Martin Guerre- My guilty pleasure- Page 2

[Mister Matt]

Posted: 5/13/05 at 2:48pm

CATSNY - Why do they scare you? The 1999 version is more a song of strong will and courage which does not really fit in with the story. The original lyrics are those of a frightened young man who has dreams of showing up the village in a flutter of glory. It is not until after Martin fights in the war that he truly learns about courage and honor. The new lyrics are far too noble and mature for somone about to make such an immature and cowardly decision.

Original Lyrics:

All the insults and the names.
The kicks, the tricks, the vicious games
To make a young man reach his prime.
They say he's weak, they say he's snapped.
A man who's scared, a man who's trapped.
When all a young man needs is time.
Let them try, with the thrill of the pack.
Hold your breath till the day he gets back!

Enough, no more, I don't give a damn.
Why stay, what for?
I know who I am.
A man above the lie that they live.
A man who'll love when he's ready to give.

But I'll come back one day
After ten years away.
And they'll stop and they'll say
Look! Look!

Look, it's Martin Guerre.
We need him here, no need to fear, never despair.
Yes! It's Martin Guerre.
Back home at last, those from the past better beware.
Strides through the town.
Laughs, waves them away.
They all think he must be the same.
But by heaven they're sure to see there's more to Martin Guerre
Than a name.

And that bastard, Pierre
Holds my life in his hand.
He's no uncle of mine.
He can have all my land.
The land he sold me for.
May God condemn his soul to hell
And all of Artigat as well...

Look! It's Martin Guerre.
Standing so brave, back from the grave, who else would dare?
Yes! It's Martin Guerre.
Back from the war, not like before
Of this I swear.
He's seen it all, he's travelled the land.
And look! Look what he became.
And by heaven they're sure to see there's more to Martin Guerre
Just look, look at what he became.
And by heaven they're sure to see there's more to Martin Guerre
Than a name!



1999 Lyrics:

They say they follow the Lord's will
Still they torture, still they kill
To make a young man reach his prime.
They say he's cursed, Satan's child.
I'm just a boy betrayed, defiled.
All a young man needs is time.
Damn them all! While they run with the pack.
They will pay for the scars on my back.

They want my blood, they're ready to feed.
They don't even know the man that they bleed.
As if a man can love on demand as if his life is already planned.
There's no demon inside.
Just a man full of pride.
For my hopes haven't died.
Look.....look....

Look, I'm Martin Guerre.
Too young to love
But still above
The lie they live.
Yes, I'm Martin Guerre
A man who knows
How evil grows
Who can't forgive.
Soon they will see
A man can choose to be free.
The all look for someone to blame.
But I swear it aloud I will be proud that Martin Guerre
Is my name.

First I trusted Pierre.
I was sold at the shrine.
Then I trusted the priest.
Now my blood runs like wine.
And there was Bertrand.
It seems all love must turn to dust.
There must be someone I can trust.

Look, I'm Martin Guerre.
Father I'm brave
And from your grave
You'll keep me strong.
Yes, I'm Martin Guerre.
For they will learn
When I return
That I belong.
Soon you will see
That I can choose to be free.
They all look for someone to blame.
But I swear it aloud I will be proud that Martin Guerre
Is my name.
They all look for someone to blame.
But I swear it aloud I will be proud that Martin Guerre
Is my name.

[BlueWizard]

Posted: 5/13/05 at 3:26pm

I'm also a fan of MARTIN GUERRE, although I don't like it as much as LES MIZ and MISS SAIGON. Ironically, of Boublil/Schonberg's three stage musicals MARTIN GUERRE was the only one to win London's coveted Olivier award for Best Musical -- this was after a few rewrites and the initial reviews which killed the show's prospects.

I believe the decision to make it known that Arnaud wasn't Martin Guerre was partly a practical one: unless they hire a child/adolescent actor to play the young Martin (and have him disappear for the rest of the show), wouldn't you know that the returning Arnaud wasn't Martin simply because it's a different actor?

This show reminds me a lot of THE CRUCIBLE, and I've always felt that the courtroom drama was the weakest part of the show.

[Mother's Younger Brother]

Posted: 5/13/05 at 4:49pm

Ooooh, I love Martin Guerre too! It did tour the states...I saw it in L.A. with Stephen R. Buntrock, Hugh Panaro, Jose Llana, and Erin Dilly. Fantastic cast.

