I have not yet had the chance to see the recently re-re-re-released Mary Poppins DVD which contains more than just a peek at the Broadway show. Until I have, here is a look at what the DVD contains to see if it’s enough to entice you into purchasing it.
The Broadway Mouth
February 10, 2009.
Showing posts with label Broadway documentaries. Show all posts
Showing posts with label Broadway documentaries. Show all posts
Tuesday, February 10, 2009
Thursday, June 12, 2008
Broadway Bonus Feature: Guys and Dolls DVD
My one-two punch in theatre was the pre-Broadway touring production of Hello, Dolly! in 1994 that starred Carol Channing, followed just a few weeks later by Guys and Dolls on my high school stage.
Looking back, I was very blessed to have experienced that. Carol Channing in Hello, Dolly!—it doesn’t get any better than that—but Guys and Dolls was the first time I had seen a play at my high school (and I was a senior that year). I have since come to see that not all high school and college drama departments are created equal, so it was exceptional that I saw such a strong production of one of the best musicals ever, Guys and Dolls. How could I not become a big fan of musicals after that?
However, I was sorely disappointed by the film versions of both musicals. I rented them hoping to capture of bit of the magic I had experienced on stage, and both were lacking the zest of a live performance. I was particularly disappointed by Guys and Dolls because of the cuts and additions to the score, not to mention Marlon Brando’s awkward singing voice.
Anyway, where was this going . . . Oh yes, the most recent DVD of Guys and Dolls promises a bonus feature about taking it from “stage to screen.” Those features, such as the one on the DVD of Can-Can, can be invaluable in understanding the process of creating Broadway musicals. On Can-Can, for example, we were even given some footage of Gwen Verdon performing in the original Broadway production.
Well, I am disappointed to report that the DVD of Guys and Dolls doesn’t really discuss the Broadway show as a whole, mostly in terms of the creation of the movie. For example, Michael Kidd reveals that some of his Broadway choreography was basically kept in tact for the movie (which, by the way, makes Guys and Dolls a great study on the difference between stage musicals today and in the Golden Age, because some of those dances would be too exaggerated for today’s audiences).
It’s interesting to hear one historian comment on Vivian Blaine giving a stage performance in the film, suggesting that her performance doesn’t fit comfortably next to Frank Sinatra’s subdued film performance, though I would suggest it is because Vivian Blaine realizes that she’s playing a character part, while Frank Sinatra could not pull off character acting. After all, Nathan Detroit is supposed to be a comedic character, not a leading man.
The most interesting aspect for Broadway fans who didn’t care for the movie is hearing Frank Loesser’s children discuss both the show and Loesser’s thoughts about the mutations made for the movie.
the Broadway Mouth
June 12, 2008
P.S. For info on bonus features and documentaries from shows like Hairspray, Rent, The Wedding Singer, and Can-Can, click on Broadway documentaries below.
Looking back, I was very blessed to have experienced that. Carol Channing in Hello, Dolly!—it doesn’t get any better than that—but Guys and Dolls was the first time I had seen a play at my high school (and I was a senior that year). I have since come to see that not all high school and college drama departments are created equal, so it was exceptional that I saw such a strong production of one of the best musicals ever, Guys and Dolls. How could I not become a big fan of musicals after that?
However, I was sorely disappointed by the film versions of both musicals. I rented them hoping to capture of bit of the magic I had experienced on stage, and both were lacking the zest of a live performance. I was particularly disappointed by Guys and Dolls because of the cuts and additions to the score, not to mention Marlon Brando’s awkward singing voice.
Anyway, where was this going . . . Oh yes, the most recent DVD of Guys and Dolls promises a bonus feature about taking it from “stage to screen.” Those features, such as the one on the DVD of Can-Can, can be invaluable in understanding the process of creating Broadway musicals. On Can-Can, for example, we were even given some footage of Gwen Verdon performing in the original Broadway production.
Well, I am disappointed to report that the DVD of Guys and Dolls doesn’t really discuss the Broadway show as a whole, mostly in terms of the creation of the movie. For example, Michael Kidd reveals that some of his Broadway choreography was basically kept in tact for the movie (which, by the way, makes Guys and Dolls a great study on the difference between stage musicals today and in the Golden Age, because some of those dances would be too exaggerated for today’s audiences).
It’s interesting to hear one historian comment on Vivian Blaine giving a stage performance in the film, suggesting that her performance doesn’t fit comfortably next to Frank Sinatra’s subdued film performance, though I would suggest it is because Vivian Blaine realizes that she’s playing a character part, while Frank Sinatra could not pull off character acting. After all, Nathan Detroit is supposed to be a comedic character, not a leading man.
The most interesting aspect for Broadway fans who didn’t care for the movie is hearing Frank Loesser’s children discuss both the show and Loesser’s thoughts about the mutations made for the movie.
the Broadway Mouth
June 12, 2008
P.S. For info on bonus features and documentaries from shows like Hairspray, Rent, The Wedding Singer, and Can-Can, click on Broadway documentaries below.
Tuesday, February 12, 2008
Everyone can Can-Can / You can Can-Can Too
Thank God for the library. And not just because our country flourishes from the exchange and availability of ideas afforded by a library.
The library system in my city has an impressive collection of film musicals available, titles that circulate among the varying branches. Being a person who doesn’t rent a whole lot, I’ve appreciated the variety of films the library has allowed me to see without paying a penny (except for those overdue fines, which I consider a civic duty in my support of the library). Every library is different, but check out your library to see if it has a variety of classic film musicals as well.
My latest find was the film version of Cole Porter’s Can-Can, a show I don’t know much about. I’d certainly heard of it, but it’s not a show that is performed very often. In watching the movie, it didn’t take long to realize, though, that this was another one of those leaden Hollywood hack jobs, much like Guys and Dolls and Hello, Dolly!, though I was thoroughly engaged in Simone’s plight by the beginning of the second act.
