Category: Uncategorized

Once

Though everyone has been talking about the movie musical in terms of adaptations of Hairspray and Sweeney Todd (the former I have not seen in its entirety, the latter I loved), the low-budget and low-key Once is the best movie musical of 2007. I realize I make that statement and haven’t seen all of Hairspray but let’s face it, my statement is unlikely to change if I ever decide to watch the rest. I’d say since the serious re-emergence of the musical as a film genre with Moulin Rouge in 2001, this is probably the most affecting of all.

It seems that nothing in this film should succeed. It was made for practically no money; the plot is relatively simple and the two leads aren’t experienced actors. Nonetheless, the elements come together with quietly devastating results; thanks to the musical work of the two leads, The Frames frontman Glen Hansard and Czech musician Marketa Irglova (together, both composed the entire musical score, I might add). Writer-director John Carney manages to use their sincerity and musical skill to great advantage. The plot involves a husker-by-day, streetsinger-by-night with an incredible gift for songwriting who meets a rose-selling immigrant on the streets of Dublin. Together they share a kinship – no – passion (that word gets thrown around too much but its most appropriate in this case) for music. In a short span (the film covers about a week’s time), they come together and well, make beautiful music. Sorry, but there’s no other way of putting it without cheapening it. The songs string together the story, often commenting on the character’s emotions while underscoring onscreen action. From such simplicity comes rich dimension. The two leads have both gone on record saying that they probably won’t act again (pity); however, they have been nominated for the Best Song Oscar for “Falling Slowly,” the best song in the film.

This song is heard twice; once in its formative stages in the beginning of the film as he teaches her in a little music store. It was at this point of the film, I completely surrendered myself, and there was no return. Patient, well-paced and emotionally overwhelming, everything you need to know is expressed through the music. Add to that, it’s also one of the most beautiful songs I’ve ever heard in my life. Yes, the songs are diegetic; they – and we – are aware they are singing. However, as we watch these collaborators express their heart and soul in their art, you almost forget they are singing, it’s that transportative. The creative bond that the two share transcends the usual sex-laden, superficial and supercilious sappiness that pervades most romantic films; for that emotional honesty I am nothing short of thankful. The film manages to accomplish much in terms of expression with a lack of pretention. I can’t wait to watch it again; I feel like the experience can only be enriched the second time around and I don’t think I’m wrong.

I haven’t been so moved by a score since I attended the opening night of The Light in the Piazza almost three years ago. I hope if and when you see this movie that you can have a fraction of the emotional response I have had. Duncan Sheik wishes he could write a contemporary score as effective as this.

My only qualm with the film? It was too short. But I must contradict myself by adding, if they made it any longer or bigger, it would destroy the charm and ambience. There have been films, plays and musicals that have ended and I’ve wondered what becomes of the characters post media res. Well, my curiosity for such information has never been more piqued. I want to know what becomes of these characters so badly. And I hope they never make a sequel; it’s that perfect.

I’m still a complete wreck two hours later.

Beloved Aunt

All the hoopla over Jane Fonda‘s on-air faux pas this morning not only had me in hysterics (Offended people: come on, you have to admit it’s pretty hilarious that it happened, especially on The Today Show. The only way it could have been better is if Katie Couric was conducting the interview) but got me to thinking about the use of language on TV and how certain words are off limits. Anyway, I want to say a quick word on her behalf. Ms. Fonda was not on the interview to offend anyone. In fact she was there with playwright Eve Ensler (whom some neanderthal credited as “playwrite” on the character generator) to promote the 10th anniversary of the V-Day movement; which began 2.14.98 with a benefit reading of The Vagina Monologues.

Anyway, while I think the word was probably better left unsaid, I do think that people shouldn’t really fly off the handle at her either. The word, as offensive as many find it, was actually being used in the context of a literary title; it so happens to be the title of the monologue she was asked to perform. It was also uttered in response to a question posed by Vieira about Fonda’s initial reticence to get involved with the play. Her response to Ensler was “I don’t think so. I’ve got enough problems.” It was funny, you have to admit to see Meredith Vieira trying in vain to maintain her poise; she was pretty stunned. About ten minutes later, Vieira apologized on behalf of NBC and Fonda for the slang term usage. And while I don’t suggest we all open up our windows and scream out every vaginal and penile euphemism at the top of our lungs (though the darker side of me giggles at the prospect), I hope that this slip-up today doesn’t overshadow what Ensler and her initiative is trying to accomplish: bringing about an end to violence against women worldwide.

