#101
Posted: 4/5/07 at 3:06am
To be fair--I've seen the long (15 mins or so) segment of Mancha on Ed Sullivan that year and the staging--as partially recreated does seem quite incredible and is the aspect of the show that intrigues me the most. I know millions of very smart people whose taste in theatre I respect adore it--just one of those things for me. (and you are right about 1776 making very dry material very... non dry. Still is pretty *blah* to me personally)
Reading contemporary reviews of Promises Promises I know for every hugely glowing one of it being a new kinda musical (new York times) there were many who saw it as another SUPER SLICK David Merrick production that came off almost as mechanical--and most people didn't knwo what to make of the ascore (it's funny how conventional Bacharach sounds ot most modern ears when for the 60s, despite doing soem adult contemporary things his thyrhms and songs were pretty groundbreaking, especially for Broadway at the time--no wonder Sondheim took notice and took Tunick for Company).
I suppose Hair even beiung nominated was the only bone the Tonys wanted to throw it... Did they perform that year? I've seen the Promises Promises (which did Turkey Lurkey and Basketball), and Zorba (which did a semi staged Life Is which I believe opened the awards) but not 1776 (though they also had a logn segment on Ed Sullivan that's fun to see) or Hair...
And as for Zorba--It's one of my fave underdog shows--from the sets I've seen in Boris Aronson's book and what I've read of Hal Prince's direction in many ways he did some even more experimental techniques they either had with Cabaret (and I actually might prefer the score though that's a personal thing I doubt many others agree with-_Zorba is one of my fave K&E scores though)--but it seemed to be a show that just didn't click with audiences and critics for a myriad of reasons.
E
Reading contemporary reviews of Promises Promises I know for every hugely glowing one of it being a new kinda musical (new York times) there were many who saw it as another SUPER SLICK David Merrick production that came off almost as mechanical--and most people didn't knwo what to make of the ascore (it's funny how conventional Bacharach sounds ot most modern ears when for the 60s, despite doing soem adult contemporary things his thyrhms and songs were pretty groundbreaking, especially for Broadway at the time--no wonder Sondheim took notice and took Tunick for Company).
I suppose Hair even beiung nominated was the only bone the Tonys wanted to throw it... Did they perform that year? I've seen the Promises Promises (which did Turkey Lurkey and Basketball), and Zorba (which did a semi staged Life Is which I believe opened the awards) but not 1776 (though they also had a logn segment on Ed Sullivan that's fun to see) or Hair...
And as for Zorba--It's one of my fave underdog shows--from the sets I've seen in Boris Aronson's book and what I've read of Hal Prince's direction in many ways he did some even more experimental techniques they either had with Cabaret (and I actually might prefer the score though that's a personal thing I doubt many others agree with-_Zorba is one of my fave K&E scores though)--but it seemed to be a show that just didn't click with audiences and critics for a myriad of reasons.
E
