Ethel Merman, Live at the Plaza Hotel, 1979- Page 2

[SweetLips]

Posted: 4/22/14 at 11:19pm

Not the type of answer I was expecting, but it was humorous, perhaps a voice teacher might explain.

[PalJoey]

Posted: 4/22/14 at 11:46pm

"I'll make you a deal: You breathe, I'll sing. We'll see who the audience likes better. Deal?"

[SweetLips]

Posted: 4/23/14 at 4:08am

Still not on your wave link, [humorous], but all good.

[StageStruckLad]

Posted: 4/23/14 at 8:39am

PalJoey, I love you!! I have been hoping that clip would resurface for years. It's the closest we'll ever get to seeing Ethel in Gypsy. Unless of course Sondheim or someone else coughs up more of that home movie footage that showed up in the HBO show.

[Comden Green]

Posted: 4/23/14 at 3:11pm

ok, so. along those same lines but a tangent.. who can give a history of amplification on broadway? I have read that when merm began there was none. so when did that change? in what way? I would imagine there were steps to where we are now. did merm shows ever have any amplification? Go. (Thanks)

[Comden Green]

Posted: 4/23/14 at 3:16pm

well, I guess I should have googled it first.

but does anyone have anything to add?

http://online.wsj.com/news/articles/SB10001424052748704597704574487153079350302

[GavestonPS]

Posted: 4/23/14 at 11:01pm

I will add the following:

I once heard David Shire speak quite eloquently to a group of composer/lyricists, arguing that we are so used to "electrified" sound, "natural" sound seems unnatural to us.

More importantly, the rise of miking on Broadway in the 60s through 80s was also linked to the rise of the director-choreographer. Before actors were individually miked (or environmental miking became so sophisticated), most soloists had to come downstage in order to be heard over the orchestra.

The generation of directors that included Robbins, Champion, Bennett, Fosse and Prince didn't want every musical number belted from DSC (often with the singing chorus arranged in a semicircle behind the soloist). They wanted to achieve the fluidity afforded film directors and needed better sound to allow the actors to be heard from anywhere on the stage.

(IMO, this practice reached its obnoxious extreme in the title number of POTO, mentioned in the link. Because Phantoms and Christines are popping in and out everywhere (down into the floor and then immediately on the highest catwalk), it is painfully obvious they are using doubles and I begin to think, "What, if any of this, is live?" It appears the answer is "basically none of it".)

[lovebwy]

Posted: 4/23/14 at 11:28pm

IMO microphones have absolutely RUINED Broadway. If they can't hear ya in the last row of the balcony without a mic you have no business on that stage, BABY.

Merman never used a mic. Martin never used one. Nor did the great Helen Lawson. (LOL j/k about Lawson, but I'd be if she were real she wouldn't have!!)

Updated On: 4/23/14 at 11:28 PM

[Comden Green]

Posted: 4/24/14 at 10:13am

""What, if any of this, is live?" It appears the answer is "basically none of it"."

yes, that is my problem, lately. I enjoy some shows/musical numbers less because I am persuaded that big production numbers are not sung live. matilda was so wonderful but then, not. "When I grow up" and "Revolting Children", I felt, were too perfect for the children to actually be singing. my enjoyment is lessened, which is especially disappointing if they are, actually, not being backed by a track (or whatever it is called). progress.. I am wondering if it would be better if such things were actually disclosed in the playbill. I argue that if they are going to do it, and they can actually justify it in their minds, then why can't they tell me (who paid big bucks to see it) when they are doing it.