Profile for Someone in a Tree2

Regardless, his watercolors are in fact extraordinary. Early in his career he was Jo Mielziner's assistant, creating the paint elevations in abstract watery washes for the backdrops of so many of Jo's most famous shows. Much later in life (long after he taught my class at Yale), he created countless breathtaking watercolors evoking scenes from his trips to Maine. Even into his 80's, he could still master new forms. 

We lost one of the greats on Friday, when Ming Cho Lee passed away at the age of 90. He forever changed how sets are designed on Broadway, the Opera Stage, the Regional Stage, and anywhere that practices the art of great set design. He also changed how set design is understood for countless graduates of the design program at the Yale School of Drama, where he taught for 46 years. I count myself very fortunate-- I was one of Ming's students.

Ming revolutionized set des

So sad to read this! Everyone remembers Sam as the cagelle with the gorgeous face and shoulder length auburn locks. At the end of "We Are What We Are", Sam was the one who pulled off his wig revealing even longer hair, and confusing every straight guy in the audience who found him so hot.

Rest in  peace, sweet boy.

 

Don't know why folks keep adding 4 years to Ben's age saying he'll be 30 when they roll cameras on this.

My understanding is filming was planned to begin this September (at least pre-pandemic planning). The LA film business is finally revving back up again after the 4-month shutdown, so I figure they'll have this in the can by Christmas.  

Oh lord, everything about that show was magnificent, far surpassing the original 1981 production to my mind. First consider that amazing cast: Antonio Banderas, sure, but also Laura Benanti, Jane Krakowski, Mary Stuart Masterson. Chita was terrific although a bit miscast, I'd say. Her "French" accent was-- shall we say a potpourri of pan-European tongues? And the staging, half of it in ankle-high water, prevented her a chance to really let loose with dazzling move

"People Like Us" was the lift-off moment of the whole night-- it made great dramatic sense to drop away all the twenties artifice and have these two characters sing from their hearts, out of period and outside the tawdry Harlem apartment on the fire escape. That scene was magic.

I have very little recollection of the '96 revival, except to echo the raves for Lou Diamond Phillips. 

But I'll always remember the first production of TKAI I ever saw, the New London Barn Players summer-stock production of 1977 for which I'm proud to have designed the sets. Can't remember who played our Anna, but the King was assayed by none other than Gerard Allesandrini, who went on to fame and fortune as the creator of all those Forbidden Broadways. Good times

^ If my snippy comment was too sharp, I humbly apologize.

It threw me that you appeared to dis the LaChiusa cast album because his songs alone didn't convey a clear picture of the plot. I would say that, except for through-sung shows, most musicals are built that way, no?

^ Yeah but a recording is not supposed to explain everything in the show. That's why they made a play with, ya know, dialogue and everything.

I absolutely loved the La Chiusa WILD PARTY on Bway. It was riveting theater (most of the night) with brilliant performances, great design, and fearless direction by George C Wolfe.  That show is what made me want to see the Lippa version in the first place.

Gotta say I liked the second one much much les

Serves me right-- it's just a dumb fan quiz anyway, but in what world is Cynthia Erivo not mainstream?

Endless pet peeves but I'll just name three:

Cynthia Erivo is missing from every Best Performer of the decade list (which she certainly was).

Bridges of Madison County is missing from the Best Musical of the decade list (which is certainly was).

An American in Paris is missing from the best Set Design of the decade list (which it certainly was).

Anyone else have complaints (or praise)?

The greatest song of all time must come from the greatest Bway composer of all time. For me that would be Leonard Bernstein hands down. So my pick for top song?

"Make Our Garden Grow" from CANDIDE. The music alone makes my heart soar like no other, and the lyric is supremely simple yet perfectly matched. 

 

Brody, I wonder where you get your info on LA film production. It certainly has NOT  all started up again as a general statement.

The Disney project I was on when things shut down in March has talked of resuming in a week or so as long as we do it from HOME for at least the next 4-8 weeks. That's obviously not a viable way for most projects to come back. This town is still in general shutdown.

Am I right to remember a New Year's Eve scene in DANCE A LITTLE CLOSER?
Memories from 1983 are distinctly hazy at this point.

Are there any other lucky suckers who remember Alan Jay Lerner's last show better than I?