Showing posts with label musicals. Show all posts
Showing posts with label musicals. Show all posts

5/18/2012

Fosse (2002) Review

Fosse  (2002)
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Let me start by saying I'm a huge fan of the work of Bob Fosse. Let me also say that I saw FOSSE live on Bway a few weeks after it opened, with the wonderful Valarie Pettiford opening the show with "Life Is Just A Bowl of Cherries" and with a cast that was so precise, so together in their performing of the choreography it really would have been hard to beat that experience.
Unfortunately, this filmed version of the show, filmed towards the end of the show's run, with Ben Vereen and Ann Reinking in the cast, turned out to be a huge disappointment for this fan.
The energy is definitely palpable, and a few numbers like "I Wanna Be A Dancin' Man", "Big Spender", "Cruncy Granola Suite", "Steam Heat" and "Shoeless Joe From Hannibal Mo." work wonderfully on the small screen and display the necessary Fosse flair as well as precision required.
I wish I could say the same about the other numbers. "Bye Bye Blackbird" is a mess, almost unrecognizable from the original version from LIZA WITH A 'Z" (which I have thanks to a friend who taped it many years ago when it aired on PBS.)and I'm afraid to say this was mostly due to Ben Vereen's inability to perform like he used to. Too many changes were made in the original choreography to accomodate his current physical limitations.
I'm not saying a man who has gone through what he has should be expected to perform/dance just like when he was 20. That would be absurd. But at some point, it almost seems best to be clever about how/when you use an ageing star. Vereen does wonderfully with "The Manson Trio" from PIPPIN, and with "Me and My Shadow" and "Razzle Dazzle", where his movements are smaller, more simple and more acting-based. He especially excels in "Mr. Bojangles", where his real life story lends a certain gravitas to a number I must confess I always found a bit maudlin.
But unfortunately, Vereen's dancing in some other places is strained and just really painful to watch. I wish it weren't so, but it's true. It would have been best if he had stepped out for some of the more complex numbers and allowed the younger dancers to display the Fosse steps more accurately. That being said, I think having Vereen open and close the show with "Life Is Just A Bowl of Cherries" works well and his vocal performance on the song is unique and beautifully delivered.
Reinking, wisely, does not try to recreate her peak dancing years, but instead, acts more as a narrator and conduit for Fosse's specific style, appearing only in "Big Spender" and in the short transitional segment, "Fosse's World".
The other problem with this program is that the dancers that ARE at their peak, and should know better, are often not together and lack precision. Not just individually, but as a group. (This would particularly distress Fosse himself, I'm sure).
Numbers like "The Rich Man's Frug", "I Gotcha" (the two men are particularly unimpressive in this one), "Blackbird" and even the once stunning "Sing, Sing, Sing" that closes the show, lack the luster they once had when coached by Fosse and are several notches below the quality I witnessed when FOSSE had just opened on Broadway.
No one loves Fosse and Reinking and Vereen more than I do, but this video was really just a big disappointment for me. I wish the original cast at its dancing peak had been recorded back in 1998/99, instead of this sort of "last minute" recording of a show that was about to close.
Fosse deseves better and those who follow his work know so. A student of his would do better to watch ALL THAT JAZZ and the several other films and T.V. shows that showcase Fosse's work.

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The electricity of one of Broadway's greatest talents springs to life in Fosse, a tribute to the man behind such favorites as Cabaret, Chicago, Sweet Charity, and Pippin. A seductive mixture of physically aggressive dance moves and dazzling visual style, Bob Fosse's approach to theater revolutionized how we experience music and dance, while his mixture of cynicism and sentiment remains timely decades after his death. Join one of Fosse's most gifted collaborators, Ann Reinking, as she and a wild, gyrating cast take you through such memorable standards as "Life Is Just a Bowl of Cherries," "Steam Heat," "Mein Herr," and the unforgettable "Big Spender." So pull up a seat, put on your dancin' shoes, and get ready for a tune-studded show guaranteed to deliver plenty of "Razzle Dazzle!" Songs: Life Is a Bowl of Cherries, Bye Bye Blackbird, From the Edge, Percussion 4, Big Spender, Crunchy Granola Suite, From This Moment On, Transition/Dance Elements, I Wanna Be a Dancin' Man, Shoeless Joe Ballet, Dancing in the Dark, Steam Heat, I Gotcha, Rich Man's Frug, Silly Thoughts, Cool Hand Luke, Nowadays, The Hot Honey Rag, Glory, Manson Trio, Mein Herr, Take Off with Us/Three Pas de Deux, Razzle Dazzle, Who's Sorry Now, There'll Be Some Changes Made, Mr. Bojangles, Life Is Just a Bowl of Cherries (reprise), Sing Sing Sing. 118 minutes.

