THEATRE GOSSIP #396 - Sorry, But I'm Singing Tomorrow and I Have to Roll My Hair Edition

[Quote] She was interred in the same burial plot with her good friend, actress Blanche Yurka

Was Florence Reed family?

How was she in the original production of Frankie & Johnny, with TV's Toma?

They could have smoothed out her obvious nosejob in post.

The Judith Anderson anecdote from the last thread was amazing. Thank you to the poster!

And just because I’ve never posted the first Follies post on a new thread...I saw the NT production in London and one thing I’ve not seen mentioned about it here was how fine the performances of the younger versions were, particularly Young Sally, Young Buddy, and Young Heidi.

Young Buddy was really cute too.

Young Sally was quite a lot taller than Imelda. Most people are but...

When is Max von Essen doing his live concert show?

I don't know, but sounds thrilling!

Glad you enjoyed R4. It’s one of my favorite theatrical anecdotes. The book it came from is very good, too.

I think Paul Weston's comments on Ethel Merman were mean-spirited and narrow-minded. And I love his and Jo Stafford's work.

Is it surprising that Broadway composers might be lukewarm on pop singers? It was not uncommon for pop singles to rearrange the material to sound quite different, often making it easier to sing. Most composers want the the length and breadth of their composition recorded, not refashioned for a smaller vocal range or a cutesy arrangement.

God Bless America.

Jo doin' Broadway!

What did Paul Weston say about the Merm?

Porgy and Bess at the Met.

Porgy and Bess - Act Two.

Nunsence with Rue.

r591 from the last thread, r13...

*

Here's an interview with Jo Stafford where she discusses Ethel Merman and why so many composers wrote great songs for her.

Paul Weston (Jo's husband and arranger): That's simple. She could be heard in the last row of the theater. Jo: Sometimes in the theater across the street. Paul: It's a fact that Broadway people never really appreciated what the pop singers brought to their music. Jo: It always upset me, because for the most part pop singers were the ones who made those songs into standards. Ethel Merman, bless her heart, never made a song into a standard in her life. And you can be sure it wasn't Ezio Pinza who made "Some Enchanted Evening" a hit, but Perry Como.

Discuss.

I've found that many pop singers might make music easier to digest and might sound more pleasant than your usual belting Broadway diva, but most of them don't know how to act a song at all. Would Judy Garland be one of the few who could act a song and sing it in a more pleasing "pop" way?

The pop versions of showtunes often had lyric changes, and of course different arrangements.

^ And they, obviously, often lose the 'sense' of the song, and just sing it.

I was always partial to Anne Murray's cover of "Sodomy" from HAIR.

Karen Carpenter’s pop rendition of “Totally Fucked” from Spring Awakening always got to me, emotionally, more than the show version.

Judy Collins' "Send in the Clowns" is pretty, but sung almost without giving any meaning to the words, no acting at all.

Great thread title. OP.

Add me to the chorus of disapproval for MOULIN ROUGE (and I liked the movie, mostly). I've loved Danny Burstein elsewhere but he's merely okay here; the other men are lackluster and terrible. Karen O is merely okay. The sexed-up, manic choreography is the only standout. I agree with whoever said that there's something oddly static and quite dull about the production otherwise, considering how "designed" it all is. Did they even alter the screenplay at all?

Thanks. I've had sufficient.

Collins' Send in the Clowns is a perfect example of a pop singer singing a song beautifully, but not acting it, therefore, missing the point. You really can tell if an actor is really acting the song if the hold "rich" in the first line. If the hold it, they're too concentred with trying to make it sound pretty instead of trying to sing it from the character's perspective.

Conversely, Broadway singers tend to fail at singing pop songs, e.g. Patti LuPone's "Get Here."

I love show tunes, honest I do...

And I wouldn't change (mostly) the way they're performed in the context of a show. But most people find legit music theatre voices, and a nakedly emotional style, very off-putting. Hence the "non-acted" cover versions by and for civilians.

Of course, I find most contemporary pop voices even more off-putting, but that's whole other thread.

Even as a huge fan of hers, I do have to admit that, if I'm driving in my car, I'd rather listen to Judy Collins' Send in the Clowns than Glynnis Johns' version. If I want to feel something, I'll play the one by Johns when I'm at home in my own room. There's something very raw about true musical theatre acting and that can make people uncomfortable. Some of the greatest, most truthful performances I've ever seen have been musical theatre performances, but you wouldn't want to listen to them if you were relaxing and most people seem to use music to relax and have fun.

[quote]Conversely, Broadway singers tend to fail at singing pop songs, e.g. Patti LuPone's "Get Here."

There are really only a few of us that could pull off both genres.

Here's what I did with it!

Not bad.

As a converse to this, I find Angela Lansbury's quiet and simple Beauty and the Beast so much more beautiful (and listenable) than that overwrought version that was commercially released.

Agree r24. I also thought that Aaron Tveit was oddly anaemic - haven’t seen him in anything else so perhaps just ill-suited to the role? His voice struck me as instantly forgettable, not at all unpleasant just really bland.

OP / R8 -- I too LOVED that anecdote from the last thread. Please share more of those types of backstage stories of bitchy divas.

Jeremy Jordan is able to sing pop and musical theatre with equal effectiveness while not oversinging or overemoting, although he is best matched with “big” pop songs like this one.

I did not rate Jordan's "Losing My Mind" or "Don't Rain on My Parade."

Thanks, as always, to our NT poster for the downloadable One Man, Two Guvnors! (I'm working on my Oliver Chris Collection.)

Thanks also to the poster in the previous thread for the Judith Anderson story. I think my upstairs neighbors heard me laugh.

[Quote] I'm working on my Oliver Chris Collection.

Have you seen "Green Wing"?

I'm nearly done with the second season of Green Wing, R38! He is not on it enough, but he's very funny. (Ditto: season 1 of The Office UK.)

Oliver Chris is the best thing in Young Marx. He plays Engel.

The idea of a farce about Marx's London poverty, is brilliant. But this play is leaden. Chris is great though. It was an NT Live production so someone has to have a boot.

[quote]Collins' Send in the Clowns is a perfect example of a pop singer singing a song beautifully, but not acting it, therefore, missing the point. You really can tell if an actor is really acting the song if the hold "rich" in the first line. If the hold it, they're too concentred with trying to make it sound pretty instead of trying to sing it from the character's perspective.

Really? I think one of the great virtues of Collin's performance of the song is that she doesn't do that much obvious emoting. I think the song is all the better for that, especially in a pop rendition. I like Collins' performance better than Streisand's for that reason.

There's a school of thought that a singer doesn't have to spell it out. Let the lyrics do their own work.

Is the rumor true that Tara Rubin (of casting fame) thinks it's brilliant acting if you talk, rather than sing, at least a few phrases of your audition?

[quote]Glad you enjoyed [R4]. It’s one of my favorite theatrical anecdotes. The book it came from is very good, too.

From the old **OFFICIAL** SUMMER STOCK THEATER MEMORIES thread:

"...One of the unsung celebrities that I worked with several times was the infamous Harold J. Kennedy. I'm surprised that DLers don't mention him more often. He was the king (queen) of bad summer stock productions. His gift was being able to assemble mammoth casts filled with old stars (like Gloria Swanson or Maureen O'Sullivan) or to get hot stars from TV or film onstage by offering them parts for other members of their family (like John Travolta). Besides directing these old warhorse shows, he would invariably cast himself in a supporting role (as well as his boyfriend, Skip Lynch, a nice guy), so he could get a double salary.

I had the dubious pleasure of working with Mr. Kennedy on the Broadway production of ME JACK, YOU JILL. While others tout CARRIE or MOOSE MURDERS as the worse show ever done on the Great White Way, I can assure you that they both pale in comparison with the MJYJ fiasco (starred Sylvia Sidney, Barbara Baxley, Lisa Kirk, and Russ Thacker).

The previews of this "murder mystery in an old theater" were so bad that the audience would talk back to the actors on stage. One interchange that stands out in my memory was a line by Sylvia Sydney who, startled by a loud offstage sound, would exclaim "What's that noise? Up there in the balcony?" At one performance,a patron responded very clearly "It's just us, the audience, LEAVING!" Another one - Lisa Kirk as an old actress returning to the theater where she had her greatest triumph: "I can't believe I'm back on this stage. Why I died on this very spot 750 times!" Someone from the audience shouted out "Make that 751, Lisa!"

Mr. Kennedy's book, NO PICKLE, NO PERFORMANCE is actually a good read and does cover a lot of this history, albeit colored by his boozy recollections of how wonderful it all was. And yes, I made it into the book, which he and Skip graciously autographed for me..."

R37 I KNEW that was the reason. You thirsty slut. But that end if Act One. Heaven.

R40 Young Marx was not captured. Nor is it on the school released plays.

That Moulin Rogue is flaming crap. That fat bitch has consumption? Bless. And so badly staged. Hell

R44 I love you Billy Boy. That classic summer stock thread was heaven.

I wonder what happened to the married couple who double teamed John Travolta.

Sondheim has never had anything but nice things to say about Collins' Send in the Clowns. Not surprising for two reasons: it was the first time one of his songs became a major commercial hit and also it's a lovely performance, straightforward and well sung without artifice.

Judy Collins is a fine singer. She hit big with "Both Sides Now" as well--covering the song by Joni Mitchell:

[quote]Collins' debut album A Maid of Constant Sorrow was released in 1961, but it was the lead single from her 1967 album Wildflowers, "Both Sides, Now" – written by Joni Mitchell – that gave Collins international prominence. The single hit the Top 10 on the Billboard Pop Singles chart[2] and won Collins her first Grammy Award for Best Folk Performance

Unlike Sondheim, Joni was none too pleased that Judy's version scored on a scale that Joni's original did not.

[quote]Young Marx was not captured.

Yes, it was. It was broadcast in theaters as part of NT Live.

Not related to anything posted above, I just want to say that I saw Angela and Lou twice in Sweeney Todd and they were both fabulous. Among my most appreciated treasures.

Prompted by just seeing Lou in an L&O guest appearance before he began appearing on Blue Bloods

Who is "Lou," R51?

Do you mean Len?

Louis Gossett, Jr.

Lou Liberatore

Lou Costello?

Lou Diamond Phillips?

Lou "Hulk" Ferigno?

Lou Carien

Louren Bacall

LesiLu Studios, where Miss Lucille Ball graciously signed me to a contract after I held her handbag while on a cigarette break.

Oops. Len of course. This early and I'm too drunk to be posting. My apologies. I'll leave you with this.

R50 Jessica Christ, yes, it was broadcast, correct, but it was not captured to be shared and downloaded.

If a theatrical performance was not captured for trading, did it ever actually exist?

Ohhh.....now I had to listen to Someday Soon.

My husband was piano accompanist for the Denver East Girls Chorus when Judy Collins was a member. That is all.

The L&O eposide on ION tv just ended. Fine actor. Could more than carry a tune. Broadway royalty.

R65 to whom are you referring?

r66 - Len Cariou, one presumes

"But most people find legit music theatre voices, and a nakedly emotional style, very off-putting."

And those poor unfortunate souls wouldn't be listening to musical theatre in the first place. Come on! The whole point of theatre, musical or otherwise, is feeling and engagement. For those wanting robotics, they can listen to contemporary pop "music."

"Is the rumor true that Tara Rubin (of casting fame) thinks it's brilliant acting if you talk, rather than sing, at least a few phrases of your audition?"

I should hope so. Making the transition from speech to song and shaking things up in between to give it variety, nuance, emphasis and a musical/dramatic arc is what a musical theatre performer's job is about. No one wants to hear someone blistering the paint off the walls with over singing for 32 measures or more.

R45, if I could get a copy of Obsession, someone has a copy of Young Marx.

R50 Actually, sorry for being a cunt, I needed a drink. To explain, there are quite a few 'lost' NT productions, that because they are 'broadcast' live, and not filmed and delivered, there is no way to 'capture' some.

Some lost plays surfaced at the start of lockdown, (london Assurance, peter Pan), but many, including Young Marx, have never been seen again.

The Bridge Midsummer was one such 'lost' play, so it was so fucking cool when they played it during lockdown.

Anyway, kisses, sorry for scratching.

[quote]if I could get a copy of Obsession

Here ya go!

R69 Obsession was captured. Their is no Young Marx, unless they put it up for schools. Your obsession with Young Marx is up there with the Andrew Scott whore and his 'Give Me Present Laughter' obsession....

Someone should do a mashup of [italic]Hair[/italic] and [italic]Follies[/italic]. They could call it [italic]Follicles[/italic].

We left out Lou Grant and Patti "Lou" Pone.

R70, actually they are delivered. The theater where I see them usually runs them about two months after the "live" broadcast. In some cases, problems in the initial broadcast (such as bad sound levels for Follies) are corrected in these later viewings. (Some of the captures retain the glitches, so they are indeed captured at the initial broadcast.)

It is harder to get the recent ones (like Midsummer) that are still making their way through cinemas, but usually within a year after the initial broadcast you can get any of them if you want.

This is not legal, but there are people who post them and others who sell them..

R44 re: Rush Thacker. Russ Thacker made me realize I was gay.

In 1975, at age 18, I saw him in ODYSSEY, a real turd of a show, starring Yul Brynner, in its pre-Broadway tryout at the Curran Theater in San Francisco. Even from the second balcony I could tell he was the most handsome man I'd ever seen. I couldn't stop looking at him. (I was into blonds then, it's eerie how much he looks like my first boyfriend, whom I hadn't even met yet.)

