Profile for mattvcrewse

I saw it in February at a matinee. The curtain call really pissed me off. I understand it's a matinee, and you're not going full out in your performances, because, come on, you've got to do it eight times a week, so why the hell was your curtain call so long? As soon as the curtain fell after the curtain call, everyone began to get up and go home. With people in the aisles and the vast majority of the applause dead, they raised the curtain AGAIN for more applause.

"Oh that was many years ago. I doubt if anyone would know." -Sweeney Todd Perfect rythym and rhyme AND perfect dialogue. It flows so naturally and perfectly.

"Beyond Therapy" Bruce- John Lithgow Prudence- Shelly Long Stuart- Richard Dreyfuss Charlotte- Kate McGregor-Stewart Bob- David Hyde-Pierce Andrew- I'm at a loss...

My piano arrangement of "Stars" from Les Mis. It takes five hands to play.

It's not an audition; it's an opportunity to perform. If you mess up, don't apologize. Voice students will roll their eyes, or grimace when they miss a note. That only draws attention to it. Whatever happens, keep on singing nice and strong. Even if you bomb most of the song, if you just hit one sweet note, that's enough to let the casting director know, yes, you can sing. You'd be surprised how much of the song you can screw up and still get cast. You said you know the song well, so you WILL...

Javert - Les Mis Don Quixote- Man of La Mancha Henry Higgins- My Fair Lady Mordred- Camelot Leo Frank- Parade Sweeney- Sweeney Todd Hysterium- Forum non-musicals... Felix Unger- The Odd Couple Angelo- Measure for Measure Pyramus- A Midsummer Night's Dream and many more...

I'm set in my ways like Prof. Higgins. Well, actually, I'm a lot like Higgins come to think of it...

Demitri2: "This is the first time I believe that the star of a major musical has been fired AFTER opening in the show." Wasn't Zero Mostel let go from Fiddler for improvising too much onstage? I could be wrong...

Every successful show has to have a sense a humor to break up the monotony. Even gloom and doom pop operas, such as POTO and Les Mis have comedy briefly in them. The Phantom's notes, the long bass note in "Poor Fool, He Makes Me Laugh", "Master of the House", etc. Jekyll and Hyde could have definitely used some humor somewhere. The spots where humor was was terribly misplaced. A joke in the middle of the transformation!? The apex of the first act? Thanks for taking us right out of the moment ...

Mythus has had the most true definition of an 11 o' clock number. It doesn't matter if it is a solo, ensemble, torch song, or WHAT kind of song it is. The 11 o' clock number is meant solely to engergize the audience for the last stretch of the show, whether it is to keep them awake, or to keep them interested. It can even be a ballad.

Sondheim Loewe Rodgers Burton Lane Mozart Aaron Copeland Alan Menken J.S. Bach is the LORD of melody

sporkie: "...I actually think it's perfect because it's accesible to even Republicans..." What does political affiliation have to do with liking musical theatre? That is one of the most ignorant, narrow-minded statements I have ever seen on these boards. You can't start beginners out with something heavy like Les Mis, or any other pop opera. It also depends on the beginner's age and intelligence. Most ten-year-olds cannot follow POTO or shows with heavy adult themes (not talking about sexual ...

Haha... yes the dry-humping. Do you remember Hasselhoff's googlie-eyes and his hilarious dry-humping? The girl playing Lucy was convincingly frightened! Good stuff...

I forgot to mention, the whole span of the human voice (from the lowest note an average bass should be able to sing to the highest note an average soprano should be able to sing)is only four octaves. Bass to tenor should span 3, and alto to soprano should span 3, with one overlapping in the middle. An average vocal range is 2 octaves, 2 1/2 is good, 3 is fantastic, and anything more is amazing.

But becuase it's comedy, it's supposed to be funny, so it doesn't bother me enough to irk me, not nearly as much as J&H. The thing with "King of Broadway" was Brooks rhymed that much because he could, therefore it was meant as a joke, and it worked.

Sondheim is my hero. Here's for Alan Jay Lerner... who is also astounding. "The seven deadly virtues, those ghastly little traps, oh no, my leige, they were not meant for me. Those seven deadly virtues were made for other chaps who love a life of failure and ennui. Take courage. Now there's a sport. An invitation to the state of rigormort. And purity, a noble yen. And very restful every now and then. I find humility means to be hurt. It's not the earth the meek inherit, it's the dirt. Honesty...

The best thing is to be able to sing it all. All of the girls in my voice class (even the altos who can sing an octave below middle C) can hit the Eb past the C 2 octaves above middle C. I'm a bass, but I can go from C 2 octaves below middle C to F an octave and a half above middle C. I can "belt" (in quotations because the only true belters are mezzo-sopranos) up to a high G#. That's 3 1/2 octaves, and I'm never going to have to use that. Singers like Peters, Foster, Chenowith, etc. may be c...

wildcat You're right. I failed to mention that the theatre folk who are successful are kind and generous. You've got to be fun (and reliable) to work with to make it. Ironic how I mentioned in that erroneous post how sometimes I need to be corrected... Thanks.

jacobtsf: Surely we can agree that rhyming the long "a" sound over and over in a row is a bit much. It's just that the devil/angels references seemed to come out of the middle of nowhere. Then again, perhaps my view is skewed by seeing David Hasselhoff soil the good name of Broadway. I must admit, jacobtsf, that it was much less offensive to my ears to hear Bob Cuciolli with Linda Eder.