Well, here's what I found to be of particular note, on the first go-round at least:
* The film starts at Minsky's, more or less setting up the final scenes, and turns into a flashback (brilliant stroke of genius to justify Barbra's casting, not that I think it could've done the heavy lifting all by itself)
* "Momma's Talkin' Soft" is back in (a decision I'm surprised no other revival or filmed version has ever considered)
* There's some expansion to Louise's character and her relationship with June
* Rose and Herbie's relationship gets way more development without changing a word or a note (it's conveyed visually, or at least on paper it was meant to be)
* The farmboys number is broken up into two separate scenes and I like the way it's used (the meaning changes just slightly, but the first half is used brilliantly to underline Rose's obliviousness to the outside world)
Most of all, while it's not always word-perfect to Laurents' book, LaGravenese had a firm grasp of how to write in his style while introducing a new take. There are many dialogue exchanges that I forgot weren't in the original libretto, that's how innately he grasps how the characters speak. It was only the second draft (judging by the title page date, it may have been the draft he worked on at Barbra's house and finished before Christmas 2014, according to a Queerty interview), but it was rather strong.
If you wanna know more than that, I could always slide into your PMs like I have everyone else's.
Formerly gvendo2005
Broadway Legend
joined: 5/1/05
Blocked: After Eight, suestorm, david_fick, emlodik, lovebwy, Dave28282, joevitus, BorisTomashevsky, Seb28
Updated On: 7/16/20 at 11:21 AM