Theatre Talk: In Our Own Little Corner

[ElectricBoogaloo]

Jeff Marx discusses Avenue Q (skip ahead to the 4:30 mark to avoid the lame pre-show garbage):

[ElectricBoogaloo]

Julie Taymor on the possibility of bringing "Across The Universe" from film to stage:

[ElectricBoogaloo]

Spencer Liff discusses Head Over Heels:

[ElectricBoogaloo]

A day in the life at 42nd Street Studios where Broadway shows rehearse. This was originally filmed in January and posted in March, so I thought it would be fun to watch it again now that these shows have opened (Frozen, Escape to Margaritaville, Pretty Woman, and the Philip cast of Hamilton). There's also an annotated guide here with names and other information.

[ElectricBoogaloo]

Keri Russell and Adam Driver will star in the Broadway revival of Burn This

Performances wil begin in March 2019. 

[aradia22]

So... the age difference almost works? It's not Andy, it's Samantha. She looks like a teenager. The wigs and costumes help a little. But my reaction to that sexy scene was: NOPE NOPE NOPE. I don't know. It's bad enough it's a romance about a sex worker and her client. But even in this 1 minute promo there were way too many baby prostitute moments. The story and the power imbalance are already uncomfortable and the casting makes it worse. The show looks sort of fun in that Jerry Mitchell way but what was that song? 

[Rinaldo]

21 hours ago, ElectricBoogaloo said:

Keri Russell and Adam Driver will star in the Broadway revival of Burn This

So this is the revival that was set to star Jake Gyllenhaal, then postponed when a limited run of Sunday in the Park with George suddenly became possible during the same timeframe. I was wondering when/if we were going to hear more about it, and here it is with Adam Driver instead, a very different presence.

[Silver Raven]

OMG, OMG, OMG, Ken Page is going to do the voice of Audrey II in next week's Little Shop of Horrors at Sacramento Music Circus.  THAT is a big casting!

[aradia22]

I saw Carmen Jones tonight at CSC. I was on a date so my head wasn't totally in it. Scattered thoughts...

standout performers: David Aron Damane (Husky Miller) not the best lower register I've ever heard but solid

Clifton Duncan (Joe) just a fine tenor at first but he has some really fabulous, resonant "sing out Louise" moments towards the end

Andrea Jones-Sojola I can always pick out that first soprano in the ensemble who is KILLING IT

Lindsay Roberts (Cindy Lou) She took a character that bores me in the opera and played it straight but with intention. 

Soara-Joye Ross (Frankie) She really sells her solo even if I don't love that number.

Anika Noni Rose (Carmen Jones) I mean, come on. Flawless voice. Absolutely gorgeous. Stunning, captivating, star. All of the things. This is her show. 

I'm curious how I would feel if I didn't know anything about Carmen. My date said he liked it. But I just kept comparing it to the opera and the novella in my head. I'm also curious about what they cut for this production. Which, by the way, they filmed for the Lincoln Center archives. There are tiny hints of it but it is a LOT less misogynistic than either the novella or the opera. I feel like the girlfriend back home character works better than in Bizet's opera. She's somehow both less of a threat and yet more of a presence with the pacing and the time devoted to her character in this production. The Ma/Pa stuff is a little awkward and one issue is that in spite of compelling performances, I never felt that much for the characters. It was like an Encores show. It felt more like an exercise in adapting Carmen than a show that stood well on its own. Like, I'm not sure the lyrics were fabulous but in some ways they communicated the story better and gave it a little more depth. But the timeline in this production seems incredibly compressed and it made it hard to sympathize with anyone who said they were in love. Like... what? When did any of you have the TIME to fall in love? It feels like it's only been a few days and you've barely spent time together. I also kind of wished here and there that it wasn't so tied to the music from the opera. As I said, Beat Out Dat Rhythm on a Drum was a fun number but it was one of the more forced adaptations. It didn't sound anything like what those characters should have sounded like. At least change up the tempo or something. And there's a certain pleasure in seeing how the familiar songs are twisted to fit this musical vs. enjoying the songs in their own right. But it certainly lets the performers show off. Anika had her beautiful legit soprano, clear as a bell, and also this sultriness that you can't quite get in the opera. I'm glad I saw it but I'm not sure it's the most successful show. I will say the book had surprisingly funny moments. The Joe character was also more sympathetic than any other version though again, it comes out of nowhere when he snaps and kills her unlike the asshole in the opera where it was only a matter of time.

