Theatre Talk: In Our Own Little Corner

[ElectricBoogaloo]

10 hours ago, aradia22 said:

I was searching my brain because it seems crazy that it took this long to reach those milestones. But unless someone can come up with some examples, I guess that must be true. It's not that Asians/Asian Americans aren't working in theatre but so far at least on the creative side, they haven't been doing a lot of that work on Broadway as much as off-Broadway and maybe on the West Coast. The only names I could come up with are David Henry Hwang, Julia Cho, and Adam Gwon and Hwang is the only one who has been involved in a Broadway musical.

There was a very short featurette after Allegiance that showed a bunch of different stuff (George Takei visiting Heart Mountain, brief interviews with the cast and crew, etc.) and there were blurbs on the screen about how the show provided some Broadway firsts, including the first Asian director on Broadway, the first Asian composer on Broadway, and something about the female composer that escapes me now. One of the actors said that his uncle was placed in an internment camp and someone else served in the 442 (I think it was Greg Watanabe who played Mike Masaoka).

13 hours ago, ebk57 said:

I agree with pretty much everything you both said @ElectricBoogaloo and @aradia22.  I saw the film last night and thought that it was and especially important subject currently.  I felt the show was pretty old-fashioned with the love stories shoehorned in (not that old-fashioned is bad, but I felt it with this show).  I was uninspired by a lot of the ballads.  But, all in all, I'm really happy that I managed to get the last ticket in the theatre.  I was quite impressed that the show was sold out.

As for the technical aspects, there were several times I thought the music tracks overshadowed the vocal tracks.  And there was an odd echo for a while during act 2, but I don't know it that was a local theatre issue. 

Definitely glad I saw the show.

I definitely noticed the weird echo during Act 2 as well. At first I thought someone behind me was talking!

Most of the shows near me were sold out. The theater closest to my house was showing it in two different theaters at 7:30 but both shows have been sold out since last month. At the last minute, they added two more shows at 10:45pm so I was able to see it!

[DisneyBoy]

Something in this Dreamgirls review of the London production threw me for a loop:

Quote

Ibinabo Jack also grabs plenty of limelight as the feisty Lorrell, her rendition of the overtly saccharine 'When I First Saw You' beautifully judged, 

I thought that was Curtis' song sung to Deena after the photoshoot in Act Two...did they reassign it to Lorrell during one of the revivals?

[Scott]

13 hours ago, ElectricBoogaloo said:

and something about the female composer that escapes me now.

I thought it was that Laura Bergquist was the first female music director of a Broadway show, but I may not have that right.

[Rinaldo]

1 hour ago, Scott said:

I thought it was that Laura Bergquist was the first female music director of a Broadway show, but I may not have that right.

That can't be right as it stands, because (to go no further), Mary-Mitchell Campbell was music director for Big Fish, Tuck Everlasting, and part of the run of Finding Neverland, and Kimberly Grigsby has too many MD credits for me to try to list.

[Scott]

It seemed surprising to me also, so I must have heard it incorrectly.  Sorry about that.  Can't even blame it on the echo, since it was fixed by that point...

[aradia22]

It's going to be a while before something tops Kelli O'Hara at Carnegie Hall but I saw Joyce DiDonato's concert tonight promoting her new album. There was some gorgeous singing as well as some things I wasn't so crazy about. I didn't think it was entirely effective but I appreciate how theatrical she tried to make it with the costumes and the projections and lights and moving around the stage. The dancer didn't do anything for me.