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4/21/2012

Mississippi Riverboat Culture Musical DVD: Dixie Jamboree (1944). Starring Frances Langford, Guy Kibbee, Eddie Quillan, Charles Butterworth, Fifi D'Orsay, Lyle Talbot, Frank Jenks, Almira Sessions, Joe Devlin, Louise Beavers, Ben Carter, Gloria Jetter, Ward Shattuck, Ethel Shattuck, and Anthony Warde. (1944) Review

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3/21/2012

Broadway's Lost Treasures Collection (Broadway's Lost Treasures 1-3 & The Best of the Tony Awards - The Plays) (2006) Review

Broadway's Lost Treasures Collection (Broadway's Lost Treasures 1-3 and The Best of the Tony Awards - The Plays) (2006)
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We should be thankful for what we get on this DVD, so by all means, get it. By doing so, hopefully you'll encourage similar Broadway DVDs to be released in the future. (By the way, also consider getting "The Best of Broadway Musicals: Original Cast Performances from the Ed Sullivan Show," which captures some great 1950s-1960s performances.)
However, I have to agree with those who say this set is lopsided, even considering that the producers didn't have the rights to release other footage from the Tonys.
The saddest thing about some of the footage is that, while it claims to capture "sung" performances, in fact a few of the numbers are lip-synched. These include two of the numbers that I was most looking forward to seeing: Angela Lansbury in Sweeney Todd and Robert Preston in The Music Man. While it's great to see these performers in action, the lip-synching makes it an artificial experience.
But enough caveats. These aside, there's still plenty to enjoy.
The great John Raitt sings a definitive "Hey There" from The Pajama Game a couple of decades after its original run. He sounds just as exciting as ever. The song is shortened, but again, let's be thankful for what we have. And there's also a scene from 42nd Street with pre-"Law and Order" Jerry Orbach singing his heart out.
Some of the most enjoyable segments are in the DVD's "bonus extras" section. For example, in what seems the oldest segment on the DVD, the utterly charming Barbara Harris performs a number from The Apple Tree, a 1960s musical that is now essentially forgotten by all but fervent show fans. And to watch those ever-young old troopers Mickey Rooney and Ann Miller singing and dancing in Sugar Babies is a joy.
So, tap your way to Amazon's checkout and get this DVD in your hands ASAP!

Click Here to see more reviews about: Broadway's Lost Treasures Collection (Broadway's Lost Treasures 1-3 & The Best of the Tony Awards - The Plays) (2006)

A comprehensive collection of great performances captured on film as part of the annual Tony Award® broadcasts. Broadway royalty and Tony® winners, including Lauren Bacall, Bebe Neuwirth, Robert Goulet, and Harvey Fierstein, serve as hosts and share their own Broadway and Tony® memories. Produced as PBS specials, Broadway's Lost Treasures I, II, & III feature legendary stars-including Patti LuPone, Nell Carter, Jerry Orbach, Gwen Verdon, Ethel Merman, Kristin Chenoweth, Angela Lansbury, Joel Grey, and many more-performing musical numbers from legendary shows-including Anything Goes, Man of La Mancha, Guys and Dolls, Ain't Misbehavin', Chicago, Fosse, Miss Saigon, Crazy for You, and many many more. The Best of the Tony® Awards–The Plays features acting greats, such as James Earl Jones, Maggie Smith, Annette Benning, Kevin Kline, and Morgan Freeman, performing key scenes from 19 celebrated plays, including The Great White Hope, The Heidi Chronicles, Fences, Hamlet, and Long Day's Journey Into Night. For theatre lovers, it doesn't get any better than this!

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3/18/2012

Naked Boys Singing Review

Naked Boys Singing
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I viewed this film today at the Out Takes Dallas Film Festival this evening at the Magnolia Theater. The movie was very entertaining and received a big applause from the audience at the end. The cinematography was well-done and also tastefully done. It was truly an amazing experience to view this film and I recommend it to others who would enjoy a film version of an off-Broadway production with attractive and talented naked young men. I'm hoping an HD-DVD version will be available soon!

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Invite ten gorgeous, talented and intelligent naked men into your living room with this filmed adaptation of the hilarious and risqué Off-Broadway play Naked Boys Singing! This long-running musical review sparkles with seventeen memorable tunes and vibrant dance numbers you ll enjoy over and over again. You ll get a charge from Gratuitous Nudity, Perky Little Porn Star and The Naked Maid, all performed entirely in the nude. Brought to you by the producers of Latter Days and Adam & Steve, this electrifying filmed performance brims with excitement, fervor and sexy boys you won t forget.