What is of most interest, however, are the bonus features. We are actually given featurettes on Cole Porter and Abe Burrows (librettist whose works include Guys and Dolls, Can-Can, and How to Succeed in Business Without Really Trying). If you’ve seen the Michael Kantor documentary Broadway: The American Musical, there probably won’t be much new on Porter, but the Abe Burrows featurette, including interviews with his two children, is quite interesting. It doesn’t do as well of a job of covering Burrows’ life and career as Keith Garebian’s The Making of Guys and Dolls (though it does discuss his tragic death to Alzheimer’s), but it’s great to see his children analyzing his work and to see his contributions presented in the documentary form (or, more correctly, the bonus feature form).
Most exciting, though, is that the featurette on the making of the film actually presents silent footage from the original production of Can-Can, including quick snippets of the magical Gwen Verdon in action (and experts discussing the ravishing success she was in the show, which was so threatening to star Lilo that she managed to get Verdon’s role cut down). Seeing that footage is priceless.
To learn more about the original production, I picked up Ethan Mordden’s invaluable Coming Up Roses, which analyzes the show in length as if he had been there to see Verdon on opening night. According to him, with my editorializing added on, it seems as if Can-Can was one of those Broadway shows with much to enjoy, gaping flaws and all, which ran for over two years.
Yes, even in the Golden Age, not everything was Golden, but a show didn’t have to be perfect or groundbreaking to run. It just needed to provide an ample amount of fun and pleasure.
Yes, things have indeed changed since the Golden Age.
the Broadway Mouth
February 12, 2008
The library system in my city has an impressive collection of film musicals available, titles that circulate among the varying branches. Being a person who doesn’t rent a whole lot, I’ve appreciated the variety of films the library has allowed me to see without paying a penny (except for those overdue fines, which I consider a civic duty in my support of the library). Every library is different, but check out your library to see if it has a variety of classic film musicals as well.
My latest find was the film version of Cole Porter’s Can-Can, a show I don’t know much about. I’d certainly heard of it, but it’s not a show that is performed very often. In watching the movie, it didn’t take long to realize, though, that this was another one of those leaden Hollywood hack jobs, much like Guys and Dolls and Hello, Dolly!, though I was thoroughly engaged in Simone’s plight by the beginning of the second act.
What is of most interest, however, are the bonus features. We are actually given featurettes on Cole Porter and Abe Burrows (librettist whose works include Guys and Dolls, Can-Can, and How to Succeed in Business Without Really Trying). If you’ve seen the Michael Kantor documentary Broadway: The American Musical, there probably won’t be much new on Porter, but the Abe Burrows featurette, including interviews with his two children, is quite interesting. It doesn’t do as well of a job of covering Burrows’ life and career as Keith Garebian’s The Making of Guys and Dolls (though it does discuss his tragic death to Alzheimer’s), but it’s great to see his children analyzing his work and to see his contributions presented in the documentary form (or, more correctly, the bonus feature form).
Most exciting, though, is that the featurette on the making of the film actually presents silent footage from the original production of Can-Can, including quick snippets of the magical Gwen Verdon in action (and experts discussing the ravishing success she was in the show, which was so threatening to star Lilo that she managed to get Verdon’s role cut down). Seeing that footage is priceless.
To learn more about the original production, I picked up Ethan Mordden’s invaluable Coming Up Roses, which analyzes the show in length as if he had been there to see Verdon on opening night. According to him, with my editorializing added on, it seems as if Can-Can was one of those Broadway shows with much to enjoy, gaping flaws and all, which ran for over two years.
Yes, even in the Golden Age, not everything was Golden, but a show didn’t have to be perfect or groundbreaking to run. It just needed to provide an ample amount of fun and pleasure.
Yes, things have indeed changed since the Golden Age.
the Broadway Mouth
February 12, 2008
Friday, December 28, 2007
Broadway Documentaries: Feature Film Bonus Feature Bonanzas
Hairspray Shake and Shimmy Edition
As part of the 2-Disc DVD edition, we get a chance to explore the roots of the musical Hairspray, including the hit Broadway show. The original producers take part is explaining how the Broadway production came to be. Interestingly, lead producer Margo Lion talks about searching for a youth-friendly property, not necessarily a movie-based property, when she stumbled upon the film of Hairspray. She and the other producers do take us through their journey of workshops, with some additional insights from librettists Mark O’Donnell and Thomas Meehan. The only cast member to share experiences, though, is Marissa Jaret Winokur, who addresses not only her battle with cancer but also her tortured history with the show. She was the first Tracy the creators saw, and as she plugged on through the workshop process, she kept being forewarned that she would not be their final choice to open the show. Sadly, the doc contains no clips from the show, only still pictures, though there is a sampling of Nathan Lane singing as Wilbur Turnblad.
Honestly, it’s not a particularly insightful detailing of the creation of the Broadway show, but for someone who eats up that kind of information, I am still glad to have doled out the extra money for the 2-Disc edition just to have it.
Rent 2-Disc Special Edition
Okay, so I’m not really a Renthead. It’s not that I don’t greatly admire the late great Jonathon Larson’s work; it’s just one of those cases where the material, as a whole, doesn’t resonate with my experiences.
For me, though, the purchase of the 2-Disc edition of the movie was a must because of No Day But Today, the excellent doc on not only the making of the Broadway show but also on Jonathon Larson’s life, drawing on the remembrances of close friends as well as family members. As one who aspires to be produced on Broadway (and elsewhere), I found great inspiration in Larson’s life story, which is not only filled with a thriving in the joy of lack but also a love for life and art, the pain of learning the hard way, and the jubilation of triumph. I also found inspiration in the mechanics of Jonathon Larson’s success, the knowledge of what he had to do to get where he got.
After establishing many of the sources of inspiration for the events and characters of Rent, the documentary (which runs almost two hours) details the workshop and off-Broadway production of the show, including the process of casting and the pain of collaboration. It walks us through Jonathon Larson’s unexpected death as well as those days after in which the cast and creative team found a way to move on, as well as the show’s triumphant opening on Broadway. In fact, not even a full thirty minutes of the doc is dedicated to the film version. Best of all, the producers of No Day But Today call on original cast members Daphne Rubin-Vega and Fredi Walker to share their experiences in the process.
