#26
Posted: 7/5/05 at 4:31pm
Click the link supplied by WaxLion - there's a link to a bunch of songs on page one.
Carrie, the Musical - Charlotte Interview — Page 2
#27
Posted: 7/5/05 at 4:41pm
I have only seen video (and have a recording). It's. Um. Interesting.
#28
Posted: 7/5/05 at 4:43pm
If the show had opened nowadays it probably would have run at least 6-8 months, maybe even longer. Carrie had its fans, especially among younger theatre-goers who loved the dancing, and there would have been a lot of positive internet buzz.
It was definitely misdirected, but compared with a lot of the stuff that's come after it, it's not so bad.
It was definitely misdirected, but compared with a lot of the stuff that's come after it, it's not so bad.
#29
Posted: 7/5/05 at 4:44pm
My dierctor was saying that she saw the opening night of Carrie on broadway and enjoyed parts, but she said it needed a lot of work...
"You never really understand a person until you consider things from his point of view - until you climb into his skin and walk around in it."
To Kill A Mockingbird
To Kill A Mockingbird
#30
Posted: 7/5/05 at 4:44pm
Maybe they should have had more previews?
#31
Posted: 7/5/05 at 4:48pm
The writers were buffoons. The producers were buffoons. The director was a buffoon. No one had a clue. The only way to save it would have been to scrap it and start over with competent people. But, the people at the top of the ladder were just as incompetent as the people below them.
They never had a chance.
They never had a chance.
#32
Posted: 7/5/05 at 4:50pm
John - what do you think of the score?
#33
Posted: 7/5/05 at 4:57pm
I think the songs between Mrs. White and Carrie are right on. They're not enough to save the rest of it from being low-grade 'Flashdance' level 80's pop. Most of its cringe-worthy and that's not even taking into account lyrics like 'it's tough to be strong' and 'don't waste the moon, now that night is ours.'
The pig song's the easy joke but, really, all the stuff with the teenagers is an horrifying -- and not in the way Stephen King intended.
For the record, I think 'Carrie' is a GREAT idea for a musical.
The pig song's the easy joke but, really, all the stuff with the teenagers is an horrifying -- and not in the way Stephen King intended.
For the record, I think 'Carrie' is a GREAT idea for a musical.
#34
Posted: 7/5/05 at 5:14pm
#35
Posted: 7/5/05 at 5:21pm
Wow, i'm listining to the midi file of and eve was weak and just listing to this, there was something awesome about this show. If only they would relese the rights and stuff so they could make a revival of it and get all of the right people to do it, it could be a cool show, i'd pay money to see it.
#36
Posted: 7/5/05 at 5:24pm
What do you all think of the cast?
Betty Buckley? Charlotte D'Amboise?
Wow.
Betty Buckley? Charlotte D'Amboise?
Wow.
#37
Posted: 7/5/05 at 5:25pm
"And Eve Was Weak" is intense. So far it's the only song I've listened to, and after reading most of the first act script... I'm really curious as to seeing this performed.
#38
Posted: 7/5/05 at 5:37pm
Don't expect the rights to be released anytime soon. One half of the composing team has denied requests time and time again. He, apparently, wishes to keep CARRIE a painful memory in the past.
#39
Posted: 7/5/05 at 5:52pm
Stephen King is working on a new ghost musical, apparently?
#40
Posted: 7/5/05 at 7:22pm
Some of the workshop material is also available. The original opening, "When Do The Good Times Start?", is far superior to the Broadway one ("In") and does a better job setting up the characters (on Broadway, there was no way of knowing where or when the show was taking place) and the original title and lyrics for the pig number (called "Crackerjack") were much better (but how could they not be?)
Betty Buckley has often said the show deserves a remounting; in fact, the drag queen Varla Jean Merman" (the supposed daughter of Ethel Merman and Ernest Borgnine) did an unoffical revival of the show in some Greenwich Village basement, with Betty recreating her role and "Varla" playing all the other parts. I'd love to have seen that, wouldn't all of you?
Betty Buckley has often said the show deserves a remounting; in fact, the drag queen Varla Jean Merman" (the supposed daughter of Ethel Merman and Ernest Borgnine) did an unoffical revival of the show in some Greenwich Village basement, with Betty recreating her role and "Varla" playing all the other parts. I'd love to have seen that, wouldn't all of you?
I ask in all honesty/What would life be?/Without a song and a dance, what are we?/So I say "Thank you for the music/For giving it to me."
#41
Posted: 7/5/05 at 7:28pm
is it me or is the beginning of Do Me A Favor the same music as in Wicked when Elphaba makes things go crazy during the Lion Club scene.
#42
Posted: 7/5/05 at 7:31pm
Well, it would be the other way around since Carrie came first.
