Ok, I hate to be THAT guy that starts new topics when they could belong in another. But this was a great performance and except for the somewhat cheesy montage of Derek, Karen etc. at least it shows why SMASH is still watchable.
"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
After this episode aired I went to Target the next day and bough the Bombshell cast recording. Out of all the 22 songs on the album this has been the song that has been on repeat. I LOVE it.
Let us also acknowledge the brilliant Marc Shaiman who's wonderful song got to me to buy a CD for the first time in 4 years.
"I never had theatre producers run after me. Some people want to make more Broadway shows out of movies. But Elliot and I aren't going to do Batman: The Musical." - Julie Taymor 1999
The lyrics are a disaster, but here's the difference of having a master of her craft interpret a song and having some girl sing it. McPhee accentuated all the bad parts of the song, turning it into a pretty cliched finale with no excitement. Hilty turns the song into a moment, the staging is wonderful too, one of the few moments of magic in the show. Watching this I genuinely believed that both Ivy *and* Hilty became stars at that moment.
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
I said this before, but when the people appear behind her, that was true magic and just the ease on Hity's face is just so breathtaking and captivating.
"I think lying to children is really important, it sets them off on the right track" -Sherie Rene Scott-
Ray you do realize it was two different arrangements for the song and that the women were directed to perform it the way they did and the Hilty versiom is the upbeat ending the show needed, right?
I still get chills every time I watch Megan's performance. She totally sells it and I get all choked up toward the end!
This certainly won't be to everyone's liking, but I was so moved by the song and Megan's vocal, that I couldn't resist. I therefore present it for (hopefully) your enjoyment...
Hilty simply makes McPhee look like an amateur on Smash. I hope see finds more success after Smash.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
But she sure sang the heck out of that song. Really nice staccato (not overdone) on "Don't for-get me".
It's her vibrato on "me". As Seth Rudetsky would say, she's spinning the note. It's a different (and, to me, much better) interpretation than McPhee's straight tone, which I thought made the staccato "-get me" sound like clumsy song writing.
There's a ton of other insane vocal tricks she pulls off here too, like starting with Marilyn's babydoll whisper and making it musical, harnessing vocal power without pushing volume ("paid fifty cents for my soul" is a good example), navigating her mix seamlessly, and ending with a crazy belt.
Her acting performance was just as good, and she played well off of the staging...though I do wish she had stronger arms on the button--they sort of flop a little, and it turns the moment into a period when she's really earned an exclamation mark. And the less said about her figure in that gown, the better, or else I run the risk of coming off like a Zoot Suit wolf in a 1940s Warner Brother's cartoon.
>> "It's her vibrato on "me". As Seth Rudetsky would say, she's spinning the note. It's a different (and, to me, much better) interpretation than McPhee's straight tone, which I thought made the staccato "-get me" sound like clumsy song writing.
There's a ton of other insane vocal tricks she pulls off here too, like starting with Marilyn's babydoll whisper and making it musical, harnessing vocal power without pushing volume ("paid fifty cents for my soul" is a good example), navigating her mix seamlessly, and ending with a crazy belt."
Yup... all that and a bag o' chips. Technically, I don't believe she's applying staccato to those notes (I think I was wrong to write that). I think she's just singing them as eighth notes, and executing them perfectly. :)
...and DANG IT... I cannot stop playing that dance mix, now!
It's so perfectly "old school" (break out the poppers, platforms, and the mirror ball!!!)
I wish it were better quality audio, though...
Thanks! Glad you got the vibe I was going for! I miss those good ol' campy dance mixes and this seemed like a good fit for that style. I wish they had done at least one of the Defying Gravity mixes in a similar fashion. Oh well...
As for the audio, yes, it's far from perfect. It's VERY complicated to work with a full track as opposed to an isolated acapella - and in this case, not even a proper audio of the original version (I had to take someone's TV rip from YouTube!). Anybody here connected to SMASH who could procure a clean acappella for me? I'd gladly re-do the mix with that! O:)
And why, oh, why has Hilty's version not been released on iTunes or anything yet??? What a missed opportunity. Or perhaps this is purposeful to push folks to the McPhee version...
Love Megan rendition of DONT FORGET ME Love Katherine rendition also....I dont really think one is better than the other...different but both great... Megan is a broadway star I love her but I think (my oponion only) that when she sings BWAY type songs she is amazing but when they have her sing poppish songs she sounds like a BWAY star singing pop... I thik Katherine sings pop really good and can also sing BWAY ...people say all this negative stuff about her because they love Megan....they both are really good singers ..and when they sing together it is spectacular...which was needed more on this show....the true chemistry on this show was when they played off each other-good -bad and singing....love them