I honestly haven’t heard enough of Jeanine Tesori’s music to get a feel for her style. Because there’s nothing like hearing a score for the first time on stage, I keep waiting to catch a production of Caroline, or Change before buying the CD. Since a production close to me won’t be mounted for almost another year, I’ll focus on a gem from Thoroughly Modern Millie with lyrics by Dick Scanlan.
“Forget About the Boy” really is about as great, old fashioned as you can get without recycling a song from another show. It has an irresistible melody with fun, catchy lyrics that express character.
Another gem from the show, “Gimme, Gimme” is particularly remarkable because it caps off a wild and wacky night of fun with heartfelt, passionate emotion. A typical ballad would have been the wrong moment, so Tesori finds a balance in a high-energy song that perfectly complements Scanlan’s clever lyrics (“Here I am, St. Valentine / My bags are packed; I’m first in line! / Aphrodite, don’t forget me / Romeo and Juliet me”). Thoroughly Modern Millie required the use of songs from a variety of sources, but from hearing “Forget About the Boy” and “Gimme, Gimme” alone, it would be exciting to see Tesori and Scanlan tackle an entirely original score.
the Broadway Mouth
May 29, 2008
Showing posts with label Thoroughly Modern Millie. Show all posts
Showing posts with label Thoroughly Modern Millie. Show all posts
Thursday, May 29, 2008
Saturday, May 3, 2008
Casting Quandaries III: The Problems Created By Maria
The casting of The Sound of Music became infinitely more challenging when Julie Andrews stepped into the role of Maria for the film. It’s interesting to ponder that Mary Martin was cast in the role in the original Broadway production after playing parts like Peter Pan and Annie Oakley. Those aren’t roles you would ever imagine Julie Andrews taking on.
Since the movie, what stage production will ever be able to live down the memory of Julie Andrews in one of the most beloved movies ever made? In the last revival, Rebecca Luker and Laura Benanti were consecutively cast as everyone’s favorite postulant, casting choices that followed the film’s lead (and both are tremendously talented women). But look at the choice—you could never imagine casting either Luker or Benanti as Peter Pan or Annie Oakley.
Casting a movie can be a very different exercise from casting a stage production. Often the integrity of the role is sacrificed for celebrity by casting someone who can’t sing too well, can’t sing the role the way it was written, or is too old for the part. Casting Julie Andrews as Maria was inspired, though it fits a film’s style more than it would probably fit a stage production (particularly in the way that The Sound of Music was reconceived for film). What the film captures in a close-up with Andrews may have been difficult for the stage to have successful communicated. I never saw Mary Martin on stage, but my understanding is that her performances were full of pluck, energy, and charm. I have a feeling her Maria didn’t abandon those traits (and the show was written to play to those strengths as well).
Yet, stage productions of The Sound of Music are always caught chasing after the beauty and charm of Julie Andrews, rather than going for someone with the plucky cow-town charms of a Mary Martin.
It’s interesting to compare this to the casting of Millie Dillmount in Thoroughly Modern Millie. The original Broadway Millie was going to be Erin Dilly, a very talented and versatile actress in the Julie Andrews vein (who played Millie in the original movie), but the show’s creators realized that they needed something different. It seems to me that their final choice—Sutton Foster—has more in common with Mary Martin than she would ever have with Julie Andrews. But then again, the needs of casting for the stage are something altogether different.
So, if I were to cast a stage production of The Sound of Music, I think it would be interesting to expand my horizons in casting Maria. A great role is open to many different interpretations, but I would love to see what a Sutton Foster type would do with the role . . . if I could only escape the movie.
the Broadway Mouth
May 3, 2008
Since the movie, what stage production will ever be able to live down the memory of Julie Andrews in one of the most beloved movies ever made? In the last revival, Rebecca Luker and Laura Benanti were consecutively cast as everyone’s favorite postulant, casting choices that followed the film’s lead (and both are tremendously talented women). But look at the choice—you could never imagine casting either Luker or Benanti as Peter Pan or Annie Oakley.
Casting a movie can be a very different exercise from casting a stage production. Often the integrity of the role is sacrificed for celebrity by casting someone who can’t sing too well, can’t sing the role the way it was written, or is too old for the part. Casting Julie Andrews as Maria was inspired, though it fits a film’s style more than it would probably fit a stage production (particularly in the way that The Sound of Music was reconceived for film). What the film captures in a close-up with Andrews may have been difficult for the stage to have successful communicated. I never saw Mary Martin on stage, but my understanding is that her performances were full of pluck, energy, and charm. I have a feeling her Maria didn’t abandon those traits (and the show was written to play to those strengths as well).
Yet, stage productions of The Sound of Music are always caught chasing after the beauty and charm of Julie Andrews, rather than going for someone with the plucky cow-town charms of a Mary Martin.
It’s interesting to compare this to the casting of Millie Dillmount in Thoroughly Modern Millie. The original Broadway Millie was going to be Erin Dilly, a very talented and versatile actress in the Julie Andrews vein (who played Millie in the original movie), but the show’s creators realized that they needed something different. It seems to me that their final choice—Sutton Foster—has more in common with Mary Martin than she would ever have with Julie Andrews. But then again, the needs of casting for the stage are something altogether different.
