy, who just posted the same thing to ATC?

by Anonymousreply 49110/07/2020

Oooooo. We're comin' to get you AndPeggy!

by Anonymousreply 49210/07/2020

Which reminds me, I can't remember the last time I went to ATC.

by Anonymousreply 49310/07/2020

WE SEE YOU ANDPEGGY!

by Anonymousreply 49410/07/2020

WE SEE YOU WHITE ANDPEGGY!

by Anonymousreply 49510/07/2020

Getting my own back after being attacked by andPeggy on ATC!

by Anonymousreply 49610/07/2020

We have ATCers in our midst?!

by Anonymousreply 49710/07/2020

I doubt they are in our "midst" r497.

More like the dark and dusty corners.

by Anonymousreply 49810/07/2020

I *was* an ATCer but they kicked me out of the club some years back. I joined soon after the turn of the century...

by Anonymousreply 49910/07/2020

Da butt

by Anonymousreply 50010/07/2020

OK, I'll bite, what is ATC?

by Anonymousreply 50110/07/2020

Did you criticize the food?

by Anonymousreply 50210/07/2020

All that Chat

by Anonymousreply 50310/07/2020

If that's for me, r502, I had posted Youtube links that I thought were o.k. but they deemed bootleggy. They emailed me that if I did it again, they'd boot me. I rarely went to that email so I didn't read it. The next time I posted a link that I thought was safely within their perimeters...they decided it wasn't and booted me. I thought it all rather arbitrary and to them I said "What..ev...uh.

by Anonymousreply 50410/07/2020

The Covita singer has been revealed to be Lisa Howard.

by Anonymousreply 50510/07/2020

My stars, r505, she has to be ancient!

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by Anonymousreply 50610/07/2020

Ooooohhhh, that one.

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by Anonymousreply 50710/07/2020

R477, I agree with a lot of what you wrote, but my problem with Imelda in the GYPSY video is not that that there's too much anger or bitterness or narcissism in the performance, but that, on a purely technical level, she overacts ALL of her emotions, and/or one might say that she always seems to be indicating rather than honestly communicating the emotions. I'm guessing the performance would come across at least a little better if you were watching it live from the farther reaches of a large theater, but I have never seen her live, so I can't say.

by Anonymousreply 50810/07/2020

I was just at the passarelle. I could have knocked Imelda over for some of the denizens of DL if I had wanted to do so.

by Anonymousreply 50910/07/2020

The problem of the recording wasn't just the size, it was the speed.

by Anonymousreply 51010/07/2020

Prom photos!

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by Anonymousreply 51110/07/2020

Oh FFS, how the hell does Plateface Rannells work so much?

by Anonymousreply 51210/07/2020

r512 Have you not noticed that just about everything he does is for Miss Murphy?

by Anonymousreply 51310/07/2020

Corden's in it? Hard pass. Saw it on Broadway and left at intermission.

by Anonymousreply 51410/07/2020

[quote] A characterization like we usually see in which Rose charms folks to get things done doesn't really explain anything that happens in the show

And yet it’s extremely accurate to the real Rose Hovick.

by Anonymousreply 51510/07/2020

[quote] A characterization like we usually see in which Rose charms folks to get things done doesn't really explain anything that happens in the show

And yet it’s extremely accurate to the real Rose Hovick.

by Anonymousreply 51610/07/2020

Broadway announcement coming tomorrow.

by Anonymousreply 51710/08/2020

Tony nominations being announced on October 15.

by Anonymousreply 51810/08/2020

Lungs - socially distanced.

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by Anonymousreply 51910/08/2020

Next to Normal.

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by Anonymousreply 52010/08/2020

Nunsence with Rue.

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by Anonymousreply 52110/08/2020

What was Bernstein's relationship with Sondheim like? I recently watched the documentary about the making of the operatic recording of WSS with Kiri Te Kanawa, José Carreras, etc. In it, Bernstein credits Arthur Laurents with giving the Sharks and Jets their words, and doesn't mention Sondheim at all.

by Anonymousreply 52210/08/2020

Betty in her full belting glory doing “And Eve Was Weak” from Carrie at Carnegie Hall.

Unfortunately, this scary/crazy portrayal is also how she played Rose in Gypsy.

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by Anonymousreply 52310/08/2020

Does anyone even give a fuck about the Tony nominations? Who even remembers the shows at this point?

In any case, if Jeremy O. Harris HAS to get a Tony, I'm glad it will be where no one is paying attention to him.

by Anonymousreply 52410/08/2020

Pure, white hot steel r523.