Anyway, the show went on to New York, opened as HOME SWEET HOMER and closed after one performance, and I went on to a life of sluttery, all thanks to the adorable Russ Thacker.

And yes, [R72) there was a Young Marx. I saw it in the cinema. And NT Live lists it on their website.

They do not do specific broadcasts to school. They have a school program, but those are all videos from their regular catalog.

Does anyone know if there is any kind of boot out there for the wonderful 1970s Public Theater production of Trelawny of the Wells? Such a great production, which moved briefly to Broadway. Meryl, that woman, had a small part. I'd do about anything to see it again.

What was the Denver East Girl's Chorus, r64?

Not r64, but I suspect it was a girl's chorus in East Denver r79.

r80 - I was curious what its affiliation was and what the east referred to in East Denver, locale-wise.

I'm glad I went to a re-showing of FOLLIES, r75. The sound was superb.

Russ Thacker went on to star in the legendary Broadway bomb "Do Black Patent Leather Shoes Really Reflect Up" which was a huge hit in Chicago, and bombed out on Broadway. "Get ready, Freddie, for your first day at school!"

I had an “experience” with Rusty in a long-defunct video booth on 53rd and Eighth.

Did you wear black patent leather shoes r84?

Nah, R85, my black Skechers.

Good. They don't reflect up.

According to the New York Times, producer Scott Rudin is eyeing two shows for future Broadway productions: a revival of August Wilson's The Piano Lesson and Davóne Tines and Michael Schachter's The Black Clown (whatever THAT is).

The Piano Lesson? Yawn.

I love The Piano Lesson. I think it is Wilson's best after FENCES.

Some Members of the Theater Community Flee NYC Amid Shutdown:

Broadway Shutdown Affects Theater-Adjacent Businesses:

Another play that i think was on tv in the UK was "In Lambeth" with a totally naked young Mark Rylance and a woman for the first 10 minutes or so. He was cute back then.

Ellen's Stardust Diner in danger of closing permanently:

We really loved the reading that Theater For The New City did of a new Charles Busch play, VISITORS IN THE DARK. It was very unlike many of his other film homage plays.

The only downside was Ruth Williamson's "French" accent - her performance was great, but - oy! that accent.

It's still available to watch on FB.

DL won't let me link to it

[quote] Ellen's Stardust Diner in danger of closing permanently:

Doesn't the diner beat its staff?

Good riddance to Ellen’s Stardust Diner. One less place for fat fraus/tourists/theatre freaks to hang out in.

I had acquaintances--actor/musicians who worked at STARDUST back some years ago. They hated everything about working there, particularly the horrible tourist patrons.

They will probably dance around its grave once it closes.

I left Denver too soon. Not only did I miss Miss Moffatt, but also Colette!

Lord, that is some bad 80's hair on Diana in that clip.

I've always loved Monica Lewinsky's rendition of "The Room Where It Happened".

The Stardust Diner has been on the edge for years. They go through staff like poop through a goat.

Don't forget about me r29.

Sadly, we're gonna lose some much better restos and bars in the theatre district before "normal" returns.

No tears for Ellen's, though.

While we’re getting rid of the obnoxious Stardust, can we turn Marie’s Crisis back into a gay bar again, please?

[quote]I had acquaintances--actor/musicians - who worked at STARDUST back some years ago. They hated everything about working there, particularly the horrible tourist patrons. They will probably dance around its grave once it closes.

Yes, from what I have read and heard over the years about the way that place treats its employees, I would say there have been (and will be) far more lamentable restaurant closings.

[quote]Sadly, we're gonna lose some much better restos and bars in the theatre district before "normal" returns. No tears for Ellen's, though.

Exactly.

[quote]Nah, [R85], my black Skechers.

Were you ever able to scrape the nacreous layer of permacum of off the soles?

Just barely, R107.

How in fucking hell do I not rate a mention, r76?!

R64 here. Denver East was, uh, the high school in the east part of Denver.

Remember any of the juicy details, R84? I found this photo of Russ from a long-forgotten movie, but I can't tell if that's his dick in the photo or not.

Sorry Joan @ R109. My eyes were on Russ.

Thank you, r110, that's why I was curious. East High was a beautiful old building. This is where my first job was which was a matter of blocks from it.

WE SEE YOU, WHITE DIANA RIGG!

R103 I can do jazz.

R76, it was a good experience. I actually got to fuck him through the bottom of the window separating us. Safely, of course. Glad I had some lube in my bag.

A copy of Young Marx does exists. I don't have it and I'm not sure if it was obtained the same way as the other NT recordings. I'd have to trade someone for it to find out what kind of quality it is. It might be pretty bad like The Curious Dog in the Night Time.

Camelot is coming up on TCM right now! Bring on Franco Nero!

And the pumpkin seed wedding dress!

Handsome Franco!

Franco Nero was unearthly beautiful around the time of CAMELOT. No one Vanessa hooked up with and had a baby with him!

Multiple points of entry to reduce crowding. Ushers should not hand out programs and should wear protective gear if escorting patrons to their seats. No bar service; premixed/packaged cocktails and bottles for self service only. Bathrooms are to be limited in capacity with socially distanced interiors. Intermissions to be increased, if possible. No more stage-dooring or backstage tours.

Camelot is a fantastic show. Forever one of the all-time classics.

[quote]Ushers should not hand out programs

So, basically, if you're seeing a show at the Imperial, then nothing will change.

"Camelot" has a gorgeous score, no question. But the book is pretty much a dud.

I don't understand why people don't like the book; I love it. It's touching.

Camelot's book is overlong and meandering even with the various cuts made over the years.

God, the monologue for Arthur at the end of the first act is 10/10.

Barbra's about to sing tonight, but fortunately one of her handmisters already rolled her hair.

Harold Lang was the original Lucky Blue Smith.

Gene Kelly was a bitch. You can just tell.

Certain sections of the book of CAMELOT are well written, but the bulk of it is indeed terrible.

[quote]Gene Kelly was a bitch. You can just tell.

Tell me about it.

Camelot starts out light and fluffy like a traditional musical comedy but by the end it is in Wagnerian tragedy territory. Very difficult to pull off and neither Lerner nor Lowe were quite up to it. Such lovely music though in many places.

^ Loewe, typo, sorry.

R116 So, you can get Young Marx...cool, I shall wait.

Camelot!

[quote]Here's an interview with Jo Stafford where she discusses Ethel Merman and why so many composers wrote great songs for her. Paul Weston (Jo's husband and arranger): That's simple. She could be heard in the last row of the theater. Jo: Sometimes in the theater across the street. Paul: It's a fact that Broadway people never really appreciated what the pop singers brought to their music. Jo: It always upset me, because for the most part pop singers were the ones who made those songs into standards. Ethel Merman, bless her heart, never made a song into a standard in her life. And you can be sure it wasn't Ezio Pinza who made "Some Enchanted Evening" a hit, but Perry Como.Discuss.

It's an interesting argument, and Weston and Stafford undoubtedly knew the business better than I do. But, it seems to me it depends on how you define "standard". OBRs were huge sellers; my parents used to get them through mail order record clubs, and many songs on them were well-loved and very widely known, even if they didn't get the same radio airplay or sell as many singles as the pop cover versions. My parents had Pinza singing "Some Enchanted Evening", not Como, so that was the standard in our house and circle, and the OBR kept the song alive for us through many decades. For the same reasons, the standard version of "I Got the Sun in the Mornin" for me is Merman's, not the bestselling covers by Doris Day and Mel Torme.

[quote] [R44] re: Rush Thacker. Russ Thacker made me realize I was gay.

Rush Thacker made me realizsh I wanted to be a fag hag, yesh he did.

[quote] No more stage-dooring

One good thing to come out of this pandemic.

Guidelines like those at R121 ought to be a positive sign that the industry is trying to adapt and resume some level of functioning in the near-term—again, look at South Korea’s ability to keep a touring Phantom production running during all of this—but the article says the guidelines are “for the return of live performance after the coronavirus pandemic ends.”

Maybe it’s just sloppily-written, but if the pandemic ends, wouldn’t these guidelines no longer be relevant/necessary? And what does it mean for the pandemic to end, anyway? It’s not just going to vanish one day.

R139 I thought the same thing!

The first time I noticed a hoard of people at the stage door was when David Bowie was in THE ELEPHANT MAN. As the performance was not yet over, I knew that the people there were just random fans, hoping to get a glimpse of a 'rock star'. Being totally unable to spot a trend, I shrugged it off as an aberration. By the time I saw the security guards setting up stanchions outside the stage door when Whoopi Goldberg was in FORUM, I knew we'd crossed a line (before that, it was just a random clump of people).

Prior to the shutdown, every show on Broadway had a contingent of screaming show kids waiting at the stage door, many with memorabilia they hoped to get signed and that will later appear on eBay.

It'll be interesting how they keep them from congregating, but for the performers, who just want to go home (or to the nearest bar), without having to be exposed to every virus known to mankind, I'm sure it will be most welcome.

Autographed playbills will be all the more valuable1

Yeah, that’s the big problem with the stage door. People just use it to get stuff to put in EBay.

I like that Camelot starts light and turns darker and darker. I guess most of the shows I truly love have that same structure: Into the Woods, Cabaret, Sweeney Todd, etc. Who needs "musical comedy?" Give me "musical drama" any day of the week.

Back to Len Cariou - everyone knows he is a pussy hound but, hey, this is theatre. Anyone ever have him?

I love a musical comedy that turns into a musical drama, but Sweeney Todd, Gypsy, Cabaret, Into the Woods, etc. all make the transition a little smoother than Camelot. Camelot has some great moments, but can get a little ponderous and clunky.

I agree with you guys, except that Sweeney is dark from beginning to end. Even when it’s funny, it’s dark.

I'm don't love CAMELOT. I don't even love most of the score. I think some of the lyrics are clever and some of the music is pleasant. But great? No. I feel the same way about BRIGADOON. I think PAINT YOUR WAGON has one good song and the rest is forgettable.

MY FAIR LADY has a gorgeous score. The show is too long and at times, tiresome, but the score is for the ages.

So given all that, L&L wrote one great show. I don't think they're the equal to Rodgers & Hart, Rodger & Hammerstein, Cole Porter, or Sondheim. I'm not even sure they're equal to Kander & Ebb or Bock & Harnick.

Couldn't disagree more, r148. Don't forget GIGI, and Lerner's great collaborations with Kurt Weill, Burton Lane, etc. He deserves that Complete Lyrics volume that came out several months ago.

Harve!

Not only is the entire score of Camelot very good, If Ever I Would Leave You is one of the top ten show tunes ever.

Musical theater imponderables

In Evita, why does Bob Gunton use an accent but Patti LuPone does not?

Trust us, Patti LuPone with an accent is something best avoided.

Does anyone have a link to the full video of Kaye Ballard - The Show Goes On? I missed it, and now there's only a trailer still active.

r152 you reminded me of a similar question I've had. Why do some people in Sweeney always have an accent (Mrs Lovett, Tobias, Beggar Woman, the Beadle sort of), but Sweeney, the Judge, and many others never do?

[quote] Trust us, Patti LuPone with an accent is something best avoided.

This reminds me of that cosmetic mogul cacophany show. Saw it in Chicago and it seemed that both Patti and Christine were playing with accents, and you could barely understand then. (Then again, you can barely understand Mushmouth LuPone on a good day)

I grew up listening to the Camelot OBC so I have always loved the music. When I finally saw the show, I was bored out of my mind. The book just plods.

[quote]The first time I noticed a hoard of people at the stage door

Oh, dear.

[quote]And what does it mean for the pandemic to end, anyway? It’s not just going to vanish one day.

Fake news! The President said it would!

Birdsong.

Songs For A New World.

Love, Loss and What I Wore.

Hey R161, can you tell me more about that? I know it's Ramin but I don't recognize the others. Her name is on the tip on my tongue. I was hoping to hear Jessica Molaskey but she's a close second. DIdn't she have the lead in a City Center production a couple of years ago? And I'm only second person to watch it?

R163 Here you go.

Who is the lady singing around the 13:00 mark at r161 link? She reminds me of Stockard Channing. Love her energy.

I would love to see the Ballard documentary, too, if anyone has the link.

R158. Thanks for the correction.

Worked on a magazine doing a big piece on the film Camelot ... had the production book, reams of b/w photos, script, profiles, costume shots, puff pieces. The b/w photos of Nero were stunning, but all showed the back of his neck and shoulders were covered with hair. Who knew? Ugh.

Where is the NT Live Follies online?

[Quote] Where is the NT Live Follies online?

Are you going to report it?

Found Follies.

No need to post it.

I had Shepherd's Pie for supper and I kept singing "more meat pies, more meat pies" from Sweeney Todd.

Hot pies.

[quote]Hot pies.

Sondheim made a mistake. Hot pies is redundant.

Not in England, R174 -- see things like Pork Pies which are enjoyed refrigerated or at room temp.

Did the Kaye Ballard documentary ever get released?? Just exactly who is the audience for it? Shit, even the Gwen Verdon doc couldn't get arrested until Fosse/Verdon somewhat rescued it from oblivion, and even then it barely got any traction. Were the filmmakers hoping Ryan Murphy would produce a season of Feud: The Mothers-in-Law?

[quote]Sondheim made a mistake.

