What's the appeal of Bye Bye Birdie?

[TheGreatShalashaska]

Posted: 3/18/18 at 1:39pm

With a live production coming out, I've been thinking about why the show is so popular.Im playing Albert for my high school and I'm honestly not enjoying the production, as are most of the cast. The music,the lame jokes, the story, none of it is resonating with me.

You guys are much more knowledgeable about theatre than I am. What is it that makes people love this show, let alone making a live version of it?

[Jeffrey Karasarides]

Posted: 3/18/18 at 2:12pm

I think the musical is great fun with some nice social commentary.

[antonijan]

Posted: 3/18/18 at 2:13pm

The Choreography

[GeorgeandDot]

Posted: 3/18/18 at 3:02pm

Nothing.

[DRSisLove]

Posted: 3/18/18 at 3:06pm

Definitely one of those shows that's more fun to be in than to watch.

[dramamama611]

Posted: 3/18/18 at 3:23pm

It's a lovely slice of Americana. While it's not my favorite show - nor in my top ten - I get more people share memories of it from their own youth then any other musical I've ever directed or choreographed.

[darquegk]

Posted: 3/18/18 at 3:39pm

I'm just fascinated by how wrong-headed it is in hindsight. The show's whole moral is that "youth culture- not just rock and roll culture, but YOUTH culture- is an embarrassing and temporary fad; but the Great American Songbook and post-war culture is timeless and will last forever."

Flash forward fifty years? Not so much.

[ggersten]

Posted: 3/18/18 at 4:17pm

It's a fun show that can accommodate a large cast.  Catchy tunes.  Potential for exciting choreography. 

And, it requires acting skill.  There are real book scenes.  You can't just be a good singer - because the music alone is not enough to carry you through the show. 

There are also no "small parts" - a local area wide student production, one young lady stole the show in the "mother" number.  She didn't have a single line to speak or even a solo line to sing - but through sheer force of personality, absolutely stole the show - while still being in character.  

[bk]

Posted: 3/18/18 at 6:20pm

There is nothing wrong with Bye Bye Birdie that has good direction, choreography, and acting.  That of course goes for every musical but especially for this one.  What, you'd rather be doing Legally Blonde, because let me tell you in twenty years that will be looked on exactly like you're looking on Bye Bye Birdie.  In forty years people your age will be looking at any musical you love that's of the moment and saying "this doesn't resonate with me" and they won't be having a good time in the show.  Well, what resonates with you is not the show's problem, it's your problem and the problem of your fellow cast mates and rather sadly typical.  Go have a good time.  Albert is a wonderful comedic musical comedy role and there are great ways a good director can have fun with his chauvinism and Rosie's reaction to it.  Back then it was fresh and fun.  Today it's nostalgia.  

There were things prior to the year of your birth that are fun and are still fun.  I did a production of Li'l Abner at a college a couple of years ago - I go back occasionally to direct at my alma mater with a mix of pros and students.  The students were all just like you're being - "this doesn't resonate" "I don't know the cartoon" - I shut all that crap down at rehearsal one, and by rehearsal two they were in the world of the show and loving every minute of it - and because we had some really top pros in it we got reviewed by everyone and it was all raves because the show is FUNNY and still pertinent today, just like Bye Bye Birdie if you do it well.  

[TheGreatShalashaska]

Posted: 3/18/18 at 7:18pm

That was super insightful, and I never considered that.

I guess I've just been so frustrated at lack of direction (we have two directors but only one has been showing up) and a bad, lazy chorus that I'm not letting loose and having fun with it.

I'll definitely take your advice.

[VintageSnarker]

Posted: 3/18/18 at 7:30pm

You don't like the score? I mean, there are definitely songs I prefer over others (Kids is like trying to sit through The Other Generation from Flower Drum Song) but in general, it's pretty solid and the Conrad songs are intentionally silly.

And if you're playing Albert, you should try to focus on connecting to your Rosie and forget the chorus. You shouldn't have that many scenes with them anyway. Maybe watch the movie. Sadly you won't see Chita Rivera but I don't know how you could fail to be charmed by Dick Van Dyke. It might inspire you to have more fun with the part.

[lovebwy]

Posted: 3/18/18 at 9:12pm

I think the movie is pretty terrible.

That said, I saw a touring production with Tommy Tune and Ann Reinking in the early '90s that was excellent. Broadway caliber, I thought. It was also choreographed by Tune, who did a remarkable job.

