Kad said: "Kind of a pretty thin piece, to be honest. Considering the topic- and the fact that it’s centered on two controversies that have mostly blown over- I was expecting something more than rehashing."
I've had this problem with a number of Jesse's "essays" lately (like the recent one about how composer bio pics in the 1940s used to not be very factual. Really?)
everythingtaboo said: "Surprisingly, the Chess revivalwas a question on tonight's Jeopardy. Considering how early they film these episodes vs the timing of the question, hard not to believe there wasn't some clever tie-in planned."
They mentioned it was currently revived on Broadway. Did you think there'd be more?
Bentwood Chair said: "They said they’re getting the highest ratings they ever had. Is it that there’s nothing else on cable anymore? and DWTS is what everybody is watching on there?"
I think they're getting the most viewer votes--are they getting the best ratings numbers too? They are on Disney + now too, which is the only way people who aren't watching live on the East Coast can vote (since it's taped for other timezones)
I've been defending Queen of Versailles' score (mostly because I think it's stronger and more interesting than it's gotten credit for--not that it's top Schwartz) but... compared to Baker's Wife?
John Adams said: "Jeffrey Karasarides said: "Ithink Condon was mainly referring to people turning off movies on Netflix after they realize that it's a musical as example. He didn't intend to imply that it's the only genre where it occurs."
There's a high possibility that you're right about that. I don't want to make a "sour grapes" accusation (i.e., Condon reaching for an excuse for why his movie isn't performing as
Daisy Crumpler said: "I'm so sad and disappointed in how little fanfare there was for this film.
I'm a complete civilian, but seems like the producers went out of their way to give the film a wider theatrical release instead of partnering with a streaming service. The musical numbers definitely deserve to be seen on a big screen, but I wonder if they had partnered with Netflix or Amazon initially, would there have been a larger ad campaign? Streaming services will
This article is even more damning with Arden's connection with writer collaborating from the beginning. He's as much to blame as her. This should have been WAY better. New musicals, from the beginning,donot appearhis skill... Overspending,sets, excess & surplus without return seems to be.
Arden likely knows he is responsible, and will probablywrite a memoirto makingreasons why'it wasn't me" to deflect,if this article
Kad said: "I suspect that "Meadowlark" became perceived as overdone and so singers actively started to avoid doing it."
I think that's a good point--I remember seeing it (along with, for example, Corner of the Sky for tenors) on several lists of songs to avoid at least 20 years ago...This doesn't really prove anything, but castalbums org lists 28 recordings with it (several are by the same performer--ie several Patti LuPone concert recordings.)
I think this speaks to one of the problems with the current (oft-used) model of opening these shows out of town in full productions and then bringing them to Broadway--and often with insignificant changes. From what I understand, if QoV just did its Boston run and then died then and there, it would have been at a great loss (and this wasn't done--as often happens--with a regional theatre's not for profit support.) I still say that the reaction in Boston was certainly not o
Auggie27 said: "Though not universal, the consensus finds the piece's unworkability tied to itsDNA: few if any people want to spend an evening in the company of this particular woman. Nice enough songs sung by a gifted performer areultimately irrelevant.
If Arden and Schwartz areto blame for not takingleadership roles,pulling the plug after Boston, "
The show hardly got raves in Boston, but it did have better word of mouth and, more promising
QueenAlice said: ""Meadowlark" is an almost 5 minute song. It wouldn't be a very good choice for auditions."
You rarely sing a full song in auditions--though I admit the length does make it an odd choice. I'm just going by what Trevor Nunn said when he did the show--that for years he had heard songs from the show, especially Meadowlark, at auditions and finally it made him investigate the show the songs were from.
John Adams said: " It was 1985 and it was considered "brave" and "groundbreaking" for a heterosexual male to play Gay. Basically, and IMO, he got a trophy for participation (like in pee-wee sports). I thought his performance was clumsy and completely unauthentic. I hated it.
But, 'ya know, "Thanks for trying"... Here's a trophy for your efforts."
Agreed, and as mentioned above, Puig wasn't a fan either.&nb
binau said: "I wanted to love this but ultimately I found the change in tone and changes to the score so significant that I barely recognised the musical anymore. It wasn't just that they 'cut songs' there are radical changes to the characters, story and tone.
I enjoyed it and happy this exists but I want someone else to have a go at adapting this, which I guess will never happen now :'(."
I certainly felt a bit strange--I know the stage mu
SonofRobbieJ said: " A few years ago, a friend was producing a production of Baker's Wife and I tossed my hat in the ring for the Aimable. He was stunned saying I was far to young and I was like, 'Friend...I'm almost 50!' He thought that was way too young for the role. That's just the way it's progressed and I'm not sure it's the best idea for this show."
I get that, though again, that goes back in a way to the original movie
Auggie27 said: "Subjective take: it's impossible to fathom That Song functioning in a linear narrative now, as excised and repurposed as it is, a standalone paean to {Singer's Choice}, a showcase for 80s overwrought show-tune-ness. With its galloping rhythm, its incessant plea to be recognized as the stirrings of a singer's - not character's - heart, how can it be folded into a slight fable with the gravitas of, say,The Fantasticks? Or maybe Amelee?A
That was a flat out pan, with just a few somewhat nice comments thrown in (the fact that he seems to think the score is terrible except for Meadowlark says a lot to me...)
AHEM I believe it's Big *BUSTED* women who are over the wall
I actually see all of your points, although when I saw the tour way back, without knowing the score (I had seen the Tony performance) I was just so amazed that none of that mattered or registered to me. I will say in My First Woman I think what Ebb is going for is that he remembers his first sexual experience--and yet doesn't really remember the specifics? Again, though I do see your point.
The Day After That is interesting because, as we can see in Aurora Spiderwoman's clips in Purchase it was written to be sung by the revolutionaries in the film within the show (which back then, like with the movie, was one long film told in bits--this was the part where I think Val was meant to be shown to finally get wrapped up in the film, of course.) Whereas in the Livent production it was sung non-diegetically. As you know, Condon filmed it to be used within the film again but then cut it.
I knew that Liza had sung it at some public performances but didn't realize her version was an AIDS charity single.
BrodyFosse123 said: "Heartbreaking to learn the film has only grossed $2M globally on a $30M budget (excluding the cost of promoting the film). After all the press interviews across the board and countless media coverage the film was completely ignored by the movie going public. Globally."
It's my understanding it hasn't opened yet in many international markets (there's some question if it will.) And there really was not that much media coverage if
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