• Handel- Scenes of horror, scenes of woe from Jephtha (low point. I was worried it was all going to be like this. It's not what I would call warbly which to me is like Irene Dunne in Show Boat but however you characterize this kind of singing... not a fan. I also think I prefer opera in non-English languages. I'm not sure if it's the composers I happen to be hearing or just how it sounds to me in English.)
• Leonardo Leo- Prendi quel ferro, o barbaro!, from L'Andromaca
• Emilio de' Cavalieri- Sinfonia from Rappresentatione di Anima et di Corpo
• Henry Purcell- Chacony in G Minor, Z. 730, Dido's Lament from Dido and Aeneas (LOVED, gorgeous)
• Handel- Pensieri, voi mi tormentate from Agrippina (Also loved, very intense) 
• Carlo Gesualdo- Tristis est anima mea (I wish I'd read the program before seeing this after seeing that musical based on him.) 
• Handel- Lascia ch'io pianga from Rinaldo (Beautiful... by the way @Rinaldo is this the inspiration for your handle?)
• Purcell- They tell us that you mighty powers above from The Indian Queen
• Handel- Crystal streams in murmurs flowing from Susanna (This one was rough for me too. And it went on and on.), Da tempeste il legno infranto from Giulio Cesare 
• Arvo Part- Da pacem Domine
• Handel- Augelletti che cantata from Rinaldo (LOVED, especially the recorder bird soloist)
• Jommelli- Par che di giubilo from Attilo Regolo (Impressive, but if I had to choose, I don't think fast singing... coloratura, bel canto, whatever you might call it, is my preference)
• Encore 1: More par che di giubilo?
• Encore 2: Strauss- Morgen!

[arc]

11 hours ago, Scott said:

I thought it was that Laura Bergquist was the first female music director of a Broadway show, but I may not have that right.

I think it was just that it was her first time in a top line position on a Broadway show.

[ElectricBoogaloo]

I'm sorry I can't remember exactly what was said about Laura Bergquist! I thought it might have been that she was the first female conductor of a Broadway musical. I tried googling to confirm but most of the articles I found were about the 24 year old woman who was the youngest female Broadway conductor (for Waitress back in October).

[aradia22]

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Manhattan Concert Productions has just announced lead casting for their 25th anniversary concert version of Gershwin's Crazy for You. Tony Yazbeck and Laura Osnes, will co-star as Bobby Child and Polly Baker on February 19, 2017 at 8:00 p.m. 

I've been seeing the poster for ages every time I've gone to the Met. I'm glad casting has finally been announced even if I don't have interest in the show just to appease my curiosity.

Again, I'm still debating whether or not I need to buy tickets to Anastasia, Amelie, and War Paint right now. I have no idea how they're going to sell. When I bought a ticket way in advance for Bright Star and paid full price, I justified it because of the AR points. And I still had a maddening bad audience experience. I didn't pay nearly as much for Shuffle Along but the bad audience experience sent me into a meltdown. But I also don't want to get into a Natasha, Pierre/Waitress situation where I keep putting off seeing the show because all but the worst seats are out of my price range.

[aradia22]

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casting for the Encores! production of Big River: The Adventures of Huckleberry Finn, the Tony Award-winning musical based on Mark Twain's classic American novel. Big River will star Nicholas Barasch (Huckleberry Finn), Patrice Covington, Andrew Cristi, Wayne Duvall, Mike Evariste, Charlie Franklin, Annie Golden, Katherine A. Guy, Megan Masako Haley, Adrianna Hicks, Zachary Infante, Gizel Jimenez, Andrew Kruep, John-Michael Lyles, Cass Morgan, Tom Nelis, Tom Alan Robbins, Horace V. Rogers, Kyle Scatliffe (Jim), Tony Sheldon (the King), Christopher Sieber (the Duke), and Lauren Worsham.

http://www.broadwayworld.com/article/Breaking-News-Nicholas-Barasch-Charlie-Franklin-Kyle-Scatliffe-and-More-to-Star-in-Encores-Production-of-BIG-RIVER-20161215

Kyle Scatliffe singing Muddy Water? YES, PLEASE.

[aradia22]

Home from the NY Pops holiday concert. There was a lot of unremarkable singing but Liz Callaway sang Once Upon a December and Journey to the Past so I'm happy. Her big notes weren't quite as big and those high breathy notes were a little shakier, but otherwise she sounds exactly the same as she did in the movie. It gave me chills. 