One mistake in SWEENEY, which Sondheim has conceded, is in "A Little Priest". Politicians don't [bold]run[/bold] for office in the UK. They [bold]stand[/bold]; so Sweeney's exhortation to put the politician pie on a bun since "you never know if it's going to run" makes no sense in the vernacular.

Incidentally, I'm famous for my Lindstom Surprise. The surprise is, you think it's pie -- like apple -- but when you bite into it... it's herring!

Thanks for the Love, Loss and What I Wore. The ladies are all great, but Rosie walks away with the show.

I have a friend who said you'd never put coriander in gravy.

That’s why you have to be careful with it.

I've only watched the first 20 minutes, r179, and the robe monologue was very moving.

Does Carol Kane do the schtick she's been tiredly pounding for the past 45 years?

Pretty much, r183.

What shtick?

I watched the Kaye Ballard documentary last week and its a lot of fun. It was basically her telling anecdote after anecdote, and they were a hoot. A very worthy 80 minutes. Took me back...And she was a major talent.

Did she mention Dolores Gray?

Did she mention Eve Arden?

What's the Eve Arden connection?

[quote]What's the Eve Arden connection?

They starred together in a sitcom called "The Mothers-In-Law".

Ah, yes. Thanks. That only ran two seasons, right? It's funny how short running old shows from that era are still remembered. I guess it's because there were so few channels.

R189, you really don't know the Eve Arden connection? They co-starred on a sitcom called The Mothers-In-Law.

[quote]It's funny how short running old shows from that era are still remembered. I guess it's because there were so few channels.

No, it's because they had ACTORS back then. Kaye Ballard is hilarious in that show. Eve Arden basically does recycled Lucille Ball material on the show (it was produced by DesiLu) but she's able to make it work.

I wonder if Liza ever had a roll in the Kaye.

Actually, Kaye and Eve each were each given part of Lucy Ricardo's personality and part of Ethel Mertz's personality.

This made for a more interesting character relationship (even though the show as a whole was not as good as I Love Lucy).

Kaye Ballard might have had talent but appearing on TV or Movies was not among them. She had a horrible, abrasive personality as well as being totally unattractive. Whenever she was on talk shows like Merv, she upped the obnoxious factor to such a degree that once Merman told her to shut up. Barbara Cook was on the same show and rolled her eyes when Kaye laughed at her first show. A very succinct mention of her in a review of "The Ritz' was Kaye Ballard is also in it, but don't worry, she's not in it long.

[Quote] might have had talent but appearing on TV or Movies was not among them. She had a horrible, abrasive personality as well as being totally unattractive.

I have two Oscar nominations!

[quote] Hot pies is redundant.

Why? I would say pies are often eaten at room temperature, whether fruit pies or meat pies or whatever. And anyway, I think the lyric in SWEENEY TODD specifically means "hot out of the oven., freshly baked."

[quote]One mistake in SWEENEY, which Sondheim has conceded, is in "A Little Priest". Politicians don't run for office in the UK. They stand; so Sweeney's exhortation to put the politician pie on a bun since "you never know if it's going to run" makes no sense in the vernacular.

Interesting, but that's nothing compared to all of the non-British phrases and expressions in the lyrics of MY FAIR LADY, not to mention all the incorrect grammar in that one as well.

[quote]Did the Kaye Ballard documentary ever get released?? Just exactly who is the audience for it? Shit, even the Gwen Verdon doc couldn't get arrested until Fosse/Verdon somewhat rescued it from oblivion, and even then it barely got any traction. Were the filmmakers hoping Ryan Murphy would produce a season of Feud: The Mothers-in-Law?

I don't know details of the production and financing, but I think it was basically a labor of love by some of Kaye's colleagues and friends who certainly did not expect to make a profit on the documentary, or even to make back the costs of producing it. Of course you're right that the audience for it now must be very limited, though I am a part of that audience :-)

Misalliance is on Plays in the House now.

David Staller should expect s visitation in the middle of thr night from GBS’ ghost, shrieking at him to cease and desist with these color blind casting trainwrecks of his plays.

I did some work on "Hey, Ma! Kaye Ballard" and Ms. Ballard should have been a lot more grateful than she was, grateful and cooperative, that someone would produce her little one-woman show. If it had been more successful, she could have booked it all over the country to keep money coming in. But she wasn't really grateful or cooperative.

The show opened in NYC, played a few months and couldn't move tickets. The producer continued with her and took her to the Terrace Theater at the Kennedy Center. Nice booking, I'd say. But it wasn't a great show and she wasn't a lot of fun to work with. The producer wished her well at the end of the Kennedy Center booking and that, as they say, was the end of that.

Oh, I wanna see it!

Does anyone have a link or a copy of "Come From Away"?

[quote]What's the Eve Arden connection?

"Moose Murders," Rose.

[quote]No, it's because they had ACTORS back then. Kaye Ballard is hilarious in that show. Eve Arden basically does recycled Lucille Ball material on the show (it was produced by DesiLu) but she's able to make it work.

No, it wasn't. It was produced by Desi Arnaz after he sold his stake in Desilu to Lucy.

Kaye is fun in the documentary and laughs off all the career disappointments, but in her book she just comes off bitter. Which is funny as watching the doc, her career is pretty extraordinary. But she's always compalining what could have been and what should have been. After reading it, I didn't much care for her.

If she was such a "protean talent," why didn't Hal Prince cast her? Could she have been a Mrs. Lovett replacement?

[quote]Director Hal Prince, in his biography, claims that Ballard was responsible for his firing from George Abbott's TV show "Nothing But the Best," and Ballard says Prince never again hired her.

From the Washigton Post story at R200.

R197. No, dear, you have four Oscar nominations, two Oscar Awards.

I think you're mistaking me for Estelle Parsons.

Estelle Parsons doesn’t have two Oscars. Shelley does.

Kaye’s late in life “companion” was actress Myvanwy Jenn.

[Quote] “But the thing about Kaye was, when she saw the film at the Camelot, she said, ‘Why didn’t you ask me about Marlon?’ I said, ‘I didn’t know you knew Marlon.’ She said, ‘Oh, Marlon and I were an item!’ I thought, ‘OK. Perhaps she kind of remembers things more grandly. She said, ‘We didn’t have a (long) relationship. That’s all I needed was one more of Marlon Brando’s kids running around.’

[Quote] “Then, that morning, Marlon called and said, ‘What’s the story with Kaye Ballard?’ So, she had this incredible position in his memory as the one that got away.”

Myvanwy Jenn lavished Kaye with praise.

Would whoever was kind enough to post the One Man Two Guvnors video please do so again? I wasn't able to download it from the Google Doc and I've always been curious to see James Corden be good at something. I can't enjoy him on his talk show, but people always rave about his performance in that show.

Thank you!!

Bringing things back around to Follies for a moment, did anybody else see the 2011/2012 Revival and absolutely love it? I thought the cast was phenomenal. Bernadette Peters got some criticism but she completely won me over. I felt the fragile delusional woman there completely, and I'm glad I got to see her at a time when she still had her voice. It seemed to be failing her slightly during the run but she carried it off gracefully.

And damn, the late Jan Maxwell was phenomenal as Phyllis.

I'm usually the person who wants to see the most elaborate set, but I thought the staging worked perfectly well.

Did Kaye Ballard have enough power to get Harold Prince fired?

R214 It is still up on the last thread.

"Hot Pie" isn't redundant.

What a moron.

You don't eat ANY kind of pie when it's hot from the oven. Fruit pies need to cool so the juices firm up and the same thing with savory pies; you need them to rest for quiet awhile so the gravy sets.

You pretty much always eat pie at room temperture or gently warm.

Idiot.

[quote] "Hot Pie" isn't redundant.

Let it go, r218. It was a joke. If you're spending this much time analyzing pointless bitchery, maybe it's time to take a walk and get some fresh air?

I saw that Follies three times in DC, once in NY. Bernadette was best in the middle. She danced circles around the others, which made it clear Sally had been practicing for thirty years. Her red dress (in DC) was a controversial stroke of genius. Sally was placing all her bets on this reunion, even though she would roll snake eyes.

The disgraced cockgrabber Schaeffer really could cast well, when he wasn’t trying to hire pretty boys. He also had a great visual sense - it’s a shame his Titanic is now probably sunk. He was always terrible with actors. The show in NY veered into caricature - half the women (including Peters) just thought it was the height of comedy to forget their dance steps in Who’s That Woman? The show was 80% there visually but had lots of stupid directorial choices (Buddy throwing chairs).

Much as I loved Bernadette, Maxwell was the heart of that production. Ben eviscerated her just before Could I Leave You? She used that pain and took that number so much farther than I have ever seen.

Burstein's little leap during "The Right Girl" still makes me chuckle at the thought of it.

Tonight on That Girl:

SEASON 2 • EPISODE 21 • OTHER WOMAN • COMEDY / SITCOM

A gossip columnist links Ethel Merman with Ann's father. Ann: Marlo Thomas. Ethel Merman: Herself. Don: Ted Bessell. Father: Lew Parker. Mother: Rosemary De Camp...

R222, we also see Merman doing Granny Get Your Gun.

I never understood the hate for the last Follies revival. Dramatically, I don't think it was as strong as the National Theatre production, but I do believe they were also using a condensed version of the book for the Broadway production which never helps. The book is delicate enough as is, but the more you take out of it and change, the more it falls apart.

The visuals were good and Loveland was handled pretty well. Peters, Maxwell, and Burstein were all fantastic in their roles. I'm not sure why Peters got so much critique for her performance. The night I saw her, she was in great voice and hit all the notes required of her while delivering a devastating performance.

The big weak link in the main cast was Ron Raines who sang well, but was boring. You could never understand why both Sally and Phyllis would be drawn to this charisma void.

Peters was batshit from her entrance. What production were you watching?

So Sally was totally sane for years and she just happened to go nuts that night, R225? She should have come in sane instead?

R220 is completely right. Not just in Follies but in everything I saw her do, Jan Maxwell was the real deal.

Jan Maxwell was no society matron. She was gangly and erred far too much on the side of "screwball heroine." She was entertaining but not right for Phyllis. Dee Hoty sang much better. Janie Dee is the best Phyllis since Smith.

There's nowhere to go if Sally reads batshit at the top of the show.

As much as I love Peters, she gave very variable in performances in Follies, both in DC and esp. in New York.. Some nights she had barely any voice. Other nights her singing was sublime. Dramatically, some nights she was over the top, other nights restrained. Whatever was going for her at the time, I guess.

Like this. Do it like this.

[quote]I never understood the hate for the last Follies revival. Dramatically, I don't think it was as strong as the National Theatre production, but I do believe they were also using a condensed version of the book for the Broadway production which never helps. The book is delicate enough as is, but the more you take out of it and change, the more it falls apart.

I strongly disagree. The original book for FOLLIES is only improved by cutting some of the more arch, obvious, and/or over-the-top bitchy lines.

I have to agree that Ron Raines' acting as Benl was not great, and one of my other big problems with that production is that he and several of the others did so much damned back-phrasing in the songs. It's not as bad on the cast recording as when I saw the show live (twice), but it's still there.

It seems to be an issue with Bernadette that she gives performances of widely varying dramatic and vocal quality and even interpretation, depending on when you see her. A lot of people said that was true of GYPSY as well, though in that case there was the extra issue that she apparently was in ill health around the time of the opening and for a while thereafter.

Ron Raines was much better opposite Victoria Clark.

This is what I love about Peters. She always does seem in the moment and never sets her performance in lockdown. I wouldn't be surprised if that's why she loses her voice so often. She gets so carried away in the emotion that it overtakes her.

Translation: She has no technique.

I believe Raines and Clark recorded their FOLLIES duets for JAY/TER records. Were they every actually released? That label seems to hold on to unreleased recordings for years and years.

And we are down the Follies rabbit hole yet again.

Thanks very much, r231.

Losing My Mind was written to be Alexis Smith's 11 o'clock number. According to Ted Chapin's book and many other sources, It was Smith herself who after a few rehearsals went to Sondheim, Prince, Bennett and the rest of the creative team and said that Losing My Mind would be a much better fit for Collins than for her.

Self awareness is one of the best talents a performer can have. So few do.

Speaking of Jay/TER, wtf is with John Yap’s creepy daily postings about that hot Instaho/“personal trainer”? It’s very, very strange.... he’s obsessed with him and keeps trying to out him. Is it some weird inside joke? I really don’t get it.

No mystery that the wonderful torch song ended up with the talented Hit Parade girl instead of the failed 1840s film star.

^ 1940s, of course! She wasn't THAT old!

Dorothy Collins was a pretty dreadful singer. If it weren't for eldergays, she would be a total footnote in entertainment. She's probably better known for Candid Camera than Hit Parade.

Oh, fie, Si r242. Fie on goodness. It's well known she first runner up for both She Loves Me and I Hear a Waltz. And she only lost the latter because Rodgers was banging Elizabeth Allen. The rest of the creative team wanted Collins.

[quote] This is what I love about Peters. She always does seem in the moment and never sets her performance in lockdown. I wouldn't be surprised if that's why she loses her voice so often. She gets so carried away in the emotion that it overtakes her.

I think it's the Breyer's ice cream. Don't most professional voice coaches say to refrain from consuming dairy products before singing?

R243 Did Dorothy Collins have the high B for "Ice Cream"? Maybe the lisp helped her vocal production like it did for Franco Corelli in opera?