I wonder, were people more offended when Diane Keaton casually dropped the word “Fuck” on Good Morning, America or by this morning’s incident? We certainly have some sassy older actresses making the talk show rounds these days. Better be ready on the censor button when Meryl Streep makes her next appearance on The View.”

Anyway, I laugh because I’m reminded of a very special episode of Curb Your Enthusiasm, where I got the title for this post. In said episode, Larry promises to get an obituary in the paper for his wife’s recently deceased aunt. Well, you can figure out the rest, I’m sure. If not, watch it, it’s hilarious. There was also a pretty crazy 30 Rock episode that also dealt with this insult of insults. For those who are offended by said word, I am sorry. It is a word – and an offensive one – but there are worse things going on in the world that really should be commanding our attention at this time.

WGA Strike Ends!

After three months, the WGA members overwhelmingly voted to end their strike and return to work. Hopefully those powers that be can salvage the remnants of the season so we can have some new episodes of 30 Rock, The Office, Family Guy and American Dad. Among all the other shows you all know and love too. It’s also nice to know that these crew members and production staff people who were laid off as a result of the strike will once again be employed. Also, they can get back to work on quality movies so we’re not stuck with complete dreck in the fall.

And the Oscars shall go on and it shall be a glorious night. I saw No Country for Old Men, the contender for Best Picture. I am so incredibly fascinated by Anton Chigurh and his portrayal by virtual Oscar-lock Javier Bardem. Such an interesting and subtle film, beautifully directed and written, with generally superb performances all around. The book by Cormac McCarthy goes more in depth in terms of the characterization of the Sheriff, but as an adaptation, it is incredibly faithful. More movies to see in the next couple of weeks. Plus, some more Oscar thoughts.

NCassidine Takes on "Applause"

NCassadine has provided ATC with yet another brilliant parody; this time taking on Applause at Encores! I hope he doesn’t mind my reposting it here. It’s pretty brilliant and hilarious.

COMPANY OF APPLAUSE
This is dusty and corny and dated
tired, forlorny and yes, overrated
Let’s revive!
Let’s revive!
Let’s revive!
This is rotten, forgotten, affected,
All of the numbers are over directed
Let’s revive!
Let’s revive!
Let’s revive!

CHRISTINE EBERSOLE
I wish I were home in Jersey
Chicken soup and cherry Halls ™
Maybe you can’t hear the lyrics
God I hope the curtain falls!

ALL
And this is silly and dripping with drama

CHRISTINE EBERSOLE
I can be Margo if Patti is Mama

ALL
Not an ounce of lust
Showing off the rust
Knowing that we must revive!

(generic 70s music)
CHRISTINE EBERSOLE shows up at the Monster.

GAY MEN and assorted VILLAGE PEOPLE
LITTLE EDIE!

CHRISTINE EBERSOLE
Fasten your seatbelts – it’s gonna be a bumpy night!

AUDIENCE GOES NUTS AT THE RECOGNITION OF A LINE FROM THE MOVIE!

ALL
Put down your torches, now that we’ve sung (eh, eh, eh, eh, eh) the famous line!
Put down your torches, follow the weird melodic line
Ensemble numbers, they could sure use a redesign.
Make the noise,
Just get past the bumpy line.

MEGAN SIKORA
What stops a show from workin’ out?
The flaws, the flaws.
Who has the plot? What’ve you got
but major flaws?
You’re rooting for Eve
then Bonnie’s the star
You never believe
what you’re watching
And now you’re plum distracted by
those glaring flaws
Casting’s a mess, book is a guess
but we refuse to distress cause
the words are sublime
now here comes the rhyme
The flaws! The flaws! The flaws!

The lights dim, and CHRISTINE EBERSOLE takes center stage.

CHRISTINE EBERSOLE

Welcome to the Encores!
to the clunkers, to the flops
where jokes are old and rather stale
where characters are hard to nail
and subtetly is all for naught
Now you’ve entered City Center
What an eyesore, it’s true
Legroom’s unheard of and
renovation’s overdue
But welcome, Erin Davie
past the garden we called grey
You’re on your path to bigger parts
Just learn to smile and win their hearts
You’ll be miscast but you’ll hit the charts
from New York to Santa Fe
So,welcome to the theatre
My dear, you’re on display!

