Today marks 50 years since the Rodgers/Sondheim/Laurents collaboration DO I HEAR A WALTZ opened.
Based on the Arthur Laurents play THE TIME OF THE CUCKOO the show has a reputation of being a rather business-decision type show that wasn’t very good. Sondheim himself has said that the play should never have been musicalized and that he only took the job to work with Richard Rodgers, who was in quite a state during the gestation period.
Nonetheless the score is full of lovely Rodgers melodies, though Sondheim’s lyric work is none too special. The physical production seems to have been gorgeous as these (color!) production photos attest. Very watercolory and all pastels in the costumes.
Owners of the original LP may remember this photo appeared in a blurry form on the back of the sleeve. The color of the recording was also inverted from black background to white (perhaps to facilitate cheaper printing?).
Saw a delightful small production of this starring Emily Skinner at 42nd St Moon in San Francisco last Summer.
There have been numerous discussions on what Sondheim meant by a "why musical" specifically what it misses - and unfortunately, the piece sorta' validates all of 'em.
That all said, I was totally charmed by Emily Skinner and even the most pointless of a Rodgers or Sondheim toss-off still can have charm or interest. I went in with trepidation and left floating on air.
Yes we did see it. One of our favorite all time movies
In one of our frequent trips to Venice, we saw the spot where Hepburn falls into the canal right next to the mask shop.The store still exists but now just sells touristy stuff. They have pictures from the movie in the window
It may be really too touristy now to shoot especially with the big cruise ships sailing into the harbor
We also saw the Lincoln Center production of the play it is based on a few years ago.
Summertime, the film, pops up on TCM a lot and is worth watching.
I love that TV interview clip and always found it...interesting..that the major collaborator missing is Richard Rodgers--who would have been most familiar to tv viewers of the time.
I love this show--of course I've never seen it, but own both recordings (I like some of the changes made for the Pasadena production though I miss the full orchestra,) and have read thelibretto. And the sets are beautiful--designer Beni Montressor knew his Italy obviously (and was pretty beautiful himself.) I wonder why he didn't do more musicals--he did a LOT of opera but his only other Broadway musical credit is for Rags, a design I seem to recall some didn't like.
Oh, and the original lyrics for Gonna Be Alright should never ever have been changed. I know why they were (Dorothy Rodgers, bla bla,) but the new ones are so bland that they barely make sense.
Thank you, Mr. Nowack, these are great pics. Waltz has a terrific score, but the book is a bit dull. There was rumor that Encores was going to do it this season, but the holder of the flame of Laurents' estate, made things difficult. But, as I said, that was a rumor that had circulated.
David Lee's production at Pasadena Playhouse was terrific. He eliminated the chorus, which the intimate story never really wanted anyway. The score, while not a top-drawer classic, has lots of charm as do the chracters and the simple, heartfelt story.
I came close to seeing the show. In fact it's the only time my mother's check that was stuffed in an envelope was returned. As a kid it was my job to order theatre tickets for the family. In those days you either purchased tickets at the box office, through the mail, through a ticket broker or at Macy's Department Store at a funny little booth with flashing neon lights. I would always ask for seats in the first ten rows center orchestra for a Saturday matinee with whatever future date would accommodate my request. It never ever failed to work except once for "Do I Hear A waltz?". I guess Rodgers name was a big hit with the theatre party ladies even though it ran barely more than 200 performances.