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2/13/2012

Life After Tomorrow (2008) Review

Life After Tomorrow (2008)
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Life After Tomorrow is a documentary about what happens in life after your dreams come true. The film reunites cast members who played orphans in the Broadway production of Annie. Via interviews with high-profile "annies" like Sarah Jessica Parker, viewers get a glimpse of life inside the dream-nights at Studio 54 when you're ten, life on the road with tutors who got high, stage mothers who had affairs with stage fathers and subsequent abortions, and worst of all, growth spurts which predicated your removal from the show. As one cast member in the film remarks, "the younger ones are coming to take your place and you're 12."
This isn't a US Weekly type of documentary. There are no child star "smash-ups" here-no stories of "annies" robbing liquor marts for drug money because they weren't able to readjust to life after stardom. The tragedy here is subtle and understated. Many of these women admit to being forced off stage and continuing life with the nagging hope in their heart that they would get back to Broadway. Life happens to these actresses-they become financial planners, mothers and annoying stage mothers, but some of them are obviously stuck somewhere else-not in tomorrow, but yesterday-when they were singing and dancing in Annie. Some of them haven't self-actualized which is unpleasant to see in someone who is turning 40. Others have adjusted OK. It's interesting, but it's also a hard-knock life when you peak at 10.

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The award winning Life After Tomorrow, a film by Julie Stevens and Gil Cates, Jr., reunites more than 40 women who played orphans in the original Broadway production of Annie and reveals the highs and lows of their experiences as child actresses in a cultural phenomenon. Once the curtain came down, many found it could be a hard-knock-life, fraught with out-of-control stage mothers, separation anxiety, and worst of all, pubescent growth spurts that could find the moppets being replaced by smaller, younger editions just waiting in the wings. As one cast member in the film remarks, The younger ones are coming to take your place and you're 12. It's not like you are getting downsized at 50...you're 12!. While their lives moved on, the impact of the experience remains. Features behind-the-curtain footage from the original Broadway production and performances with the re-united orphans.

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2/05/2012

Sweeney Todd in Concert (2001) Review

Sweeney Todd in Concert (2001)
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As one who has been associated with the creators of "Sweeney" on other productions and as a champion of the original production, one still has to admit to the plot problems at the end of the original's second act. This new production effortlessly aviods those traps on the way to the most focused performance of "Sweeney" yet. Featuring two former Sweeneys (Geoarge Hearn as Sweeney and Timothy Nolen as a wonderfully re-conceived Judge Turpin), Patti LuPone making the role of Mrs. Lovett totally her own (no easy proposition with the spectre of Angela Lansbury always nearby) and a wonderfuly talented supporting cast, Director Lonny Price guides this production effortlessly to it's grizzly end. Featuring amazingly thoughtful camerawork which actually advances the plot as opposed to observing it, one gets to know the characters as readily as if this were a fully staged production. Then again--maybe "less" really is "more" in this case. The San Francisco Symphony under Rob Fisher is impeccable. If you value musical theater, if you value Steve Sondheim's supreme contribution to the genre, you must own this version. But go first class---own them all!

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This delicious production of Stephen Sondheim's "Sweeney Todd: The Demon Barber of Fleet Street," a musical thriller of revenge and romance set in Victorian England, features Broadway diva Patti LuPone as Mrs. Lovett and veteran stage actor George Hearn in the title role. Premiering in 1979, the legendary "Sweeney Todd"--winner of nine New York Drama Critics Circle Awards and eight Tony Awards--is recorded with the San Francisco Symphony as conducted by Rob Fisher. Now a major motion picture directed by Tim Burton and starring Johnny Depp! Opens in theaters December 21, 2007