I'm in the minority here, but I prefer the newer version of the show. Both the size and orchestrations better reflect the style and mood of the show -- but I had to see it to realize that. Prior to that, I thought I prefered the more lush orchestrations of the original, but the smaller, more medieveal-styled arrangements of the newer version fit perfectly with the show as it is "now."

It's a shame it didn't make it Broadway. 10 years ago it would've been a hit (along with Jane Eyre), but it came along just as Broadway was becoming cynical and "funny" (The Producers, Hairspray, The Full Monty, etc.) and it was just too out of step with the times.

[WSStory]

Posted: 5/13/05 at 7:40pm

I saw the original in London and thought it was a beautiful and moving show. One of the best things I have ever seen. The sets were great. That opening scene where the village people are working the land as the curtain goes up, took my breath away. It was so lush and grand like grand opera.

On the other hand, I also saw the LA production and thought it was terrible despite the good cast. No comparision to the original.

Back to the original production, however, I think the main problem, besides some book issues, was that the tide was turning as far as the public's opinion of Big British Musicals was concern. I think if it would have come out before Miss Saigon, Starlight Express, Phantom, and others, it would have been a big hit. That's just my opinion.

Posted: 5/14/05 at 2:30am

I saw both the London and later American "Pre-Broadway" versions of the show (Kennedy Center) and have both the original and 2nd recordings of the show...

The opening scene in the London production WAS breathtaking. Working on the Land IS an amazing opening number. The show was quite large and after Les Mis and Miss Saigon, I think a lot of viewers were looking for something new and ready to criticize the B&S formulaic styles. I personally loved the show and found it quite moving.

I then saw the touring American cast. One quick word - I had already seen Panaro in SideShow (loved it!), and had no idea his vocal prowess was so tremendous. The new opening scene reflected B&S's self-admitted initial vision - a small-scale love story focusing on three characters. Live With Somebody...truly surprised me and I had not had a chance to hear the score as re-imagined for the revised version. I was disappointed that the glorious opening had been replaced by a male duet, but the song itself as sung by Panaro and his co-star had the audience murmuring their surprise and approval of such an amazing duet sung by two such powerful performers.

I enjoyed the newer show's focus on the love story and thoroughly enjoyed the show overall. The grandeur was gone and the giant set was gone and again, I think it ultimately failed on American stages due to not living up to its promise of being another "huge" B&S show...And I agree, the mystery that Somersby envisioned would have helped the book of the revised version.

Sadly, the Dilly/Panaro version was never recorded and I can't really enjoy the 2nd London recording having experienced Panaro's soaring voice.

I remember watching an interview with B&S where they explained that their vision for MG was blown out of proportion, as sometimes happens with an artist's vision once it gets into the hands of producers. They felt that the latter version was truer to their vision, but agreed something was still missing.

This is one show I hope will find a 2nd life in the future.

[devonian.t]

Posted: 5/14/05 at 2:43am

The practicality of casting can be overcome; one of the greatest attributes of theatre as opposed to film is that it does not have to be literal.

Playing tricks on the audience through deceptive casting and role-playing could heighten the mystery: until the arrival of the real Martin at the end, personally, I would have Martin played by Arnaud, and lose the battleground flashback, moving its songs and ideas into the latter part of Act 2, perhaps during the court scene.

It was going to be tried out in the hiatus between London and the tour, but then ever happened- I don't know why.

[Adam Chris]

Posted: 5/14/05 at 2:53am

I wish the creaters/producers of this show would chose to bring back this show so that we might see that which we have been enjoying on CD.

I enjoy the deeply moving score!

It seems to me this score is more "honest" than les miz or miss saigon. It seems less "showy" and more raw. It's un-shamely romantic.

[Sant]

Posted: 5/14/05 at 9:21am

I saw MARTIN GUERRE in London about 6 months before it closed and I really enjoyed it! The score is wonderful, there are a couple of good additions in 1999 version, like "Why"; "Live With Somebody You Love" and the wonderful "How Many Tears", but generally the 1996 recording is much better.

Of the three Boublil & Schönberg shows MG is definitely my favorite.

[Adam Chris]

Posted: 5/16/05 at 5:34pm

I just got the piano/vocal selections to Martin Guerre. It's got some great arrangements. I recommend this to everyone!