Riedel on Diana Rigg being annoyed Ambrose misses Sundays- Page 4

[Babe_Williams]

Posted: 7/6/18 at 1:35pm

AC126748 said: "I'm so tired of this fetishization of how things were done "in the good old days" -- mostly because it's largely mythologizing.

Actors missed performances. Alternates were far more common then than now. Artists who felt pressured to go on when ill gave substandard performances. There just wasn't social media and a callout culture documenting every move."

Right? Like I am supposed to be glad that in the good ole days, actors performed while they were ill and missed having any semblance of a life outside of a role and shredded their voices? I don't think its a huge deal that she is missing one performance.

[EthelMae]

Posted: 7/6/18 at 1:42pm

"It's a terrible way to live. No question. 8 shows a week, one day off and the days you are performing at night you spend all day being nervous and tense. No. Film acting is much easier. The theatre is a prison sentence. It really is". Bette Davis

[Sally Durant Plummer]

Posted: 7/6/18 at 1:45pm

I think most of us would be a lot more forgiving if it had been announced before tickets went on sale. Still, it's not as if Eliza has historically needed an alternate. It's not Evita, the role isn't pushing the voice through the passagio. If the score had the difficulties of, say, Franchesca in The Bridges of Madison County, I might even be more forgiving with the length of Lerner's book scenes. But it's a relatively brief sing. Probably not more than 30 minutes a night, with the highest note being a G. Let's not pretend it's the most difficult vocal role ever written. Also, I would argue that the use of alternates became the norm because roles were being written without regard for the performer. The "in" style of today is screaming at the top of your lungs.

Also, don't think that I don't notice that most here are defending Ambrose after shredding Murphy and Benanti for missing performances. Especially in Benanti's case, where she had severe medical problems and was not allowed, per the producers, to announce her departure from the show or her physical problems.

Updated On: 7/6/18 at 01:45 PM

[DAME]

Posted: 7/6/18 at 1:54pm

Sally Durant Plummer said: "I think most of us would be a lot more forgiving if it had been announced before tickets went on sale. Still, it's not as if Eliza has historically needed an alternate. It's not Evita, the role isn't pushing the voice through the passagio. If the score had the difficulties of, say, Franchesca in The Bridges of Madison County, I might even be more forgiving with the length of Lerner's book scenes. But it's a relatively brief sing. Probably not more than 30 minutes a night, with the highest note being a G. Let's not pretend it's the most difficult vocal role ever written. Also, I would argue that the use of alternates became the norm because roles were being written without regard for the performer. The "in" style of today is screaming at the top of your lungs.

Also, don't think that I don't notice that most here are defending Ambrose after shredding Murphy and Benanti for missing performances. Especially in Benanti's case, where she had severe medical problems and was not allowed, per the producers, to announce her departure from the show or her physical problems."

And imagine if it was someone like Chita Rivera making these comments instead of Rigg.  These <<edited by BWW staff>> here would be singing another story.

Updated On: 7/6/18 at 01:54 PM

[Sally Durant Plummer]

Posted: 7/6/18 at 1:59pm

I'm amazed at how many of you slummy nerds think that no one has the right or talent to be on Broadway if they can't do a very demanding role eight shows a week.

But that's the job description. There are many other actresses who could perform this role 8 times a week.

So that means anyone who bought a ticket is not paying to see "Lauren Ambrose in My Fair Lady".  They're paying to see "My Fair Lady".  So if a different performer is on, it may suck for them if they had hoped to see her, but there was never any guarantee that they were going to see her in the show.

I'm sure after the miniature Scarlett O'Hara search for the next Eliza, Lincoln Center is refunding tickets when Ambrose is out. They're trying to keep the show the star, but I doubt that LC is that naive to refuse to refund or reschedule tickets when Ambrose is out.

[haterobics]

Posted: 7/6/18 at 2:07pm

Fewer (can't ever say no one on here) complained with the way Bette did 7 shows a week, since her schedule was locked and loaded from the beginning, so it seems more like the issue is how it was handled.

I guess I caught her last Sunday matinee then... of course, Norbert, Henry, and a handful of others were also out. So, if it comes down to reduced schedules or missing the people you want to see because of absences/illnesses, that is the better option.