Rifke! …and other anecdotes from my trip to "Applause"

I’ve had a taste of, the sound that says love… Applause… Hm. Roxie and I attended the final performance of the Encores! presentation of this 1970 Best Musical winner. It was a great afternoon. I watched the impressive natural wonder of a arctic cold front push across the Hudson River while I waited for the train. Wandered around the Times Square area with Roxeleh before the show. Had a most amusing dinner at a diner down the street from the City Center. The title of this post comes from a rather absurd moment where this woman sat next to us while we were eating. First off, as she was being handed the menu she asked the waitress what I was eating as if I wasn’t even there. Her voice was also at a volume where her entire conversation was privvy to the both of us. And let me just say hilarity ensued. The woman was in her sixties and sounded like Mae Questal with a post-nasal drip. Roxie and I burst into a quiet frenzies of hysterical laughter when the woman started talking about her Yiddish class to a random friend and went on about her classmate Rifke. “Oh my goodness, Rifke put down she was 24! Can you believe it?! Oh that Rifke!” Now those of you who are familiar with Fiddler on the Roof know that Rifke is the first recipient of “The Rumor.” But the combination of the elements led Roxie and I into hysterical fits of laughter. You had to be there, but it could possibly rival seeing Ms. Ebersole tear up the stage as the highlight of the day.

Anyway. Applause. You can see my previous post back in October about the guilty pleasure status of this score. Well. It was certainly a fun time. The show is rather poor in practically every way. Yes, I’m well aware that 20th Century Fox wouldn’t allow the musical theatre team to use any of the screenplay; yes, I’m aware that the 1970s was a different era, and contemporizing was the rage. But did no one stop to think that what they were writing was pretty much sub-par?

Pros:

– Christine Ebersole. Yes, everything about her is true. She is a musical theatre diva with endless energy, voice, charisma, beauty and presence. Probably a whole slew of other things wondrous as well. Margo has never been more attractive and so relatable as she was last evening. For the first time, I felt “Hurry Back” worked. In the original production, it was performed as a part voice-over (what?!) and then Bacall, in her basement keys took over live. It just felt like dead weight that didn’t go anywhere. Ebersole brought it to life with a great deal of heart and some delightfully jazz vocals. Fortunately for the comfort of all in the house, the keys for Margo were brought up 4ths and 5th, allowing Ebersole her comfort belt and tones, which sold every number; especially her powerhouse rendition of the second-rate “Welcome to the Theatre” (if the first half of the lyrics were as good as the second half, I’d consider a change). And especially for someone who missed a great deal of the rehearsal time due to influenza, she scored big time and unlike Stokes in Kismet, I was able to forgive her reliance on the prompt book.
– Mario Cantone. Playing the role of the sassy gay sidekick to the diva usually lends itself to caricature; but Cantone played Duane, Margo’s dresser as a friend and confidante who also just happened to be a very funny individual. Cantone’s exercise in restraint and nuance was much appreciated by those in attendance. You knew he cared for and protected Margo; and it showed with a very warm relationship between the two characters.
– The ensemble. They danced it up; especially the boys in “But Alive” who managed to send up the camp while delivering it. (Here’s the clip from the 1973 telecast with Bacall. Outrageous. http://youtube.com/watch?v=71dRwNTN69I). They brought down the house with the title song. They even managed to work with the dreck of “She’s No Longer a Gypsy,” the bizarre “Fasten Your Seatbelts,” and “Backstage Babble.”
– Kate Burton. Who can do so much with so little. What a treat. And what a waste of a role. This woman deserves to be doing anything from Phyllis in Follies to Vera in Mame.
Michael Park and Tom Hewitt. In choice supporting roles as lover and producer of the star; they take a necessary backseat to the Margo-Eve story.
– The first act. It plays much smoother. What is bad, is at least enjoyable camp and therefore more amusing to watch and hear.
– The gentleman behind us who was so excited to see Christine Ebersole we thought he was going to have a diva fit. It was priceless. Especially Roxie’s enjoyment of the entire proceeding.
– The orchestra. They sounded phenomenal. Great sound, great musical direction and a great complement to the singers.

