Last month I also watched MGM's 1942 classic For Me and My Gal starring Judy Garland and Gene Kelly. This was a nostalgic story of a vaudeville duo preceding and during World War I. Both Garland and Kelly (in his film debut) were in top form, although there was not as much dancing as I would have liked (despite being directed by Busby Berkeley). This was a more plot-driven musical than many, and some of the scenes (like Kelly deciding to injure himself to avoid the draft) were pretty weighty for a musical.
I liked the World War I-themed numbers (which must have conjured up fond memories for the audience of the last war), but the title song takes the cake:
Courtesy of spearsboy01 on YouTube
Watch the movie and I guarantee you will be wishing you could buy some war bonds!
Friday, January 1, 2010
Hairspray (2007)
I saw the 2007 version of Hairspray last month, but I've hesitated doing a post about it for a couple reasons. First, I never saw the original 1988 John Water's movie, so I don't know how this compares. Second, I dozed off during the movie. I thought it was just for a few minutes, but now looking at YouTube, I see whole songs that are unfamiliar to me. Oh well. Maybe I'll see the next remake in 20 years.
Hairspray belongs to a growing list of musicals that started off as a movie, got turned into a Broadway show, and then back to a movie. Well, the only other musical I can think of right now that falls into that category is The Producers, but I have a feeling Legally Blonde: The Musical, Thoroughly Modern Millie, and Spamalot can't be far behind.
This was a pleasant-enough movie with some surprisingly deep themes. I liked the part I saw, but didn't find any of the songs very memorable. I actually enjoyed the sets and costumes best, especially the joke shop which I knew about from one of my favorite blogs, Secret Fun Spot.
Here is a peppy clip of a song called "Ladies' Choice" as a sample:
Courtesy of XxMusicalLyricsxX on YouTube
It features Zac Efron, who I understand is a teen heartthrob. He's no Shaun Cassidy, but he's not bad. There was one other aspect of this movie that I especially like: more movies, especially musicals, should have a short, chubby brunette as the heroine.
Hairspray belongs to a growing list of musicals that started off as a movie, got turned into a Broadway show, and then back to a movie. Well, the only other musical I can think of right now that falls into that category is The Producers, but I have a feeling Legally Blonde: The Musical, Thoroughly Modern Millie, and Spamalot can't be far behind.
This was a pleasant-enough movie with some surprisingly deep themes. I liked the part I saw, but didn't find any of the songs very memorable. I actually enjoyed the sets and costumes best, especially the joke shop which I knew about from one of my favorite blogs, Secret Fun Spot.
Here is a peppy clip of a song called "Ladies' Choice" as a sample:
Courtesy of XxMusicalLyricsxX on YouTube
It features Zac Efron, who I understand is a teen heartthrob. He's no Shaun Cassidy, but he's not bad. There was one other aspect of this movie that I especially like: more movies, especially musicals, should have a short, chubby brunette as the heroine.
Musical Catch-Up
The first year of The Sound of Musicals has drawn to a close. Although I didn't watch as many musicals as I would have liked, I certainly saw more than I would have otherwise, making this my most sucessful New Year's Resolution ever. This year's resolution is not to start another blog, although I was sorely tempted by a few ideas. But instead I'll continue this one, and today I'll catch up on three musicals I saw in 2009 but haven't posted. This makes a total of 13 musicals watched - 10 movies and 3 live - for 2009.
Sunday, December 20, 2009
Joeseph and the Amazing Technicolor Dreamcoat (2009 SLOC Production)
Last weekend I was treated to another delightful production by the Schenectady Light Opera Company: Andrew Lloyd Webber and Tim Rice's Joseph and the Amazing Technicolor Dreamcoat. Although I had heard the music from it a few times, I had never seen a production of it before. SLOC's production had a young, urban theme to it with a set of scaffolding and graffitied walls. The audience was even younger than the usual sea of gray heads I tend to seen around me. Before the show started I couldn't help noticing some rather obnoxious young people talking on their cell phones. I wasn't too happy about this, and thought they might disrupt the performance. But I convinced myself that it was important for new generations to become acquainted with musical theater. Little did I know that these young people were part of the performance! When the first notes began, the rowdy audience member ran to the stage and revealed themselves to be Joseph's eleven brothers!
