ASPECTS OF LOVE Returning to Broadway!

Well, it's going to be at the Chocolate Factory, so it's just a matter of time now, right?

https://www.broadwayworld.com/article/Webbers_ASPECTS_OF_LOVE_Plays_Menier_Chocolate_Factory_Nunn_to_Helm_20100217

oy. i hope not...

Even if it DOES go to Broadway, there is no way they'll have any kind of success. This show's reputation in America is not a good one. We did it last year at my college. I played Marcel. And I was pretty much one of the few people who actually liked the show. Everyone else...yeah.

And then, on opening night, one pivotal scene in Act Two actually provoked laughter from the audience.

So to make a long story short (too late), the show got a bad reception from most of its cast and a ghastly reception from its audience.

Plus the orchestrations of the licensed version have been stripped down to two pianos, a bass and percussion.

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It's a Menier Chocolate Factory version. We already know that they'll reduce the hell out of the orchestrations.

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I saw the original cast on Broadway and I liked it. Seriously though, I haven't given it a thought since (except to warble Love Changes Everything at auditions). Doubtful I'll want to see it again, even if the theatre breaks apart and reconfigures itself a la Transformers.

Interesting to go back and read Frank Rich's 1990 review of the original Broadway production.

The sexless casting of the principal roles by the director, Trevor Nunn, only adds to the musical's icy emotional infantilism. From her very first line - a line from 'The Master Builder,' no less - Ms. [Ann] Crumb's Rose is a tough cookie, unconvincing as a tempestuous star known for her performances of the classics or as a femme fatale who, in her words, 'could have a thousand lovers.' With her piercing singing voice and loud, fake laughter, this actress could shatter glass more easily than hearts.

ouch!
The show in most desperate need of roller skates

You got me excited! I am dying to see this show.

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"This is high on my list of worst shows in existence. Sung-through with lines something like, "would you like coffee with that omelet?" and "wait right here by these steps with your coat and the newspaper while I call a cab to take you to town. Why don't you sit, make yourself comfortable while I do this? and maybe some more coffee?" Blech! Horrible! And the story is just plain icky and creepy with all that implied pedophilia, incest and partner switching"

Some of us haven't seen it, so thanks for spoiling it.

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You're welcome. But, there's nothing I said that can't be found in the basic description of the show. There are no spoilers here. You'll probably love it. (and A Chorus line is about a dance audition)

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Updated On: 2/17/10 at 03:55 PM

Frank Rich is wrong about Ann Crumb. She is a great actress. She is currently starring in Master Class and received a rave review from The Philadelphia Inquirer. I saw the production last week. She was amazing.

http://www.philly.com/inquirer/magazine/83783962.html

I saw this musical both in London ( Prince of Wales) and on Broadway ( at the Broadhurst) with the same cast and it became my favorite ALWebber musical. The musical score is very romantic and lyrical, with an occasional change of style, and as it is a sung-through musical, one can expect normal conversations to be sung instead of spoken. Many years later, I saw a scaled-down version here in Manila, but still under the auspices of the Really Useful Group, with two pianos as accompaniment in a cabaret-like venue. It was still excellent because it highlighted the great score and the interesting characters in a more intimate setting. The storyline is based on Bloomsbury author David Garnett's novella about bohemian life in London in the 50's or so, hence the unusual theme of intertwining loves.

I am looking forward to seeing it again, as reimagined by its original director Trevor Nunn. My only regret is that it won't be Michael Ball who will be singing the role of Alex!

Updated On: 2/17/10 at 05:52 PM

I also saw the original production in London. I went with knives sharpened, expecting to hate it, but I have to say that I really enjoyed it. Oh, there were the usual sphincter-pinching lines of ridiculous recitative that only Lloyd Webber can stomach, but the design, direction, and especially the performances were really moving.

I remember turning to my friend at the intermision and saying, "Well?" He replied, "Do you hate it?" "No," I replied, then added, "I'm actually really enjoying it."

"ME, TOO!!" he shouted.

In spite of what I've said about the production I did, I genuinely enjoy listening to that score. I think it's probably ALW's most character-driven piece (that's what I would tell people who asked me about it).

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