Saw Dracula — Page 2

Um...do you get to the theatre much? You don't think they are doing real acting in musicals? I like both but I go more out of interest for the show than whether it is a musical or straight play.

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Updated On: 9/2/04 at 03:40 PM

Plays and movies are not real either. And just because they're not singing, doesn't mean the acting is any more real. The use of singing as a form of emotional expression has been around much longer than musical theatre. If songs were simply sung in theatre without acting, like a pop concert, then I could understand, but there is quite a bit of "real acting" that is every bit as genuine as in a straight play. It is what makes songs like Everything's Comin' Up Roses or Cabaret work so well within the context of their shows rather than happily sung in concert where they have completely lost their meaning. It is the ACTING.

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I think what he's trying to say is that when he picks a show to go see he's just looking to be entertained. He's not looking for heavy drama... that's all. Nothing wrong with that....

I am convinced (and I am not saying that is the case here), that there are people that are going to push this show just to try and defy the critics. I always respect the opinions of others, but to say that "Dracula" is awesome... I just dont have a reply for that.

I wasn't implying that you were dumb - I was pointing out that "unrealistic" art forms such as opera have traditionally been considered the intellectual art forms rather than their lack or realism turning them into fluffy entertainment.

And if you noticed, none of the examples I gave were "weird" music (ok, maybe DRACULA) - they were by Lloyd-Webber, Boubil & Schonberg (I'd include the original MARTIN GUERRE in their list as well), and Wildhorn - not a Sondheim among them and all composers who appeal to 'mainstream' theatregoers, not just those of us who like Sondheim.

Sondheim isn't the only composer to write intellectually-stimulating shows. You just have to look past the spectacle.


(And I fully agree you are entitled to your opinion. I just don't believe in generalising)

I'm confused. How are Sondheim and Caroline similar? I can understand not enjoying Caroline because most of it is not really melodic, but which Sondheim shows are the "talking music"? The majority of Sondheim scores are quite melodic, memorable and include many standards that are frequently sung outside the context of the shows.

Most of Into the Woods, Anyone Can Whistle, Follies, Forum, Company and A Little Night Music are pretty standard melodic showtunes. Passion and Sweeney are really his only shows that feature much recitative (sung dialogue). Assassins, Bounce, Sunday and Pacific Overtures are probably his most unusual scores, but they still have some stand-alone songs. I'm not familiar with the new Frogs score, but I do feel the old score was not memorable.

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