Is Chad Kimball ever in MEMPHIS?- Page 2

[Dolly_Levi]

Posted: 7/31/10 at 6:34pm

I agree with Dollypop re: contemporary composers, but would also add that I feel bookwriters (and directors) are also at fault, not properly writing in 'breaks' for lead characters. I first noticed (and was able to articulate this) after seeing 'Legally Blonde,' there were just no noticeable stretches of time that didn't feature Elle - where was the time for the actress to have a short break for a drink, etc. I think that, over time, impacted the actress' performance in the role. Having recently seen 'Memphis,' I believe this may be a factor as well.

Even Mama Rose gets a break in 'Gypsy.'

[perfectlymarvelous]

Posted: 7/31/10 at 7:34pm

I'm also going to echo Dollypop (and the others who have commented on this) re: many contemporary composers not knowing how to write for a human voice. So many of the shows written in the last 10-15 years have extremely difficult scores (and not just in the way that something like Sondheim is difficult to sing, but things like Elphaba in Wicked where it's near impossible to do 8 times a week over a long period of time without burning out your voice) that, even with amplification, take an incredible toll on even the most well-trained singers' bodies and voices.

[Elphaba43]

Posted: 7/31/10 at 7:39pm

I hope he gets back for Saturday August 7th....that's when I'm going to see him, the evening show....

[Katurian2]

Posted: 7/31/10 at 7:45pm

Are we really comparing the role of Huey in Memphis to Mama Rose? That's absolutely ridiculous. Half the time when Huey is onstage, he's not even singing. He has some really high notes, but there is certainly room for a breath in there as well.

There have always been demanding roles in musical theatre. Look at Bobby in Company. Onstage nearly the entire time, difficult musical range- Raul burned himself out doing it, and that show is decades old. Fanny Brice in Funny Girl? Same thing. If anything, that's the closest comparison to Huey in that she sings some difficult songs but gets large breaks of dialogue. Lastly, how about Finch in How to Succeed? Another role that barely ever leaves the stage with some vocal challenges, also decades old.

The roles have always been out there, but so many actors nowadays go into shows unprepared, and I'm sure the belting and rock-musical tone of many of these scores doesn't help either. But to say these 'never leave the stage' roles are a new thing? Absolutely not.

[ljay889]

Posted: 7/31/10 at 7:49pm

Are we really comparing the role of Huey in Memphis to Mama Rose? That's absolutely ridiculous. Half the time when Huey is onstage, he's not even singing. He has some really high notes, but there is certainly room for a breath in there as well.

Exactly, thank you. I didn't find the role particularly demanding. These Memphis fans will go to huge absurd lengths to defend Kimball and the show.

[Bettyboy72]

Posted: 7/31/10 at 9:15pm

I haven't seen Memphis, but I stand by the cruelty that is WICKED. To go from As Long As You're Mine right into No Good Deed is not very nice for a composer to do.

EDIT: While wearing a 25 pound dress with metal threading.

Updated On: 7/31/10 at 09:15 PM

[TheatreFan4]

Posted: 7/31/10 at 9:20pm

^ Not to mention the screaming match between the songs & Elphaba needing to run under the stage & into the lift in about 15 seconds.

[knicks5219922]

Posted: 7/31/10 at 10:55pm

Come on guys how many performances did Raul miss in Company or Patti in Gypsy?
Those were much more difficult roles, performing Being Alive and Rose's Turn 8 times a week.

[CountA]

Posted: 7/31/10 at 10:59pm

Oh. The memories of actors missing work, and all of the Broadway World commentary...
It's All Happened Before

[jimmycurry01]

Posted: 8/1/10 at 12:38am

Whoa there, Disneyland Magic Man. Even the big star's voices get strained. It is true that a crap doctor permanently destroyed Juile Andrew's voice, but it is Victor/Victoria that caused the strain and missing of shows that later required her to see help from that doctor. Also don't forget in the original run of Evita in London there was a time when they went through three Evitas in one night. Elaine Paige would have no voice at all for a week at a time, even Ms. Lupone was out for days at a time due to vocal strain, it unfortunately comes with the job during a long run with a score that is not vocal friendly.
There is a reason why roles like Evita, Christine, and Jekyll/Hyde get double cast (and sometimes triple cast) and that is the trend of writing scores that the human voice cannot do eight times a week for six or more months at a time.

[Michael Bennett]

Posted: 8/1/10 at 12:44am

It should be noted that vocally demanding isn't something exclusive to just being required to hit challenging notes -- the dialogue strain absolutely can play a big part of it - almost every major Eliza Doolittle, from Julie Andrews to Nancy Ringham and Melissa Errico and Martine McCutcheon in recent revivals has had major vocal difficulty performing the role - and not simply because of the character's vocal range - the dialogue in the show - and changing gears from cockney to singing is apparently brutal on the vocal cords.