[aradia22]

So... not looking good. I'm glad all the critics seemed to come prepared to talk about the gender dynamics and sexual politics. But it's shaping up to be such a weak musical season I wonder if Pretty Woman will be critic proof. 

https://www.timeout.com/newyork/theater/pretty-woman-review

https://deadline.com/2018/08/pretty-woman-broadway-review-musical-samantha-barks-julia-roberts-all-dressed-up-no-place-to-go-1202445929/

https://variety.com/2018/legit/reviews/pretty-woman-musical-review-broadway-1202905982/

http://www.vulture.com/2018/08/theater-pretty-woman-and-the-trouble-with-onstage-nostalgia.html

https://www.theguardian.com/stage/2018/aug/16/pretty-woman-broadway-musical-review

https://www.villagevoice.com/2018/08/16/the-lyrical-artistry-of-broadways-pretty-woman-musical-wouldnt-pass-muster-in-a-febreze-commercial/

Edited August 19, 2018 by aradia22

[ratgirlagogo]

The sexual politics of the original movie were horrifying.  I've always hated it.  More horrifying is that it's a favorite romantic comedy for so many women.  Sheesh.  At least the musical might have some decent songs.  I guess.

[Milburn Stone]

I just now realized how toxic is that Geico commercial with Alexander Graham Bell talking on the phone in the theater. You're going to think I'm crazy, but I'm serious.

The announcer says "As long as people talk too loudly on the phone, you can count on Geico saving folks money." 

In other words, Bell's crime is not taking a phone call at his seat in the middle of a performance. Bell's crime is talking too loudly when he does it.

Geico sends the message with that commercial, therefore, that talking on the phone from your seat is just dandy as long as you do it quietly enough. This is not encouragement that people should be getting. 

I commented in a commercials thread, before I understood just how very toxic this commercial is, that I bet the copywriter originally did write something like (to be read in an irritated tone of voice) "As long as some people use their phones in theaters, you can count on Geico saving folks money," and this had to be changed when someone realized that the target Geico audience uses their phones in theaters. I was amused by this behind-the-scenes scenario, not thinking too much at the time about how harmful the present copy is to our shared theatrical experience. Thank you, Geico, for giving permission to morons to use their phones in theaters, as long as they don't do it loudly.

Edited August 22, 2018 by Milburn Stone

[SomeTameGazelle]

Just saw the news that Laura Benanti will be taking over the role of Eliza Doolittle from Lauren Ambrose. https://deadline.com/2018/08/laura-benanti-my-fair-lady-lauren-ambrose-replacement-broadway-1202451040/

[aradia22]

@SomeTameGazelle

OH. MY. GOD. YES YES YES YES YES YES

[ebk57]

Nice.  If she's still in it in February, I may try to see it again.

[SomeTameGazelle]

7 hours ago, ebk57 said:

Nice.  If she's still in it in February, I may try to see it again.

According to the linked article, she is scheduled to be there from October 23rd to February 17th with a substitute on Tuesdays.

[ebk57]

13 hours ago, SomeTameGazelle said:

According to the linked article, she is scheduled to be there from October 23rd to February 17th with a substitute on Tuesdays.

That's cutting it close since we usually go over Presidents Day weekend.  We'll see...

Thanks for the info - since I'm obviously too lazy to click a link :-)

[ElectricBoogaloo]

Mean Girls and The Band’s Visit will both be touring! SHN recently announced that both shows will be in SF during the latter part of the 2019-2020 season. The Band’s visit will be here in spring 2020 and Mean Girls will be here in summer 2020.

They also announced that the Meatloaf musical will be in SF this December but I have no interest in seeing that. 

[aradia22]

I saw On A Clear Day You Can See Forever again tonight. If you can see it, I recommend it. Obviously my experience was a little different seeing it a second time and knowing what was coming and how to feel about the characters with that in mind. But Ben Davis is a great addition. Bogardus was more believable as a therapist and he gave a stronger acting performance. Ben Davis was more conventional leading man and the Melinda/Daisy stuff at the end seemed even messier and more nonsensical. But that voice. 

