HDTenEightyP/NetNews huggingface dataset:
From: fwu@husc.harvard.edu
Newsgroups: rec.arts.theatre
Subject: Aspects of Love
Date: 23 Jan 1993 13:56:05 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

I just wanted to write a quick note of thanks to all those who sent me
their opinions of the show. I did end up seeing it in Boston two nights
ago, and the following is a quick summary of my impressions:

It was pretty much what I had been told to expect, repetitious music,
smaller setting, etc. At the time, the songs seemed sort of unmelodic and
the sung interludes between the songs seemed a bit unnatural at times, but
afterwards I found that I actually did remember quite a few of the
melodies and enjoyed them. Love Changes Everything is a great song, and is
probably the only melody that I actually thought was not repeated often
enough, at least not completely enough. (Whereas, Memory of a Happy Moment
was around every corner.) Barrie Ingham as George was great, as were Alex
and Rose, so I think in the end, it was definitely worth the price. 

BTW, I've read that this production was significantly different from
earlier ones (having been redone by Robin Phillips). Is there anyone out
there who has seen both and can offer some thoughts on whether I saw a
better or worse version?

Felix Wu
(fwu@husc.harvard.edu)

Newsgroups: rec.arts.theatre
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Answer to Into the Woods Trivia
Organization: University of Delaware
Date: Fri, 22 Jan 1993 21:12:21 GMT

In article <930122104609.218005c4@cornell-iowa.edu> RJONES@cornell-iowa.edu (Rick Jones) writes:

>2)  Where in the text (as opposed to some particular production) is
>there anything about trousers instead of breeches?  

Nowhere.  It was just the way the original production was costumed.
Apologies if this caused any confusion; I hoped it was clear by the
context that I was just having fun and being silly when I made this
"point" (as the whole discussion was pretty silly -- enjoyably so).

>I've watched the
>show every night for a week now... I think I'd remember (but make no
>claims to thoroughness -- I wasn't exactly contemplating this
>particular point, if you know what I mean...)

Actually I don't, now that you make a point of it....

Jon Alan Conrad
Newsgroups: rec.arts.theatre
From: atzachar@unix.amherst.edu (Aladdin)
Subject: Re: Boublil/Schoenberg -- future projects?
Organization: Amherst College
X-Newsreader: TIN [version 1.1 PL7]
Date: Sat, 23 Jan 1993 21:30:15 GMT

> 
> Not surprising, because for the longest time they kept MISS SAIGON a secret
> from everyone, even Cameron Macintosh. I can't wait, but I guess we'll just 
> have to be kept in suspense for a while... 
> 	
> 		Ian

It's true.  Last I heard, even Cameron Mackintosh didn't know what it was yet.
--
	** Ala"ddi"n **

	"There will be riches and magical places
	 A private oasis out there in the sands..."

Newsgroups: rec.arts.theatre
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Original cast recording of "Follies"
Organization: University of Delaware
Date: Wed, 27 Jan 1993 20:58:49 GMT

In article <1993Jan27.155607.14519@psych.toronto.edu> dsy@psych.toronto.edu (Desiree Sy) writes:

>what
>I was thinking of when I thought "vocal score" are those scores
>with only the vocal parts and (sometimes) the accompaniment.
>This music would have those long bars with, say, "18" written
>over them to indicate 18 bars of instrumental music.  Or do these
>only have the vocal lines, and not the accompaniment?  Anyway,
>this is what I was confusing "vocal score" with.

Yes, I've seen those.  They are called "choral scores" or sometimes
"vocal parts" (on the analogy of orchestral parts, that have only one's
own music).  Most if not all the ones I've seen omit the accompaniment,
and that's probably why I'd erased them from my mind.  I mean, how can a
singer learn her/his music from something like that?

>This is another thing:  I don't see how the Bolero really
>"lightens" the purpleness.  It's a mood *switch* (isn't this
>around Ben and Sally -- "Road not taken", etc.? -- I have to
>think about it), but I certainly wouldn't think of it as much of
>an upper.

