How Broadway Lost Its Voice to 'American Idol'- Page 2

[ashley0139]

Posted: 3/26/05 at 5:18pm

Wonderful. Now I have to register. :) Usually when someone post an article I don't find it worth it to go through the hassle of registering. Now I have to. Back in a minute... and I will have my thoughts then. *goes to register*

[MarkCohen]

Posted: 3/26/05 at 5:22pm

Sorry, didn't know there were copyright laws or anything.

[Natalie 2]

Posted: 3/26/05 at 6:37pm

I'm so glad someone like Ben Brantley is on our side. While I love American Idol, I never, ever will have a voice like that. I guess I would consider myself more "old-school." As sad as it is to see Broadway going away from the type of singing I personally embody, that is the way Broadway is...it reflects what is popular, and American Idol-type vocalistics are what is popular today.

[Jgssf]

Posted: 3/26/05 at 6:55pm

"That's the whole point- the American Idol ethos that Brantley is decrying is all about vocal technique without heart or individuality."

And the one time they finally had someone who could sing with subtlety and nuance. Who understood how to "portray" a song with his voice as well as his whole body. Who could caress a song and truly convey the passion and emotion of it. Someone who didnt scream and carry on with histrionics, Justin Guarini, they practically crucified him.
Now he is singing Jazz, his way,his style, from the soul and with heart. I agree that Broadway has lost its voice to A.I
Screaming is no substitute for really singing a song as its meant to be.

[Natalie 2]

Posted: 3/26/05 at 7:00pm

Well put, I'm sad to see the individuality go away...but in the end it is just a business isn't it? Especially the multi-million dollar spectacles going up these days. I'm lamenting that fact right along with Mr. Brantley.

[Al Dente]

Posted: 3/26/05 at 7:21pm

Again, Brantley is placing the blame on American Idol, I'm sure this is his way of attempting to be "cool", but all it does is make it painfully obvious that he's well out of the loop. And, as I stated in my earlier post, this is the fault of the singers who are desperate to cross over to the recording market and the producers willing to hire them. This is the sound now. They're emulating Beyonce',Aquilera, who both can't spend two seconds holding a note without spinning wildly out of control, and Mariah Carey who should be very "flattered" by how liberally the Espinosas' and Beans' borrow her style. I also thought it was absurd and more typical of how foolish Brantley can be with his over the top praise for the most UN-unique, replaceable one of them all, Chenoweth. He's made up his mind that he adores her and dislikes Foster, which is fine, but he can't be taken so seriously, if he puts Cheno in that elite group along with Peter's et al. From my understanding, not only is Thompson as good as Cheno's Galinda, but better according to popular opinion.


Updated On: 3/26/05 at 07:21 PM

[Broadway Style]

Posted: 3/26/05 at 8:10pm

Hmm.. I agree with Al Dente about American Idol not being the source of this *tragedy.*
But, I don't really think it is the popish style of singing that bothers me so much as the lack of acting skills. I feel like some of these people should spend less time worrying about how high they can possibly stretch their vocal chords and more time worrying about how they are going to give a truthful performance every night. *Better* singers in the world there might not be- but better actors you can find at many high schools in America.
RE: Ben Brantley's ability as a critic/writer.-I don't know who appreciates this almost pretentious, stream-of-thought pandering that he does, but I certainly do not.

[Blair]

Posted: 3/26/05 at 8:35pm

What I really don't get is how he associates Sutton Foster with an American Idol sound. She is as Broadway as they come, and in my opinion, an actress before a singer. Yes, she belts, but I really don't hear a lot of a pop sound in her voice. That's fine if he doesn't like her, but come on...it makes no sense to me.

[Al Dente]

Posted: 3/26/05 at 9:51pm

Because he's a fool. Foster has one of the most stereotypical musical theater voices around. There is nothing pop or pop radio friendly about it. It's like musical theater stylings 101. He just doesn't like the woman. And will never bend and take every opportunity to take a cheap dig at her as he takes every opportunity to praise Cheno. He's so stuck in his own pomposity, it's amusing. He knows very little about what is going on in *contemporary* society, hence, why he would make the well off base comparison to AI, in the first place.

[MatureDignity]

Posted: 3/26/05 at 10:19pm

This article got me all fired up earlier today...

I guess Brantley thinks the AI trend is overwhelming, but I disagree. Brooklyn, Little Women, and Wicked are the only currently running shows I can think of that heavily feature the American Idol-like power belting... and there are two shows currently running that more or less poke fun at it (DRS and Spamalot). Trends fade, change is constant, etc...

I'm disappointed that he was so harsh on the performers and for the most part, overlooked the role of composers. Blame the material in Little Women, too! A bland song like "Astonishing" leaves little room for "individual flair." If he'd explored the role of songwriting in this trend, it would've been a decent article. But focusing on more than one aspect of anything is not one of Brantley's strengths.

