"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
The Playhouse has not determined if it will use the licensed 1994 version of the musical or if Doyle will return to earlier incarnations of the work for the new staging.
UGH. I hope Sondheim doesn't allow that. Wasn't he unhappy when the London production did that? Updated On: 3/6/11 at 12:17 AM
Should he direct it with a horn, direct it with a switch, or direct it with finesse?
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
Doyle did a production similar to what this will be in London; Google it and you'll find some reviews, at least. I know there were a few video clips up at some point, so if they're still out there, you can get an idea of what it might look like.
I can't see why he would strip it of either brass or percussion. And if he continues to work with Mary-Mitchell Campbell, I have complete faith that she will do the beautiful work she always does.
I love this show and I'd always wondered why it wasn't a commercial success. I finally got to see it in a college production, and I thought "there's your problem, lady." Kids playing jaded adults is not so affecting, but adults playing lost youth is heartbreaking, so start with an older cast. Then I read the original Kaufman and Hart play and realized that in the play the stakes were higher, the losses and betrayals more devastating, which I think would have served Sondheim's "Merrily." It never occurred to me that what the show needed is a tuba.
"it never occured to me that what the show needed was a tuba"
I love this board!
I'm sure Hal Prince is waking up somewhere this morning and saying "that what we did wrong!"
Someday somebody will find a way to make this show work- it has always been one of my favorite Sondheim scores, and if someone can work out some of the clunkier parts of the concept I think it could really be a hit revival with a smart director, a big brassy pit, and a well thought out cast. No more actor/musicians!
I love this show and I'd always wondered why it wasn't a commercial success.
I think the backwards structure makes a lot of what's in it really difficult for some people to watch. By the time you see the characters as young people with optimism and promise, you already know the heartbreak they're going to face later. I love this show, but I can see why a lot of audiences might find it depressing, or whatever. And, well, a lot of people don't want to go see a Broadway show to be made sad.
Yawn. Even with Mary-Mitchell, the score is going to sound blandly thin. Yes, I know. They're a songwriting duo. But it kind of takes away the special moments with Frank at the piano.
Anyway.
I'd love for this to get to Broadway, even if just to have a revival of 'Merrily'. But what I'd really love is a production starring Lonny Price and Raul Esparza directed by Susan Stroman. But that's just me. Or maybe directed by Michael Grief.
Doyle is a talent, certainly. And I do think the concept is often an inspired one (especially for his mindblowing COMPANY revival) but this is a show that I don't see working that way.
"I know now that theatre saved my life." - Susan Stroman
Poor little one-trick pony. When he abandons his beloved actor/musician concept, though, he's merely an utter bore (as witnessed in Road Show and Mahagonny, which was partly salvaged by his two scenery-chewing divas).
Doyle's Sweeney Todd and Company productions were my first exposures to Sondheim and got me hooked. I consider his Company to be one of the best productions of anything that I have ever seen. I love Merrily and have a hard time understanding why any Sondheim fan would have such a strongly negative reaction to the announcement that he'll be doing a regional production of it.
Well, it's like this: you can do the Ring Cycle as it was written, with gods, monsters, and heroes. Or you can be a "brilliant" director and set it in Trump Tower as an allegory for capitalism and its woes.
Some people will prefer the sincere approach, and some the "brilliant" approach.
Personally, I'm sad that you haven't seen a good sincere production of Company yet. As enjoyable as Doyle's silly schtick was, when Company is done straight and well, it's the real thing, leaving stage trickery in the shade.