R243, Collins sang "Waltz" and it was completely forgettable, even for a forgettable song.

Allen does a much better job as she just had a more pleasant sounding voice.

That's an amateur audio boot of a cabaret performance 10 years later. Collins received excellent reviews when her short tour of Waltz played at Papermill not all that long after the original production.

What are you going to do? It's second tier Rodgers in a second tier show. Maybe she lucked out by not making her Broadway debut until Follies a few years later.

Her singing of the song on the Sondheim tribute is equally bad. She's just wasn't a great singer. Admittedly Losing My Mind is classic but it's hard to find anything in her catalog that is even vaguely as impressive.

[quote] Ron Raines who sang well, but was boring.

That’s what Ron Raines does. He sings well and is boring.

Collins was married to Ron Holgate for several years, her costar in the Waltz tour.

I guess Rons are indeed boring.

Hey Everyone! Here comes the picnic wagon!

I detest that Ice Cream Song: He served me ice cream!

So fucking what.

Doesn’t Kristin Chenoweth sing another song about an ice cream boy? I hate that one too

You mean Taylor the Latte Boy?

But only after Ann finds Ethel's damn moccasins, r223.

R254, sorry, it’s latte, not ice cream.

I still hate it and I also hate all the people who guffaw to the lyrics whenever Chenoweth sings it.

You are not alone in that, R256. You are not alone.

No one is alone, r257.

You could drive a person crazy, R258.

Just wait a fucking minute!

I'm sitting here with a Schlitz in my mitts down at Fitzroy's bar.

WE SEE YOU, WHITE ICE CREAM!

[quote][R222], we also see Merman doing Granny Get Your Gun.

I love that episode.

Stage manager: Miss Merman, you're on!

Ethel: How'm I doing?

Cracks me up everytime.

Mae did that line back in the '30s.

Mae Marsh? Mae Murray? Mae Questel?

Mary Schwartz and Ethel Hotchkiss.

R217

As soon as I read here that it was posted there, I spent 30 minutes going through that whole thread and clicking every link and when I finally found it I could see a preview of it on Google Docs but I couldn't watch it or download it. That's why I'm asking if it could be reposted because something's wrong with that connection.

.... I do find it a little annoying when someone asks for help and then someone else just throws out some easy answer like that. I obviously did my due diligence to find the link and download it and make it work otherwise I wouldn't be asking for help.

I have the same trouble as r267 with Google drive. I try to watch or download something, but it won't go.

Also, saying "just go look the other thread!" when there are 600 replies? Give me a break. The post that has the link doesn't even say "hey here's one man two guvnors", so I had to read through every single post individually to find when I was looking for. Yeesh.

It's like standing in someone's kitchen and saying "hey where can I find a knife?" and the owner of the house walking away saying "in the drawer".

No kidding. Which one?

R268 THANK YOU!

*side-eyes r217*

Post the Google Drive link and I'll try to see what needs to be done for you to save it.

R256 and r257 The Latte Boy song makes my sad single heart feel understood. I don't so much laugh at it as understand how difficult it is to make connections with virtual strangers....I have totally been there.

R271 oh Jesus.... Now I've got to go back through the 600 replies and find the link again?

*Slams head against wall*

[quote] oh Jesus.... Now I've got to go back through the 600 replies and find the link again?

I hope your petulant bitching doesn’t piss off our beloved NTL poster.

I hope not either, but my point still stands :)

I bookmarked the link thank God....here it is....

What does NTL stand for anyway?

National Theatre Live

[quote]What does NTL stand for anyway?

National Theatre Live

First of all: Are you able to open the Google Drive link? If not, go to (DL) Settings and uncheck the "Show Link Previews" box.

When I open the Google Drive link in a new tab, I click the download button (on the right, down pointing arrow). It takes me to a new tab that states "Google Drive can't scan this file for viruses. Underneath, there is a "download file anyway" button. Does it work for you?

[quote]Underneath, there is a "download file anyway" button. Does it work for you?

I get to that point and it doesn't work for me. (I'm not the person who originally asked for it).

I clicked the "download anyway" button. Nothing happened.

I clicked it a second time and the download was able to begin.

And now that link to One Man is dead.

Not for me, it ain't.

I think Google is stingy with bandwidth for free users.

R279 all I know is that when I tried it yesterday, it took me to the link on Google Drive and I could see a frame of the show with the Play arrow in the middle, but when I tried to click it to watch it the file couldn't be played. Then when I went to the downward-pointing Download arrow at the top and tried to click that it said that the file couldn't be downloaded....

And yup, r282, now both the Play and Download arrows are missing so all you can do is look at that single frame from the video.

I pushed the Download Anyway button five times and it wouldn't start. I have a Google account but I don't pay anything.

The file is downloading for me as we speak. I'm probably using the allocated bandwidth and it's shutting you out. As a downloader, you don't need to pay. But I think Google limits the bandwidth allocated to the download itself. Thus, downloaders will suffer and have to wait it out until the allocation resets.

The download is completed. 2.8gb.

Are you still able to use the link?

I am getting:

404. That’s an error.

The requested URL /get_player was not found on this server. That’s all we know.

Olivia De Havilland is dead! Everyone gather in the main thread! This is not a drill! OMG

Fire drill. False alarm!

I opened the link in another browser. It is still active. I also clicked the download button again. The download began (and I cancelled it). Perhaps there's an ISP element or even geo(-blocking) aspect?

No, not a false alarm.

Did Miss de Havilland ever work in the legitimate theatre?

Yes, Arlene.

[quote] Did Miss de Havilland ever work in the legitimate theatre?

With Henry Fonda, and DL fave Marion (sic) Seldes

R272, then I hate you too

"Taylor The Latte Boy" is pretty much the definition of "twee."

When Cheno sings it, it's twee squared. Dogs howl in pain, and my head explodes.

Watching the bootleg of Tootsie. Shouldn't a musical have at least ONE decent song? God, the music is horrible.

What an old-fashioned idea, R298. That notion has not operative since 1980.

R267 NT here. Gee, I am so sorry you cannot work Google drive. Maybe your computer is old and needs an upgrade. I did so enjoy your post with all your troubles about having to go through a thread. What a waste of your precious time.

I of course so apologize that it did not work straight away. You poor put upon man.

Did Livvy ever do Broadway?

I wouldn't say that, r299. I like the score from Dear Evan Hansen a lot and even Book of Mormon.

A Monster Calls.

Acorn Antiques - The Musical - with Julie Walters.

A Small, Family Business - Act One.

A Samll, Family Business - Act Two.

Yazbek's other score were good. "Tootsie" must have been like first drafts or him being tired after "The Band's Visit".

"That notion has not been operative since 1980."

I love you, truthful r299.

"I wouldn't say that, [R299]. I like the score from Dear Evan Hansen a lot and even Book of Mormon."

Q.E.D., r299.

ITA w/others about the TOOTSIE score and Yazbeck's work. WOMEN ON THE VERGE was also a failure as a show but has an infinitely more interesting score than TOOTSIE. Ditto for the successes, DIRTY ROTTEN SCOUNDRELS and BAND'S VISIT.

Yazbeck totally phoned it in on TOOTSIE. WTF was he thinking?

PS: when posters make categorical dismissals of theatre music after 1980, it's because they haven't been to a live performance since that production of SUGAR BABIES in 1979.

And as soon as they invent time travel, I’m going back to 1979 to see if I can see Mickey and Ann.

Though I don't think about it much -- Lord knows there's so much else going on in the world -- reading these threads remind me how much I really do miss the theater. Even if half the offerings on Broadway suck most of the time, I still wish they were all there up and running and everything was just normal again. I miss standing outside a theater with the crowd waiting to go in, walking inside and seeing the stage with a beautiful curtain hanging from above, having an usher show me to my row and hand me a Playbill, sitting in my seat, leafing through my Playbill and reading the bios of all the actors, people-watching as more and more folks file into the theater and get to their seats, putting your Playbill away as the lights dim, waiting for the bitch in front of you with a lit phone to turn it off, the announcement that some actor you've never heard of is filling in for the star who's pretending to be sick, and finally the rise of the curtain and the start of the show.

Yes, I really miss the theater.

I'd call that a cue....

JAY-SUS KEY-RIST! There are some sour notes, there.

R300 maybe I AM angry inside! I BEEN through stuff so I'm ANGRY!

....but I'm not angry with you :) I appreciate that you shared it and I'm definitely excited to see it, hence my frustration over not being able to. DL has always been a place where people can voice their frustrations, but don't take it as an attack.

If anybody else can find some way for those of us who are geo-blocked or Google Drive and compatible to see it, that would be appreciated.

...I guess for now I'll finally watch Act 2 of (yawn) Bandstand instead.

*Google Drive incompatible

I don't think anyone could dismiss musicals before 1980, but to dismiss the musicals that came after is equally lame. Phantom, Les Mis, Sunday, to name but a few, had good scores.

What do you think were the best songs and shows to come out of the last decade aka 2011 to 2020?

Songs Waving through a Window

Shows Heathers

R313 I did not see it as an attack, saw it as weak whinging....but I am a cunt BWHAAHAHAHAHAH.

Maybe Google Search for help, as works for seemingly, everyone else. x

R315 I have just got copies of Fun Home and Next To Normal, which I shall post (someday), as i always assume people who drag on modern musicals haven't actually seen many of the new ones.

Exclude Sondheim and Webber and the pickings are slim.

Here's Debbie, as a palate cleanser to Betty.

I'm with you, R310. When I'd watch the NT Live streams I'd get little thrill/pang just to briefly hear the audience murmuring before the lights went down. I miss being in an audience. In the Bridge Theatre's Midsummer you often see (especially in the second act) a bald bearded guy standing right up against the central playing area, and you can tell he is SO into it. He's not mouthing the lines with the actors or being distracting, but he's just enraptured by the whole thing. As the production's Peaseblossom said about Bottom: I love him!

Thanks, that's quite delightful, r303!

Google drive always has problems.

Sometimes it works and half the time it does not.

Very nice post, R310. You really captured a feeling many of us have.

And a cute joke at the end, too, DataLounge-style.

I miss theater also. I miss sitting in a theater while the frau in back of me rattles candy wrappers , because it's impossible for women to go to a show without eating candy. But, invariable they are talking until the lights go down, so they have to rattle those candy wrappers as the show is going on. Don't get me started on the rustling of the plastic shopping bags from the souvenir shop that sits on their laps.

[quote]Losing My Mind was written to be Alexis Smith's 11 o'clock number. According to Ted Chapin's book and many other sources, It was Smith herself who after a few rehearsals went to Sondheim, Prince, Bennett and the rest of the creative team and said that Losing My Mind would be a much better fit for Collins than for her.

This story is well documented, so it must be true, but it still amazes me that "Losing My Mind" was ever intended for Phyllis. It seems SO wrong for her character.

[quote]Self awareness is one of the best talents a performer can have. So few do.

Very true. Just off the top of my head, I can think of several performers whom I would say sabotaged their careers to one extent or another by taking on roles they were all wrong for.

Really? You're surprised that Phyllis is obsessed with Ben?

And yet DL fave Carol Channing talked about if an actor is too self aware as a performer, the audience stops liking them.

Aw, thank you, R323. Your post gets my week off to a very nice start.

Channing stopped acting in the 1960s. For the next 30 years, she just concentrated on the staging and blocking of a part that had been written around her.

"I miss standing outside a theater with the crowd waiting to go in..."

"I don't miss standing outside a theater in a post-9/11, crowd-control world, having to line up like lemmings with the rest of the oblivious tourist contingent dressed in their Spanks and backward baseball caps, instead of being able to walk into the lobby at will with other sophisticated, smartly--and respectfully--dressed patrons to take my place among the best and brightest audiences the city had to offer."

Ah, but R330, that was when Broadway had something to offer the best and brightest audiences. There is still the occasional smart straight play, but on the whole, nada.

[quote]Speaking of Jay/TER, wtf is with John Yap’s creepy daily postings about that hot Instaho/“personal trainer”? It’s very, very strange.... he’s obsessed with him and keeps trying to out him. Is it some weird inside joke? I really don’t get it.

I don't know about those posts, but JAY does seem to have gone off the deep end.

[quote]Really? You're surprised that Phyllis is obsessed with Ben?

Yes, really. I wouldn't say that Phyllis is "obsessed"with Ben, certainly not in the way that someone is obsessed with a person they don't have. And even if she DID feel that way -- which I really don't think she does -- she wouldn't express her feelings in a sad, slow torch song. That would be completely out of character for her. So, big surprise, I guess Alexis Smith understood the character a lot better than you do.

There you have me, r331. But as Fran Lebowitz noted...

"The first people who died of AIDS were artists. They were also the most interesting people....The knowing audience also died and no longer exists in a real way...There’s a huge gap in what people know, and there’s no context for it anymore."

Alexis Smith was a dancer. She quickly figured out she wouldn't be flashing her gams while singing a torch song.

And it's obvious Phyllis and Ben would go their separate ways after the reunion, unlike Buddy and Sally who absolutely would stay together.

Alexis was no dancer. She moved adequately but there's a huge gap between her and say, Gwen Verdon.

[quote] Channing stopped acting in the 1960s. For the next 30 years, she just concentrated on the staging and blocking of a part that had been written around her.

The Litter Green people might disagree with you.

R329 Raspberries.

Since this thread has strayed far from gossip, I'll ask a question.