We’ve had a string of fantastic documentaries in recent years—Broadway: The Golden Age, Broadway: The American Musical, and Show Business: The Road to Broadway—and Rent’s No Day But Today belongs right up there with it.
The Phantom of the Opera 2-Disc Special Edition
Count me as one of those who really enjoyed the film adaptation of The Phantom of the Opera, a show I enjoyed on stage but was more blown away by the movie. I probably never would have bought the DVD, though, because I find it pretty much impossible to set aside the chunk of time needed to watch it all. However, I couldn’t pass it up when I heard about Behind the Mask: The Story of The Phantom of the Opera documentary on the 2-Disc edition.
If Behind the Mask is less interesting than No Day But Today it’s because The Phantom of the Opera is a less interesting show than Rent without the seasoning of the passion and struggles of a starving artist in the story of Jonathan Larson. Still, Behind the Mask is an interesting snapshot into the creative mind of one of the most successful and beloved theatrical composers of our time.
Running just over an hour, Behind the Mask follows Andrew Lloyd Webber’s show from the idea to the final production, peppered with many scenes from the stage show. As one might expect in such a thorough documentary, it covers the hiring on of key creative personnel, including interviews with them about their experiences. Hal Prince shows up for the documentary, as do lyricists Richard Stilgoe and Charles Hart. Included in the story is the show’s premiere at Sydmonton, Webber’s country estate where he annually premieres shows and songs. At one early presentation of The Phantom of the Opera, the Phantom was played by Colm Wilkinson, who appears here in footage from that 1985 performance (as does original Raoul Steve Barton in a later Sydmonton performance).
There’s the inclusion of the story of original lyricist Richard Stilgoe and “replacement” Charles Hart, with them discussing how they view their work today. Of interest is the inclusion of original Phantom Steve Harley (whose biggest regret in leaving the show was not being able to work with Hal Prince, whom he says changed his life).
The doc is loaded with clips from the stage production as well as the original music videos that were used to promote the show in London. We even get the scene from the stage show in which Christine’s voice gets replaced by a pre-recorded track, a switch which is identifiable only if you know about its use in advance. Choreographer Gillian Lynne also explains her choices in “Masquerade” which help cover up the use of dummies on the stage (which I had not known about until seeing this doc, and I’m not alone—according to Hal Prince, George Abbott didn’t figure it out either). We even get to see the dummies up close to see how they work. Also of interest is the inclusion of some photos of the process used in creating the look of the Phantom.
I guess if I despised The Phantom of the Opera (as some theatre folk do), I wouldn’t enjoy the documentary, and while there are no great revelations overall, not a whole lot that a creator myself can take away for future reference; it is still a pleasant and worthwhile story of the creation of the longest-running show on Broadway.
the Broadway Mouth
December 28, 2007
P.S. For info on the Bombay Dreams documentary and a musical-themed bonus feature on The Wedding Singer, click on "Broadway documentaries" below.
As part of the 2-Disc DVD edition, we get a chance to explore the roots of the musical Hairspray, including the hit Broadway show. The original producers take part is explaining how the Broadway production came to be. Interestingly, lead producer Margo Lion talks about searching for a youth-friendly property, not necessarily a movie-based property, when she stumbled upon the film of Hairspray. She and the other producers do take us through their journey of workshops, with some additional insights from librettists Mark O’Donnell and Thomas Meehan. The only cast member to share experiences, though, is Marissa Jaret Winokur, who addresses not only her battle with cancer but also her tortured history with the show. She was the first Tracy the creators saw, and as she plugged on through the workshop process, she kept being forewarned that she would not be their final choice to open the show. Sadly, the doc contains no clips from the show, only still pictures, though there is a sampling of Nathan Lane singing as Wilbur Turnblad.
Honestly, it’s not a particularly insightful detailing of the creation of the Broadway show, but for someone who eats up that kind of information, I am still glad to have doled out the extra money for the 2-Disc edition just to have it.
Rent 2-Disc Special Edition
Okay, so I’m not really a Renthead. It’s not that I don’t greatly admire the late great Jonathon Larson’s work; it’s just one of those cases where the material, as a whole, doesn’t resonate with my experiences.
For me, though, the purchase of the 2-Disc edition of the movie was a must because of No Day But Today, the excellent doc on not only the making of the Broadway show but also on Jonathon Larson’s life, drawing on the remembrances of close friends as well as family members. As one who aspires to be produced on Broadway (and elsewhere), I found great inspiration in Larson’s life story, which is not only filled with a thriving in the joy of lack but also a love for life and art, the pain of learning the hard way, and the jubilation of triumph. I also found inspiration in the mechanics of Jonathon Larson’s success, the knowledge of what he had to do to get where he got.
After establishing many of the sources of inspiration for the events and characters of Rent, the documentary (which runs almost two hours) details the workshop and off-Broadway production of the show, including the process of casting and the pain of collaboration. It walks us through Jonathon Larson’s unexpected death as well as those days after in which the cast and creative team found a way to move on, as well as the show’s triumphant opening on Broadway. In fact, not even a full thirty minutes of the doc is dedicated to the film version. Best of all, the producers of No Day But Today call on original cast members Daphne Rubin-Vega and Fredi Walker to share their experiences in the process.
We’ve had a string of fantastic documentaries in recent years—Broadway: The Golden Age, Broadway: The American Musical, and Show Business: The Road to Broadway—and Rent’s No Day But Today belongs right up there with it.
The Phantom of the Opera 2-Disc Special Edition
Count me as one of those who really enjoyed the film adaptation of The Phantom of the Opera, a show I enjoyed on stage but was more blown away by the movie. I probably never would have bought the DVD, though, because I find it pretty much impossible to set aside the chunk of time needed to watch it all. However, I couldn’t pass it up when I heard about Behind the Mask: The Story of The Phantom of the Opera documentary on the 2-Disc edition.