I can see why you suggested him when we were talking about Kiss Me Kate and baritones @Rinaldo

[ElectricBoogaloo]

Marilu Henner discusses Gettin' The Band Back Together:

[ElectricBoogaloo]

Two years ago:

[unicorn23]

On 8/12/2018 at 8:46 PM, aradia22 said:

Did you get the new program? I don't think the design is bad aside from the "A" being cut off in a weird place but I don't think she photographs that well. She is very sweet. I don't remember if I mentioned this but when I stage doored with some girls I met in the rush line that morning she sang happy birthday to a little girl waiting to meet her and it melted my heart.

I did not because I saw the show two weeks before and just missed out on meeting her at the stage door after that show. I do plan on seeing it again before the year is over so I’ll get the new program then. Agreed on that picture and it’s actually one of my least favorite pictures of Christy. 

She sang happy birthday twice to two people who were celebrating birthdays and both times it was the sweetest thing. When she hit the high notes in the end and putting her own flair into it...so special. 

ETA: Will definitely have to go and see My Fair Lady now. Haven’t seen Laura on Broadway (sacrilege, I know, but have only gotten into Broadway for the last two years) but have seen her in Supergirl when I still watched it. Really excited for this! Also might pop in again to see Waitress and see Nicolette as Jenna.

Edited August 26, 2018 by unicorn23

[ElectricBoogaloo]

Bette Midler's final bow at Hello, Dolly!

[Silver Raven]

Today's Sacramento Music Circus production was the last show of the season, Little Shop of Horrors.  Not a bad performance in the entire show, it was really enjoyable.

Jared Gertner was Seymour.

Sarah Litzsinger was Audrey.  Such a beautiful voice.

Michael Kostroff as Mushnik.

Ken Page as the voice of Audrey II.  He was great, of course.

Jamison Stern as Orin and all of the extra characters.

Zonya Love was Crystal, and I was surprised that she had such a small role, but Sacramento Music Circus was her first professional gig, so I guess she has a soft spot in her heart for them.  All of the Skid Row girls were absolutely amazing.

[Silver Raven]

Today's Hamildrop.  Andra Day, "Burn".

[Silver Raven]

Dancer/choreographer Paul Taylor has died, age 88.

https://www.nytimes.com/2018/08/30/obituaries/paul-taylor-dead.html

[aradia22]

https://www.broadwayworld.com/article/Josh-Radnor-Megan-Hilty-James-Monroe-Iglehart-Will-Lead-LITTLE-SHOP-OR-HORRORS-at-Kennedy-Center-201808306

Oooh...

[SomeTameGazelle]

Sweepstakes to attend a studio recording of a song from the new musical The Prom. I love The Drowsy Chaperone so I am interested in this show which sounds quite fun.

[aradia22]

Quote

Producers Anita Waxman, Rodney Rigby and Seattle's 5th Avenue Theatre announce today the new musical formerly known as Little Dancer will make its West Coast Premiere as MARIE, A NEW MUSICAL.

Directed and choreographed by five-time Tony Award winner Susan Stroman (The Producers, The Scottsboro Boys), MARIE features a book and lyrics by Tony Award winner Lynn Ahrens (Ragtime, Once On This Island) and music by Tony Award winner Stephen Flaherty (Ragtime, Once On This Island).

MARIE will begin performances on Friday, March 22. This is a limited engagement through Sunday, April 14, 2019.

https://www.broadwayworld.com/article/Susan-Stroman-Will-Direct-Ahrens-Flahertys-MARIE-A-NEW-MUSICAL-at-5th-Avenue-Theatre-20180912

I do not love the one song I've heard from the show and I think they need to tread carefully with Degas to not make the whole think too creeper-y. But I love the idea of a ballet musical about the real people (fictionalized, of course) behind the statue. I read a children's/YA book that tried a similar thing. https://www.amazon.com/Marie-Dancing-Carolyn-Meyer/dp/0152058796

 

http://www.playbill.com/article/marin-mazzie-star-of-ragtime-and-passion-dies-at-57

Such a shock. I feel privileged to have seen some of her recent live performances (Zorba, King and I, 54 Below). She seemed strong and healthy. I really didn't anticipate this at all in spite of a recent cancelled concert appearance. It hasn't sunk in quite yet. She had a beautiful voice and a great talent for acting a song. I'm glad her work will live on through her albums and filmed performances and for her friends and colleagues and loved ones this must be heartbreaking news. You never know a performer but she seemed like a lovely person.