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12/27/2011

Broadway's Lost Treasures III - The Best of the Tony Awards Review

Broadway's Lost Treasures III - The Best of the Tony Awards
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As thankful as I am to see any footage of Broadway performers released, the Broadway Lost Treasures series is really -- it must be said -- a botched opportunity. There is little rhyme or reason in how the clips are chosen and assembled. The performances are good, bad and everything in between, and this latest installment has one of the weakest selections yet.
First, I wish that the lip-synched numbers would just be omitted altogether -- to me, they don't qualify as a performance. So don't get your hopes up for Gwen Verdon's "Whatever Lola Wants" (unless you only care about the dancing) or Angela Lansbury's "Everything's Coming Up Roses." They both fall in this category.
Now, let's move on to the highlights of this DVD:
The best segments are those that give glimpses of golden-age musicals not captured on film and unlikely to appear on stage again.
It's great to see Jerry Orbach doing a song from Burt Bacharach's "Promises, Promises." Although it's a bad night vocally for him, the energy is there. The segment from "The Happy Time" is definitely one of the disc's highlights, with Robert Goulet attractive and charming. And the number from the largely forgotten "How Now, Dow Jones" is very enjoyable too.
In addition, three titans of Broadway's peak years are captured -- well after their own peaks, but better late than never.
Ethel Merman is absolutely wonderful in a truncated medley -- amazingly, about 42 years after her stage debut. In the bit from "Call Me Madam," Merman essentially uses her co-star, Larry Blyden, as a stage prop, to hilarious effect. And the "Gypsy" number is both electrifying and moving. That's Broadway, folks, with a capital M. The crime is that the medley was very crudely cut for this DVD -- according to Broadway expert Ken Mandelbaum, three songs were removed. That's close to unforgivable.
Alfred Drake, in a number from "Kiss Me Kate," is also quite good, although the last note is a little rough.
And Julie Andrews is beautiful and luminous, if a bit cautious vocally, in her medley from "My Fair Lady" and "Camelot."
Also worthwhile are Chita Rivera, exhibiting tremendous career-comeback talent in "Kiss of the Spider Woman," and Zero Mostel mugging his way (as usual) through "A Funny Thing Happened on the Way to the Forum."
With a few exceptions, the rest of the disc is expendable. But buy it for the above alone. Hopefully, it will encourage others with rights to historical footage of Broadway performers to release DVDs of their own treasures (e.g., more from the Ed Sullivan show) and do a better job of it.

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Broadway royalty and Tony-winners Tommy Tune, Carol Channing, Robert Goulet, and Harvey Fierstein are your hosts for this third compilation of great musical performances from the archives of the Tony Award® broadcasts. Legendary stars from legendary shows strut their stuff in 23 performances that have become part of Broadway history.

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12/13/2011

Studs Terkel's Working (Broadway Theatre Archive) (1982) Review

Studs Terkel's Working (Broadway Theatre Archive) (1982)
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The story of my life? So begins one of the most underratd musicals ever. With a simple message, "Everyone has a story." This is a TV adaptation of a musical based on a book by Sociologist and pundit Studs Terkel available by the grace of God for the first time on DVD. I knew the play from high school and was anxious to see it on film. It's a fairly reliable adaptation of the play, except that it omits two very fine songs and is kind of simply set up (it was PBS after all).
For those unfamiliar with the book or the musical, Working is based on a series of interviews Terkel performed with people from all walks of life. The book was subtitled "People Talking About What They Do All Day And How They Feel About What They Do." Composer and Lyricist Stephen Schwartz (with help from the likes of James Taylor and Craig Carnelia) adapted the interviews (which were verbatim from these peoples' mouths) into a musical.
Now let me adress a common concern right here. "I don't like musicals." Something like that is simply impossible to say. It's like saying "I don't like soup." You can't. There are too many different kinds of musicals (indeed soups) to say that you hate them all. Do you hate bright and sunny musicals like "Meet Me in St. Louis" or lavish dance numbers like "42nd Street" or quasi-historic grandeur like "Camelot?" In Working the musical performances are limited to singing at the camera, or singing off camera.
And the singing is performed by some wonderful people. "Rocky Horror's" Barry Bostwick as the Steelworker, Scatman Crothers as a Parking Lot Attendant called "Lovin' Al: The Wizard," "West Side Story's" Rita Moreno as a Waitress who feels like an artist, Charles Durning as a retiree, Patti LaBelle as a Cleaning Woman and James Taylor (mentioned above) as a Trucker. Highlights include Bostwick's stirring ballad "Fathers and Sons" Moreno's "It's an Art" and the highly affecting "Me and My Machine" performed by an unseen vocalist during the Millworker scene.
People who do these jobs, might be inspired by these completely true stories. And people who interact with these people might be inspired as well. Inspired to spend a few brain cells thinking about the guy who put his car together, talking to the telephone operator who's been having a hard day, showing respect for the cleaning woman, you even see hookers in a new light.
"Hey somebody, don't you want to hear the story of my life?"

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This musical adaptation of the Studs Terkel book examines the average worker's viewpoint--showing that he or she is anything but average. Based on a series of interviews with real working people--construction workers, waitresses, firemen, secretaries and cleaning women--"Working" is both an exploration of the individuals' occupations and a lament for lost hopes and dreams. This musical adaptation was conceived by Stephen Schwartz (Godspell, Pippin). A must for all musical theatre buffs.