The In-Between:

– Erin Davie. A fresh-faced delight from Grey Gardens; her best scenes were opposite Ebersole. However, I don’t think she was well-directed. She was too “Little Evie” for my liking. Noah was incredibly accurate in describing her “One Hallowe’en” as “Daddy’s Girl.”
– Chip Zien. He’s rather annoying. But he wasn’t terrible.
– The midsection of the title song. It was cute, but it got cloying. They removed the original mid-section of the number with a send-up of various hit musicals by replacing lines with “applause.” Here, they did an Encores! best-of run-down, setting up a small gold proscenium and people performing snippets from a slew of musicals that have been done in recent years. A few of them were amusing, but come on. Also, he glaring anachronism of using “All That Jazz” and “Beautiful Girls” in a song that takes place in early ’71 was rather irritating. (Granted Follies was a few months away, but it’s highly doubtful this chorus boy would have been singing “Beautiful Girls” at this point). The original was also quite famous for its Oh, Calcutta! moment where the boys flashed their asses to the audience; something that was also telecast on the Tony’s in 1970 ON CBS!!!! (I’m surprised they got away with it).

Cons:

– The score. I’m sorry Sarah, in spite of occasionally amusing campy numbers, and one really good song (the title), this is the worst score of a Best Musical winner. Strouse and Adams have run the gamut – Bye Bye Birdie to Bring Back Birdie should say it all. The second act is particularly hideous (“One of a Kind” takes it cue from a coffee tagline; then crams too many words into too short a space and just kinda sits there awkwardly).
– The book. Jesus Christ. One of the greatest films ever. A pretty middling book. It lacks bite. It lacks character development; And it lacks a satisfying ending. In fact, the ending was a complete rushjob. Comden and Green have delivered class and wit in many of their shows; in spite of a few great one liners, they were not the people for this job. Certain characters (Karen, Buzz, etc) just lose so much in this translation.
– The second act. There is little to salvage even for a camp factor. And who the hell thought “Truman Capote’s balls” was a good idea for a lyric?
– The ending. A combination of the two previous entries. Not only was it rushed, it was unsatisfactory. All of a sudden everything was wrapped up; Eve was basically a kept woman by her producer and Margo decides to give up the theatre for marital bliss. WHAT? Well, at least that’s what came about from the terrible eleven o’clock number “Something Greater.” The hook: “There’s something greater.” I’m still not sure if it was intentional, but suddenly it feels as though the actress playing Margo is commenting on the song she’s singing… When you get the revelation that Margo wants to “be what to her man what a woman should be is something greater and finally that’s for me.” Horrible. When Encores! did Fiorello! in its first season, they revised the creaky “strikes me” line from “The Very Next Man.” Besides, someone as interesting and in love with theatre like Margo couldn’t possibly give up one for the other; but try to find a balance between the two. It’s not Bill would ever give up his directing career for her, so why would she not be the diva to her adoring public? Also, we lose the book-end effect of the flashback, where we come back to the awards and everyone gets in their parting shots (Bette Davis has what I think is the greatest exit line on film) and also the incredibly memorable final scene of poetic justice.
– Direction. I don’t think Kathleen Marshall showed up.
– Playbills. How could the City Center run out of Playbills for a 5 performance run? Most of the gallery received photocopied programs that you might get at an elementary school production. Fortunately Roxie spotted some while we were making a brief trip to the rear mezz to see Sarah and Kari. Though it felt like we were going to have to ward off the angry mob when we got back up after intermission.

Imagine if:

Arthur Laurents wrote the book, with Jule Styne and Bob Merrill providing the score. Perhaps Angela Lansbury was Margo Channing; we can keep Penny Fuller, who may be the definitive Eve; watch her on the telecast and prepare to be floored. She even, after the flashbacks, makes early Eve likable. Just throwing that out there….

Overheard while waiting for the train…. Three actors talking in Grand Central Station… “Oh my goodness, we just came from the final dress of Cat on a Hot Tin Roof. It was embarassing. We couldn’t even stay for the third act.” Oh dear. Well, I guess I’ll find out for myself on March 12.