In the London production of Merrily We Roll Along, did Mark Umbers have a thing for Damian Humbley? He's awfully chummy in the last song. Quite handsy for a Brit. If I were watching this live, I'd probably yell out, "Get a room for Chrissake!"

"And it's obvious Phyllis and Ben would go their separate ways after the reunion, unlike Buddy and Sally who absolutely would stay together."

Not in the least. It's clear from Phyllis and Ben's final lines of dialogue that, despite everything, they're in for the long haul together, while Sally, realizing her life has been based on an illusion, clearly goes off the deep end into despair. The evening has been an exorcism. For some it is redemptive, for others, a descent into madness.

I've always wondered what Carlotta, Heidi, Hattie, Solange, Stella and the rest take away from the evening...

They'd be fighting over the flowers centerpiece on each of their tables.

[quote]I've always wondered what Carlotta, Heidi, Hattie, Solange, Stella and the rest take away from the evening..

Carlotta takes home Ted Chapin.

Broadway and NY commercial

[Quote] she wouldn't express her feelings in a sad, slow torch song

Piffle. Buddy is a travelling salesman with no connection to the follies beyond being a stagedoor Johnny. But he danced like Gene Nelson...

Hello, folks! We're into the Follies!

There's no reason Phyliss's fantasy image of herself couldn't be a sad, sympathetic torch singer pining for her man with a long slow ballad. It would make perfect sense. Likewise, Sally could envision herself a dazzling dancer in a starry showstopper. (Just not that particular song.)

R332. you are looking at the script as it is after the decision was made to give the song to Sally. If Phyllis had the song there would probably details throughout the show that would make sense of her singing it.

Instead, with Jesse and Lucy, the details point to a woman who feels her life is inauthentic, so Lucy and Jesse is the culminating statement.

And even with the script as it is now, Losing My Mind would play as the point where the cold, frosty society matron reveals a core of feeling she hides under her bitterness and sarcasm.

Sally is a woman who flies out to camp on her child's doorstep. It's doubtful she has friends ("I talk to friends and think about you."). She likely doesn't do chores either.

But lord knows she *does* still eat Baby Ruths for breakfast, r349.

"Dim the lights" sounds a lot more Phyllis than Sally.

Kill the two ladies off in a bitter jealous rage with each other and end the show with long soliloquies for Ben and Buddy.

[Quote] end the show with long soliloquies for Ben and Buddy.

Where they discovers that the dames they're looking for are hommes.

*discover

FOLIES!

Alan Menken Achieves EGOT Status With Daytime Emmy Win:

I'd rather see FOILS!

[quote]There's no reason Phyliss's fantasy image of herself couldn't be a sad, sympathetic torch singer pining for her man with a long slow ballad. It would make perfect sense. Likewise, Sally could envision herself a dazzling dancer in a starry showstopper. (Just not that particular song.)

That's a valid opinion, but I disagree with it. That's not the way the creators decided to go with the other characters when they wrote the "follies" numbers.

[quote]You are looking at the script as it is after the decision was made to give the song to Sally. If Phyllis had the song there would probably details throughout the show that would make sense of her singing it.

That's an interesting point, but in my opinion, all or most of the script for Phyllis's character would have to be VERY different than the script as we know it for "Losing My Mind" to make any sense as Phyllis's "folly" number. In the original script as it stands, Phyllis is presented for the most part as a very self-possessed, frequently sarcastic, quite bitter woman, certainly not someone who comes across as very vulnerable emotionally. I think the audience would have been very confused if a character anything like the Phyllis we know had suddenly come out with "Losing My Mind" as her "folly" number -- unless the whole song were meant to be taken as satirizing her coldness and bitterness.

Phyllis isn't the only one losing her mind.

DEAR GOD STOP WITH THE FUCKING FOLLIES!!!!!!!!

Ben has fucked someone else hours before, as he is wont to do. Phyllis goes to her reunion and tries to fuck a gay waiter. She is very, as the kids would say, "pressed." Also, the way she emphasizes to Buddy that she has 30k of Georgian silver in her dining room... Phyllis is insecure and grasping as fuck. She fronts better than Sally. And that's why Ben chose her, no doubt.

Sorry r359, but it's our Folly.

I’ll take Follies over those endless clips of performers no one's ever heard of singing rightfully forgotten songs that become the mainstay of these threads after they get paywalled.

Bring on those Beautiful Girls!

my god, please no more fucking FOLLIES>

SARAVA!

Theatre can't move on unless you antediluvian queens embrace some of those lesser known talents.

Time to open those rotting fingers of yours and let some sunlight shine on Broadway you vampires.

If no less than Stephen Fucking Sondheim thought "Losing My Mind" would work for Phyllis, then it would work for Phyllis. He's a genius, for starters. He was steeped in the creation of the play. A brilliant dramatist, he wrote it for that character to sing and he didn't do it by accident. Nor was it a mistake.

Alexis Smith was correct that Dorothy Collins had the better voice for the song, but it does not necessarily follow that the song is better suited to Sally than to Phyllis. That 50 years later we accustomed to the song being sung by Sally counts for nothing in this examination. So set that aside.

Phyllis would have a powerhouse evening if she followed the venting of pent up anger in "Leave You" with the truth of her sad plight revealed in "Losing My Mind." There's your Lucy and your Jessie and no one would be stuck expounding on it in a narrative. Alexis Smith might have steamrolled everything if she had not given away that 1-2 punch. Losing My Mind really should be Phyllis's song. It would be her moment of truth, that was so deliciously different that the seeming moment of truth that she delivered 15 minutes earlier. Pow!

"Losing My Mind" assigned to Sally robs it of its ability to reveal anything about the character. We already got the idea that she's not stable and that she's obsessed with Ben. We don't need the song to tell us that. Dorothy Collins was born to sing the song, but that's not great play writing.

On reflection, you'll agree.

[quote]my god, please no more fucking FOLLIES

Like that's ever going to happen on these threads.

Smith already walked off with the evening. Her comments to Dorothy Collins upon seeing one of the 1980s productions reflects that she saw Collins as no competition.

Like they've done with "Merrily We Roll Along", we're going to reassign all the Follies songs.

Phyllis gets "Losing My Mind"

Ben and Buddy get "Who's That Woman"

Sally gets "One More Kiss"

Weismann gets "Broadway Baby"

Well, R369... "One More Kiss" is a better choice for Sally than "A Country House." I'll give you that much.

Dear Muriel,

Could you please block all those that talk about Follies.

Your loyal admirers,

the sane people in the theatre gossip thread

Fuck no asshole at 371.

Do you think I willingly wade into these cesspools of theatre gossip? Grow a fucking brain.

Dearest r371,

I've installed paywalls on Theatre Gossip boards.

Kisses, Muriel

372 you aren't Muriel.

Muriel would have insulted me in an intelligent and clever fashion.

Now go fuck yourself.

Remember the part in FOLLIES where the one lady sings and lots of people played the role and they all did it in different ways and no one has ever been able to really play the role well? Me too! I love talking about it.

Whether or not Sondheim is a genius doesn't mean he can't be wrong.

The biggest obstacle to a good FOLLIES is getting goddamned physical production right. Ben and Phyllis and Carlotta are the only three on stage who are still in public life. They should LOOK IT. They should have better hair and better clothing with better fit and better accessories. I hate it when I see a production of FOLLIES and everybody is essentially dressed the same. Phyllis and Carlotta should be leagues above everyone else. Ben gets a new, stylish, perfectly pressed tux. Dmitri Weissman gets an old tux that fit him like a dream, but 25 years ago. The characters are often so generically dressed. And that won't work in this weird show.

The set is impossible. Unless you have an institutional theater with a stage and budget the size of the National Theatre, it's unfeasible to come up with a set that moves that much and doesn't kill someone. If it doesn't move with great facility, then it will never keep up with the book.

Since, according to theatre queens, the only good production of Follies was the first one, I think the entire show is very very very flawed.

And I doubt the first production was a great as people claim

[Quote] no one has ever been able to really play the role well?

That claim has been dropped.

The NT production (despite a lackluster Loveland) is proof positive that the show works when its put in good hands.

Mr. Bennett and Miss Walters...

What would have "Follies" have been like if Arthur Laurents did the book? Was he ever considered for this?

Well, R382, it might have remained a murder-mystery (Laurents wrote the screenplay for Hitchcock's "Rope," after all), which is what it started out as.

R382 Doesn't Steve hate him?

Next To Normal.

Fun Home.

Ernest Shakelton Loves Me.

Michael Bennett wanted Neil Simon to come in and work on the Follies book.

LOL R375

R366 Losing My Mind works for Sally because it's the moment in the show where she finally processes that the dream isn't going to happen. The walls start to crash down just before Loveland when Ben gets real with her, Losing my Mind is when she starts to understand that he was never sincere about her and yet she spent her whole life building him up, and then in the final moments she admits all of this to Buddy and wonders what's next. It works just fine.

I don't understand how the lyrics for the song could possibly apply to Phyllis, who seems all too aware of her husband's shortcomings. If anything, I would kind of think less of her as a woman for having a big fit - a long overdue one - and telling her husband he sucks and that she's basically already out the door, only to then turn around and sadly stand in the spotlight describing her undying devotion to him and how it occupies her every thought. I think on paper that works better than in reality. Obviously, they could have changed the story event to justify the song better for Phyllis, but I think Phyllis is looking closely at herself the whole show and wondering how she went wrong. Lucy and Jessie is the combination of that. It's her finally realizing how teriffic she always was and how screwy things turned out. It's a bold powerful song and it lets Phyllis get her groove on, and that feels a lot more satisfying than watching her get really sad and sombre and weak-willed after being so defiant.

Again, I'm very interested to hear which songs from the last decade and which shows from the last decade you guys consider to be top notch.

I'm super happy for Alan Menken and I also really love the song Waiting in the Wings, so good for him!

Phyllis is "The Woman Behind The Man." She may be smarter than Ben, she may be tougher than Ben. But her position is behind him. When he's down, so is she. They are a unit.

[Quote] Phyllis is looking closely at herself the whole show and wondering how she went wrong.

Then why does she say "Don't make waves"?

[Quote] It's a bold powerful song and it lets Phyllis get her groove on, and that feels a lot more satisfying than watching her get really sad and sombre and weak-willed after being so defiant.

But wouldn't Phyllis picking Ben up at the end be a letdown? It sounds like you'd like a strong, independent woman. Phyllis is strong. But she doesn't want independence.

I always thought that at the end the two couples should should just switch partners, as Fate always intended. and dance off into the morning to a jaunty Sondheim waltz.

Great Interview in New Yorker magazine with Audra M

Maybe they should give Phyllis a big "Fuck you" girl power moment at the end like they did in that Christina Applegate revival of Sweet Charity. Would that help?

Honestly, the reason Smith and many others who have played the role have walked off with the show is because Phyllis really is the most interesting character in the show. She's funny, smart, gets two great songs, and does have a change at the end of the show. No one else really has a satisfying arc and she's the closest thing we have to a main character. Sally might be the first one we meet, but she's not the most sympathetic or interesting person on the stage.

"Time to open those rotting fingers of yours and let some sunlight shine on Broadway you vampires."

Jealous! As vampires, we get to live forever and talk about...FOLLIES!

I appreciate your observations, r377. I would add: FOLLIES' Loveland sequence is the fulfillment of the plays's theme. All the optimistic, romantic cliches and values of the American Dream which the show debunks and turns on its head come roaring back to thrilling life when the show goes surreal. Accordingly, it is necessary the entire Loveland design and execution is extraordinary and lavish. A cheap Loveland is a betrayal of the show's very point. And, IMHO, no production has come close--not even the NT--in achieving what Prince and Aronson did.

What would Follies be like if it were a different play?

Like any play in the history of theatre except Company, Gypsy, Hello Dolly. . .

[quote]Michael Bennett wanted Neil Simon to come in and work on the Follies book.

Just what "Follies" needed. A lot more one-liners.

[quote]In the London production of Merrily We Roll Along, did Mark Umbers have a thing for Damian Humbley? He's awfully chummy in the last song. Quite handsy for a Brit. If I were watching this live, I'd probably yell out, "Get a room for Chrissake!"

R339 I've always thought that they missed an important plot twist in Merrily. When they sing NOT A DAY GOES BY and we learn of Mary's secret love for Franklin, that should not be such a surprise. It's hinted at throughout the musical. But the number should be sung a third time by Charlie, since it turns out that he has loved Franklin as well. The song should end as a duet between Mary and Charlie as they both acknowledge their love for this imperfect man. Now that would be a terrific turn of events and would make the Our Time trio even more poignant.

IMHO

They should have kept Follies as a murder mystery with Gloria Swanson swooning around in the background as a FtF ghost.

^ Loretta Swit skulks well.

r398, I think you're right. And that attachment makes "Franklin Shepherd Inc" even more poignant. In Sondheim original productions, bisexuality was never explored. The later productions of Company have started to consider it. And I wonder if Charley could have feelings for Franklin. Unfortunately, it will never be explored because so many productions are just too busy trying to "fix" the show that they can't explore things underneath the surface.

[quote]Remember the part in FOLLIES where the one lady sings and lots of people played the role and they all did it in different ways and no one has ever been able to really play the role well?

Her name was Josephine Barstow and she's the only one who has ever been able to make the Heidi character work. For once, "One More Kiss" was actually performed to the point that the audience was drawn into the character rather than just having to endure the song to keep the show moving.

Noooooooo, R402. No.

