Finally saw this, and like most such documentaries, it's a strange combination of satisfying and frustrating. It ignores more questions than it answers, I think, including:
1) Why is there SOOO much Lonny Price? (This one we can answer, of course.) 2) Why does Jim Weissenbach disappear from the film completely after his firing? Why doesn't he get to talk about how that felt, or how if affected his life? And why is there no mention that Weissenbach's fath
I would suggest a read through of Hammerstein's libretto would show that the suggested lesbian/gay re-coupling would make no sense in a realistic production (barring extreme re-writes).
Although the idea of a female cowhand isn't unimaginable (see Johnny Guitar), what would make no sense would be a community not only accepting but celebrating a lesbian union in rural America in 1906. And in such a gritty world, would the women really sing such fluffy
Considering even further, it would be vastly more interesting (and make much more sense) to do Oklahoma as written and direct/perform it with homoerotic yearnings between Jud and Curly; Jud's attempt to own Laurey would make sense as a sublimated urge to own Curly; Curly's murder of Jud would make sense as a violent act of self repression/loathing. The scene in Jud's smokehouse offers opportunity for a lot of feelings between Curly and Jud; the Ballet could inco
Thinking more on a lesbian relationship at the core of Oklahoma - there will be those who will shout "but there were lesbians in the territories then! It was real, and their stories should be included!" That may be true, but if veracity is your goal, then Laurey should look like a real pioneer woman (and this kind of woman would definitely not sing in a pretty, flowery, Broadway vein - her musi
And although it's been pointed out ad nauseum, Shakepeare is all about the text, not the stories (none of which he created); if you can't handle the text, there are many sweet and easy reduced versions out there for you like this:
I'm not sure that I agree with Bullets (although the move is definitely far superior to the nitwitted mess of a musical), but I agree with your other examples, and would add:
Summer of 42 (quiet and articulate movie; wordy and idiotic musical) Rocky (another musical where inarticulate characters are diminished by added dialogue/lyrics) The Full Monty (a smoothly sentimental reduction of a more eccentric
Here are the major Garrys, the year of their productions, and their ages. It does seem to be one of those roles generally assayed by actors who have long passed the character's actual age:
Noel Coward (1942) 42 Clifton Webb (1946) 56 Noel Coward (1958*) 58 Albert Finney (1977) 41 Peter O'Toole (1978*) 46 Donald Sinden (1981) 58 George C. Scott (1982) 55 Tom Conti (1993) 52 Frank Langella (1996) 58 Peter Bowles (1996) 60 Ian
Bruce is, once again, the one sober voice in a silly thread. A vague comment from Riedel and Coleman's widow (who was only with him for a few years before the old-enough-to-be-her-father composer passed away) is hardly reason to believe a transfer is happening.
It's just more wishful thinking (in a bottomless well of wishful thinking and pointless conjecture).
I've really just realized that Garry Essendine is supposed to only be 40 years old (Coward wrote it for himself when he was 38, although he didn't play the role until he was 41); just starting to barely put one toe into middle age. Have these lines about his recent 40th birthday been changed to something more believable?
At even a very well preserved 69, Kline may be too mature to ideally portray the role. (Langella was a flamboyant and viral 58 when he played the
I saw a regional production in the 70s and enjoyed it very much, but it's definitely a post-Who's-Afraid-Of-Virginia-Woolf, psychological abuse, "oh, look, the dark secrets are spilling out and neatly spaced, too" kind of play, a genre that was very popular in the 60s (and which still gets written today, hello August: Osage County).
Very disappointing to hear all this, but it sounds like a lot of bad choices are being made, with the worst by far being a boneheaded decision to put a Coward comedy in the cavernous St. James.
Perhaps Kline gave up when he realized that he would have to be miked to be heard at all, sure death for high comedy. And I'm not entirely certain that von Stuelpnagel was an inspired choice to direct this kind of piece.
I agree that the story of Star Spangled Girl is thin and rather inane, but it is full of some of Simon's best gags.
I love all of After Eight's recommendations, but they are that very difficult animal to pull off decades after their conception: contemporary and rather audacious plays during their time, that are now tame distant period pieces. The tourist crowd today would find them quaint at best, incomprehensible at worst.
At 1 hour, 45 minutes, it's quite a painful bore, with an amateurishly haphazard sense of pacing that makes one feel that many light years have passed in the course of the evening. Aya Cash does a very good job bringing a bit of spontaneity and life to a pair of rather silly roles, but everyone else seems to be more or less just wandering around the theatre. Many people get credit as either writers or creators, which may be a good argument against creating theatre by commit