Upcoming Excursions

Today was an eventful day. I worked for 8 1/2 hours; drank a lot of green tea and bought a laser printer (thank God for 50% sales), 1500 pages of blank paper, binders and sheet protectors for my latest project; organizing my vocal scores. My first effort was for the score of 1600 Pennylvania Avenue (from the Philadelphia tryout). Now all I need is a piano… The much-loved (by me) “Duet for One” is a whopping 26 pages long. The Bernstein estate will not permit the original Broadway version of the show to be presented; the Cantata is a concertized revisal which eliminates a great deal of the book with some revision among the musical numbers, dropping the original’s “Rehearse” and reinstating the endless “Monroviad.” (Bernstein was so disappointed with the show as it played in NY in 1976, he refused to allow the cast album to be recorded, can you believe that? ARGGH!). Speaking of which, the Collegiate Chorale is giving the Cantata its New York premiere on March 31 at Frederick P. Rose Hall, Jazz at Lincoln Center (what a curious name for a venue). I really, really want to go. Baritone Dwayne Croft and soprano Emily Pulley will be singing the roles of the President and First Lady. Anyone else interested? The top tickets are $85, but I plan on aiming a bit lower ($65, 55, 45, 35, 20).

http://collegiatechorale.org/concert_schedule/

Broadway-wise: I’ve got my season ticket to The 39 Steps on February 24th. I will not be lingering in the city that night, since it’s supposed to be Oscar night (oh please, God). Also, I will be attending the March 12th matinee of Cat on a Hot Tin Roof at the Broadhurst. It’s going to be exciting as it will mark the first time I’ve seen James Earl Jones or Phylicia Rashad live in performance. I’m seeing Sunday again as a subscriber on March 9th. But first? Applause this Sunday at the City Center. Hearing how the flu has caused her to miss rehearsal and to lose her singing voice, I hope Christine Ebersole’s health will be much improved by then. This, among all the other festivities is going to make for one hell of an exciting spring season of New York theatre.

PS – My script of August: Osage County arrived in the mail today (along with Auntie Mame, Mister Roberts and Who’s Afraid of Virginia Woolf?). Huzzah!

An ‘All That Chat’ survey…the Play Edition

1. The first play I ever saw on Broadway was Noises Off! (July 9, 2002)
2. The play I would most like to see would be the original companies of Who’s Afraid of Virginia Woolf?, Death of a Salesman, Long Day’s Journey Into Night, Noises Off (NY & London; for Pat Routledge and Dottie Loudon), West Side Waltz, The Glass Menagerie, The Lion in Winter and probably a slew of others…
3. The play I would most like to see again is The Pillowman, The Lieutenant of Inishmore, the revival of Journey’s End. Still running…? AUGUST: OSAGE COUNTY!!!!
4. The play I never want to see again is Romeo and Juliet (sorry kids, just don’t care for it; West Side Story on the other hand…)
5. The best performance in a Broadway play by a woman I’ve ever seen is… wow this is tough. I’ve seen Cherry in Doubt, Kathleen in Who’s Afraid of Virginia Woolf?, Frances de la Tour in The History Boys and Judy Kaye in Souvenir; however, I’m going to go with Jayne Houdyshell in Well. (Though the previous divas are all a decimal point away from the title).
6. The best performance in a Broadway play by a man I’ve ever seen is Bill Irwin in Who’s Afraid of Virginia Woolf? (honorable mentions to Stark Sands in Journey’s End, Zeljko Ivanek in The Pillowman, Brian F. O’Byrne in Doubt).
7. The person I wish they never cast was David Barbour in Virginia Woolf. The person they should have cast was Billy Crudup.
8. My favorite Broadway staging of a play was The Pillowman.
9. The line that always brings a lump to my throat is – “I am, George, I am.”
10. The stupidest line I’ve ever heard is… hm, I’ll fill this in if I can think of something that bad…
11. The first play I had to go back and see twice was the revival of Who’s Afraid of Virginia Woolf?
12. The first play I ever walked out of was – I have never walked out of a show.
13. The most under praised and overly deserving play in my opinion is Coram Boy.
14. The most overly praised and under deserving show in my opinion is The History Boys. I mean, I liked it; but, The Lieutenant of Inishmore was a much more satisfying play.
15. The line or monologue you’re most likely to quote in every day life: “Life is a banquet and most poor sons of bitches are starving to death!” Auntie Mame.
16. If I could recast any role in a current Broadway play with a performer of the past it would be Uta Hagen as Violet in August: Osage County, Laurette Taylor in Doubt, young Kim Stanley or Barbara Bel Geddes in Proof.
17. If I could recast current actor in a Broadway play that was before their time it would be Cherry Jones in The Little Foxes (with Vicki Clark as Birdie); Margaret Colin in Long Day’s Journey Into Night, Harriet Harris in The Desk Set or Come Back, Little Sheba, Mary Louise Parker in Mary, Mary.
18. The show they should never change a word of because it is already perfect is Long Day’s Journey Into Night. They’ve already tampered with Virginia Woolf?
19. The show I’d most like to get my hands on and rewrite is Well.
20. The role I was born to play on Broadway is any acerbic and witty wisecracking sidekick.

