Profile for BertCCRI2

The originator of this thread stated that the question was posed in connection with putting together a musical revue. While many good opening numbers have been cited, a good percentage would not work outside of the context of the show from which they come. As students are often advised to do while taking an exam, read the question carefully before you write the answer. One of my favorite opening numbers that I have used in a couple of revues is "The Kid Inside" from "Is There Life After High ...

Anyone who has listened to the CD of "The Producers" has virtually no surprises awaiting upon attending the show. And, by the way, is there anyone who gets the urge to play that CD to uncover the elusive riches of Brooks' score after having heard it a couple of times? In retrospect, I find the other three musicals that were up for the Tony that year -- "Jane Eyre," "Full Monty," and "Class Act" -- were all more rewarding shows.

There are some excellent choices cited above, but, having seen it at Goodspeed in Chester on Sunday afternoon, I would like to add another vote for "Amour." Legrand's score is certainly a hidden treasure, and the Goodspeed production, ideally cast, is immensely enjoyable.

I saw "Princesses" last summer at Goodspeed in Chester and found it to be delightful. The story outline does not, of itself, inspire confidence, but the musical theatre adage that it's not so much the basic idea that counts, but the way in which it is executed, certainly proved true. The parallels between "The Little Princess" -- which is "the show within the show" -- and the main storyline work effectively. The show had a great deal of humor, charm, and warmth, and the leads as well as the e...

Here is a link to a very nice interview with Liz Callaway -- a bit old by now, but worth reading nonetheless to get a sense of the person. http://www.talkinbroadway.com/spot/callaway1.html

Celia? Where are you? Wouldn't you know that the station would poop out today?

Here's one I didn't see, but relatives did, and have still not recovered, lo these years later: Joe Namath as Joe Hardy in "Damn Yankees" at Jones Beach. That strikes me as the epitome of stunt casting.

I saw Susan perform, along with Sal Viviano, at a Broadway pops concert in May, and Sal announced to the audience that Susan was getting married soon. After the concert, which was terrific, I had the pleasure of meeing the performers in the lobby. Susan was as nice as everyone who has met her has always reported that she is, and she autographed a couple of her CD's I had brought along. I got an up-close look at her engagement ring.

I think it's safe to assume that we won't be seeing any high school productions of "Closer."

If you want to be in the Boston area, check out Salem State. They have an outstanding program. Never heardof them? Don't let that stop you. The acting training there is topnotch.

redhotinnyc2: I agree with your analysis completely.

This is a term coined by noted conductor and musical theatre mavin Lehman Engels. That is the character who sings the number in "A Class Act."

Noting in the article that Sherie played Rosalie in an earlier production of the play, I assuime she'll be moving up to play Betty this time. The only drawback to that is that Rosalie gets to sing in the play, and Betty doesn't. But Betty is certainly a good actor's role.

The following statement was made by an earlier poster (no names, to protect the ignorant): "I haven't seen it, and I haven't heard it. But I hate it all the same." Does that level of thinking concern anyone else as much as it does me? You have the right to like or to dislike anything, but your opinion should be based on SOMETHING!

Joel, you asked earlier about "Summer of '42." I'm a big fan of that show, having seen it twice at Goodspeed (with Idina as Dorothy, and the first time I saw Celia Keenan-Bolger), once Off-B'way in New York, and recently the concert presentation at the York Theatre in New York (with Rachel York as Dorothy). That concert version has been recorded, in its entirety, as I understand it, so keep an eye out for its release. As you probably know, it's a small-cast musical without a chorus. Added to ...

There are more of these than I would care to remember. I'll limit my choices to professional productions. I could not stay awake during "I Am My Own Wife," which I do not blame on the play, since many people I know loved it. It was just one of those days for me, try as I might to stay alert. To date, the only Broadway show I've walked out on (I waited for intermission): "Starlight Express." My favorite description of this silly musical is "the ideal show for people who thought "Cats" was too ...

There are many, but I'll mention two for the present: "Our Children" from Ragtime, and, of more recent vintage, "The I Love You Song" from Spelling Bee, particularly at the end when Olive redefines "chimerical."

You can't beat it for the price. The view, as previously mentioned, is steep, but otherwise fine, and the sound is no problem. Chances are that you will be able to move down at intermission, which many in my group did when we saw the show in May. The view from the mezzanine is fabulous, and there were plenty of seats there. No one gave us any grief about moving down, which you get at some theatres. Some people opted to stay in the balcony, so it's not awful if it's not possible to move down.

My list (most not mentioned above): Leslie Kritzer Anika Larsen Christiane Noll Jennifer Peich Kate Reinders Anne Runolfsson Marla Schaffel Rena Strober

There was a musical version of The Little Rascals done at Goodspeed, with a score by Joe Raposo. While not a Broadway-calibre show, it was very cute, and might well have had a life in community and educational theatre had it gotten another professional production and, of course, a recording.