If Behind the Mask is less interesting than No Day But Today it’s because The Phantom of the Opera is a less interesting show than Rent without the seasoning of the passion and struggles of a starving artist in the story of Jonathan Larson. Still, Behind the Mask is an interesting snapshot into the creative mind of one of the most successful and beloved theatrical composers of our time.
Running just over an hour, Behind the Mask follows Andrew Lloyd Webber’s show from the idea to the final production, peppered with many scenes from the stage show. As one might expect in such a thorough documentary, it covers the hiring on of key creative personnel, including interviews with them about their experiences. Hal Prince shows up for the documentary, as do lyricists Richard Stilgoe and Charles Hart. Included in the story is the show’s premiere at Sydmonton, Webber’s country estate where he annually premieres shows and songs. At one early presentation of The Phantom of the Opera, the Phantom was played by Colm Wilkinson, who appears here in footage from that 1985 performance (as does original Raoul Steve Barton in a later Sydmonton performance).
There’s the inclusion of the story of original lyricist Richard Stilgoe and “replacement” Charles Hart, with them discussing how they view their work today. Of interest is the inclusion of original Phantom Steve Harley (whose biggest regret in leaving the show was not being able to work with Hal Prince, whom he says changed his life).
The doc is loaded with clips from the stage production as well as the original music videos that were used to promote the show in London. We even get the scene from the stage show in which Christine’s voice gets replaced by a pre-recorded track, a switch which is identifiable only if you know about its use in advance. Choreographer Gillian Lynne also explains her choices in “Masquerade” which help cover up the use of dummies on the stage (which I had not known about until seeing this doc, and I’m not alone—according to Hal Prince, George Abbott didn’t figure it out either). We even get to see the dummies up close to see how they work. Also of interest is the inclusion of some photos of the process used in creating the look of the Phantom.
I guess if I despised The Phantom of the Opera (as some theatre folk do), I wouldn’t enjoy the documentary, and while there are no great revelations overall, not a whole lot that a creator myself can take away for future reference; it is still a pleasant and worthwhile story of the creation of the longest-running show on Broadway.
the Broadway Mouth
December 28, 2007
P.S. For info on the Bombay Dreams documentary and a musical-themed bonus feature on The Wedding Singer, click on "Broadway documentaries" below.
Thursday, October 25, 2007
Show Business: The Road to Broadway
Sometimes things get better with repeated viewing. The most common first reaction to Dori Bernstein’s Show Business: The Road to Broadway when it hit theaters (now available on DVD) was that it didn’t uncover anything surprising, that it documented an exciting season unfolding as every exciting season unfolds—the show openings, the gossip, the critics, the Tonys, and the show closings with as much drama backstage as was ever onstage. This, too, was my first reaction, but upon second viewing, Show Business: The Road to Broadway proves itself to be more than just a fascinating telling of a familiar story.
There’s the saying that there are no new stories in the world, that what sets a story apart is the way that it is told. The stories of Show Business are of the same ilk—change out Caroline, or Change with Grey Gardens, Tonya Pinkins with Marla Schaffel, Wicked with Aida—but it’s the details that are unique. There’s Rosie O’Donnell’s passion Taboo, which struggles in the face of journalistic adversity despite tears from passionate followers. There’s Tonya Pinkins who shares openly about the struggles of being a working actress and then making it in a beloved show that still closes early. There’s Wicked, which succeeds despite middling reviews to become a phenomenon. Fresh or not, every story is Show Business is interesting and is a story theatre fans will find themselves wanting to visit repeatedly.
The most valuable perspective Show Business uncovers is that of the critic community that holds such persuasion over the theatre-going public, particularly when it comes to musicals with non-traditional concepts or non-traditional stories, the shows audiences are less likely to risk attending. It’s fascinating to see the roundtable discussions that illustrate the thought processes some critics experience in analyzing a show. For example, one critic appears to dismiss Caroline, or Change simply because, to her mind, it offers nothing new.
An unexpected surprise of this second viewing, however, is that once you are done tasting the strongest flavors, there are many subtle spices mixed in with the narrative (and bonus features), words and ideas that give us cause for pause and reflection. One of the biggest ideas presented indirectly is questioning what makes for a great show that is produce-able in this day and age. After all the Taboo drama ends with the show’s closing, Dori Bernstein pulls the viewer away from the storm and presents calmer perspectives on the show, and it makes you wonder how much of the Broadway drama is just that—drama—instead of level-headed thinking. And there are a myriad of other important questions that arise out of the narrative. The key to seeing them is to take a step in viewing the film a second time, when the narrative can take a backseat to detailed observation.
The DVD is also filled with a variety of interesting bonus features. The best is probably the commentary track with producer/director Dori Bernstein, co-producer and Tony-winning actor Alan Cumming, and Tony-winning Avenue Q co-songwriter Jeff Marx. While there are a few interesting tidbits in what they say, the most appealing aspect of this commentary is that the viewer gets to listen in while three significant Broadway figures share their perspectives on the Broadway process and the shows of that season. Jeff Marx talks about seeing Taboo and Caroline, or Change several times, for example, and all three heap praise on various figures within the narrative. It’s fascinating and a side of the Broadway creative talent no one really gets to see—their honest reactions to what is going on in the Broadway world.
The other bonus features are also worth a second visit to the feature. In the section in which each of the four profiled shows gets additional face-time, Bernstein includes clips from the shows, including Raul Esparza performing in Taboo and more Tonya Pinkins and Anika Noni Rose in Caroline, or Change. There’s Harvey Fierstein’s BC/EFA speech at the end of a performance of Hairspray, deleted scenes that include Avenue Q’s Tony campaign party and set construction footage from Wicked. In the Broadway Speaks section, several significant Broadway figures share experiences from their Broadway experience, including John Lithgow sharing about thunderous applause right after being told his show was closing and Donna Murphy’s demonstrative expression of her passion for performing onstage. There’s even an early trailer for the film different from the one that popped up on the Internet.