Updated On: 7/6/18 at 02:07 PM

[GeorgeandDot]

Posted: 7/6/18 at 2:21pm

Diana is right... kind of. Eliza is not all that difficult a part and most actresses would be just fine. I just don't think Ambrose is well equipped enough to perform this part 8 times a week. If that's the case, frankly, she shouldn't have been cast in the first place. She's a great actress, but she struggles quite a lot with the show and it's very obvious that she's working very hard. All that being said, Rigg's comments about pushing through a serious injury or illness is ridiculous. People like Benanti, Murphy, and Peters, to name a few recent examples, all missed performances due to serious health reasons. They should not have pushed through because it could've ended their careers. Frankly, though, it's very classless for Rigg to say these things on record or in an email.

[bdn223]

Posted: 7/6/18 at 2:25pm

Does any think this leak has anything to do with many in the Broadway community still being salty Ambrose (A B-list TV Star at best, who hasn't been relevant in at least 10 years, let alone worked in 10 years) was gifted the role of Elisa over a Broadway star in the role of a lifetime? Laura Benanti's attitude in her Year In Review video about the revival seemed genuine. Ambrose gives a great, but not must see performance only fueling the fire of "They Cast Who as a Lead?" Bette Middler faced the same initial backlash in Hello Dolly being called to old, and there initially being massive speculation she didn't have the stamina for the role. Hell, she didn't perform on the Tony's because she feared being torn apart like Catherine Zeta Jones, who performed despite having having lost her voice on the telecast and was criticized for it. The way Bette over came that was taking her critics head on and giving the performance of a lifetimes. Ms. Ambrose on the other had, is taking off Sunday Matinees.... 

For Ms Ambrose to of succeeded she would of have to of given a performance on par with Natasha Richardson's Sally Bowles in Cabaret. Despite not being the most proficient vocalist, in his review Brantley said  of her voice" a creditable, on-key voice" for a part immortalized by Liza Minnelli vocal chops on screen, Ms Richardson's  performance has gone down in the history books. Ms Richardson's Sally cemented the role as one of the greatest dramatic roles in the musical canon on par with Mama Rose. Ambrose  unfortunately gives a a great, but proficient performance, when she needed to redefine the role to shut down the haters. 

[morosco]

Posted: 7/6/18 at 2:48pm

Do we know who the intended recipient(s) of the leaked email were?

If I were Diana Rigg, I don't think I would have criticized someone I'm co-starring with.  It surely creates an awkward workplace environment.  Instead I would have said to myself quietly, "just let it go girl" and moved on.

 

[haterobics]

Posted: 7/6/18 at 2:54pm

bdn223 said: "Hell, she didn't perform on the Tony's because she feared being torn apart likeCatherine Zeta Jones, who performed despite having having lost her voice on the telecast and was criticized for it. The way Bette over came that was taking her critics head on and giving the performance of a lifetime."

She offered to perform from the Shubert, and host the night as a BC/EFA Tony watching fundraiser there, and the Tonys refused, so I'm not sure how her voice would be an issue in one theater, but not another?

[SmokeyLady]

Posted: 7/6/18 at 2:55pm

bdn223 said: "Does any think this leak has anything to do with many in the Broadway community still being salty Ambrose (A B-list TV Star at best, who hasn't been relevantin at least 10 years, let alone worked in 10 years) was gifted the role of Elisa over a Broadway star in the role of a lifetime?Laura Benanti's attitude in her Year In Review video about the revival seemed genuine. Ambrosegives a great, but not must see performance only fueling the fire of "They Cast Who as a Lead?" Bette Middler faced the same initial backlash inHello Dollybeing called to old, and there initially being massive speculation she didn't have the stamina for the role. Hell, she didn't perform on the Tony's because she feared being torn apart likeCatherine Zeta Jones, who performed despite having having lost her voice on the telecast and was criticized for it. The way Bette over came that was taking her critics head on and giving the performance of a lifetimes. Ms. Ambrose on the other had, is taking off Sunday Matinees....

For Ms Ambrose to of succeeded she would of have to of given a performance on par with Natasha Richardson's Sally Bowles inCabaret. Despite not being the most proficient vocalist, in his review Brantley said of her voice"a creditable, on-key voice" for a part immortalized by Liza Minnelli vocal chops on screen, Ms Richardson'sperformance has gone down in the history books. Ms Richardson's Sally cemented the role as one of the greatest dramatic roles in the musical canon on par with Mama Rose. Ambroseunfortunately gives a a great, but proficient performance, when she needed to redefine the role to shut down the haters."

So many things written in your post are fabricated and didn’t happen . 