[HazelEyes4325]

7 minutes ago, aradia22 said:

http://www.playbill.com/article/marin-mazzie-star-of-ragtime-and-passion-dies-at-57

Such a shock. I feel privileged to have seen some of her recent live performances (Zorba, King and I, 54 Below). She seemed strong and healthy. I really didn't anticipate this at all in spite of a recent cancelled concert appearance. It hasn't sunk in quite yet. She had a beautiful voice and a great talent for acting a song. I'm glad her work will live on through her albums and filmed performances and for her friends and colleagues and loved ones this must be heartbreaking news. You never know a performer but she seemed like a lovely person.

That is heartbreaking.  I never had the privilege of seeing her perform live, but I have a few recordings of her and her voice was amazing.

[bosawks]

“All this happiness
Merely from a glance in the park
So much happiness
So much love”

RIP Marin, you were a joy.

Edited September 13, 2018 by bosawks

[dbklmt]

https://www.broadwayworld.com/article/VIDEO-Remembering-Marin-Mazzies-Greatest-Performances-20180913

I had the pleasure of seeing her perform twice.

The first time was in San Diego in 1992 at the Civic Theatre in the National Tour of 'The World Goes Wrong', a musical revue featuring the music of Kander and Ebb. I will never forget her rendition of "Ring Them Bells".

The second time was with her husband, Jason Danieley at Segerstrom Center for the Arts in cabaret at the Samueli Theatre, an evening with songs from their CD,  'Opposite You' that reflected the love they had for each other!

The Broadway stage has lost a beautiful voice and a magnificent star. R.I.P. Marin.

Edited September 14, 2018 by dbklmt

[Rinaldo]

I saw Marin Mazzie onstage several times, but the one that stands out for me most is her performance of Lalume in Kismet at Encores. I'd been looking forward to it, but it turned out to be a dismal experience, badly directed by Lonny Price and astoundingly miscast in all the supporting roles. Its only saving graces were the two lead performances -- Brian Stokes Mitchell (strong and solid just as I had hoped) and Marin Mazzie, who surpassed anything I'd expected, with magnetic charm, charisma, and stunning vocal display. In the style-less void surrounding her, and without directorial help, she found and maintained a style and performance level that lifted the status of the evening every time she was onstage.

[aradia22]

Quote

I have yet to experience any audience participation scheme that enhanced the effect of the play enough to justify its damage to my nerves.

A line from a Jesse Green piece that grabbed me. I have actually enjoyed some audience participation bits in various shows whether I've had to participate in some way or whether I could just observe (e.g. seeing how the actors interacted with the audience who chose the onstage seating in Great Comet). But it's got to be good or I've got to really be in the right mood for it to overcome my anxiety and discomfort. 

https://www.nytimes.com/2018/09/14/theater/fall-season-cher-king-kong-bob-dylan.html?action=click&module=Editors Picks&pgtype=Homepage

[DisneyBoy]

My thanks to whoever suggested I check out the film version of Gentlemen Prefer Blondes. Jane Russell was a real discovery for me. I don't think I've ever seen her in anything else and she was wonderful in the film. I don't know that I preferred it to the stage version that I saw with Megan Hilty and Rachel York however. I think I prefer the songs and the overall plot from the stage show.

What's interesting to me though is that I have a very negative response to Lorelai's character consistently in both versions. Is it really supposed to be cute and endearing that Lorelai Lee flirts with elderly men to get jewelry from them? On the surface I didn't think it would bother me, but seeing it repeated in both the stage version and the film version makes me uncomfortable. I know Marilyn is adored by men for her buxom curvaceous figure and breathy voice, but I must imagine women hate her. What is there to possibly aspire to?

Strange also that the nerdy man the best friend ends up with in the stage show is actually Marilyn's fiance in the movie. I really wish I could have listened to one of the story discussions at these major Studios back in the day when they were adapting stage shows for the movies. They really felt comfortable changing large portions of the plot and characterizations, didn't they? Considering how we scrutinize every little change made to source material adapted for film these days, I can't imagine how infuriating it must have been for audiences back then who saw one thing on Broadway and something completely different in the movie theater. Of course, because so many of these adapted musicals we're light and bubbly affairs, I'm not too frustrated by the changes. I actually sort of enjoy seeing an alternate version of the same story.

Although I must say, the film version of Anything Goes really blew my mind. It didn't feel like anything worked. The Sutton Foster revival was pretty much perfection. Watching the film afterwards was a major letdown. Gentleman less so.

