I am a producer of world class media (stage, film, TV, audio recording), and in addition I develop and produce original, indigenous talent in all areas of media production, in concert with production possibilities in major U.S. cities. In my spare time, I screw around on the Internet.
I used to post here as gvendo2005, but in turning over a new leaf with regard to my Internet persona, I felt a new account was needed. And... here I am!
Oh, and before I forget, though there is not an extensive history of it in productions of the show, it is the nature of Hair, though born in the Sixties, to live in the present, and, in its free form, to make reference to today, reinforcing the unfortunate truism that the more things change, the more they stay the same.
As far back as the short-lived Broadway revival in 1977, the posters in the protest rally have occasionally incorporated current refere
Re: "references in Hair to the people of India," there are actually at least three: "I've been to India / And saw the yogi light..." in "Donna," a depiction of Buddhist monks in the trip sequence in Act II which amounts to a caricature typical of the era that some today would regard as an insensitive portrayal, and a reference post-trip to Berger potentially hiding out in India and staying high forever (I admit to not knowing how someone would f
As you say, to each their own; re: the score, I wish he could have gotten the money back. The vocal arrangements in particular left a lot to be desired -- when they didn't sound like rejected material from Glee or High School Musical, there were unnecessary, uninteresting changes to the harmonies, rather like some of those fussy choral octavo arrangements of popular music for young singing ensembles, and rhythms were sometimes substituted for the original
raddersons said: "Looking at lots of posts in here... to his benefit, at least he’s trying to put creative stuff on Broadway. [...] Godspell [...] have all been very eye-opening in their re-imaginations — I know lots of people who hated those shows before seeing them in this new light."
I can't speak to Spring Awakening or Once On This Island, neither of which I've seen, but Godspell wasn't t
CATSNYrevival said: "Tink sings "Not Allowed to Love" which I thought was written for Catwoman in Steinman's Batman musical, but it seems to work for a male character pining for a straight guy too."
Well, technically it was written as a duet for Batman and Catwoman, but yeah, the 'pop' versions of that song included the line "I'm not allowed to love / 'Til they legalize it here," which certainly suggests that
Got a lot of nerve criticizing crowdfunding to begin with, considering his Godspell even happened at all, in large part, because of it.
Also, I don't think anyone here was denying that producers are manipulative; to a certain extent, it's part of their profession. He takes it to a near criminal level, to the point that even people working in his office tell prospective partners "You don't want no part of this ****" like the person they're speakin
There are several same-sex couples in the choreography whose partners later dance with opposite, and the heavy Tink/Strat subplot is explained in pretty much all the detail right there.
That would hardly be the only problem with Godspell, but I exhausted myself so often and so loudly on that subject I had to start a new account to get away from it. The short version is that no matter how much he tries to sell himself as a 21st century innovator, he's only one serious misstep away from becoming the next Adela Holzer.
Well, our fearless staffer certainly has no problem blocking people (read: me) who have pointed out issues with his posts before on all social media. You'd think he'd have a bit thicker skin. After realizing I misinterpreted a point he was making on another potentially contentious occasion, I certainly didn't intend to make the same mistake twice, but evidently predicting my judgment in the future wasn't good enough.
BJR said: "Easy. Because we've all seen productions that went on and on, aimlessly, without a sense of progression towards an inevitableand surprising end.
There's a book, certainly a structure, but it takes good direction to give it tension. Simply put, it doesn't have a strong book, that is one you can trust to do much heavylifting."
Then you've seen ****ty productions. At a certain level of presentation, they're pretty much the rule,
As for LSD being a prerequisite to directing Hair properly, I'll simply say this...
One of the earliest -- and best -- revivals of the show (1980, played Harry Streep's space at the Brook on West 17th Street; Jackie Hoffman played Jeanie, and later dined out on bad-mouthing the director when he'd been nothing but kind to her) was very nearly derailed by Gerry Ragni dosing the unwitting actor playing Berger with LSD and both authors doing their number wher
For what I hope is the last time, but probably won't be...
Hair is, always has been, and always will be "a structured Broadway musical." It has, always has had, and always will have a book.
Period. End of report.
It is not a "non-" or "un-book," as popular as it was to throw that term around in its heyday. It is no more a collection of loosely connected vignettes than Company. People j
I would argue that, to some extent, it really is about shrinking attention spans to an extent (the revival of Pippin commented on this just before intermission in its revised book). But dramamama611's point about 'filler' and newintown's notion as to why the 'filler' exists are certainly part of it as well.
Well, to be frank, "Objects in the Rear View Mirror..." was partially recycled into Tanz first, but that is present, as is "Who Needs the Young," which would be familiar to any fans of the German version as (again, partially) forming the base for Chagal and Magda's number in the crypt in that version.
In case you actually meant DOTV, part of "God Has Left the Building" pops up -- I swear to God it's even the same prerecorded segm
antonijan said: "So...did you figure out what he won't do for love?"
Okay, it's been explained before (once, memorably, by Meat Loaf himself, with a blackboard and pointer, on VH1 Storytellers), but I will break this down again:
Each verse mentions two things that the man would do for love, followed by one thing that he will not do. The title phrase repetition reasserts that he "won't do that." Each mention of "
