Let’s continue tearing cutesy British colloquialisms (and Andrew Lloyd Webber) to shreds. With a soupcon of Follies, of course.
Theatre Gossip #428-The “I Have Done” Thread
|by Jina Zasper||reply 245||12 hours ago|
I will do, and have done!
|by Jina Zasper||reply 1||Last Tuesday at 4:46 PM|
Let's crack on!
|by Jina Zasper||reply 2||Last Tuesday at 4:55 PM|
I'll be in the stalls reading the programme I had to pay for!
|by Jina Zasper||reply 3||Last Tuesday at 5:16 PM|
“Could we discuss Follies?”
|by Jina Zasper||reply 4||Last Tuesday at 5:23 PM|
At sixes and sevens with you.
|by Jina Zasper||reply 5||Last Tuesday at 5:43 PM|
Broadway needs revivals of the following:
The Runner Stumbles
Same Time, Next Year
Norman, Is That You?
|by Jina Zasper||reply 6||Last Tuesday at 5:46 PM|
r6, I know you are being sarcastic, but your post reminded me that I saw a very strong production of THE RUNNER STUMBLES produced Off Broadway by The Actors Company Theater. The play was creaky, but the production was excellent. I miss TACT, they did some really great work for a few years there. Lost in Yonkers was very well done with Cynthia Harris and LOVERS that same year by Brian Friel. But I digress...
|by Jina Zasper||reply 7||Last Tuesday at 5:55 PM|
Also we need a production of “Everybody Loves Opal.”
|by Jina Zasper||reply 8||Last Tuesday at 6:03 PM|
Done, John, done.
Carrying over from the previous thread....I think those lines of Petra's were cut for good reason: why should she be overlooked in a tally of the moon's fools? She's not the Sage of the Scandinavian Isles. Her ambitions and hopes are just as foolish as the rest. In fact, in SMILES OF A SUMMER NIGHT, the cook chastises her for throwing herself at Henrik. And it's clear what her intentions are: if she became "gravid" by the Master's son, she'd be set up for life. So, IMHO, THE MILLER'S SON is not some life-affirming summary of the evening's themes but just one more notch on the moon's belt.
|by Jina Zasper||reply 9||Last Tuesday at 6:11 PM|
I was lucky to see the Broadway production of The Runner Stumbles. Sloane Shelton gave such a splendid performance that I have never, ever, forgotten it. I was fortunate to see her in several more productions and she was always a standout. She was not really a star, but she was a damned fine working actress.
|by Jina Zasper||reply 10||Last Tuesday at 6:25 PM|
DL fav Jeremy O Harris is being dragged on Twitter for defending DL fav Lena Dunham (she set the trend for the past decade of television, apparently). The oddest thing about all this is the tweet he initially responded to wasn't even criticising her. This led to this response from Harold Perrineau - father of Aurora, the woman who accused a writer on Girls of raping her, and Lena defended the writer, despite having earlier said to believe all women.
[quote]@jeremyoharris Shut your FUCKING MOUTH! After introducing 2 teenage girls to 35 year old Murray Miller and lying right to my face that night?! Nobody wants to hear from you!!! The safety of Black women has NEVER been important to you!
The commenters at ONTD may hate JOH more than DLers do
|by Jina Zasper||reply 11||Last Tuesday at 6:39 PM|
Get a fucking haircut and see an orthodontist
|by Jina Zasper||reply 12||Last Tuesday at 6:50 PM|
Who's up for a revival of Sleuth?
|by Jina Zasper||reply 13||Last Tuesday at 6:57 PM|
R10, on a trip to London in 1989, I got a front row seat to SINGLE SPIES and ended up in the front row seated next to Sloane Shelton. I had met her in New York but didn't know her well. We had a good time. She was a very nice woman.
|by Jina Zasper||reply 14||Last Tuesday at 7:04 PM|
|by Jina Zasper||reply 15||Last Tuesday at 7:10 PM|
Neil Patrick Harris and David Burtka in Same Time, Next Year.
|by Jina Zasper||reply 16||Last Tuesday at 7:29 PM|
How comes y’all never announce and post the next thread at the end of the other one? There’s always plenty of room filling it in to end it, that could be put to good use. It seems like bad thread etiquette.
|by Jina Zasper||reply 17||Last Tuesday at 11:14 PM|
Because you're lazy and we hate you, R17.
|by Jina Zasper||reply 18||Last Tuesday at 11:38 PM|
From the last thread:
[quote] Others here are coming up with odd equivalents "I have sufficient" (What does that mean in context? She is not eating a large meal--and other than that when you would say something like that?)
Oh, poor child. "I have sufficient" is one of Vivian Vance's most famous lines from I Love Lucy. New here, are you?
|by Jina Zasper||reply 19||Last Tuesday at 11:47 PM|
If they do require that theatergoers be vaccinated (and I hope they do) I can’t wait to see the drama in the lobbies as they deny entry to unvaccinated patrons who are holding tickets. The fights will probably be more entertaining than most of the woke shows that are coming to Broadway.
|by Jina Zasper||reply 20||Last Wednesday at 1:32 AM|
Barbara Cook as a seductress. Or at least attempting to be one.
|by Jina Zasper||reply 21||Last Wednesday at 2:05 AM|
From Olivier Awards. Julia won well deserved Olivier over LuPone (Sunset) and Paige (Piaf). Wonderful and fresh performance. (ALW didn’t allow Patti to perform anything from Sunset. She had to watch Betty Lynn singing parts of With One Look. One more humiliation from ALW to Patti.) Patti said Julia was wondeful and deserved the award. And she really is. Sorry for bad quality of the video.
|by Jina Zasper||reply 22||Last Wednesday at 3:54 AM|
I love Julia McKenzie, but I never really warmed to that performance. It feels coarse and screamy, although I give her credit for going in a different direction.
I do love the orchestra reduction that Tunick did for that National Theatre production. It's really well done, and those charts are notoriously difficult. He gets a lot of sound and detail from something like 9 or 10 musicians.
|by Jina Zasper||reply 23||Last Wednesday at 4:21 AM|
She also sang the wrong lyric. “These have got to be the worst pies in London”…? Please fix.
|by Jina Zasper||reply 24||Last Wednesday at 4:28 AM|
|by Jina Zasper||reply 25||Last Wednesday at 4:46 AM|
If that's how McKenzie starts the evening... what happened at the top of the 2nd Act when the crowds appear, Sweeney is killing with frequency, the Beggar Woman is prowling around, and things are getting difficult to manage?
I love the character she created and, God knows, the woman has voice to burn, but gah! That's a big start to a long evening. Even if her voice was not exhausted by the end, I think I might be.
|by Jina Zasper||reply 26||Last Wednesday at 4:58 AM|
Second Stage did a revival of GEMINI in the1990s with Linda Hart of Hairspray and Anything Goes fame as Bunny. She was great though I remember very little else about the production.
|by Jina Zasper||reply 27||Last Wednesday at 5:02 AM|
What do Sharon Stone and GREASE have in common?
|by Jina Zasper||reply 28||Last Wednesday at 5:07 AM|
[quote] Second Stage did a revival of GEMINI in the1990s with Linda Hart of Hairspray and Anything Goes fame as Bunny. She was great though I remember very little else about the production.