 

... very sad to hear about Marin Mazzie today. As soon as I saw a video of her in Spamalot on my YouTube feed, I had this sinking feeling.

I hope to someday find a bootleg of her performance in The King and I, where I heard she was wonderful.

 

I'm very eager to hear reports of Betty Buckley is performance in Hello Dolly. I know Buckley's voice isn't what it used to be, but I'm such a huge fan of her work I hope she's able to pull the show off and charm the pants off heraudiences.

 

What are the details about applying for The Prom sweepstakes? I don't do Facebook so I wasn't able to apply.

Edited September 15, 2018 by DisneyBoy

[Rinaldo]

14 minutes ago, DisneyBoy said:

Although I must say, the film version of Anything Goes really blew my mind.

Which version are you talking about? The 1936 one with Ethel Merman (very obscure -- I've never managed to see it), the 1956 one with Bing Crosby (never saw that either), or the 1954 live telecast? None of these is much remembered, the former two have songs interpolated by other writers in place of songs that got cut, and the last of the 3 shows how chaotic live telecasts could get in that era.

Completely messing around with the plot and throwing out most or all of the stage songs was more the norm than the exception until... well really until the film of Oklahoma!, though there are isolated earlier examples of relative faithfulness. But the movie studios figured that they were buying a title and little else, so one finds infuriating oddities like On Your Toes (one hears some of the Rodgers & Hart songs in the underscore, but nobody sings at all), Babes in Arms (one of the most hit-filled stage scores ever, and they cut all but one of the hit songs), and Lady in the Dark (the whole story depends on discovering the meaning of a haunting tune, and they never bother to complete the search or sing the song).

And as you notice, Gentlemen Prefer Blondes is another example of this -- mostly new story, partially new character, new songs written by others, only 3 stage songs retained and those re-purposed. I have no doubt that I vastly prefer the stage musical. As to how audiences received characters like Lorelei Lee... though I was around then, I was way too young to know about the nuances of "adult" themes like those, which could only be hinted at within the Production Code in any case. But the characterization of the outwardly nice young lady who keeps company with rich gentlemen who are not specifically paying for the time, but understand that nice presents and money for incidentals are to be provided... that seemed to be part of the landscape in popular entertainment then. Holly Golightly is another example. I can't say for sure, but I have the impression that in that era both men and women found the depiction rather fascinating and titillating, cleaned-up as it had to be.

[aradia22]

I saw Carousel today with my parents. I think my experience was actually greatly helped by indulging in all the early reports and lowering my expectations accordingly. Sets? Cheap looking. Costumes? Hideous and occasionally inexplicable. Direction? Amateurish and messy. 

But what I learned from this experience, is you can't kill Carousel as long as you have good performers. The material just won't let you do it. The voices were fantastic across the board. Early on, Jessie Mueller and Lindsay Mendez were a little hampered by their terrible accents (just why?) and I think it made it harder for them to negotiate the break between head and chest voice. But everyone, Julie, Nettie, Carrie, Billy, Enoch... sounded incredible. When those songs soared, they really soared. The romantic songs were gorgeous. Soliloquy was fabulous. 

The biggest issue was a lack of emotional connection. Lindsay was funny but not a laugh riot. Joshua played Billy as very charismatic but then after the first few scenes he got a little lost when he didn't have a song to latch on to. I think Jessie and Joshua had okay chemistry but it was just traditional leading man/woman chemistry and a little PG. It didn't crackle with any sexual tension and their kisses didn't have much passion. But the one scene that actually got to me was theirs. After Billy slaps Louise's hand and Julie runs out and sees him for a moment, I cried. Unfortunately, I didn't have a similar reaction when he

Spoiler

DIED

which was a total failure of direction. That scene was so bad. I can see where color conscious casting would have made a difference in three key places without changing much else. First is the cop who tries to warn Julie away from Billy. Another is the robbery scene. And the last is the way Billy interacts with the heavenly characters. I can see where it would have been really powerful for him to argue for his day before the pearly gates and not just a police magistrate. But then he learns that even people lower down the ladder have been looking out for him all along and have compassion for his plight. But if they didn't want to do that, that's fine too. I just wish there hadn't been so many little bad choices along the way. Aside from the ugly production, there were the terrible accents and just... a flatness. The best thing about the direction is when it was absent. The moments the direction wasn't getting in the way, you could actually appreciate the sophistication of the text. You know I'd be the first ones to call them out, but I thought Carousel actually handled abuse and toxic masculinity really well for the time period. Part of why that scene is emotional is because the show builds to Billy learning to be vulnerable and confess to his feelings for Julie, not just because they see each other again. You get the themes of redemption, compassion, etc. and you understand why Julie stays with Billy and the complexity of their relationship, at least on her side. 

