#1
Posted: 11/18/06 at 8:59pm
I had heard she was bad but untill I saw the broadway.com 10th aniversary video I didn't realize HOW bad she was. WOW
Melanie Grifiths Chicago
#3
Posted: 11/18/06 at 9:48pm
I had no clue that she was that bad either. She sounded like a dying cat!
Updated On: 11/18/06 at 09:48 PM
#4
Posted: 11/18/06 at 9:50pm
...yet the audiences bought tickets in droves!
"Long live God!" (GODSPELL)
#5
Posted: 11/18/06 at 10:04pm
"...yet the audiences bought tickets in droves!"
And that is what makes the entertainment industry sad. She sounded like a dying camel.
I say that loud and proud.
And that is what makes the entertainment industry sad. She sounded like a dying camel.
I say that loud and proud. Updated On: 11/18/06 at 10:04 PM
#6
Posted: 11/18/06 at 10:09pm
And Ben Brantley said that she might be the best Roxie ever.
#8
Posted: 11/18/06 at 10:17pm
it just sounded and looked like she had a little too much to drink.
#9
Posted: 11/18/06 at 11:26pm
Critics went and reviewed Melanie Griffith's Roxie turn in CHICAGO, and much to everyone's shock -- the reviews were practically RAVES across the board...especially Ben Brantley's of The New York Times.
#11
Posted: 11/18/06 at 11:33pm
Why did Griffith get reviewed by critics?
Does anyone have a copy of Brantleys?
Does anyone have a copy of Brantleys?
#12
Posted: 11/18/06 at 11:57pm
http://theater2.nytimes.com/mem/theater/treview.html?res=9800E0D6103EF937A3575BC0A9659C8B63
Whatever happened to class?
#13
Posted: 11/19/06 at 12:09am
Although I felt Griffith was just okay as Roxie overall, I actually agree with Brantley's review. She couldn't sing, but her acting was enthralling. She really nailed the role in that regard, and she was so strong with her character choices that it almost eclipsed the bad singing.
Brantley acknowledged the lack of vocal prowise but raved about all other aspects of the performance, and having seen Griffith in the role, I can't say I disagree.
Brantley acknowledged the lack of vocal prowise but raved about all other aspects of the performance, and having seen Griffith in the role, I can't say I disagree.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
Tony Kushner: You can sing it at my funeral.
#15
Posted: 11/19/06 at 1:02am
Like I said, she did a really good job with the monologue before singing Roxie. I would have been pleased if she did that and another Roxie took the song. No such luck. My poor ears.
"If there was a Mount Rushmore for Broadway scores, "West Side Story" would be front and center. It snaps, it crackles it pops! It surges with a roar, its energy and sheer life undiminished by the years" - NYPost reviewer Elisabeth Vincentelli
#16
Posted: 11/19/06 at 4:04am
Well, she does perform like a star-wannabe, but sadly I don't think that is brilliant acting, but herself not knowing what to do...
Listen, I don't take my clothes off for anyone, even if it is "artistic". - JANICE
#17
Posted: 11/19/06 at 4:12am
My main problem with her was not so much her voice, but she just did not know how to command the stage. I agree with Brantley in that Griffiths nailed Roxie's insecurities and incredible vulnerability on stage. However, she just did not know how to conduct herself on a Broadway stage, she did not know what to do with her hand, and I often found myself staring at some cute guy in the ensemble instead of paying attention to her "Roxie" or "Me and My Baby" (the latter one performed with a terrible choreography designed around Griffith's weaknesses).
#18
Posted: 11/19/06 at 4:32am
Who would ever have thought that for one vaporous moment in the silly season Ms. Banderas and Mr. Griffith would be the new Lunt and Fontanne?
Did Brantley screw up the Ms and Mr?
Did Brantley screw up the Ms and Mr?
#19
Posted: 11/19/06 at 4:50am
And yet, that is exactly what Roxie would have done too. Sometimes, a honest, "natural" performance can really screw up something as artificial as a musical comedy.
It reminds me of the story of a casting call for Oklahoma after the show was running for a year or two. An actor came in with an authentic Oklahoma accent. The casting director said "He can sing AND he's utterly authentic." Hammerstein nixed him saying he'd stick out on stage. "The only time any of the cowboys in our show encounter a real cow, it has an order of potatoes beside it."
