Re: New Season-Musical Theatre West

Date: Tue, 13 May 2003 17:57:43 -0400
Newsgroups: rec.arts.theatre.musicals
Size: 3,551 bytes

Beb11572 wrote in message <email-address-deleted>...
>>Yet lovely as the tune of "Song on the Sand" is - the conceit of the
>>lyric, that Georges can't remember the words ensures that we have a
>>love song for two men where there isn't one concrete image in the
>>lyric.
>
>The ambiguity is more charming than concrete images. Georges doesn't need
>details ...he's "young and in love" and that's all that matters. Like
Honore
>when he sings "I Remember it Well" to Mamita...he can't recall one fricken
>thing; it's the *generalities* of those reminiscences that give him the
"warm
>fuzzy feelings" and, hence, us too.
I get your point, but no. The "warm fuzzy" in IRIW is that Honore gets
everything wrong and Mamita stills is charmed by him, faulty memory and all.
There are still concrete images (losing either a glove or comb,
russian/spanish songs, etc.) There is very little in SOTS. I understand
why the choice was made and considering that some theatre goers are STILL a
bit jittery over the show itself it was a wise if overly cautious choice for
Herman to make. However if, as has been stated here, Herman is having
Fierstein tweak the book for a possible revival, I'd much rather have Herman
tweak his score.
>>
>>This, I believe, is an example of what Mr. Newport and others who have
>>been disappointed in the show mean by its being too calculated and
>>safe to be a great or groundbreaking musical, although it is certainly
>>a crowdpleasing one.
>
>In my opinion, it was great and groundbreaking as well as crowdpleasing.
It was/is a lot of fun and was groundbreaking for presenting controversial
subject matter (long-established gay couples) in very conventional terms
anyone from Peoria could understand and like.
>>I'd have been happier with the conceit of "Song on the Sand" had
>>Herman written a new act 2 (opening) love song instead of reprising
>>the same tune all night long.
>
>But that's what makes it *their* song...and so touching when it's restated
once
>more at the final curtain.
I have no problem with *their* song being reprised for the finale, but I
think it's overkill to also use it for the beginning of the second act.
Three times is too many. Hell, even Lun Tha got two love ballads in KING
AND I.
>There were so many songs in LA CAGE is it was, that
>I think one more would be overkill.
???????? With the "We are What We Are"/"I Am What I am" and "With You/Anne
On My Arm" double dipping there are only five tunes in the first act and
only four (if you count "Cocktail Counterpoint" which many do not) in the
second. Nine tunes in all. That's it. Most musicals have 12-20 tunes in
an evening. I love Herman's music. I wish he'd write a whole lot more of
it.
And I wish he'd start by finishing the score to LA CAGE.
>>
>>That said, I felt the bus & truck tour 7 or so years ago with Lee Roy
>>Reams played a lot more *real* than the Broadway production. IIRC
>>they hugged at the curtain before walking off into the sunset hand in
>>hand.
>
>I don't remember that, but I do remember thinking that Lee Roy Reams was
far
>more believeable in the role than George Hearn. Impressive as Hearn is, I
>never "bought" him as a female impersonator, either vocally or physically;
I
>found Reams, with his higher and lighter vocal timbre, and narrower frame,
far
>more convincing.
Agreed. Hearn was impressive and gave a ... well, queeny Sweeney
performance. And it worked.
Reams played the character. I could believe him as a drag queen and I
believed they were in love.