An ‘All That Chat’ survey…

The Giants have won the Super Bowl!!!!!! That was one hell of a game, I gotta say. I got so into it, my blood pressure skyrocketed and I went buck wild after that last touchdown. Think Mary Louise Wilson’s acceptance speech times ten. And with more explicitly jubilant language.

Anyway… this was a 20 question survey posted on All That Chat for those who wouldn’t be watching the game tonight. Well, since I missed the boat as I was glued to the game, I thought I’d fill it in here and now….

1. The first musical I ever saw on Broadway was Miss Saig0n (March, 15, 2000)
2. The musical I would most like to see would be the original production of any of my favorites: this includes Company, Follies, A Little Night Music, Mame, Pacific Overtures, 1600 Pennsylvania Avenue, She Loves Me, High Spirits, Kismet, Kiss Me Kate, South Pacific, et al, et al, et al.
3. The musical I would most like to see again is The Light in the Piazza and/or Grey Gardens.
4. The musical I never want to see again is Cats.
5. The best performance in a Broadway musical by a woman I’ve ever seen is Victoria Clark in The Light in the Piazza (honorable mentions to Christine Ebersole, Patti LuPone, Audra McDonald & Bernadette Peters).
6. The best performance in a Broadway musical by a man I’ve ever seen is Hugh Jackman in The Boy From Oz (what a star turn; what a shit show) and Carousel (wowowow, what a night). Honorable mention to David Hyde Pierce, who made Spamalot more enjoyable than it should have been.
7. The person I wish they never cast was Christine Baranski in Follies.
The person they should have cast was Angela Lansbury (yes I know she’s a bit old for the part, who cares?) or Patti LuPone or someone who could sing it on pitch at least.
8. My favorite Broadway choreography was in the show La Cage Aux Folles
9. The lyric/line that always brings a lump to my throat is – many of Sondheim’s great works “Children and Art,” “Finishing the Hat,” “Sunday,” “Move On,” “Send in the Clowns,” “Liaisons,” “Another Hundred People,” Not a Day Goes By” (I’ve just decided that I’m going to dedicate an entire post to my favorite Stephen Sondheim lyrics), some of Hammerstein’s, some of Guettel’s even, though I know people look down on him as a lyricist…. too many indeed…
10. The stupidest lyric/line I’ve ever heard is “I’m a priest and I cannot love her” – that’s the hook – the cleverly titled “I’m a Priest” from Notre Dame de Paris. There are others, but this one always stands out in my mind as it was just so god-awful.
11. The first musical I had to go back and see twice was The Light in the Piazza (I started my own trend).
12. The first musical I ever walked out of was – I have never walked out of a show.
13. The most under praised and overly deserving show in my opinion is; well it was technically a play with a lot of music, but it fits: Coram Boy.
14. The most overly praised and under deserving show in my opinion is, even though I enjoyed it, Spring Awakening.
15. The song show tune I’m most likely to sing while I’m dancing around at home is”Not on Your Nellie” Darling of the Day or “A Little Priest” (both parts)Sweeney Todd or whatever catches my ear at the moment.
16. If I could recast any role in a current Broadway musical with a performer of the past it would be Barbara Cook fifty years ago as Clara or thirty years ago as Margaret in The Light in the Piazza. Patricia Routledge in a London Piazza. Kaye Ballard, Susan Johnson or Dolores Gray as Carmen in Curtains.
17. If I could recast current actor in a Broadway musical that was before their time it would be Victoria Clark in Darling of the Day and Street Scene, Donna Murphy in Lady in the Dark. Audra McDonald in
18. The show they should never change a word of because it is already perfect is She Loves Me.
19. The show I’d most like to get my hands on and rewrite is 1600 Pennsylvania Avenue.
20. The role I was born to play on Broadway is Georg in She Loves Me (I feel like he’s my musical alter ego) . Not realistically, probably Alice Challice in Darling of the Day (those songs sit right in my comfort zone, isn’t that sad?).

