#51
Posted: 4/13/05 at 3:30pm
Saw Petula while visiting my sister in Philadelphia...She was horrible. Didn't really care for Dihann Carroll, either.
#52
Posted: 4/13/05 at 3:38pm
I like the German recording. The language makes the show more dark.
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
#53
Posted: 4/13/05 at 3:41pm
I've been thinking about picking up the German recording, seeing as I'm a huge Germanophile.
#54
Posted: 4/13/05 at 3:46pm
Sonnenuntergangprachtstrasse ........ Sonnenuntergangprachtstrasse ........ LOL
". . . POP . . ."
#55
Posted: 4/13/05 at 3:55pm
Ich bin gross. Es ist die Abbildungen, die klein erhielten!
#56
Posted: 4/13/05 at 4:01pm
Mit einem Blick kann ich Ihr Herz brechen . . . . too SPOOKY!!!!
". . . POP . . ."
#57
"i always found it interesting to learn that sondheim originally had the rights but then gave them up to lloyd webber ....."
Ok, lets nip this one in the bud.
Sondheim never had the rights to this property. At one point early on it was considered but when Bily Wilder told him not to think of it as a musical but as an opera, Sondheim decided he did not want to write an opera and dropped the idea. Years later, after SWEENEY TODD opened the New York times printed an item that Sondheim would write the musical for Angela Lansbury and that Hal Prince would direct it. When it never happend I wrote to Sondheim and he replied that the show "never really existed." Hal Prince, Hugh Wheeler and Angela Lansbury had expressed interest on doing it "...and on my refusal, Miss Lansbury's press agent wishing it into existence."
As for the travesty written by Andrew Lloyd Webber, well here's the story. By 1992 Lloyd Webber's company,Really useful group was in serious financial trouble and the road to recovery seemed to be a new musical. The rights to SUNSET were available and the composer had a trunk full of old and unused songs which he turned over to the lyricists and had them fit new words to the existing melodies. No real adaptation was done, the composer set mostly the film dialogue to music the stopped the action dead to insert these big arias that just re-stated what had already been established.
Patti LuPone had the voice to sing the score Glenn Close acted it better (what little subtext there is for acting.)
The set was the big star, a huge mansion that alwasy drew applause. You know your're in trouble when the set gets bigger applause than the stars or the songs.
It won the 1995 Tony award simply because it was the ONLY new book musical that season. That was the real disgrace.
Posted: 4/13/05 at 9:38pm
"i always found it interesting to learn that sondheim originally had the rights but then gave them up to lloyd webber ....."
Ok, lets nip this one in the bud.
Sondheim never had the rights to this property. At one point early on it was considered but when Bily Wilder told him not to think of it as a musical but as an opera, Sondheim decided he did not want to write an opera and dropped the idea. Years later, after SWEENEY TODD opened the New York times printed an item that Sondheim would write the musical for Angela Lansbury and that Hal Prince would direct it. When it never happend I wrote to Sondheim and he replied that the show "never really existed." Hal Prince, Hugh Wheeler and Angela Lansbury had expressed interest on doing it "...and on my refusal, Miss Lansbury's press agent wishing it into existence."
As for the travesty written by Andrew Lloyd Webber, well here's the story. By 1992 Lloyd Webber's company,Really useful group was in serious financial trouble and the road to recovery seemed to be a new musical. The rights to SUNSET were available and the composer had a trunk full of old and unused songs which he turned over to the lyricists and had them fit new words to the existing melodies. No real adaptation was done, the composer set mostly the film dialogue to music the stopped the action dead to insert these big arias that just re-stated what had already been established.
Patti LuPone had the voice to sing the score Glenn Close acted it better (what little subtext there is for acting.)
The set was the big star, a huge mansion that alwasy drew applause. You know your're in trouble when the set gets bigger applause than the stars or the songs.
It won the 1995 Tony award simply because it was the ONLY new book musical that season. That was the real disgrace.
Cast albums are NOT "soundtracks."
Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
#58
Posted: 4/14/05 at 9:54am
"How long did Sunset last in London?"
RENTBOY: It opened 12 July 1993 and closed 5 April 1997. They closed the London production in the spring 1994 for a few weeks to incorporate the changes made for the L.A. production into the London production.
RENTBOY: It opened 12 July 1993 and closed 5 April 1997. They closed the London production in the spring 1994 for a few weeks to incorporate the changes made for the L.A. production into the London production.
Updated On: 4/14/05 at 09:54 AM
#59
Posted: 4/14/05 at 10:11am
"You know your're in trouble when the set gets bigger applause than the stars or the songs."
This is the truth. I remember saying the exact same thing when I saw Nick & Nora. Even the dog, Asta, got more applause.
This is the truth. I remember saying the exact same thing when I saw Nick & Nora. Even the dog, Asta, got more applause.
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
#60
Posted: 4/14/05 at 6:34pm
I dont know. I'm always more interested in the sets then anything else. If a show has a good set, or at least one that works with the show, then I can settle back and enjoy the show. But if the sets are horrible, then it's hard to concentrate. However, I do think the Sunset sets seem to be a little extravagent, however, that sort of worked for the glamourous theme that was going on. Wish i could have seen it!!
#61
Posted: 4/14/05 at 9:36pm
that set was fantastic. i saw the touring version in chicago with a fellow wisconsinite, linda balgrod, playing norma. she was a fantastic belter but better than glen vocally but no where near patti. was the us set design the one that lowered from the foyer to another set from the ceiling? or was that the original?
#62
Posted: 4/14/05 at 9:54pm
Yeah, what happened with the thing raising from the ceiling? and how did that set raise up from below on tour?
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