ScottyDoesn'tKnow2 said: "AEA AGMA SM said: "From some of the comments here you would think that the original film was a complete hatchet job to both the book and score."
I don't think anybody said anything like that. They're just wondering if they will put things back in from the original Broadway version that the 1961 film version cut out and are a bit excited about it. I admit that I never got the full effect of "Somewhere" until
Spielberg's West Side Story Oct 24
2018, 10:00:46 PM
It sounds exciting! Basing it on the Broadway version is great. I’d be thrilled if they use the original stage orchestrations (Bernstein himself didn’t like the “enhanced” arrangements for the film), include the ballet, and restore the awful cut in “A Boy Like That.”
I was happy to buy the digital album today, but I noticed the New York Philharmonic put the entire album on YouTube for free (for the time being, anyway).
Glad to see “Wit” mentioned. I think it’s just superb.
There have been so many excellent adaptations. Looking at comedies alone, three of my favorites are “The Man Who Came to Dinner,” “The Philadelphia Story,” and “Auntie Mame.”
“Elaine Stritch, boy, could she sing that song. I went out with her one night. It was just for fun, but we had the best time, laughing and giggling. And I’m saying good night to her, and I said, ‘Elaine?’ And she said, ‘Yes?’ as she was walking away. And I said, ‘I’m still here.’ And she said, ‘So am I, hon.’”—Burt Reynolds, in a interview in today’s New York Times.
musikman said: "Was at the dress rehearsal last night. Is it taboo to say anything about it on here? I was right near the person who yelled at the end of the death dance. They were cheeringloudly for all the dancers last night so I assumed they were friends of some kind?"
Huh. I thought she shouted something like “Don’t let him hurt you!” (But I was too smitten with adorable Brandon Uranowitz to give it another thought.)
As for objective measures for the performance of a song, there is one: the written score. You can make your own interpretive choices, but you have to start by studying the instructions the composer put down on the printed page.
The Other One said: ""What do you think are other great examples of the lip-singing art?"
Dorothy Dandridge in Carmen Jones. Marilyn Horne did the singing, but it's all in synch to the character."
Oh, yes! And interestingly, I have seen Horne do master classes on multiple occasions, and she often criticizes young singers for “going out of your voice.” Performers do it to sound expressive, I think,
I think the Kerr/Nixon collaborations are great role models for lip-syncing on film. Kerr has that gorgeous dancer’s épaulement that exactly captures the raised expressivity of Nixon’s trained voice. The way she holds her head up and almost seems to rise up onto her toes in ‘Hello, Young Lovers” and the title song of “An Affair to Remember”—it gives me an exquisite thrill every time. What do you think are other gre
Ben Platt is an incredibly talented guy, with a great gift for connecting with audiences. But his habit of turning everything he sings into a kind of speech-song to me seems fundamentally misguided (something to grow out of, maybe) and ultimately a distracting mannerism. It's like he keeps trying to show us what a great regular guy he is. His casual relationship with rhythm in particular drives me crazy. I wish his coach could get him to trust his singing voice more (he's got a good o
Last weekend I happened to walk by the Beaumont and they had the backstage thrown open to the street as they worked on the sets. I snapped a picture (flowers in the foreground, "the street where she lives," apparently, in the background), but couldn't figure out how to share it here, so I made it my avatar(!). Or try this link:
Sorry to start another thread on this eternal subject, but I have to make a very quick decision on behalf of a friend coming from London. I've almost always sat in last rows of the orchestra for shows at the Vivan Beaumont, and they're fine, but for the dates I'm looking at for "My Fair Lady," I see I have a choice between Row C (second row) and Row N, both center (300s). Personally, I usually don't like to sit too close, but because the Beaumont has a thrust stage,
The video of the Lansbury/Hearn Sweeney Todd is now available to stream in iTunes, I was pleased to discover, so I watched it again for the first time in years. Wonderful to have it available this way, and the performance still lives up to its legendary status. BUT: I guess I hoped, slightly, that they would have improved the video quality over the old DVD release. The
