Riedel: PORGY AND BESS canceling Broadway run?- Page 2

[latitudex1]

Posted: 9/2/11 at 9:19am

"Many posters have commented here and elsewhere how she overpowers Norm Lewis during their duets, a situation that seemingly hasn't been corrected. Can't anyone rein [Audra] in? It seems that she's determined to willingly thrust herself forward at the cost of her co-players."

Aw, now that's not really fair to Audra. In the Dreamgirls concert, Norm absolutely "overpowers" her during most of their dialog and their duets (like in the whole "When I First Saw You" section). And that's what he was supposed to do, and he did it incredibly well.

It takes a village to mount a show, and there's probably a lot of reasons Audra may outshine Norm, from the direction to the material just sitting better in her voice right now.

[everythingtaboo]

Posted: 9/2/11 at 9:24am

And that's the problem. This whole controversy sparked outrage and outcry without anyone ever seeing a moment of the show on stage. It put an enormous spotlight on the show, and all the unwanted attention, and the anger from this living legend, will automatically taint the conversation and qualify every review. "Should I like it? Stephen thinks I shouldn't." Shows have been cancelled for lesser baggage.

Updated On: 9/2/11 at 09:24 AM

[jacobtsf]

Posted: 9/2/11 at 9:37am

But Sondheim never attacked the show (and he made a point to say that his letter was not about the show). It was about the attitude the creative team had in that Times article. It was arrogant, and he called them out on it (while also sending a warning to whoever will run his estate in the future).

[PalJoey]

Posted: 9/2/11 at 9:42am

If Audra decided she wants to, she can easily play the part again, in another production.

If I were the Houston Grand Opera, I would schedule a revival of their flawless production, which was directed by Jack O'Brien, for the earliest available moment, and ask Audra to play the part.

Updated On: 9/2/11 at 09:42 AM

[whatever2]

Posted: 9/2/11 at 10:31am

> But Sondheim never attacked the show (and he made a point to say that his letter was not about the show).

He lied.

He attacked the creatives' attitude, but he attacked the show itself PLENTY.

[PalJoey]

Posted: 9/2/11 at 10:58am

"He lied"

A little less drama, please.




HE LI-I-I-I-I-I-I-I-I-I-ED!!!

[JohnBoy2]

Posted: 9/2/11 at 11:06am

My problem has always been I don't like McDonald. Oh, she can surely act, and has stage presence to spare, but her voice (that so many are in awe of), is like nails on a chalkboard to me. After about 30 seconds, I just want her to shut the hell up! ("Your Daddy's Son" is the only song I skip on the RAGTIME CD). So, if she's the entire show, then I have to pass.

[whatever2]

Posted: 9/2/11 at 11:10am

surely, in the sea of hyperbole that is this message board, the bar on what constitutes drama is a bit higher than my modest utterance ...

it is a little tedious to continually read that sondheim can simply gainsay his attacks because he made a point of disclaiming them, but no drama intended.

Updated On: 9/2/11 at 11:10 AM

[South Fl Marc]

Posted: 9/2/11 at 11:23am

"If I were the Houston Grand Opera, I would schedule a revival of their flawless production, which was directed by Jack O'Brien, for the earliest available moment, and ask Audra to lay the part."

That would be perfect. The Houston Grand Operas production was beautiful. I would love to see it revived. As for this production, considering everything, I had no plans on seeing it and won't be upset if it doesn't move to NYC.

[AC126748]

Posted: 9/2/11 at 11:24am

It really doesn't seem unreasonable that McDonald would ask for an alternate, as Bess is a difficult role, especially when it has to be sung eight times a week. She asked for (and received) an alternate when she did MARIE CHRISTINE, and I'd venture to say that that role wasn't as demanding as Bess. Of course, this might be hurtful to the box office, but it really doesn't appear to be an unreasonable request to me.

[justoldbill]

Posted: 9/2/11 at 11:28am

Perhaps Stephen Sondheim is too close to Stephen Sondheim to understand that Stephen Sondheim is !! STEPHEN SONDHEIM !!.

I understand he's rather modest by nature.

[Brick]

Posted: 9/2/11 at 11:34am

Believe it or not, Franceca Zambello did a beautiful and moving production in San Francisco Opera a couple years back. I was completely moved. And the show doesn't need 'fixing'.

[Lolagetz]

Posted: 9/2/11 at 11:39am

I traveled up to Boston this week to catch P&B as well as a Yankee game at Fenway and I have to tell you, it would be a sin if this production doesn’t get to New York. I agree with Brantley that McDonald’s Bess is one for the ages but for him not to mention the incredible performances by Norm Lewis and Philip Boykin is outrageous. I found this to be a moving and powerful piece of theater with one of the greatest scores ever written. At Tuesday night’s performance the cast received three curtain calls.
And Joey, before you call this “pretentious theater” and blame Paulus, Parks, and the Gershwin estate perhaps you ought spend less time in front of the computer and see the show first.

[henrikegerman]

Posted: 9/2/11 at 11:41am

The irony, the irony.

If Paulus, Parks, and McDonald hadn't unwisely hawked the show as revising the libretto, then Sondheim wouldn't have gotten his ire up and sounded off.

If Sondheim wouldn't have deployed, setting the street ablaze, Brantley probably wouldn't have reviewed it out of town.

Brantley's review, his out and out rave for Audra notwithstanding, is a pan. The kind of review in the NY Times that will kill a show on opening night, let alone out of town. And I agree that people are not going to flock to see Audra McDonald - or anyone, for that matter - in a role like Bess - in the face of that kind of a notice.

But..... and here's the rub....

According to Brantley, they didn't screw with the text (the claim of which is what got this whole ball rolling in the first place).