Same, though I can remember Hart bringing down the house with a line reading: at one point, she took a withering glance at her dimwitted son, and said something like "Take a look at the fruit of my loins."
|by Jina Zasper||reply 29||Last Wednesday at 5:15 AM|
Is the Equity thing going to get its own thread?
|by Jina Zasper||reply 30||Last Wednesday at 5:43 AM|
More on the Williamstown story. Ashley Lee's LA Times story on it that's going around might be paywalled if you've read other stories there lately.
|by Jina Zasper||reply 31||Last Wednesday at 5:50 AM|
Julia McKenzie, in that production of Sweeney Todd, gave one of the greatest performances in a musical I’ve ever seen.
Sloane Shelton was a good actress but miscast in All That Jazz as Joe Gideon’s mother. He describes her as “sexy” and Shelton was a character lady and not “sexy” at all.
|by Jina Zasper||reply 32||Last Wednesday at 6:00 AM|
[r31] thanks for sharing! That sounds like a terrible experience :(
“the company did not do enough to research and prepare for the day-to-day difficulties of mounting shows outside. That led, he said, to safety risks and problems that could have been anticipated”
|by Jina Zasper||reply 33||Last Wednesday at 6:11 AM|
Here's the LA Times. Some interesting Twitter chat about this.
|by Jina Zasper||reply 34||Last Wednesday at 6:15 AM|
It's about time Williamstown was called out for its shit pay and working conditions. Only the starry playwrights and actors get anything there, and everyone else is slave labor. And even the stars have shitty housing....Why do people put up with this?
|by Jina Zasper||reply 35||Last Wednesday at 6:18 AM|
Matt seems sweet guy
|by Jina Zasper||reply 36||Last Wednesday at 6:20 AM|
I'm of 2 minds on Williamstown. I worked there for slave wages and bad housing for several years way back in the late 70s and 80s when everyone, including the youngsters who apprenticed and interned there, felt the crazy conditions were a kind of rite of passage into the professional theater world. Even stars like Blythe Danner, Frank Langella, Olympia Dukakis, Ken Howard, et. al. trooped through productions with little luxuries and low pay.
Though they were very tough summers, I learned more about the art, business and life of the theater profession at Williamstown than any of the other theater experiences of my youth and made friends and professional connections that have lasted a lifetime.
Still, in this new day and age, I'm impressed and thrilled that the Festival will finally be called on to make some much-needed humane changes.
|by Jina Zasper||reply 37||Last Wednesday at 7:10 AM|
Broadway’s Reopening Fears Amid COVID-19 - “There’s So Much We Still Don’t Know”:
|by Jina Zasper||reply 38||Last Wednesday at 7:51 AM|
Paging Jeremy Harris-your 15 minutes are up.
|by Jina Zasper||reply 39||Last Wednesday at 8:07 AM|
R30 Here's the Equity thing thread.
|by Jina Zasper||reply 40||Last Wednesday at 9:13 AM|
Rick McKay's long volleyed about sequel "Broadway: Beyond the Golden Age" is FINALLY seeing the light of day on PBS on August 14 via Great Performances. Apparently his team completed the final cut of the film, though all those patrons who donated to the GoFundMe (Kickstarter?) campaign haven't heard so much as a peep from anyone involved.
Glad it's finally getting out there but a bit shitty/shady not to rope in the hundreds of people who helped it get across the finish line (though I do imagine PBS gave them the last bit of funding that allowed it to get completed!)
|by Jina Zasper||reply 41||Last Wednesday at 10:03 AM|
Moulin Rouge reopens in September.
Any word on the new Saltine?
|by Jina Zasper||reply 42||Last Wednesday at 10:10 AM|
20 years ago Carolee Carmello would've made a killer Kidman-esque Satine. I always felt Olivo was completely miscast...even vocally it never felt quite right.
|by Jina Zasper||reply 43||Last Wednesday at 10:36 AM|
Kidman wasn't any great shakes vocally. Just adequate really.
|by Jina Zasper||reply 44||Last Wednesday at 10:39 AM|
"Paging Jeremy Harris-your 15 minutes are up."
I'm winning all 12 Tonys, fucker. I'm a genius... so suck me.
|by Jina Zasper||reply 45||Last Wednesday at 11:28 AM|
Lillian: I'm famous. I buy mayonnaise and I'm famous. Get letters from people in Idaho. I don't even know where Idaho is. You're not listening to me.
Dash: I'm listening to you, Lilly.
Lillian: Dash, I don't want you to think I just care about sable coats.
Dash: I know that, Lilly.
Lillian: You've been famous a long time, Dash, and it never seems to bother you. Ohh.! Aargh! This is a dopey conversation!
Dash: It's only fame, Lilly. Just a paint job. If you want a sable coat, buy one. Just remember, it doesn't have anything to do with writing. It's only a sable coat and doesn't have anything to do with writing. (Alvin Sargent, JULIA)
|by Jina Zasper||reply 46||Last Wednesday at 1:26 PM|
R45: sucking JOH sounds truly repulsive
|by Jina Zasper||reply 47||Last Wednesday at 1:44 PM|
M and G in a revival of Sleuth. They can switch parts every other night.
Box Office Baby!
|by Jina Zasper||reply 48||Last Wednesday at 2:01 PM|
[quote] I love Julia McKenzie, but I never really warmed to that performance. It feels coarse and screamy
Coarse and screamy?? That's MY routine!
|by Jina Zasper||reply 49||Last Wednesday at 2:16 PM|
I love that black twitter is going all in on that asshole Jeremy O. Cancel him, ladies.
|by Jina Zasper||reply 50||Last Wednesday at 2:30 PM|
The term BIPOC has now been canceled by the ultra-woke. The new term- BBIMP.
|by Jina Zasper||reply 51||Last Wednesday at 4:15 PM|
Arsenic & Old Lace, r48.
|by Jina Zasper||reply 52||Last Wednesday at 4:52 PM|
"melanated"? Did Sondheim come up with this?
|by Jina Zasper||reply 53||Last Wednesday at 5:58 PM|
.....your ignorance is showing, r53.
|by Jina Zasper||reply 54||Last Wednesday at 6:04 PM|
|by Jina Zasper||reply 55||Last Wednesday at 6:06 PM|
Wokesters are so obsessed with race/skin color -- it is the first (and often only) thing they notice about a person -- yet they accuse everyone else of being racist.
|by Jina Zasper||reply 56||Last Wednesday at 6:53 PM|
Andrea Bocelli and Sarah Brightman star in "Man of La Mancha!" With Kristin Chenoweth as Sancho Panza
|by Jina Zasper||reply 57||Last Wednesday at 7:20 PM|
Soooo....McKenzie or Kahn?
|by Jina Zasper||reply 58||Last Wednesday at 7:55 PM|
It's always a mistake to judge a musical theater actor's performance by them doing a number from their show on an awards show or talk show. It's an awkward thing asking an actor to perfectly recreate the energy and intensity of a performance created during the actual full performance of the entire show in a 5 minute snippet on the telly. Sometimes it works and sometimes it doesn't.
I'm loving the power of McKenzie's voice in that clip but the performance really does feel rushed and without nuance. And, considering it was an award winning and highly praised performance I'm guessing the "magic" didn't happen for Julia McKenzie that night.
I noticed something similar with Tracie Bennett when she did "I'm Still Here" on the Oliviers. I think she's terrific in the full length recorded production of Follies telecast as part of the Live National program but on the Oliviers she seemed too loud and shouty; I really didn't care for that specific performance yet I much admired her work in the full production.
It's live performance. It's going to vary from night to night.
|by Jina Zasper||reply 59||Last Wednesday at 9:06 PM|
Was 20th Century a hit in London?
|by Jina Zasper||reply 60||Last Thursday at 3:49 AM|
"It's live performance. It's going to vary from night to night."