Again, I was blown away by the quality of the cast. Everyone truly had an excellent voice, particularly the narrator and Joseph. Like all of the Webber/Rice musicals, it is sung throughout with no dialogue, which seems to me must be challenging for performers. The only slight flaw with the production, which was also true of The Pajama Game, was that the sound mixing was sometimes off. At times the music overwhelmed the voices. It wasn't consistent with any one singer, but affected everyone at one time or another. This was more of an issue in this production since it is all sung and must be heard to understand what's going on. Hopefully this will be alleviated when the company moves to it's new home in a larger theater next year.
Every song in the musical is enjoyable, but here are a couple I especially liked in the SLOC production. These videos are from the 1999 Great Performances production with Donny Osmond.
Joseph's Dream:
Courtesy of OfficalRUG on YouTube
They had corn in Israel then?
Potiphar:
Courtesy of OfficialRUG on YouTube
Since I enjoyed The Pajama Game so much, I volunteered to serve as an usher for future performances. So after seeing Saturday night's performance, I was lucky enough to serve as an usher for Sunday's matinee performance. This was a lot of fun, and I could see myself becoming more and more involved in SLOC (culminating with my one-woman production of South Pacific).
Again, I was blown away by the quality of the cast. Everyone truly had an excellent voice, particularly the narrator and Joseph. Like all of the Webber/Rice musicals, it is sung throughout with no dialogue, which seems to me must be challenging for performers. The only slight flaw with the production, which was also true of The Pajama Game, was that the sound mixing was sometimes off. At times the music overwhelmed the voices. It wasn't consistent with any one singer, but affected everyone at one time or another. This was more of an issue in this production since it is all sung and must be heard to understand what's going on. Hopefully this will be alleviated when the company moves to it's new home in a larger theater next year.
Every song in the musical is enjoyable, but here are a couple I especially liked in the SLOC production. These videos are from the 1999 Great Performances production with Donny Osmond.
Joseph's Dream:
Courtesy of OfficalRUG on YouTube
They had corn in Israel then?
Potiphar:
Courtesy of OfficialRUG on YouTube
Since I enjoyed The Pajama Game so much, I volunteered to serve as an usher for future performances. So after seeing Saturday night's performance, I was lucky enough to serve as an usher for Sunday's matinee performance. This was a lot of fun, and I could see myself becoming more and more involved in SLOC (culminating with my one-woman production of South Pacific).
Saturday, November 21, 2009
Anchors Aweigh (1945)
This past week I watched MGM's 1945 classic Anchors Aweigh featuring Gene Kelly, Frank Sinatra and Kathryn Grayson. I know I saw this one a long, long time ago, but I had only a dim recollection of not liking it for some reason. This seemed unlikely, since I like Gene Kelly and Frank Sinatra, and many World War II musicals are among my favorites. So it seemed appropriate to give this another try. I still didn't like it.
Joe (Kelly) and Clarence (Sinatra) are two sailors on a 4 day leave. They are coerced into helping little Dean Stockwell return home after he runs away to join the Navy. They meet his beautiful Aunt Susie, an aspiring singer, played by Kathryn Grayson, and Clarence falls for her. Joe tells her they will get her an audition with Jose Iturbi so she will go out with Clarence. They then try to meet Iturbi and set up an audition. In the meantime, Joe and Susie fall for each other and Clarence realizes he's better suited to a sassy waitress from Brooklyn. By chance Susie meets Iturbi, who does give her an audition everything works out in the end.
This two and a half hour musical doesn't contain any memorable songs, isn't very funny, and doesn't even have a lot of good dancing in it. Of course it contains the famous dance with animated Jerry Mouse. Although I know this was very impressive for the time, I didn't particularly like it. I much preferred the Mexican Hat Dance Scene:
Courtesy of SpaceComics on YouTube
This movie did have a few bright spots, though. First was seeing Gene Kelly in his skivvies. Second was Joe and Clarence convincing another suitor that Susie is very friendly with the entire US Navy. And third was Clarence mistaking Jose Iturbi for a piano tuner.
This isn't a bad movie, but if you want to see Kelly and Sinatra as sailors on leave, watch On the Town instead.
Joe (Kelly) and Clarence (Sinatra) are two sailors on a 4 day leave. They are coerced into helping little Dean Stockwell return home after he runs away to join the Navy. They meet his beautiful Aunt Susie, an aspiring singer, played by Kathryn Grayson, and Clarence falls for her. Joe tells her they will get her an audition with Jose Iturbi so she will go out with Clarence. They then try to meet Iturbi and set up an audition. In the meantime, Joe and Susie fall for each other and Clarence realizes he's better suited to a sassy waitress from Brooklyn. By chance Susie meets Iturbi, who does give her an audition everything works out in the end.