Edited December 17, 2016 by aradia22

[aradia22]

This sounds interesting. It's running from January 6-11 and one date is already sold out. Tickets are cheap though I don't know what you'll be getting for those 90 minutes. 

http://www.intrepidmuseum.org/blueprintspecials.aspx

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Join us for the Blueprint Specials, starring two-time Tony Award nominee Laura Osnes (Cinderella, Bonnie & Clyde) and Tony Award nominee Will Swenson (Hair). Created by a who’s who of 20th-century American entertainers, including composer Frank Loesser and choreographer José Limón, these original revues were designed as “blueprints” for soldiers to easily put on in the field as a way to boost morale. The Army packaged and distributed them as a complete script, with score and orchestrations, scenic and costume drawings, and instructions for how to put on the show. As such, these extraordinary works can be seen and heard today exactly as their creators intended.

The critically acclaimed theater company Waterwell is excavating and reviving these virtually unknown shows as a collaboration between civilian artists and veterans. Tuneful, subversive and disarmingly witty, the Blueprint Specials offer a fresh and surprising look at the intersection of conflict and culture. Partnering with the Under the Radar Festival at the Public Theater, Waterwell will present the Blueprint Specials at the Museum. This will be the first staging of these musicals since 1945—and the first ever for the American public.

[arc]

Allegiance had a nine-webisode documentary about the process of bringing it to Broadway. (So if you saw it in the movie event this week, this is a longer version of the behind-the-scenes mini-mini-doc that played after the play.)

Edited December 17, 2016 by arc

[ebk57]

10 hours ago, aradia22 said:

This sounds interesting. It's running from January 6-11 and one date is already sold out. Tickets are cheap though I don't know what you'll be getting for those 90 minutes. 

http://www.intrepidmuseum.org/blueprintspecials.aspx

The venue itself makes it worth going.  I wish it was happening in February.

[Rinaldo]

Yesterday I was able to see the documentary about the original production of Merrily We Roll Along, Best Worst Thing That Ever Could Have Happened, in Wilmington DE.

I can give it a quick, pretty much unconditional recommendation. It's a fine piece of work, certainly the best direction I've seen from Lonny Price. It's just amazing that so much of this footage exists -- auditions, rehearsals, early previews, and more -- and it's a joy to be able to see it and compare it with the participants' recollections. Those recollections are remarkably insightful and varied too (my only regret is that after unexpectedly catching up with the leading man who was fired before opening, and even hearing him tell about that event, he never brought us up to date about what he's done since -- I'd always wondered). Anyway, see it if you possibly can.

[Milburn Stone]

9 minutes ago, Rinaldo said:

Yesterday I was able to see the documentary about the original production of Merrily We Roll Along, Best Worst Thing That Ever Could Have Happened, in Wilmington DE.

I cannot wait for this to play in Chicago. There's word that it will play at the Gene Siskel Film Center here. However, it's not on their schedule yet. However again, their schedule currently only lists events through January 5. Which is a little weird, since it's already December 18, and makes you wonder why nothing is scheduled after January 5. Worry and hope (for the Gene Siskel Film Center to last long enough to play this movie) both spring eternal.

[Charlie Baker]

That documentary is a theater-person must and a Sondheim-admirer absolute must.  I should think there will be other platforms to catch it once the theatrical run is through--but it is a kick to see it in a movie theater.

Fingers crossed for you, Milburn.

[Milburn Stone]

2 hours ago, Charlie Baker said:

That documentary is a theater-person must and a Sondheim-admirer absolute must.  I should think there will be other platforms to catch it once the theatrical run is through--but it is a kick to see it in a movie theater.

Fingers crossed for you, Milburn.

Thanks, Charlie. Oh, I have no doubt it will be available through Apple TV at some point, probably before long. But I have a Sondheim-loving friend with whom it will be a kick to see in the movie theater, plus whoever else is in that theater with us (if it ever happens), because, small as the auditorium might be, and small as the attendance in that auditorium, every single one of the audience will be a Sondhead. And that means the feelings of intense longing, regret, depression, injustice, and sorrow will be multiplied a hundredfold to the point of being well-nigh unbearable, which will be glorious.

[aradia22]

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The Sydney Theatre Company production of The Present, which arrives on Broadway December 17 at the Barrymore Theatre, has announced its general rush policy.

Beginning with the first preview, a limited number of general rush tickets will be available when the box office opens at 10 AM the day of the performance (noon on Sundays) at $45 each. There is a limit of two tickets per person; subject to availability.

