In 1971, the character of Roscoe never appeared in Loveland. The costume parade was accompanied by the male cavaliers (over-dubbed, like the rest of the song, on tape). The current lyrics are an expansion of the original London production, more cynical than the original lyrics and not as good. In my opinion, Roscoe's appearance in the Loveland sequence is a big mistake.
Did anyone see the National Company in the Sixties with Van Johnson and Linda Lavin? She was very Streisand-ish, years before the movie. The production was pleasant but not very good to my critical high-school eyes.
Neither incarnation of the album came out very well, although the second version was slightly better. It was all rather like Sammy Davis, Jr. and the two albums of GOLDEN BOY, although Capitol was always using alternate tracks between stereo/mono versions of their show albums.
I had problems with the set (1968? - really?) and also with the near-oratorio style staging. That is not the apartment of a failing New York writer, and it came off as a very stagnant party. That freeze-frame spotting of Michael's first drink- oh, dear. Rather artsy-fartsy, I think (yeah, we get it). Also, too much of the script is missing,
Let me get this straight- she walks out the night before, she walks out again at Mrs. Higgins' house, then she comes BACK to Wimpole Street to walk out AGAIN??? What is the main cultural reference here- GROUNDHOG DAY?
They need to add one more song from the Lerner and Loewe catalogue, namely "What's Goin' On Here?"- as an audience sing-along.
Also, as to the question of any "abuse" on Higgins' part, READ THE SCRIPT.
I let my LCT membership lapse after that DREADFUL production of THE KING AND I, and I don't regret the decision. I wondered about MY FAIR LADY, but now I think that a trip to the Beaumont would be a waste of time and money. I don't think I would be seeing MY FAIR LADY- not this time around. My first theatrical memory was seeing the National Company of the show in 1963, and the memory is still vivid. Something tells me this will merely be, as a friend of mi
Thanks for your thoughts on Harvey. I only met him sporadically, but we were on each other's Christmas card list (his were real works of art). I would sometimes run into him in the 80's at various movie poster shows in New York (I was pleased to learn we had a mutual fondness for the film, MAIN STREET TO BROADWAY). I would also see him at the occasional anniversary performance at the Sullivan Street. He was truly a kind and gracious soul
I don't think any of us who saw and savored the original production are "lording it over" anyone. We simply knew what we had when we had it, even through the years when the show was in eclipse. And we're proud of our good fortune and faith in the show. And to all you "younger than springtime, gayer than laughter" folk out there, I only hope your memories of, say, THE BAND'S VISIT or A BRONX TALE or CURTAINS remain as vivid, vital and lovi
I'm really happy that the Actors Fund will benefit from all this, after all. Someone should. What is leaving me confused is the accompanying announcement that after performances resume on January 20th, "HELLO, DOLLY! will celebrate a February 22 official opening at the Shubert Theatre".
I thought this production already had an official opening. Are EVEYONE'S contracts being renegotiated? They should be, with this kind of no
Which vinyl version of COCO are you referring to? Like Sammy Davis, Jr. and GOLDEN BOY, there were two. Evidently, Miss Hepburn was so unhappy with the first version after it was released, she insisted on a re-recording, and, it seems, not of just her tracks. Even some of the dance arrangements between the two are different (I once had them both). The main problem is, that on the re-recording, Miss Hepburn's tracks are so electronically manipulated and filtered, it
I was a ready convert to the compact disc from the start, and made some bucks over the years relocating my vinyl to Footlight Records (remember 12th Street?). No regrets, but I still have a few sentimental keepers, like-
This Is Broadway's Best- a two LP Columbia sampler packed with pics and info from the early '60s, a few different foreign releases of the PORGY AND BESS soundtrack (an obsession), my mint copy of RIVERWIND (I'm from Indiana), an early co