I'm curious how I would have felt if some of the Enoch material hadn't been cut since I know the secondary couple is supposed to be a foil to Billy/Julie. Especially Carrie. If he's supposed to be villainous, he's a little neutered in this production. 

The dancers were the real weak point as far as the performers went. Beautiful dancing, don't get me wrong. But their acting? Phew. It stunk. Especially Louise. I'm surprised that she's still this bad. 

Also, I'm not that familiar with the original Carousel choreography and I can't remember what shows it was up against but assuming a lot of it is new, on its own merits, I can see why it won the Tony. Sometimes the lifts were a little meh in the pair dancing but Louise's ballet was a perfect communication of story and Blow High, Blow Low was impressive. I did feel like the ensemble/dancing numbers were overlong even if they were entertaining because they threw off the pacing of the story. But maybe it all works better if you add the cut material back in. Obviously, don't cut June is Busting Out All Over (which was beautifully sung, btw) but the clambake songs felt like a distraction/to give the ensemble something to do. I'm curious if anyone ever does a more intimate Carousel cutting out the ensemble. 

All in all, there was a lot of wasted potential with these great performers. But you can't kill Carousel and I very much enjoyed the moments that worked. 

Edited September 15, 2018 by aradia22

[aradia22]

https://www.broadwayworld.com/article/FUNNY-GIRL-Starring-Sheridan-Smith-to-Be-Screened-in-Cinemas-Across-the-Globe-Watch-the-Trailer-20180914

So we'll get to see if there really was something amazing or if it was just the typical West End nonsense (meaning people in London making a big fuss over something that either doesn't translate or isn't impressive by US standards).

[DisneyBoy]

Quote

Which version are you talking about?

I think it was the Bing Crosby version, if memory serves. All I recall is that it still took place on a ship, and there were two couples as the leads. The last number was blow Gabriel blow, and they had these horrible Little Wings on the top of their hats. It was really a mess.

[Rinaldo]

Bing Crosby was in both big-screen versions. B&W or color? (It does sound horrible.)

[DisneyBoy]

Color. I never knew there was a B&W version with Merman, though, or a live version. Thanks for bringing me up to speed. Here's the awful Gabriel closer:

 

Couldn't have made it stranger if they tried. It's not a difficult song.  The appeal is simple. Why rearrange and mess with it so much?

How awesome would it be if they did a reunion of the Sutton cast as a live broadcast? Maybe Joel Grey would be the only holdout if his health isn't the best (I heard he was forgetting things during the run).

I realize TV studios want to put bankable modern-day stars in these live broadcasts, but I think they're missing out on big opportunities if they don't bring the original Broadway stars together because they can actually sing and hit the notes consistently and dance and deliver.

 

(I'm still flabbergasted as to why Christopher Walken was playing Captain Hook.)

Edited September 17, 2018 by DisneyBoy

[Rinaldo]

4 hours ago, DisneyBoy said:

(I'm still flabbergasted as to why Christopher Walken was playing Captain Hook.)

I know what you mean, and yet before The Deer Hunter, for 15 years Walken couldn't get work in the movies because he was perceived as "just another chorus boy," not up to real dramatic challenges.

That "Gabriel" number (which BTW doesn't play for me here, I had to go to YouTube and search it out) is certainly weird. But the version used in the Sutton Foster production was itself thoroughly rearranged. It (like the Broadway revival before it) resembles the 1934 original only in broadest story terms and in containing most of the same songs. Just for starters, Merman undoubtedly never danced a step as Reno Sweeney (or any other role) and her vocal style was of course utterly different.

And regrettably, we have no evidence that a big TV audience will tune in to see a stage cast. I wish we did.

[DisneyBoy]

Are there any documented examples of Walken singing and dancing on the stage? I only know him from film, where he plays weird characters. If he was a Broadway baby before, I'd like to see some of that.

I really have to hand it to the team behind the Sutton Foster Revival, who really played to her strengths as a performer. I knew that the version they created was different from the original and that they added a lot more dancing, but after watching the bootleg of that production I feel like any other version of Anything Goes would be missing something without that awesome nine minute tap dance to close out Act 1. It was glorious.

