Ann Crumb in Aspects of Love

>>>Rose seems like such a tough role to sing 8 times a week.<<<

I would think that the most difficult role to sing would be that of Alex ( b-flats included!)...although this is one musical score where the four major characters ( and even Jenny) all had some very memorable numbers to sing ( including some of the recitatives, which were other full blown versions of some of the songs, but with different lyrics).

I can't remember Ann Crumb having an alternate ( both in London and on Broadway - I saw it several times in both venues). Although her unexpected departure from the London show was caused by a serious stage mishap ( she hurt her feet) and not because of the singing burden.

I love listening to this score, too

Updated On: 4/7/07 at 06:43 PM

I love the score and her. Her voice has such character (as well as Kathleen whoever - Giulietta). I need these new releases... all I have are some old tapes.

Crumb's standby on Broadway was Elinore O'Connell (original Fantine in Les Miz in L.A.) who apparently, for at least part of the Broadway run, was assigned to do Crumb's matinees.

Thanks for the info all. I never saw the original production...I only saw the Robin Philips production at the Kennedy Center which I thought was exquisite. It starred Linda Balgord, Ron Bohmer, Barrie Ingham and Kelli James. Alice Vienneau played Rose "at certain performances".

Updated On: 4/7/07 at 10:56 PM

"Wasn't she eventually replaced by Sarah Brightman before the show closed? "

She was... I ALMOST saw the show a second time because John Cullum was brought in as a replacement. It must have been the same time as Sarah Brightman...because I distinctly remember seeing ads with both of their names.

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This
should
be
revived

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This
should
be
revived

You're a week late for April Fool's.

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Funny most critics seemed to find Maria Bjornson *whose designs were typically gorgeous from waht I've seen in the Aspects book) the wrong choice for this show and too "heavy" with stone walls, etc. I think part of the problem is its an intimate story but ALW and all felt they still needed to provide specatcle. Robin Phillips used VERY sparse white sets and it seemed to work better

I saw this show 5 times with various and sundry leads, and always thought it was one of the finest scores ALW ever put out.

Sadly, I never caught Michael Ball's performance, I always had to settle for Marcus Lovett who was a serviceable "Alex" but kept cracking the money note at the end of Act 1. *sigh* Kathleen Rowe-McAllen was always my favorite and she was a super sweet and very gracious stage door favorite of mine. Her voice was always lovely and delightful to listen to.

As for Ann Crumb, yes she had a habit of missing performances on the fly, but I could never hold it against her. Here is why...

During the show's run in London, while in character in a performance, she had a habit of rubbing her foot on the traveling escalator floor they used to roll in set pieces. One night...her foot got caught in this contraption and started to pull her into it across the stage. She started screaming as the machine literally started to amputate her foot. Audience members who had seen the show before quickly understood what was happening and started to shout out, yelling at the tech crew to shut the device down. They got her out of it, but not at the expense of serious physical damage.

Consequently, when Ann took the role in the Broadway show, she had some inner personal demons to fight. Could you blame her? As I understand it, she had quite a bit of therapy to do, regarding her foot, but I think I would have felt the same way, walking onto that stage in NYC. I give her a lot of credit, though I suppose propriety would have demanded a bit more notice to ticket buyers coming to see her and having to settle for Eleanor, who was also quite good. I once met a friend of Eleanor's who said they never knew day to day if Ann was going to go on or change her mind at the last minute. She was that scared/scarred.

In hindsight, I suppose this harkens a wee bit to the whole Wonderful Town/Donna Murphy fiasco, but with more serious overtones. Who's to say if Ann should have left, in the wake of missing shows every now and then or not even have bothered with reprising her role. It takes guts to face your fear, especially when you have to do it 8 times a week in front of several hundred people.

I was glad to see her make a go of it.

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It's not that simple morosco...

What I am saying is that this horrifying event, which happened in front of a live audience, left her with terrible inner scars that were probably hard to get over. It's not like she got hit in the head with a drop or sprayed with water. She almost lost half of her foot.

The only way to get over your fear is to face up to it, and I would think that every time she walked onto that stage, it was a tremendous uphill battle for her, I know it would be for me. Just the sight of that moving floor would freak me a bit. Once something goes hideously wrong, it's always in the back of your mind that it could happen again.

My worthless opinion as always...

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Funny most critics seemed to find Maria Bjornson *whose designs were typically gorgeous from waht I've seen in the Aspects book) the wrong choice for this show and too "heavy" with stone walls, etc. I think part of the problem is its an intimate story but ALW and all felt they still needed to provide specatcle. Robin Phillips used VERY sparse white sets and it seemed to work better

I agree. I much preferred a more intimate regional production I saw a few years after the closure of the West End production.

The original West End/Broadway productions were still a good deal better than the recent revival at the Chocolate Factory in London. If they were hoping for another Night Music with that production, they didn't. It all felt a bit amateur, despite the wonderful Michael Arden and a great turn by Dave Willetts. I don't think Trevor Nunn is the right director for the piece at all.

Not
Without
A
Major
Script
And
Lyric
Rehaul

That's simple; turn the recitative into a book instead, drawing both on the novel and what they chose to turn into recitative. Suddenly the lyrics don't seem as terrible because they're the only songs in the show, minus the recitative. Done.

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