#2
Posted: 7/18/12 at 7:05am
I think the revised (rewritten is probably the better term) book was in many ways a mess, personally--though I've never seen it on stage, just on video. I know this is an example of a show that seemed to do well out of town (LA, I believe with both critics and audiences) and not in New York.
It's been pointed out that, oddly, while trying to get rid of some of the Asian stereotypes, other ones that many saw as equally offensive were created (it's been a while, but I remember a ridiculous gay Asian stereotype, for example).
I don't think the original production of FDS as un-revivable is fully deserved, though certainly it's dated in many aspects. It hasn't helped that the film actually makes a lot of minor changes that add up to the piece seeming more dated (and potentially offensive) than the original stage libretto was--in terms of text, I actually think it's the worst adaptation for film of R&H's shows (even keeping in mind the censors making Billy's death in the film of Carousel an accident and not suicide).
There's an interesting book about the show, Flower Drum Songs: The Story of Two Musicals by David Lewis that addresses a lot of this. However, it's pretty expensive and pretty poorly written, despite a lot of interesting points, so I'd recommend if you're really curious trying to get it at the library.
It's been pointed out that, oddly, while trying to get rid of some of the Asian stereotypes, other ones that many saw as equally offensive were created (it's been a while, but I remember a ridiculous gay Asian stereotype, for example).
I don't think the original production of FDS as un-revivable is fully deserved, though certainly it's dated in many aspects. It hasn't helped that the film actually makes a lot of minor changes that add up to the piece seeming more dated (and potentially offensive) than the original stage libretto was--in terms of text, I actually think it's the worst adaptation for film of R&H's shows (even keeping in mind the censors making Billy's death in the film of Carousel an accident and not suicide).
There's an interesting book about the show, Flower Drum Songs: The Story of Two Musicals by David Lewis that addresses a lot of this. However, it's pretty expensive and pretty poorly written, despite a lot of interesting points, so I'd recommend if you're really curious trying to get it at the library.
#3
Posted: 7/18/12 at 8:44am
"Why did the revival of this with Lea Salonga bomb?"
For the simplest of reasons. It was not Flower Drum Song.
Just a travesty thereof.
For the simplest of reasons. It was not Flower Drum Song.
Just a travesty thereof.
#4
And yet ONCE is selling out.
Curiouser and curiouser.
Posted: 7/18/12 at 10:20am
And yet ONCE is selling out.
Curiouser and curiouser.
CHURCH DOOR TOUCAN GAY MARKETING PUPPIES MUSICAL THEATER STAPLES PERIOD OIL BITCHY SNARK HOLES
#5
Posted: 7/18/12 at 11:12pm
I didn't know that Lea Salonga was in ONCE
"Long live God!" (GODSPELL)
#6
Posted: 7/19/12 at 2:19am
"It was not FLOWER DRUM SONG"
Truer words were never spoken.
Just do the damn show, it's cute and with a wink is no more offensive than THE KING AND I.
The revisal had dancing giant Chinese take-out costumes.
If that's not offensive what is?
Truer words were never spoken.
Just do the damn show, it's cute and with a wink is no more offensive than THE KING AND I.
The revisal had dancing giant Chinese take-out costumes.
If that's not offensive what is?
#7
Posted: 7/19/12 at 6:54am
Even in the 1950's, all the "stereotypes" in FDS were tongue-in-cheek satire. The night club numbers were intentionally cheesy. Oscar Hammerstein was about as far Left as you can get, but managed to use humor to deal with the cultural issues in the show. The characters are all smart and sensitive.
The only offensive line I can think of is during "Gliding Through My memory" when the chorus girl dressed as an "Irish" girl says "Elin Go Blah!"
The only offensive line I can think of is during "Gliding Through My memory" when the chorus girl dressed as an "Irish" girl says "Elin Go Blah!"
#8
Posted: 7/19/12 at 4:24pm
Jon, you are absolutely right about the tongue-in-cheek and Oscar, How anyone could call Hammerstein racist is out of their mind. He wrote the BWay anthem against bigotry, YOU'VE GOT TO BE TAUGHT, and he and his wife adopted 2 Asian children after WWII when it was not "fashionable".
The 3 female leads in the original FDS are the smart characters, the men are comical dummies. The little boat girl gets the hot son, Linda gets the fun club owner and Madame Tsang gets ger citizenship. The only female character who looses out is Helen and she gets the best song in the show.
Even the "Elin Go Blah" joke is over the top and a comment on stereotypes and not an offensive slur.
The revisal was way more offensive than anything in the original.
The one thing shakey about the original was the casting of Non-Asians in Asian roles. (Larry Blyden and Juanitta Hall)
But that would never happen now, oh wait, THE NIGHTENGALE at LaJolla.
The 3 female leads in the original FDS are the smart characters, the men are comical dummies. The little boat girl gets the hot son, Linda gets the fun club owner and Madame Tsang gets ger citizenship. The only female character who looses out is Helen and she gets the best song in the show.
Even the "Elin Go Blah" joke is over the top and a comment on stereotypes and not an offensive slur.
The revisal was way more offensive than anything in the original.
The one thing shakey about the original was the casting of Non-Asians in Asian roles. (Larry Blyden and Juanitta Hall)
But that would never happen now, oh wait, THE NIGHTENGALE at LaJolla.
Updated On: 7/20/12 at 04:24 PM
#9
Posted: 7/19/12 at 6:23pm
I saw the original production. In 1958, musicals were not intended as political treatises (notwithstanding SOUTH PACIFIC) but as relationships with songs. There is nothing offensive about the tension between the generations, unrequited love or making a buck in America. The story has humor and pathos and hope, and does not show disrespect to either the original immigrants who cling to their old ways or to the younger generation who wants more than anything to fit in. My first Broadway show, and a delightful memory. Pat Suzuki was a huge talent and wonderful to watch, as was Myoshi Umeki (spelling? sorry).
#10
Posted: 7/19/12 at 9:25pm
I loved the revisical. I think TIME said it best and I'm paraphrasing here when it noted that most reviewers always thought this was an inferior R&H work in the first instance so they were predisposed to hate any and all versions of the show.
#11
Posted: 7/19/12 at 10:27pm
I saw the National Tour of the Broadway revisal. I found it joyless and that it took itself way too seriously. It sucked all the joy out of the original in its attempt to be politically correct and relevant.
"Broadway...I'll lick you yet!"
#12
Posted: 7/20/12 at 12:10am
One listen to DRG's recording will reveal all: They removed all the fun that gave sparkle to the original show (and subsequent film.) There was no need for a new book..all anyone has to do is go back to C.Y.Lee's novel..there is additional material there not used in the original stage or film version. And this flop version has now tainted the original.
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
#13
Posted: 7/20/12 at 2:10am
i saw the pre-broadway tryout in Los Angeles and enjoyed it tremendously.... how much was truly changed between then and New York?
I only disliked the addition of the gay character.. he was just kind of annoying and not needed
I only disliked the addition of the gay character.. he was just kind of annoying and not needed
Tickets From $59
Tickets From $71
Tickets From $71
Tickets From $95