It was wonderful! A very funny lady (Marilyn Cooper) played his mother, and really knew how to sell those corny old jokes. Tune put some asides in the script, that was basically him breaking down the 4th wall, sometimes poking light fun at the show being dated. And he and Reinking were magic together.

Last but not least, he cast some hot dudes- playing teens but I'm sure they were all 18+. He actually made the Telephone Song sexy- the guys were acting all horned up. I got a sneaker watching it. It reminded me of the Forbidden Broadway Jerome Robbins thing "be butch boys, real butch" But it worked on me.

The key is to offer many delights in the show. Tommy Tune and Gene Saks delivered

[bk]

Posted: 3/18/18 at 9:29pm

I recommend watching the Ed Sullivan show clips - Van Dyke doing Put on a Happy Face on Broadway is there, plus Ed Sullivan, and the Shriner's Ballet with Chita is on YouTube as well, from a cable special.  

[bk]

Posted: 3/18/18 at 9:38pm

TheGreatShalashaska said: "That was super insightful, and I never considered that.

I guess I've just been so frustrated at lack of direction (we have two directors but only one has been showing up) and a bad, lazy chorus that I'm not letting loose and having fun with it.

I'll definitely take your advice."

I work with young people a lot here in LA and I get asked to see a lot of high school shows.  I love seeing kids put out their best, but I cannot tell you how many times they are failed by the idiots "directing" the shows.  Those teachers have a duty to the kids to push them and get the best they can give, which is frequently a lot.  And yet, they don't, they shouldn't be teaching drama or directing shows as it is completely unfair to the kids. When I put a young person in a show or one of my monthly cabaret things I do in LA I treat them just like the professionals - I don't pander, I don't tell them they're great when they're not - I'm always positive and I guide, but I expect them to step up to the plate and do their best and boy do they.  

Given what you're dealing with, this is on you.  You have to take charge, you have to embrace the role and the show and just have the best time.  I always tell the kids to learn this phrase and say it before every performance - even the pros like it: JEF.  Joy. Energy. Fun.  Have those three things and you'll be on your way to a good show and good performance.  

 

[KJisgroovy]

Posted: 3/18/18 at 9:44pm

I used to feel Bye Bye Birdie was a dusty old chestnut too... but then I saw a fantastic production! Rose and Albert could both REALLY dance. Not just all the steps but they could use choreograph as an extension of their character in the moment. This made all the dance interludes not just show stoppers, but essential to the show. 

Additionally, there's so many main characters that need strong personalities. You can't really just put anyone in these parts. You need folks with great comedic abilities and strong characters. This production had that... and they were smart to play to actors strengths. They didn't change anything, per se... but they let the actors excel at what they excel at. I sometimes think folks forget many musicals were built around personalities. So... even if you get some really great singer/actors... the show is DOA. 

Anyway... this production really changed my opinion. I left with a great deal of admiration for Bye Bye Birdie. It seemed fresh and new without any noticeable script or score changes. The leads could really dance... and the director gave the actors room to breathe.

[BenjaminNicholas2]

Posted: 3/18/18 at 9:45pm

I don't care what folks say about the film...  Ann Margret is a stone cold fox and one hell of an entertainer.

Loved watching her in BBB.  Also had fun with Paul Lynde and Van Dyke.

Updated On: 3/18/18 at 09:45 PM

[rattleNwoolypenguin]

Posted: 3/18/18 at 11:24pm

Conrad and Kim have a few "Me Too" type moments that could be directed more purposely.

[VintageSnarker]

Posted: 3/19/18 at 5:46am

rattleNwoolypenguin said: "Conrad and Kim have a few "Me Too" type moments that could be directed more purposely."

Oh Lord. That sounds awful.

[The Other One]

Posted: 3/19/18 at 7:37am

Keep it in the period it was written about.  It really is a period piece.  The trap is that it was written to be contemporary in 1960, and satirizes what was considered to be the passing phase of rock and roll.  Rock and Roll didn't pass, though.  In fact, it became a much bigger source of pop culture than Broadway within a few short years.  Place it firmly in the era just before that happened and you should not have a problem.

