>> The piano-as-bed also has some sort of symbolism that... I have yet to figure out. Anyone have imput?
I swear to God, when I saw that, I couldnt help but think of the old advertising headline "They laughed when he sat down to play the piano".
Seriously, that moment (the piano-as-bed one) just underscored (for me, anyway) how precious the whole conceit became. I expected to hear those big ol' dissonants that come when you just slam your hands (or, in this case, elbows and posteriors) down on the keyboard. But the idea of Bobby and April fooling around on this grand piano with everyone else standing around with their clarinets and saxophones... sorry, guys, but it was just monumentally silly. As I noted elsewhere, it was like looking at a rehearsal of a Wall Street brokers' marching band.
"Can someone explain the Mahler's joke? I feel like I am on the outside looking in. I need to be Company-educated."
i guess i always feel like i could always use a little bit more company education! people even ASK questions that i've never thought of before, which causes me to rethink the show again.
mahler is a classical music composer who wrote famous symphonies that sought to capture "the world". he had lofty ideas about his symphonies, and often his audiences are either classical music purists (true classical music lovers), or people who didn't know anything about classical music but want to be seen as true classical music aficionados. this is sort of the take that joanne takes on the "ladies who lunch", who she sees as going to matinees and pinter plays and mahler, not because they enjoy them, but because they wanted to be seen as cultured.
this was my take, at any rate. Updated On: 7/5/07 at 06:55 PM
In the Variety article, it says that in the original script, the word f*g was used. I'm very curious as to where in the show it was placed. Anyone know? Updated On: 7/5/07 at 07:02 PM
The "drag" line was used at the 'Sondheim: A Celebration at Carnagie Hall' concert and by Bernadette Peters ALL the time... the "happened to be gay" line was added for the '95 revival, right?
SondheimGeek: Is it slightly pathetic that you guys get to be Jedi bitches, and I'm Bitchy the Hutt?
LizzieCurry: No, you're more memorable
Remember that the idea of "seeing in" also comes up when Joanne confronts Bobby: she tells him that he was "always on the outside, looking in the window while everyone else was dancing at the party." It's that "Bobby as observer" thread that really ties so many of the vignettes together.
Some trivia that most of you already know but I thought I'd share it because I'd forgotten all about it until just now. Jonathan Tunick orchestrated a brief snippet of a Mahler composition into The Ladies Who Lunch. It's played by the flute after Joanne sings "...and one for Mahler".
"Isn't "Mahler's" used simply for the for purpose of rhyming with "dollars"?"
Based on my knowledge of Sondheim's work, I would guess that he always takes many things into account when choosing his words. The rhyme, the rhythm, the meaning and probably a lot more that I wouldn't even understand. I don't think he ever chooses a word just because it rhymes. Though I do know that he uses a rhyming dictionary when he works.
Art has a double face, of expression and illusion.
In the late 60s, we were going through a bit of a Mahler frenzy: all of his works had been re-recorded, and he was showing up on concerts all over the place (Not sure, but it may have been the centennial of his birth). Yes, it rhymes with "dollars" (well, sorta, and I imagine Sondheim was taking accents into consideration with that), but it was more a comment on our passion for "snob hits", the things people see because they feel they have to.