#51
Posted: 10/28/11 at 4:11pm
God, Tracy, that video is hilarious. But like most of my posts (which, along with Gaveston's, I'm glad you enjoyed, btw) is way too long.
Could I Leave You? Question — Page 3
#52
Posted: 10/28/11 at 4:42pm
Henrik, if I hadn't retired my hat as a queer theorist, I could bore us all arguing that Paul's "injury" is a metaphor, as is his resulting banishment from the "community" on stage, the two combining to make him more tolerable for the audience. They get to feel sympathetic and proud of themselves for their tolerance, and then Paul is whisked away, out of sight and out of mind.
(Of course, Paul isn't the only gay character in the show. But he's the primary and most realistically drawn gay character AND the only cross-dresser.)
But I don't think you "buried" yourself. You are right that Duane represented something that musical comedy hadn't openly acknowledged before.
***
As for Goldman, he's not only antidiluvian in his ideas about queer artists and representations, he apparently hasn't heard much of feminism either. His lengthy discussion of EVERYTHING IN THE GARDEN (suburban housewives run secret prostitution ring) assumes the theme is some sort of homosexual revenge on the straight world; it never occurs to Goldman that women taking control of their own sexuality might have overtones of self-empowerment. (A thought Aristophanes grasped 2500 years earlier.)
But I agree with you and Joe. The whole point of THE SEASON was to capture a period in time: one year on Broadway. Goldman's ideas weren't universally shared, of course, but neither were they particularly unusual for that time. Of course, the book should not be "fixed"!
(Of course, Paul isn't the only gay character in the show. But he's the primary and most realistically drawn gay character AND the only cross-dresser.)
But I don't think you "buried" yourself. You are right that Duane represented something that musical comedy hadn't openly acknowledged before.
***
As for Goldman, he's not only antidiluvian in his ideas about queer artists and representations, he apparently hasn't heard much of feminism either. His lengthy discussion of EVERYTHING IN THE GARDEN (suburban housewives run secret prostitution ring) assumes the theme is some sort of homosexual revenge on the straight world; it never occurs to Goldman that women taking control of their own sexuality might have overtones of self-empowerment. (A thought Aristophanes grasped 2500 years earlier.)
But I agree with you and Joe. The whole point of THE SEASON was to capture a period in time: one year on Broadway. Goldman's ideas weren't universally shared, of course, but neither were they particularly unusual for that time. Of course, the book should not be "fixed"!
#53
Posted: 10/29/11 at 10:29am
'Paul's "injury" is a metaphor, as is his resulting banishment from the "community" on stage, the two combining to make him more tolerable for the audience. They get to feel sympathetic and proud of themselves for their tolerance, and then Paul is whisked away, out of sight and out of mind.'
I am so there with you Gaveston. The miracle is that Kirkwood, working within the constraints of playing "safe," did so while also conveying the paradox you note to those willing to see it (and the way you describe the dynamic only makes me begin to marvel at how brilliantly he did it). And he accomplished both brilliantly. Lesser dramatists might have tried this gambit, but would have either failed completely or ended up talking down either to the general audience, the queer theorists (pros and amateurs), or both. With Kirkwood, empathy for the characters and the audience, all the audience, and a regard for the humanity and intelligence of everyone in the house. were paramount. Here, although the underlying currents plum unsettling questions about the limits of the audience to accept and open their hearts, Kirkwood was always a trailblazer, never a didact.
I am so there with you Gaveston. The miracle is that Kirkwood, working within the constraints of playing "safe," did so while also conveying the paradox you note to those willing to see it (and the way you describe the dynamic only makes me begin to marvel at how brilliantly he did it). And he accomplished both brilliantly. Lesser dramatists might have tried this gambit, but would have either failed completely or ended up talking down either to the general audience, the queer theorists (pros and amateurs), or both. With Kirkwood, empathy for the characters and the audience, all the audience, and a regard for the humanity and intelligence of everyone in the house. were paramount. Here, although the underlying currents plum unsettling questions about the limits of the audience to accept and open their hearts, Kirkwood was always a trailblazer, never a didact.
Updated On: 10/29/11 at 10:29 AM
#54
Posted: 10/29/11 at 1:21pm
I'm not sure why people say Maxwell's "Leave You" and Paige's "Still Here" are "too angry." I think both actress reach levels of passion that are (a) appropriate to the songs as written, (b) genuinely performed from a honest place of true emotion and (c) thrilling to the audience.
Maybe people are just uncomfortable with seeing female rage.
Maybe people are just uncomfortable with seeing female rage.
#55
Posted: 10/29/11 at 7:25pm
I haven't seen the show, joey, so I don't know what Paige is doing nowadays. But watching the clip from the DC production, I just don't understand the anger.
I guess Carlotta could be pissed at life's ups and downs ("Tuesday you're touring in stock"), but doesn't that destroy her primary function: to serve as a contrast with the characters who are stuck in the past?
I guess Carlotta could be pissed at life's ups and downs ("Tuesday you're touring in stock"), but doesn't that destroy her primary function: to serve as a contrast with the characters who are stuck in the past?
#56
Posted: 10/29/11 at 7:28pm
henrik, I agree about Kirkwood. I don't know if you ever got to meet him, but I served as his host for a day when we were doing ACL in Miami Beach. He was not only a wonderful companion for the day but later followed up with a handwritten thank you note! Lovely man.
#57
Posted: 10/29/11 at 7:30pm
PJ, I love seeing female rage when it's not overdone. I loved Maxwell's raw passion in the song. I just think she slightly overacts it. Paige definitely overacted when I saw her in previews, but from what I've "seen" of her since, her performance has improved tremendously.
#58
Posted: 10/29/11 at 7:36pm
Glad to hear it, BroadwayFan, because I do like Paige.
#59
Posted: 10/30/11 at 1:52pm
Gaveston, no, sad to say, I never got to meet JK. How wonderful you had that opportunity, and thanks for sharing.
Tickets From $59
Tickets From $71
Tickets From $71
Tickets From $95