Brantley did a similar "180" change-of-heart regarding the most recent Gypsy revival (specifically regrading LuPone's performance). As I recall, he hated it at encores, but raved when it opened on Broadway.
I know that a lot of people don't agree with this kind of thinking, but Lansbury's performance alone is worth buying a ticket for. She's luminous. "Liaisons" made me cry. And her performance completely works on every level.
Not that I didn't like this production. It's just that SHE is remarkable. And it's not just because she is Angela Lansbury. She is simply perfect in her interpretation of Madame Armsfeldt.
"Be on your guard! Jerks on the loose!"
http://www.roches.com/television/ss83kod.html
**********
"If any relationship involves a flow chart, get out of it...FAST!"
"But this is an ensemble show, following the rising and falling fortunes of four different couples over a weekend in the country in turn-of-the-20th-century Sweden. And since it's based on Ingmar Bergman's 1955 film Smiles of a Summer Night, it can be a bit difficult to embrace these somewhat cold, calculating, frankly Bergmanesque characters: Even a seemingly sympathetic figure like the long-suffering Countess, played here by Erin Davie, resorts to trickery to get even with her callous, philandering husband. That's why director Trevor Nunn is so smart to cast Zeta-Jones and Lansbury, and also why the energy tends to flag a bit whenever they're not on stage. Their celebrity throws the show a little out of balance, particularly when some performers — like Ramona Mallory as Anne, the virginal trophy wife of Desiree's now-middle-aged former lover Fredrik — resort to playing their parts a little too broadly to compensate.
Still, this is an enviable dilemma for most musical revivals: too much star wattage. As the song goes: Isn't it rich, indeed."
The reemergence of the tuner as a chamber musical -- as first seen at the Menier Chocolate Factory in London -- is a smart notion, well realized. Something about an entire score in waltz-time introduced here by a cello solo seems entirely right as skillfully scaled down by Nunn, choreographer Lynne Page, and orchestrator Jason Carr.
this is essentially a disaster. Most of the reviews are saying that the show stinks unless the two HUGE STARS of stage and screen are on the stage. That's a major discredit to the director. Just awful.
I wouldn't call it a disaster. They still have a ridiculous advance, supposedly. And I doubt that any of the tourists who want to see CZJ and Angela Lansbury in a musical will be turned away by these mixed reviews.
I agree. I think they'll be fine. They will clearly run through Tony time, and if they win some, it will only help them. Updated On: 12/13/09 at 10:31 PM
Yes, Brantley loved Waddingham and Lipman but pretty much disliked the rest of the production in London. This isn't really a 180. And yes, the show should be just fine. It's the first Broadway revival of one of the most popular Sondheim shows, not to mention one of the most accessible. That, plus Zeta-Jones and Lansbury, in a small theatre, with a one-unit set, 8 musicians and a cast of less than 20 actors (including alternates and swings), not only should add an enviable advance, but a low running cost that will help it make back its investment. The real question is Tony's. Lansbury and Zeta Jones seem givens at least in terms of nominations, with Lansbury the frontrunner right now. Nunn could be shut out, and so could the production itself if La Cage transfers well and Promises Promises turns out well, also.
"Sing the words, Patti!!!!" Stephen Sondheim to Patti LuPone.
The production will certainly not be shut out if Finian and Ragtime do not make through the Winter. I'm not hoping for that, as I enjoyed both of those revivals. But it's reality.
Finian's Rainbow is a lock for a nomination whether it closes or not. Being the first Broadway revival with ecstatic reviews won't go unnoticed by the nominating committee. Ragtime is a different story, I'll give you that.
"Sing the words, Patti!!!!" Stephen Sondheim to Patti LuPone.
Well I don't know about Ragtime, but I have it on good authority that Finian's isn't planning on going anywhere anytime soon. They are supposedly hiring some new standbys for the leads.
Wow! Here's something I didn't know. Lansbury was originally approached to play Desiree in the original ALNM.
A.L.: Interestingly, Hal Prince originally approached me about playing her daughter, Desirée. I couldn’t because I was doing Gypsy. But Armfeldt has always been out there in the ether; it was a natural for me.
I wish that Ramona Mallory was getting better reviews. I did not find her histrionic. In fact, I thought she exuded a youthful, naive sexuality that made her quite attractive. I understand an opinion's an opinion, but I for one loved her performance, and she has an exquisite voice. (Can't wait to get her recording of "Soon.")
But, as much as I like Leigh Ann Larkin, I'm not surprised to see the negative notices. Whether it was Nunn's direction or her own choice, "Miller's Son" doesn't work like it should.
Thanks for sharing that interview, ljay. I love Miss Lansbury's response to the last question!
Sondheim: The original stage direction for [Madame Armfeldt] dying said that her wig slips slightly off her head. After Gingold read and sang for us, she said, “I notice certain characteristics that I share with Madame Armfeldt. In the script she’s 74 years old. Well, I’m 74.” And she said, “I also notice that in the last scene Madame Armfeldt dies and the wig slides off her head. Well, gentlemen”—and she took her hair off and revealed an entirely bald head. She said, “Thank you so much for seeing me,” and left. And you heard three jaws hit the floor. Hal said, “She’s got the part.”
Q: She wasn’t really bald, was she? Sondheim: I have no idea. But I’ll tell you this: She was 75.
Q: Miss Lansbury, would you ever go that far to get a role? Lansbury: No, I’d just act.