You bitches never saw me on stage!!
|by Jina Zasper||reply 61||Last Thursday at 4:12 AM|
[quote] Was 20th Century a hit in London?
It ran about five months. It's never really been a hit anywhere.
|by Jina Zasper||reply 62||Last Thursday at 4:37 AM|
20th Century is a crass and charmless musical that was gussied up by Robin Wagner and Florence Klotz's brilliant designs and Kevin Kline's supporting performance. I've never understood its popularity. I'd say the same for City of Angels which had the same design team and some good supporting performances.
Both musicals composed by Cy Coleman who served Sweet Charity, Little Me and even Wildcat and Seesaw so much better.
|by Jina Zasper||reply 63||Last Thursday at 5:14 AM|
20th Century is a total delight but expensive to produce. And the audience it's intended for is nearly gone, as r63 shows. A wonderful show for those who can appreciate it.
|by Jina Zasper||reply 64||Last Thursday at 5:20 AM|
r43 & r44, I didn't love Olivo either and think she was vocally wrong for the part, even if she's a stronger singer than Kidman.
I hadn't seen the movie since it first came out, but after being severely underwhelmed by the musical, I listed to some of the soundtrack on Youtube, and immediately thought it was better. Kidman and McGregor's voices weren't as strong, but they were better actors so they could convey emotion and heart in their voices--they were two people singing TO each other, which made the love story believable. Just listening to it, that came across on the recording. Olivo and Tveit have stronger voices, but they were two people singing AT each other, throwing the typical musical theater flourishes at one another while belting...and there was no connection or real emotion there, just loudness. (In Olivo's case she may be a lot better at anger and hardness than the openness and vulnerability the part requires at times.) Hopefully whoever they replace Olivo with (I thought Tveit was dreadful and should be replaced, though that's likely not happening) will have both a strong instrument and the acting skill to convey true emotion and passion in that voice (though, given the "more is more" mentality of the show, that may not be what they care about).
|by Jina Zasper||reply 65||Last Thursday at 6:33 AM|
Perhaps one of Aaron's twinks could play Satine.
|by Jina Zasper||reply 66||Last Thursday at 6:52 AM|
[quote]In Olivo's case she may be a lot better at anger and hardness than the openness and vulnerability the part requires at times.
Now, there's the understatement of the millennium! But, of course, what she's really best at is not showing up at all.
|by Jina Zasper||reply 67||Last Thursday at 7:00 AM|
It's the only show I've ever seen her in, so I was hedging my bets. ¯_(ツ)_/¯
|by Jina Zasper||reply 68||Last Thursday at 7:01 AM|
THIS DAY IN BROADWAY HISTORY: In 2004, "The Frogs" opened at the Vivian Beaumont Theatre.
|by Jina Zasper||reply 69||Last Thursday at 7:14 AM|
I saw the original FROGS at the Yale swimming pool with Meryl Streep and Sigourney Weaver part of the croaking chorus. I remember almost nothing except the steamy smell of chlorine. Poor Larry Blyden did all he could to keep the dire proceedings going.
Still, at least I could say, I was there! I was there!!! And I'm still here.
|by Jina Zasper||reply 70||Last Thursday at 7:42 AM|
I'm one of those people who gave money for "Broadway: Beyond the Golden Age" and never heard a peep from them, even before McKay passed away. I was supposed to recieve both DVDs and another with the outtakes. Ah well...
ALso, I concur about Julia MacKenzie in SWEENEY... one of the greatest performances I've seen in the theatre and the rightful winner of the Olivier. The other great performance was the guy who played the Beedle. Because they cast a fat Pirelli, the Beedle was small and creepy, and he played it like Uriah Heep. Wish I remembered his name. I'll have to look it up.
|by Jina Zasper||reply 71||Last Thursday at 7:54 AM|
I thought it was more or less official that Deborah Cox was replacing Karen Olivo in Moulin Rouge? Boring choice, but there it is.
|by Jina Zasper||reply 72||Last Thursday at 9:52 AM|
"Cy Coleman who served Sweet Charity, Little Me and even Wildcat and Seesaw so much better."
I agree. Scoring 20th Century as an operetta as opposed to slam-bang thirties musical comedy was a mistake of conception, IMO.
|by Jina Zasper||reply 73||Last Thursday at 11:22 AM|
"... as opposed to slam-bang thirties musical comedy was a mistake of conception, IMO."
That's probably what you would have gotten if they'd cast Bernadette, r73.
|by Jina Zasper||reply 74||Last Thursday at 11:27 AM|
I have to disagree about the 20th Century score. I though writing it as operetta was an inspired choice. The alternative was to write everything in a 20s "flapper" style, which would have been obvious and boring.
|by Jina Zasper||reply 75||Last Thursday at 11:56 AM|
Is that the name of the new reboot of "Charlie's Angels"?
|by Jina Zasper||reply 76||Last Thursday at 11:59 AM|
I agree with R63. The 20th Century score is fun as a recording. In the theatre, that exaggerated, outsized style become so relentless, it quickly wears out its welcome. The show was beautifully designed and produced though.
I like City of Angels more than R63, but it also behaved strangely in the theatre. SO clever, but not that engaging. It beat Grand Hotel for Best Musical, and Angels is probably the better musical as far as its writing, but Grand Hotel provided more musical theatre thrills.
|by Jina Zasper||reply 77||Last Thursday at 12:43 PM|
"...but Grand Hotel provided more musical theatre thrills."
Thanks solely to Tommy.
|by Jina Zasper||reply 78||Last Thursday at 12:58 PM|
Sutton's Anything Goes opens in London tomorrow -- who's going?
|by Jina Zasper||reply 79||Last Thursday at 1:12 PM|
I'm washing my hair, r79.
|by Jina Zasper||reply 80||Last Thursday at 1:24 PM|
I’m trying to remember exactly what the musical comedy “thrills” were in Grand Hotel. “We’ll Take a Glass,” I guess.
|by Jina Zasper||reply 81||Last Thursday at 1:38 PM|
I love the score to “On the 20th Century.” I thought the whole thing was dazzling. Not so much in the revival, though. You need some real comic actors, though
|by Jina Zasper||reply 82||Last Thursday at 1:40 PM|
R71, the Beedle was Barry James.
|by Jina Zasper||reply 83||Last Thursday at 1:47 PM|
Polly was there
|by Jina Zasper||reply 84||Last Thursday at 2:08 PM|
Polly and Hermione Gingold hated each other during First Impressions. Farley Granger didn’t care much for Polly either.
|by Jina Zasper||reply 85||Last Thursday at 2:20 PM|
[quote] I’m trying to remember exactly what the musical comedy “thrills” were in Grand Hotel. “We’ll Take a Glass,” I guess.
Of course that number and the rest of Tune's work, but I'd add: David Carroll's vocals, especially "Love Can't Happen," Jane Krakowski's numbers, the wonderful Michael Jeter, the ghostly ballroom couple, the really gorgeous design by Tony Walton, Santo Loquasto and Jules Fisher, and Peter Matz's sensational orchestrations. Here's 10 minutes of it. Considering how bad new musicals are, it looks pretty good by comparison.
|by Jina Zasper||reply 86||Last Thursday at 2:21 PM|
Another vote in favor of the 20th Century score. I love it.