The DVD of Show Business offers a valuable illustration of the vagaries, passions, and talent of Broadway. For the uninitiated, it presents an eye-opening look at what people do for love under adverse circumstances. For those of us who are well-studied on the process of Broadway, it’s a great story of a fascinating season and one we’ll want to relive again.
In other words, don’t miss it.
the Broadway Mouth
October 25, 2007
There’s the saying that there are no new stories in the world, that what sets a story apart is the way that it is told. The stories of Show Business are of the same ilk—change out Caroline, or Change with Grey Gardens, Tonya Pinkins with Marla Schaffel, Wicked with Aida—but it’s the details that are unique. There’s Rosie O’Donnell’s passion Taboo, which struggles in the face of journalistic adversity despite tears from passionate followers. There’s Tonya Pinkins who shares openly about the struggles of being a working actress and then making it in a beloved show that still closes early. There’s Wicked, which succeeds despite middling reviews to become a phenomenon. Fresh or not, every story is Show Business is interesting and is a story theatre fans will find themselves wanting to visit repeatedly.
The most valuable perspective Show Business uncovers is that of the critic community that holds such persuasion over the theatre-going public, particularly when it comes to musicals with non-traditional concepts or non-traditional stories, the shows audiences are less likely to risk attending. It’s fascinating to see the roundtable discussions that illustrate the thought processes some critics experience in analyzing a show. For example, one critic appears to dismiss Caroline, or Change simply because, to her mind, it offers nothing new.
An unexpected surprise of this second viewing, however, is that once you are done tasting the strongest flavors, there are many subtle spices mixed in with the narrative (and bonus features), words and ideas that give us cause for pause and reflection. One of the biggest ideas presented indirectly is questioning what makes for a great show that is produce-able in this day and age. After all the Taboo drama ends with the show’s closing, Dori Bernstein pulls the viewer away from the storm and presents calmer perspectives on the show, and it makes you wonder how much of the Broadway drama is just that—drama—instead of level-headed thinking. And there are a myriad of other important questions that arise out of the narrative. The key to seeing them is to take a step in viewing the film a second time, when the narrative can take a backseat to detailed observation.
The DVD is also filled with a variety of interesting bonus features. The best is probably the commentary track with producer/director Dori Bernstein, co-producer and Tony-winning actor Alan Cumming, and Tony-winning Avenue Q co-songwriter Jeff Marx. While there are a few interesting tidbits in what they say, the most appealing aspect of this commentary is that the viewer gets to listen in while three significant Broadway figures share their perspectives on the Broadway process and the shows of that season. Jeff Marx talks about seeing Taboo and Caroline, or Change several times, for example, and all three heap praise on various figures within the narrative. It’s fascinating and a side of the Broadway creative talent no one really gets to see—their honest reactions to what is going on in the Broadway world.
The other bonus features are also worth a second visit to the feature. In the section in which each of the four profiled shows gets additional face-time, Bernstein includes clips from the shows, including Raul Esparza performing in Taboo and more Tonya Pinkins and Anika Noni Rose in Caroline, or Change. There’s Harvey Fierstein’s BC/EFA speech at the end of a performance of Hairspray, deleted scenes that include Avenue Q’s Tony campaign party and set construction footage from Wicked. In the Broadway Speaks section, several significant Broadway figures share experiences from their Broadway experience, including John Lithgow sharing about thunderous applause right after being told his show was closing and Donna Murphy’s demonstrative expression of her passion for performing onstage. There’s even an early trailer for the film different from the one that popped up on the Internet.
The DVD of Show Business offers a valuable illustration of the vagaries, passions, and talent of Broadway. For the uninitiated, it presents an eye-opening look at what people do for love under adverse circumstances. For those of us who are well-studied on the process of Broadway, it’s a great story of a fascinating season and one we’ll want to relive again.
In other words, don’t miss it.
the Broadway Mouth
October 25, 2007
Friday, September 14, 2007
Salaam Bombay Dreams DVD
Okay, I have a confession to make. I um, how do I put this . . . I walked into Barnes and Noble about two years ago intending to buy the OBCR for Passion and walked out with Bombay Dreams.
There, I said it.
Now that I’ve completely compromised all my credibility (but am happy to be moving on in life with a much lighter load), please allow me to explain before you justly judge me for my shameful actions. Please.
You see, I already owned the Passion DVD, and I had seen “Shakalaka Baby” performed on Good Morning America. That song was so infectious that I knew the CD would be filled with such other interesting melodies.
So, as those of you saw the show know, I got what I deserved. There are a lot of infectious melodies with that danceable Eastern Indian flavor, but A.R. Rahman’s fresh melodies are incongruent with Western musical storytelling song structure, leaving me with a CD that is more awkward than fun. For example, the song “Like an Eagle” is almost six minutes long with lyrics consisting of a five repeats of the chorus (no verses) with minor lyrical alterations, which, frankly, is enough to make you beat your head against a brick wall. “Shakalaka Baby” is still loads of fun, as is the infectious Hindi-languaged (I think) “Chaiyya Chaiyya,” but I’d say there’s more “Like an Eagle” than exciting theatre songs (though maybe not quite so redundant). Many people have criticized Don Black’s lyrics for the show, but frankly, I don’t think Oscar Hammerstein II could have faired much better given the musical circumstances. Take “The Journey Home,” which has some very nice lyrics (Not every road you come across / Is one you have to take / No, sometimes standing still can be / The best move you ever make) but repeats itself too much.
The sure sign of a successful musical collaboration, however, is almost always in the show itself, which I was unfortunate to not be able to see.
Still, despite my disappointment with the CD, when I stumbled across the documentary Salaam Bombay Dreams at Barnes and Noble, I picked it up. It was only $14.99, which was less than most CDs, and I’m always game about learning how shows come together to glean what new knowledge I can.
I haven’t seen anything written anywhere about this DVD (though this is probably more likely from my missing it than there not being anything), so I’m detailing it here for those of you who were unaware such a DVD existed or knew about it but wondered what it was about. Consider it an early Christmas gift.
