Profile for lvpblues

The link is working again. Sorry about that!

A piece recalling the opening night of the original production and the recent reunion concert at the Vivian Beaumont: http://www.theatreaficionado.com/2016/04/light-piazza-reunion-concert.html

I think Rebecca Caine is pretty spectacular.

For me: Cats, Thoroughly Modern Millie & Applause.

As per this Playbill exclusive. I ended up seeing the show at Feinstein's twice; I just loved it. I'm really excited to have it on CD. ~K

Donnybrook! and A Time for Singing (I know the latter was almost a reality, but I can still hope!)

Here are my thoughts on the concert. If I hadn't a prior commitment today I would have gone a second time. ~K

Act One (Classical) "To What You Said" (Songfest) - Christopher Feigum "A Julia de Burgos" (Songfest) - Talise Trevigne Kaddish 2 (Kaddish Symphony) - Talise Trevigne "Simple Song" (Mass) - Joshua Jeremiah "Thank You" (Mass) - Sara Jakubiak "Gloria Tibi"(Mass) - Joshua Hopkins "What Lips My Lips Have Kissed (Songfest) - Patricia Risley "Sanctus" (Mass) - NYCO Chorus & Children's Chorus Act Two (Broadway) "New York, New York" (On the Town) - Darius de Haas, Michael Urie & Joshua Jeremiah "Some...

When I started reading about his death, I was listening to my itunes playlist on shuffle. Every third or fourth song was by Jerry Bock. I ended up spending most of last night and this morning with his scores - and I continue marvel at his craftsmanship. It's a shame his collaboration with Harnick ended in 1970, but so grateful for their output. ~K

Jane Krakowski in Nine comes readily to mind... and then there's this...

As per "The Oxford Companion to the American Musical," this was a tour brought to Broadway as a return engagement at popular prices and zero audience interest.

I don't see Catherine as Mame, I think she's more a Vera. I vote for Donna Murphy.

I'll add On the Twentieth Century, Irma La Douce, and Mame to the list. A shame too that there's not an official recording of Bernstein's overture to "1600 Pennsylvania Avenue." I really liked that one. ~K

I definitely want to see this cast again; they bring something to the play I hadn't seen before.

Yes she does. And quite well, I think. She's got one of the greatest speaking voices I think I've ever heard in an actress. I'd be curious to hear how different her experience is with the Americanized circumstances.

I was at their first performance, and was rather impressed with all four actors. Feels like a brand new show and is well worth seeing, in my estimation. I went into more detail on it at my blog. Best, ~K

From "Balancing Act: The Authorized Biography of Angela Lansbury" by Martin Gottfried (pg 229): Despite Sondheim's preference for Angela, Patricia Routledge remained Harold Prince's actress of choice to co star with Len Cariou in Sweeney Todd. The director even arranged for Cariou and Routledge to confer by telephone, while he was in Vienna making the movie version of A Little Night Music. In fact, that was the one reason why Sweeney Todd wasn't being produced in 1976. Routledge, a splendid a...

I think it's one of the greater enigmas that Routledge didn't have a more successful career in American musicals. She never had a hit on Broadway; though she scored a great success with Pirates of Penzance in Central in 1980 (but for whatever reason didn't transfer). "Love Match" and "Say Hello to Harvey" were the two musicals she did that folded out of town. In the latter (which was an unnecessary adaptation) she had a great showstopper (yet again) called "A Lousy Life" where she, as Veta, h...

Clive Barnes noted her accent in his review for the NY Times. She was basically the only one involved who escaped the musical with positive notices, some of which I've rounded up here (as well as some of the ecstatic raves for her Tony-winning turn in "Darling of the Day"):

I've seen folks talk about this particular number as a fond memory from the otherwise troubled musical "1600 Pennsylvania Avenue." I thought I'd share this with those curious about her performance. Best, ~K