i pulled it from a maiden in a tower

comediesmusicales:

comediesmusicales:

The Paris production of the Parapluies de Cherbourg is currently being livestreamed ! Clink on the link to watch.

If you missed the livestream, don’t worry, the video is available on the site until the 13th of march 2015.

i want to see a revival of the stage version translated by Sheldon Harnick

phoebe-dysquith:

finishing-the-hat:

ilikebroadwaythings:

chandraleeschwartz:

officialheatherchandler:

gabeebert:

extraordinaryfearlessness:

ilikebroadwaythings:

petite-sorciere:

This hurts because bridges

jrb throwing shade is always the best

Look, this pisses me off. Just because your show was great and underappreciated doesn’t mean that you have to throw shade at shows that reach wider audiences and are successful. I will never understand why the Broadway fandom and people in Broadway get so mad at popular shows for being popular.

I don’t think this is so much being mad at people for liking popular shows as it is being upset that good shows go unrecognized because a lot of people don’t like stepping out of their comfort zones. All those songs/shows are amazing and deserve to be seen. But others shows do too.

I hate to say it but to me it sounds like some bitter-ass-hoe shit from JRB. like sorry that some people can’t/won’t/don’t step out of their comfort zones but what are you gonna do, hold a gun to a tourists’ head and point them to whatever deep emotional show you have off-off-off broadway rn? love you but you don’t even have anything on broadway right now pls just wait for your L5Y movie to come out and chill with ya 20$ from Bridges until then

Jason Robert Brown is a human being. He is allowed to be disappointed with how his shows have done on Broadway. He’s not just talking about his shows, but original theatre in general. If we are just talking about this season and not Bridges, we can list First Date and Big Fish right off the bat. I’m sure there’s one or two I’m forgetting.
Isn’t the holding a gun thing a bit melodramatic? The guy is disappointed and has a right to be. And he’s right about audiences. That doesn’t give you a right to insult him and demean him? Also since when is Broadway just about money. He had written something from his soul and it was overlooked. That hurts any artist.

Yes, there’s the personal aspect because JRB obviously has Bridges (as well as every other show he’s ever done, some being quite amazing), but I think he’s also speaking to Broadway just in general. The 2013-2014 season had so many shows that closed prematurely that it’s hard not to sympathize and agree that so many wonderful productions never found their audience or didn’t get the chance to really come to fruition. Just off the top of my head Bullets Over Broadway, Rocky, Big Fish, Mothers and Sons, and yes Bridges are all shows that closed early just in the last season alone.
Also, JRB is literally the most sarcastic and facetious person on the internet. He is very self-loathing and self-aware. As well as being very blunt and to the point. He said it in his concert, “Honeymoon in Vegas is coming next season and I want you all to see it. You all know what happens when you don’t see the show”.

And if anyone’s laboring under the impression that he isn’t right; pay a visit to any of the show tags here on tumblr and just read for like five minutes. People love to bitch about the lack of new original work on Broadway, but they’re so fixated on the three or four shows they’ve already seen or listened to six thousand times that they can’t be bothered to check out new work.
That’s why every other musical that makes it to Broadway nowadays is either a jukebox or a film adaptation - producers don’t make money if people don’t come see their shows, and people won’t come to see shows unless they know what they’re paying for. It sucks, and it’s killing commercial theater.

Can we stop acting like creating a musical adaptation of The Bridges of Madison County was some incredibly risky artistic endeavor? It was a best-novel and had already been adapted into a film starring Meryl Streep and Clint Eastwood. The title has TONS of cache among the bridge and tunnel crowd I’m sure they were hoping for. Everyone involved thought they were going to have a hit based largely on title recognition and let’s not pretend otherwise.
Jason Robert Brown is incredibly talented, but he seems like a most thoroughly unpleasant and asshattish person. I’m sorry your show got bad reviews, JRB, but your score was widely celebrated and you won a Tony for it. Your show was not under-appreciated. People just didn’t want to see it. You are not entitled to audiences or a hit, and that’s just the way this business is. Who knows what will be a hit, but you know it’s a risk and as long as you believe in it, great. But don’t cry about the unwashed masses not getting your deep and meaningful piece if it doesn’t become a smash.

i just can’t wait to see the shade shit he pulls when he realizes how few people want to see the Tony Danza musical based on a Nicholas Cage movie…

phoebe-dysquith:

finishing-the-hat:

ilikebroadwaythings:

chandraleeschwartz:

officialheatherchandler:

gabeebert:

extraordinaryfearlessness:

ilikebroadwaythings:

petite-sorciere:

This hurts because bridges

jrb throwing shade is always the best

Look, this pisses me off. Just because your show was great and underappreciated doesn’t mean that you have to throw shade at shows that reach wider audiences and are successful. I will never understand why the Broadway fandom and people in Broadway get so mad at popular shows for being popular.

I don’t think this is so much being mad at people for liking popular shows as it is being upset that good shows go unrecognized because a lot of people don’t like stepping out of their comfort zones. All those songs/shows are amazing and deserve to be seen. But others shows do too.

