I recently saw this show at the Donmar. Having never seen the original I don't know how this 'scaled down' version compares but I thought it was a great piece of theatre. The cast were all terrific - Daniel Evans is always SO moving, Julien Ovenden was a revelation to me. Although his performance in 'Merrily' a couple of years back was good, I was not bowled over. However, I was really knocked out by him this time...such presence and a real command of the stage. His 'Flowers At The Station' really gave me goosebumps. Grandages staging was SO effective - really suggestive, stylish - and wonderfu lighting. I'm just curious if anyone saw the original and what the staging was like?
I saw the Donmar production over Christmas. I loved it. I have seen the original production too. Twice. Once on Broadway and one time on the national tour. The original design was a set consisting of four columns at center and lots of gold gilt chairs that served as various set pieces. Brilliant lighting design too. Lots of shadows and spotlights used during the group scenes. Very cinematic flow for the material.The original used a larger ensemble than what we saw at the Donmar. Upstage there was a gold swinging door that the doorman could move down front. If you recall from the Donmar production, the doors were simulated by the chorus. The orchestra was on a catwalk above the action. For the tour, this was scrapped and the orcestra was in the pit. I would say that the costumes were a bit grander than what was seen at the Donmar. But set wise, there really wasn't all that much different.It was minimal except for those rows of chairs. Oh, and a long pole (think limbo pole) was used as a counter in the ladies lounge, the coffee bar counter, and a ballet bar. This pole could be secured between two of the four columns. Sometimes members of the chorus would hold the bar. The bar also was used quite effectively in the number "We'll Take a Glass Together." Most of the cast members remained on stage in the background as observers watching the action, like CABARET.
Tommy Tune's direction and choreography really stood out. He put his own personal stamp on the piece and won several Tony Awards. Don't know if you knew this but there was a tango couple that danced throughout the proceedings. After the Baron was shot, the couple performed an 'apache' type dance about Life and Death. This couple, as well as their numbers, were eliminated from the Donmar production. One other thing that was eliminated was the number "Life Goes On." That's the final number on the OBC cast album. It was used as a curtain call. Can't think of anything else. If you have specific questions, feel free to ask. I'll try to answer. I loved this production and I liked the Donmar production too.I think both worked quite well. Yes, the Donmar was stripped down but the strengths of the show still came through. I wish that the BBC had taped this for broadcast like their productions of CABARET and COMPANY . Even though I live in the states, eventually those UK TV broadcasts make it over here thanks to the musical theatre collectors who trade among themselves. Wasn't Mary Elizabeth Mastrantonio wonderful? And I agree about Julian Ovenden! After coming back home, I N'etflixed' the BBC mystery series FOYLE'S WAR. Ovenden plays Detective Foyle's (Michael Kitchen) son in that series. What a singing voice... very powerful.
These are the shows that need to be video taped. I would have loved to have seen this production. I saw it on Broadway twice and loved the show. Karen Akers was my goddess when I was growing up.
I assume you are referring to the original, because I'm sure they didn't make a Donmar recording, although that would have been great. Would have loved to have seen my girl MEM in "Grand Hotel", but alas, I couldn't make it to London again. Too bad.
I sort of know "I Want to Go to Hollywood" and my camp's Repertory Theater is doing it this summer because the musical director (my voice teacher) trained with Maury Yeston. Last year they did Titanic.
Sutton Foster does a great version of "I Want to go to Hollywood". I love it. I love this musical, I love Jane Krakowski in this musical. I would have loved to seen this production at the Donmar!
"What a mystery this world. One day you love them and the next day you want to kill them a thousand times over." The Masked Bandit in THE FALL
Didn't see Cyd. I think Leslie Caron did the German production. Liliane Montevechhi, from the B'way production did the US tour along with Brent Barrett. Both did it in London in 1991. And of course, Brent did the cast album which didn't get recorded until two years after the show opened.
So glad this threat triggered some great memories. I ordered the OBC a couple of days ago from Amazon. What did anyone think to Brent Barret in the Baron role...I really like Barret and imagine he would have been great.
But I remember the first time the best. I sat at the Martin Beck, watching that STAGING. My jaw dropped, as those chairs were flung about the stage, creating new patterns, and new locations. A precision drill team dropping them, lifting them, setting them down, fleeing, spinning, and then retrieving them again to form a new location, a new pattern...
I really can't do it justice. Tune's staging was overwhelmingly terrific. The show itself, and its merits, became clear upon repeated viewings. But that original staging? Literally jaw dropping.
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