Never heard another voice like that before or since.

by Anonymousreply 52510/08/2020

R517 Broadway World and NBC News New York already reporting

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by Anonymousreply 52610/08/2020

BroadwayWorld doesn't "report" anything. So pathetic.

by Anonymousreply 52710/08/2020

So when they say May 30, 2021, I assume that means the performers will go back in March or April so they can be ready in time for May? After over a year off, everyone is going to need time to get back up to snuff.

by Anonymousreply 52810/08/2020

I don't think so R528. I think the date is just another date because nobody knows what might happen by then. If there is no vaccine or the numbers have dramatically plummeted, I doubt that we will go to the theatre in April. Remember when, back in March, we thought it might take a couple of weeks or a month, tops? And here we still are, entering fall and not looking good at all. I wish I could be more optimistic but I think we are so fucked. More than I could ever imagined at my most pessimistic. Shit.

by Anonymousreply 52910/08/2020

[quote]What was Bernstein's relationship with Sondheim like?

From various books I've read, their relationship was good during WSS. Bernstein was originally going to be credited as co-lyricist, but most of Bernstein's lyrics didn't make it into the final show, so Bernstein generously (IMO) gave up his lyricist credit. He also offered to increase Sondheim's royalty, but Sondheim turned him down, a decision he later regretted very much. Years later, when Sondheim agreed to write new lyrics for the 1970s production of Candide, he said he would only do it if Bernstein was hands-off and didn't try to lecture Sondheim on how to do his job. The two of them later tried to collaborate with Jerome Robbins on a Brecht-based musical, but it didn't get very far.

by Anonymousreply 53010/09/2020

I know for a fact that Sondheim was amused/irritated by Bernstein's inflated ego and preening in the latter part of the latter's career.

by Anonymousreply 53110/09/2020

So I have it on good authority that the actual date of announcement WAS going to be Sept 2021, but when it got leaked, they rolled it back to May 30th, but that's just a placeholder. It will definitely be Sept of 2021 unless some miracle happens.

by Anonymousreply 53210/09/2020

After COVID-19 Shutdown, 7 Broadway Actors Return to Their Theaters:

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by Anonymousreply 53310/09/2020

Glenn Close, Patti LuPone, and more stars teamed up for "The Great Work Begins: Scenes from Angels in America":

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by Anonymousreply 53410/09/2020

R533

[quote]Right after the pandemic started, I walked from my apartment in Hell’s Kitchen to the theater and put my hands on the stage door to bless it

Well, no-one ever said actors were smart.

by Anonymousreply 53510/09/2020

That’s totally something he’d say. A meaningless platitude.

by Anonymousreply 53610/09/2020

Is this worth watching? I can't imagine it wasn't discussed....but I don't remember. So many things...I don't...remember.

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by Anonymousreply 53710/09/2020

Viva Latino.

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by Anonymousreply 53810/09/2020

The Emperor Jones.

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by Anonymousreply 53910/09/2020

Gray Gardens.

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by Anonymousreply 54010/09/2020

This was such an oddball film...

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by Anonymousreply 54110/09/2020

Oddball it was....

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by Anonymousreply 54210/09/2020

Another AFT offering...

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by Anonymousreply 54310/09/2020

The Music Man not opening till early 2022 now.

by Anonymousreply 54410/09/2020

[quote] What was Bernstein's relationship with Sondheim like?

Lenny was the bottom.

by Anonymousreply 54510/09/2020

Which Betty, Bacall or Comden?

by Anonymousreply 54610/10/2020

Betty Davis, Rose.

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by Anonymousreply 54710/10/2020

A Night Out.

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by Anonymousreply 54810/10/2020

Mood Music - Old Vic.

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by Anonymousreply 54910/10/2020

The Last Five Years - socially distanced.

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by Anonymousreply 55010/10/2020

Melba

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by Anonymousreply 55110/10/2020

My stars. That Stella Deems was really something back in the day...

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by Anonymousreply 55210/10/2020

Ha. I clicked on that link expecting to see someone black, that's how ingrained the insistence on casting Stella as a POC has become.

by Anonymousreply 55310/10/2020

But apparently she is very lovely.

by Anonymousreply 55410/10/2020

Dick & Elaine

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by Anonymousreply 55510/10/2020

Where are you, Phyllissss???

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by Anonymousreply 55610/11/2020

R552. Dyke, ya know.

by Anonymousreply 55710/11/2020

The Importance of Being Earnest.

