In the Toulon production, nobody explained "I'm Still Here" to the Carlotta actress, did they? Or else, she must be the artistic director's wife, because her acting is, how do they say in French, le pew.
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
No, Nicole Croisille is just an actress and (mainly jazz) singer who's been doing her job on stage and screen since the late 1950s. I like her way of tackling the part !
Sarah bernhardt to a fellow actress:
"Have you got stage fright, dear?"
"No," the young lady aswered astonished.
"Don't worry, it will come along with talent!"
I don't like the way she rushes through the line "been called a commie, pinko tool..."
That's what I always hated about Elaine Stritch's performance. She would croak, she would scream, she would rush things. Blasting past notes, talk singing several notes in a row and rushing through lyrics is not acceptable for Sondheim music.
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
Having considered making the journey to see this and deciding against it, I shall probably buy the DVD. The strength of the production will be David Charles Abell conducting a (presumably) full orchestra and a cast that is at least more consistent than the forthcoming Royal Albert Hall concert. Having initially thought she was miscast, I found Liz Robertson to be a surprisingly good Joanne in a regional production of Company several years ago so I would hope she delivers here as well.
I saw the Roundabout production towards the end of its run and by then the performances had really settled. Blythe Danner and Judith Ivey were really quite good. I thought Gregory Harrison was the standout, though.