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11/28/2011

That's Singing: Best of Broadway Review

That's Singing: Best of Broadway
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This taping absolutely blew me away! I originally bought it for the single purpose of seeing Barry Bostwick perform "Summer Loving" (instead of the talentless Travolta) after hearing the recording of the orginal "Grease!" cast. What an incredible find. As someone who is in love with musical theatre-I consider this film a treasure! To see such talented performers reviving the roles that they created is a once in a life time oportunity caught here for generations to fall in love with. You are treated to Broadway's Grand Dame Ethel Merman singing 2 of her timeless classics, Nell Carter bringing character and energy to Cole Porter music, Barry Bostwick and Carol Demas proving once and for all who the real Danny and Sandy were, Stephen Nathan and David Haskell tackling probably one of the most challenging duets ever-from "Godspell", the enigmatic Chita Rivera dancing to "The Shriners' Ballet" as well as singing and hoofing to "Little One New York",multi-talented Jerry Orback singing "Try to Remember" and the show-stopping "Lullaby of Broadway", and Ray Walston, gleefully reminising "The Good Ol' Days". Any self-respecting Broadway and/or musical theatre fan should own this taping. It gives the audience a glipmse back to a time when it took pure talent to make in on the Great White Way!!

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11/03/2011

Cats - The Musical (Ultimate Edition) (1998) Review

Cats - The Musical (Ultimate Edition) (1998)
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The `Cats' DVD is a cinematic record of the Andrew Lloyd Webber stage musical as performed on the London stage in, I believe, 1998 starring Elaine Paige in the `lead' role of Grizabella, although the only aspect of her role which warrants calling it the starring role is the fact that this character sings the `show-stopper' song, `Memory' which, if you are to believe writer / director Kevin Smith's bit in `Jersey Girl', has become a real Broadway cliché. The show is the most truly `ensemble' performance I can think of. Few characters stand out for more than the length of a single piece, yet practically all characters are on stage for over 50% of the two-hour performance. Aside from Paige, the only character / actor who is remotely familiar to me is John Mills who is on for but two scenes and who is more of a prop than a character.
I make a strong point of the fact that this is a recording of a stage performance rather than a conversion of the play to a more realistic environment. This conversion is done for most Broadway plays turned into movies, especially for big musicals such as `Oklahoma', `The Sound of Music', `My Fair Lady', and `Chicago'. But this conversion is not always successful. That is, the very big realistic setting is not always an enhancement. My best evidence for this is the film done of `The Fantasticks' with a cast including such high powered talent as Joel Gray and others. As someone how has seen the play done on the live stage three times with three different interpretations, including a performance by the New York City cast, I can say that the movie failed to breath any life into the classic minimalist staging it gets in intimate little theaters. The movie was simply not as good as the live performance. This is clearly not the case with this DVD record. It gives us the stage fantasy that needs practically no embellishment with a real ally or cinematic whiz-bang.
Like `The Fantasticks', I have seen `Cats' on the New York stage sitting in a mezzanine seat about 4 rows from the back of the Winter Garden theatre. And, while there is something about a live performance that simply cannot be recorded, I will say that this DVD (and VCR) recording is quite as good a record as you can get.
My most important criteria for evaluating a movie on DVD or VCR is whether or not the work wears well after the second or third or fourth viewing. For example, `Chicago' was fun to watch once, but I have no burning desire to watch it again. On the other hand, `Singin' in the Rain' I can watch about once a year and still find the time well spent. I will say with great conviction that I can watch this recording of `Cats' once a year and enjoy every minute spend with the experience, because I have done so over the last few years. The performance and its record are so durable that my second most important criteria for a DVD, a good commentary track, becomes unnecessary. And, the commentary track is basically a waste of time for a musical anyway, especially a musical based on famous poems written 65 years ago by the most notable poet, T. S. Eliot in `Old Possum's Book of Practical Cats'.
The play has the thinnest of plots based on a once a year selection of one Jellicle cat to ascend into some state of grace, presumably at the conclusion of their legendary nine (9) lives. The only other plot twist involves the kidnapping of the head cat, Old Deuteronomy, thereby preventing this feline apotheosis from being carried out.
This accounts for four or five out of the nineteen numbers. All the rest are based directly on fourteen out of the fifteen poems in Eliot's little book.
One may think that this work has but a single hit song and, therefore, the remaining musical numbers are second rate. This is certainly not the case. I find myself tapping my toe to all numbers, with especial pleasure coming from `Jellicle Cats', `Mungojerrie and Rumpleteaser', and `The Pekes and the Pollicles'. These are much more like stories in song than a simple ballad with easily remembered refrain.
Very highly recommended for anyone with a taste for musicals and worth a try for anyone who likes fantasy.