I would love to see what your answers would be…

Some cast recordings and DVD releases

While I couldn’t care less about the impending CDs of The Little Mermaid or Ring of Fire, DRG is putting out three on March 4 that make me considerably happy.

Happy Hunting – 1956 OBC. Initially released by RCA Victor, the album has been long out of print and goes for a costly used fee on amazon.com or ebay. It’s the weakest of the post-WWII musicals to feature Merman. However, due to Merman’s audience appeal, she managed to keep the show running for a year, and allowing it to make a profit. Working with the inexperienced song-writers on this less-than-stellar project was the reason she nixed Stephen Sondheim as composer for Gypsy, demanding an established professional (Jule Styne) take the honors. So I guess we can thank Harold Karr and Matt Dubey for indirectly leading to the 1959 musical of musicals being the perfection that it is. “Mutual Admiration Society,” an upbeat mother-daughter charm duet, is the only song that had a life outside of the show (I enjoy the recording made by the late Teresa Brewer).

Annie Get Your Gun – 1962 studio recording. This one features Doris Day and Robert Goulet in the leading roles. I assume it’s not faithful to the stage orchestrations and it more of a curio than a document of the stage show. This is the first time the CD will be available in the US. This was originally supposed to be released on the Sony Masterworks series in the late 90s/early 00s (which appears all but dead).

Say, Darling – 1958 OBC. This is more a play-with-music than an actual musical. Loosely inspired by his experiences adapting his novel Seven and a Half Cents into The Pajama Game, Richard Bissell wrote Say, Darling which documented a musical going through its creative and rehearsal periods. The cast features Robert Morse, Vivian Blaine and David Wayne. Jule Styne, Betty Comden and Adolph Green supplied the score.

It’s good to have DRG keeping up on the neglected scores, especially with the market being anything but stable for lost treasures and curiosities. And while I’m on it, whatever happened to the CD premiere of my beloved guilty pleasure Illya, Darling?

DVD front: The 1961 film Fanny is being released on DVD for the first time on June 17. The film was an adaptation of the 1955 Harold Rome musical (which in itself was based on the Marcel Pagnol film trilogy of the 1930s). Directed by Josh Logan (who also co-wrote and directed the Broadway production) and starring Leslie Caron, Maurice Chevalier and Charles Boyer, the film adaptation eliminated the singing and adapted the musical themes as underscoring. I saw the film before I knew that, but it doesn’t have any impact on how much I enjoyed this Oscar-nominated and underrated classic. (A Best Picture nominee… it was lost in the shuffle of The Hustler, Judgment at Nuremberg and West Side Story). And while I’m on the DVD front, there are going to be DVD premieres of Kismet (and a handful of other musicals in a boxed set and individual) and Light in the Piazza (both from Warners). Criterion is issuing a boxed set of Ernst Lubitsch musicals of the early 1930s (including The Love Parade, Monte Carlo, One Hour With You and The Smiling Lieutenant). There will be restored reissues of The Music Man, Gigi, An American in Paris and The Great Ziegfeld. (the latter two may actually just be an upgrade from those awful cardboard snapcase DVD cases to the plastic keepcase, that is most prominent; I refuse to buy any of the card board ones, part of my OCD). The Member of the Wedding is going to be issued as a part of a Stanley Kramer boxed set, which is irritating because I already own Guess Who’s Coming to Dinner and In the Heat of the Night and would prefer to purchase this one separately. There will also be a reissue of Ship of Fools in the set, and one hopes that they present it in its actual original aspect ratio.

I’m still waiting for DVDs of The Magnificent Ambersons, The Enchanted Cottage, Love With the Proper Stranger, The African Queen, A Tree Grows in Brooklyn and Wings. Also, it’s time that someone reissued Rebecca, Notorious, Spellbound (previous Criterions, long since deleted) and MGM should get Wuthering Heights w. Olivier and Merle Oberon back into circulation.