Hmn... $45 is not a rush. At this rate, $50 rushes are going to be the norm. http://www.playbill.com/article/rush-policy-announced-for-broadways-the-present-starring-cate-blanchett

[aradia22]

Albums available on Amazon Streaming (if you have Prime)

Doctor Zhivago, Far From Heaven, Cry Baby, Big Fish, The Color Purple (revival), Something Rotten, Annaleigh Ashford Lost in the Stars, Melissa Errico What About Today, Laura Benanti In Constant Search of the Right Kind of Attention, Laura Osnes Dream a Little Dream, Patti Lupone Far Away Places, Christiane Noll Gifts, Marin Mazzie Make Your Own Kind of Music, Norbert Leo Butz Memory & Mayhem, Aaron Tveit The Radio in My Head, Side Show (revival), The Visit

I started looking things up since BroadwayRecords is currently having a "sale" (that's not really a sale when you factor in shipping and tax). Amazon has a lot of the albums that they sell that aren't on Spotify. 

Edited December 19, 2016 by aradia22

[aradia22]

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 the producers of the new musical Roald Dahl's Charlie and the Chocolate Factory, announced today that two-time Tony Award winner Christian Borle (Willy Wonka) will be joined by a cast of 35 that includes Tony Award winner John Rubinstein as Grandpa Joe (Pippin), Emily Padgett as Mrs. Bucket (Side Show), Kathy Fitzgerald as Mrs. Gloop (9 to 5), F. Michael Haynie as Augustus Gloop (Wicked), Ben Crawford as Mr. Salt (Shrek), Emma Pfaeffle as Veruca Salt (Finding Neverland), Alan H. Green as Mr. Beauregard (School of Rock), Trista Dollison as Violet Beauregard (A Bronx Tale), Jackie Hoffman as Mrs. Teavee (On The Town), and Michael Wartella as Mike Teavee (Tuck Everlasting).

So not a huge amount of star power, even by Broadway standards. It's mostly resting on Christian Borle and the property of Charlie and the Chocolate Factory itself. I wonder how much they'll push Shaiman and Wittman.

http://www.vulture.com/2016/12/hairspray-live-disappoints-in-ratings.html

[aradia22]

It's not a hummable melody but for some reason the part of Your Daddy's Son from Ragtime that goes "Only darkness and pain,/The anger and pain,/The blood and the pain!/I buried my heart in the ground!" keeps earworming into my brain. Just the melody. It takes me a while to remember where it's from. 

[ebk57]

So last night, I bought tickets to see The Great Comet and Sunday in the Park for our Washington's Birthday weekend visit.  I'm thrilled.  And pretty broke. 

[aradia22]

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On January 14th at 8:00 PM EST, BroadwayHD brings you Roundabout Theatre Company's production of Holiday Inn -- LIVE from Broadway's Studio 54.  Watch it live on the web or on your BroadwayHD app for Apple TV, Roku, iPhone, and iPad.

https://www.broadwayhd.com/index.php/shows/watch/Holiday_Inn_Preview#sthash.gPWEZxKR.SbD4TsOu.dpbs

[Jac]

On 18/12/2016 at 11:42 PM, aradia22 said:

Hmn... $45 is not a rush. At this rate, $50 rushes are going to be the norm. http://www.playbill.com/article/rush-policy-announced-for-broadways-the-present-starring-cate-blanchett

I'm sort of amazed that an STC production has a rush at all, despite it being the norm on Broadway. Rush tickets are sadly not the norm in Australian theatre, making it very difficult for poor student me to afford anything. STC and M(Melbourne)TC tickets run AU$99-200/ticket (approx. US$75-175) with very few discounts available. It drive me nuts, I would be a regular if I could afford it, but at those prices I get to see maybe one show a year. 

In happier news, I'm back from NY, where I got to see four shows in week, reviews forthcoming.

[aradia22]

Quote

In happier news, I'm back from NY, where I got to see four shows in week, reviews forthcoming.