The DVD is divided into four sections—a 90-minute documentary, a collection of interviews with key creative team personnel (including producer Andrew Lloyd Webber), a gaggle of clips, and bonus material.
The most significant aspect of this DVD, first and foremost, is that there is little on here that is of interest outside Bombay Dreams. Often, when you see documentaries on the making of a stage show, there’s much to cull from it concerning the processes of getting a show created and produced; however, because of the unique nature of Bombay Dreams, it followed a unique journey to the stage that is hardly universal.
That is not to say that the documentary is not interesting. It follows the steps Andrew Lloyd Webber took upon the generation of the idea for the show, the finding of key creative talent, and, most interestingly, the British choreographer (and assistant) traveling to India to learn from Bollywood choreographer (and Bombay Dreams co-choreographer) Farah Khan. It also includes video footage of the meet and greet, the show in rehearsal, a healthy amount of choreography rehearsal and discussion, models and discussion of the set design, the set getting installed, and the gala opening night red carpet. Sprinkled throughout are images of the final production, some of which are repeated later on the disc.
The documentary helps to explain some of the oddities on the CD, for it appears that much of the music was recorded in India with the leads, while Indian singers perform what would typically be the ensemble backup. I don’t know Ayesha Dharker’s talents, but I wonder if that explains why Dharker doesn’t appear anywhere on the CD and lip synched to Preeya Kalidas’ voice for “Shakalaka Baby.” That’s just a theory formed without seeing the show, of course.
The interview footage is also primarily interesting in relation to the show. Much of Andrew Lloyd Webber’s interview is focused on the genius of A.R. Rahman. Librettist Meera Syal’s viewpoints are interesting because she opens up about her learning experience on the show. Parts of the interviews are repeated from the documentary, and there is also footage used to connect the different segments of the interviews, be they scenes from the show, rehearsals in Britain, or from rehearsals in India. Again, like the interviews themselves, some of these are re-used clips from the documentary, and some are new.
The best part of the DVD is the footage from the show. Some of these have MTVish add-ons at the beginning or the end of the clip, but for the most part, they are well-filmed scenes from the show. They consist of the original London cast performing “Shakalaka Baby” and “Chaiyya Chaiyya,” both of which are impressive for the sheer energy in the choreography and, in the latter, the speedy costume changes. There’s also “The Journey Home” (which I believe to be the full song, including a few lyrics not on the CD) and “How Many Stars” (my guess would be a reprise late in the show). Only “How Many Stars” includes any dialogue. It would have been nice to have some context for the others, particularly since the CD provides none whatsoever (not even a plot summary).
You also get two nice additions of the music videos of Preeya Kalidas’ “Shakalaka Baby” and “Love’s Never Easy,” the latter which would have been a nice bonus on the CD. “Shakalaka Baby” is energetic and fun, as you’d expect, though the visuals of “Love’s Never Easy” seems more dated (think Vanessa Williams singing “Colors of the Wind” in 1995). It is nice, however, to hear that song performed by a woman, and Kalidas’ gentle voice handles it beautifully.
The bonus material consists of rehearsal footage from the scene in which Akaash leaves his big premiere and denies his friends, incorporating scenes from the show in performance. It is interesting in that you get to see the scene being assembled, but it is by no means a revelation of technique or anything.
There is also an interesting look at the night the Queen attended the show and all the preparations that had to go into that event. The best moment goes to Raj Ghatak as Sweetie, though, who recalls his conversation with the queen, who seemed to not know how to react to his eunuch in a dress (or sari or whatever).
Even though there are no revelatory moments, I’m glad I bought Salaam Bombay Dreams to add to my collection of theatre videos and DVDs, and being a show clip hoarder, I ate that part up. Yet, I don’t think it is by any means a must-have for theatre fans unless they were fanatics of the show.
the Broadway Mouth
September 14, 2007
There, I said it.
Now that I’ve completely compromised all my credibility (but am happy to be moving on in life with a much lighter load), please allow me to explain before you justly judge me for my shameful actions. Please.
You see, I already owned the Passion DVD, and I had seen “Shakalaka Baby” performed on Good Morning America. That song was so infectious that I knew the CD would be filled with such other interesting melodies.
So, as those of you saw the show know, I got what I deserved. There are a lot of infectious melodies with that danceable Eastern Indian flavor, but A.R. Rahman’s fresh melodies are incongruent with Western musical storytelling song structure, leaving me with a CD that is more awkward than fun. For example, the song “Like an Eagle” is almost six minutes long with lyrics consisting of a five repeats of the chorus (no verses) with minor lyrical alterations, which, frankly, is enough to make you beat your head against a brick wall. “Shakalaka Baby” is still loads of fun, as is the infectious Hindi-languaged (I think) “Chaiyya Chaiyya,” but I’d say there’s more “Like an Eagle” than exciting theatre songs (though maybe not quite so redundant). Many people have criticized Don Black’s lyrics for the show, but frankly, I don’t think Oscar Hammerstein II could have faired much better given the musical circumstances. Take “The Journey Home,” which has some very nice lyrics (Not every road you come across / Is one you have to take / No, sometimes standing still can be / The best move you ever make) but repeats itself too much.
The sure sign of a successful musical collaboration, however, is almost always in the show itself, which I was unfortunate to not be able to see.
Still, despite my disappointment with the CD, when I stumbled across the documentary Salaam Bombay Dreams at Barnes and Noble, I picked it up. It was only $14.99, which was less than most CDs, and I’m always game about learning how shows come together to glean what new knowledge I can.
I haven’t seen anything written anywhere about this DVD (though this is probably more likely from my missing it than there not being anything), so I’m detailing it here for those of you who were unaware such a DVD existed or knew about it but wondered what it was about. Consider it an early Christmas gift.
The DVD is divided into four sections—a 90-minute documentary, a collection of interviews with key creative team personnel (including producer Andrew Lloyd Webber), a gaggle of clips, and bonus material.
The most significant aspect of this DVD, first and foremost, is that there is little on here that is of interest outside Bombay Dreams. Often, when you see documentaries on the making of a stage show, there’s much to cull from it concerning the processes of getting a show created and produced; however, because of the unique nature of Bombay Dreams, it followed a unique journey to the stage that is hardly universal.
