Leading Actor Joined: 11/16/06
I was thinking about the JCS tour I saw a few weeks ago and mulling over how annoyed I was to hear Corey Glover bastardize some of the melodies with Mariah Carey/Christina Aguilera inspired trills and runs. It started me thinking about moments in shows when you are sitting there going "What are they doing? Why are they changing the melody? Why are they adding that note?"
I understand that each performer is an individual and that some play with the melodies as a means of making their version different than their predecessor, but sometimes it just doesn't work.
Anyone else have any examples?
Yes...Check out the current revival of Gypsy. All I kept saying to my self was why? why? why?
Not necessarily a performer, but a production. I have the original version of A Chorus Line memorized. Not just the song lyrics, all the dialogue. When I saw the revival, I was so confused when they dropped and altered a few lines. The birth years, fine, I can understand, but they dropped a few lines from Bobby's monologue. Every time I saw it, I thought the actor had forgotten his lines before it occurred to me that they made a point of taking out the inoffensive, non-dated lines. That's the only cut I can think of off the top of my head, but there were more. It was just weird. "We're going to revive the show exactly as it was, down to the bad 70s dance wear...but we're going to randomly cut lines without reason, and hope no one notices!"
Yes...Check out the current revival of Gypsy. All I kept saying to my self was why? why? why?
I expect this will be a popular opinion around here...
///pulls out lawn chair and popcorn///
Broadway Legend Joined: 11/23/05
I still think the clock motif in Wicked, as well as the giant Time Dragon, is utterly unnecessary.
Broadway Legend Joined: 5/3/06
I love Gypsy- one of my all time favorites. But when Louise mimes a window it's kind of uneeded and crazy.
Broadway Legend Joined: 3/20/04
Everything entirely in CORAM BOY.
In a GOOD way, during Cry-Baby, lol. When I saw the gas mask waltz number, through my hysterical laughter, I was like "What are they DOING? Why? Is this even OKAY?" but I loved it, thought it was hilarious.
Kelly2..I agree --when I first saw the gas mask waltz there was that moment of
"What?" but it was actually quite a brilliant stroke. I know a lot of people on here hate that moment....but its truly inspired!
The little coffin in the Sweeney revival. Didn't get it. At all. And I agree about the Dragon clock in Wicked. That had nothing to do with anything that was happening on stage
The yoga choreography in SA. Why, why, why??
The moment the yoga choreography in SA won a Tony Award.
To explain the Dragon Clock, in the book, it has this huge mythic shadow that hangs over the life of the Wicked Witch. It's quite an interesting concept and the way Gregory Maguire weave religion and mysticism is amazing.
HOWEVER.
I believe (someone feel free to correct me) that the set designer for the show wasn't actually involved in the production, but he was interested. So his wife (I think) told him to read the book and build a design off of that. And they loved it and kept it.
So basically, the Time Dragon Proscenium is a brilliant set design idea for the books, not so much a musical where the ENTIRE idea is cut.
The Leigh Bowery Costume Parade in TABOO...okay, so a bunch of people walk out in avant garde outfits and then they walk back off. THRILLING.
There's always a twinge of pain in my heart for any poor actor who has to deliver bad jokes onstage. Especially when I remind myself they have to do it 8 times a week.
That said, a few recent examples:
The dance number at the end of The New Century.
The moment where Daniel Breaker sings "On the Street Where You Live" in Passing Strange.
The majority of November.
The manlamb in Gypsy, the Papermill production of Godspell, and Young Frankenstein.
Papermill's costumes for MY FAIR LADY some years ago--like Richard Simmons and Malificent got hold of a Bedazzler.
Broadway Legend Joined: 5/15/03
I second the entire unspeakable nightmare of CORAM BOY.
The current refrigerated revival of SUNDAY IN THE PARK WITH GEORGE. Why is George acting like a pissy schoolmaster? Why is Dot so utterly without sex appeal?
And most importantly:
Why is one of the most gorgeous scores ever written being played by 5 instruments? And why do 5 instruments sound so much like 2 instruments?
Amour has my favorite "What are they doing?" moment. *possible spoilers* The show is such a small, sweet, and gentle show until the courtroom scene when Dusoleil is found innocent and the prosecutor is taken away.
All of a sudden everyone started dancing the can-can with manic energy. It's revealed that all the women are wearing can-can skirts, and Melissa Errico begins high-kicking (quite splendidly) across the stage. Then the judge stood up to show that he too is wearing a can-can skirt under his robe. It was such a bizarre scene and felt totally out of sync with the rest of the production.
When I sat through Legs Diamond, question marks flew out of my eyes, ears, nose and throat.
The yoga choreography in SA. Why, why, why??
I agree.
The choreography of "The Word of Your Body." Holding hands, walk forward 1, 2, 3, hold, walk back 1, 2, 3, hold, repeat, repeat.
Truly middle school production-like staging.
Not Barker, Todd I read the book before I saw the musical, and so I was trying to figure out the first half of the show how they were going to fit the dragon clock thing of doom into the show.
Broadway Legend Joined: 5/15/03
In DANCE OF THE VAMPIRES, there was a song entitled "Carpe Noctem." It involved a bunch of dancing demons and vampires and assorted Creatures of the Night, and it just went on and on and on and on.
At one point, at the height of the awfulness, a bunch of long scraggly looking hairy boa things were brought out, and assorted characters started to flog other characters with them, and all I could think was: Oh My GOD, it is Vidal Sassoon's nightmare! I thought I'd never stop laughing.
Pretty much all of Lestat was a 'What are they doing? Why?' moment. I was slouched down in my seat with my program over the lower part of my face throughout most of the show, so that any jaw-dropping wouldn't be evident to the poor actors a few rows away.
The yoga choreography in SA. Why, why, why??
I don't know if you know. But every single move sybolizes something going on within the charecture.
Such as when Melchior during Mirror-Blue Night grabs his hands behind his back, it to symbolize his hands being tied and him not being able to escape.
I know im just a "swing" and I dont know anything. But I just thought it was cool when I found out.
It was very inovative and abstract. which is not for everyone but it a diffrent look at movement.
Most everything in Spamalot left me asking...why?
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