I hate to say it but to me it sounds like some bitter-ass-hoe shit from JRB. like sorry that some people can’t/won’t/don’t step out of their comfort zones but what are you gonna do, hold a gun to a tourists’ head and point them to whatever deep emotional show you have off-off-off broadway rn? love you but you don’t even have anything on broadway right now pls just wait for your L5Y movie to come out and chill with ya 20$ from Bridges until then

Jason Robert Brown is a human being. He is allowed to be disappointed with how his shows have done on Broadway. He’s not just talking about his shows, but original theatre in general. If we are just talking about this season and not Bridges, we can list First Date and Big Fish right off the bat. I’m sure there’s one or two I’m forgetting.

Isn’t the holding a gun thing a bit melodramatic? The guy is disappointed and has a right to be. And he’s right about audiences. That doesn’t give you a right to insult him and demean him? Also since when is Broadway just about money. He had written something from his soul and it was overlooked. That hurts any artist.

Yes, there’s the personal aspect because JRB obviously has Bridges (as well as every other show he’s ever done, some being quite amazing), but I think he’s also speaking to Broadway just in general. The 2013-2014 season had so many shows that closed prematurely that it’s hard not to sympathize and agree that so many wonderful productions never found their audience or didn’t get the chance to really come to fruition. Just off the top of my head Bullets Over Broadway, Rocky, Big Fish, Mothers and Sons, and yes Bridges are all shows that closed early just in the last season alone.

Also, JRB is literally the most sarcastic and facetious person on the internet. He is very self-loathing and self-aware. As well as being very blunt and to the point. He said it in his concert, “Honeymoon in Vegas is coming next season and I want you all to see it. You all know what happens when you don’t see the show”.

And if anyone’s laboring under the impression that he isn’t right; pay a visit to any of the show tags here on tumblr and just read for like five minutes. People love to bitch about the lack of new original work on Broadway, but they’re so fixated on the three or four shows they’ve already seen or listened to six thousand times that they can’t be bothered to check out new work.

That’s why every other musical that makes it to Broadway nowadays is either a jukebox or a film adaptation - producers don’t make money if people don’t come see their shows, and people won’t come to see shows unless they know what they’re paying for. It sucks, and it’s killing commercial theater.

Can we stop acting like creating a musical adaptation of The Bridges of Madison County was some incredibly risky artistic endeavor? It was a best-novel and had already been adapted into a film starring Meryl Streep and Clint Eastwood. The title has TONS of cache among the bridge and tunnel crowd I’m sure they were hoping for. Everyone involved thought they were going to have a hit based largely on title recognition and let’s not pretend otherwise.

Jason Robert Brown is incredibly talented, but he seems like a most thoroughly unpleasant and asshattish person. I’m sorry your show got bad reviews, JRB, but your score was widely celebrated and you won a Tony for it. Your show was not under-appreciated. People just didn’t want to see it. You are not entitled to audiences or a hit, and that’s just the way this business is. Who knows what will be a hit, but you know it’s a risk and as long as you believe in it, great. But don’t cry about the unwashed masses not getting your deep and meaningful piece if it doesn’t become a smash.

i just can’t wait to see the shade shit he pulls when he realizes how few people want to see the Tony Danza musical based on a Nicholas Cage movie…

christiannightmares:

Creepy Christian book of the day: Puppets Go To Church (Found at Flashbak; For a related post, click here http://christiannightmares.tumblr.com/post/37221780891/gods-chosen-puppet-will-haunt-you-for-days-found)

missed oppor-Q-nity?

christiannightmares:

Creepy Christian book of the day: Puppets Go To Church (Found at Flashbak; For a related post, click here http://christiannightmares.tumblr.com/post/37221780891/gods-chosen-puppet-will-haunt-you-for-days-found)

missed oppor-Q-nity?

Shoshana Bean - I Believe in Love
90 plays

me2ism:

Shoshana Bean singing THE SHIT out of “I Believe in Love”.  She’s apparently giving an “acoustic funk” concert in 2.5 hours that i am going to.  

I saw a Cleveland production of Hair tonight.  It was okay. But really no production of Hair will ever be as good as this.

Richard Rodgers, Oscar Hammerstein II - I Have Dreamed (Peabo Bryson, Lea Salonga)
20 plays

I Have Dreamed" from The King and I (1992 Studio Cast)

music Richard Rodgers lyric Oscar Hammerstein II

performance Peabo Bryson, Lea Salonga

If Lea Salonga is perfect casting for Tuptim, her pairing with Peabo Bryson is strange, if ultimately rewarding. Bryson is appropriately restrained (though part of me wanted him to give it the “Beauty and the Beast”/”A Whole New World" treatment), and his voice blends well with Salonga’s. The full-voiced belting in their respective takes on "In these dreams, I’ve loved you so / That by now I think, I know” is particularly satisfying (though I wish this arrangement included Lun Tha’s echoes to Tuptim). 

 

For further reading, check out my The King and I series of posts at me2ism.net!

