#51
Posted: 8/29/04 at 1:00pm
is there a special place to buy any of these recordings?
#52
Posted: 8/29/04 at 3:46pm
i know that this ran off Broadway, but i dont know much about if it was a success or not, but u might be able to purchase
Birds of Paradise.
Birds of Paradise.
I am not myself, but i become a character in itself, to only hope that my transformation is not of me, but of whom i characterize myself to be..
#53
Posted: 8/29/04 at 3:48pm
www.amazon.com
"They're eating her and then they're going to eat me. OH MY GOOOOOOOOOOOOOOOOOD!!!!" -Troll 2
#54
Posted: 9/11/04 at 7:55pm
does anyone know if they made a CD for the musical MEtro?
#55
Posted: 9/11/04 at 9:28pm
SEUSSICAL - worth every penny - and every note of music.
Ahrens & Flaherty RULE!
Ahrens & Flaherty RULE!
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
--Aristotle
#56
Posted: 1/24/06 at 6:40am
Great topic. I tend to listen to flop CDs a lot more than the so-called hit ones. Here are some of my favorites:
All American - OBC
Anyone Can Whistle - OBC
Barmitzvah Boy - OLC (GREAT Jule Styne/Don Black score!)
Dear World - OBC (Angela has never sounded better!)
Do I Hear A Waltz? - OBC
Flora, The Red Menace - OBC
High Spirits - OBC
It's A Bird...It's A Plane...It's Superman! - OBC (Linda Lavin!)
Merrily We Roll Along - OBC
Oh, Captain! - OBC
On A Clear Day... - OBC
Subways Are For Sleeping (TERRIFIC Overture!)
That's all I can think of right now.
All American - OBC
Anyone Can Whistle - OBC
Barmitzvah Boy - OLC (GREAT Jule Styne/Don Black score!)
Dear World - OBC (Angela has never sounded better!)
Do I Hear A Waltz? - OBC
Flora, The Red Menace - OBC
High Spirits - OBC
It's A Bird...It's A Plane...It's Superman! - OBC (Linda Lavin!)
Merrily We Roll Along - OBC
Oh, Captain! - OBC
On A Clear Day... - OBC
Subways Are For Sleeping (TERRIFIC Overture!)
That's all I can think of right now.
#59
Posted: 1/24/06 at 10:13am
if a show doesnt produce a CD, does it really exist or not?
Don't f*ck with me fellas. This ain't my first time at the rodeo.
#60
Posted: 1/24/06 at 2:26pm
Two of my favorites are Grind and Nick & Nora. And I love certain songs from Steel Pier...
By the way, I'm not sure I'd count Edwin Drood as a flop. It ran for 600+ perfs and won 5 Tonys including Best Musical.
Anyone see the review of Drood on the Baltimore regional page of BWW.com? YIKES!
By the way, I'm not sure I'd count Edwin Drood as a flop. It ran for 600+ perfs and won 5 Tonys including Best Musical.
Anyone see the review of Drood on the Baltimore regional page of BWW.com? YIKES!
"Cor! me bones is weary!" -Mrs. Lovett
#61
Posted: 1/24/06 at 7:46pm
I Had A Ball
Mack & Mabel
Bounce
Ballroom
Ben Franklin In Paris
Ballroom
Drat The Cat
Sherry
Baker St
Breakfast At Tiffany's
Sweet Smell of Success
Rex
Working
Whoop Up
Triumph of Love
Thou Shalt Not
My Favorite Year
Taboo
70 Girls 70
Seesaw
So Long 110 th ST
Best Little Whorehouse Goes Public
Do I Hear A Waltz
Hallelujah Baby
Her First Roman
Bajour
Mata Hari
Kat & The Kings
La Strada
Legs Diamond
Meet Me in St Louis
Eating Raoul
Rags
Mack & Mabel
Bounce
Ballroom
Ben Franklin In Paris
Ballroom
Drat The Cat
Sherry
Baker St
Breakfast At Tiffany's
Sweet Smell of Success
Rex
Working
Whoop Up
Triumph of Love
Thou Shalt Not
My Favorite Year
Taboo
70 Girls 70
Seesaw
So Long 110 th ST
Best Little Whorehouse Goes Public
Do I Hear A Waltz
Hallelujah Baby
Her First Roman
Bajour
Mata Hari
Kat & The Kings
La Strada
Legs Diamond
Meet Me in St Louis
Eating Raoul
Rags
Poster Emeritus
Updated On: 1/24/06 at 07:46 PM
#62
Posted: 1/24/06 at 8:31pm
if a show doesnt produce a CD, does it really exist or not?
