Profile for TRiceFan

Skimbleshanks, the Railway cat, the cat of the railway train! Alternates 6/8 and 7/8. Pain...

Three Favs Pacific Overtures A Little Night Music Passion Least Favorite Forum (Book's great, songs don't go with it) Fav Songs Me and My Town Another Hundred People (OBC orchestrations are divine) Ever After

Dear God I love this show. It's so cheesy, but if they take that into account with the direction, it could be great :) (Wishes for new cast recording)

They need to bring Nightmare Before Christmas to the stage. It'd be hard, but if Burton was heavily involved, it would be awesome.

Wicked was the first musical I ever really got into, thank my 6th grade choir teacher for that one. Into the Woods was the 1st Sondheim show I ever saw at the recommendation of my 8th grade english teacher. I had never been in a show ever, went to a new school, and got cast as Steven Kodaly in She Loves Me. Best experience of my life. Great show. Sylvia. First play I was ever involved in, and it was so emotional and funny and high energy, it was extremely memorable. And I can relate to your F...

Okay, so I was looking at a Libretto for the show, and it says the scene with the Young Thing and the Husband (Listen to the Music) is set in 1912, but the scene with the Young Thing and the writer (Montage/Safe/One I Love) is set in 1976?!!? The young thing is 60+ years old??? Or is there a concept/something I'm missing?

He seems to have a passion for Spanish musicals, Bernarda Alba, some parts of Giant, and now this?! Now he really has to be inventive!

He seems to have a passion for Spanish musicals, Bernarda Alba, some parts of Giant, and now this?! Now he really has to be inventive!

Most overrated: Probably ITW. While it did get me started into the world of sondheim, and it is still a great score, I can never find myself LONGING to listen to the cast album. And if anybody knows 1 sondheim show, it is probably ITW. Most underrated: Jumping on the Pacific Overtures boat here. Even Welcome to Kanagawa, which I used to always skip, I can at least bear now, and the rest of the score is just amazing. Every time I hear it, I just marvel about how well he has blended 2 distinctl...

I've always wondered, lets say ex you're in Billy Elliot/N2N, and you wanted to see the other show. Are shows scheduled in a way that members of one show can possibly see another show? Because I think it'd be a shame if, say, In the Heights was playing, but you were doing Little Mermaid and couldn't go.

Pacific Overtures - A Little Night Music. Pacific Overtures, IMO, is one of his greatest achievements/scores, being able to fuse Japanese music and lyrics with a broadway sound to make something incredible. A little night music is one of his most luscious and romantic scores, but PO is the greater achievement (minus Welcome To Kanagawa)

Honestly, if the show didn't focus so much on the money aspect. They do songs cause they will make money ("Bieber is the epitome of rock" my ass) and some of those people can actually sing well, i feel like the young generation they're trying to appeal to likes that sound. The thing that really grinds my gears? When all of the glee club comes in and you hear this automated voice.

Mr. Sondheim has often done much with musicals where nothing is happening. Follies and Company, nothing really happen much. Second half of Sunday? Nothing happens. In "Sondheim: Enlarged and Updated", it talked about how he drove himself crazy writing Lesson 8 and Children and Art. What shows can you think of where nothing happens? I'm not saying horrid books, im saying when there's no story.

It seems to be a trend how some musicals have brilliant music, but a sorry book. What are some examples of really good books? Or, the reverse, what shows have amazing books, but bad scores?

I would really want to see nightmare before christmas, just with a few more songs :)

See, Wildhorn is pretty decent at songwriting. But i feel he could do much better when he has more to work with. The way a show should work is Book, then lyrics based on that, then music set to the lyrics. But if the foundation, the book, is bad, what else do they have to work with? I'm not saying a book has to be good for a show to work, but it helps to have a good book.

Philly03, i would have to disagree. "I for one am open to re-orchestrated it, although that won't really do anything for anyone on here." Orchestration, to me, is at least on third of the score, the other parts being the original score and lyrics. See, i believe this show could work if it had like, Jonathon Tunick or Micheal Starobin to orchestrate it. As far as the book goes, probably just borrowing Hugh Wheeler from Sondheim could help. And, props to basically making this thread a conversat...

And James for Sunday in the Park. The main reason I was asking is cause Laurents did both for anyone can whistle, and that was not received well, so I'm wondering if it has/hasn't worked for any other shows.

It seems like a few times in musical history, the book and directing credit go to the same person, ex. Arthur Laurents (anyone can whistle, nick and nora) Gregory Boyd (Wonderland), what are/were some other examples of this? Im trying to gain an opinion on the ideal.