So, if I were to cast a stage production of The Sound of Music, I think it would be interesting to expand my horizons in casting Maria. A great role is open to many different interpretations, but I would love to see what a Sutton Foster type would do with the role . . . if I could only escape the movie.
the Broadway Mouth
May 3, 2008
Monday, August 6, 2007
Amazing Broadway Performer: Sutton Foster
It was with great excitement that I sat down in the Marquis Theatre to see The Drowsy Chaperone last August. More than anything, I was so excited to get to see Sutton Foster for the first time. I had seen her on televised performances from both Thoroughly Modern Millie and Little Women and after seeing those shows on tour had picked up their OBCRs, so I was quite familiar with whom Sutton Foster was.
This woman has it all. I hate to do comparisons, but she’s really become the Gwen Verdon or Mary Martin of our time, able to command the stage with her talent, to tackle a variety of roles extremely well, and she’s managed to do it without long stretches between roles. I greatly admire her dedication to the profession. I would never ever hold it against her for going West if she ever chose, but she’s done what several other major Broadway stars of the past decade could have done—making a career on Broadway—but the difference is that she’s choosing to do it. She’s taking on long runs in new shows and running away with our hearts while she’s at it.
I loved her as Janet Van De Graaff. You couldn’t take your eyes off her. She’s got that magnetic stage presence like a Broadway star must have, and she knows how to work her audience. I ate up every second of her performance.
Website: http://www.geocities.com/suttonfosteronline/
the Broadway Mouth
August 6, 2007
This woman has it all. I hate to do comparisons, but she’s really become the Gwen Verdon or Mary Martin of our time, able to command the stage with her talent, to tackle a variety of roles extremely well, and she’s managed to do it without long stretches between roles. I greatly admire her dedication to the profession. I would never ever hold it against her for going West if she ever chose, but she’s done what several other major Broadway stars of the past decade could have done—making a career on Broadway—but the difference is that she’s choosing to do it. She’s taking on long runs in new shows and running away with our hearts while she’s at it.
I loved her as Janet Van De Graaff. You couldn’t take your eyes off her. She’s got that magnetic stage presence like a Broadway star must have, and she knows how to work her audience. I ate up every second of her performance.
Website: http://www.geocities.com/suttonfosteronline/
the Broadway Mouth
August 6, 2007
Friday, July 13, 2007
Amazing Broadway Performer: Susan Egan
I have such a big crush on Susan Egan, and I’ve never even seen her in person. I always liked her in the OBC recording of Beauty and the Beast, but I think I was first fully awaken to her charms when I saw her doing promotion for the Disney film Hercules. Her interviews with Leonard Maltin were so funny, and she was perfect in the role of Meg. Not only was she sassy and funny, but she got to sing that wonderful Alan Menken/David Zippel song “I Won’t Say (I’m in Love).”
The Triumph of Love CD was one of the first Broadway CDs I bought without seeing the show, and it was because I saw that Susan Egan was on it in a spot on CNN. I love that CD. Yes, it had an embarrassment of rich performances, but I love imagining Susan Egan’s performance as she attempts to come up with quick lies and stories to explain her ever-changing existence.
People often mention her unique voice, and I think that is one of the great appeals to her talent. She’s not the traditional soprano, which gives her not only depth but character. It sets her apart in a positive way. In hearing her voice, you can already see her vivid interpretation of characters like Miss Adelaide, Babe Williams, or Charity Hope Valentine.
I consider it a great travesty that I missed her performance in Thoroughly Modern Millie, though I did make up for it by seeing 13 Going on 30. Yes, I saw that dumb movie solely for her, even though I knew she didn’t have a speaking role. I always thought Susan Egan would make a great lead for a romantic comedy, so that was the closest I’ve gotten to that vision.
I love her album So Far, which is one of those great theatre albums where the star sings each song as if they were cast in the show. If you are a Beauty and the Beast fan, you must have it because it has her rendition of “A Change in Me,” even though she never actually sang the song on stage. After you’ve gotten the CD for that song, you can enjoy many other great performances on it. She has a second album which includes a song cut from Hercules, which I can’t wait to get the next time I’m in New York.
Website: http://www.susanegan.net/
Broadway Mouth
July 13, 2007
The Triumph of Love CD was one of the first Broadway CDs I bought without seeing the show, and it was because I saw that Susan Egan was on it in a spot on CNN. I love that CD. Yes, it had an embarrassment of rich performances, but I love imagining Susan Egan’s performance as she attempts to come up with quick lies and stories to explain her ever-changing existence.
People often mention her unique voice, and I think that is one of the great appeals to her talent. She’s not the traditional soprano, which gives her not only depth but character. It sets her apart in a positive way. In hearing her voice, you can already see her vivid interpretation of characters like Miss Adelaide, Babe Williams, or Charity Hope Valentine.
I consider it a great travesty that I missed her performance in Thoroughly Modern Millie, though I did make up for it by seeing 13 Going on 30. Yes, I saw that dumb movie solely for her, even though I knew she didn’t have a speaking role. I always thought Susan Egan would make a great lead for a romantic comedy, so that was the closest I’ve gotten to that vision.
I love her album So Far, which is one of those great theatre albums where the star sings each song as if they were cast in the show. If you are a Beauty and the Beast fan, you must have it because it has her rendition of “A Change in Me,” even though she never actually sang the song on stage. After you’ve gotten the CD for that song, you can enjoy many other great performances on it. She has a second album which includes a song cut from Hercules, which I can’t wait to get the next time I’m in New York.
Website: http://www.susanegan.net/
Broadway Mouth
July 13, 2007
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