Is Light in the Piazza problematic?- Page 2

[ScottyDoesn'tKnow2]

Posted: 11/30/18 at 5:11pm

A friend of mine had a strong reaction to The Light in the Piazza, but not because she was uncomfortable with the subject matter or anything like that but because she felt she had to sit through some characterless music and seeing characters go through an idiotic plot.

[The Distinctive Baritone]

Posted: 11/30/18 at 6:27pm

Mister Matt said: "It’s one of my favorite musicals, but it lost to Spamalot at the Tonys because some people are really uncomfortable with the subject matter.

Really? That's why the majority of voters selectedSpamalot for Best Musical? Because an unknown percentage of themwere "uncomfortable" and simply tipped the scale in Spamalot's favor? You make it sound like the voters have never experienced dramatic musicals before in their nearly century-long existence in musical theatre history. Somehow, it sounds like a convenient, and rather lofty, excuse to try and justify a decision you don't particularly like. Sometimes if has nothing to do with their comfort level on the subject matter. In fact, it's much more likely that the majority of themenjoyed Spamalot more than Piazza and it's really that simple."

 

Mister Matt, why the hostility? And how would you presume to know my thought process? A lot of people intensely dislike Piazza for various reasons - they hate the score, they think the whole thing is pretentious, and yes, the subject matter has a certain “ick” factor for some people. This is what I have gathered from both the Broadway production and the long-running Chicago production that I was in.

Spamalot is fine. It’s a harmless, silly, “lovingly ripped-off” stage version of the movie. Although I strongly believe Piazza should have won that year, I understand why it didn’t, and I got over it like a decade ago. Speaking of a decade ago, you were much nicer then.

[GavestonPS]

Posted: 12/1/18 at 3:04am

Last night I attended the local broadcast of the London KING AND I and I just couldn't enjoy it because I spent 2.5 hours thinking that a "brick residence adjoining the palace" would pose a tremendous security problem and might even be used as a staging area for an assassination attempt against the king.

I really don't think Anna thought that one through and, since she did not, she probably has no business teaching children anyway.

 

[The Other One]

Posted: 12/1/18 at 6:50am

Mister Matt said: "It’s one of my favorite musicals, but it lost to Spamalot at the Tonys because some people are really uncomfortable with the subject matter.

Really? That's why the majority of voters selectedSpamalot for Best Musical? Because an unknown percentage of themwere "uncomfortable" and simply tipped the scale in Spamalot's favor? You make it sound like the voters have never experienced dramatic musicals before in their nearly century-long existence in musical theatre history. Somehow, it sounds like a convenient, and rather lofty, excuse to try and justify a decision you don't particularly like. Sometimes if has nothing to do with their comfort level on the subject matter. In fact, it's much more likely that the majority of themenjoyed Spamalot more than Piazza and it's really that simple."

You hit the nail on the head with this, Mister Matt.  

[kdogg36]

Posted: 12/1/18 at 7:00am

DCS said: "It's very clear in the film, from Margaret's phone calls home to her husband, that he plans to have Clara instituonalized as soon as they return home from the trip. This plot point really explains margaret's acceptance of clara's relationship with fabrizio since it is rescuing Clara from spending the rest of her life in an institution. I wonder why this was left out of the musical since it provides much more depth to margaret's motivations. "

It would add another motivation, yes, but to the same extent it would undermine our sense that Margaret has simply come to accept Clara as an individual capable of seeking her own happiness. I think I’m glad they left it out of the musical. 

[Dave28282]

Posted: 12/1/18 at 7:17am

Opinions of characters don't make a piece problematic.

[artscallion]

Posted: 12/1/18 at 7:43am

 The issue of consent is literally the dilemma that drives the action. Clara clearly consents. The plot becomes will Margaret recognize Clara's ability/right to consent and allow her to marry. Or will she deny Clara's ability/right to consent and retain control herself. If you take that away, you take the plot away.

[jayinchelsea]

Posted: 12/1/18 at 12:58pm

Hey Mr Music, thank you for recounting the actual final lyrics to "Fable." I saw the show several times, and the wonderful 10th-anniversary reunion concert, and your description of the final moments brought tears to my eyes.

[orangeskittles]

Posted: 12/3/18 at 1:38pm

Isn't is kind of problematic that you're assuming anyone with neurodevelopmental issues is automatically incapable of legal consent?