The bizarre accent Kimball employs in MEMPHIS could also be playing a big role in straining his vocal chords.

[jimmycurry01]

Posted: 8/1/10 at 1:00am

That is also a very good point to make. I think that was likely why the Jekyll/Hyde role was double cast, not because of challenging notes, but instead because going from an intense growling voice to a more gentlemanly voice is very tough on the vocal cords.

[ThankstoPhantom]

Posted: 8/1/10 at 1:41am

I fully believe that the role of Elphaba should be performed 6 times a week by the maincast star, and the standby should be bumped up to alternate. So many actresses in the role takes several shows off a month, and they should really just give them the consistent time off to recuperate.

[philly03]

Posted: 8/1/10 at 2:04am

I haven't seen the show, but I have heard the score a few times from the cast recording... I'm in full agreement that there are many other far more demanding roles out there. Sure some of those roles have had alternates, but look at Robert Cuccioli... he did Jekyll & HYDE for a year on tour, then did TWO years on Broadway for his Tony nominated performance, with only a slight cut to the ending of "This is the Moment." Don't forget about the other challenging parts of the score including that final note in "The Way Back," or switching between two different voices within seconds in "Confrontation." Certainly one of the most difficult male roles in musical theatre, and he did it fine for 3 years, 6 times a week!

I understand sometimes problems occur, or changes to the score that weren't planned happen, but it's kind of late in the run. The score to DRACULA, the musical was tweaked within the few weeks before and after it's opening, and star Melissa Errico had to take an announced absence, so I guess my question is why hasn't Kimball done the same?
Updated On: 8/1/10 at 02:04 AM

[justafan2]

Posted: 8/1/10 at 9:16am

I agree with Michael Bennett----not only is the singing demanding, but the accent and his stance are deliberate and strained. His knees are always bent and he kind of "sidles" for the entire performance.

[CountA]

Posted: 8/1/10 at 9:29am

Did anyone look at the thread from a previous year? Seems like the same debate was raging then.

While there are vocal and physical demands in many roles, the training and experience level of the performer play a large role in their ability to perform well daily.

[justafan2]

Posted: 8/1/10 at 9:42am

I believe Chad has been performing this role for about 6 years or so. Can that length of training make you better able to withstand the strain or does it stress the muscles too much?

[CountA]

Posted: 8/1/10 at 10:10am

If he started the show without a strong singing technique, he would be fading rapidly by now.

[Michael Bennett]

Posted: 8/1/10 at 10:12am

If you are straining your body or voice - you eventually are going to experience negative side effects. Strength training doesn't really apply when you are asking your body to do something that is hurting it.

[ghostlight2]

Posted: 8/1/10 at 10:14am

I blame the Democrats for Chad's absences. Very sad and disappointing. Dysfunctional or hanging Chads will forever be their downfall.

[Wayman_Wong]

Posted: 8/1/10 at 10:20am

For the record, a source at 'Memphis' tells me that Chad hurt his knee, and has been out of the show on doctor's orders. He should be back by Tuesday.

[CountA]

Posted: 8/1/10 at 10:22am

But what about LaChanze in The Color Purple?

Poor LaChanze Updated On: 8/1/10 at 10:22 AM

[broadwaylover6]

Posted: 8/1/10 at 10:24am

While I agree that Bryan gives a stellar performance, I think it is unfair to compare, Bryan occasional run to Chad's constant performance. Bryan has yet do eight performances in a row, week after week, month after month. When he does, then we can talk. And I have seen Bryan in the role several times and he has yet to high the note at the end. And while he is fabulous in the role his chemistry with Montego is not nearly as good as Chad's and Montego's.

[uncageg]

Posted: 8/1/10 at 11:18am

Just an aside...Mr. Cuccioli missed almost half of his performances of Jekyl & Hyde in Denver on the pre-Broadway tour due to vocal problems. Word was that a major reason why is because he didn't pay attention to the instructions performers are sent regarding performing at this altitude. The packet is sent to them in the city prior to their run in Denver.

[newintown]

Posted: 8/2/10 at 4:33pm

Dollypop is certainly right about today's crop of theatre composers having no understanding of the human voice; but of course, freak voices from the pop and theatre world (Freddie mercury, Laurie Beechman) have taught them that they can write any old string of high notes and expect them to be sung.

But, on top of that, poor closeted Chad killing himself over a ridiculous, lowbrow, vulgar role like Huey is truly tragic. It's not the kind of work that enters the pantheon or ensures immortality.