That is not to say that the documentary is not interesting. It follows the steps Andrew Lloyd Webber took upon the generation of the idea for the show, the finding of key creative talent, and, most interestingly, the British choreographer (and assistant) traveling to India to learn from Bollywood choreographer (and Bombay Dreams co-choreographer) Farah Khan. It also includes video footage of the meet and greet, the show in rehearsal, a healthy amount of choreography rehearsal and discussion, models and discussion of the set design, the set getting installed, and the gala opening night red carpet. Sprinkled throughout are images of the final production, some of which are repeated later on the disc.
The documentary helps to explain some of the oddities on the CD, for it appears that much of the music was recorded in India with the leads, while Indian singers perform what would typically be the ensemble backup. I don’t know Ayesha Dharker’s talents, but I wonder if that explains why Dharker doesn’t appear anywhere on the CD and lip synched to Preeya Kalidas’ voice for “Shakalaka Baby.” That’s just a theory formed without seeing the show, of course.
The interview footage is also primarily interesting in relation to the show. Much of Andrew Lloyd Webber’s interview is focused on the genius of A.R. Rahman. Librettist Meera Syal’s viewpoints are interesting because she opens up about her learning experience on the show. Parts of the interviews are repeated from the documentary, and there is also footage used to connect the different segments of the interviews, be they scenes from the show, rehearsals in Britain, or from rehearsals in India. Again, like the interviews themselves, some of these are re-used clips from the documentary, and some are new.
The best part of the DVD is the footage from the show. Some of these have MTVish add-ons at the beginning or the end of the clip, but for the most part, they are well-filmed scenes from the show. They consist of the original London cast performing “Shakalaka Baby” and “Chaiyya Chaiyya,” both of which are impressive for the sheer energy in the choreography and, in the latter, the speedy costume changes. There’s also “The Journey Home” (which I believe to be the full song, including a few lyrics not on the CD) and “How Many Stars” (my guess would be a reprise late in the show). Only “How Many Stars” includes any dialogue. It would have been nice to have some context for the others, particularly since the CD provides none whatsoever (not even a plot summary).
You also get two nice additions of the music videos of Preeya Kalidas’ “Shakalaka Baby” and “Love’s Never Easy,” the latter which would have been a nice bonus on the CD. “Shakalaka Baby” is energetic and fun, as you’d expect, though the visuals of “Love’s Never Easy” seems more dated (think Vanessa Williams singing “Colors of the Wind” in 1995). It is nice, however, to hear that song performed by a woman, and Kalidas’ gentle voice handles it beautifully.
The bonus material consists of rehearsal footage from the scene in which Akaash leaves his big premiere and denies his friends, incorporating scenes from the show in performance. It is interesting in that you get to see the scene being assembled, but it is by no means a revelation of technique or anything.
There is also an interesting look at the night the Queen attended the show and all the preparations that had to go into that event. The best moment goes to Raj Ghatak as Sweetie, though, who recalls his conversation with the queen, who seemed to not know how to react to his eunuch in a dress (or sari or whatever).
Even though there are no revelatory moments, I’m glad I bought Salaam Bombay Dreams to add to my collection of theatre videos and DVDs, and being a show clip hoarder, I ate that part up. Yet, I don’t think it is by any means a must-have for theatre fans unless they were fanatics of the show.
the Broadway Mouth
September 14, 2007
Thursday, July 12, 2007
Broadway-Themed Bonus Feature Details: The Wedding Singer: and Circuit City Hairspray: Preview DVD
It’s taken me five months, but after a long waiting list at the library, I finally got The Wedding Singer: Totally Awesome Edition on DVD which has, as a bonus feature, “A Backstage Look at The Wedding Singer on Broadway,” identified on the back of the case as a featurette.
I had never seen the original Adam Sandler/Drew Barrymore movie when I fell in love with the Broadway show. When I finally saw it afterwards, I was reminded why I didn’t see it originally since watching Adam Sandler makes me want to gouge my eyes out with oven mitts on. However, even I would buy the DVD if there were some primo stuff on the bonus feature.
So, here are the details. The featurette is a 10-minute look at the show featuring interviews with the creative team, Stephen Lynch, and Laura Benanti. Each person gets a chance to talk about their thing, such as set designer Scott Pask describing his rubics cube squares as part of the set design. The footage seems to have been shot largely during the rehearsal period before the first preview out-of-town. There are a few snippets of chorus members getting make-up on, shots of the set, close-ups of costume design drawings, but most of the footage is of the promotional photo shoot for the picture which adorned the poster, including Lynch in the ‘80s wig he wasn’t wearing by the time I saw him in the show.
One really interesting observation made on it is from director John Rando who compares Stephen Lynch’s touring comedy career to the old days when actors refined their craft on the vaudeville circuit, which probably helps explain why Lynch was so amazing.
The second interesting observation is a brief interview with Laura Benanti. After reading about her on Broadway message boards for all these years, I was really surprised to see that she’s not the Loch Ness Monster. Not only is she extremely beautiful and talented, but she seems like, gasp, a really cool person. And I don’t think it was all in the editing.
The only footage from the show ends the featurette, with a one-minute look at “Come Out of the Dumpster,” which seems to be from a rehearsal with audience applause mixed in at the end (since there is no laughter on some of the big laugh lines).
I honestly don’t know if I would buy the DVD just for the featurette. It is always interesting to see people’s vision for a beloved show and to hear them discuss their work, but it is really lacking in meat—show footage. Oddly enough, I think footage from the show would have been their best bet in getting audiences to see it.
I often pop in such things to watch while I’m eating lunch on a Saturday or need some inspiration. My guess is that a year or two from now will tell whether this featurette is enough to get me to buy it when I am either craving the chance to see it again or have no interest.
Remember that this footage is only available on the Totally Awesome Edition, which features a close-up of Sandler and Barrymore against a white backdrop. The earlier edition is readily available, but it is lacking the “Behind the Scenes” look.
