bare The Complete Studio Recording — Page 25

DaneSaw,

As for the casting...it's an album. I don't think they cared about what someone looked like (IE Dianne being white). People aren't seeing these folks perform it, just hearing them. Looks don't really matter here.

And as for the NY/LA differences... well, the show SOUNDED better in the venue in LA because it was more appropriate for accustics. The ATA has horrible accustics, made worse by the sound system they installed. And while there are many who saw the show in NYC who might agree with you (although very few have probably seen the LA staging in its entirety), there are many who saw it in NYC (and I'd dare say many more from LA who saw both) that might disagree.

Me, I think both had their own good, and their own bad. Writing wise, and Jason/Peter wise, I think the LA production was superior. Set design? NY unquestionably. Lighting? NYC as well. But casting in NY really bugged me, particularly that you couldn't understand half of what Sister Chantelle sang.

I do agree that the new arrangement of "Portrait..." is great. :)

Also, both the NY and LA productions were directed by Kristin Hanggi, who is a wonderful director, IMHO. But lets not get confused, it doesn't matter if the people "responsible" for the LA production liked the NY changes or not... Damon and Jon had final say on what was licensed and recorded. They also didn't like much of the changes for NYC.

Someone, I'm not sure who brought up "Plain Jane Fat Ass", and while I can totally see the "we've got two poor Nadia songs already" argument, here's how I look at it. "Plain Jane" is Nadia basically making a crude joke about her predicament, trying to "save face" to her big brother, as it were. "Quiet Night" shows us a different side of Nadia, her vulnerable side, and we see how she really feels. While both songs may say the same thing, they're told with totally different emotion and come from different sides of the characters. Personally, I loathed "Love, Dad" in NYC. I thought the entire NYC "concept" of Nadia was watered down. She wasn't rough edged as she was in LA. Sure, in NY she was the outsider, but in LA it was to the extreme and really brought out the character.

OK I'm done rambling.

I honestly love the whole set, I just wish that some things were different. Overall, however, I'm pleased and the fact that it still makes me bawl my eyes out while listening to it in the car means it was an overall job well done.

Now, if they'd only release a movie...

SO I've been without net access, regularly for a while and now i'm back I see this long thread, went to the CD website and... Is it no longer available to order? Do I have to wait till 2008? grrrr

I just got my confirmation. HOORAY!!!!! **Does cartwheels**

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I've not received two, but I finally got one. I think it's fantastic.

Stat, unlock your private messages and let me know when you did!

thibodeaux, I completely agree about 911! Emergency! I find that to be the case with this CD, for the most part. I love most of the arrangements, but the energy just isn't there. I just wish "Epiphany" ended stronger, "911" was more soulful, and "Wedding Bells" didn't end so horribly.

Otherwise I'm fairly pleased.

Hmmm. Wow... here we go.

"2. Most of the changes that were made to the show by the NY producers were. . .um. . .BETTER! Duh. They are NY producers who know their ****. So, cutting down the original rap in "Wonderland" so as to understand the foreshadowing that G and K is gonna kill Jason later on in the show was SMART. The original version just drags on during the rap, I could't make out anything. I preferred the Cocktail and Top Gun dialogue in the NY production, however, I like that they continute on with the mass by adding "The peace of the lord be with you. .." and when Peter says "Lord I am not worthy" was clever. And the having the chorus confirm "HE is not worthy..."

-- That's (sorry) NY snobbery. To suggest that they knew "better" because they were NY producers? There are talented producers who know what they're doing all over the place. These are the same producers that lost their main backer because of the horrible way they were running their business (and at the same time as 'bare'). The rap in LA was exactly the same as NY (please know facts beforehand) and it was expanded for the recording (some like it, some don't, as with everything in life). And I personally think that it's quite clear what kills Jason.