I think it's that it gives us some dancing and glamour at a point where
we've otherwise been watching people soliloquize about their
unhappiness.  It's pretty much a straight "dance for the sake of dance"
(because we need a break) number, though it does have the then/now hook.

>>You may well find it wrongheaded
>>even when staged by Bennett, but he did in fact put 4 couples in the
>>number: the 2 V&V's, and 2 others.

>Now that's interesting.  I never thought of it this way.  In the
>original prod'n, were the older Vincent and Vanessa simply
>dancing as if they were at the party?  

Well, yes, but it was sort of nonrealistic too.  I mean, they, like the
other partygoers, have been talking (earlier) directly to the audience
about their past and present.  So they were dancing as if they were at
the party, but also remembering, and perhaps showing their old routine
off a bit for the others.  (As if to say "we oldtimers can still cut
it.")

>Did the other party-goers
>figure in it at all, or was the stage simply cleared for the
>tango?

The stage was cleared for them, fairly unobtrusively.  When the
orchestra came in for the Tango proper, it just happened that all the
other partygoers had wandered off or were about to do so.  Then the
younger V&V appeared to mirror them, and as the number built, two other
ghost couples joined them.

Jon Alan Conrad
From: chu@acsu.buffalo.edu (John C. Chu)
Newsgroups: rec.arts.theatre
Subject: Broadway Showstoppers is finally here!!
Date: 21 Jan 93 18:33:36 GMT
Organization: UB

John McGlinn's new recording "Broadway Showstoppers" is out on the
Broadway Angel label. I just got it yesterday and have only heard it
twice, but my first impression is that it's excellent (a full review
later, if I have time and if there is interest). Of note, are two
songs from 1600 Pennsylvania Avenue which was a topic in this
newsgroup recently and an "All the Things You Are" that is absolutely
breath-taking.

It may take a little exploring to find. I finally found one lone copy
of it on my third record store, filed alphabetically in the Classical
section (mixed in among the composers). More later if I have time...

					john
				chu@acsu.buffalo.edu
Newsgroups: rec.arts.theatre
From: atzachar@unix.amherst.edu (Aladdin)
Subject: Re: Boublil/Schoenberg -- future projects?
Organization: Amherst College
X-Newsreader: TIN [version 1.1 PL7]
Date: Fri, 22 Jan 1993 21:50:57 GMT

Quinn T. McCord (qtm2w@Virginia.EDU) wrote:
> jameskau@phakt.usc.edu  writes:
> > Anyone know if Alan Boublil and Claude Schoenberg (sp?), the ones who wrote
> > Les Miz and Miss Saigon, are working on anything new?
> > Thanks,
> > James Kaufman
> > jameskau@scf.usc.edu
> > 
> 
> 	I sincerely hope not.
> 					-Quinn

Woo woo!  Pretty harsh!  Well, I hate to disappoint you Quinn, but Alain
Boubil and Claude-Michel Schoenberg are working on a new project, but nobody
knows what it is yet.
--
	** Ala"ddi"n **

	"There will be riches and magical places
	 A private oasis out there in the sands..."

Newsgroups: rec.arts.theatre
From: dsy@psych.toronto.edu (Desiree Sy)
Subject: Re: "Company" in concert
Organization: Department of Psychology, University of Toronto
Date: Mon, 25 Jan 1993 02:43:10 GMT

In article <1jvcbrINN7k@mizar.usc.edu> adolphso@mizar.usc.edu (adolphson) writes:
>The Long Beach Civic Light Opera's AIDS benefit concert
>yesterday -- "Company" performed in concert by the original
>cast (with the exception of the late Charles Braswell) -- has
>to have been one of the most exciting nights I've ever spent
>in the theater.  

First, thanks so much for posting this description.  It sounds
like it was amazing.

Who directed and choreographed the concert?  Was anything
modified from the original?