A flop show that is not recorded becomes nothing more than a statistic.
Not every flop deserves to be recorded. No one is pining for HIT THE TRAIL or GIRL FROM NANTUCKET.
On the other hand we should be glad that CANDIDE, MERRILY WE ROLL ALONG, ANY ONE CAN WHISTLE, HOUSE OF FLOWERS, FLAHOOLEY, SAIL AWAY, STEEL PIER, THE LIFE and PASSION all had their wonderful score preserved and are readily available on CD.
Variety coined the term "flop" to designate shows that closed on Broadway without paying back their investment. It has nothing to do with the quality of the show or how popular it is. Length of run has nothing to do with it. PETER PAN (Mary Martin version) was a financial hit even though ir ran just 152 perfs. (It was only scheduled for 19 weeks because NBC was telecasting iit live a week after it closed.) JEKYLL & HYDE ran over 1500 pers and still lost money.
A "success" or "failure" is what Hal Prince's wife Judy calls shows that do or do not succeed in doing what they set out to do. Hence, PACIFIC OVERTURES in 1976 was a success but a financial flop. (For the record: ALL Sondheim shows since A LITTLE NIGHT MUSIC ended their Broadway runs as financial flops although SWEENEY TODD, and INTO THE WOODS paid off through post Broadway tours. Yet no one would consider any of his shows out-and-out "failures.")
I like the term STINKER for a show that flopped and was a deserved failure. (AIN'T BROADWAY GRAND, DANCE OF THE VAMPIRES (Bway), MAIL, WELCOME TO THE CLUB)
Then there are the shows that were not successes (artistic or financial) but left behind fine scores with wonderful songs: DEAR WORLD, THE HAPPIEST GIRL IN THE WORLD, MACK AND MABEL, SUBWAYS ARE FOR SLEEPING.
Bottom line - it doesn't matter. If you like a show - hit or flop, success or failure - just enjoy it!
A flop show that is not recorded becomes nothing more than a statistic.
Not every flop deserves to be recorded. No one is pining for HIT THE TRAIL or GIRL FROM NANTUCKET.
On the other hand we should be glad that CANDIDE, MERRILY WE ROLL ALONG, ANY ONE CAN WHISTLE, HOUSE OF FLOWERS, FLAHOOLEY, SAIL AWAY, STEEL PIER, THE LIFE and PASSION all had their wonderful score preserved and are readily available on CD.
Variety coined the term "flop" to designate shows that closed on Broadway without paying back their investment. It has nothing to do with the quality of the show or how popular it is. Length of run has nothing to do with it. PETER PAN (Mary Martin version) was a financial hit even though ir ran just 152 perfs. (It was only scheduled for 19 weeks because NBC was telecasting iit live a week after it closed.) JEKYLL & HYDE ran over 1500 pers and still lost money.
A "success" or "failure" is what Hal Prince's wife Judy calls shows that do or do not succeed in doing what they set out to do. Hence, PACIFIC OVERTURES in 1976 was a success but a financial flop. (For the record: ALL Sondheim shows since A LITTLE NIGHT MUSIC ended their Broadway runs as financial flops although SWEENEY TODD, and INTO THE WOODS paid off through post Broadway tours. Yet no one would consider any of his shows out-and-out "failures.")