This two and a half hour musical doesn't contain any memorable songs, isn't very funny, and doesn't even have a lot of good dancing in it. Of course it contains the famous dance with animated Jerry Mouse. Although I know this was very impressive for the time, I didn't particularly like it. I much preferred the Mexican Hat Dance Scene:
Courtesy of SpaceComics on YouTube
This movie did have a few bright spots, though. First was seeing Gene Kelly in his skivvies. Second was Joe and Clarence convincing another suitor that Susie is very friendly with the entire US Navy. And third was Clarence mistaking Jose Iturbi for a piano tuner.
This isn't a bad movie, but if you want to see Kelly and Sinatra as sailors on leave, watch On the Town instead.
Wednesday, October 28, 2009
The Pajama Game (2009 SLOC Production)
This past weekend I had the pleasure of seeing a performance of The Pajama Game by the Schenectady Light Opera Company. SLOC is devoted to producing four musicals a year. Regrettably, I’ve only seen one previous performance there: the 2000 production of Little Me. This was truly excellent, and I’m not really sure why I haven’t been back in nine years. I’m very sorry to have missed some of their past productions like Anything Goes and Thoroughly Modern Millie (even without “The Tapioca”), but I don’t feel too bad about missing Assassins and The Full Monty. Still, I have to give them credit for branching out from the old favorites.
When I saw that The Pajama Game was on the roster, I decided to get tickets. Although I had enjoyed Little Me, I arrived at The Pajama Game with some trepidation. The previous weekend I saw a local dramatic production, and it was less than stellar. I won’t say what it was, but let’s just say that last night I dreamt I went to Schenectady – and it was a nightmare. Thankfully, The Pajama Game left me with only pleasant dreams.
The Pajama Game (music and Lyrics by Richard Adler and Jerry Ross; book by George Abbott & Richard Bissell) features some well-known songs like "Hey There," "Steam Heat," and "Hernando's Hideaway." I missed the recent Broadway revival with Harry Connick Jr., but I have seen the 1957 Doris Day/John Raitt movie version.
The SLOC version was delightful. Initially I was concerned about the casting of the leads. The Sid Sorokin character seemed to be much younger than the Babe Williams character (although the actors may have been about the same age). Any doubts that I had evaporated when I heard Josh Gray, playing Sid Sorokin, sing. He has a beautiful voice, and I hope he will be in future productions (I'm thinking Joe Cable. They haven't done South Pacific since 1967). Natalie Bain as Babe was also excellent. The supporting cast was also stellar, in particular Kevin X. McNamara as Hines.
The only slight flaws in the production were technical; sometimes the sound mixing wasn't quite right. Other than that, I was blown away by the quality of the performers. Since I can't share this performance, I'll share some of my favorite songs from other productions.
Here's the 2006 Broadway Revival cast performing "There Once was a Man" and "Hernando's Hideaway":
Courtesy of sftMusicals on YouTube.
Here is the great version of "Steam Heat" from the movie:
Courtesy of MarcosCohen on YouTube
Since The Pajama Game was so enjoyable, I'm planning on seeing their next production, Joseph and the Amazing Techicolor Dreamcoat in December.
When I saw that The Pajama Game was on the roster, I decided to get tickets. Although I had enjoyed Little Me, I arrived at The Pajama Game with some trepidation. The previous weekend I saw a local dramatic production, and it was less than stellar. I won’t say what it was, but let’s just say that last night I dreamt I went to Schenectady – and it was a nightmare. Thankfully, The Pajama Game left me with only pleasant dreams.
The Pajama Game (music and Lyrics by Richard Adler and Jerry Ross; book by George Abbott & Richard Bissell) features some well-known songs like "Hey There," "Steam Heat," and "Hernando's Hideaway." I missed the recent Broadway revival with Harry Connick Jr., but I have seen the 1957 Doris Day/John Raitt movie version.
The SLOC version was delightful. Initially I was concerned about the casting of the leads. The Sid Sorokin character seemed to be much younger than the Babe Williams character (although the actors may have been about the same age). Any doubts that I had evaporated when I heard Josh Gray, playing Sid Sorokin, sing. He has a beautiful voice, and I hope he will be in future productions (I'm thinking Joe Cable. They haven't done South Pacific since 1967). Natalie Bain as Babe was also excellent. The supporting cast was also stellar, in particular Kevin X. McNamara as Hines.
The only slight flaws in the production were technical; sometimes the sound mixing wasn't quite right. Other than that, I was blown away by the quality of the performers. Since I can't share this performance, I'll share some of my favorite songs from other productions.