[Bette's Turban]

Posted: 7/6/18 at 3:05pm

bdn223 said: "Does any think this leak has anything to do with many in the Broadway community still being salty Ambrose (A B-list TV Star at best, who hasn't been relevantin at least 10 years, let alone worked in 10 years) was gifted the role of Elisa over a Broadway star in the role of a lifetime?Laura Benanti's attitude in her Year In Review video about the revival seemed genuine. Ambrosegives a great, but not must see performance only fueling the fire of "They Cast Who as a Lead?" Bette Middler faced the same initial backlash inHello Dollybeing called to old, and there initially being massive speculation she didn't have the stamina for the role. Hell, she didn't perform on the Tony's because she feared being torn apart likeCatherine Zeta Jones, who performed despite having having lost her voice on the telecast and was criticized for it. The way Bette over came that was taking her critics head on and giving the performance of a lifetimes. Ms. Ambrose on the other had, is taking off Sunday Matinees....

For Ms Ambrose to of succeeded she would of have to of given a performance on par with Natasha Richardson's Sally Bowles inCabaret. Despite not being the most proficient vocalist, in his review Brantley said of her voice"a creditable, on-key voice" for a part immortalized by Liza Minnelli vocal chops on screen, Ms Richardson'sperformance has gone down in the history books. Ms Richardson's Sally cemented the role as one of the greatest dramatic roles in the musical canon on par with Mama Rose. Ambroseunfortunately gives a a great, but proficient performance, when she needed to redefine the role to shut down the haters."

 

Bette had no backlash.  She broke all advance sales.  She won every award.  She made everyone a ton of money.  And you are completely wrong as to why she didn't perform at the Tonys.  Why make up stuff?  

[LizzieCurry]

Posted: 7/6/18 at 3:18pm

oh boy https://twitter.com/allie_glick/status/1015301942229323777

[poisonivy2]

Posted: 7/6/18 at 3:25pm

behindthescenes2 said: "It comes down to a couple of criteria when casting an extensive musical like MFL. Cast someone who can do it, it you cannot take the role on and do it for the full 8 shows don't do it, you aren't meant for musical theater you don't have the talent. Andrews did it and in the original key and, WITHOUT MICROPHONES for every blasted performance - didn't miss one."

That is such nonsense. In her autobiography she specifically talks about Harrison missing several shows due to vocal distress and her losing her voice at the same time, and one night the show had to be shut down because both Andrews and Harrison's understudy were having difficulties. Finally Harrison returned so she could take time off and have her understudy go on (the thing being that it was considered disastrous to have both stars out). She mentions going to several vocal specialists and specifically mentions that the mid-week double show Wednesdays were the hardest for her. So yes, in those days the flinty stars did indeed get sick, they did indeed call out.

[haterobics]

Posted: 7/6/18 at 3:31pm

behindthescenes2 said: "Andrews did it and in the original key and, WITHOUT MICROPHONES for every blasted performance - didn't miss one."

Is the example of someone who completely lost her singing voice later in life really the best case study for your theory?

[ScottyDoesn'tKnow2]

Posted: 7/6/18 at 3:37pm

I remember watching Broadway: The Golden Age and Shirley MacLaine mentioned she was about to hand in her notice understudying for Carol Haney in The Pajama Game because she would have gone on with a broken neck while taking a job understudying for Gwen Verdon because she was "some times out". Then Haney injured her ankle that night and MacLaine got to go on and actually went on for Haney throughout the months after that where she was discovered by a Hollywood producer and off she went. So in that one story, two of the most notable names of the Golden Age did indeed miss performances. 

[wonkit]

Posted: 7/6/18 at 3:38pm

I believe that Julie Andrews lost her singing voice because of a botched surgery on a node on her vocal chords, not performance stress.

[VintageSnarker]

Posted: 7/6/18 at 3:45pm

Well, everyone can't be Chita Rivera.

I wonder if they're thinking of extending past Lauren's contract. If so, I hope they announce some exciting casting in a few months for her replacement. I enjoyed parts of her performance but I'd like to revisit the show with someone who is more comfortable managing the demands of playing Eliza.

[Alessio2]

Posted: 7/6/18 at 3:45pm

Anyone who missed Ambrose in the show should consider themselves lucky.

[poisonivy2]

Posted: 7/6/18 at 3:47pm

NVM, found out Harrison was from Feb 1956-Nov 1957.