Did the revival get a production in the UK? I didn’t care for the recent Marin Mazzie (RIP) or Kristin Chenowith productions in NY. It’s pretty much an operatic farce, and honestly, the US doesn’t do farce nearly as well as the Brits. Madeline Kahn and Kevin Kline are unicorns amongst American musical theater performers when it comes to farce.
|by Jina Zasper||reply 87||Last Thursday at 2:31 PM|
R87, really? I thought the staged concert of OTTC with Mazzie, Douglas Sills, Christopher Sieber, etc. was excellent in every way. And I saw the original production -- with Judy Kaye, not Madeline.
|by Jina Zasper||reply 88||Last Thursday at 2:33 PM|
I saw 20TH Century early in the run with Judy Kaye on for Kahn. Loved it. Kline was extraordinary. Great fun. Saw it again a few weeks before it closed. Dull. Kline was gone and his replacement was meh. Cullum, Kaye and Imogene looked bored. There were issues with the scenery which wasn’t aging well. Audience response was tepid.
|by Jina Zasper||reply 89||Last Thursday at 2:41 PM|
[quote] I thought the staged concert of OTTC with Mazzie, Douglas Sills, Christopher Sieber, etc. was excellent in every way.
To be fair, I only saw it via proshot bootleg, so maybe it was better in person. The broadness just seemed to forced to me. Madeline could have the audience in stitches with just a subtle look. Marin and Doug also sang nearly a quarter tone flat for most of the show I watched, too. I’ve enjoyed those cast members in other shows, but they didn’t do it for me in 20th Century.
|by Jina Zasper||reply 90||Last Thursday at 2:45 PM|
What did you think of Judy Kaye that first time you saw it, r89? I can imagine her being pretty good in that role even if she was no Madeline.
|by Jina Zasper||reply 91||Last Thursday at 2:47 PM|
I have a friend who saw both and preferred Judy, r91.
|by Jina Zasper||reply 92||Last Thursday at 2:53 PM|
R91. I thought she was very good. Funny. Landed all the laughs. I hadn’t heard Kahn on the cast recording yet and, truthfully, when I did I preferred her to Kaye. Kahn had more character in her voice but that’s what made her unique and special. I’d never been a Cullum fan but I thought he was appropriately hammy. Kline was just spectacular. But, like I said, seeing it again near the end of the run was disappointing. I had the same reaction when I returned to Gypsy the week before it closed. The cast, especially Patti, had gotten sloppy and were fishing for cheap laughs. Sad.
|by Jina Zasper||reply 93||Last Thursday at 2:55 PM|
I saw Grand Hotel with David Carroll twice early on. He was terrific, but he and Liliane had no chemistry, she just looked old next to him. Then I saw it later with Brent Barrett, and they were dynamic together. Suddenly it made sense that Tommy had hired her.
I didn’t realize that David C was actually able to come back after his early departure and play the role for another couple of months.
|by Jina Zasper||reply 94||Last Thursday at 2:57 PM|
Madeline Kahn was a comic genius. Judy Kaye knows how to be funny but she’s not inspired as a comedienne.
|by Jina Zasper||reply 95||Last Thursday at 3:07 PM|
[quote] Madeline could have the audience in stitches with just a subtle look.
When she could be bothered.
I saw it once with Kahn walking through it and twice with Kaye going on all cylinders. Kahn could be brilliant but Kaye brought the show home despite being a lesser talent.
And I love the show. A great treasured memory for which there is no longer an audience.
|by Jina Zasper||reply 96||Last Thursday at 3:11 PM|
I don't think Judy's a lesser talent, r96, she just lacked the star quality of Madeline.
|by Jina Zasper||reply 97||Last Thursday at 3:15 PM|
When Grand Hotel premiered the joke was that it was a musical about chairs.
|by Jina Zasper||reply 98||Last Thursday at 3:18 PM|
R97. Exactly. Judy has the misfortune of having to fill Kahn’s shoes but many others have had to fill Judy’s shoes in Phantom but she’s still the definitive Carlotta.
Did anyone see Ebersole when she went on for Kaye in 20th Century?
|by Jina Zasper||reply 99||Last Thursday at 3:19 PM|
How clever, r98.
|by Jina Zasper||reply 100||Last Thursday at 3:21 PM|
I certainly didn't mean to denigrate Judy Kaye at r96. If that was the impression I left, I apologize. I'm a great fan.
But still wish I could have seen Kahn when she was "on" as opposed to what I saw.
|by Jina Zasper||reply 101||Last Thursday at 3:27 PM|
I know, r101, what made Madeline's talents singular was she herself was singular.
|by Jina Zasper||reply 102||Last Thursday at 3:35 PM|
I saw Kahn as Amalia in concert version of She Loves Me at Town Hall in the 70s. She was far too arch for that part and although she got laughs, it didn't work.
But as she was singing Will He Like Me? my boyfriend slipped a tricolor gold friendship ring from Tiffany's on my finger. One of the greatest nights of my life.
|by Jina Zasper||reply 103||Last Thursday at 3:42 PM|
Theater Twitter seems to have one question on its mind lately: when will Audra do Mame or Gypsy?
|by Jina Zasper||reply 104||Last Thursday at 3:45 PM|
[quote] I saw Kahn as Amalia in concert version of She Loves Me at Town Hall in the 70s. She was far too arch for that part and although she got laughs, it didn't work.
Amalia definitely requires a bit more of a Pollyanna sweetness for it to work.
|by Jina Zasper||reply 105||Last Thursday at 3:46 PM|
She really isn't as good a match in the role as you'd expect, r103.
|by Jina Zasper||reply 106||Last Thursday at 3:47 PM|
I had expected it to work, r106, but it didn't. So affected, so many, many stolen laughs that weren't intended. The audience loved her.
No, the ring was stolen years later. And he died in the first wave of the plague. I move on but damn it gets harder.
|by Jina Zasper||reply 107||Last Thursday at 4:03 PM|
[quote]Theater Twitter seems to have one question on its mind lately: when will Audra do Mame or Gypsy?
Never and never. She doesn't have the sophistication to play Mame and she doesn't have the drive to play Rose. Unless you meant she'd play Herbie, then she'd be terrific!
|by Jina Zasper||reply 108||Last Thursday at 4:19 PM|
I’d rather see an all-male [italic]Gypsy[/italic].
|by Jina Zasper||reply 109||Last Thursday at 4:37 PM|
Hugh Jackman IS Papa Rose! Zac Efron IS Dainty Jim.
|by Jina Zasper||reply 110||Last Thursday at 4:39 PM|
How does Mame even happen now? The big Act One finale - with *the* big number - takes place at a Southern plantation. The whole title song is about a return to the old days - “this time the South will rise again!” I don’t see how that works now, with or without a black Mame.
|by Jina Zasper||reply 111||Last Thursday at 4:42 PM|
[quote] I don’t see how that works now, with or without a black Mame.
"Mame" doesn't work now, period. Its day has come and gone, and no amount of "reimagining" is going to make it play for a contemporary audience.
|by Jina Zasper||reply 112||Last Thursday at 4:46 PM|
The heads of the ultra-woke would literally explode if they saw a production of Mame.
|by Jina Zasper||reply 113||Last Thursday at 4:50 PM|
Which in itself would be fun ...
|by Jina Zasper||reply 114||Last Thursday at 5:22 PM|
[quote]Marin and Doug also sang nearly a quarter tone flat for most of the show I watched, too.
