I was thinking about this today and I'm curious what you guys think.
What are some shows that, in your opinion, have great scores, but overall are not so great? The shows don't even necessarily have to be BAD, but rather noticeably inferior to the score.
ANYONE CAN WHISTLE, maybe. Some great songs ("ME AND MY TOWN", "THERE WON'T BE TRUMPETS", "ANYONE CAN WHISTLE") but it just doesn't work on stage.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
I'm going to be very controversial here but...WONDERLAND (especially the concept recording). I'd probably say most Wildhorn except for BONNIE & CLYDE which is actually a great show too.
"Pardon my prior Mcfee slip. I know how to spell her name. I just don't know how to type it." -Talulah
Surely this is the knock on MERRILY WE ROLL ALONG, no? That the concept is too difficult to work without exposing some flaw(s) or another, but that the score is usually (if not unanimously) praised as one of Sondheim's most beautiful.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
I agree! If Love Never Dies ditched the lyrics, plot and characters and became a concert suite, it would be great. I've always been a sucker for a lush ALW score! I'd also say Chess. I've always loved that score!
Just about anything written before 1940. The scripts in those days werent meant to be anything other than a clothesline to hang the songs on, which makes it all but impossible to produce any of them without doing some serious re-writes.
Love Never Dies is one of my favorite musicals at the moment, but I admit it took me multiple viewings to get used to the story. Once I gave in, the show as a whole was absolutely breathtaking, and it all made sense. I think for someone who's not familiar with the original, the book wouldn't be a problem as it is a very compelling story, it's just shocking to see the characters so drastically changed. I still think it the show has a future, it just needs some slight re-imagining. Perhaps a dream sequence in the beginning where the characters are again in Paris, and you see some slight character development.
I'll challenge fashionguru's listing of THE RINK here. Saw the OBC 4 times, and loved everything about that show-- score, script, A J Antoon's direction, all of it.
I'm counter-submitting a slew of Sondheims: PACIFIC OVERTURES ASSASSINS DO I HEAR A WALTZ and heretically, FOLLIES
Did you see The Gay Life? If you did, you would know the show was anything but mediocre. It was a sheer and utter delight from start to finish. And the score, of course, is magical.
With respect to the subject of this thread, time changes everything. What might have been considered a mediocre show back in the good old days now looks like a masterpiece compared to the things we get today that garner raves and awards.
I'd take Happy Hunting over Once, Out of This World over Book of Mormon, and Carmelina over Queen of the Mist, Parade, Light in the Piazza et al. any day of the week.