It reminds me of the story of a casting call for Oklahoma after the show was running for a year or two. An actor came in with an authentic Oklahoma accent. The casting director said "He can sing AND he's utterly authentic." Hammerstein nixed him saying he'd stick out on stage. "The only time any of the cowboys in our show encounter a real cow, it has an order of potatoes beside it."
http://www.broadwayworld.com/board/readmessage.cfm?thread=972787#3631451
http://www.broadwayworld.com/board/readmessage.cfm?thread=963561#3533883
http://www.broadwayworld.com/board/readmessage.cfm?thread=955158#3440952
http://www.broadwayworld.com/board/readmessage.cfm?thread=954269#3427915
http://www.broadwayworld.com/board/readmessage.cfm?thread=955012#3441622
http://www.broadwayworld.com/board/readmessage.cfm?thread=954344#3428699
Updated On: 11/19/06 at 04:50 AM
#20
Posted: 11/19/06 at 11:09am
It's true, most of the reviews were raves. And on the same hand, almost all of them mentioned Melanie as being a less than capable singer and dancer.
I saw her live (heck, I think my avator is still Melanie and Deidre.) The woman has star presence, not to mention there was a vulnerability in her Roxie that I had not seen before or since. She was a little sex kitten hungry for fame and totally came across as manipulative of her other cast mates (their characters, that is.) Singing = passable, Dancing = eh, not so much...thohugh girl had one heck of a cartwheel.
The show was HOT during her run. The Ensemble was into it 110% (which doesn't always happen in Chicago-land), Brent Barrett returned with his perfect Billy Flynn, and Deidre Goodwin was a knockout as Velma. sure, she had to hold back in numbers like the HHR, but Deidre and Melanie made a great team (I also loved Deidre and Charlotte together.)
The audience was sold out, and I enjoyed every minute of that summer performance.
I saw her live (heck, I think my avator is still Melanie and Deidre.) The woman has star presence, not to mention there was a vulnerability in her Roxie that I had not seen before or since. She was a little sex kitten hungry for fame and totally came across as manipulative of her other cast mates (their characters, that is.) Singing = passable, Dancing = eh, not so much...thohugh girl had one heck of a cartwheel.
The show was HOT during her run. The Ensemble was into it 110% (which doesn't always happen in Chicago-land), Brent Barrett returned with his perfect Billy Flynn, and Deidre Goodwin was a knockout as Velma. sure, she had to hold back in numbers like the HHR, but Deidre and Melanie made a great team (I also loved Deidre and Charlotte together.)
The audience was sold out, and I enjoyed every minute of that summer performance.
#21
Posted: 11/19/06 at 11:34am
I didn't buy tickets to see her, since I got them like 8 months in advance, but she was announeced to join, and well, she was awful.
She was never in character, she couldn't hit any notes, and her dancing looked like a 2 year old just learning to walk. Everybody else was great (considering I hated the show), but she was completely miscast.
She was never in character, she couldn't hit any notes, and her dancing looked like a 2 year old just learning to walk. Everybody else was great (considering I hated the show), but she was completely miscast.
#22
Posted: 11/19/06 at 11:55am
This thread reminds me of one of my favorite things I've ever read on the board:
"Brantley certainly does have something to say...he is reacting against Broadway's technical superiority complex. I.E. The highest belting, the longest notes, the most riffs, etc etc etc.
Brantly believes there are a never-ending line of people who can belt high, do a thousand turns, kick their legs behind their ears, and sing above high C. And, he is right.
What there are NOT a lot of are people who can't be replaced. People who OWN a role with their own uniqueness, and not their ability to be technically good.
In fact, a star's quality is not their ability to be technically good, or even artistically good, but their ability to be human.
And on that note, I believe Brantley is right -- we need less technical superiority, and more humanity." - touchmeinthemorning
https://forum.broadwayworld.com/readmessage.cfm?boardname=bway&thread=865347
"Brantley certainly does have something to say...he is reacting against Broadway's technical superiority complex. I.E. The highest belting, the longest notes, the most riffs, etc etc etc.
Brantly believes there are a never-ending line of people who can belt high, do a thousand turns, kick their legs behind their ears, and sing above high C. And, he is right.
What there are NOT a lot of are people who can't be replaced. People who OWN a role with their own uniqueness, and not their ability to be technically good.
In fact, a star's quality is not their ability to be technically good, or even artistically good, but their ability to be human.
And on that note, I believe Brantley is right -- we need less technical superiority, and more humanity." - touchmeinthemorning
https://forum.broadwayworld.com/readmessage.cfm?boardname=bway&thread=865347
"The gods who nurse this universe think little of mortals' cares. They sit in crowds on exclusive clouds and laugh at our love affairs. I might have had a real romance if they'd given me a chance. I loved him, but he didn't love me. I wanted him, but he didn't want me. Then the gods had a spree and indulged in another whim. Now he loves me, but I don't love him." - Cole Porter
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