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11/02/2011

Jesus Christ Superstar (2001) Review

Jesus Christ Superstar (2001)
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Filmed at Pinewood Studios, this production has sparse sets with scaffolding that serves for nearly every scene, and has the feel of a stage performance; it has been updated to an indeterminate era, but definitely a time one wouldn't want to live in. There are Nazi-like authority figures, punky gun-toting youth, and the walls are covered in graffiti. The colors are provided by the lighting, and are usually in either a monocromatic dark blue or yellow-orange.
Inevitably, many people will compare this to the 1973 Norman Jewison film, which is a pity, as they are so vastly different. This is much more somber, and the final scenes are wrenching.
Glenn Carter is astounding as Jesus, vocally exceptional in what must be a difficult part to sing, and looking like an Albrecht Durer painting. His Gethsemane ("I Only Want to Say") is superb, and worth the price of this film alone.
Jerome Pradon is also excellent as Judas, and Fred Johanson's Pilate is marvelous, though the entire cast is good, both as actors and singers.
It is interesting in this film how skillfully the evil in a character is portrayed in the song and dance numbers, by Herod (who is so well played by Rik Mayall), and Judas.
One feels the exhaustion and horror of Jesus' last days palpably in this film. The drama of the scourging is a magnificent piece of staging, and powerful; it is a visual punch to the gut, and the crucifixion scene is brilliantly done and moves me to tears every time I see it.
Not an easy film to watch, but well worth the purchase, as it gets better with each viewing.

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A brand-new production of the Andrew Lloyd Webber/Tim Rice classic musical, "Jesus Christ Superstar" tells the story of the last seven days in the life of Jesus. It describes his entry into Jerusalem, the enmity that his preaching and his popularity causes among the Jewish religious leaders, his betrayal by Judas, mocking contempt of Herod, and the trial in front of Pontius Pilate, who despite his sympathy towards Jesus as a person, bows to the demands of Caiaphas, the Chief Priest, and has him crucified.

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10/21/2011

The Producers (2005) Review

The Producers (2005)
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I remember seeing the original film of The Producers in a virtually deserted theatre and loving it. I still think it is one of Mel Brooks' best films. So I was a bit apprehensive when I heard it was being turned into a Broadway musical and then that musical was being made into a film. But, on the whole, I have to admit to enjoying it much more than I thought I would.
Much of the credit must go to Susan Stroman's stagey and somewhat campy direction, which suits the material perfectly. Even more credit belongs to the incredible Nathan Lane for managing to equal Zero Mostel's original Max Bialystock and even, once or twice, surpassing it. He is, quite rightly, the heart and soul, of the film. The rest of the cast is not bad either. Uma Thurman is a pleasant surprise, the double act of Gary Beach and Roger Bart are pure politically-incorrect joy, and even Will Farrell is good. Which leaves Matthew Broderick. He certainly comes to life when singing and dancing, much more so than I would have expected. But his characterisation of Leo Bloom seems just a bit too bland. I know Leo is supposed to a personality-deficient accountant, but I really miss Gene Wilder's manic edge. With Broderick, there's not even a hint in the eyes that he really needs that blue blanket.
It was fun spotting all the lines of dialogue from the original and seeing how the story and characters were altered (I could understand LSD not fitting into the new concept but the playing of Hitler first by Hans, then by DeBris seemed a tad awkward). But, this being a musical version, the show is going to rise or fall on its musical numbers. In general, the staging was clever and often laugh out loud funny. The songs, it must be said, are not the most memorable ever heard on Broadway. But the energy and enthusiasm with which they are performed more than make up for that. Strange then that some of them are edited. The opening number ends so abruptly - I'm grateful that the DVD has the entire number as an extra. I can see no real reason why it was cut short (unless someone felt it was too Jewish). Surely, running times are not the crucial factor they used to be. But many delights survive including a chorus line of grannies with walking frames, beautiful girls dressed only in pearls, and Uma Thurman doing a quite good Cyd Charisse impersonation with her seemingly endless legs. In fact, the only real musical disappointment for me was the notorious Springtime For Hitler number which seemed to lack the punch, fizz and open-mouth shock quality of the original. Maybe it's the passage of time or just knowing that it was coming. But Nathan Lane's Betrayed number was soooo good that I had to rewind for an instant encore.
All in all, it's nice to see that someone can still do a good old-fashioned musical.

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Nathan Lane and Matthew Broderick return to their award-winning roles in the hilariously funny film of the record-breaking Broadway smash-hit. Scheming producer Max Bialystock (Lane) and his mousy accountant, Leo Bloom (Broderick), discover that under the right circumstances they could make more money by producing a Broadway flop than they can with a hit. But what will they do when their sure-to-offend musical becomes a surprise sensation? Co-starring sexy Uma Thurman and comedy genius Will Ferrell, The Producers is a fun-filled, side-splitting comedy.