(Can someone explain to me how Audra McDonald and "pop" can appear in the same sentence? I didn't think you could find a more legit singer...)
Updated On: 3/26/05 at 10:19 PM

[Madame X2]

Posted: 3/26/05 at 11:10pm

This has probably been said already, but it's all for the money.
Look at the ratings American Idol gets. Lokk at the money being made in the pop industry. Some composers want to jump on the bandwagon as well and make that kind of money.
It just seems to me that the power belting and whatnot are what are drawing people who usually don't like Broadway music to big spectical shows. When the average American thinks of Broadway, they are inclined to think of a big cheesey Rogers and Hammerstien number. By using pop music, which people are familiar with, more people come.
I really hate how the acting is somewhat being tossed aside and big notes and mellismas are taking over. If only the acting was as good as some of the singing it would all be okay.

You know what? I want to see an American Idol musical! I want to see if some of these people are capable of connecting with the music thair singing.

[VIETgrlTerifa]

Posted: 3/27/05 at 1:18am

From my understanding, not only is Thompson as good as Cheno's Galinda, but better according to popular opinion.

So now you think it's ok to use popular opinion as evidence to support your claim.

[Thetruth]

Posted: 3/27/05 at 1:24am

I like that shout out he gave to Fantasia!

[apdarcey]

Posted: 3/27/05 at 2:53am

i think his idea is right, but he does not use the right evidence. also, i cannot believe he includes sutton foster in this category of singers/actors. i completely disagree with that. one comment i found completely fascinating was calling "astonishing" brassy, when, in fact, there are purposely only strings, reeds, keyboard and percussion in the little women orchestra. some comments are plain stupid.

[Audryna]

Posted: 3/27/05 at 4:22am

I think he missed some underlying problems in his article about "American Idol" and the negative effect it could have on broadway.

American Idol is agest and only a certain age group are allowed to apply and as we all know in theatre age is not a problem. I mean fancy turning down someone like Bernedette Peters or (HEAVEN FORBID) the Goddess Mother of All things Musical, Dame Julie Andrews purely based on not being in the required "age group". It's heresy!

And I SWEAR the next time they say "You need to lose some weight!" I will throw something at the tv. It's ok if you've noticed for the men to be overweight but help us all if an overweight woman dare grace the American Idol stage. It's complete and utter bollox.

No no, american idol is the apocolypse we were warned of in sunday school. It MUST NOT infect the great American STAGE and it should be banished from every corner of our tiny planet. Whilst it has produced some very good artist who would not otherwise be discovered, we as a society have paid a far more expensive price for it. The message it is sending is if you are older than 28 and overweight you are past it.. you're not good enough. I shudder to think that mentality could ever infiltrate our great theatre society. I mean they'd probably banish Hairspray altogether!

And that's my 2 cents (thank you for my moment)

[Peter]

Posted: 3/27/05 at 4:33am

It's so reassuring to see Brantley on his agenda and promotion bandwagon again. Once again, we hear the accolades to his princess Chenoweth and of course that damm contemporary sound that threatens to totally ruin broadway...like those "jukebox musicals" or "pop musicals" or "British megamusicals" he also hates.... are trashed. If Brantley had his way, broadway would be full of mostly musical comedies, featuring classically trained sopranos that he could regularly write love letters about and persuade everyone that they are unique talents. Who cares if some of them aren't all that unique and some are even annoying?..who cares if they dont sell tickets?..Brantley will be able to convince all of his brethren that his select few favorites are legendary talents....After all, everyone knows from his review that Chenoweth turned in a legendary performance in Wicked. To me, Chenoweth's one-note cutesy-pie-act is getting a little old.

One show..I repeat one show has opened this season to mirror the type of American-Idolesque belting that Brantley is referring to: Brooklyn. For all of its problems, Wicked doesn't feature an excess of belting and Little Women certainly doesn't. Even Wildhorn's Dracula only had a couple belting showstoppers this time. Musicals have had belting showstoppers as long as I can remember and the audience has always reacted the way they do.

It's true that the popular trend in contemporary music is a lot of screaming, but this started long before American Idol, and it differs from Broadway "belting". Certainly, his argument that individuality and personality can be lost when the emphasis is on volume, rather than interpretation is true, but it's far less the case than he's leading us to believe.

It's also true I believe, that he holds his low-volume favorites to a much lower standard than he does the high-volume ones. He cites Merman and Holliday as being freakish and thats why their belting works, but to me, but many of his favorites, are not all that unique as he leads us to believe. One of them he conveniently omits from this article is Rebecca Luker.Is she or one-note-cutesy-Chenoweth for that matter all that much better than Sutton Foster? Do they possess all that much more character and personality? I really don't think so.

This is yet another example of Brantley preaching to his congregation...feeding them easily digestible garbage and whining that broadway is going to the dogs because it dare reflect the music of the times. If Brantley had his way, I have no doubt that Broadway would be a really boring place with a doubtful future.