Here's the 2006 Broadway Revival cast performing "There Once was a Man" and "Hernando's Hideaway":
Courtesy of sftMusicals on YouTube.
Here is the great version of "Steam Heat" from the movie:
Courtesy of MarcosCohen on YouTube
Since The Pajama Game was so enjoyable, I'm planning on seeing their next production, Joseph and the Amazing Techicolor Dreamcoat in December.
Saturday, July 4, 2009
Evita (1996)
I tend to prefer older musicals, probably because that's what I grew up hearing. Anything written after 1970 seems "new" to me, and you won't find Les Miserables, Sunday in the Park with George, or Legally Blonde: The Musical among my collection of recordings. Perhaps the only exception is the one modern musical I did listen to growing up: Andrew Lloyd Webber and Tim Rice's Evita. My father had a tape of the 1979 Broadway recording of Evita starring Patti Lupone and Mandy Patinkin (and Bob Gunton as Juan Peron), and I listened to it often enough to know all the words by heart.
I was very excited to hear about a movie version being made in the 1990s. However, when the casting of Madonna as Eva Peron was announced, I was appalled (as was much of Argentina). I didn't like Madonna's music in the '80s and didn't think she was up to the part (although I now realize her music is far superior to that of Britney Spears and the like). So it was with trepidation that I entered the theater in 1996 to watch the film version of Evita. Let me say I was extremely impressed with Madonna's performance and especially taken with Antonio Banderas as Che.
Fast-forward 13 years to 2009. After seeing Antonio Banderas in the dance film Take the Lead, I put Evita on the Netflix queue and it finally made its way to the top last week. I was interested in seeing how the movie has held up and if I still enjoyed it as much as the first time. And the answer is: Yes! A qualified yes!
Although Madonna was actually five years older than Eva Peron was when she died in 1952, she still was convincing, even as as a young Eva going to the big city for the first time:
Courtesy of Resylan on YouTube.
As good as Madonna was, Antonio Banderas was even better. As much as I like Mandy Patinkin, I think I actually prefer Antonio Banderas' performance. It's hard to pick out one song, since Che is integral to almost every scene, but I think "Oh What a Circus is best":
Courtesy of Resylan on YouTube.
My favorite song of the musical is actually "I'd be Surprisingly Good for You". This is one case where I definitely prefer the Broadway version, but this one featuring Madonna and Jonathan Pryce as Juan Peron is still very good:
Courtesy of mjovic87 on YouTube.
Overall the production was excellent and costumes were also spectacular. One can almost understand how this young woman rose from poverty to become the beloved first lady of Argentina. Although the musical doesn't sugarcoat the reality that the Perons were fascists, it hard not to empathize with Eva and even shed a tear when she sings her last notes.
I was very excited to hear about a movie version being made in the 1990s. However, when the casting of Madonna as Eva Peron was announced, I was appalled (as was much of Argentina). I didn't like Madonna's music in the '80s and didn't think she was up to the part (although I now realize her music is far superior to that of Britney Spears and the like). So it was with trepidation that I entered the theater in 1996 to watch the film version of Evita. Let me say I was extremely impressed with Madonna's performance and especially taken with Antonio Banderas as Che.
Fast-forward 13 years to 2009. After seeing Antonio Banderas in the dance film Take the Lead, I put Evita on the Netflix queue and it finally made its way to the top last week. I was interested in seeing how the movie has held up and if I still enjoyed it as much as the first time. And the answer is: Yes! A qualified yes!
Although Madonna was actually five years older than Eva Peron was when she died in 1952, she still was convincing, even as as a young Eva going to the big city for the first time:
Courtesy of Resylan on YouTube.
As good as Madonna was, Antonio Banderas was even better. As much as I like Mandy Patinkin, I think I actually prefer Antonio Banderas' performance. It's hard to pick out one song, since Che is integral to almost every scene, but I think "Oh What a Circus is best":
Courtesy of Resylan on YouTube.
My favorite song of the musical is actually "I'd be Surprisingly Good for You". This is one case where I definitely prefer the Broadway version, but this one featuring Madonna and Jonathan Pryce as Juan Peron is still very good:
Courtesy of mjovic87 on YouTube.
Overall the production was excellent and costumes were also spectacular. One can almost understand how this young woman rose from poverty to become the beloved first lady of Argentina. Although the musical doesn't sugarcoat the reality that the Perons were fascists, it hard not to empathize with Eva and even shed a tear when she sings her last notes.
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