It’s of interest to note that in the Hairspray movie preview DVD available for free from Circuit City when you buy any CD or DVD (limited supply of the preview DVD are available), there is a $2 off coupon for several New Line romantic comedies (only good at Circuit City), of which The Wedding Singer: Totally Awesome Edition DVD is listed. The coupon is good through the end of August 2007. This seems like the type of movie that goes on sale, often for under $10.
Also included in the preview DVD is a coupon for $3 off several other New Line movies, including Antonio Banderas in Take the Lead with America’s sweetheart, Laura Benanti. It also indicates that specially-marked packages of the DVD The Last Mimzy have a Hairspray move voucher. I do remember from a preview trailer that The Last Mimzy seemed to me like The Exorcist For Kids. I’m sure we all want to rush out and buy it.
And, if interested—I know it’s been posted elsewhere—the Circuit City preview DVD features the “Ladies’ Choice” music video with Zac Efron and the dance stylings of Nikki Blonksi. It’s presented more as a scene from the movie than a regular music video, which is cool. There’s also a really great preview to the movie featuring interviews with the key creative staff and the main film stars, illustrated with lots and lots of footage from the movie. The packaging says it “INLCUDES OVER 30 MINUTES OF CONTENT!” As the packaging also states, the Behind-the-Scenes footage is 15 minutes (that includes credits), and the music video isn’t even three minutes. The other 12+ minutes of exclamation mark-worthy content is the must-see New Line previews for such high-interest movies as Rush Hour 3, Monster-in-Law, and The Notebook, the commercial for which, FYI, always pushes me near to vomiting. I recommend you skip over that one, too.
For free, though, the DVD is great to have, particularly since I’m already dying to see the movie again. If you don’t get the DVD, I have a feeling the bonus footage and music video will be included as bonus features on the Hairspray DVD, so “please don’t have a cow” if you miss it.
I had never seen the original Adam Sandler/Drew Barrymore movie when I fell in love with the Broadway show. When I finally saw it afterwards, I was reminded why I didn’t see it originally since watching Adam Sandler makes me want to gouge my eyes out with oven mitts on. However, even I would buy the DVD if there were some primo stuff on the bonus feature.
So, here are the details. The featurette is a 10-minute look at the show featuring interviews with the creative team, Stephen Lynch, and Laura Benanti. Each person gets a chance to talk about their thing, such as set designer Scott Pask describing his rubics cube squares as part of the set design. The footage seems to have been shot largely during the rehearsal period before the first preview out-of-town. There are a few snippets of chorus members getting make-up on, shots of the set, close-ups of costume design drawings, but most of the footage is of the promotional photo shoot for the picture which adorned the poster, including Lynch in the ‘80s wig he wasn’t wearing by the time I saw him in the show.
One really interesting observation made on it is from director John Rando who compares Stephen Lynch’s touring comedy career to the old days when actors refined their craft on the vaudeville circuit, which probably helps explain why Lynch was so amazing.
The second interesting observation is a brief interview with Laura Benanti. After reading about her on Broadway message boards for all these years, I was really surprised to see that she’s not the Loch Ness Monster. Not only is she extremely beautiful and talented, but she seems like, gasp, a really cool person. And I don’t think it was all in the editing.
The only footage from the show ends the featurette, with a one-minute look at “Come Out of the Dumpster,” which seems to be from a rehearsal with audience applause mixed in at the end (since there is no laughter on some of the big laugh lines).
I honestly don’t know if I would buy the DVD just for the featurette. It is always interesting to see people’s vision for a beloved show and to hear them discuss their work, but it is really lacking in meat—show footage. Oddly enough, I think footage from the show would have been their best bet in getting audiences to see it.
I often pop in such things to watch while I’m eating lunch on a Saturday or need some inspiration. My guess is that a year or two from now will tell whether this featurette is enough to get me to buy it when I am either craving the chance to see it again or have no interest.
Remember that this footage is only available on the Totally Awesome Edition, which features a close-up of Sandler and Barrymore against a white backdrop. The earlier edition is readily available, but it is lacking the “Behind the Scenes” look.
It’s of interest to note that in the Hairspray movie preview DVD available for free from Circuit City when you buy any CD or DVD (limited supply of the preview DVD are available), there is a $2 off coupon for several New Line romantic comedies (only good at Circuit City), of which The Wedding Singer: Totally Awesome Edition DVD is listed. The coupon is good through the end of August 2007. This seems like the type of movie that goes on sale, often for under $10.
Also included in the preview DVD is a coupon for $3 off several other New Line movies, including Antonio Banderas in Take the Lead with America’s sweetheart, Laura Benanti. It also indicates that specially-marked packages of the DVD The Last Mimzy have a Hairspray move voucher. I do remember from a preview trailer that The Last Mimzy seemed to me like The Exorcist For Kids. I’m sure we all want to rush out and buy it.
And, if interested—I know it’s been posted elsewhere—the Circuit City preview DVD features the “Ladies’ Choice” music video with Zac Efron and the dance stylings of Nikki Blonksi. It’s presented more as a scene from the movie than a regular music video, which is cool. There’s also a really great preview to the movie featuring interviews with the key creative staff and the main film stars, illustrated with lots and lots of footage from the movie. The packaging says it “INLCUDES OVER 30 MINUTES OF CONTENT!” As the packaging also states, the Behind-the-Scenes footage is 15 minutes (that includes credits), and the music video isn’t even three minutes. The other 12+ minutes of exclamation mark-worthy content is the must-see New Line previews for such high-interest movies as Rush Hour 3, Monster-in-Law, and The Notebook, the commercial for which, FYI, always pushes me near to vomiting. I recommend you skip over that one, too.
For free, though, the DVD is great to have, particularly since I’m already dying to see the movie again. If you don’t get the DVD, I have a feeling the bonus footage and music video will be included as bonus features on the Hairspray DVD, so “please don’t have a cow” if you miss it.
Subscribe to:
Posts (Atom)
Posts