Updated On: 7/6/18 at 03:47 PM

[FranklinDickson2018]

Posted: 7/6/18 at 3:47pm

OK I agree that the announcement of the alternate Eliza (who is splendid by the way) would be an unpleasant one for folks who had purchased tickets specifically to see Ms. Ambrose on that day. Although I was offered the chance for a refund at the performance I went to in May --- I happily said no.  It was the *show* I wanted to see not the talented Ms. Ambrose!  I would have been thrilled to see her as well as her understudy.

However all of those who talk about the difficulty or non difficulty of singing the role of Eliza....

And here is one such excerpt that stuck in my mind: 

 "it is a relatively brief sing. Probably not more than 30 minutes a night, with the highest note being a G. Let's not pretend it's the most difficult vocal role ever written"

I would suggest an experiment.  Get a script. Put on the recording.  Read all the dialog and sing all the songs of your chosen lead character along with your record.  Act/emote/dance even pretend to change costumes if you want.  Sing nice and loud. Handle imaginary props. Go up and down stairs. Walk around a lot.  Imagine the heat of the stage lights, the desire to be as perfect as possible, the 1000 folks watching you intently, and the interacting with your fellow actors, and the hope that you don't forget a line, miss a bar, or sing a wrong note.  Maybe your throat is dry?  Maybe you have a slight cold. Maybe you have a slight headache.  Maybe you are a little nervous about a change in the direction or blocking. Do the entire show.  Give it all you got! Then imagine it is Saturday and you are going to rest for 2 hours and do it again.

See how you feel?  Are you tired? Are you spent? People who are just talking about the length of a role, the vocal range, how long you sing each night are completely missing the point.  So much more goes into each performance.  So much more.  I would suggest a little more compassion for Ms. Ambrose --- or any performer who has to miss a show or schedule an alternate.

It isn't easy folks although the great performers make it seem so much fun and so truly effortless.  It isn't.

I think it is wise to put oneself into the performers shoes as an artist wanting to do the best job possible.

And yes I have performed in about 30 musicals myself so I know what I am talking about. 

 

 

 

 

 

 

[Spammedalot]

Posted: 7/6/18 at 3:51pm

First of all, imagine how many shows off Ms. Ambrose would have need had the misguided, miscast FUNNY GIRL revival with her as Fanny happened. She is giving a competent, lower tier regional performance. The show is on BROADWAY- supposedly the pinnacle of the industry. It takes a special skill set (including endurance) and those cast in roles should be able to carry them off with seeming effortlessness. I don't want to see the technique- I want to see someone transporting an audience.

 

As for Ms. Stitt's tweet- it is as poorly written as her "music". "Displaying to the public the inner workings of_____ (is) so disrespectful"- like someone using personal details of a divorce to write a show based on it? (Her husband obvs).

 

I suppose calling someone out on Twitter you feel behaved poorly is an example of "what makes Broadway special and taking care of each other"? The entitlement generation is killing Broadway more than high ticket prices and crappy new shows.

[Sally Durant Plummer]

Posted: 7/6/18 at 3:51pm

I get that performers need sick days - I am certainly not arguing that performers should go on if they've contracted some horrible disease. There's a difference between say, Patti LuPone being out for maybe 10 performances of War Paint because of hip problems, and a performer regularly being out one day of the week AFTER people have purchased tickets expecting to see said performer. Hello, Dolly! is great at making sure ticket buyers are aware when Bette or Bernadette will not be performing. They also cast Donna as the alternate, so some intense theater lovers can see another performance of a beloved musical with a less-conventional "headline" name. The issue is that performers should have the ability to consistently perform the show 8 times a week to the best of their ability. Performers get sick. They miss days. But this whole business leaves an unpleasant taste in my mouth, especially after the publicized search for Eliza.

Updated On: 7/6/18 at 03:51 PM

[Sally Durant Plummer]

Posted: 7/6/18 at 3:58pm

Dickson, I never said it was an easy role. It's a challenging role, but not more so than Gypsy or Funny Girl or The King and I (that's an easy sing, but those book scenes as well as the costumes make it difficult!). Performing is hard. But My Fair Lady is perfectly manageable to regularly do 8 times a week.  Gypsy has never had a production where an alternate regularly went on for Rose. And that's probably one of the most difficult roles written in terms of the demands of the book scenes and score.

[SmoothLover]

Posted: 7/6/18 at 3:58pm

Rigg should have kept her mouth shut. Her public comments supported the old stereotype that women are incapable of supporting one another. Even her nicer comments to Riedel were backhanded.