All of this talk of Vicki Clark reminds me of just how incredible she really was. For my money, her and Donna Murphy provided the best sung versions of their character's material that we're likely to ever see.
Somethingwicked, I completely agree! Especially because their singing wasn't only beautiful and incredible (which it was) but because they both acted their roles with equal prowess. I remember getting chills when I first heard them singing together during "Waiting for the Girls Upstairs." Of course, Victoria Clark sings with such technical proficiency, it'd be great to see her take a jab at the role again in a full-blown production.
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
I though Clark's singing was beautiful, but I felt she was completely underdirected (is that a word?) in the Encores! concert. In my OPINION, It sometimes felt like she was just reciting words without any feeling. She didn't move me, whereas Bernadette moves me to tears each time. But I'd love to see what Clark could do in this full scale Sally centric production.
I have to say, I love Bernadette Peters so much and I totally got where she was going with Sally, but I did think she had some bizarre acting choices during some moments. However, I though that when she was on, she was ON. She's on fire on the cast recording too, so I don't know if maybe there was something off the night I saw her live. And yes, she is incredibly moving as only Bernadette can be. Maybe memory is kind, but I thought Clark's portrayal was a bit more chilly but still impressive, especially given the little amount of rehearsal she had (I was pretty impressed that she even went to Phoenix to get into the role, what commitment!). I did prefer Murphy though, who--as Brantley and Reidel both said--gave a Tony-worthy performance.
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
Isn't Glenn Close performing "Losing My Mind" during the Barbara Cook tribute at the Kennedy Center Honors? Seems like a weird choice to me. Anyone think she's maybe using it as an audition for something? Just a thought! Hmmm...
Peters and Clark gave polar opposite performances. As has been said, it's important to make the distinction that Clark barely had a week of rehearsal, which makes what she was able to accomplish pretty impressive, in my opinion.
To me, Peters' performance is ultimately moving because of how sorry you feel for her Sally by the end of the show. Contrarily, I found Clark to be totally arresting on every level because of how truly committed her Sally was to the disillusions that have destroyed her life. By the end of the show, you feel like Peters' Sally has finally come to terms with the fact that she has been lying to herself for all these years, where as you felt like Clark's Sally was still in denial, even after everything that's happened. Both are equally tragic in different ways.
"Losing My Mind" is a perfect embodiment of the divergent approaches taken by both women- Peters allows you to see this woman completely and totally breaking down in front of you during the number, where as Clark's performance showed a woman who was so earnest in her belief in something so obviously artificial that it proved chilling to watch. I still remember how she slowly began to slur the final syllable of the song before re-composing herself and walking off into the wings with that vacant stare in her eyes. It was a completely chill-inducing moment.
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.
somethingwicked, I completely agree about your description of Bernadette's performance.
If your description of Clark's performance was in fact her intention (the discussion of her performance here suggests there is a fine line between starring blankly for dramatic effect and starring blankly because of little rehearsal) - that's such an interesting comparison about how they both approached the roles differently too. And it would make me excited for Clark to 'develop that' in LA (assuming she wouldn't be 'directed' to perform the role more in line with how Bernadette did). And to hear her sing the score...I really hope it happens now.
If filming of the Broadway production doesn't eventuate maybe they'd have a second chance in LA, which would also be nice :).
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
Hey hey hey bestie, be nice. Speaking on behalf of all my fellow Angelenos, we hunger for good theater just as much as you east coasters do; we're just forced to settle for warmed over National Tours more often than we'd like.
"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
I was gonna say, Lisa Kudrow is inspired casting! She'd nail the humor, obviously, but I think she could do amazing things with the dramatic moments as well. I don't know how she would handle the music in "Could I Leave You" and she might look more awkward than Jan Maxwell during "Lucy and Jessie." It'll never happen but I'd definitely pay to see that.
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
With a little more rehearsal time, Clark could be splendid. She was already pretty darn good in the Encores production. She could be damn near definitive if she was given a little more time. I'd certainly approve if she was cast!
Just in terms of the general conversation about who would be right for the role, it's a shame that Kerry O'Malley is being wasted in ON A CLEAR DAY... at the moment. She's obviously nowhere near the neighborhood of a name, but she's usually based in LA, and while she can veer into boring territory very, very easily (INTO THE WOODS comes to mind,) Sally is so the type of thing she does well.
Speaking of INTO THE WOODS- O'Malley was up against Emily Skinner for The Baker's Wife in that revival. Wouldn't a FOLLIES with Skinner as Phyllis opposite (a vocally healthier) Alice Ripley as Sally be divine? They're certainly getting pretty close to the right ages for it.
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.
Alice Ripley as Sally would be something out of this world.
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
I suggested Ripley as Sally during N2N. Some people here thought I was crazy. Sadly, I really don't think she could cut it vocally. She had trouble hitting a few notes in head voice during the entire run of N2N. Sally has many notes in head voice, and the music is difficult. Bernadette isn't a perfect singer, but once she gets to that register, she sounds quite lovely. I'm not sure Ripley could pull it off.
Trust me, ljay- someone who belts as high as Ripley does (or did) has those soprano notes. It's just a question of whether or not she can ever rehabilitate her voice enough to get back to doing that style of singing again, since it requires a completely different vocal technique.
Given the type of raw screaming she was constantly doing in NEXT TO NORMAL, I'm not surprised she had trouble with the sections of the score that required a more legit sound over time. I'm guessing doing the tour was an incredibly profitable situation for her financially, but I'm still shocked she was willing to subject herself to another nine months of that material after how completely beaten down by it she seemed at the end of her run on Broadway. As you pointed out, she's really done a number on her voice over the last few years, which is a shame given what an incredible instrument she has. Here's hoping that she's using her time away from musicals (for the moment) as wisely as she can.
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.