Looking forward to it, Jac! I finally got around to writing some new reviews if anyone is interested. https://www.show-score.com/i/61643-theatre-cat

[aradia22]

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As previously announced, Tony Award-winner Joanna Gleason will revisit Nick and Nora in a reunion concert presented by Feinstein's/54 Below, Broadway's Supper Club. She will be joined by her original co-star, Tony Award winner Barry Bostwick (The Robber Bridegroom, Grease, The Rocky Horror Picture Show).

Bostwick and Gleason will also be joined by original co-star, Academy Award winner Chris Sarandon (The Light In The Piazza, The Rothschilds, Dog Day Afternoon).

http://www.broadwayworld.com/article/Barry-Bostwick-to-Reunite-with-Joanna-Gleason-for-NICK-AND-NORA-at-Feinsteins54-Below-20161220

Is this a thing I should see? I don't have much familiarity with this show. I also keep confusing it with Mack and Mabel. I've heard about them both in passing (and maybe also Not Since Carrie.) Either way, I'm impressed that 54 Below is doing so well reuniting these casts. 

[aradia22]

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BWW has confirmed that the current Broadway revival of William Finn and James Lapine's musical FALSETTOS will air as part of PBS' "Live From Lincoln Center." No air date has been announced.

YAY YAY YAY YAY! I already know this is going to live on the DVR for months. I just made myself delete the Chita Rivera Great Performances. I wish you could still tape things to VHS. 

http://www.broadwayworld.com/article/Broadway-Revival-of-FALSETTOS-to-Air-on-PBS-Live-From-Lincoln-Center-in-2017-20161221

[Rinaldo]

9 hours ago, aradia22 said:

Is this [Nick & Nora] a thing I should see? I don't have much familiarity with this show. I also keep confusing it with Mack and Mabel. I've heard about them both in passing (and maybe also Not Since Carrie.) Either way, I'm impressed that 54 Below is doing so well reuniting these casts. 

Nick & Nora is about the married couple at the center of the beloved Thin Man movies (and nothing like Mack and Mabel, who were an actual director and actress in the silent movie era, the subject of a musical with score by Jerry Herman). Weirdly, rather than use the stories of the source novel or any of the movies, it used a new one by Arthur Laurents (who also directed). Music by Charles Strouse, lyrics by Richard Maltby Jr. It's one of the most famously troubled, indeed disastrous, musicals ever. Laurents was the "muscle" and wanted different things (audience-alienating, off-putting things) from everyone else, and it wasn't working with audiences. They kept postponing the opening trying to fix it (there were articles about the record-setting two months of previews, never mind all the backstage turmoil), and never did. It finally opened and then closed a week later. It got recorded though.

I liked some of the songs (though some I liked were replaced by the time it opened), and they'll certainly come off better when separated from Laurents's book, as they do on the recording. It's nice that they've reunited Bostwick and Gleason for this, as their charisma gave it much of what lift it had. Having secured her, it was no great challenge to get Sarandon as well, as and he and Gleason met on the show, married 3 years later, and have been together ever since. I wonder if they'll be able to round up any of the others; Christine Baranski, Debra Monk, Faith Prince (who, thanks to the quick closing, was able to jump immediately into the Guys and Dolls revival that made her name).

[aradia22]

An article further clarifying the legal issues around the Anastasia copyright lawsuit. I think it's worth reading the whole thing. It's not a great scandal like Rebecca or anything but I find the issue fascinating, particularly in this age of sequels and adaptations in every medium. In Shakespeare's time, you would tell the same story over and over in French, in Italian, repeating plot elements and adding some of your own flair. Now people are often afraid to strike out with a new property, preferring the safety of familiar ideas as a jumping off point (Once Upon a Time/Grimm) or expanding a franchise (Marvel/Star Wars). Sure there are the original properties of Dear Evan Hansen, Come From Away, Natasha Pierre and the Great Comet of 1812, War Paint, The Bandstand and In Transit this season on Broadway. But Amelie, Anastasia, A Bronx Tale, Charlie and the Chocolate Factory, and Groundhog Day are all adaptations of pre-existing properties. That's almost a half and half split (and not counting all the revivals... or Great Comet as an adaptation of War and Peace, though you could). 

http://www.forbes.com/sites/marchershberg/2016/12/21/lawsuit-threatens-anastasias-broadway-debut/#5e3ca28622fe

[Milburn Stone]

On 12/21/2016 at 3:46 PM, Rinaldo said:

Laurents was the "muscle" and wanted different things (audience-alienating, off-putting things) from everyone else, and it wasn't working with audiences.