In fact, you might find yourself showered with assets.  The score is a gem!  It covers a lot of stylistic ground, and there is ample opportunity for energetic and/or sexy choreography.  Albert, Rose, Mae and Harry are terrific characters.  I personally think the film's revised book is awful (not the fault of A-M or anyone else in the cast), but it does do one thing right in bumping up the characters of both Kim and Hugo.  Cast these roles well, with the period in mind (Shelley Fabares and Rick Nelson types?), and with a strong ensemble the book should play well.  (And, if possible, try to include the title song.  Silly as the movie is, that song is as good as any song in the original score.)

Have fun with it!

Updated On: 3/19/18 at 07:37 AM

[Mister Matt]

Posted: 3/19/18 at 2:46pm

I absolutely LOVE the score and find the show to be charming and fun, but as with most shows, it rests on the direction and choreography.  If you haven't watched the original film, it's worth a look for the energy of the performances (with the exception of the miscast Rydell as Hugo).  Personally, I never get tired of Trudi Ames as Ursula.  They captured the manic excitement of Honestly Sincere particularly well and it's one of my all-time favorite musical film production numbers.  And Telephone Hour does a great job at capturing the Facebook-of-its-day teen communication obsession.  A creative choreographer can turn that number into a real highlight, but the ensemble has to fully commit to the kookiness of it.  I hate the changes in the book for the film adaptation, however.

 

The 90s television version is interesting as it chiefly uses the original book and contains two new numbers, for better (A Mother Doesn't Matter Anymore) or worse (Let's Settle Down).  But there are some clunker performances (Williams, Daly and Kudisch are the standouts) and the direction and choreography are a slog.  The soundtrack comes off sounding better than it was.

Updated On: 3/19/18 at 02:46 PM

[asongaboutlove]

Posted: 3/19/18 at 3:05pm

i just finished doing this show a couple weeks ago! i loved it. it definitely had its better parts and it’s weaker ones. we had a great choreographer, so luckily that wasn’t the issue. our albert and rosie were pretty good too. for songs like honestly sincere, or albert in happy face, they set the tone and energy level for the whole song depending on how they did. just keep that in mind! just my two cents. i think birdie is a fun show if it’s done well. when i was getting ready to audition i watched a lot of different productions— they really run the gamut from great to horrifically bad. (but that’s most shows), and i think the leads really can lead a show astray or keep it on track.

Updated On: 3/19/18 at 03:05 PM

[ScottyDoesn'tKnow2]

Posted: 3/19/18 at 9:54pm

If you're having trouble enjoying performing it, try watching this video of Chita Rivera and Dick Van Dyke performing two numbers from the show in her show A Dancer's Life and just watch how they interact and how much they fondly remember the show:

https://www.youtube.com/watch?v=ovs9lN1AbfE

[bk]

Posted: 3/19/18 at 10:05pm

The film gets several things right in addition to what's wrong.  The already mentioned Honestly Sincere is brilliant in the film.  All of Paul Lynde and the family is brilliant in the film.  The Telephone Hours is fun in the film (I went to high school with many of the kids who were in that number and the Honestly Sincere number), and Ed Sullivan is absolutely hilarious as it's done in the film.  But it botches many other things.  Ann-Margret is a treasure - but it's a pretty different Kim than the play, but oh Lord that title song, which, BTW, was an afterthought and done after filming completed.  

When I was producing the revival cast album of The Best Little Whorehouse in Texas with Ann-Margret, I went into the booth between takes and said, "Do you know what you did to the male teenage population in 1963?"  She laughed so loud - she was fantastic to work with.  

[HogansHero]

Posted: 3/19/18 at 10:29pm

Unquestionably there are still folks that like it but let's face it: the music is dated, the story is dated, the jokes are dated. It belongs in a museum, and the only reason it is being paid attention to is that there are still a lot of older white folks running show business. Oh, and older white teachers running schools. I say stick a fork in it and its ilk. 

[Speed]

Posted: 3/20/18 at 5:34am

I've had a varied career from Broadway to TV and film.  I've done the Radio City show and voice overs.  Just about everything.  And yet my husband says the best thing I ever did was "Bye Bye Birdie: In Concert with an All Male Cast" in the village back in 1998.  I played Kim MacAfee and it was pretty fun. I've never gotten so many laughs.  Something sweet about a man singing "How Lovely To Be A Woman" and "One Boy."Just 10 men playing all the parts in a shortened but fully staged production.  He says of every thing I've ever done, it was the one thing that truly worked.  We didn't make fun of the show.  We did it for real.  I wish it that it had it a longer life as not enough people got to see it.