"4. Regarding the DVD and the whole dispute regarding the LA versus the NY cast: It seems to me that Damon is very VERY proud of his work (and yes, it's an AMAZING piece) so much that he feels that his first original version is the best. Don't get me wrong, it's pretty damn good. I understand that he didn't want to change anything once he started working on the NY production. However, if you really think about it, the NY version is more....MATURE? The changes were very clever, better to understand the story, was more condensed so as to not be too redundant, and STILL kept the same message, if not made it a lot clearer. When watching the DVD I got the feeling that Damon did not really like the NY show and I found it strange that he only thanked the LA cast on the libretto. It reminds me of when I was watching the Jonathn Larson documentary, when he was unwilling to change Rent because he felt his way was the right way and he was unwilling to collaborate. And see how successful Rent became after PROFESSIONALS took it and made it BETTER! I also got a real bad vibe from Damon, he seems to be a big DIVA and a not a nice person. MOSt people know of BARE 'cause of the NY show. "

--First off, many people (hundreds!) had no problem understanding or following the story in LA with the original book. I'm not saying changes weren't necessary, just not as MANY as the NY producers demanded. I think that (at least the way I understand it) is that the LA team felt bullied by the producers that it's "well we're NY producers, we know what is best!" and then the whole thing went belly up because they really didn't have their act together at that time. I know Damon... he's a really nice, sweet guy and not a diva... a bit "larger than life" at times, but not a diva. 'bare' is his baby, and he wants what is best for it. He did not feel (as it is any authors right!) that the NY production was what was best for it. Lets also remember that some of the NY changes DID make it (not many, but some) to the final version. I would say it is unfair of you to throw such a label at him when you don't know him, and have only seen a bit of him in one documentary. He's working his butt off to get this album out, worked just as hard to get it made. Without Damon this album wouldn't exist.

And as for the moving of the title song... again, you'll like it or not. For me, it makes more sense. And it makes it more painful. He takes the drug as a last resort, thinking their is no hope, then reconciles with Peter only for it to be too late. Much more painful, with more emotional impact. But again, that's just my feeling on it.

OK. I'm getting off the soap box now. As you were.

Mine was just delivered to my office building. I've already put in a call to the mail room to track it. Daniel put the wrong floor (we don't have a 43rd Floor here, unfortunately...), so I don't care if I have to march down there and try to find it myself.

I also feel the need to agree with tourboi. I've met Damon on occasion and he has always been the SWEETEST guy. Diva? Puh-leeze.

UPDATE: I know a lot of people here complained about emailing, but I emailed Daniel and received an immediate response from him. He said it would be sent out, and by that afternoon I had a confirmation (this was Friday) and it's already here today.

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Updated On: 11/26/07 at 01:37 PM

I'll agree that I don't think Damon is a "diva" by any means. However, I think he's a bit stubborn and set in his ways. It seems like he would poo-poo someone else's ideas strictly because they're not his ideas.

I understand that "bare" is his baby and he wants to see it grow up the way he saw it from the start, but let's face it...it's a theatre piece, and a very dramatic one at that. Some things just need to be changed for the show to resonate more for the audience. I look at the clips of the LA production and wonder how the show even got off its feet in the first place, I watch the NY production and I see a polished, well-performed piece of musical theatre.

There's no way yoo can argue that "Forever and ever and ever, amen!" sounds better and his more impact that NY's "To love and to cherish til' death do you part!" There's just not...

I disagree. I think that "Forever and ever..." sounds slightly sharper, harsher, and edgier...

What made 'bare' better in LA (imho) is that is was so rough around the edges, so raw. They polished it in NYC, true. But I don't think it improved the piece. Some shows were meant to be raw, bare boned productions.

Kaitlin Hopkins said it best. The NY and LA productions were two separate entities; you can't compare them.

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My friend and I sat down over the Holiday weekend and listened to all 5 of the recordings I have. Then we had a LONG discussion about which version of the show is best. And even tho it is the NYC version that introduced us to the show and allowed us to fall in love with it, this CD is definatly tops. There are parts of other versions that I would prefer but this version is SO raw and personal and emotional that the show just wouldnt work any other way. As tourboi said, it is the rough and raw emotion of the show that makes it great and this is really captured in the CD.