He was at that ever since Anyone Can Whistle, if not before. I guess he never learned. (What was irritating about Whistle, in the stagings I've seen, was that his strenuous attempts to alienate were such clichés. You wanted to speak to him from the audience, "Yes, I see how you're positing that "normalcy" is just another word for conformity. Guess what? Mind not blown. That's not nearly as revolutionary or even novel an idea as you think it is.")

I'm not one who thinks Charles Strouse wrote all his best scores when young--I think his score for Rags is glorious from beginning to end, one of the great neglected scores, and I wish he'd worked with Stephen Schwartz more--but the score from Nick & Nora didn't do much for me on first hearing, and I've seldom gone back to it. What songs stand out for you? I'll give it another shot.

[Charlie Baker]

From the Nick and Nora score I liked Nick's number "Look Who's Alone Now" very much.  Faith Prince really sold her "Men" number.

The score is fun in general, if not one of Strouse's best.  I can't add to what Rinaldo said about the show, but I will say that as a Thin Man devotee, it was one of the biggest disappointments I've had in my theatergoing lifetime. 

[Rinaldo]

@Charlie Baker has answered so well that there's nothing more for me to say on that count. You'll note that my commendation of the songs was pretty mild -- "I liked some of the songs" -- and indeed the one I liked best, "Quartet in Two Bars," was apparently an early cut. It was the point where the investigation took off, Bostwick and (especially) Gleason got a chance to sparkle, and I thought "Maybe this thing will spring to life after all." Hopes soon to be dashed.

I totally agree about the familiarity (even at the time) of Laurents's "insights," and in an online review I wrote of Anyone Can Whistle, I pointed out how utterly tired and predictable the whole "people called 'crazy' are really the sane ones" trope was; several movies of that era that my friends flipped for but I rolled my eyes at were based on that premise (Harold and Maude, King of Hearts, One Flew Over the Cuckoo's Nest). Even Sondheim eventually said as much, when he wrote in connection with that show, "There's a difference between being smart and being smart-ass."

I agree about Strouse staying strong throughout his career, though as it happens my top favorite songs of his -- four of the most inspired pieces ever composed for a musical -- all come from relatively early: "Put On a Happy Face" (those who think it's just a perky time-filler are underrating it), "Night Song," "While the City Sleeps" (both from Golden Boy), and the glorious "Once Upon a Time" (All American). He was also lucky with his musical associates: two of the greatest sets of orchestrations written for any musical (surpassed only by Jonathan Tunick) are for Strouse scores -- Robert Ginzler for Birdie and Eddie Sauter for Superman.

[JustaPerson]

I just saw La La Land and noticed that the lyrics for the Golden Globe (and probably Oscar) nominated song "City of Stars" were written by Pasek and Paul, of Dear Evan Hansen. I hope they win, the song is so beautiful and bittersweet. I haven't heard LMM's song from Moana yet but I'm rooting for City of Stars to win. 

Edited December 24, 2016 by JustaPerson

[Milburn Stone]

10 hours ago, Rinaldo said:

I agree about Strouse staying strong throughout his career, though as it happens my top favorite songs of his -- four of the most inspired pieces ever composed for a musical -- all come from relatively early: "Put On a Happy Face" (those who think it's just a perky time-filler are underrating it), "Night Song," "While the City Sleeps" (both from Golden Boy), and the glorious "Once Upon a Time" (All American). He was also lucky with his musical associates: two of the greatest sets of orchestrations written for any musical (surpassed only by Jonathan Tunick) are for Strouse scores -- Robert Ginzler for Birdie and Eddie Sauter for Superman.

Can't disagree with any of the above, and would only underline, italicize, and put in all caps how great Ginzler's orchestrations were. In the Birdie score, another song that knocks me out--it may be my favorite, not because I can make a case for it that it's "greater," just because I have such affection for its freshness--is "An English Teacher." Every time it runs through my mind, I marvel at its originality. It never wears out its welcome.