Richard Rodgers, Oscar Hammerstein II - My Lord and Master (Lea Salonga)
78 plays

My Lord and Masterfrom The King and I (1992 Studio Cast)

music Richard Rodgers lyric Oscar Hammerstein II

performance Lea Salonga

This recording chooses to use the lusher orchestrations/lower keys from the film’s version of the score. The arrangements seem custom-fit for Salonga’s voice, and she makes a definitive Tuptim. It’s somewhat surprising that she has not played this role, although I imagine she was probably too famous post-Miss Saigon (and too young prior) to play Tuptim in production, so this recording is particularly fortuitous.

For further reading, check out my The King and I series of posts at me2ism.net!

Richard Rodgers, Oscar Hammerstein II - My Lord and Master (Rita Moreno)
20 plays

My Lord and Master" from The King and I (Original Motion Picture Soundtrack, 1956)

music Richard Rodgers lyric Oscar Hammerstein II

performance Rita Moreno

Rita Moreno’s singing was dubbed by Leona Gordon in “We Kiss in a Shadow” and “I Have Dreamed”, the latter—like “My Lord and Master”—being cut from the film. The detailed liner notes of this compressive reissue of the soundtrack don’t explain why this Moreno recording exists. Did this recording prompt the powers that be to seek out a dub Tuptim’s other songs? Or did Moreno record all of Tuptim songs with the decision to cut “…Master” coming before Gordon came in to re-record? Are there other Moreno recordings in a vault somewhere? In any case, I find this a particularly pleasing performance of a song that I otherwise find to be the score’s least appealing.

For further reading, check out my The King and I series of posts at me2ism.net!

Carol Burnett - Try To Remember
303 plays

me2ism:

Try to Remember" as heard on the album If I Could Write a Song

music Harvey Schmidt lyric Tom Jones

performance Carol Burnett

a song I think of every year on this day.

theatreaficionado:

sprtsnght:

Patti LuPone didn’t even get this long of a standing O when I saw her perform Roses Turn.

Pure joy.

Richard Rodgers, Lorenz Hart - What Can You Do With a Man (Karen Morrow, Rudy Tronto)
32 plays

What Can You Do With a Man?" from The Boys from Syracuse (1963 Off-Broadway Cast)

music Richard Rodgers lyric Lorenz Hart

performance Karen Morrow, Rudy Tronto

As much as I love me some Debbie Shapiro Gravitte, Karen Morrow’s take on this number is unbeatable: eccentric, well sung, and mercifully free of the vocal stylings of Mario Cantone.  

Richard Rodgers, Lorenz Hart - Oh, Diogenes (Debbie Gravitte)
10 plays

Oh, Diogenes" from The Boys from Syracuse (1997 Encores! Cast)

music Richard Rodgers performance Lorenz Hart

performance Debbie Shapiro Gravitte

It’s actually embarrassing that, for all my love of DSG, I hadn’t listened to this cast recording until a few weeks ago. Here she gets the 11 o’clock spot and it she is ideally matched to it. 

"I’ve just seen the production of The King and I, and you’re coming to see it because it’s the best production i’ve ever seen, and I saw the original!" - Mary Rodgers to Ted Chaplin

Richard Rodgers, Oscar Hammerstein II - Shall I Tell You What I Think of You? (Elaine Paige)
32 plays

Shall I Tell You What I Think of You?" from The King and I (2000 London Cast)

music Richard Rodgers lyric Oscar Hammerstein II

performance Elaine Paige

I’m embarking on a full-on King and I binge and it was prompted by this recording being briefly available for $5 on amazon. (If all goes according to play this binge will culminate in seeing the forthcoming Broadway revival in April!)

I enjoy Elaine Paige’s belty take on Anna, and her line readings here are sharp and biting when appropriate but also containing great warmth. Her take on the phrase “I must leave this phrase before they break my heart” has been stuck in my head all day.

Richard Rodgers, Oscar Hammerstein II - Shall I Tell You What I Think of You? (Angela Lasbury)
66 plays

Shall I Tell You What I Think of You?" from The King and I (Broadway Revival, 1978)

music Richard Rodgers lyric Oscar Hammerstein II

performance Angela Lansbury

Though one wishes the audio quality were better on this recording (or that there weren’t a few gaps in the recording) but any record of Dame Angie’s brief stint in The King and I is priceless. She has the haughty spirit of Anna down (if her head voice isn’t as strong as some numbers—“Hello, Young Lovers”—may require), and she is ideal in this first-act-11-o-clock number.

Harold Arlen, Johnny Mercer - Leavin' Time
14 plays

Leavin’ Time" from St. Louis Woman (1998 Encores! Cast)

music Harold Arlen lyric Johnny Mercer

performed by the Company

There are many comparisons to be made between the scores for St. Louis Woman and Porgy & Bess. But if St. Louis Woman is more firmly rooted in musical theater than opera, it makes grand use of its chorus. This number is particularly exciting (and particularly similar to a Porgy number, “Leaving for the Promised Land”.)