Brigadoon to be revised, revived? — Page 3

Obviously, you're not alone, best12: one volume I have of "Best Musical" librettos includes BRIGADOON, KISS ME, KATE and GUYS AND DOLLS. (It doesn't have any of the R&H librettos, so apparently it was a "best of the rest" sort of thing.)

Personally, I think G&D gets by quite well on its admittedly clever, Runyonesque moments (I haven't done a study of what comes from Runyon and what was invented by Burrows), but when I saw it in the theater again recently, I was surprised at how unresolved the Nathan/Adelaide relationship seemed when the play suddenly stopped.

Perhaps I'm supposed to take Nathan's "So sue me! I love you!" as some new commitment to his fiancee, but after 14 trips as far as Saratoga, I kind of assume he has said that before.

But all three of the shows in question seem to end happily more out of convention than out of probable resolution of the plot.

In my view, of course. I certainly respect the fact that you and Joe feel differently. And I acknowledge the continuing popularity of all three shows, even if I'm more engaged by the much maligned book of FOLLIES.

I had read once that the creators originally had Ireland in mind for the setting, then thought it might be too reminiscent of FINIAN'S RAINBOW, so they changed the locale to Scotland.

My all-time two favorite show songs are from this lovely score: "Almost Like Being in Love" and "Heather on the Hill." Bliss.

Rachel Rockwell a busy lady. Her production of IN THE HEIGHTS opens this week at the Paramount Theatre in Aurora. Then in a few weeks, she goes into rehearsal for HELLO DOLLY with Karen Ziemba at Drury Lane Oakbrook.

Updated On: 9/6/13 at 11:01 AM

"There But For You Go I" is such an underrated but extremely beautiful and poignant song. It gives a wonderful insight to the changes the world weary Tommy Albright is going through because of the hours he's spent in Brigadoon. I'd love to see this revived in New York.

I think I would be happiest seeing as close as possible to a "completely authentic" production. I know that sounds odd with a fantasy, but it's in the reality of a town like Brigadoon ever existing that I find the most magic.

If a Scottish theatre company were at the center of it with Scottish musicians, authentic dances, etc., and a set that looked as much like a real location as possible, I'll bet it could be great. Then cast two well-known New York or Hollywood actors as Tommy and Jeff (and another as Tommy's fiancee Jane at the end), and sell those tickets!

I'm just afraid that if this show is given any kind of "Broadway gloss," given the suspension of disbelief already needed for the plot, it wouldn't stand much of a chance. Audiences today would find it too corny and contrived.

But give it a realistic, simple, but entirely "authentic" production, and I think it could work.

---

The level of discussion and thought put into this thread is wonderful! It's really piqued my interest in seeing this production.

---

Maybe there's something to be said for the film version of "Brigadoon" after all. I know it's flawed, but it does pare things down and keep them moving along at a decent pace.

(Me, I just love it because of those three gorgeous dance numbers: "Heather on the Hill," "Almost Like Being in Love," and that last Kelly/Charisse pas de deux.)

^Very true.