[aradia22]

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The new Broadway-bound musical Groundhog Day has announced complete casting for its upcoming mounting at the August Wilson Theatre.

http://www.theatermania.com/broadway/news/groundhog-day-complete-broadway-casting_79399.html

And in completely unrelated news, I picked up an Audience Rewards ticket for Kid Victory. 500 points + $12. I wasn't aware of The Landing but I'm surprised there isn't more buzz around a new John Kander show.

[aradia22]

I started listening to the Grey Gardens album. I don't hate it but I 100% wouldn't have been ready for it when it came out and I was still in high school. It's not difficult like I found Light in the Piazza melodically challenging but it's difficult to latch onto. And it can be lyrically dense. I don't mind songs that are very wordy but I think when it isn't done as deftly, all your concentration goes towards trying to figure out what's being said and not towards enjoying what's being said. I felt the same way about a few songs in Falsettos. 

How did people feel about "The Mysterious Orient" and "Hominy Grits" at the time? It's not fabulous optics even for 1941 but I get it, especially living in a bubble of privilege. But the wiki isn't very clear on the plot and how the songs were used. 

Edited December 27, 2016 by aradia22

[ElectricBoogaloo]

On 12/23/2016 at 10:43 PM, JustaPerson said:

I just saw La La Land and noticed that the lyrics for the Golden Globe (and probably Oscar) nominated song "City of Stars" were written by Pasek and Paul, of Dear Evan Hansen. I hope they win, the song is so beautiful and bittersweet. I haven't heard LMM's song from Moana yet but I'm rooting for City of Stars to win.

This is the Moana song that was nominated for a Golden Globe:

[aradia22]

We also have a Movie Musicals thread. http://forums.previously.tv/topic/9660-movie-musicals/

[aradia22]

I finished up Grey Gardens. I liked "Mother Darling," "Daddy's Girl," "Will You," "Around the World," and "Another Winter in a Summer Town." I'm cautiously optimistic about War Paint. I'll try to get to Far From Heaven soon. I wish I could get a better sense of the story. I mean, I get the gist of what's happening, but not too much plot. Unless there wasn't much of a plot. 

[Charlie Baker]

There's not a tremendous amount of plot in Grey Gardens. Act One is setting up what these women's lives were like before the fall that they were unprepared for that lead to the situation of Act Two, which is pretty much putting the documentary film on the stage with songs. 

[aradia22]

I finally gave the Hamilton Mixtape a listen. I certainly don't hate it. But it definitely didn't register the way the show's cast album did. I think obviously that was helped by the structure and story but I think the production and performers also play a role. Pop (by which I mean popular music) production nowadays tends to flatten things out and the performers are just much less expressive. Listening to both the rap and the melodic songs, it's easier to lose a sense of the lyrics. The sound can feel more important than the content. I feel like I could have this on playlists and not get swept up in listening to it (like I could still be doing work) but I like getting swept up in theater songs even if that means I listen to them less while I'm trying to focus on something else. 

[ElectricBoogaloo]

I know what you mean. I want to like the Hamilton Mixtape for multiple reasons, but I prefer the original versions of the songs. I think remaking songs, especially Broadway/musical songs, can be a tricky thing though. If you just remake them exactly the same way as the original (same orchestration, same phrasing, etc), what's the point? But if you change them too much, the songs can lose what made them so good in the first place. I appreciate that the Mixtape is giving mainstream singers the opportunity to do these songs (and therefore create even more mainstream exposure to Hamiilton), but their versions didn't really resonate with me. But hey, if it gets some kid who had no intention of seeing Hamilton to give it a try, then I'm all for it.

[Silver Raven]

Does anybody know if there is a cast album for the Broadway production of The Great Comet?

[aradia22]

Silver Raven, yes, there is. Or, at least it's on the way. I remember in the Ars Nova kerfuffle that they'd scheduled the recording session the same day as an Ars Nova benefit but I forget when that was supposed to be. 

