LONDON THEATRE: Lend Me a Tenor: The Musical??

I have to admit two things:  Lend Me a Tenor - both the original production and the recent revival - is one of my favorite comedies.  I've seen many productions of it, mostly good.  The other thing I have to admit is that I often see plays, go to movies and read books and think, "Wow!  That would make a great musical!"

Lend Me a Tenor was not one of those works.  And so, several years ago, when it was announced that the British were taking an American farce and making it into a musical, I was skeptical.  I'd have bet Love Never Dies would be an international sensation before I'd bet that Lend Me a Tenor would be made into a toe-tapping tuner.

The London musical title logo

Sure it has the larger than life characters, the insane situation, and even a legitimate reason to sing.  But how do you turn a one set, door slamming play into a full fledged song and dance extravaganza?  I'm still trying to wrap my head around it.

But in theatre the sure bets often lose and the out there stuff becomes a hit.  And guess what?  Lend Me a Tenor: The Musical is not only happening, it is now touring Great Britain en route to the West End!  OK, Ok... so it opened at the Utah Shakespearean Festival in 2007, but went nowhere... But now it stars Sally Ann Triplett as Maria, and she ain't no slouch.  This must be serious.

The original Broadway logo

The Broadway revival logo

I don't know that much about it, yet, as it just started, but looking at the cast list (27 strong) - much expanded from the play - you can see where they have expanded it.  There are characters called "Opera Guild Ladies."  One can assume that there must then be scenes at the opera that is only talked about in the play.  I guess we will get to see Max (Victor Garber or Justin Bartha, here) go on as "Il Stupendo" (Ron Holgate or Anthony LaPaglia, here).  And we'll get to see Diana, the soprano, do Otello (Caroline Lagerfeldt or Jennifer Laura Thompson, here) with Max.  I just hope that they write a great comedic aria for Morelli's much-suffering wife, Maria (Tovah Felshuh or Jan Maxwell, here)!

The full London logo

If this is a hit, maybe they'll turn Equus into a musical next!

Comments?  Leave one here or email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.36

London Theatre: Love the Videos!

I don't know how many of you look around at London theatre sites, but if you do, you have probably noticed that many of them include links to really cool TV commercials, music videos, promotional videos and excellent b-roll previews of the shows they are promoting.

It is kind of sad that most Broadway shows don't have this, outside of links to promotional interviews, the occasional backstage "tour" or commercial.  Believe me, I'm thankful for what ever scraps they throw us.  But, still, most of it, you still have to find for yourself  on YouTube and the like.  Kudos to the major theatre sites like Playbill Online and Broadway.com for taking up the slack, proving it can be done.

Some of it I understand.  I mean regular music videos don't even get play on MTV, let alone a relatively small niche like show tunes.  Still, it is a sad commentary that a very American art form (and the performing arts) aren't more a part of our everyday popular culture.

Then, too, there is the American Greed Factor and everyone shares the blame there: actors, producers, writers.  Absolutely nothing gets done without an eye toward profit and money making for everyone involved.  I don't know for sure, but I'm willing to bet part of the reason we don't see more things like they do in London because the unions won't allow it or because of haggling over profit margins or salaries or royalties.

Never mind the fact that maybe if they gave a little bit away for free (beyond promotional interviews and the rare backstage thing) it might entice people to see a show they know nothing about.  I can tell you for 100% certain that the promos for Deathtrap, La Bete and Brief Encounter have influenced my desire to see all three, and I am a VERY regular theatregoer, aka the sure thing to buy a ticket.  Imagine what it might do for the occasional, on the fence, but tired of Mamma Mia crowd!  People never see the long-range possibility...  (I could go on about ticket prices being lowered with an eye toward longer term profits rather than upfront smaller profits - if a show is crap it won't run anyway, so why not lower the prices and get more people in for a longer run?  But I digress...)

Here are some recent London videos... what do you think?  (Scroll to the bottom for maybe the best "unofficial" video for a show to date!)

Brief Encounter



Deathtrap



La Bete



Legally Blonde (Promotional Video)



Legally Blonde (Music Video)



Priscilla: Queen of the Desert (Promotional/Music Video)



Priscilla: Queen of the Desert (Cast member produced for a cast party)



Do Broadway people go to this much trouble for a cast party?  This is better than most shows, period.  If Broadway folks do, share it!  Geez, this isn't even "official" and it has gotten thousands of hits.  Any cast that has this much fun together must be tearing it up on stage.  I'd be surprised if this could happen here, though... rights, copyrights, in costume union time, blah blah blah... I hope I'm just being a cynic.  I somehow doubt it.

Comments?  You pick!  Here, Yahoo or Twitter!

Jeff
2.20

CD REVIEW: Promises, Promises (Original London Cast Recording)

At this point, I feel like I might be rubbing your noses in it when I tell you that the Original London Cast Recording of Promises, Promises is a must-have for fans of the show, the score or its stars, Tony (Anthony) Roberts and Betty Buckley.  Why is it like rubbing your noses in it?  Well, Kritzerland Records only releases 1,000 limited edition copies of each CD that it remasters, and in visiting their site today for background information, I found out it was sold out!  Of course, it wasn't due to be released until the first week of September, so there must have been a lot of pre-orders (like mine).

For once, I didn't wait too long to get something I really wanted for my collection.  Promises, Promises with Betty Buckley has long been on my list, and I'm so glad I ordered it the day it was announced.  If you have it, too, please write and share your thoughts on it!  If you missed out, be sure to add Kritzerland's website to your "favorites".  They have an excellent catalogue with new titles coming out frequently.