I really don't think that's true. I'm glad the video does exist -- and it's not a bootleg, it was filmed and sold by The Actors' Fund -- so people can judge for themselves
|by Jina Zasper||reply 115||Last Thursday at 5:23 PM|
What’s happening with The Devil Wears Prada musical? On hold indefinitely? I hope they come up with a better idea for Miranda. I cannot see Beth Leavel and her bag of tired tricks in the role.
|by Jina Zasper||reply 116||Last Thursday at 5:24 PM|
I feel like a show about an awful boss probably isn't going to do so well on Broadway right now ...
|by Jina Zasper||reply 117||Last Thursday at 6:10 PM|
And I wish to God someone would produce a major Broadway revival of MAME so everyone can see how horribly the humor has dated (never mind the un-pc problems throughout) and we can all then move on and never hear about MAME again.
|by Jina Zasper||reply 118||Last Thursday at 6:21 PM|
Polly's I'm Still Here was excellent. Didn't she turn gay in later life?
|by Jina Zasper||reply 119||Last Thursday at 6:26 PM|
No, r119, she turned into a turtle.
|by Jina Zasper||reply 120||Last Thursday at 6:31 PM|
Polly was always a lez-been.
|by Jina Zasper||reply 121||Last Thursday at 9:00 PM|
[quote]But as she was singing Will He Like Me? my boyfriend slipped a tricolor gold friendship ring from Tiffany's on my finger. One of the greatest nights of my life.
And later that evening, did you give up your precious flower to him for the first time?
|by Jina Zasper||reply 122||Last Thursday at 9:15 PM|
[quote]And I wish to God someone would produce a major Broadway revival of MAME so everyone can see how horribly the humor has dated (never mind the un-pc problems throughout) and we can all then move on and never hear about MAME again.
The Kennedy Center produced "Mame" back in 2006 with the hope of a limited Broadway run to follow. Christine Baranski was Mame and Harriet Harris was Vera. I saw it, and, trust me, it was obvious 15 years ago that the book and the humor had not aged well at all. Plans for a Broadway run were canceled, supposedly because the cost would have been prohibitive, but I'm guessing there was more to it than that. The musical was 40 years old then, and it looked it.
|by Jina Zasper||reply 123||Last Thursday at 9:28 PM|
Susan Hayward would have made a great Margo Channing in Applause.
|by Jina Zasper||reply 124||Last Thursday at 9:42 PM|
Mame also looked tired and dated in 1983 when that undernourished national tour limped into town. I saw it at a poorly attended Saturday matinee. I'm not exaggerating when I say there were 100 people in the audience at the Gershwin. It was the emptiest Broadway theatre I had ever seen. But I won't forget Angela Lansbury still giving it her all as if it were opening night in 1966.
|by Jina Zasper||reply 125||Yesterday at 2:37 AM|
[quote] And later that evening, did you give up your precious flower to him for the first time?
Nope, we just fucked each other like rabbits all night long like we'd been doing for months. We were both sleep deprived at that point.
|by Jina Zasper||reply 126||Yesterday at 2:52 AM|
^ Young, horny and in love. Ah, youth.
|by Jina Zasper||reply 127||Yesterday at 2:56 AM|
Devil Wears Prada would need a star … or at least Donna Murphy.
|by Jina Zasper||reply 128||Yesterday at 3:57 AM|
You know, after watching Ted Lasso, some of us were looking to cast Hannah Waddingham in something. THAT'S a Miranda Priestly. Catherine Zeta Jones could also do it... when she gets a little older.
|by Jina Zasper||reply 129||Yesterday at 4:04 AM|
Good idea, r129.
|by Jina Zasper||reply 130||Yesterday at 4:14 AM|
[quote] Christine Baranski was Mame and Harriet Harris was Vera.
I think that production didn’t come to Broadway because Christine Baranski is not really a Mame. She lacks the warmth to pull off “If He Walked Into My Life”.
The musical version of Mame is difficult to cast because the actress needs to be madcap and zany but yet has to have a warm side as well as project sophistication.
|by Jina Zasper||reply 131||Yesterday at 4:38 AM|
Everyone knows Baranski is a Vera, not a Mame.
|by Jina Zasper||reply 132||Yesterday at 4:41 AM|
Christine Ebersole also played Mame at Paper Mill. She would seem to have the right ingredients, but yet that didn't work either.
|by Jina Zasper||reply 133||Yesterday at 4:45 AM|
[quote] Mame also looked tired and dated in 1983 when that undernourished national tour limped into town.
Lesson on the mistakes of greedy producers. Opening in the middle of Summer in the largest Broadway house with the revival of a golden age musical in an era when Cats was dominating the Broadway scene.
If they had waited and opened in September, they probably could have had a respectable run through Christmas. At least it would have given the gays time to get back from Fire Island and Provincetown.
|by Jina Zasper||reply 134||Yesterday at 4:49 AM|
There's a good full boot of that '83 Mame tour and bits and pieces of the original. It's obvious how tired that tour was. How lucky Angela was to get Murder She Wrote just a year later.
|by Jina Zasper||reply 135||Yesterday at 4:56 AM|
It was more than luck. Angela got Murder She Wrote after everybody the producers wanted turned them down. The pilot was written for Jean Stapleton after she left All in the Family but nobody said yes until it was offered to Angela. Shades of Mame.
|by Jina Zasper||reply 136||Yesterday at 5:01 AM|
[quote] Opening in the middle of Summer in the largest Broadway house with the revival of a golden age musical in an era when Cats was dominating the Broadway scene. If they had waited and opened in September, they probably could have had a respectable run through Christmas. At least it would have given the gays time to get back from Fire Island and Provincetown.
Yes, but the original La Cage began previews in early August, just two weeks after the revival of Mame opened, and was a smash, with or without the Fire Island and Provincetown gays. Part of the problem was the revival of Mame was rushed into town to try to ride the coattails of Jerry Herman's comeback with La Cage, after word of mouth on La Cage was so strong out of Boston. But Mame ended up looking so threadbare next to La Cage.
|by Jina Zasper||reply 137||Yesterday at 5:05 AM|
So is it true that Aaron Tveit presents his hole in the Schmigadoon! episode being dropped today on Apple TV +?
|by Jina Zasper||reply 138||Yesterday at 5:14 AM|
Is Aaron Tveit even aware he has a hole?
|by Jina Zasper||reply 139||Yesterday at 5:15 AM|
Schmigadoon! is so smug and witless. Case in point: Alan Cumming's closeted mayor is named Manlove. This is humor? The satirical musical numbers are sort of meandering and toothless. I've enjoyed Kristin Chenoweth giving it her all as the repressed wife of the town minister, but that's about it.
|by Jina Zasper||reply 140||Yesterday at 5:34 AM|
Satire is dead, r140.
Especially in the American theatre.
|by Jina Zasper||reply 141||Yesterday at 5:40 AM|
Saw the Brian Stokes Mitchell al fresco concert at Lincoln Center last night. A good mix of standard Broadway fare but some or the arrangements were a little too Sunday jazz brunch and boy does the man love to talk (I'd say, it was a healthy 80 minute concert that stretched to almost 2 hours with his patter). Highlights for me included "I, Don Quixote" (partly sung in Spanish), "Waters of March," a solo "Wheels of a Dream," and "Stars" (this was a lovely surprise, did Stokes play Javert at some point?)
|by Jina Zasper||reply 142||Yesterday at 5:42 AM|
Ebersole played Vera opposite Michelle Lee’s Mame st the Hollywood Bowl with Ben Platt as young Patrick.
|by Jina Zasper||reply 143||Yesterday at 5:48 AM|
[quote] Christine Baranski was Mame and Harriet Harris was Vera.
I love them both but.....that sounds terrible. Their personas are so similar.
|by Jina Zasper||reply 144||Yesterday at 5:55 AM|
[quote]The musical version of Mame is difficult to cast because the actress needs to be madcap and zany but yet has to have a warm side as well as project sophistication.
|by Jina Zasper||reply 145||Yesterday at 6:23 AM|
"Ebersole played Vera opposite Michelle Lee’s Mame at the Hollywood Bowl with Ben Platt as young Patrick."
