AC126748 said: "Based on the casting notice, they are not using traditional character tracks. The show will have seven performers, all but one of whom will be female or non-binary, so I don’t think it’s likely anyone will be playing one single character. We’ll have to wait and see."
Jesus help us all! What the flock does that have to do with MHF?!
I loved the movie, but thought that the fact they BOTH sang Sondheim songs--and from the same show!--was too cute by half. It knocked me out of the story and into thinking about directorial choices.
That said, the Driver-singing scene was brilliant! Someone should tell him to stop cringing: his character isn't supposed to be an accomplished singer and almost certainly never worked on that very difficult song. In that context, Driver sounds fine and, with coaching, I think
henrikegerman said: "reminds me of the notion thatarchitectural symmetry ishomosexual"
As opposed to what? Wasn't all architecture essentially symmetrical until the invention of modern building materials? Minus steel and counterweights, asymmetrical buildings tend to fall down.
I'm genuinely curious at what strikes me as such an odd notion! (I'm not suggesting you invented it, henrik.) The Parthenon, pyramids, Pantheon, gothic cat
Almira said: "I guess that means Betty Comden, Lynn Athens, Jeanine Tesori, Amanda Green, Dorothy Fields, Carolyn Leigh are all dupes to the patriarchy.
Mitchell is a lazy lyricist who pretty much insulted the hard work, dedication to craft, and achievements of these superior theatre writers."
I'm not sure that's fair, Almira. Those raised on pop music often find perfect rhyme schemes "artificial" sounding and prefer the relaxed quality o
Interesting observation re the real issue being financing....
Favorite Stephen Sondheim Musical... Dec 13
2019, 11:53:03 PM
benfox2 said: "Of the (limited) Sondheim I've listened to, Sunday is my absolute favorite. Company and Merrily are some of my favorite scores. I'm still taking my time to get through all of his scores and trying not to rush it.
As for the all the people praising Follies, do you have a recommended version to watch? I have the 2017 NT Live version on my computer, but have repeatedly failed to get past the first half hour. On paper I should absolutely adore it, but in
I worked with Danny on an excellent production (not bragging: I was just the b.o. treasurer) of THAT CHAMPIONSHIP SEASON. Brilliant actor, lovely man. He went on to so many amazing performances, I wouldn't even try to list them. (But Spike Lee's DO THE RIGHT THING was surely a career highlight!)
Alas, Fort Lauderdale wasn't ready for heavy drama in the summer months in the mid-1970s, but the actors (also including George Dzundza and Larry Pressman) were
I would never lump the musicals for which Sondheim only wrote the lyrics with those for which he wrote music as well, and I strongly doubt he would do so either. As brilliant as the lyrics often are, WSS is a "Bernstein musical"; GYPSY is a "Styne musical"; and "...Waltz?" is a "Rodgers musical".
I am not saying musicals should always be identified with their composers, but Sondheim didn't collaborate with any composer who wasn't an a
I wanted to add to my most recently deleted post that I in no way question Danieley's sincerity, only whether Twitter is the best medium for expressing such deeply personal feelings. This may very well be attributable to my unfamiliarity with Twitter conventions.
God knows the rest of us mourn Mazzie's passing; I can barely imagine how her widower feels.
darquegk said: "The pop single version from James Taylor's "Flag" album has a much better lyric there: "come on, sucker/come back, brother trucker." It's both appropriate to the song's narrative and a very clever pun/euphemism."
Thank you, darque, I didn't know the pop version. I wonder which came first. Taylor's FLAG came out a year after WORKING and I am tempted to suspect Taylor wanted a rhyme that would make the song ra
^^^ I have three different recordings of that "sh***y" musical, so I trust it's obvious I don't agree. Instead, I think the lesson here is that writers don't necessarily make cogent critics.
as for the mashups, yes the term is new, and people have been combining songs forever, but in the movie its only really done once (elephant song) and in the show almost every song is a mashup"
But isn't that true of most jukebox musicals nowadays? Maybe it is the influence of GLEE on writers and younger audiences, but even AIN'T MISBEHAVIN' did a number of medleys back in the 1970s.
In the film, Christian is British. So the idea to make him an American from Ohio was a change specifically for the musical."
Thanks. I assumed as much. (Haven't seen the show, but I've seen the film and Ewen McGregor isn't from Ohio.)
I was specifically responding to the GLEE reference. I just threw in the fact that Lima, Ohio has been famous all my 65 years. It didn't require GLEE to become famous.
Hogan, you are absolutely right. We agree here, we're just clarifying our thoughts, pun intended.
Two things we haven't mentioned:
Perfect rhymes got a bad rap (back in the 1950s and 1960s) because the rigid pursuit of them resulted in so many banal, moon-June-spoon lyrics. Songwriters like Bob Dylan thought it more important to have something to say with each line than to make perfect rhymes.
And sometimes a perfect rhyme knocks you out of the moment bec
Um, guys, Baz Luhrman released the film of MOULIN ROUGE! in 2001, some 8 years before GLEE came on our TVs. If anything, one might speculate that Ryan Murphy got the idea from Luhrman.
But medleys were common long before they were called "mash-ups". They were a staple on variety TV (including THE ED SULLIVAN SHOW in the 1950s, THE CAROL BURNETT SHOW in the 1960s, and SONNY AND CHER in the 1970s) long before Luhrman or Murphy were making films or TV shows.
HogansHero said: "First of all, I read every word you wrote (as I usually do). I was not referencing anything you said by swiping "amok"; I just liked the expression. But now that you bring it up, your penultimate paragraph is purely about"right and wrong" whether you invoke the words or not. That purpose is something your ears (and you are by no means alone) have been conditioned to think serves a purpose (which is fine) but it is not "right" in some ob
HogansHero said: "The only thing I see that has run amok is this thread LOL.
There is a broader point, that does not rely on the patriarchy theory, which is, at best, debatable. I would think we can all agree that there are demographics in which perfection and, for lack of a better term, completion, are of elevated importance. And others in which they are not. And those broader characteristics can correlate to how one views perfect rhymes. As with so much else we talk abou
TotallyEffed said: "She is certainly a character."
Indeed. I didn't mean to suggest she made no contribution. I did read all of SEXUAL PERSONAE and I share her refusal to condescend to popular culture. But compared to someone like Elaine Showalter, Paglia is rather superficial and repetitive.
I didn't know she was identifying as transgender, but when I read it in your post, I thought, "Of course, she does!"
