Betty Buckley, et al in Carrie

[WillParker]

Posted: 4/12/05 at 6:43pm

So I've been wondering...first and foremost, with all the hugely negative word of mouth, reviews, etc coming out of London & Barbara Cook jumping ship, why did Betty Buckley join the cast of Carrie? Surely she would've known what a bomb it was, and I can't imagine her people advising her to do it. From what I can gather, she was a relatively hot property on Broadway in the early to mid 80s, so it wasn't like she was trying to jump start a career...Also curious about the rest of the cast as well--did any of the ensemble exit the production after the London run, or would they have all been contractually bound to come into NYC as well? Did they know what a bomb they had, or would they have been excited to be working at all? I noticed on ibdb.com that it was many of the kids' Broadway debut and, thus far, final Broadway performance.

I dunno--I've always wondered & found it interesting why a "star" would go into a production that had such a horrible buzz around it. Any insights?

[Rathnait62]

Posted: 4/12/05 at 7:07pm

I know that when she did the movie, she wanted to play the mother - obviously she was way too young. I'm sure the opportunity just for the role was too much for her to pass up. I'm guessing she probably campaigned hard for the role in the first place when Cook was hired.

And she is not one to "listen" to her "people." She changes agents like I change the channel on my TV.

Updated On: 4/12/05 at 07:07 PM

[Auggie27]

Posted: 4/12/05 at 7:53pm

My take is different: the fact that both Barbara Cook AND Betty Buckley agreed to take the role says a great deal about the power of Margaret's music (and duets). A subject discussed here constantly. (I've responded to countless threads on the pluses and minuses of CARRIE.) The bigger question might be: what was it about this role tat brought Cook out of (theatrical, if not performing) retirement, when she was surely offered many things. She'd made a comeback in the 70s.

I cannot listen to "I Remember How Those Boys Could Dance" or "When There's No One" and not find the material haunting and exquisite. As has often been posted, CARRIE was schizo. the half that worked was almost brilliant, like a Menotti opera; the half that didn't was like a ludicrous parody of BYE BYE BIRDIE.

Perhaps Buckley just couldn't resist such emotional songs any more than Cook. There were people out there who thought the show almost walked an interesting line, more like SWEENEY TODD. Actors, God love em, do believe in risk-taking.

Updated On: 4/12/05 at 07:53 PM

[wildcat]

Posted: 4/12/05 at 8:38pm

And don't forget this was a show presented by the Royal Shakespeare Company. Nobody went into the project expecting it to be anything less than innovative and worthy of the time and resources invested in it.

[MikeH]

Posted: 4/12/05 at 9:18pm

Yes, the material between the mother and daughter is AMAZING. I hope one day the whole show could be reworked and brought back. Actors should take risks- either way it's a learning experience. Crawford bounced back from Vampires with Woman in White, didn't he?

[wildcat]

Posted: 4/12/05 at 9:22pm

And bounced right out again!

[MikeH]

Posted: 4/12/05 at 9:38pm

hee hee..... :)

[KindnessofStrangers]

Posted: 4/13/05 at 10:26pm

Auggie27 is correct. I interviewed BB last year and she still gives props to the show and score.

[marlomanners]

Posted: 4/13/05 at 10:39pm

Perhaps Betty needed work.

Carrie was late-80's, and I believe her reputation had caught up with her by then.

Updated On: 4/13/05 at 10:39 PM

[MikeH]

Posted: 4/13/05 at 11:33pm

Hey Kindness.. would you happen to have a link to said interview?

[KindnessofStrangers]

Posted: 4/14/05 at 2:27pm

"Hey Kindness.. would you happen to have a link to said interview? "

Um, I prefer to keep my anonymity, but I'll post Buckley's response when asked about Carrie, the musical:

It was a blast! We did some really great work and the only people who know that are the people who saw it in those first two weeks. It created a lot of upheaval, people either loved it or hated it, and I have never been a part of anything like that, but it was really a kick. The gossip about it is not exactly what took place. We did a good job. There were things wrong with the show, but there were things great with the show. I wish they would do one of those benefit evenings because the score is fantastic. They really should do that.

[Rose_MacShane]

Posted: 4/14/05 at 2:35pm

The main principle of "Carrie" is this: When it's good, it's very very good, but when it's bad it's horrid.

[MikeH]

Posted: 4/14/05 at 2:59pm

Thanks!

[Auggie27]

Posted: 4/14/05 at 3:37pm

I saw it three times, all in previews (including the 2nd one), when it changed from day to day. Well, small things changed. Example: Betty had a white nightgown/slip, then a blackone, then I believe, went back to the white one. I'm a fan of the show's daring (and half the score), but as is often the case, changes like that are rearranging deck chairs on the Titanic.

One thing was fun about the show: it had an odd sense of confidence at stragic moments, which is strange for a piece that had wildly wavering tone, bringing on guffaws and tears in the same moments. You knew what you were in for at the top, because the house lights didn't dim. On the downbeat of overture (harrowing, a long chunk of "And Eve Was Weak") the Virginia theater went BLACK. And speaking of which: the entire interior had been painted BLACK for that show. (It's since been re-done.)

And though we now live in an era when Susan Lucci gets a standing O for ANNIE GET YOUR GUN, back then they weren't quite so common. When Hately and Buckley took bows, the place went haywire. I've never met anyone who went to the opening night, but I'd love to hear a report. I did talk to the Buckley understudy on a cross-town bus one night, and as has been reported here, the cast was very high on the material. No shame, not a bit. Everyone knew they were part of a singularly unique theatrical experience.