Could you describe a little of the staging that was done for the
concert?  I've only seen pictures of the set, but I understand 
that it was crucial in providing a literal "framework" to hang 
the show's themes on.  I'm wondering what was done in terms of 
staging to compensate.  (Particularly with the dancing.)

Also, do you know (through interviews, articles, etc.) how much
rehearsal time was devoted to the show?

-desiree
From: st923058@pip.cc.brandeis.edu (Jessica Raine)
Newsgroups: rec.arts.theatre
Subject: Re: Sarah Brightman
Date: 29 Jan 93 03:19:52 GMT
Reply-To: st923058@pip.cc.brandeis.edu
Organization: Brandeis University


	Sadly, I was unable to see PHANTOM while Sarah Brightman was still
doing it. But I did see "The Music Of Andrew Lloyd Webber", featuring her,
when it was in Boston, and she did almost all of her numbers from PHANTOM.
She was very impressive, but not quite what I had expected. She seemed
very unfocussed during most of the PHANTOM numbers, which took up all of the
second half of the program. I think that this partly may have been becayse
there was a different guy singing with her in each duet. While all of these
duets--especially the title song, with D. Michael Heath ( a fave-rave of
mine :)) singing the Phantom--were technically impressive, something just
seemed to be missing, and I think it was the sense of her connection with
her fellow singer.
	Comments?
				--Jess
Newsgroups: rec.arts.theatre
From: davidf@HQ.Ileaf.COM (David Fristrom)
Subject: GIGI changed in video release?
Reply-To: davidf@HQ.Ileaf.COM (David Fristrom)
Organization: Interleaf, Inc.
Date: Tue, 26 Jan 1993 15:40:24 GMT

This is a really a movie question rather than a theatre question, but
r.a.t. seems to be the best place for information on musicals, movie
or otherwise.

A friend claims to have heard that some changes were made to the movie
GIGI when it was released on video tape; in particular, that the
scenes shown during the title song are different on video from what
was originally seen in the movie theatre.  Does anyone know anything
about this?  True?  False?

David Fristrom		|
Interleaf, Inc.		|	"Ah yes, I remember it well"
davidf@ileaf.com	|
Newsgroups: rec.arts.theatre
From: b259phl@utarlg.uta.edu (PHILIP LIPPEL)
Subject: Re: On a Clear Day You Can See Forever?
News-Software: VAX/VMS VNEWS 1.41    
Organization: The University of Texas at Arlington
Date: Fri, 22 Jan 1993 18:56:00 GMT

In article <Jan.22.11.37.46.1993.845@porthos.rutgers.edu>, pirmann@porthos.rutgers.edu (David Pirmann) writes...
> 
>Some people on alt.quotations were talking about "On a clear day you
>can see forever") and joann@ariadne.SLAC.Stanford.EDU (Jo Ann Malina)
>writes: 
> 
>>It's the title of a song. I've heard Barbra Streisand and Robert
>>Goulet sing it. It's from a 1960's musical (well, maybe early 70's)
>>called "The Fantastiks," which had a successful run on Broadway.
> 
>It's not from "The Fantasticks."  "The Fantasticks" successful
>run is off-Broadway, and has been running for 30 years. But the song
>you mention is *not* from that show.  Perhaps someone on
>rec.arts.theater can help us out and tell us where it is really from.
> 
It's from "On a Clear Day", of course! Equity Library Theatre did a revival
in '79 or so-- not a bad show, as I remember. Sorry but I don't have the
relevant details (e.g. composer, lyricist) at hand-- though they ar biggies
as I remember.
From: st923058@pip.cc.brandeis.edu (Jessica Raine)
Newsgroups: rec.arts.theatre
Subject: Re: SUNSET BOULEVARD - THE FULL DETAILS!!!
Date: 23 Jan 93 19:49:00 GMT
Reply-To: st923058@pip.cc.brandeis.edu
Organization: Brandeis University