Here they are.
|by Jina Zasper||reply 146||Yesterday at 6:44 AM|
Lucy wasn't bad as Mame. She was too old, but there's not much she could do about that. Theodora Van Runkle's costumes sometimes complimented her, but sometimes straight-jacketed her. Gene Saks should have looked at the costumes for 'Bosom Buddies' and dismissed them.
The big problem was Paul Zindel's script. Warner's wanted to make an "important" film with MAME, so they hired Paul Zindel who had a rosy glow from the success of "The Effect of Gamma Rays on Man in the Moon Marigolds." Yes, for a moment, he was an 'important playwright' but he produced a script that smelled to high heaven.
If Lucy actually failed at any point in the production, she failed at not recognizing that the script was shit. She failed at not throwing it across the room and going back home until it was fixed. NO ONE could have made a success with that script.
|by Jina Zasper||reply 147||Yesterday at 6:45 AM|
Here's Ben Platt in " Mame," closer in age to Evan Hansen than he is now.
|by Jina Zasper||reply 148||Yesterday at 6:45 AM|
Hermoine hated pretty much everyone. She was once at a pool party with the cast and their families during the ALNM run. Children were running around being children, and Hermoine loudly announced, "Whom shall I pay to drown the little bastards?".
|by Jina Zasper||reply 149||Yesterday at 6:46 AM|
"Hermoine hated pretty much everyone. She was once at a pool party with the cast and their families during the ALNM run. Children were running around being children, and Hermoine loudly announced, "Whom shall I pay to drown the little bastards?".
What? I never said that! I just mentioned that I didn't care for Slytherin.
|by Jina Zasper||reply 150||Yesterday at 6:57 AM|
There's a story that may be apocryphal, that Hermione met her grandchildren for the firsst time when they were able to walk and talk. When she arrived, they ran up to her squealing, GRANNY! She supposedly turned on her heel and walked out.
I knew her late in life (hers, not mine) and she was a hoot. Not surprised she hated kids, though.
|by Jina Zasper||reply 151||Yesterday at 7:32 AM|
I wonder what Hermione and Sondheim made of each other.
|by Jina Zasper||reply 152||Yesterday at 7:38 AM|
Baranski in D.C. "Mame"
|by Jina Zasper||reply 153||a day ago|
Michele Lee looks like she's never been on a stage before in that clip! I mean, really.
|by Jina Zasper||reply 154||a day ago|
Why do people think the title number in Mame is so problematic? I can understand some idiot on Twitter who doesn't understand context thinking that, but anyone with half a brain can see that it's a number about Mame showing small minded folks that not everyone from up north is worthy of scorn. There's nothing racist about it. I don't seem to remember a chorus of slaves coming out and doing a kickline. What the hell are you people talking about?
Now, the whole character of Ito would probably need to be scrapped altogether.
|by Jina Zasper||reply 155||a day ago|
You'd have to cut about a quarter of MAME for it to work today.
|by Jina Zasper||reply 156||a day ago|
[quote]Why do people think the title number in Mame is so problematic?
Because that incessant straight-forward rhythm produces the effect of being repeatedly beaten in the head.
|by Jina Zasper||reply 157||a day ago|
R155, the song takes place on an old family plantation in the south. Today it is hard to watch that without thinking about the slaves on whose backs the family fortune and property was built. That makes it hard to accept the number as carefree.
The number is performed by people who are dressed for a foxhunt, which is an upperclass activity, which again brings to mind the people on whom the wealth is built. I think you could watch a European foxhunt without such images in mind, but for something set in the American south---how can you not?
We just cannot watch this in the same way.
It is hard to take the number as joyous, because it incorporates so many tropes that are now seen as malign.
|by Jina Zasper||reply 158||a day ago|
What that little Jewish boy Ben Platt doing singing to St. Bridget? He better have sung We need a little Hanukkah later in the show.
|by Jina Zasper||reply 159||a day ago|
[quote]Everyone knows Baranski is a Vera, not a Mame.
Baranski wasn't ideal casting. She didn't have the necessary warmth, But she wasn't the reason "Mame" didn't work in 2006. The smell of mothballs permeated the theater.
|by Jina Zasper||reply 160||a day ago|
I'd love to see a production where Ito is turned into Cousin It (RIP, recently) from "The Addams Family". Of course, someone would complain that they are then denying an Asian a role (even a not-really-intended to be, but still racist) role.
|by Jina Zasper||reply 161||a day ago|
[quote]Lucy wasn't bad as Mame. She was too old, but there's not much she could do about that.
Well, except that "Mame" is a musical, and her singing sounded like she was being dubbed by Everett Dirksen.
|by Jina Zasper||reply 162||a day ago|
"Why do people think the title number in Mame is so problematic?"
Because it was not written by Sondheim and featured in " Follies."
|by Jina Zasper||reply 163||a day ago|
R158 nails it. The title song of MAME arguably shouldn't be a problem today in that, of course, it was meant ironically, but there's too much baggage attached to allow people today to enjoy it -- and it sure doesn't help that it contains those lyrics where all those white Southerners sing to Mame, "you've given us the drive again to make the South revive again!" That number, plus the way Ito is written AND the off-putting subplot about Gooch's unwanted, unwed pregnancy, are sadly more than enough content to keep this show from ever being revived again.
Re Christine Baranski -- just because she is most famous for playing a character that had no warmth, some fools insist that the actress is unable of playing warmth. In my opinion, she was very warm when she needed to be in MAME, and as someone else said, she was not the problem with that production.
|by Jina Zasper||reply 164||a day ago|
The best version of Mame (unfortunately marred by opening with blackface).
|by Jina Zasper||reply 165||a day ago|
R154, she is warmer than Meryl in Mama Mia.
|by Jina Zasper||reply 166||a day ago|
What I can't figure out is why Baranski is still -- in EVERY interview -- bringing up that production of MAME and her leg injury and how they made her dance on that "huuuuuuuuuuuge" staircase. She just won't let go of it.
|by Jina Zasper||reply 167||a day ago|
At this rate, I suppose we can't stage shows about people from the south anymore. It's very hard to care about Blanche DuBois when she came from a plantation home that probably once housed slaves as well. Cancel her!
Problematic elements aside, Mame's book has always paled in comparison to the original stage play. Would it be possible to do a complete overhaul on the book and keep the songs?
|by Jina Zasper||reply 168||a day ago|
What's so wrong with Gooch's pregnancy subplot? That Mame and Vera pushed her into fucking some random guy and are responsible for her situation? At least they help her through it. At that time in history, a woman like Gooch would have been shunned by most everyone around her.
And please don't say The Upsons are problematic, too, because they always have been. The play is making fun of them for being close minded bigots. If people aren't smart enough to figure that out, they don't belong in a theater.
|by Jina Zasper||reply 169||a day ago|
Thank god they cut Nora from the musical!! She was always a slur to hard-working Irish immigrants everywhere.
|by Jina Zasper||reply 170||a day ago|
Why don't they build up the Ralph Devine character? "Mame" could use more nudity; I'd love see if Jerry Herman had a song called "Fish Families" in his trunk!
|by Jina Zasper||reply 171||a day ago|
I do miss Nora. The musical has too much Gooch.
|by Jina Zasper||reply 172||a day ago|
Remind me never to complain about Follies ever again.
|by Jina Zasper||reply 173||a day ago|
Here ya go FOLLIES fans....A new video from an exciting new musical that is sure to warm your hearts!
|by Jina Zasper||reply 174||a day ago|
R168, I do not remember if Belle Reve was a plantations, but Williams often used plantations (like in Cat) as a sign of inherited baggage of various sorts, so he seems close to how we see things now.