Updated On: 3/27/05 at 04:33 AM

[Galahad312]

Posted: 3/27/05 at 5:48am

I totally agree with Audryna. I wanted to say that when I took Drama classes years ago our instructor pointed out that Actor`s never half to be models to be able to perform. Many people from many walks of life, age groups and back grounds that encompass the Acting community as a whole and it is this difference that makes the performing arts so beautiful and wonderful. If we continue to follow the Critical remarks of Simon Cowell as a guide for all performances than we have made a huge mistake. HE always states on how `America is listening to him,` well thats just too bad. Maybe for Pop thats fine but hopefully America will wake up and return to what is performing arts and its creative endeavors. I believe that one day it will whether its American Idol to blame or other influences, one day that return to the real appreciation of peformers will happen. Actors shouldn`t only care about singing but care a great deal about their fellow performers with them and most of all care about Acting.
The art of energizing oneself to a role inwhich to flesh out a character with passion and heart before a live audience can never be replaced by cheap pop antics. Theater will survive! Will live on forver!

[rockfenris2005]

Posted: 3/27/05 at 6:07am

Why does it have to be "Broadway"? Why can't it just be a "show" that succeeds for what it is?

[Katecab99]

Posted: 3/27/05 at 8:40pm

I agree with alot of what he says, except for the fact that I don't believe that Sutton should be categorized with the rest of them. She is truly a "broadway" talent, with a very different voice than most other females on broadway (which is, of course, why she's my fave).
Updated On: 3/27/05 at 08:40 PM

[Unknown User]

Posted: 3/27/05 at 9:39pm

Let me just start by saying that I adore Sutton and I think that she is a great talent and is nothing like Eden or Shoshana whatsoever.

But, that said, I completely agree with Brantley. Musicals today are tending to base their shows (and especially their climaxes) on how high their singers can belt. Look at these Act One closers: Gypsy--Everything's Coming Up Roses. One could sing this song pretty easily, but to have the emotional weight it carries with it... That's not easy. And it's necessary. If you just read the lyrics, it seems very happy and carefree. Sweeney Todd? A Little Priest. A character/lyrical climax. Wicked (and I love Wicked, but I'm just saying)? Defying Gravity, which can (and should) be an emotional climax, but that's not what every audience member sees. They just hear how ridiculously high Idina/Shoshana/whoever is belting and that's what they're applauding. It's like Schwartz was thinking 'Well, this is a very big moment for Elphaba, so let's make her belt really high so that the audience understands that'. I haven't seen Shoshana, but I know Idina made it work emotionally as well, but I don't think that's what everyone around me was focusing on.

I'm rambling. Hmm. And I've lost my train of thought. I completely agree with whoever said that the writers are just not writing great, original musicals so much anymore. They're getting very lazy. They want to sell, sell, sell, and they know the easy formula for a hit nowadays: base it on something familiar, build big sets, get great belters, write one ear-piercingly high pop number that will draw audiences in even if the rest of the show is awful. And boom! A few million dollars later, you're on Broadway.

There is hope. With Spelling Bee and The Light in the Piazza, I really believe that there is hope. Albeit a very small one. But let's hope it grows.

[MusicMan]

Posted: 3/27/05 at 11:13pm

Given the abysmal state of music education in America and the domination of pop culture in the media, is the "idolization" of Broadway a surprise? It's the natural evolution of the narcissistic posturing which has infected pop music over the last 40 years and is a reflection of our self-absorbed, adolescent, national psyche. And the recording industry must share blame in the debasement of musical values because it has largely sacrificed its integrity in favor of the bottom line. The fact that bottom-of-the barrel no-talents or murderous thugs can be commodified and pitched to audiences as "recording artists" speaks volumes about the contemporary American character. In the end, the culture we endorse and support is the culture we deserve.

Updated On: 3/27/05 at 11:13 PM

[Plum]

Posted: 3/27/05 at 11:35pm

I feel like I've read that post before. Or at least part of it. Did you say the same thing on ATC?

[MusicMan]

Posted: 3/27/05 at 11:38pm

I did. And also had some further thoughts on the subject. Hence, my post here.

[wendy72]

Posted: 3/28/05 at 12:14pm

Brantley definitely had indirect compliments for DRS and directly compliments for Norbert, among other younger talents on Broadway today.

[MagicToDo82]

Posted: 3/28/05 at 1:08pm

I agree with a lot of this article, but think Sutton Foster should not have been mentioned. Yes, she's a young female, but she is as classically influenced a Broadway belter as there is these days. She doesn't have a pop sound at all, and she's a true triple threat who could easily whoop most of her contemporaries in the stage presence/ability/training departments. Save the Sutton:)

and I'm really starting to resent this new trend to dismiss older shows as stodgy while new shows are praised just for having a more pop sound. Maybe it's just me...who knows?