#43
Posted: 7/5/05 at 8:08pm
Oh, "Carrie." It's amazing how one show can be so brilliant and so atrocious, isn't it?
I downloaded most of the songs off a website that has since disappeared (grr) and I need to get those CDs to fill it out.
"Don't expect the rights to be released anytime soon. One half of the composing team has denied requests time and time again. He, apparently, wishes to keep CARRIE a painful memory in the past."
Well, it must not be Lawrence Cohen. To hear him talk about it, "Carrie" was practically perfection.
I downloaded most of the songs off a website that has since disappeared (grr) and I need to get those CDs to fill it out.
"Don't expect the rights to be released anytime soon. One half of the composing team has denied requests time and time again. He, apparently, wishes to keep CARRIE a painful memory in the past."
Well, it must not be Lawrence Cohen. To hear him talk about it, "Carrie" was practically perfection.
http://community.livejournal.com/ltd_brands_suck/
#44
Posted: 7/5/05 at 9:06pm
It's Dean Pitchford who wants 'Carrie' striken from the collective memories of the world.
#45
Posted: 7/5/05 at 9:14pm
#46
Posted: 7/5/05 at 9:18pm
"It's Dean Pitchford who wants 'Carrie' striken from the collective memories of the world."
It's a shame he didn't feel the same way about "Footloose".
It's a shame he didn't feel the same way about "Footloose".
#47
Posted: 7/6/05 at 11:32am
Saw it during it's brief run and loved the music and moments between Carrie and Mrs. White, Betty Buckley was quite amazing, "..And Eve Was Weak" was thrilling.
Sadly the dancing and costumes were dreadful!
Sadly the dancing and costumes were dreadful!
#48
Posted: 7/6/05 at 11:39am
Wow... i'm lstining to the real thing og "And Eve was Weak" and all I can say is wow...Betty is AWESOME!
#49
Posted: 7/6/05 at 11:51am
Saw it 3 times, including the 2nd preview, and the penultimate one, on a Sunday, just before it opened. At that one, it was cheered to the top of the house. The audience wouldn't let Buckley and Hatley leave. So much was thrilling about it, so much was misfire. But unlike what someone said, Terri Hands, the director, wasn't some all-thumbs rube. He also did the lighting, which was extraordinary. He made mistakes, bad decisions (not using time/place specificity in design, etc), but they were still artistic decisions. It has the look and feel of a show that came close.
And as many of us have posted repeatedly -- and Ken Mandlebaum writes about -- the mom/daughter stuff was exhiliarating, among the most emotional theater music of the decade. "When There's No One" remains a beautiful, haunting last number for Margaret, simple, very moving, and Buckley brought all of her persusaisve powers to its execution. The show had a heart-breaking center, in the push/pull beteween parent-and child. A kind of universal story. That was ovelooked by many, because the teen stuff veered toward 3rd rate BIRDIE cloning. Never has one show had such a range in terms of quality. But its ambitions were always high, and at least it aimed above the juke box. And then some.
Buckley and Varla did a few numbers not in a basement, but at the Bottom Line. Alas, Buckely was ill prepared (carried music) and with Varla, the values I mentioned above were gone, despite it being well sung. (And I like Varla.) Those scenes were searing, honest, and devoid of camp, so bringing them down to the level of the rest of the show was just sad.
And as many of us have posted repeatedly -- and Ken Mandlebaum writes about -- the mom/daughter stuff was exhiliarating, among the most emotional theater music of the decade. "When There's No One" remains a beautiful, haunting last number for Margaret, simple, very moving, and Buckley brought all of her persusaisve powers to its execution. The show had a heart-breaking center, in the push/pull beteween parent-and child. A kind of universal story. That was ovelooked by many, because the teen stuff veered toward 3rd rate BIRDIE cloning. Never has one show had such a range in terms of quality. But its ambitions were always high, and at least it aimed above the juke box. And then some.
Buckley and Varla did a few numbers not in a basement, but at the Bottom Line. Alas, Buckely was ill prepared (carried music) and with Varla, the values I mentioned above were gone, despite it being well sung. (And I like Varla.) Those scenes were searing, honest, and devoid of camp, so bringing them down to the level of the rest of the show was just sad.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Updated On: 7/6/05 at 11:51 AM
#50
Posted: 7/6/05 at 12:15pm
As much as I adore Betty Buckley--and I truly do--I will stop going to her shows if I ever see her performing with a music stand in front of her again. Ok fine, for a tune-up or an exploratory show--but not at Feinsteins etc. LEARN YOUR MATERIAL!
Mind is Mantra.
Tickets From $59
Tickets From $71
Tickets From $71
Tickets From $95