This makes me so happy, so much of his work seems to be at risk of getting lost or dissappearing. I hope it gets preserved somehow, ideally a recording but at least the book, score etc. for future performances.
Well I for one have no idea why Bobby wanted to get married and I still absolutely love Company. I don't love Joseph ATATDC nearly as much, but also have no idea what he wanted.
But, having not seen QoV, I don't think it is that hard to create a relevant point of view or dramatic question:
If the problem everyone has is that she doesn't ever change or learn and since they are already using the original Versailles framework, isn't it as simple as having th
If I were to choose another Schwartz musical to adapt I'd go for The Baker's Wife. It was adapted from a movie so it should fit the medium, the best parts of the musical are the generally intimate solo numbers which lend themselves well to film and maybe the adaptation could be an excuse to either trim the ensemble numbers or give them some depth and energy with the editing. On the other it has zero name recognition and adultery is not that interesting of a topic nowadays. I could see
To me the 2 musicals that are obvious choices and seem natural for a film adaptation are Ragtime and The Baker's Wife, but I'm not sure Jon M. Chu would be my choice for either. To me Ragtime screams Spielberg and I don't know about Baker's Wife, has anyone succesfully rendered a chamber musical film in the last decades?
Your Favorite Oct 4 2024, 04:22:18 AM
For me it is "Philemon" by Schmidt & Jones. I live in a pretend reality where it is universally hailed as a boundary-pushing landmark of the genre with a similar status to Gypsy, Cabaret, Fiddler or Pacific Overtures and I refuse to leave it.
All the duets between Ziggy and the Robot Waiter on Starmania. The originals are in French, but there's an English translation by Tim Rice called Tycoon. I'm not familiar with the translation, but from the original "La chanson de Ziggy", "Nos planetes se separent", "Duo d'adieu". Admitedly, their respective solos are more interesting.
darquegk said: "I love when a successful show publishes its annotated show bible after the fact. I learned so much about writing and rewriting from The Producers Bible."
Wow, I missed the Producers one, seems very useful. Do you know any other shows that have done the same?
Ives said on the Frank Rich piece that Sondheim had completed to versions of a terrific song from Altogether Now, the other musical they had been working on. I hope they record it as bonus track at least. But also, since we know everything Sondheim writes at a time tends to sound of the moment, maybe it sounds similar enough to Here We Are that it could be interpolated.
On "The almost unknown Stephen Sondheim" there is the sheetmusic for Singing Out Loud, Looks and I can't recall if any other. Also Water Under the Bridge is supposed to have a very prominent counterpoint line that is missing from the recorded versions. A version of the script also floats around. Indeed it seems to me like a natural next film for Lin Manuel to direct as prestige project for some streaming platform.
”Tunick can’t discussHere We Arejust yet—everybody on the show had to sign a confidentiality agreement that runs until its first preview, on September 28, at the Shed in New York—but sources say he has taken sketches of Sondheim songs and fleshed them out for the second act.”
I wonder if this is referring to the act two interludes or actual songs that may be in act two now."
I have a theory about that, but it involves the plot of the films so I'm putting it on spoiler just in case.
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As far as we know, the interludes are meant to be used while they are trapped inside the room and cannot leave and feel like songs that never start. But, assuming the musical follows the plot of The Exterminating Angel, they are able to leave once they re-ennact the situation that got them there. Now, Cameron Mackintosh on the article about the famous call were Sondheim played he score, said that was missing was a Loveland-style sequence that he had not written. Now, that "reenactment" at the end seems like a perfect fit for a Loveland sequel. Maybe we are getting both, the interludes and re-constructed version of the solos Sondheim might have sketched for that section.
I need to put in a word for Philemon, unjustly neglected and forgotten and yet such an interesting and relevant piece. The PBS proshot of the original production is on youtube for those unaware.
Probably controversial but Showboat, so many glorious tunes and the overture does a terrible job of selling them. Similarly I don't think I've ever liked a South Pacific overture.
Ke3 said: "TotallyEffed said: "What is Singing Out Loud?" No one's ever seen the script though so maybe it's in much better shape than its shelving implies*. *I will say, maybe the script is fine, and Barbra being busy got it shelved. No one has said that, but I can't imagine this happening without her or another singer of her stature."
It is not true that no one has seen the script, it circulates on social media and
Stephen Schwartz was recently in Malaga to oversee Antonio Banderas' new production of Godspell at his Teatro del Soho, but he was also accompanied by director Gordon Greenberg and a look to the projects section of his web (https://www.gordongreenberg.com/projects) reveals the following:
I had to struggle to find it on my account despite being on my list since it was added before release, however, it was the first thing on my little brother's child profile list of new releases.
I don't know about the state of Square One, but Singing Out Loud is supposed to be finished, please Netflix, Disney+, Apple TV, whomever, Spielberg or Lin-Manuel ask some favours and make the movie.