I like the term STINKER for a show that flopped and was a deserved failure. (AIN'T BROADWAY GRAND, DANCE OF THE VAMPIRES (Bway), MAIL, WELCOME TO THE CLUB)
Then there are the shows that were not successes (artistic or financial) but left behind fine scores with wonderful songs: DEAR WORLD, THE HAPPIEST GIRL IN THE WORLD, MACK AND MABEL, SUBWAYS ARE FOR SLEEPING.
Bottom line - it doesn't matter. If you like a show - hit or flop, success or failure - just enjoy it!
Cast albums are NOT "soundtracks."
Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
#63
Posted: 1/24/06 at 8:52pm
only in America was Danc of the Vampire a flop, both the original production in Vienna, and the German production in Stuttgart were both smash hits
It is ridiculous to set a detective story in New York City. New York City is itself a detective story...
AGATHA CHRISTIE, Life magazine, May 14, 1956
#64
Posted: 1/24/06 at 9:10pm
If one more person suggests a show that won multiple Tony awards (particularly Drood or Parade) I'm going to deck them. And just because a show played off-Broadway or as a limited engagement, that does not make it a flop. And for heaven's sake, The Last 5 Years was loved by just about everyone and is being produced all over the country right now. If you want flops, go to the suggestions that were real stinkers, not just less well known recordings.
#65
Posted: 1/25/06 at 2:57pm
Umm...it doesn't matter how many people loved The Last 5 Years. It WAS a flop. It played at a for-profit theatre, got mostly good reviews (with the exception of Ben Brantley), but still closed at a COMPLETE loss after only two months. It was originally intended for Lincoln Center's Mitzi Newhouse Theatre, but LCT dropped it like a hot potato, fearing they'd be sued by JRB's former wife. So, even though it has become a staple of regional theatres and has a large following, it is still most definitely a flop.
And Drood did close at a loss on Broadway, so it is technically a flop, as well.
And Drood did close at a loss on Broadway, so it is technically a flop, as well.
Updated On: 1/25/06 at 02:57 PM
#66
Posted: 1/25/06 at 5:22pm
AGAIN I maintain the ultimate financial status of a show matters ONLY if you are an investor.
That said, VARIETY has a separate category for non-commercial shows where the financial status in unimportant. Not all shows are intended to make money for investors. (Actually, Off-Broadway shows are not even documented by VARIETY as to their hit/flop status.)
The original production of ASSASSINS (1990/91) is often called a "flop." But it was done at the non-commercial Playwrights Horizons which has ...what 150 seats? ...the entire 2 month run was sold out before the first preview. In terms of ticket sales it could not possibly have been any more successful: there were not any more seast to be had. And yes, it probably cost a lot more to open than it ever hoped to make but the production there wasn't about making money - it was about trying out a new show before going to Broadway.
That said, VARIETY has a separate category for non-commercial shows where the financial status in unimportant. Not all shows are intended to make money for investors. (Actually, Off-Broadway shows are not even documented by VARIETY as to their hit/flop status.)
The original production of ASSASSINS (1990/91) is often called a "flop." But it was done at the non-commercial Playwrights Horizons which has ...what 150 seats? ...the entire 2 month run was sold out before the first preview. In terms of ticket sales it could not possibly have been any more successful: there were not any more seast to be had. And yes, it probably cost a lot more to open than it ever hoped to make but the production there wasn't about making money - it was about trying out a new show before going to Broadway.
Cast albums are NOT "soundtracks."
Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
#67
Posted: 1/25/06 at 7:01pm
Reading this thread made me start looking up some of these CDs on Amazon. From there, I pulled out my copy of Not Since Carrie. I was going down the index looking up shows when I came across a Listmania list entitled "Not Since Carrie". Oh, joy and rapture! Someone had alerady done it for me! All I had to do was scroll down chapter by chapter. Thanks, Danny Smolenski! You made my life much easier.
http://www.amazon.com/gp/richpub/listmania/fullview/VDU46CM6JFEF/002-9653987-1196804
http://www.amazon.com/gp/richpub/listmania/fullview/VDU46CM6JFEF/002-9653987-1196804
And no one grew into anything new, we just became the worst of what we were."
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