Blanche and Stella do seem to be dealing in different ways with some inherited burden based in guilt, so the association of southern wealth with slaves seems to be on target--no problem at all.
|by Jina Zasper||reply 175||a day ago|
[quote]Blanche and Stella do seem to be dealing in different ways with some inherited burden based in guilt, so the association of southern wealth with slaves seems to be on target--no problem at all.
|by Jina Zasper||reply 176||a day ago|
Christine Baranski in BLANCHE! THE MUSICAL.
|by Jina Zasper||reply 177||a day ago|
Everybody wants to do a musical, r177...
|by Jina Zasper||reply 178||a day ago|
51:35 to 58:35...Faith's *Men* doesn't disappoint.
|by Jina Zasper||reply 179||21 hours ago|
Men was a great number, the only good one in the whole bunch. Prince should have also been nominated for Featured Actress for this.
|by Jina Zasper||reply 180||21 hours ago|
That's why I zipped to it, r180. It's the only one on the CD I liked.
|by Jina Zasper||reply 181||21 hours ago|
I also remember a musical number where they all kicklined Lorraine's dead body downstage, but I'm not sure when that happens. It was the only other clever part in the show.
|by Jina Zasper||reply 182||21 hours ago|
Hit it, Lorraine.
|by Jina Zasper||reply 183||21 hours ago|
Actually, Prince was the best thing in the show and the best number was "A Busy Night at Lorraine's." but the only actual moment that stayed with me (as mentioned above) was the kickline where everyone was kicking Lorraine's dead body towards the footlights. Wish the rest of the show was an eighth as good.
|by Jina Zasper||reply 184||20 hours ago|
I did headsets in college for a while at the theaters and got put into the Marquis for a weekend at Nick and Nora. It took me three shows to get through watching the whole thing, that's how boring it was.
|by Jina Zasper||reply 185||20 hours ago|
I saw one of the first previews for "Nick & Nora" before Jossie de Guzman was fired. Never understood why she was fired because hers was a small role that had no effect on an obviously sinking ship. I went back near the opening and they had changed Christine Baranski's song, but the obvious problems with the show were never addressed. Talented cast, but when the dog gets more applause, you know something is wrong.
|by Jina Zasper||reply 186||20 hours ago|
[quote]What's so wrong with Gooch's pregnancy subplot? That Mame and Vera pushed her into fucking some random guy and are responsible for her situation? At least they help her through it. At that time in history, a woman like Gooch would have been shunned by most everyone around her.
What's wrong with her pregnancy is that she gets pregnant while she's drunk, the pregnancy was completely unplanned and unwanted, and she was abandoned by whoever the father was -- Brian O'Bannion in the original play, some unidentified guy in the musical. Gooch is not happy about the pregnancy, and if she didn't have Mame to fall back on, she would be in desperate circumstances, because as you say, at that time, a woman in her situation would have been shunned by society. Where is the humor in all that?
[quote]And please don't say The Upsons are problematic, too, because they always have been. The play is making fun of them for being close minded bigots. If people aren't smart enough to figure that out, they don't belong in a theater.
I don't think the Upsons are problematic at all. The scenes involving them have aged very well and don't seem dated at all, as compared to some of the other material in the play and the musical.
|by Jina Zasper||reply 187||19 hours ago|
Why didn’t anyone tell me Perfect Crime has reopened?
|by Jina Zasper||reply 188||19 hours ago|
[quote]I saw one of the first previews for "Nick & Nora" before Jossie de Guzman was fired. Never understood why she was fired because hers was a small role that had no effect on an obviously sinking ship. I
Because, clearly, she was the innocent scapegoat targeted by the evil, despicable Arthur Laurents, who in his youth has a lot of talent as a writer but who never, ever displayed any talent as a director.
|by Jina Zasper||reply 189||19 hours ago|
Wait until R187 reads Macbeth.
|by Jina Zasper||reply 190||19 hours ago|
[quote] Wait until [R187] reads Macbeth.
Speaking of which, what do we think of the new movie starring Denzel and Frannie and directed by a single Coen brother and filmed in black and white?
|by Jina Zasper||reply 191||19 hours ago|
[quote]Wait until [R187] reads Macbeth.
Well, this comparison of the flawed, dated script of MAME with the acknowledged all-time classic MACBETH may just possibly signify a new low in stupidity among DataLounge posters. And that is quite an achievement.
|by Jina Zasper||reply 192||19 hours ago|
I’ll never forget the crowd at Radio City hooting in derisive laughter at that absolutely ridiculous shot of Mame and Young Patrick sitting on a construction plank near the top of a skyscraper. Or whatever it was.
|by Jina Zasper||reply 193||19 hours ago|
[quote] Arthur Laurents, who in his youth has a lot of talent as a writer but who never, ever displayed any talent as a director.
I don’t think that’s true. La Cage and the two productions of Gypsy with Angie and Tyne were great.
|by Jina Zasper||reply 194||19 hours ago|
R193, I believe they are actually sitting on the Statue of Liberty's crown!
|by Jina Zasper||reply 195||19 hours ago|
You believe correctly, r195.
|by Jina Zasper||reply 196||18 hours ago|
Lucy demanded they shoot on location. She had to get the kid wasted to coax him out on that crown.
|by Jina Zasper||reply 197||18 hours ago|
r192 I was mocking your pearl clutching at how an unwed mother is portrayed. But yeah, sure, murder is fine. Puritanicals always gasp over issues involving sex but have no issues with violence.
|by Jina Zasper||reply 198||18 hours ago|
Just make Beauregard and his family black.
|by Jina Zasper||reply 199||18 hours ago|
R199's idea is really very good. At the least, it would made the presentation of that dreary title song EXTREMELY interesting.
|by Jina Zasper||reply 200||18 hours ago|
An Invitation To Take A Breath: "You Are Here" at Lincoln Center Combines Sculpture, Sound, and Dance:
|by Jina Zasper||reply 201||18 hours ago|
Have Beauregard's family mistake her for Dolly Levi and have them sing "Hello, Dolly!" instead. There's practically the same song in intent.
|by Jina Zasper||reply 202||18 hours ago|
Have Beauregard's family mistake her for Mabel Normand and have them sing "When Mabel Comes in the Room" instead. They are practically the same song in intent.
|by Jina Zasper||reply 203||18 hours ago|
Contrast and compare, r202
|by Jina Zasper||reply 204||18 hours ago|
Jenifer Lewis for Mother Burnside!
|by Jina Zasper||reply 205||18 hours ago|
re: Schmigadoon. I keep watching, though I'm not getting much out of it. I enjoyed Ann Harada's song in today's episode, almost entirely due to her and not the aiming-for-but-not-nearly-as-clever-as-it-wants-to-be song. I also got exactly one laugh out of it--when Cecily Strong tries to reassure Keegan-Michael Key that no one dies in a musical...except Oklahoma...and Carousel...and South Pacific...and West Side Story ("That sounds like all the musicals!"). Sigh. I really wish it was better...or good.
|by Jina Zasper||reply 206||17 hours ago|
Mame and Vera should sing Bosom Buddies topless.
|by Jina Zasper||reply 207||17 hours ago|
Mame and Vera should sing Bosom Buddies topless while giving each other breast exams
|by Jina Zasper||reply 208||17 hours ago|
Which theatre is the Lens Dunham “ Cinderella” going in to?
|by Jina Zasper||reply 209||17 hours ago|
There’s no indication that Gooch doesn’t want her child. In fact, the lyric of Gooch’s song points in the direction of her being happy she’s going to have a baby. Since Brian is cut from the musical, we never see the man who got her pregnant or the scene of them on a date.
