#126
Posted: 8/5/10 at 1:15pm
Ah, the one thing I was talking about has been revealed. I was certainly taken aback by what he did, and so rudely to the cast.
While that appears it was for money, he still could have easily released the recording, but has chosen not to. Frank's opinion was the least important to the team of DRACULA which thought that expensive sets, elaborate costumes and flying/special effects were what was needed. By the end of an already over budget production, Frank was forced to cut back his orchestra. A lot. And it showed. Hampton & Black along with McAuff had top opinion on pretty much everything.
Was it right for him to go behind the cast's back? No, not at all. If people disliked him for this, then I would understand. But no one ever mentions this. And if they mention it after this, it's only because it's finally been re-stated.
No one wanted to record the cast of a flop show. None of the producers wanted to record it either. While I realize what Frank said in regards to the show's life, he's a composer. It's what he's after... He couldn't get the money required to do a Broadway Cast Recording, so he did the next best thing he could do. Was it right? No, but that's just the logic.
Darren Ritchie has often said that Frank Wildhorn was his favourite composer growing up. He's from Sarasota, and was able to catch the world premiere of Svengali, which had him hooked. He auditioned for Camille Claudel and got cast as ensemble/one of the statues, and after talking to Frank (Camille is pretty much chamber style-d), he asked what was next, and of course it was Dracula. A few of the cast still are OK with Frank -- Tracy Miller, for example, whose done a few demos and concerts with Frank (including The Mad Hatter). Some act as if Dracula just never even happened, and then there's the others (like Chuck Wagner) who have completely cut off ties with Wildhorn. If I remember Chuck wrote a nasty message to Frank on his website.
It still baffles me that he is so overlooked. Flop or not, as someone posted in this thread, he's the "energizer bunny of Broadway" always coming back. So to someone like you ghostlight2, I accept your demise of Frank. People like these young kids who couldn't name a song in Frank Wildhorn show, I don't get the hate. Do they want to look cool? I'm all for defending my favourite composer, but it still is so confusing all the hate.
Wonderland has potential to build a huge fanbase -- it's catchy tunes, light & fluffy, and is relatable, to a point. Am I saying it's going to be a runaway hit? No, I'm not anticipating it at all.
If you have ever met Frank, I think you will see he really isn't in it for the money. I'm aware the comment he made re: Dracula album, but I've never gotten the impression of "We can make a bunch of money off of this!" His latest projects reflect this -- I think he's officially on the "If they like it, they like it. If not, on to the next one" type mentality.
While that appears it was for money, he still could have easily released the recording, but has chosen not to. Frank's opinion was the least important to the team of DRACULA which thought that expensive sets, elaborate costumes and flying/special effects were what was needed. By the end of an already over budget production, Frank was forced to cut back his orchestra. A lot. And it showed. Hampton & Black along with McAuff had top opinion on pretty much everything.
Was it right for him to go behind the cast's back? No, not at all. If people disliked him for this, then I would understand. But no one ever mentions this. And if they mention it after this, it's only because it's finally been re-stated.
No one wanted to record the cast of a flop show. None of the producers wanted to record it either. While I realize what Frank said in regards to the show's life, he's a composer. It's what he's after... He couldn't get the money required to do a Broadway Cast Recording, so he did the next best thing he could do. Was it right? No, but that's just the logic.
Darren Ritchie has often said that Frank Wildhorn was his favourite composer growing up. He's from Sarasota, and was able to catch the world premiere of Svengali, which had him hooked. He auditioned for Camille Claudel and got cast as ensemble/one of the statues, and after talking to Frank (Camille is pretty much chamber style-d), he asked what was next, and of course it was Dracula. A few of the cast still are OK with Frank -- Tracy Miller, for example, whose done a few demos and concerts with Frank (including The Mad Hatter). Some act as if Dracula just never even happened, and then there's the others (like Chuck Wagner) who have completely cut off ties with Wildhorn. If I remember Chuck wrote a nasty message to Frank on his website.
It still baffles me that he is so overlooked. Flop or not, as someone posted in this thread, he's the "energizer bunny of Broadway" always coming back. So to someone like you ghostlight2, I accept your demise of Frank. People like these young kids who couldn't name a song in Frank Wildhorn show, I don't get the hate. Do they want to look cool? I'm all for defending my favourite composer, but it still is so confusing all the hate.
Wonderland has potential to build a huge fanbase -- it's catchy tunes, light & fluffy, and is relatable, to a point. Am I saying it's going to be a runaway hit? No, I'm not anticipating it at all.
If you have ever met Frank, I think you will see he really isn't in it for the money. I'm aware the comment he made re: Dracula album, but I've never gotten the impression of "We can make a bunch of money off of this!" His latest projects reflect this -- I think he's officially on the "If they like it, they like it. If not, on to the next one" type mentality.