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by Anonymousreply 55810/11/2020

Hyde - The Ballet.

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by Anonymousreply 55910/11/2020

Song and Dance Man.

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by Anonymousreply 56010/11/2020

Translations.

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by Anonymousreply 56110/11/2020

Broadway Salute--Patti LuPone, Nell Carter, Sammy Davis, Jim Dale--1981 TV

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by Anonymousreply 56210/11/2020

^

Rainbow High at 28:20. She absolutely rips through it and at the end turns humbly demure with her thank yous.

by Anonymousreply 56310/11/2020

Apparently before Glocca Morra, she touted 52nd Street....

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by Anonymousreply 56410/11/2020

More Ella...

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by Anonymousreply 56510/11/2020

Angie & Danny

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by Anonymousreply 56610/11/2020

Thanks for that socially distanced Last Five Years, R550. For me, nothing will ever top the original Off-Broadway pairing of Norbert and Sherie, but I always love seeing other actors in those roles. The ending always makes me cry. I know...MARY!

by Anonymousreply 56710/12/2020

The Night before The Morning After.

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by Anonymousreply 56810/12/2020

The Boy Who Danced On Air.

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by Anonymousreply 56910/12/2020

June Moon with Steve Sondheim.

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by Anonymousreply 57010/12/2020

R570 Did you notice that Steve was wearing .... a HAT?

by Anonymousreply 57110/12/2020

Stratas

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by Anonymousreply 57210/12/2020

Thanks, R572. That's one of the performances I wish I had caught in person. Love the score and the CD that was recorded with Julia Migenes-Johnson taking the place of Stratas, but every bootleg recording I've heard of Stratas in the role has been phenomenal.

by Anonymousreply 57310/13/2020

New thread up.

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by Anonymousreply 57410/13/2020

Why are you putting a new thread up this early?

by Anonymousreply 57510/13/2020

It was started as the new old thread, but some cheap cunt started a new one half way through the other one, as it was paywalled. So that one became a spare, which is now the new thread, incorrectly numbered, and people are using it already as this thread has now been patwalled and some people are really really fucking cheap and will not pay the 2 bucks.

by Anonymousreply 57610/13/2020

I'll patwall you motherfucker!

by Anonymousreply 57710/13/2020

Phyllis on Lost Horizon...

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by Anonymousreply 57810/13/2020

I would love to see Lost Horizon on stage.

by Anonymousreply 57910/13/2020

R579, One of my better scores.

by Anonymousreply 58010/13/2020

Oh dear...

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by Anonymousreply 58110/13/2020

Jonelle...

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by Anonymousreply 58210/13/2020

Agree R581. There are all these people in some of the online Broadway groups who love her but from everything (and HEARD) of it, Geraldine Fitzgerald's cabaret act was actually an act of terrorism.

by Anonymousreply 58310/13/2020

I do find it interesting that the actress who played Bette Davis's best friend in "Dark Victory" (1939) was performing "Don't Cry for Me, Argentina" more than 40 years later.

by Anonymousreply 58410/13/2020

Performing is such a polite verb, r584.

by Anonymousreply 58510/13/2020

Which is why I chose it, R585.

by Anonymousreply 58610/13/2020

At least she is having a go.

by Anonymousreply 58710/13/2020

Mary dubbing Maggie

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by Anonymousreply 58810/13/2020

[quote] Mary dubbing Maggie

Is that what they called rubbing the clam between the tongue and the top of your teeth back then?

by Anonymousreply 58910/13/2020

^Ask Mary Martin.

by Anonymousreply 59010/13/2020

R583, Fitzgerald was an OK actress when she was young but ended up a tiresome old hag who insisted on imposing her mediocrity for years before she finally croaked.

by Anonymousreply 59110/13/2020

Stella is cockhungry. Always has been.

by Anonymousreply 59210/14/2020

Bajour!

by Anonymousreply 59310/14/2020

Aw hell, may as well pull out the Miss Nichols card...

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by Anonymousreply 59410/14/2020

Spill those Les Miz hate stories, Patricia.

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by Anonymousreply 59510/14/2020

Great show!

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by Anonymousreply 59610/14/2020

PATRICIA????

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by Anonymousreply 59710/14/2020

I want it all.

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by Anonymousreply 59810/14/2020

Bajour?

by Anonymousreply 59910/14/2020

Bajour!

by Anonymousreply 60010/14/2020
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