[Milburn Stone]

20 hours ago, DisneyBoy said:

Couldn't have made it stranger if they tried. It's not a difficult song.  The appeal is simple. Why rearrange and mess with it so much?

Because creative people are creative.

That doesn't mean it always works out. :)

[Rinaldo]

22 hours ago, DisneyBoy said:

Are there any documented examples of Walken singing and dancing on the stage? I only know him from film, where he plays weird characters. If he was a Broadway baby before, I'd like to see some of that.

Once the movie roles started, he didn't go back and do any more stage musicals. But just a few years into his movies, there's his "Let's Misbehave" number in Pennies from Heaven. (The conceit of the film is that the songs are all fantasies lip-synched to old recordings, so that's not his voice.)

If that's still too weird, there's his bit in the 1985 Night of 100 Stars telecast from Radio City, where he gets a solo in the dance sequence. (He shows up at 7:10 but I recommend the whole thing if you enjoy classic dancers. Actually for me this is one of the great quarter hours in the history of television. It brings tears to my eyes every time I watch it.)

Edited September 19, 2018 by Rinaldo
I didn't emphasize strongly enough how wonderful the video is.

[ElectricBoogaloo]

Lin-Min Manuel is filming in Wales so a local music teacher invited him to the local monthly singalong and LMM showed up to sing!

Stars:

My Shot:

My Shot (different video):

One Day More:

[ElectricBoogaloo]

On 9/17/2018 at 10:01 PM, DisneyBoy said:

I really have to hand it to the team behind the Sutton Foster Revival, who really played to her strengths as a performer. I knew that the version they created was different from the original and that they added a lot more dancing, but after watching the bootleg of that production I feel like any other version of Anything Goes would be missing something without that awesome nine minute tap dance to close out Act 1. It was glorious.

Jonathan Groff, a self-professed Sutton Foster fan, learned the Anything Goes routine for Miscast a few years ago (skip ahead to the 2 minute mark if you just want to see the tapping):

[Spartan Girl]

I'm seeing School of Rock tonight!  I hope I love it as much as the movie!

[Milburn Stone]

On 9/18/2018 at 7:50 AM, Rinaldo said:

If that's still too weird, there's his bit in the 1985 Night of 100 Stars telecast from Radio City, where he gets a solo in the dance sequence. (He shows up at 7:10 but I recommend the whole thing if you enjoy classic dancers. Actually for me this is one of the great quarter hours in the history of television. It brings tears to my eyes every time I watch it.)

Thank you for sharing that, @Rinaldo. Nice piece of material that starts off the number--do we know who wrote it?

I was amused that the orchestration for Van Johnson and Jane Powell sounded just like 

"Perpetual sunset

Is rather an unsett-

ling thing."

Gwen Verdon's body was instantly recognizable even in wide shot.

The last star who comes out is totally goosebump city.

[aradia22]

I decided to put on Indecent because I have too much on the DVR but I wasn't prepared to jump right into a 3+ hour opera. First of all, I don't think it was filmed horribly, but it wasn't filmed that well. There were practical things like it sometimes behind hard to read/keep up with supertitles or important information on screens with the angles they chose. But it also didn't seem to be filmed with a particular eye towards creating a mood. It was more like the Met Live in HD (sometimes we're close up, sometimes we're far away) instead of filming it more like a movie with intentional framing. That said, I'm not sure I would have enjoyed that much more if I'd been in the theater. The play itself was a little too modern for me and too obvious at times, though there were little pearls of wisdom throughout. I felt more like I was being told things than getting a chance to connect with people or a particular story. And while I admire some of the stylized direction, I think it also contributed to creating a great sense of distance. You are always highly aware that you are watching a play. All the directing choices are there to make you hyper aware of it rather than letting you relax into the world of the characters. It felt influenced by John Doyle but John Doyle also definitely gives the actors room to let the audience emotionally connect with the characters. That was missing here. Also, all the characters were kissing each other all the time and it felt less indecent and more random. There's something to be said for choosing your moments. Katrina Lenk was beautiful and captivating as always but it was so hard to latch onto a performance when the story was so choppy. The musical numbers came out of nowhere. This is one of those instances where I don't think theater was the right medium. Novel, nonfiction book, essay... any of those might have worked better.