They just bombed. plain and simple.

[best12bars]

Posted: 9/2/11 at 11:43am

Genuine question, since it's been brought up in this thread: Has Audra always overpowered her leading men? That was a huge disappointment with the OBC of "Ragtime" for me, and having seen it in L.A. prior (with Stokes and LaChanze) where that didn't happen at all, I wonder if it's an ongoing thing. I haven't seen her in any other shows paired romantically where balance and chemistry was an issue.

She is a brilliant talent, but is she "too big for the room?" That's a great quality in more isolated roles or non-romantic roles, but when it should be an equal playing field between two performers, can she rein it in? Or a better question: Are there any leading men up to her level? Stokes was no different than he was in L.A., but it just didn't work. And it hurt not only their story, but the show for me. Why should she lower the curve, though? Can anybody rise to her wattage?

Did she wipe up the floor with her Starbuck in 110 in the Shade? Any thoughts?

[PalJoey]

Posted: 9/2/11 at 11:51am

Lola--you are new here, I see.

Here on BroadwayWorld, we discuss shows. I have liked a lot of things that other people didn't like, but I would never tell those people they have no right to their opinions.

If there were a rule on BroadwayWorld that discussions were limited to ticket-holders, there would be no BroadwayWorld. You might not know this but often--very often--those who have not yet seen shows express great enthusiasm for those shows and help build word-of-mouth.

In this case, the director, writer and musical director made comments in articles that were part of show's marketing that I found not only pretentious but downright stupid.

I'm sorry if my comments offended you but I would hope that you would defend my right to make them.

If not, whatever Lola wants, I'm sure lolagetz.

Welcome to BroadwayWorld.

Updated On: 9/2/11 at 11:51 AM

[henrikegerman]

Posted: 9/2/11 at 11:54am

Genuine question, indeed, best 12,

It takes a huge presence and talent to go mano a mano with Audra, especially in a dramatic role.

But I've seen it happen, at least in concert.

Hugh Jackman was a wonderful Billy to Audra's Julie at Carnegie Hall. And although it was only a moment, and in a very restricted context, who can forget Nathan Gunn's Ben to Audra's Sally "Too Many Mornings" at the Sondheim tribute?

Short answer. There are men up to her level. But they are few and far between.

[bwaylvsong]

Posted: 9/2/11 at 11:55am

B12B, yes, she did vocally overpower Starbuck in 110, but it was his fault, not hers. Dramatically, they were fantastic together.

[CurtainPullDowner]

Posted: 9/2/11 at 11:57am

I felt Audra did wipe up the floor with Both leading men in 110.
They were weak to begin with, the workshop had stronger guys who were a better match for her, (one was Cervaris). But that show is kinda written that way, that's why there are TWO leading men. I thought she and Stokes were a fine match onstage in RAGTIME, but that is more his show than hers.
Also. many have praised Norm in this, so it's really just Ben's opinion, and he tends to sympathize with the female divas.

[henrikegerman]

Posted: 9/2/11 at 11:58am

I have a genuine quesion too.

What's with Brantley's comment that the concerns about "sapphic" tinkering were unjustified.

Did I miss something? Anybody else find this highly offensive?

[SonofRobbieJ]

Posted: 9/2/11 at 11:59am

Her Starbuck, though talented, was certainly not up to her level. But her work with someone who was (John Cullum) was stunning. Crivello is also incredibly talented, but MARIE CHRISTINE made structural choices with which I didn't agree...which didn't show off anyone to their best advantage. Whe she did CAROUSEL with Jackman, it was electric (even though Jackman isn't necessarily the perfect fit vocally for Bigelow).

She certainly doesn't play 'too big for the room'. She invests her characters with a fuller emotional life than most actors dare to attempt (and most musical theatre actors simply cannot do). It's why she has four Tonys in six noms, and two Emmy noms for intimate, claustrophobic pieces. Even if she never sang a note, she'd be on of the best actresses around. The fact that she's (in my opinion) the greatest voice Broadway has offered in a generation makes her perhaps the most important talent working today. And it would be a great disservice to New York theatre if Porgy and Bess didn't come in...even if it's not the perfect production.

[Anakela]

Posted: 9/2/11 at 12:02pm

I have a genuine quesion too.

What's with Brantley's comment that the concerns about "sapphic" tinkering were unjustified.

Did I miss something? Anybody else find this highly offensive?

Wasn't that just in reference to his own opening line?

She never sings these particular lyrics. But Audra McDonald has every right to say, “Bess, you is my woman now.”...Let me add in haste that no Sapphic subplot has been added to the 1935 opera...

[justoldbill]

Posted: 9/2/11 at 12:05pm

People are now saying that some of Mr. Sondheim's concerns were premature. Perhaps, instead, they were heeded.

[henrikegerman]

Posted: 9/2/11 at 12:10pm

Thanks, Anakela.

Clearly you're right. That should have been clear to me but I missed it.

[Gaveston2]

Posted: 9/2/11 at 12:15pm

Blaming Sondheim is silly. I idolize the man, but I don't check in with him before buying theater tickets.

----

I believe Gypsy9 refers to a previous kerfluffle when the Times reviewed the 1990 workshop of KISS OF THE SPIDER WOMAN in Purchase, NY. Hal Prince thought he could avoid the bad word of mouth that had plagued shows like MERRILY WE ROLL ALONG by developing the show upstate. Somehow, Frank Rich found the train station.

Prince folded his workshop without bringing the show in, but two years later Garth Drabinsky staged it in Toronto and KISS eventually opened in New York, winning the Tony Award for Best Musical. (Don't ask me why; slow year I assume)