We have enough bizarro opinions in the world today, can't we be real here? This show was a flop. It lost money and it didn't get manic rave reviews. OK, you love it - if you love it, accept it for what it is, don't pretend it's something else.
What an odd experience. The Kennedy Center Honors comparison felt apt - or even better, it's like one of the Sylvia Fine TV specials from the 70s, gathering a group of performers of various skill and fame, and assigning them a bunch of songs, a few of which suit their abilities well, most of which don't really. Each number reminded me how much better the original interpreter did it, inspiring nostalgia for Elaine Stritch, Angela Lansbury, Zero Mostel, Dean Jones.
"Don't worry, I just read your brief rundown in another thread trashing the Great Comet score."
See, there you go again. I provided a musical analysis of the simplicity of the score, from an educated musician's point of view, but you, as an inveterate trolling kvetcher, see it only as "trashing."
BroadwayConcierge wrote "Maybe the snootiest thing I've ever read in my entire life."
You really need to read more, love.
ntrackbar wrote: "newintown you could not be more wrong in regards to the quality of the show OR in terms of Tom Smedes. Even a quick IBDB search tells you that he has had a wide variety of projects on Broadway. Some profitable and some not (if I am correct, at least 33% of his shows have recouped - which is much higher tha
asimplelegal2 asked "How do you find the music to be simple?"
Without diving too deeply into an arcane music theory discussion that few would appreciate or understand, I would just say that I find that Molloy's musical language tends towards lingering on one simple major or minor chord for many measures, with predictable, small harmonic progressions (reminiscent of the musical language of beginner guitar players), melodies that tend to rest on or ar
Suddenlyseymour3 wrote: "The admirable ambition of its complex score doesn't make it tuneful."
As a musician, I disagree strongly - the Comet score (although some may find it attractive) is far from "complex;" the music is actually extremely simple, and the lyrics are mostly plain prose or very repetitive.
"He, as a human being and artist, may not deserve it but he knew who he was getting in bed with: the Kagans. Two of the most corrupt, conniving, and frankly miserable producers in the biz today. Shame on him for entrusting two of the industry's biggest fools with his piece."
Anyone who thinks that Molloy had a smorgasbord of interested commercial producers from which to choose (or even two) is not well informed about the way theatre works today.
Endless. Idiotic. Some of the most clichéd writing and acting I've seen in years. The naked guys look OK naked, but, contrary to the marketing, only about 1% of the show is nude. We found the simulated sex to be ridiculous and unintentionally comic, as most simulated stage sex is. It's strictly Davenport fare - that is to say, it feels like an amateur showcase funded by the artists' families (which it may be - the producer is one "Midnight Theatricals," an anonymo
Molloy must be feeling lower than low - I imagine that he believed that he had a massive hit, and now his work will be remembered by the common man (if remembered by him at all) as a racism scandal and a flop. It'll take a lot to bounce back from such disappointment.
I've always found him to be rather awkwardly cheap and sentimentally hammy as an actor. But I think that's a rather popular combo these days. Subtle doesn't seem to be a highly-sought commodity. (Was it ever? I used to think so...)
Does Yazbek do "The Right Girl" in its entirety? And does he do the original full dance arrangement, or the flaccid "I don't love... the right girl... oh, sh*t..." ending that was thrown in when Gene Nelson injured himself and couldn't do the big dance ending?
I admit that I feel that I've never seen "The Right Girl" as it was intended to be done; either the Buddy chooses the weak ending (Patinkin, McGrath), or he can't really dance (Burste
Personally, I still greatly enjoy the film of Tom Jones; I also don't think it's forgotten at all - it's on TCM's programming somewhat frequently.
(I also enjoy many of the other films identified as "forgotten" above, and think that several of them are still called "classics" by film fans - especially Mrs. Miniver, The Lost Weekend, The Best Years of Our Lives, Marty, and Kramer Vs Krame
I don't think a musical theatre score exists that doesn't get transposed at some time or other. I have personally seen a Sweeney (regional) that took several songs up one step or two (including "Epiphany," "Pretty Women," and "My Friends".