#26
Posted: 5/3/09 at 2:07am
CatsNY is right. It doesn't HAVE to be all that elaborate. In fact watching the Broadway production I wished they had gone with a minimalist staging (thing GRAND HOTEL at sea and you'll get the idea.)
Trouble was the set was huge but some of the drops looked cheap and scenes such as the first class dining room cried out for an opulence that was missing.
Also director Richard Jones seemed so concerned with the technical aspects he wasn't giving more than general direction to the cast. (Jones was not even nominated for a Tony that year.) Fortunately most were able to develop some kind of characterization from Peter Stones' very thin script.
But the show had moments. The tableau at the end of act one when the set cleared away and se saw the mighty Titanic off in the distance sailing across the ocean and off stage to a crash. Blackout. I thought it was brilliant. But when I first heard about it I must admit it sounded chintzy. Then I saw it and saw how effective it was.
Maury Yeston's score was (as any who have heard the cast album know) gorgeous. The show was helped by first by Rosie O'Donnell constantly plugging it, then winning the Tony award, and finally when the phenomenally successful movie coming out 8 months later. Unfortunately the movie was so huge that within a year there was Titanic backlash and audiences grew weary of hearing about it. The receipts for the show fell off rather dramatically in the winter of 1999 and the show closed still in the red. It was a flawed show but certainly interesting. I know at least two community theatre groups here are planning to mount it next spring.
Trouble was the set was huge but some of the drops looked cheap and scenes such as the first class dining room cried out for an opulence that was missing.
Also director Richard Jones seemed so concerned with the technical aspects he wasn't giving more than general direction to the cast. (Jones was not even nominated for a Tony that year.) Fortunately most were able to develop some kind of characterization from Peter Stones' very thin script.
But the show had moments. The tableau at the end of act one when the set cleared away and se saw the mighty Titanic off in the distance sailing across the ocean and off stage to a crash. Blackout. I thought it was brilliant. But when I first heard about it I must admit it sounded chintzy. Then I saw it and saw how effective it was.
Maury Yeston's score was (as any who have heard the cast album know) gorgeous. The show was helped by first by Rosie O'Donnell constantly plugging it, then winning the Tony award, and finally when the phenomenally successful movie coming out 8 months later. Unfortunately the movie was so huge that within a year there was Titanic backlash and audiences grew weary of hearing about it. The receipts for the show fell off rather dramatically in the winter of 1999 and the show closed still in the red. It was a flawed show but certainly interesting. I know at least two community theatre groups here are planning to mount it next spring.
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