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.
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!"
Like a firework unexploded
Wanting life but never
knowing how
I still think the clock motif in Wicked, as well as the giant Time Dragon, is utterly unnecessary.
Butters, go buy World of Warcraft, install it on your computer, and join the online sensation before we all murder you.
--Cartman: South Park
ATTENTION FANS: I will be played by James Barbour in the upcoming musical, "BroadwayWorld: The Musical."
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
Oh, and I almost forgot to mention...I'm the good cop, he's the bad cop.
"Impossible is just a big word thrown around by small men who find it easier to live in the world they've been given than to explore the power they have to change it. Impossible is not a fact. It's an opinion. Impossible is not a declaration. It's a dare. Impossible is potential. Impossible is temporary. Impossible is nothing.”
~ Muhammad Ali
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.
PLEASE! Do not post anything negative or dramatic! DidYouReallyHearMe has LOST the ability to ignore such posts and he will comment! Please, help him.
With Clay Aiken in Spamalot, all of Broadway is singing a collective "There! Right! There!" -Me-
"Not Barker, Todd is the only person I've ever known who could imitate Katherine Hepburn...in print." -nmartin-
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.
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?
"If they can get you asking the wrong questions, they don't have to worry about the answers." Thomas Pynchon, GRAVITY'S RAINBOW
"Reality is that which, when you stop believing in it, doesn't go away." Philip K. Dick
My blog: http://www.roscoewrites.blogspot.com/
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.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
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.
Oh, and I almost forgot to mention...I'm the good cop, he's the bad cop.
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.
"If they can get you asking the wrong questions, they don't have to worry about the answers." Thomas Pynchon, GRAVITY'S RAINBOW
"Reality is that which, when you stop believing in it, doesn't go away." Philip K. Dick
My blog: http://www.roscoewrites.blogspot.com/
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.
'"Contrairiwise," continued Tweedledee, "if it was so, it might be; and if it were so, it would be; but as it isn't, it ain't. That's logic."'
~Lewis Carroll