Escape from Elba
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Author Topic: Theater  (Read 4086 times)
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« on: April 16, 2007, 08:44:28 PM »

Share your thoughts about Broadway and beyond.
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madupont
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« Reply #1 on: June 10, 2007, 11:53:55 PM »

Tonight was the night for The Tony Awards.  I clicked it on just at the point where Christine Ebersole was doing the excerpt from Grey Gardens as Little Edie, daughter of Edith Bouvier-Beale(Jackie Bouvier Kennedy's aunt; I guess this means that Black Jack Bouvier was her brother? That explains a lot, alcoholism and eccentricity.) and I was truly amazed how well Ebersole was able to actually duplicate the Edie that I'd seen in the film,Grey Gardens( which was a shocker).  Christine Ebersole manages to look like Edie, sound like Edie, Move Like Edie, and that is a bit unnerving.

The documentary film candidly reveals a truly sad story.  The musical version appears to make it more palatable; although let it never be said that Edie was not musical.  If she was exasperatingly corny playing to the camera for the documentary, at one time she did have a trained voice; which she was unable to retain as time went on.

I didn't know until tonight that one of the supporting cast was somebody whom I once knew as a "fellow player" as well as a neighbor along Prospect Avenue.
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« Reply #2 on: June 21, 2007, 01:08:49 PM »

For Julie Harris, a Stage to Call Her Own


A new 200-seat stage will be named for Ms. Harris at the Wellfleet Harbor Actors Theater in Wellfleet, Mass.


http://www.nytimes.com/2007/06/20/theater/20what.html?ex=1339992000&en=055fba5bf6ffa219&ei=5088&partner=rssnyt&emc=rss
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madupont
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« Reply #3 on: June 21, 2007, 01:20:43 PM »

That's great news. Thanks for posting it. I identify with her; could not avoid it. Red hair, gawkish,not glamorous enough as a nineteen year old actress...
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« Reply #4 on: June 22, 2007, 01:11:02 AM »

Theater Review | 'Beyond Glory': Speaking Simply of War and the True Courage of Heroes


This modest show provides a powerful reminder of the hardships, psychic stresses and physical dangers that men and women endure on the front lines.


http://theater2.nytimes.com/2007/06/22/theater/reviews/22beyo.html?ex=1340164800&en=974acbf24d08698a&ei=5088&partner=rssnyt&emc=rss
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madupont
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« Reply #5 on: June 22, 2007, 12:12:12 PM »

WHAT was the name of the play that Tim Robbins produced about the current war; it was performed with masks and the actors could then step into several different roles? I saw parts of it on tv but never caught up with the whole performance.  It is done in an ironic style, of course.
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liquidsilver
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« Reply #6 on: June 22, 2007, 12:14:56 PM »

Embedded I think
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"I hate listening to peoples dreams. It's like flipping through a stack of photographs. If I'm not in any of them and nobody's having sex, I just don't care."
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« Reply #7 on: June 23, 2007, 12:10:01 AM »

Theater Review | 'I Google Myself': You Will Never Believe Who Goes by Your Name


Let?s be honest: We?ve all done it. When no one?s looking, in the privacy of our own home, vanity or curiosity compels us to google ourselves.


http://www.nytimes.com/2007/06/23/theater/reviews/23goog.html?ex=1340251200&en=d6725a98b3c7d0ce&ei=5088&partner=rssnyt&emc=rss
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madupont
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« Reply #8 on: June 23, 2007, 10:22:30 AM »

How true. That last remark about, "I'm going home right now and turn off my computer".

I didn't even know it was possible, until by accident the discovery was made as to why it is possible.  There is nothing that isn't recorded.

Operating in a blog a little less than six months ago, a kind of closed forum actually, I'd been participating for awhile, then went on to something else that had to be done but later a reason arose to go back to that original discussion community on same topic -- if only I could locate it. I'd forgotten where it was.

In the course of trying to locate it, or rather to locate where I had been, because I had no idea why I couldn't locate the venue, instead I learn that there are industry digests keeping tabs.  It was a shock to be suddenly confronted with the equivalent of what people say about you after you've left the party.

Haven't you ever wondered, or suspected, what that might be like?  In fact, somebody actually walked into Escape from Elba, a couple of days ago, who is on record at this source ( along with several other people whose names have been changed to protect their  personalities more so than their anonymity at the present time at E f E ), who were being reprimanded by another poster quite a bit more experienced.   They may not even know that took place?

After all, when I found this evidence under my name, it was  at present time something that took place nearly a year ago in real time. I imagine it was presumed that because the place as a public venue had closed up shop that the evidence was no longer for sale?
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« Reply #9 on: June 24, 2007, 01:07:26 AM »

On This Rock, Build a Future for Musicals


There are signs that audiences and artists are more at ease with the marriage of rock or pop music and traditional narrative theater.


http://www.nytimes.com/2007/06/24/theater/24ishe.html?ex=1340337600&en=9a0d56fb4141d07f&ei=5088&partner=rssnyt&emc=rss
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TrojanHorse
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« Reply #10 on: June 24, 2007, 10:34:11 AM »

Speaking of the traditional roots of the musical...caught a bit of the Linda Ronstadt/Rex Smith verson of Pirates of Penzance last night on cable.  It's been a good 20 years since I saw that one.

I never quite got Rex Smith back in the last 70s.  He was considered a "sell out" by the rock community.  Now as I've mellowed I tend to give people more lattitude for doing whatever they want and being less concerned that the do what I want...
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TrojanHorse
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« Reply #11 on: June 24, 2007, 10:41:15 AM »

The music that Rogers & Hammerstein or Gershwin or Gilbert & Sullivan used was roughly the poplular music of the day.   Since "Rock" in its various forms has been the popular music of the day for over decades now, I guess it would be only natural that it would be the music that would draw larger audiences in to watch "musicals."   Unless you think of the musical the way you think of "opera,"  that it needs to be conserved and pure.   

Still Rock Operas of the 70s, paved the way for the resurgence of more traditional opera in the 80s.

Would we have had Les Miserables or Phantom, without the success of J.C. Superstar?
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TrojanHorse
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« Reply #12 on: June 24, 2007, 10:47:51 AM »

I sure have a lot of typos lately.   That should have read "Late 70s"   although I guess technicaly, the last 70s works .

Follow up thought on that post. 

I didn't really know Kevin Kleine back when this movie came out obviously, because I didn't recall him in the movie.  He's sure a telented guy...
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weezo
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« Reply #13 on: June 24, 2007, 11:08:14 AM »

I recall musicals with great fondness from my childhood. My mother was a great fan of Musicals, and when one came out she celebrated with buying the "album" at that time on a 33-1/3 platter. They were played, intersperced with albums of light classical music, as a background always in our home. I continued the tradition with my sons, one of whom at middle age, has a great capacity to enjoy a wide range of music, the other, is tone deaf and a great fan of rapper music. Go figure!

Many years ago, I attended a live performance of Jesus Christ Superstar, and was completely mesmerized. It was a powerful production. A few weeks ago, I watched "Oklahoma" on a satellite channel, and ever since the song "Poor Jud is Dead" has been running through my head. In high school, I was a member of the Glee Club, and in my senior year, we sang the music from Bali Hi during intermissions of the senior play production. That beautiful music has rung in my head ever since.
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TrojanHorse
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« Reply #14 on: June 25, 2007, 11:15:51 AM »

Funny...I had a very similar childhood experience.  My mom loved musicals and similarly had a lot of different music playing at home on the weekends...
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