Justine Johnston and Victoria Mallory were wonderful together in the original company. It just requires a great director and two great singers who can act to break your heart.

Franklin Shephard was a combination of Richard Rodgers and Hal Prince. Merely being a Broadway creator/producer/director wasn't enough for either of them. Sondheim saw them both at their best and worst but was still in love despite himself Sondheim was Charley.

Just an uninformed comment.

Franklin Shephard was a combination of Richard Rodgers and Hal Prince. Merely being a Broadway creator/producer/director wasn't enough for either of them. Sondheim saw them both at their best and worst but was still in love despite himself Sondheim was Charley.

Just an uninformed comment.

[quote]And that attachment makes "Franklin Shepherd Inc" even more poignant.

R401 you have captured it exactly! Charlie's frustration/anger at Franklin goes beyond Franklin's selling out. It's because he loved the man that Franklin was, not the man/corporation that Franklin has become.

You all have even me FOLLIES'd out. ME. Me, who at 15 years of age bought the OBCR in 1971 at Woolco...this *very* Woolco. Me, who almost immediately started a FOLLIES scrapbook. Me who corresponded with Miss Fifi d'Orsay...en français! Me who wrote a gushing letter to Mr. Harold Prince who sent back a lovely signed note. Don't get me started on what I collected (and ended up selling) through the years.

What did you collect (and end up selling) through the years r407?

The National Theater podcasts are great. There is one with Josephine Barstow where she discusses the acting choices she made that contributed to how moving that moment was.

She and the director decided that Heidi is ill and knows that she will die soon. She came to the party to say goodbye to her life.

It is a pretty obvious choice, but hearing Barstow describe it you see how it motivates her extraordinary performance.

[quote] [R401] you have captured it exactly! Charlie's frustration/anger at Franklin goes beyond Franklin's selling out. It's because he loved the man that Franklin was, not the man/corporation that Franklin has become.

Exactly. Otherwise it doesn't make any sense. Why doesn't Charley just go work with some other composer? Unless, there's a real emotional pull.

I do understand why they've downplayed Charley though. Mary gets the love interest angle and it would be a bit exhausting to have two characters lusting after Franklin.

R339, at the performance I saw of Merrily (at the Menier Chocolate Factory) some blond twink showed up and made it clear in no uncertain terms that Mark was his bf. And I thought Mark could do SO much better than with somebody like him. He probably did, eventually.

[quote]There is one with Josephine Barstow where she discusses the acting choices she made that contributed to how moving that moment was.

Plus, Barstow being a frail old lady, even before the song starts, you just feel for her. You know it's the end for her just by looking at her. The casting was brilliant in that regard. Don't give me any of those fat, healthy diva Heidis. They don't work in the role.

Barstow was indeed great but Rosalind Elias was even better and Sondheim adored her.

No she wasn't.

In order to update it, could they just do Follies as a Burlesque theater closing? Or strippers? Or a nail salon?

Has any actress "bested" Elaine Stritch as Joanne? I've seen a few productions and none seem to capture all aspects of Joanne like Stritch did.

What are all the aspects of Joanne?

Christine Baranski has never played Joanne (yet), right? That seems like it would be a home run. We know she can sing it judging from the Sondheim 90th. Apparently Judith Light tried it out and was not good in a bad LA production (is there anything else?) a while back.

I’m surprised no one has tried to do a film of Company... certainly M would devour the part and likely snag #4 if it came to fruition anytime soon. But, FOLLIES first!

Julie Wilson certainly went her own way.

Wilson did at least part of the first national tour, right?

Meanwhile, nobody else thinks Merrily wasn't at least partly autobiographical for both Sondheim and Prince?

[quote] Meanwhile, nobody else thinks Merrily wasn't at least partly autobiographical for both Sondheim and Prince?

Yes, in part. But Prince was never handsome and as popular as Franklin. Hal was never the life of the party.

Well, neither exactly was Sondheim. Nerds take what nerds can get, if they even care.. Looks aren't always No. 1 on the table for some people.

Sondheim was sexy for five minutes.

And for that five minutes the whole world went blind.

r424 = Arthur Laurents, who is still bitter that Sondheim would never fuck him.

I always thought Sondheim was kind of attractive circa Sweeney and Merrily. Bad boy intellectual, like a dangerous professor.

Laurents had a type. And Sondheim was not it.

Sondheim was definitely sexy in the 80's. He had a good haircut, that sexy beard, and presented himself as someone who occasionally bathes. Sondheim circa Company was not terribly attractive.

[quote]Sondheim circa Company was not terribly attractive.

Yes, he does look a bit oily in the Company documentary, but I think that was the look coming out of the 1960s. Call it "Woodstock Artiste".

I agree that SS looked his best in the 1980s. Wasn't that his "healthy" period? After his heart attack, he stopped drinking (for some years, at least), smoking, and eating all that red meat and sugar he had been living on. He used to ride his bike everywhere. I still remember I was a teen buying tickets for SUNDAY IN THE PARK and there he was on his bike, talking to Mandy P outside the theatre.

Josephine Barstow really should have won an Olivier for that performance. It was simply stunning to see in person.

John Mulaney as a Sexy Stephen Sondheim during the Company cast album recording and Paula Pell doing Stritch.

R405, maybe Charley is based on Larry Hart. I always thought his problems, and many of his lyrics, could be best explained by a giant crush on Rodgers.

Writing partnerships (especially long-standing ones) are like marriages already. Feelings run high. Realistically, there’s no need for unrequited romantic feelings to be added to the mix.

Of course, I doubt if most audiences understand just how heated and turbulent those relationships can be.

Did Prince and Sondheim ever have a sexual relationship?

I think we can all see just exactly how Christine B would play Joanne, which is how she plays 90% of her roles. No thanks. Besides, Joanne shouldn't be in her 70s. (Sorry, Patti.) Stritch was 45.

And could pass for 70.

R430, I sat a few seats away from him three years ago when he came to the Barrington in the Berkshires to see Aaron Tveit in Company.

He looked dreadful, frankly. He appeared disheveled, unwashed and there were food stains on his shirt.

It doesn't matter who plays Joanne or how she plays it. The fucking play was never very good. The best of COMPANY is the Original Broadway Cast album, not the show itself.

The piece is 50 years old and none of those characters exist anymore. (Does any 45 year old still wear a hat?) Even if you simply set the play in 1970 and recreated Boris Aronson's set and D.D. Ryan's costumes in an effort to make it a genuine period piece, it would only underscore the irrelevance of the thing in 2020. Where would you find actors today who could make sense of what was happening at that time, because the piece is mostly about what was happening at that time. It was supposed to be edgy and hip. 50 years ago. It's not a play based on great universal truths, except maybe for Bobby's loneliness. But his particular way of understanding it and addressing it are pure 1970. The actors are far removed from the zeitgeist of the era and most of the audience would be even farther removed.

There is no longer a sound reason to produce this musical. The only reason it is not in the ash pit of ancient history along with "Mary, Mary," "Any Wednesday," "Cactus Flower," and a host of others is Sondheim's score which was ALWAYS infinitely better than the play for which he wrote it.

Phantom has closed for good on the West End.

[quote]He looked dreadful, frankly. He appeared disheveled, unwashed and there were food stains on his shirt.

The man is 374 years old. He can stand. He can sit up. He can even walk a bit.

Lord knows he can form an intelligent sentence.

And it was *only* Barrington, r441.

I obv don't know the details of his marriage, but it does seem odd that the husband can't at least suggest that he change his shirt before he leaves the house.

They might have stopped off at a drive-in for chili dogs and cheese fries beforehand, r443.

Accidents happen. But you still have to make the public appearance you promised and worry about some worthless guttersnipe gossiping about you on the internet. It is the burden of celebrity.

She's back in NY!

What makes you say that with such authority, r440?

Oh, for fuck's sake.

Just google it, R447. Why challenge something as factually simple as that? Google it.

Arthur Laurents would never have appeared in public unbathed and sporting food stains.

R1, Blanche Yurka is introduced by DL fave Arlene Francis @ 22:30.

R449, Perhaps a few cum stains, but rarely.

A thousand thanks and blessings to "Valens" and any others on these threads, generously sharing links to shows. Some of us are so appreciative.

So, beloved TG bitches: what's the deal with NEXT TO NORMAL? Who saw the original Bway run a decade ago? What was the popular reception at the time? How did it manage to run for 2 years and not make any money (allegedly)?

I was glad to have watched the Hartford Stage production, which was solid, but I'm unsure about the show. I admire the ambition: an original story, some very dark themes, a contemporary-sounding pop-rock score.

On the downside? Too many songs, too many of them uninspired lyrically and melodically. A couple of standouts, perhaps. Just good enough to make you wish it were all better, IMHO.

The NPH concert production of COMPANY was a damn fine playing of the book. It was much more pleasing in that respect than in terms of the music/vocal performance.

In that documentary Broadway the Golden Years, Sondheim did the entire interview laying down. It was pathetic.

[quote]Her name was Josephine Barstow and she's the only one who has ever been able to make the Heidi character work. For once, "One More Kiss" was actually performed to the point that the audience was drawn into the character rather than just having to endure the song to keep the show moving.

Josephine Barstow was indeed wonderful in FOLLIES, but it's ridiculous to state that she's "the only one who has ever been able to make the Heidi character work," regardless of how many times R402 keeps coming into these theater threads and insisting this is true. The character has worked in every one of the productions that I've seen, and I would say much of the effectiveness in the character is in the writing of the song and the few spoken lines Heidi has. For me, ironically, the only Heidi that seems to have been miscast (based on her performance on the original cast album) was Justine Johnson, because I don't think she sounds at all like a Viennese operetta singer -- there's something so American about her voice, pronunciation, and singing style. But I thought Rosalind Elias and Licia Albanese were both great in the part, to name only two.

Barstow is the only one who made an impression on me as an actress. I'm not a fan of classical singing so Barstow's deft characterisation stood in even higher relief.

R448 well if someone's going to post something as shocking and arbitrary as that, it would make sense to also post A LINK to back the claim up. We've been hearing tons of different rumors about Phantom for the last few months, and that's all that sounded like: another rumor.

For Fuck's Sake!

Not r440, but here:

[quote]On top of this, Andrew and I have had to sadly permanently shut down our London and UK touring productions of The Phantom of the Opera, but are determined to bring it back to London in the future.

Very informative article. Please take a moment to read.

With London theatre closed, will Little Charlie Stemp have to resort to online performances?

[quote]The National Theater podcasts are great. There is one with Josephine Barstow where she discusses the acting choices she made that contributed to how moving that moment was. She and the director decided that Heidi is ill and knows that she will die soon. She came to the party to say goodbye to her life. It is a pretty obvious choice, but hearing Barstow describe it you see how it motivates her extraordinary performance.

It's an obvious choice because it's written into the character, in the sense that I believe Heidi is supposed to be quite elderly. Whether or not the performer who plays Heidi has decided that the character is ill, I would think it goes without saying that the character must be very aware of her mortality. Certainly, I got that feeling when Heidi was played by Albanese and Elias -- and every other person I've seen in the role. So again, not to take anything away from the wonderful Barstow, but I just don't think her performance or her interpretation were THAT extraordinary. But I don't want to belabor this, so I'll leave it at that, even if there are rebuttals :-)

Looks like the Kaye Ballard documentary is no longer available free. If anyone saw it, is it worth $12.00?

[quote]As a staunch Conservative, I have always admired Boris’s Churchillian spirit

Ugh, it's not a shock, but to actually see Mackintosh say it like this, pathetic.

As for Phantom, he'll no doubt do a Les Mis and bring the awful touring version into the West End. Odd that ALW is talking about doing his best to keep the original going, like he has no influence over the situation.

What would make sense, R457, is for you to do your own homework.

Mackintosh: "Hitler only managed to close the theatre for a few weeks before Churchill ordered them to reopen and help keep the spirits of the British people flying high through a terrible war — the show did go on and so did the British people."

I hate the false equivalency of the Blitz with COVID-19. I read the same crap in regards to reopening the pubs a month or so ago.

Hitler wasn't sitting in the stalls next to you holding a bomb, you imbeciles.

I see VERY little if any of Prince and Sondheim in Franklin Shepard and Charley. I really don't think either Sondheim or Prince felt the other one had sold out and was wasting his talent. Also, of course, they didn't have any sort of a rift between them UNTIL the failure of MERRILY. So, R420, what are you smoking? (See what I did there???)

I bet Mackintosh has permanently shut down the West End Phantom because it was still using the original Prince staging and sets and costumes. He says he wants to re-open if he can means he wants to bring the cheap tour version.

[quote]Also, of course, they didn't have any sort of a rift between them UNTIL the failure of MERRILY.

You don't much about Prince and Sondheim, do you?

Give us a potted history.

Yes, the Ballard documentary is worth $12. It's a good 90 minute escape...

I SEE YOU WHITE KAYE BALLARD!

How different are the characters in the Sondheim/Furth version from the ones in the Kaufman and Hart original?

Mackintosh’s letter seems very tone-deaf but indicative of a prevailing attitude in the UK that they have “moved on” fr COVID-19, implicit air of superiority included. Obviously, this pandemic is far from over and it’s a fool’s errand to re-open or begin the re-opening process only to have to shut it all down again. He can’t possibly think there won’t be a second wave (or worse). I agree this seems like a ploy to do as many of his shows as possible on the cheap and blame it on the virus.