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10/19/2011

Rent: Filmed Live on Broadway (2009) Review

Rent: Filmed Live on Broadway (2009)
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I saw both the show on stage and the highly stylized film version and having now experienced this performance, filmed live on Broadway at the end of the show's run, I now truly realize just how short the film version comes to really capturing the essence of what Jonathan Larson created. This high octane, musically innovative and striking show is also a beautiful and heartfelt exploration of youth, both lost and reclaimed; a very poignant portrait of the search for love and compassion, of hope and beauty in a world that everyday recedes deeper into the empty comforts of materialism and social acceptability. An updated version of Puccini's masterpiece La Boheme, Rent is obviously not as shy about not only examining the wounds of its characters but of exhibiting them; its blatant honesty and unapologetic credo of life are a million miles away from the subtle, innocent and elegant sentiments of late 19th century Parisian artists, starving in their garrets while courting muses. Rent is the "black sheep" of the Boheme lineage. It's a piece of theatre that bristles with tenacity in the face of hardship and rejection: No one here is willing to take anything lying down. It's really little wonder it was as critically acclaimed as it was and won the many prestigious awards that it did and reason for that is that it manages to be what few musicals have ever managed to be: Authentic, relevant but, ultimately, profoundly human; a rebellious celebration of life even in the face of addiction, illness and death . Add to that mixture some really first rate music, stellar performances and stage direction (an ingenious arc that fluidly shifts its characters around Manhattan yet all within the confines of a stage that's, for the most part, barren) and you've got one heck of a winning recipe. Rent is the musical for people who think they don't like musicals. It's as far removed from traditional American musical theatre as it possibly can be. It is the heir apparent to the socially relevant, politically conscience and in your face musical experience that was ushered in 40 years ago by the groundbreaking rock musical "Hair." But, of course, the most tragic element about Rent was the premature death of its creator, Jonathan Larson, who, sadly and ironically, died the day before opening night, a few days shy of his 36th birthday. But what a legacy he left us all.


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Set in New York City's gritty East Village, the revolutionary rock opera RENT tells the story of a group of bohemians struggling to live and pay their rent. "Measuring their lives in love," these starving artists strive for success and acceptance while enduring the obstacles of poverty, illness and the AIDS epidemic. RENT is Jonathan Larson's Pulitzer and Tony Award winning musical, one of the longest running shows on Broadway.

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10/17/2011

Camelot (Broadway Version) (1982) Review

Camelot (Broadway Version) (1982)
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In 1982, this television production of Lerner and Loewe's musical was considered by many critics to be the finest stage-to-TV transfer of a live Broadway performance. Now, 25 years later, it still is. The folks at HBO joined with the producers of the Broadway revival and videotaped the show with loving care, and their love is evident in every frame. The visual presentation and sound quality were light years ahead of most other such offerings, and it was shot and edited to perfection.
I saw this revival onstage, then on HBO, and it is something to see. Richard Harris and Meg Bussert were just right together, and the supporting cast was excellent as well. The sets, costumes, and lighting added to the beauty of the evening. And nothing can top the sheer emotion of the story--it is one of the most powerful musicals ever written. If you've never seen CAMELOT, or if you're only familiar with the 1967 film version (also starring Harris), don't miss this stunning production. Thanks, Acorn Media, for releasing it on DVD at last!

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Experience Camelot's "one brief, shining moment" as Lerner and Loewe envisioned it-live on a Broadway stage. Working at the top of his talent, Richard Harris heads an all-star cast in one of Broadway's wittiest, most literate musicals, filled with memorable tunes. Recorded at New York's historic Winter Garden Theatre in 1982, this production captures all the immediacy and intimacy of a live performance viewed from the best seat in the house. Idealistic King Arthur longs to create a perfectly principled kingdom, but sees his dream undone by a tragic love triangle involving Queen Guenevere (Meg Bussert) and his best friend Lancelot (Richard Muenz). In this thoroughly engaging Tony®-nominated production, the medieval monarch's vision-a place where "violence is not strength, and compassion is not weakness"-speaks to our time and for all time.Recommended for family viewing by the National Education Association DVD SPECIAL FEATURES INCLUDE original Broadway PLAYBILL® (DVD-ROM) and bios of Lerner & Loewe and Richard Harris.

