"Girls of the Night" is a terribly cheesy song that has no rhyme or reason being in this score.
And I just have to say that the pre-Broadway tour was not nearly as good as it is remembered as being. "Dangerous Game" was a dance between chairs with Linda Eder thowing them to the floor trying to get away from Hyde. It was laughable. "A New Life" had Linda Eder sitting in her bed the ENTIRE length of the song, she was not a strong enough actress at the time to sustain an audience in that manor. While it is great to hear Anthony Warlow sing the score on the coinciding cast recording, this CD also has the song "Bitch, Bitch, Bitch" which is better left never written.
While the Broadway version did have some embarrassing moments, such as the umbrella dance in "Murder," it is the best stage incarnation on the show. I loved the smaller, intimate feel of the story. And I LOVED the red floor!!
The newest revival was lousy and cheap. I mean they turned "Take Me as I Am" into a power ballad better heard in the 1980's. And "Dangerous Game" was a awkward s&m sex scene on a small side desk? The set piece was too small and out of the way to be the focal point for a scene. "Bring on the Men" was cool with the string but I missed "No One Knows Who I Am" to introduce Lucy's character. And am I the only one who loves the song "Good and Evil?"
But in all actuality this new tour will probably be a rehash of the old no-equity tour of the early 2000's.
Everyone's clipping, adding, editing, restaging and re-orchestrating can't cover up the fact that this is a bad show, But there is a good original story-line and a few good songs. And it does find an audience in Foreign (especially Asian) countries. Maybe a good director could trim it down to it's essentials, cast it well and do a successful tour to unsuspecting towns with smaller venues. There seems to always be some fools with money willing to produce these tours which seem to only make Mr. Wildhorn richer, so more power to him and good luck to all involved.
I also think, in spite of the umbrella dance, the Broadway staging was the best stage incarnation. I also didn't mind the flying scenery. I actually thought that was an interesting solution for the lack of wing space in that theatre. They could have lowered a drop and played scenes down in one while the scenery was being changed, but instead the scenery shifts were kept in full view and it provided some beautiful moments like the short scene where Jekyll and Utterson returned from the bar and the transitional scene was played down in one with the red scrim serving as an abstract wall which became transparent as the scenery for Jekyll's study tracked on. We then understood that the scene was taking place outside of his study and then as the two actors rounded the corner up the side stairs the scrim was raised and we were in the study. It was moments like that which stuck out to me as being artistically intricate and quite beautiful in their simplicity.
I'm a little confused about the 'flying scenery' in the Broadway production. The only set major pieces that I remember being flown in were the back wall of Jekyll's study, the back wall of his labratory, and the giant portrait of Jekyll's father. I could very well be mistaken cause I haven't seen the DVD in a while.
Anyone care to elaborate?
"You drank a charm to kill John Proctor's wife! You drank a charm to kill Goody Proctor!" - Betty Parris to Abigail Williams in Arthur Miller's The Crucible
Those were the major pieces that were flown and the ones everyone complains about. Off the top of my head there was also a cut out of Sir Danvers' mansion which was seen briefly as the guests entered the engagement party, lanterns for the engagement party, a ceiling and a curtain for the stage at the bar as well as an additional red scrim for the back wall of Lucy's bedroom and a mirror for The Confrontation that was barely visable. I'm sure there are a few more, but I'd have to rewatch.
Ah, gotcha. Why do people complain about them? Plenty of shows fly in set pieces.
"You drank a charm to kill John Proctor's wife! You drank a charm to kill Goody Proctor!" - Betty Parris to Abigail Williams in Arthur Miller's The Crucible
I think people complain because often times the actors, such as Jekyll, would stretch their arms outward as if pushing the sets into the wings, or Lucy in "Someone Like You" raising her hands up as the set back piece raised up. It's theatricality! It's a Wildhorn show - people will complain about the musician playing the trumpet!
I do tend to agree with ditsylife - The pre-Broadway tour didn't receive the "raves" people claim it did - otherwise, it would've opened Spring '96 as original planned!
The show is still running in South Korea, one of the longest running musicals there; I still think it is a good musical (perhaps Wildhorn's most accessible/best) (regardless of making money (remember, if this was any other composer (ie JRB) people would say this was a "hit"), the original ran over 1500 perfs!!). Someone just needs to axe the ridiculous Gothic-Victorian drama ending, get rid of the repetitive singing dialogue scenes (Calhoun did!), and play the camp to the right level (Phillips did). Will it ever happen? Who knows...
I just watched a clip of "Someone Like You" on youtube, and I agree with Cats - I really like that scene change.
"You drank a charm to kill John Proctor's wife! You drank a charm to kill Goody Proctor!" - Betty Parris to Abigail Williams in Arthur Miller's The Crucible
I, too, didn't mind the scenery flying in. It's to be expected when seeing a stage show. Like philly03 said, it's theatrical to have them move on and off at certain dramatic moments in songs. It's Wildhorn, we are all expecting that certain amount of cheese.