	Well, now, I don't know if he's the greatest composer. He gives
audiences what they want, and I like his stuff. As a theatre person and
techie, I'd say his stuff is incredible...as a musician, I'd say that
Sondheim blows him out of the water. But I am sure you do not want to start
this thread AGAIN, so I shall shut up now.
	Does anyone know what Judi Dench has done besides being the first
Grizabella and playing Dame Quickly in Kenneth Branagh's phenomenal "Henry
V"? I figured she had to have come from the stage, but I didn't know she
did musicals.
	While we're in the subject, does anyone have a list of the actresses
who have played Grizabella? The only ones I can come up with offhand are
Elaine Page, Betty Buckley and Diane Frantatoni. Others?
					--Jess, who spent 4 years trying to
extend her range to a law F so she could sing "Memory" in its original key :)
Newsgroups: rec.arts.theatre
From: murray@aristotle.ils.nwu.edu (Thomas Murray)
Subject: Re: FAME (please do not hit 'n' now!!)
Organization: The Institute for the Learning Sciences, Evanston, IL
Date: Fri, 22 Jan 1993 05:00:29 GMT

In article <1993Jan20.001006.24724@news.cs.brandeis.edu> st923058@pip.cc.brandeis.edu (Jessica Raine) writes:

>  Also, in general, any suggestions for a
>  non-dancer in a primarily dance show? (I'm in FAME 'cause of my voice, and
>  I think I'm literally the worst dancer in the cast.)

o  Move your arms alot, so people don't look at your feet.

o  Stand in the back.


ahem..

- tom murray
Newsgroups: rec.arts.theatre
From: jpenovic@encore.com (Jan Penovich)
Subject: Because we're discussing Follies - FYI
Reply-To: jpenovic@encore.com
Organization: Encore Computer Corp., Fort Lauderdale FL
Date: Wed, 27 Jan 1993 13:05:17 GMT

FYI.

The Ann White Theater (nonEquity professional) in Fort Lauderdale 
is doing Follies until Feb. 7.  I read Jack Zink's (theater
critic) review in today's Sun-Sentinel.  Mr. Zink can usually find 
something wrong with every production he reviews (I know, he recently
reviewed a play I was in), but he had only good things to say
about this production of Follies and the actors in it.

He also mentioned that tickets are selling like crazy.

********************************************************************
TTFN,    ___           *   jpenovic@encore.com
      / /   /  /\   /  *   
     / /___/  /  \ /   *   
/___/ /   /  /    /    *   
                       *   Encore Computer Corp., Ft. Lauderdale, FL
*********************************************************************
From: ijgordon@eniac.seas.upenn.edu (<*Ian J Gordon*>)
Newsgroups: rec.arts.theatre
Subject: Re: Boublil/Schoenberg -- future projects?
Date: 23 Jan 93 07:49:38 GMT
Organization: University of Pennsylvania


In article <C19zCx.BxI@unix.amherst.edu> atzachar@unix.amherst.edu (Aladdin) writes:
>Quinn T. McCord (qtm2w@Virginia.EDU) wrote:
>> jameskau@phakt.usc.edu  writes:
>> > Anyone know if Alan Boublil and Claude Schoenberg (sp?), the ones who wrote
>> > Les Miz and Miss Saigon, are working on anything new?
>> > Thanks,
>> > James Kaufman
>> > jameskau@scf.usc.edu
>> > 
>> 
>> 	I sincerely hope not.
>> 					-Quinn
>
>Woo woo!  Pretty harsh!  Well, I hate to disappoint you Quinn, but Alain
>Boubil and Claude-Michel Schoenberg are working on a new project, but nobody
>knows what it is yet.


Not surprising, because for the longest time they kept MISS SAIGON a secret
from everyone, even Cameron Macintosh. I can't wait, but I guess we'll just 
have to be kept in suspense for a while... 
	