[quote]but indicative of a prevailing attitude in the UK

Among the right wing in the UK, certainly. I imagine his tone is also part of an attempt to ingratiate himself with Johnson, and so hope to secure some kind of extra bailout.

[quote]and it’s a fool’s errand to re-open or begin the re-opening process only to have to shut it all down again

Keep in mind the British government is currently simultaneously telling the British people they need to lose weight AND subsidising half price fast food. All we have in power at the moment are fools.

[quote]Writing partnerships (especially long-standing ones) are like marriages already. Feelings run high. Realistically, there’s no need for unrequited romantic feelings to be added to the mix.

Excellent point. Plus, as someone else mentioned, to have both Mary AND Charley in unrequited romantic love with Frank would be a bit much.

So was Hal Prince in love with Sondheim? Or vice versa?

Did the two of them ever... make the sex?

R471, WE SEE YOU, “WE SEE YOU, WHITE _____” TROLL!

Did Kaye add an e on the advice of a numeroligist?

if you know something, r468, why not spill it?

Oh, r450, Miss Tiffin and her Starlet hair-do...

[quote] Did Kaye add an e on the advice of a numerologist?

Actually, when she did MOLLY, I think she removed the 'e' on the advice of a numerologist. (I don't recall this being discussed in the documentary)

Didn't help The show still flopped.

"So, beloved TG bitches: what's the deal with NEXT TO NORMAL? Who saw the original Bway run a decade ago? What was the popular reception at the time? How did it manage to run for 2 years and not make any money (allegedly)?"

Sorry, but unless it has to do with Sondheim or anything related to him, we have no time to discuss it here.

[quote] to have both Mary AND Charley in unrequited romantic love with Frank would be a bit much.

Which is why Mary should be dropped from the show. Charley can handle all the unrequited love by himself. Mary serves no purpose in the show.

And since we're dropping things, drop that insipid "Jack and Jackie" number. I get that it's supposed to be a post-college, Greenwich Village musical review, but surely they could come up with something better.

r482

I remember nothing about the show except the 20 or so minutes of You don't know thru I'm Alive(with I am the one and Superboy and the invisible girl)

My group went to see Merrily during the last week of previews. We went by the Box Office on the way out to demand our money back but it was closed.

You ate the steak, you have to pay for it.

You ate the steak, you have to pay for it.

[quote]We went by the Box Office on the way out to demand our money back but it was closed.

What did you not like about the show?

Does anyone have information about the Funny Girl revival with Rosie O'Donnell that is scheduled to reopen the Palace Theater in Fall 2021?

[quote] What did you not like about the show?

Everything except a handful of the tunes. Although I liked Ann Morrison. All that money for worse than community theater values.

Actually r464, what would make sense is you posting a link like any normal person on these boards would do when announcing something as fact.

And who the fuck are you to give me homework? I don't owe you homework, professor. Like every word you type is something I should go and research and ponder for hours on end...

Get your head out of your ass.

Let me guess, at the fast-food job you used to work before you got fired, you used to make customers ask for every napkin individually didn't you?

Kaye did a stupid song from Molly on Merv Griffin. Merman did Roses, Barbara Cook did Til there was you, Bernadette did I can Cook too and Kaye did a song that had the punchline that she saw John Davidson in Playgirl and found out he was Jewish.

R467, I have the exact same sinking feeling. This is all about lining up with Love Never Dies, running them both side by side (puke) and not having to pay the states of Prince or Bjornsson.

With the show now officially closed, does that mean they're going to remove the sets from the theatre?

I found the ending of Next To Normal rather weird and forced. The main character just moving away from her family because she can't seem to control her illness isn't very realistic. Most sick people stay with their families because they can't cope on their own and their families are afraid of leaving them to their own devices. And did she say she was moving in with her elderly parents? Right, because people in their late 70s and early 80s can definitely help an unstable 40 year old woman stay on her meds...

[quote] And since we're dropping things, drop that insipid "Jack and Jackie" number. I get that it's supposed to be a post-college, Greenwich Village musical review, but surely they could come up with something better.

The thing that always bugged me about 'Bobby and Jackie and Jack' was that they make a big point of it being 1960, yet the Kennedys didn't move in until 1961

In 1960 nobody would've known what Jacqueline Kennedy was planning to do (she had just given birth to John Jr and wasn't holding any press conferences, and wouldn't have been so classless as to announce it before her husband's inauguration anyway) so the whole "We're bringing back style to the White House" routine is a bit idiotic. The Eisenhowers were stuffy, but they weren't exactly county bumpkins.

There was so much buzz around the Kennedys (all of them) prior to the date they took up residence in the White House. Probably all the allusions in that song (which I can't stand, but whatever) were familiar to most of the country in 1960.

Usually, a composer is remembered by 1 or 2 shows that are revived over and over.

What will Sondheim be remembered for?

I saw Sweeney Todd and, to a lessor extent, Into The Woods.

The rest of his shows seem rather dated. We can't keep trying to revive Follies and pray that, this time, they'll get it right. The show is just too glum to every catch on.

I too think INTO THE WOODS will be his most enduring. It is hist most accessible and is often revived by elementary/high schools, colleges, and community/regional theater.

"A Funny Thing Happened on the Way to the Forum" and "Sweeney Todd" will be the two that live on.

The musicians of the opera world will always appreciate "Sweeney Todd" and keep it coming back. "Forum" is ageless.

There is nothing dated about ALNM. it was written as a period piece and it is and will always be wonderful.

I know what you mean, r494. It’s a fairly uncompromising show, but that ending is the worst kind of musical theatre schlock imaginable. They clearly painted themselves into a corner and an unearned "happy" ending.

The other great flaw, of course, is the absence of even one good song. Everything works, nothing is memorable.

Costco....

"What will Sondheim be remembered for?"

FOLLIES!!!

I'm sure you're correct R496 and I know I'm being pedantic. Maybe it's the heat.

Just don't get me started on the lyrics in 'Why Can't The English?'

'By right she should be taken out and hung.' (Objects are 'hung'. People are 'hanged' )

'The Scotch and the Irish leave you close to tears'. ('Scotch' is a whisky, not a nationality. People from Scotland are 'Scots'.)

'Arabians learn Arabian with the speed of summer lightning'. ('Arabians' are horses, people from the Arabian Peninsula are 'Arabs' and the language they speak is 'Arabic'.)

As a linguist, Professor Higgins would have known better.

Let me get my hat and my knife will not date.

She'd strike you as unenlightened/No, I'd strike her first.

Rosie O'Donnell in FUNNY GIRL? Mrs. Brice (nee Gallagher)?

R493, they started to load out scenery in the past few weeks, including the famed chandelier—there were photos on Twitter of it sitting on the sidewalk. The official explanation given at the time was cleaning and refurbishment, I believe, but it’s hard not to see that now as having been just a cover story.

Now, everyone else, please carry on with your riveting discussion of irrelevant nonsense from ancient Broadway history because you’re too cowardly, ignorant or callous to pay attention to the theater industry melting down around you.

Rosie is going to play Flo Ziegfeld.

No, she's playing Vera (the Lainie Kazan role).

[quote]Rosie is going to play Flo Ziegfeld.

What an insult to William Powell.

Oh and bonus points for anyone who makes more jokes about unemployed actors resorting to OnlyFans/cam shows. Those have only grown in hilarity with each repetition, really.

Miss Julie Walters...

Acorn Antiques...the Lebanese episode.

R508 Yeah, Mackintosh is claiming that it's only now they've realised these sets are approaching the end of their life, which seems rather coincidental. I get the show has run for decades, but I wonder how much of the set actually dates back to opening night, given the repairs and replacements which must have happened since. Of course, he has that brand new set from the new version of the tour now just sitting around doing nothing, what a coincidence.

He's also claiming that the theatre needs repair work, and that can only be done by shutting down the show completely. Which doesn't make sense, as you'd think they could use this period to have done any work needed. It'll be interesting to see if Phantom v2 opens in a Mackintosh or Lloyd Webber theatre.

R508, there is almost nothing that can be done right now. The theater industry is not melting down, it has stopped nearly all activity. Of course we are going to talk about theater memories.

What happened to changing the subject rather than bitching about a subject you don't care to discuss?

Um, it totally is melting down, R516. You can say there’s nothing to be done about that right now, but don’t pretend for a second that the industry is just on a break.

Melting down means it.’s in a tailspin. It has crashed and we all know it. We are waiting to find out what the damage is going to be. No one is pretending this is just a break.

We were ON A BREAK!?

NOW a warning?

Sorry, R516, I thought you were downplaying the severity of the situation, when apparently you were actually just being pedantic about my use of “melting down.” My mistake!

Next to Normal is a very good show and I like the score and the OBC recording. I'm all for musical drama instead of musical comedy anyway. There is nothing wrong with the ending and it is definitely not a happy ending; in fact, the song she sings as she departs is sob inducing. She moves away, not to stay on meds but to try and figure out how to live without them, if she can, because she knows she isn't going to make it where she is. Alice Ripley and Aaron Tveit were both very good.

Marin was an excellent replacement too. First rate. I miss Marin so much.

The actor playing the father in the Fun Home posted above plays it way too fey from the start. No discovery of homoness for the audience as purses are flying out her mouth from the first land.

The fat dot Indian child playing one of the children is disconcerting.

In a serendipitous (?) twist, Tony Award winning Next To Normal Star Alice Ripley appears to be on the fast-track to being the first big name to begin an OnlyFans during these uncertain times with her series of scantily clad and now fully nude social media postings in the last several days...

Oh, Violet...

Ode To Passion.

Cabaret with Jane Horrocks.

The Nance.

[quote] "Forum" is ageless.

Not really. Some of it would come off as sexist today.

Everything comes off as sexist or racist or ageist or whatever today. Will the adults ever be allowed back into the room?

The world only spins forward, R532.

But it travels in a big fucking circle, R533, perpetually circling back to where it was.

R531 Good tits are ageless.

Boobs!

[quote] As a linguist, Professor Higgins would have known better.

He also believes The Bible was written in English.

Damn, too bad Stritchie died before she had to resort to an OnlyFans page.

im obsessed with christian borle. any diss on him? him hawt!!!!! luv his song in the shakespear show...hump hump

To be fair, R537, all Ewardian gentlemen knew God was English.

R539, can you please rephrase your question in English and not that cutesie speak or whatever that was?

R538, thank you for that laugh!

[quote] Damn, too bad Stritchie died before she had to resort to an OnlyFans page. —Noel C

I'll do it instead just so I can do something else before Linda Lavin does.

Didn't Alice Ripley's voice become rather damaged by the end of her run in N2N? I couldn't imagine the idea of being a musical theatre actor and losing my voice. It would be terrifying. What other roles damaged actor's voices? I know Wicked took its toll on Idina.

[quote]What other roles damaged actor's voices?

Bernadette Peters - Song & Dance

Patti LuPone - Evita

Julie Andrews - Victor/Victoria

[quote]How did it manage to run for 2 years and not make any money (allegedly)?

It recouped just after its first anniversary

Julie had some voice problems back during the run of "My Fair Lady"; she was 21 and besides having to do the guttural Cockney then the legit singing, she had to do the whole of "Pygmalion" dialogue scenes as well.

I think Ellen Burstyn exposed quite a bit of herself in "The King of Marvin Gardens" years ago, or some other film back then.

Patti recovered from Evita though.

Alice Ripley never recovered from Next To Normal. Her voice has always sounded really strained since then.

Eden Espinosa definitely damaged her voice during Wicked. She sang with such wild abandon and really threw herself into it, and I haven't heard her sound anywhere near as exhilarating since. Her range has definitely shrunk and her tone isn't as good.

But Eden analysis also got older, and that's a factor for 99% of singers. Hasn't Patti said a million times that it's the vocal training and coaching she received early in her education that has kept her working all this time?

Betty Buckley hasn't sounded like herself since Sunset Boulevard. Of course I don't think she did many other big shows after Sunset, so those of you who saw her Cabaret act in the early 2000s can better state whether her voice survived that production or not. All I know is when I heard a bootleg of her in the Hello Dolly tour, I gasped. I couldn't even recognize her. She didn't even sound like an older version of herself.... she just sounded like a completely different old woman who could barely sing.

#541,,,,,go teach grammar to ur bastard kids.

dis here site is all bout bitchery and fawked up words hum

Amateurs. One has to have a strong technique.

And the worst part of Buckley's singing not being great in Dolly is that it's a role just about anyone can sing. It's not a tough sing at all and Buckley still sounded ragged. Not that Midler sounded much better, but at least she landed the laughs. Buckley as Dolly was simply weird casting all around. She's not exactly the right type for that role. That role needs a clown and Buckley's too ladylike and cold to pull off playing a fun gal like Dolly.

[quote)Mary should be dropped from the show. Charley can handle all the unrequited love by himself. Mary serves no purpose in the show. And since we're dropping things, drop that insipid "Jack and Jackie" number. I get that it's supposed to be a post-college, Greenwich Village musical review, but surely they could come up with something better.

I hope you're joking. Mary is a deservedly beloved character, and that song is wonderfully clever and one of the best in the score. In fact, the only thing arguably wrong for it is the lyrics are too good for someone that young to have written them. P.S. It's musical revue, not "review."

[quote]Didn't Alice Ripley's voice become rather damaged by the end of her run in N2N? I

Yes, it did, and I think it began to happen fairly early in the run. But actually, it seemed to me that she exhibited some vocal problems before even starting NEXT TO NORMAL, so I'm afraid that show only made them worse.