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10/11/2011

Rodgers and Hammerstein's Oklahoma (London Stage Revival) (1999) Review

Rodgers and Hammerstein's Oklahoma (London Stage Revival) (1999)
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The 1999 London production of "Oklahoma!", directed by Trevor Nunn with choreography by Susan Stroman, was the first major departure ever from the original Joshua Logan-Agnes De Mille production of 1943. It was a gamble that paid off big, for the performance recorded for posterity on this DVD is absolutely brilliant--funny, riveting, and deeply poignant. The dancing is astonishing, and the beloved Rodgers & Hammerstein songs have never sounded so good. Nunn and Stroman know how to stage each number for maximum dramatic effect, so that the songs come across less as songs than as dramatic monologues in music--which is, of course, exactly what Rodgers & Hammerstein wanted.The cast of this version is so wonderful that it is impossible to talk about them in anything but superlatives. (I might make a slight, regretful exception for Vicki Simon as Ado Annie, who is merely very good whereas everyone else is spectacular.) As Will Parker, Jimmy Johnston--an endearing if improbable cross between Will Rogers, Russ Tamblyn and Jack Black--barrels through his big number, "Kansas City," with infectious glee and astounding athleticism, including a dandy exhibition of trick roping. Some reviewers have pointed out that Peter Polycarpou's accent as Ali Hakim is shaky, but there's no quibbling with his singing or his comic timing; in appearance and talent, he reminds me more than a little of Tony Shalhoub. Maureen Lipman is a perfect Aunt Eller, tough as an old birch tree, plain-spoken and drily witty as she dispenses tough love to the residents of Claremore, Okla. Josefina Gabrielle is an earthier Laurey than we're used to, but she's a good singer and an exquisite dancer, and she makes Laurey's confused longings as painful as a punch in the gut. The real acting honors, however, must be divided between the romantic rivals--Hugh Jackman as Curly and Shuler Hensley as Jud. This production launched Jackman's international career, and no wonder--from the first few bars of "Oh, What a Beautiful Morning," you can't take your eyes off him. He is visually perfect as Curly, he dances well and sings beautifully, and--above all--he exudes charisma from every pore. Hensley combines a rich, operatic baritone with a brooding, menacing stage presence; he makes Jud a classic monster, evoking both pity and terror. His solo number, detailing both his pitiful loneliness and his doomed love for Laurey, is one of the most riveting pieces of dramatic singing I've ever seen or heard.

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OKLAHOMA - DVD Movie

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8/31/2011

South Pacific: In Concert From Carnegie Hall (2006) Review

South Pacific: In Concert From Carnegie Hall (2006)
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What superlatives are left to describe this concert? This is a truly exhilirating, incandescent performance filled with an all too rare quality, passion. The New York Times review described it best as "near complete rapture." For those who belittle the idea of Reba McEntire in a Broadway musical, take a look at this first before passing unjustified comments. It doesn't matter if she's a country singer, an opera singer or a rap singer, or if she is older than what Nellie Forbush should be. Anyone who can perform with this level of passion and conviction deserves unstinting praise. What a pity it was a one-night only performance. At least we have this DVD as a permanent keepsake. Brian Stokes Mitchell is in equally fine form as Emile de Becque, the French plantation owner, who deservedly brings the house down (and the concert itself to an almost minute-long standstill) with his moving rendition of "This Nearly Was Mine." It may only be a concert performance, without costumes or sets, but it puts many fully staged musicals to shame. All the supporting cast are equally commendable. My one tiny criticism is that the voice coach should have taught the children to sing "Dites Moi" with a more "neutral" accent. The children are supposed to be French Polynesian, children of "a cultured Frenchman." However, they sound more American than Nellie Forbush.
The picture quality on this DVD is absolutely gorgeous. When you consider that it was practically a last minute decision to film the concert at all, the camera crew, sound crew and all the technicians involved did a truly remarkable job. One of the finest live performance recordings I've had the pleasure to watch. The picture is presented in its original 1.78:1 widescreen (enhanced for widescreen TV) with razor sharp images, vibrant, natural colors & perfect black levels. Two soundtracks are provided, one in 2.0 Dolby Stereo and the other in 5.1 Dolby Surround. Rich, sumptuous sound throughout. This is a performace to treasure for years to come. Already I've watched it through thrice, two occasions back-to-back. It always has me singing and whistling along from start to finish. Guaranteed to raise a smile on even the dreariest day. A deliriously joyful DVD. There are no extras but I don't begrudge the lack one bit. This will be my favorite DVD for many months to come.

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Broadway, like everyone, loves Reba McEntire. The redheaded Oklahoma firebrand took on the one-night-only concert role of Nellie Forbush on June 9, 2005-the role Mary Martin immortalized in the 1949 Rodgers & Hammerstein classic South Pacific-and the rialto's toughest critics, led by The New York Times' Ben Brantley, instantly surrendered. "Open-voiced and open-faced, she was born to play Nellie," Brantley wrote of the Carnegie Hall benefit performance, adding that the entire production was performed "in a state of nearly unconditional rapture. It was one of those nights when cynicism didn't stand a chance." Happily that enchanted evening can be shared with fans everywhere when "SOUTH PACIFIC" IN CONCERT FROM CARNEGIE HALL comes to DVD. Completing the luxury casting are Broadway and Hollywood icons Brian Stokes Mitchell and Alec Baldwin, as, respectively, French planter Emile de Becque and wise guy sailor Luther Billis. The performance also aired on Thirteen/WNE! T New York's GREAT PERFORMANCES on PBS in April/May.

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