Did CZJ ooze sexiness in A little night music?

You're that annoying troll who has had 100 different usernames.

She did spew hot breath all over the stage and shake her head back and forth.

icecreambenjamin said: " She did spew hot breath all over the stage and shake her head back and forth."



I know you're poking fun at her strange Tony performance, but those who actually saw her LIVE in the production can tell you none of that ever occurred in her performances.

BroadwayPeasent said: "We were talking about how un sexy Jennifer Hudson was. And the hotel concierge compared to CZJ and said she was very sexy and Jennifer did not do the role justice



"

I have no idea how anyone could compare these two roles. There is nothing to compare.

She oozed forth like a larva, spilling acidic waste all over the stage

Unfortunately, history has been rewritten now and it's all anyone can remember (the Lincoln Archive only recorded her understudy too, if I recall!).



Several excellent quality video bootlegs exist of La Zeta-Jones in A LITTLE NIGHT MUSIC so several performances have been archived, just not officially/legally.

lol. And Glynis Johns and Judi Dench sound like perfect song birds on their recordings? The role has never required a beautiful singer.

The Zeta-Jones interpretation has fans, as you can see, but it really didn't work for me. The entire production seemed off. Things got marginally better when Bernadette took over. I saw Bernadette three times during her first month as Desiree and those performances remain among my favorites ever. Unfortunately, I went back to see her one more time late in her run, and she'd started relying too heavily on her bag of tricks.

Isn't there also a line Armfeldt says about not being seen squatting like bohemians? Which they kind of then do.

I did see the show and CZJ did spew hot air all over the stage and shake her head. Hansen was boring as was the rest of the cast. The paper thin orchestra made things worse and that hilariously misguided picnic was the final straw. Angela Lansbury was the only good choice that production made.

CZJ did ooze sexiness, but it doesn't mean she was good. I really loved her in Chicago so I was disappointed by her less than stellar performance. I'm sure she could've given a better performance under better direction. I was honestly shocked when she won the Tony.

Peters' Clowns was letter perfect every single time I saw her. No doubt, she knocked that number out of the park. It was a perfect delivery. That being said, the rest of her performance was a mixed bag, depending on when in the run you saw her. Early on, it was pretty good, but as the run began to wind down, she, as someone else mentioned, dipped into her bag of tricks, completely disregarding the character she was playing. Her comedy got very, very, broad.

CZJ, overall, gave a lovely performance, though she never quite found the gravitas in Clowns that Peters did. The production itself was much tighter when she was in it, probably because Nunn was still around. At times the direction seemed at odds with the fact that this was musical comedy, not The Seagull. However, that didn't affect CZJ, who still found moments of humor. The performance that suffered the most from the direction was Erin Davie, who early on seemed to have no idea her character was supposed to be funny (tragically funny, but funny nevertheless). She benefited the most from the looser tone the show took during its second year (and by the time the show closed was pretty fantastic).

Updated On: 6/1/16 at 01:39 PM

As someone mentioned, that revival and CZJ have their fans, but there are just as many who did not care for any of it. I saw the production at the Menier and found it to be a missed opportunity, albeit with two fantastic central performances in Hannah Waddingham as Desiree and Maureen Lipman as Mme. Armfeldt. On paper, the Broadway company seemed perfect and I figured in that year since Menier, Nunn might have learned from his mistakes. But when I went to see the Broadway production two months into the run, I was even more disappointed than I was in London.


I found CZJ stunningly beautiful, but lacking any warmth or grace or real connection with anyone on stage. I found Lansbury to also be completely in the wrong direction. Her Mme. Armfeldt, to me, acted like a traditional, cooky, but ultimately loving grandmother, which I've never found the character to be. And the entire supporting company, while mostly well-sung all seemed as if they were in different shows, and none of those shows were Night Music.


I went back in July to see Bernadette Peters and Elaine Stritch during their second week of performances, mostly because I knew that if I didn't, I would never see Stritch live in anything. While Stritch was known to drop lines and miss entire verses, she was letter perfect on the text the night I saw her and she and Peters were beyond exceptional. The entire company, in fact, while not 100% there, had all shifted their performances in the right direction, which I think came more from that Nunn had left the company and they all slowly removed themselves from his drab vision.


I went back and found my old review of the show, ending with this line: "What this production needs is Michael Blakemore's comedic timing, Bartlett Sher's style and NONE of Trevor Nunn's 'elegance.'" I still agree with it.

Updated On: 6/1/16 at 02:22 PM