#76
Posted: 10/23/22 at 9:07pm
David Krumholtz as Max (after seeing him Leopoldstadt), Carmen Cusack as Elsa.
Why Have We Only Had One Broadway Revival of THE SOUND OF MUSIC? — Page 4
#77
Posted: 10/24/22 at 11:58am
inlovewithjerryherman said: "I love THE SOUND OF MUSIC; it is a better play than it gets credit for. I think the time is actually right for a revival, with looming facist threats rearing their ugly heads around the world. I know people turn their noses at its inherent sentimentality, but on stage it plays much more grounded and less cutesy than it does on film.
The Marriott Theatre outside of Chicago just did a brilliant production this past summer. Smart, honest, non-complicated, and brilliantly acted, especially by Addie Morales as Maria and Erik Hellman as Captain Von Trapp. And the kids were all EXCEPTIONAL.
I agree with others here that this would be a natural fit for Lincoln Center but Bart Sher must have no interest in this story; otherwise we'd have seen it by now. And honestly, it may be better for a new, young director to come in and interpret R&H for a new age."
While disagree about film vs. stage version in terms of sentimentality, you are so on point about the show being relevant as fascism rears its ugly head in our times (and in our our nation). Really strong point. Thanks for sharing.
#78
Posted: 10/24/22 at 3:15pm
Jordan Catalano said: "I so badly want a “Brigadoon” revival."
The Rachel Rockwell directed production of Brigadoon at the Goodman in 2014 was a revelation.
#79
Posted: 10/26/22 at 5:05pm
This show would be glorious at the Delacrote Theatre. The show works well in a amphitheatre setting as the seating area can also become the Austrian Alps, standing on top of the seating area and singing “the hills are full of the sound of music.” Is beyond wonderful.
#80
Posted: 10/26/22 at 8:25pm
Joevitus said: While disagree about film vs. stage version in terms of sentimentality, you are so on point about the show being relevant as fascism rears its ugly head in our times (and in our our nation). Really strong point. Thanks for sharing.
You're sweet to say so! The Marriott's production was rather chilling, honestly. The Elsa & Max scenes in which they justify their apologist nature hit much differently in today's climate. And so does the scene where Elsa breaks up with Von Trapp. In this production, Elsa could have cared less about Maria and didn't seem jealous at all. It was a breakup purely based in politics and what Elsa considered "safe". As played by Chicago great Heidi Kettenring, it seemed that Elsa broke things off because she was afraid Von Trapp was leading himself and the children directly to the grave.
After seeing LEOPOLDSTADT a couple weeks ago, it's only more chilling to think back on it. The Von Trapps were lucky. Climb every mountain, indeed.
#81
Posted: 12/4/22 at 7:58am
Here is a studio performance of Ashley Blanchet from the current Paper Mill production, sounding sublime. The song starts at 3:27.
Begin at the beginning and go on till you come to the end: then stop.
#82
Posted: 12/4/22 at 3:02pm
Absolutely beautiful rendition of the song. I loved her intro about the rehearsal process and what the show has to offer. Maybe this will get a recording? I'd love to hear it. Envy those who will get to see this production.
#83
Posted: 12/18/22 at 3:58pm
Went to a local production last night from Vancouver's Arts Club Theatre. It was a remount of a production they had big success with in 2019, but with a new cast.
How the actor playing Captain VonTrapp portrays him makes such a big difference in so much of the emotional impact of the show. The fellow I saw last night really conveyed more of how it is his grief over the loss of his first wife that moves him to become such a disciplinarian. Later in the show I really believed that he had indeed fallen in love with Maria. The actor they had in 2019 was a stronger singer, but he just played VonTrapp as very cold, and it didn't work as well. It felt like the whole show was just going through the motions. I enjoyed last night's performance much more.
If this ever were to be revived on Broadway casting is the key.
Especially for Broadway, finding the right Maria who can sell tickets might be difficult. She has to be young & fresh enough to be believable, with an outstanding voice, AND already well known enough to be a draw.
I think we will mainly continue to see this at regional theatres with subscriber bases, where the show is the draw - not necessarily the cast; and where it is easier to find a talented non-"name" who can carry it.
...
#84
Posted: 12/18/22 at 10:13pm
I have always wondered, if you put MY FAVORITE THINGS as the song Maria sings with the children during the thunderstorm (as it is in the film), then where do you put LONELY GOATHERD? You can't do a marionette show like in the movie without it being VERY expensive.
#85
Posted: 12/19/22 at 2:18am
mikey2573 said: "I have always wondered, if you put MY FAVORITE THINGS as the song Maria sings with the children during the thunderstorm (as it is in the film), then where do you put LONELY GOATHERD? You can't do a marionette show like in the movie without it being VERY expensive."
Different revivals that placed MY FAVORITE THINGS in the bedroom have placed THE LONELY GOATHERD in interesting places —
1. 1981 West End revival placed the song immediately after the bedroom scene at a village fair between Maria, the children, and the villagers.
2. 1998 Broadway revival had the song in the festival scene and replaced DO RE MI reprise with it.
3. 2006 West End revival had the song sung in the gardens of the Trapp Villa between Maria and the children presumably days after THE SOUND OF MUSIC reprise scene but days before the party scene.
I think 1981 and 2006 work. I don’t like the idea of replacing DO RE MI reprise. Having the song after the bedroom scene but before the Captain returns from Vienna gives us a chance to see Maria and the children bonding, the children continuing to learn how to perfect their voices, and we get to see the kids having fun in their playclothes and being “unregimented.” Having it after the Captain returns but before the party scene shows us how the household has changed since the kids are no longer overdisciplined and can just have fun. Both scenerios don’t really need dialogue either.
#86
Posted: 12/19/22 at 2:25am
mikey2573 said: "I have always wondered, if you put MY FAVORITE THINGS as the song Maria sings with the children during the thunderstorm (as it is in the film), then where do you put LONELY GOATHERD? You can't do a marionette show like in the movie without it being VERY expensive."
There's just no reason to do that, though, apart from "Well, that's how the movie is!" The show isn't the movie. I think "The Lonely Goatherd" works fine onstage for the thunderstorm scene.
#87
Posted: 12/19/22 at 5:49am
It’s simply just not one of our favorite things!
#88
Posted: 12/19/22 at 8:09am
MikeInTheDistrict said: "The stage version suffers in comparison to the film, IMO. It might be fairly difficult to find a director willing to take this on because, for some scenes, there's just not much you can do with it. The title song on stage is very static. You just have Maria standing and singing (maybe walking around a bit) in front of a backdrop of hills. Compare that to the breathtaking views of Julie Andrews on location at Mount Untersberg. "My Favorite Things" is also much better placed in the film. I could see someone like Sher looking at it and thinking there's not much he could do with it. O'Brien's production was fairly banal, like his Carousel.
I know the London revivals have incorporated changes to make it closer to the movie, so maybe that could be done here. I'd like to see something new done with it, like the recent Oklahoma! A local community theatre, years ago, did a very pared down production with projections and only a guitar as accompaniment. It was intimate and interesting."
I think this indirectly pinpoints why the show isn't revived often to me- the movie is so beloved that different interpretations of it aren't going to go over as well.
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