		Ian




--
I J G's quote of the week: I'm tired of all the happy men who rule the world.
			   They grow, of that I'm sure.
			   They grow, but don't mature.
				-Trina in  FALSETTOS
Newsgroups: rec.arts.theatre
From: conrad@brahms.udel.edu (Jon Conrad)
Subject: Re: Further Thoughts
Organization: University of Delaware
Date: Thu, 28 Jan 1993 22:29:14 GMT

In article <1k9m5k$1f2@agate.berkeley.edu> dkodmur@ocf.berkeley.edu (Daniel Kodmur) writes:

>The best performance of Bobby I have seen was on one of Sylvia Fine Kaye's
>PBS musical theatre specials a few years ago.  Bobby was Richard Chamberlain,
>who possessed just the right combination of glamour, shallowness, and
>unapproachability, sang quite well, and looked the part as well. He did
>an excellent version of "Barcelona" on the show, with Bernadette Peters as
>April.  The show also featured Carol Burnett singing a dandy "Ladies Who
>Lunch."

Burnett has always given Sondheim plenty of support when she got a
chance; she did this song on her own series as well as on this special,
and the aforementioned "You Could Drive a Person Crazy" with Mmes
Farrell and Horne.  The only thing I don't like about her "Ladies Who
Lunch" is the corny shift-up-half-a-tone for the last chorus.  It's such
a tired device, and she'd be just as effective if she did it as written.

>I know some people, especially our Sage of Delaware, 

Ahem.

>dislike these shows,
>but they made a great impression on me.  Chamberlain has a good voice; it is
>a shame he has been so underutilized in the musical theatre.

I wonder if he could have handled the whole range of the part, though.
"Barcelona" is Bobby's easiest music.

The main thing I dislike about Sylvia Fine Kaye's series was her
constant assertion that "these are the original orchestrations and
arrangements."  That was a flat-out lie, and lead to a certain contempt
on my part.  If you're going to do new arrangements, fine, but be honest
about it.

>The R & H overtures album is one I had meant to mention in my earlier post.
>I am really enjoying it, especially the *real* "Carousel Waltz" and the
>"King and I" overture.  I expected to love these; what is indeed surprising
>is how pleasant the overtures from the so-called flops are. I particularly
>like the ones from "Pipe Dream" and "Me and Juliet."  

Isn't the Me & J one delightful?

>The first song in the 
>latter overture sounds very contemporary, not at all like the Rodgers I am
>used to.  It almost sounds like a Sondheim song.  

It's "Marriage Type Love," and I always grin when I hear the orchestra
start up that little vamp.  It sounds so 50s, and at the same time so
much fun.

>Are the three obscure R & H
>shows any good?  I am curious to hear more.

They all have their partisans, except maybe Me and Juliet (as a whole --
its score seems mostly likable enough).  I'd like to see a fullscale
Allegro tried sometime.

Jon Alan Conrad
Newsgroups: rec.arts.theatre
From: arndt_w@cubldr.colorado.edu
Subject: Re: Chock Full O'Goodies!!!
Organization: University of Colorado, Boulder
Date: Thu, 28 Jan 1993 16:01:22 GMT

In article <1993Jan27.181352.24671@PacBell.COM>, rjwill6@PacBell.COM (Rod Williams) writes:
>> arndt_w@cubldr.colorado.edu writes:
>>> dkodmur@ocf.berkeley.edu (Daniel Kodmur) writes:
> 
> [great stuff about Barbara Cook omitted]
> 
 At one point, she sat on the
> edge of the stage, right beside me, and sang Noel Coward's
> "If Love Were All" just for me <swoon>...

I just had to tell this story.  A few years ago I saw "Hay Fever" in New York
with Rosemary Harris.  We managed to go up to her dressing room (the
star dressing room at the Music Box) and talk to her.  But that's another
story.

When we were done, the crowds from "Drood" next door were coming out.  We
decided to wait at the stage door for Cleo Laine, although we had not actually
seen the show. (Never did, actually).  When she came out (she's VERY short) I
spoke to her, told her how wonderful she was, and that I'd seen her the
previous summer in Philadelphia with the Philadelphia Orchestra.  I asked her
for her autograph and she asked my name.  "Bill," I said.  And she SANG three
little notes: "Just My Bill," and signed it.  I have it framed on my wall and
will never forget when Cleo Laine sang JUST FOR ME!