[ebk57]

8 minutes ago, Silver Raven said:

Does anybody know if there is a cast album for the Broadway production of The Great Comet?

I think there will be one at some point.  

I finally listened to the Off-Broadway recording today, since I have tickets for the show in February.  Admittedly, I was at work so couldn't pay really close attention, but lots of it sounded the same.  Like a lot of Russian music just going on and on...   I need to study up before I get there.

[aradia22]

Tonight I saw my first production of The Magic Flute at the Met. But first... a rant.

If you really love live performances (theatre, dance, opera, etc.) then you have respect for the people on stage and your fellow audience members. I get that when you go to see a production like this pitched at a family audience, you may have to deal with some adorable child whispering. There was surprisingly little of that, I think because there are some parents who are actually teaching their children to be good theatre patrons... God bless them. No, I have a bone to pick with the adults. I'm even prepared to let the nigh constant coughing go (though not from the one guy who sounded like he was about to die and should have stayed home). You do not turn your phone on vibrate and then let it go off 3 times during the performance. You do not kick the chair of the person in front of you as a form of clapping. You do not leave your phone on, let it go off in the middle of the performance, answer the phone with the screen at full brightness, and then talk to the people around you about who was on the other end. You do not comment on the entire show like you're watching a movie on the couch at home. You do not get to act like you loved it at the end when you weren't fully engaged and were disruptive to all the people around you.

OK, now the show. I would be interested to see a German language version and a full version. I definitely see where this is geared towards family audiences. The production is Julie Taymor AF. I almost wish it were more colorful and ornate but I can see where she's drawing her inspiration (it feels mostly Japanese) and I get that it's not Turandot and everything can't be big and grand and ostentatious like I want it to be. I loved the revolving set. I liked a lot of the costumes. I don't think all the puppets worked but they were mostly pretty charming and they filled the space in a way at lot of Met productions sadly don't. I don't want to feel like I'm watching ants run around a big box. I wasn't crazy about all the dialogue but I assume that's where the shorter edit comes in. At times it felt very panto/children's theatre and I got the sense that either the adaptation or the original glossed over the conflict between Sarastro and the Queen of the Night and the tasks/quest (besides the vow of silence part) and how that all got resolved. Any ideological depth was also lost on me. Most of what I got was... cool, another kind of misogynistic organized religion (though not to the point it upset me). Everyone sang well and not in the awkward way opera singers can sometimes sound when they sing in English. The Papageno was great. The Pamina had those lovely "glowy" soprano notes that float up to the rafters so well. The big Queen of the Night aria (and the other one) sounded great though I would have liked more Diana Damrau fierceness. I thought the supertitles were pretty good (especially considering a lot of it rhymed) though I may be softening my judgment because I'm thinking of it more as family theatre. 

[aradia22]

Quote

The producers of In Transit announced today that Broadway veteran Colin Hanlon (Falsettos, Rent) will assume the role of 'Steven' in Broadway's first a cappella musical, beginning Tuesday, January 10, 2017 at Circle in the Square Theatre (235 West 50th Street).

Telly Leung has departed In Transit for a leave of absence due to an unexpected personal family obligation.

http://www.broadwayworld.com/article/Colin-Hanlon-Will-Join-IN-TRANSIT-Telly-Leung-Departs-for-Personal-Obligation-20170103

[Scott]

Saw Amélie in Los Angeles Tuesday night.  It was very...meh.  I read a review after the fact that called it "enjoyable, but forgettable", and that really sums it up well for me.  The performances were fine, the music was OK, but the story seemed very difficult to follow if you didn't already know the story from the movie.  Definitely was hoping for more.  

[PRgal]

On 2016-12-24 at 1:43 AM, JustaPerson said:

I just saw La La Land and noticed that the lyrics for the Golden Globe (and probably Oscar) nominated song "City of Stars" were written by Pasek and Paul, of Dear Evan Hansen. I hope they win, the song is so beautiful and bittersweet. I haven't heard LMM's song from Moana yet but I'm rooting for City of Stars to win. 

 

I saw La La Land over the holidays, loved it and think it will transfer well on stage.  How long before we hear stage rights are sold?  *HMMMMMM*