Who knows?  Maybe they'll release more copies?  Go to http://www.kritzerland.com/ for more information on this and dozens of other collectible CDs they have.  And in case you find a copy someplace, here's my 10 cents worth on the recording:

Title: Promises, Promises
Artist: The Original London Cast Recording
Label: Kritzerland
Number: KR 20016-3
Format: Single CD
Case: Single Jewel Case
Booklet: Black and white production photos; liner notes by Bruce Kimmel, so up to date that it includes the fact that the current revival opened and includes extra Bacharach/David tunes.

Anthony Roberts and Kelly Britt:

"A Fact Can Be a Beautiful Thing"

Noteworthy About This CD:

• It restores the score in its original order as seen on stage, which the OBCR did not, but the NBCR does.
• It is re-mastered from the original two-track album masters.
• The orchestrations and background vocals are, in some songs, significantly different from any other version.
• There is only 1 verse of "Upstairs" on the recording, with Roberts ending after the "Kirkeby" verse.
• It contains a bonus track: the complete - including the entire dance break - "A Fact Can Be a Beautiful Thing".  In Italian!  No joke...

"The Falling Girl" Logo

(Here on the Broadway Windowcard)

The Artwork/Booklet:

• The cover features the London logo, which is the Broadway logo - the girls lounging on the apartment key, but with a blue background.
• The CD itself (and the background page behind the CD) features the "falling girl" (I'm being polite here) logo that was later used in both the Broadway and London advertisements, as well as the London Playbill.

The London Playbill

• The booklet includes the same billing as the London Playbill, as well as a complete cast list.  However, it does not include Donna McKechnie, who is billed on the cover, and did, in fact, recreate her dance solo in "Turkey Lurkey Time."  There is a picture of her doing just that, but there is no explanation to be found as to why.

Donna McKechnie and the London Cast in

"Turkey Lurkey Time"

• It is especially fun to see stills of the stars, Anthony Roberts and Betty Buckley, both of who were at the start of two long and illustrious stage and film careers.  Mr. Roberts went on to decades of Broadway success, with different generations knowing him for different things: a host of Neil Simon plays, Arsenic and Old Lace, Victor/Victoria  and most recently, Xanadu and The Royal Family.  His film success has largely been found in several films by Woody Allen.  Ms. Buckley has enjoyed a similarly long, successful career on Broadway from 1776, Cats, The Mystery of Edwin Drood, Song and Dance, Carrie, to Triumph of Love.  She is also a staple on the cabaret scene and the charity concert circuit.  Movie audiences may  know her from Carrie, Frantic, Tender Mercies, TV audiences may know her work in Eight is Enough, OZ, and in the upcoming HBO miniseries The Pacific.

The Pros and Cons to the London Cast Recording
Based, of course, on only what I can hear:

Pros:

+ Having the recording to begin with!

+ Betty and Tony at the start of their careers!

+ Jonthan Tunick's orchestrations are similar but mostly pretty different here than in either of the other versions, which he also orchestrated.  Like Buckley and Roberts, Promises, Promises is at the start of his long career.

+ Jack Kruschen plays Dr. Dreyfuss, the same role he played in the film The Apartment.  He was nominated for an Academy Award for that performance.

+ The arrangement (both orchestral and vocal) of "Christmas Day" are the best here than either of the versions.

+ The Italian "A Fact Can Be a Beautiful Thing" proves that quality works in any language!

+ Tony Roberts:

• Sounds genuinely thrilled and in love in "She Likes Basketball!"  His enthusiasm really comes through.
• He belts the hell out of the end of both "Half as Big as Life" and "Promises, Promises".
• As on the revival recording, "A Young Pretty Girl Like You" (aka "Happy"), here sung by Roberts and Kruschen stands out for its joy and character.
• He sounds great with Betty Buckley on "I'll Never Fall In Love Again".

+ Betty Buckley:

• Her amazing belt, in its infancy here, shines through magnificently on "Knowing When to Leave," which is, I think, the best of the three cast recorded versions.
• Her quirky enunciation (and extremely hard "ing", for example) and prolonged, sometimes odd vowel sounds may put some off, but they really work here when you consider the quirky, odd character she's playing.
• She displays character the best and most consistently of any of the others on the recording.  Her "Whoever You Are" is heart-breaking, and her plain, no frills "I'll Never Fall In Love Again" is just as thrilling for its naturalness.
• I found myself wishing she had had the same opportunity as Ms. Chenoweth to sing "A House is Not a Home" and "Say a Little Prayer," regardless of whether they add to the show or not.  (I think they do...)

The London Principals:

Anthony Roberts, Betty Buckley

James Congdon, Jack Kruschen

Cons:

- The lack of full use of the "orchestra voices" which add so much to the "Bacharach/David sound".

- James Congdon is the worst of the three recorded Sheldrakes.

- "Upstairs" is incomplete.  Only one verse?  Really?  It's not like it doesn't set up a major plot point or anything...

- "Where Can You Take a Girl?" sounds especially smarmy and ready for a sexual harassment video.  I know that's the point, but eewww...

Of the three, this is probably my third favorite, but considering I love them all and all for different reasons, it's still a winner in my book!

Grade: A-

Comments?  Leave one here, email me at yahoo.com, Tweet me or Formspring me!
Jeff