	William Arndt
	University of Colorado at Boulder

> -----------------------------------------------------------------------
Organization: The American University - University Computing Center
Date: Wed, 27 Jan 1993 03:26:51 EST
From: <DU4041A@auvm.american.edu>
Newsgroups: rec.arts.theatre
Subject: The Dining Room.

                        The American University
                      College of Arts And Sciences
                     Department of  Performing Arts

                     Cordially Invites You to Attend...

                             THE DINING ROOM
                             by: A.R. Gurney

When:  February 10-14, 1993  8pm
Where:  The American Univeristy, Experimental Theatre.
Massachusetts and Nebraska Avenues, NW
        Washington, DC
Phone 202/885-ARTS for more information
Tickets: $5 and $7
Newsgroups: rec.arts.theatre
From: ian.evans@bville.gts.org (Ian Evans) 
Newsgroups: rec.arts.theatre
Subject: Re: Kiss of the Spider Woman
Date: 26 Jan 93 19:17:00 GMT
Distribution: world
Organization: Baudeville BBS - Toronto, Ontario, Canada 416-283-0114
Reply-To: ian.evans@bville.gts.org (Ian Evans) 


-> It's now playing in London, and is scheduled to open on Broadway May
-> 3rd, two days before the Tony awards deadline; presumably it will
-> begin performances earlier in May.

Bebe Neuwirth of Cheers will continue the role of the Spiderwoman in
London when the production moves to New York.
                                                  
----
|     Baudeville BBS - Over 2200 conferences in 12 networks       |
|     Over 2 gigabytes of shareware.  1-416-283-0114 v32bis/HST   |
|                                                                 |
|=========Be kind to our feeds.  No email over 15K please.========|
From: brantley@cerritos.edu (Douglas Brantley)
Newsgroups: rec.arts.theatre
Subject: Heidi, The Musical....
Date: 27 Jan 93 16:37:06 PST
Organization: Cerritos College, Norwalk CA

         Our Community Education Office is attempting to offer a childerns
         theatre production of "Heidi", the musical version.  The authors
         are Ann Pugh and Betty Utter.

         They want to know if the script is still available and, if so,
         from which publisher.

         Please do not post here, please send a mail message to...

         	HEAPY@CERRITOS.EDU

         THANKS in advance.
From: jcichock@ep.ieee.org (J Cichocki)
Newsgroups: rec.arts.theatre
Subject: Re: "Children Will Listen"
Date: 22 Jan 93 17:10:16 GMT
Reply-To: jcichock@ep.ieee.org
Organization: IEEE, New York, NY

In article 24800@hacgate.SCG.HAC.COM, msheldon@luna.dpl.scg.hac.com (Marti Sheldon) writes:
> 
> During the Inaugural Gala, Barbra Streisand sang a song with the
> refrain "Children Will Listen" (or something like that).  My husband
> and I recognized it as being from a musical.  He thought it was from
> Into the Woods.  Anyone know for sure?  Who sung it and what was the
> context (in whatever show it is from)?  Thanks.


The song is sung as part of the finale to the show. The witch sings the song as a 
message to parents that a child picks up on everything so watch what you say and do.

(witch)
Careful the things you say,
Children will listen...
Careful the things you do.
Children will see, and learn...

Children may not obey,
but children will listen...
Children will look to you
for which way to turn
to learn what to be...

Careful before you say
Listen to me...
Children will listen...

(everyone joins in)

Careful the wish you make,
wishes are children...
Careful the path they take,
wishes come true
not three...

Careful the spell you cast,
not just on children...
sometimes the spell may last
past what you can see
and turn against you...

Careful the tale you tell
that is the spell
Children will listen...
(and then into a reprise of Into the Woods)

I hope this helps you out.
(To everyone out there, I hope the song is ok. I listened to the tape to write it.

Jeff
Newsgroups: rec.arts.theatre