[quote]'The Scotch and the Irish leave you close to tears'. ('Scotch' is a whisky, not a nationality. People from Scotland are 'Scots'.) 'Arabians learn Arabian with the speed of summer lightning'. ('Arabians' are horses, people from the Arabian Peninsula are 'Arabs' and the language they speak is 'Arabic'.)

I'm ashamed to admit I've never noticed those particular errors, but there are several more in the lyrics. "I'd be equally as willing for a dentist to be drilling than to ever let a woman in my life" would be grammatically correct as "I'd be equally willing for a dentist to be drilling as to ever let a woman in my life," and "You should get a medal or be even made a knight" should be "....or even be made a knight," -- or, to scan with the melody as written, it could have been "...or perhaps be made knight." And so on and so on.

Also, Lerner used at least two terms that are never used in England: "Don't talk of June, don't talk of fall" (the Brits don't say "fall") and "Stamp me and mail me" (the Brits don't say "mail"). Those two phrases were changed for the original London production but crept back in for the movie, for some reason. And I've always felt the line "not for all the jewels in the crown" makes it sound like Lerner thought the phrase "crown jewels" refers to only the actual jewels in some actual crown.

WE SEE YOU DEAD WHITE ELAINE STRITCH

Rosie is playing Mrs. Brice, and Idina will be Fanny, directed by Michael Mayer who did that recent London production. This should be interesting. Idina is neither funny nor a girl...

Also, during "An Ordinary Man" when Higgins sings:

"I'd be equally as willing for a dentist to be drilling than to ever let a woman in my life."

"I prefer a new edition of the Spanish Inquisition than to ever let a woman in my life."

It should be "than EVER to let a woman in my life."

Ruthie Henshall's voice took a dive after MARGUERITE. She claims it was due to grief over her sister's death. But it turns out she's a smoker. It amazes me when singers - especially those who sing rangey material - smoke.

'Of course, I doubt if most audiences understand just how heated and turbulent those relationships can be."

So true. Over the years, my writing partner and I (together since the mid-80s) served each other divorce papers more often than Burton and Taylor. Yet, somehow, we still manage to make it work and turn out quality product.

"I too think INTO THE WOODS will be his most enduring. It is his most accessible and is often revived by elementary/high schools, colleges, and community/regional theater."

And one of hia least appealing scores.

"Not really. Some of it would come off as sexist today."

That's its point, and thank God for it. Forum's phallic humor, like many plays of antiquity and virtually the entire comedic canon, celebrates potency and fecundity and the erotic life force. You want sterility and impotency? Read Beckett.

"drop that insipid "Jack and Jackie" number"

It's a very clever (and melodious) number and a perfect pastiche of revue material of the day.

"none of those characters exist anymore...It's not a play based on great universal truths"

An entire post full of nonsense. Of course they don't exist---they're fictional creations. Any play that dramatizes the dynamic between people in a relationship and the need for connection--which is Company's concern---is rooted in universal truth.

That Ode To Passion was unwatchable. Well, unlistenable.

I've always thought that rhyme of "get Leontyne Price to sing her/ medley from Meistersinger" was quite clever. Although I always wondered why he didn't include "Die" before Meistersinger. It's the actual title, and it scans better to my ear anyway.

[quote]Rosie is playing Mrs. Brice, and Idina will be Fanny, directed by Michael Mayer who did that recent London production. This should be interesting. Idina is neither funny nor a girl...

I can only imagine how Miss Lea Michele reacted when she heard that news.

Remember when GLEE first came out and everyone remarked how much Leah and Idina looked alike, so Idina was cast as her mother. I thought for sure she would be cast as her older sister, but her mother? LOL

Rosie originally announced Lady Gaga would be Fanny, lo, a few years ago now. Certainly if Gaga does Broadway it will be in something brand new or at least something grand. I’m sure ALW would give her the deal of a lifetime for A 6-month run of EVITA... and honestly she would probably nail it (and nail Madonna’s coffin shut in the process).

R559, I think that Sondheim's idea of the kind of show-offy rhyme that a young lyricist would write. For what it's worth, Leontyne Price never sang anything from Die Meistersinger, which is a German opera.

Why do I have a feeling that the pretentious twit at R557 is Stephen Flaherty...

That idea is as cracked as your spelling of Phyllis, r346.

Sally does do chores. She has too, she and Buddy aren’t exactly rolling in dough. Phyllis is the one who doesn’t do chores,

nudes of christian borle dammit

I recently watched LEGALLY BLONDE on YouTube and I must confess to be on the Christian Borle bandwagon.

Is anyone else a fan of LEGALLY BLONDE? I found it ten times more entertaining and engaging than KINKY BOOTS. The score is seriously underrated and Jerry Mitchell did some dazzling Michael Bennett-esque staging (“What You Want” and “Omigod You Guys” in particular). I’m sure I’m alone though in my affection for the material and the show, though.

indeed, k boots was loooong ,,,,a few good songs but my god,,,,on with it.

Tonya Pinkins wrecked her voice on Caroline, or Change. I saw it many times during its run, and by the end it was genuinely painful listening to her try to sing. I admired her determination to go on, but she really should have taken better care of her voice. She wasn’t doing herself or the show any favors.

[quote] I found it ten times more entertaining and engaging than KINKY BOOTS.

In all fairness, that’s not saying much. Hell, IN MY LIFE was ten times more entertaining and engaging than KINKY BOOTS.

Kinky Boots is 2/3 a great show.

The first act is great fun until the finale, which lays there on the stage like a wet turd.

Then the second act starts with the a very poorly written song (“What a Woman Wants”), and then has that horrible fight sequence and the “I threw the fight so your tender male ego wouldn’t get hurt” bullshit, and then the argument that comes out of nowhere between the leads making some pretend conflict.

But it picks up again. Charlie and Lulu each get a great solo, and the second act finale rocks (even if characters like his snobby fiancée and Lulu’s Dad get redemptions they don’t deserve).

There is also a lot of condescending to the breeders in the audience (such as sniggering lines like “...with a prize that’s undetected“) that’s not going to age well.

I have a love/hate relationship with this show

[quote]It's a very clever (and melodious) number and a perfect pastiche of revue material of the day.

R562 I do remember talks of Lady Gaga playing Fanny Brice but I'm not sure how well she would be in that role. I'm a fan of hers and her work in American Horror Story wasn't very good. She was much better in A Star is Born but I think it may have been due to the fact the character was similar to her own personality. It could also be quiet difficult for her to do eight shows a week because of her chronic pain. But I would love to see her on stage though. I'm sure there's a role that would be perfect for her.

Will Pia Zadora play Mrs Strakosh?

Sure r576!

Anyone elsee see She Loves Me on pbs.....fab !!!!

female lead sang so great, and zachary was great too

[quote]I recently watched LEGALLY BLONDE on YouTube and I must confess to be on the Christian Borle bandwagon.

I don't know how many people are aware of this, but for several years now, Christian Borle has had a bangin' body. Because of the kinds of roles he tends to play, he rarely gets to show it off, but I seem to remember there were one or two shows where you could see and appreciate his arms, at least. (I think one of them was LITTLE ME at Encores!)

big cock too, from the bulge....and cute butt, made to play

And we're back to Christian Borle. It's nice to know ever pan has a lid, I guess.

But Leontyne Price sang German songs. And has been pointed out, the song is a throwback to revues like Julius Monk produced; the songs were not the kind of precision creations that Sondheim would create. Rather the songwriters were young colts (like Cy Coleman and Carolyn Leigh) who were in it for the cleverness, not grammatical purity.

R569, hardly. LB is one of my faves too for the same reasons. Terrific staging, great tunes and LBB was really amazing in the lead role. The entitlement/white privilege is high, but the rest is great.

I wonder what did Betty Buckley's voice in. Was it age? Would it have happened to her like that even if she hadn't spent decades belting? Was it poor technique, because she credited being able to belt Memory with having taking private lessons for years when while working in Los Angeles (she flew back to New York to train with her teacher)? Was it from lack of upkeep in the years following Boulevard or immediately prior?

It honestly breaks my heart a little because as soon as I heard her announced as the replacement in the tour, I got excited and I almost went out of my way to see her. I'm so glad I heard that bootleg online first because 10 seconds told me everything I needed to know. I would have been so so disappointed seeing her struggle on stage like that, knowing what she's capable of. Of course I still would have tried to Stage Door and meet her because she's amazing and a legend, but the money spent travelling to see a disappointing show would have bothered me.

[quote]I don't know how many people are aware of this, but for several years now, Christian Borle has had a bangin' body.

Yeah, but that face. It makes women and small children shriek in terror.

Surely the mere fact of hearing Betty Buckley was playing Dolly would make you want to avoid it? Dolly had pathos but it's a comic part. Betty Buckley, comic?

[quote]she credited being able to belt Memory with having taking private lessons for years

The role of Grizabella is not a difficult sing. Really, all she does is walk on, belt Memory and that's it. Fans of a football match spend more time screaming than the actress playing Grizabella.

The question of Lady Gaga doing Funny Girl is not one of can she sing it. It's a question of can she be funny enough to put over the comedy. The story is about a comedienne and if the actress can't be funny, then it's a loss.

Idina Menzel is charming but is she all that funny?

[quote]Yeah, but that face.

What would you be doing that you could see his face???

WE SEE YOU WHITE KAY BALLARD

(this is for when she was in "Molly")

Goodness, this thread is just whizzing (you should pardon the expression) along. Any requests for a title for the next thread?

But a MEMORY! Betty Buckley's voice...

I remember enjoying Kinky Boots much more when I saw it in previews than when I watched the filmed West End production. Even the Act I finale was much more exciting on first viewing than the Tony Awards performance... I guess the sheer surprise and delight of the conveyer belt/treadmill helped to cover how uneventful the actual song was. Jerry Mitchell really can build a number when given the right material though; even Legally Blonde which I dismissed at the time as pure cornball fluff as some serious wow moments like the above mentioned opening number and "What You Want," as well as the "Legally Blonde Remix" and "Whipped Into Shape" jump ropes.

Even at the Kinky Boots preview, I knew Billy Porter would win the Tony, but his second act 10:45 number should be cut or at least rewritten. Sometimes I wonder if the reason we get so many middle of the road just okay shows these days is because there are too many investors playacting as bigshot producers thinking they're David Merrick with streams of notes and comments or because the creative team's egos won't allow outside eyes to not doctor a show but at least give their opinions on structural issues in a piece. Do Casey Nicholaw and Jerry Mitchell ever meet up and trade thoughts or is that taboo these days?

Bringin' it back home, Casey and Jerry have both choreographed not ready for Broadway productions of Follies at City Center and Papermill (where Mitchell wisely restaged the original Michael Bennett "Who's That Woman"). Could they handle a revival as director-choreographer or is Follies one of those shows that needs two separate entities creating/curating? When the show is eventually revived, I hope it gets the first class all the way, baby Lincoln Center treatment. In my dreams, I'd love to hear Audra McDonald and Brian Stokes Mitchell sing "Too Many Mornings," but by the next revival Stokes will probably more apporproate for Dimitri Wesisman. It'll probably end up being Kelli O'Hara and Steven Pasquale anyways... Laura Benanti as Phyllis with Bernadette as Hattie, Carolee as Stella, and Anne Hathaway as Carlotta.

Anyways, non sequitur... been listening to a slew of theatre related podcasts during the quarantine and on a recent episode of "Behind the Curtain," during and interview with Miss Ann Reinking, she says she was a last minute replacement for Roxie in the City Center Encores production of Chicago as the original star "had a conflict" and withdrew. Reinking doesn't name the actress but admits the show still woulda been a hit and possibly a bigger one. Anybody know? My pie in the sky ideas are either big time star ladies who might have upon a time done a movie version (Shirley MacLaine, Ann-Margret, Goldie Hawn) or women who eventually played the part (Sandy Duncan, Marilu Henner, Chita). She does briefly mention choreographing Bebe and Juliet Prowse in a regional production. Also... how come Donna McKechnie never played Roxie? She did the Sweet Charity concert around the same time so I assume would have been on the shortlist for replacements.

All I think of with Kinky Boots is that "Everybody Say Yeah!" refrain. Where's passion in the art? Where's craft?

MacLaine and Olsson were too old. Goldie Hawn has always avoided stage performing, hasn't she? I could see her thinking a short stage run might drum up interest in the movie version she hoped to make with Madonna but I could also see her getting cold feet that the New York critics would be harsh. Goldie was a go go dancer, not a real one, or at least not a Broadway level dancer.

BAJOUR!

r584=Sutton Foster

I wonder if any consideration has been given to doing "Legally Blonde" as a live musical on TV.

He shows it off in Falsettos

Well?? ::tap tap tap::

Legally Blonde was aired on MTV . The musical version, not the movie.

[quote]Bringin' it back home, Casey and Jerry have both choreographed not ready for Broadway productions of Follies at City Center and Papermill (where Mitchell wisely restaged the original Michael Bennett "Who's That Woman"). Could they handle a revival as director-choreographer or is Follies one of those shows that needs two separate entities creating/curating? When the show is eventually revived, I hope it gets the first class all the way, baby Lincoln Center treatment.

The National Theatre's production was almost perfect. Imelda Staunton was wrong for Sally and the Loveland sequence was underwhelming, but other than that, it was perfection.