'Passion' DVD....zzzzzzzzzz — Page 2

It is a story that shows how a person can been emotionally devastated by love and obsession. Fosca is a superb incarnation of that obsession. Donna Murphy gives one of the bravest performances to be put on a Broadway stage. I pick up more nuances in her Fosca each time I watch the DVD. Just watch what she does with her hands. It is a pity that her entrance is somewhat overshadowed by Clara. Fosca's entrance does so much to set up her character. I believe that the moment on stage was extremely memorable.

Sondheim's gorgeous score is as though written as one long rhapsody. The main themes recur, but often with slight differences. I believe that the score improves with repeated listening.

One thing about the DVD that places it on my 'must watch' list, is the audio commentary. Stephen Sondheim, James Lapine, Donna Murphy, Marin Mazzie and Jere Shea all give their impressions, stories and their behind-the-scenes knowledge in this commentary. It is also one of the most humorous extras for a Sondheim musical. I don't think I could live without the Hermione Gingold music hall story, or the saga of the wandering mole.

I can see that Passion could be an acquired taste. It is written with the sensibilities of the original, Italian novel in mind. I do also question some of James Lapine's decisions. But, still I enjoy it.

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Updated On: 8/22/05 at 03:37 AM

PASSION is a work that needs to be appreciated without distraction. You have to be fully absorbed in the characters of Giorgio, Fosca and Clara - it is the story of these intertwining passions and you view each one with a different perspective. Whose passion or whose love is the purest in the end?

I enjoy watching or listening to it a great deal because it is quite an absorbing study of these three human beings with different outlooks and obssessions. I also think that the music must be Stephen Sondheim's most romantic to-date.

I saw the show in London, I do have the DVD of the Broadway version, and I have both OCRs. I agree with the comments re --

>>>On the London cast recording, there's a song that I don't think is in the Broadway version (I listen to the London one WAY more because the cast is so fantastic). Giorgio sings:
"No one has ever loved me,
As that woman has.
No one has truly loved me, till Fosca.
Love without reason, love without mercy,
Love without pride or shame,
Love unconcerned with being returned,
No wisdom, no judgement, no caution, no blame.
No one has ever known me as that woman has....
I was wrong, love's a demand, I was wrong.
Love needn't grow,
LOVE CAN BE SUDDEN SURRENDER NOT TENDER NOT SLOW
AND I KNOW NOW THAT I LOVE FOSCA.
Not the way that she loves me,
But I love Fosca, and nothing will come of it." <<<

that this song captures the essence of the relationship between Giorgio and Fosca.

And what a song delivery from Michael Ball -- you have to hear it to believe it.

I love the information and insights the Broadway cast provides on the dvd. But if the truth be told I do much prefer the "sound" of the London Cast. But that is just me. And Jo, I do love the song I Love Fosca.

I agree with almost everything that's been said...Especially about the wonderful, wonderful commentary track on the DVD.I've already said how I feel about this musical - it really has had a profound emotional effect on me, and continues to do so every time I listen to it/ watch it.

BUT.. This has GOT to be said. Even though Micheal Ball is a great Giorgio, I absolutely hate Maria Friedman's Fosca! It is laughable, honestly - she is just so melodramatic and over the top when she speaks and when she sings....oh well, let's just say I didn't really like her voice. I literally laughed out loud the first time I heard her - it was so bizarre, really!
I know what I'm saying is harsh, and you might think I'm only saying this because I'm a huge Donna Murphy fan and LOVE her Fosca with every fiber of my being (yes,I told you I have an obsessive personality) - but her Fosca is just...wrong. She makes her into this pathetic person, and Fosca really isn't (like someone said earlier). With Donna Murphy, she still has a sense of dignity somehow, even when she is throwing herself at Giorgio's feet. Plus, that voice...To me, she IS Fosca.

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This is great. You're all inspiring me to go back and give it another chance. I must admit that it didn't have my complete attention the first time. Perhaps I'll get the cast recording. But which one?

Yes, the OBC I think is the strongest, though I do like Michael Ball SINGING Giorgio on the London cast (even if I hear his acting wasn't so hot.)

I love this show...there are at least two perspectives in every scene,and if you really analyze it, you can understand them both.

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2 things about Passion i really love. The way Marin Mazzie sings Giorgio (everytime she says his name) it makes me a little warm inside, and the line in one of the songs (I don't know any of the titles cause its just sort of been in my cars CD player for 3 weeks) but where Girogio is telling Fosca what she is doing isn't love, its obsession, and he gets to the part where he says "I've begun to fear for my soul" I pee myself a little. SO amazing. The first few times i listened it to it, i tought everything sounded like Pretty Women from Sweeney and bothered, I half expected the officers to start singing Pretty Women in the background, but I got over it, and have falled madly in love.

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i'm not sure i'm "ready" for the dvd. i got the OBCR not too long ago. the first time i listened to it, i was intrigued, but i just didn't "get" it. as i heard it more, and really listened to the word, i was like WOW. unlike anything i've ever heard before. and the voices are indeed marvelous. i was a fan of marin from ragtime, i'd never heard donna sing before. she is stunning! i'm still fascinated by the OBCR ... i don't think i'm ready to see it or hear it with a different cast.

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You saw it on Broadway? Can you describe it? *Sigh*

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One thing that amazed me aboout the recent semi-staged concert version on PBS was how much more Audra McDonald made of Clara. Marin Mazzie was amazing in the role but lines that were throwaways with Mazzie took on whole new meanings when McDonald delivered them, notably in the scene where Giorgio tells Clara he is not taking his full sick leave. *And note that Marin and Audra co-starred in RAGTIME, the best new musical of the past 10 years!

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Agreed

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Frontrow...I agree about Audra, but for some reason having a more likeable Clara (I thought as she was so much more human, she actually seemed more in love with Giorgio so it made his descision in the end almost less believable) didn't quite work with this particular production. Because Patti's Fosca seemed in some ways a little less sensitive (maybe it was the fact she wasn't constantly crying) I dont' know. I mean, I liked Patti's take but I think the dynamics were thrown off a bit. Marin came off as somewhat more cold, her love more superficial. As if she cared about Giorgio but could live without him. I almost thought Audra's Clara was having second thoughts about making him choose which made it more heartbreaking.

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I disagree. Jere Shea is indeed 6 years younger than Donna Murphy, but she looked younger than she was and the difference wasn't as jarring as the 11 years between LuPone and Cerveris. Because, after all, it's all about appearances. And LuPone LOOKED waaay older than Cerveris, that's all I'm saying.

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