Martin Guerre??

No, it didn't.

I have it. I like it. I don't think it is the BEST musical ever but it is good.

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There are two cast recordings. I think the score is stronger on the second, but the cast is stronger on the first.

Schönberg's last work was without Boublil -- it was the music for the ballet version of "Wuthering Heights."
http://www.ballet.co.uk/magazines/yr_03/apr03/bm_rev_nbt_0303.htm

I have never heard WITCHES OF EASTWICK, but I love WHISTLE DOWN THE WIND. I know I am in the minority here, but I hope Webber never dies. I can't wait until they come out with a WOMAN IN WHITE recording. Keep them coming my man. Keep them coming.

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Well...there is BOMBAY DREAMS...

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Re: "Martin Guerre": I saw both versions - the West End production and the UK national tour re-write - and have both CDs. I really liked both - the music is fantastic! - and found it hard to choose between them as they both had differing strengths and weaknesses in book and score. I'm not sure I agree with Musetta that the cast was better in the original version. I think that Ian Glenn (an actor rather than a singer) was miscast as Arnaud and does not do the songs justice on the recording - and the revised version has some stunning vocals from Joanna Riding as Bertrande, Matthew Cammell as Arnaud and Stephen Weller in the title role.

Re: the demise of the British "mega musical":
I wonder what constitutes a "British" musical. Borstalboy refers to "Witches of Eastwick" as a British show. I know it was a Mackintosh production but the score is by Americans - John Dempsey and Dana Rowe. (I loved this show btw!)

And then there is the recent Broadway "hit" show "Aida", which is produced by Disney but has a score by Britain's Elton John and Tim Rice.

And both "Les Mis" and "Miss Saigon" are considered British shows but are really French!

Maybe it's wrong to categorize anything!

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Miss Saigon is French ? Uhmm...the composers may have been French and the setting was Vietnam where they spoke French ... but I think it is more the story of the American conflict and dilemma during and after the Vietnam war. Perhaps many Americans found that the story might have struck a chord with many who were affected by that war.

The production, though, was staged in England by Brit director Nick Hytner ( now in charge of the Royal National Theatre) and except for Jonathan Pryce and Claire Moore, with mostly Asian lead actors ( our Lea Salonga and our Monique Wilson and a few other Filipino stage actors) - so it is a rather complicated musical in terms of racial origin

Oh, Martin Guerre....

I remember when the 2nd-version of Martin Guerre was touring in the US in anticipation for an opening in New York. The reason it didn't make it to Broadway, however, was strictly because all the Broadway theatres were already booked that year (I think it was 2000?). Cameron Mackintosh had every intention of bringing it to New York, but they were plagued with bad luck. I was really disappointed when I heard the news, because I was really excited about the show - Boublil & Schonberg are still my favourite writing team.

Martin Guerre has an odd history: it initially opened on the West End to bad reviews, then took a hiatus for major rewrites. When it reopened, it received glowing notices and won the Laurence Olivier award for Best Musical that year. (The first cast recording reflects the period between the first and second openings). But the bad word-of-mouth from the first run completely killed the much-improved revision.

The creative team then completely reworked the show for a 1999 UK tour - it was paired-down extensively, melodies were reworked and moved around, and the new was a much more modest occasion. (The 2nd cast recording of Martin Guerre reflects this production.) This was the one that also enjoyed a short tour in the US, before being stifled after a Broadway opening was no longer possible.

I have both cast recordings. I enjoy the first one more: it has fuller orchestration and 'Working on the Land' is a gorgeous, rousing cast number that is missing from the second recording. The narrative also feels more satisfying, though I've heard that the second production was actually better in performance. The recording for the second production, though, has really a strange, minimalist orchestration; melodies from the first show get completely new lyrics and are performed at different parts of the show, which is jarring if you know the first recording really well. But the new songs, 'How Many Tears' and the duet 'Live with Someone You Love,' are lovely.

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Updated On: 6/28/04 at 09:52 PM

dont forget that chitty chitty bang bang will be coming to broadway and that is a big british musical and then mary poppins when that come over to the U.S.

Michael Ball has a gorgeous duet of LIVE WITH SOMEBODY YOU LOVE with Marie Zamora who happens to tbe the wife of Alain Boublil.

Hopefully, Michael comes over with CHITTY when the flying car crosses the pond

Sorry, was a double post

Updated On: 6/29/04 at 09:40 AM