Incidentally, they ruined the “Burnside Gooch” joke in the movie. Instead she sings “I had too much gin, and I found my prince, and have I been nauseous ever since!”
|by Jina Zasper||reply 210||17 hours ago|
|by Jina Zasper||reply 211||17 hours ago|
|by Jina Zasper||reply 212||17 hours ago|
|by Jina Zasper||reply 213||16 hours ago|
In retooled revival Mame and Vera can give Gooch an at-home abortion during a reprise of 'Bosom Buddies.'
|by Jina Zasper||reply 214||16 hours ago|
You coax the fetus out of the womb, Ma-a-ame!
|by Jina Zasper||reply 215||16 hours ago|
Hah, R195, thanks, of course that’s where they were. So stupid. The crowd at Radio City expressed how stupid it was.
|by Jina Zasper||reply 216||16 hours ago|
|by Jina Zasper||reply 217||16 hours ago|
I only just now thought about it, but did COVID put a cap on Mousetrap being the longest running show in history or had it ended before?
|by Jina Zasper||reply 218||16 hours ago|
Isn't The Mousetrap coming back? I think everything counts, there's just been a long "intermission."
|by Jina Zasper||reply 219||16 hours ago|
I’m surprised Erik’s book GYPSY AND ME was never turned into a musical or a movie. A younger Geena Davis would have made a wonderful Gypsy.
|by Jina Zasper||reply 220||15 hours ago|
ALW’s Cinderella is coming back… but not until August 18. Is there some reason he chose that date?
|by Jina Zasper||reply 221||15 hours ago|
Aren’t all the remaining restrictions in the UK being lifted on August 16th?
|by Jina Zasper||reply 222||15 hours ago|
A question about Cinderella: how come in their kingdom, Cinderella is the only woman with that size foot?
Got a song for that, Mr. Andrew Lloyd Webber?
|by Jina Zasper||reply 223||14 hours ago|
R223 You do realize that the story goes back to China and is connected with foot binding. So one assumes her father as a merchant traveler traded through the Asian markets and brought the idea home with him and decided to conduct a rather sick and twisted experiment with his own daughter.
|by Jina Zasper||reply 224||14 hours ago|
LucyMAME screenwriter Paul Zindel also wrote the teleplay of the 1985 TV miniseries musical version of [italic]Alice in Wonderland[/italic], aired on CBS the same year Lucy herself was in [italic]Stone Pillow[/italic] and Lucie Arnaz’s sitcom failed.
|by Jina Zasper||reply 225||14 hours ago|
[quote] A question about Cinderella: how come in their kingdom, Cinderella is the only woman with that size foot? Got a song for that, Mr. Andrew Lloyd Webber?
That plot hole has been there since day one. Neither Walt Disney nor Rodgers and Hammerstein nor the Sherman brothers did anything about it. Why would Lloyd Webber?
|by Jina Zasper||reply 226||14 hours ago|
Speaking of, when is someone going to do a revival of Effects of Gamma Rays?
|by Jina Zasper||reply 227||14 hours ago|
[quote] You do realize that the story goes back to China and is connected with foot binding. So one assumes her father as a merchant traveler traded through the Asian markets and brought the idea home with him and decided to conduct a rather sick and twisted experiment with his own daughter.
Julie Andrews never told that part of the story.
In the Grimm fairytale version, one of the stepsisters chops off part of her foot to try and get the slipper to fit.
|by Jina Zasper||reply 228||14 hours ago|
R196 also explains why they cut the “fall off, fall off” song while Mame is on that horse.
|by Jina Zasper||reply 229||14 hours ago|
[quote] a new multimedia work at Lincoln Center that incorporates sculpture, a soundscape, and dance is inviting people to reflect on what it was like to live in the city during the pandemic.
Reflect on what is WAS like?? We're still fucking living through it. What a load of horseshit.
|by Jina Zasper||reply 230||14 hours ago|
Foot binding was never exported to France.
The Disney animated version also says in the opening narration “the stepsisters squandered the family fortune“ so that explains why they would be so desperate to marry a prince.
|by Jina Zasper||reply 231||14 hours ago|
I saw audience footage of the first Anything Goes preview in London. Full house. No masks. And they wonder why Covid is spreading?
|by Jina Zasper||reply 232||14 hours ago|
John Stamos IS Mame!
|by Jina Zasper||reply 233||14 hours ago|
One cut off her toes, r228, the other cut off her heels.
|by Jina Zasper||reply 234||14 hours ago|
[quote] John Stamos IS Mame!
I’d pay to see his manboobs in Bosom Buddies.
|by Jina Zasper||reply 235||14 hours ago|
Person to Carol...
|by Jina Zasper||reply 236||14 hours ago|
r219 I think it would have to be called an interval.
|by Jina Zasper||reply 237||14 hours ago|
r236 Her husband's name was AXE?
|by Jina Zasper||reply 238||14 hours ago|
[quote]I was mocking your pearl clutching at how an unwed mother is portrayed. But yeah, sure, murder is fine. Puritanicals always gasp over issues involving sex but have no issues with violence.
Umm, the huge, tremendous, epic difference being that the murders in MACBETH are not played for comedy, you flaming asshole. Honestly, I didn't think you could write anything more incredibly stupid that the post I was responding to, but you have outdone yourself.
[quote]There’s no indication that Gooch doesn’t want her child. In fact, the lyric of Gooch’s song points in the direction of her being happy she’s going to have a baby.
Completely incorrect. True, she doesn't sing anything like "Oh my God, I'm going to have a baby and I don't want it!", but neither does she express anything like happiness over her impending motherhood. Instead, she repeatedly keeps asking Mame, "What do I do now?" And in a subsequent scene in the play, Gooch starts crying when she's asked who the father of her baby is -- and in the musical, or at least in the movie version of the musical, she says (or almost says) "My baby is going to be a little bastard."
|by Jina Zasper||reply 239||13 hours ago|
You don't understand Gooch at all, R239. Your analysis comes to nothing much and it certainly does not support your conclusion.
R210 is correct in his assertion regarding Gooch and her incipient baby. She eats well and she's already picked out a name.
|by Jina Zasper||reply 240||13 hours ago|
For chrissakes, Gooch is from the pen of Patrick Dennis, not Fannie friggin' Hurst.
|by Jina Zasper||reply 241||13 hours ago|
Colbert is coming on and his guest tonight is Baranski.
|by Jina Zasper||reply 242||13 hours ago|
[quote]Colbert is coming on and his guest tonight is Baranski.
Will she still be talking about having to dance on that staircase in "Mame"?
|by Jina Zasper||reply 243||13 hours ago|
It's a repeat from last month.
|by Jina Zasper||reply 244||13 hours ago|
R219 It's already reopened.
R222 Yes they are, which really goes to show how ridiculous the man is. He could have waited two months and avoided all of this, but no, he had to rush it back and then whines when that results in something entirely predictable.
Of course, this is the same man who wanted to reopen last year, banging on about Phantom in South Korea having some kind of anti-bacterial misting system - completely ignoring the fact they also had a fully functioning track and trace programme in place.
|by Jina Zasper||reply 245||12 hours ago|