HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.arts.theatre
Subject: Re: Colm Wilkinson's "brutish" behavior
From: obie@hirama.hiram.edu
Date: 21 Jan 93 12:16:41 -0500
Organization: Hiram College
Nntp-Posting-User: obie


> In article <199301142146.AA01017@world.std.com> eliz@world.std.com 
(Elizabeth Lear Newman) writes:
>>
>>Hear, hear.  And the fact that Caine's replacement also quit because
>>of Wilkensen's behavior should mean something!
>>
	I missed the original post on this thread. What was Colm
Wilkensen's brutish behavior? E-mail of original post or an explanation
would be appreciated.  
-- 
    ____            ||obie@hirama.hiram.edu, obie@hiramb.bitnet
   /   /__ .__      ||                    
  /   /  ///_/  /   ||   
 /___/__///____/    ||        
Organization: Freshman, Drama, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.arts.theatre
Date: Mon, 25 Jan 1993 21:32:13 -0500 
From: Todd Nicholas Tarantino <tt27+@andrew.cmu.edu>
Subject: Re: "Company" in concert

there is an amazing video around called "original cast
recording:company" that captivated me. all the hell and the beauty that
went on in the session is there. my favorite moment being the eight
takes elaine strich had to go through for "the ladies who lunch"
sondheim at one point having her take it down a half-step. eventually
they end for the day, there's only so long strich can go on like this,
and she comes back another day and does what is on the album. her
reaction when she hears one of the recordings is the sacred. she screams
at herself and pretty much covers her ears, so unhappy with it almost
refusing to let them use it. or something like that. my memory may be
lapsing.

yes, company is another of my favorite shows

todd
Newsgroups: rec.arts.theatre
From: qtm2w@Virginia.EDU ("Quinn T. McCord")
Subject: Re: CHESS: What really happened on stage?
Organization: University of Virginia
Date: Mon, 25 Jan 1993 22:08:28 GMT


	In my opinion, the recent off-Broadway production
proves that Chess needs to be a spectacle-musical and not one
of those "let's be intimate with the audience musicals".  It
had a chorus of about 4, with most of the set pieces moved
around by the actors.
							-Quinn
Newsgroups: rec.arts.theatre
From: st923058@pip.cc.brandeis.edu (Jessica Raine)
Subject: Re: "Children Will Listen"
Reply-To: st923058@pip.cc.brandeis.edu
Organization: Brandeis University
Distribution: usa
Date: Thu, 21 Jan 1993 17:29:18 GMT

	Actually, that is also the main theme in the Witch's Lament after
Rapunzel dies, which (since it is a song on its own, rather than part of
an ensemble number) is far more likely to have been what Streisand sand,
although I did not see it either. Wish I had, though--I'm not a Streisand
fan, but I can see how that number would fit her voice nicely.
				--Jess
Newsgroups: rec.arts.theatre
From: murray@aristotle.ils.nwu.edu (Thomas Murray)
Subject: Re: Sondheim: Merrily We Roll Along
Organization: The Institute for the Learning Sciences, Evanston, IL
	<lairdb.727729129@crash.cts.com> <C19zz0.Dnr@acsu.buffalo.edu>
Date: Wed, 27 Jan 1993 20:34:57 GMT

In article <C19zz0.Dnr@acsu.buffalo.edu> chu@acsu.buffalo.edu (John C. Chu) writes:

>  Anyways, I think this might be all moot because
>  apparently, it's going to change again. Tom??

Got tickets for Thursday.  I'll let you know...

-tom
From: ijgordon@eniac.seas.upenn.edu (<*Ian J Gordon*>)
Newsgroups: rec.arts.theatre
Subject: JCS Tour
Date: 22 Jan 93 22:41:51 GMT
Distribution: usa
Organization: University of Pennsylvania

I was wondering if anyone has recently seen the touring production of JESUS
CHRIST SUPERSTAR recently. I read a review of it way back and the reviewer said
that it would probably be getting better with time. I think it is in Philadel-
phia right now, and I'd like to see it. Any comments? Thanks in advance.

	Ian J Gordon
--
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
From: pearl@spectacle.sw.stratus.com (Dan Pearl)
Newsgroups: rec.arts.theatre
Subject: Re: On a Clear Day You Can See Forever?
Date: 22 Jan 1993 19:49:23 GMT
Organization: Stratus Computer, Software Engineering
NNTP-Posting-Host: spectacle.sw.stratus.com

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"...
|It's not from "The Fantasticks." 

It's from "On A Clear Day, You Can See Forever"  (duh!)
-- 
------------------------------------------------------------------------------
Dan Pearl  **  Stratus Computer, Inc.  **  pearl@spectacle.sw.stratus.com
From: ijgordon@eniac.seas.upenn.edu (<*Ian J Gordon*>)
Newsgroups: rec.arts.theatre
Subject: Falsettos
Date: 28 Jan 93 05:22:59 GMT
Organization: University of Pennsylvania


I was wondering if anyone out there saw the original productions of MARCH
OF THE FALSETTOS and/or FALSETTOLAND (or IN TROUSERS for that matter) way
back when. What did you think? And if you've also seen FALSETTOS, how do they
compare? Were they almost the same, etc...?

		Ian J Gordon

--
I J G's quote of the week: You can count, it's alright, you can figure out the
			   world, you can add and subtract at will, you can
			   cover up the past you can kill the pain-very easily.
				-Marvin in FALSETTOS
Newsgroups: rec.arts.theatre
From: dsy@psych.toronto.edu (Desiree Sy)
Subject: Re: Original cast recording of "Follies"
Organization: Department of Psychology, University of Toronto
Date: Wed, 27 Jan 1993 00:05:09 GMT

In article <C1GsnI.LIz@news.udel.edu> conrad@brahms.udel.edu (Jon Conrad) writes:
>In article <wfN_5s200iUx0_SOZ4@andrew.cmu.edu> tt27+@andrew.cmu.edu (Todd Nicholas Tarantino) writes:
>
>>wasnt the bolero called "vincent and vanessa" in the score? i may be
>>wrong, but it is a nice piece of music. 
>
>Yes, in the vocal score, the number "Bolero d'Amour" is called "Vincent
>and Vanessa."

I'm probably missing something obvious here, but why would an
instrumental number be in a vocal score?

>Apparently Michael Bennett (original co-director and choreographer)
>insisted on this number remaining in, where Prince would have cut it.
>Sondheim wasn't crazy about it either, since although the theme was his,
>the number as a whole was an arranger's creation (he's touchy about
>being visibly "helped" in that way -- one reason the more recent vocal
>scores of his shows are based on his manuscripts rather than the
>finished orchestration).  

I'd never heard this about the arrangement before.  I'd read (I
think in Sondheim and Co.) that Sondheim never liked the number,
had wanted to cut it, but Bennett had felt it was necessary to
break up the "purple numbers".  (I remember the wording, because
I thought "purple" was some sort of a mood adjective -- cf.
purple prose -- but then later on, Bennett elaborated that he
meant the purple costumes that the people were wearing.)

>So it was dumped in the big concert and in
>London.  I *like* the number (it has an absolutely glorious MGM-style
>Tunick orchestration) and would always want to see it in a production of
>Follies.  Its omission was one of the things that pissed me off the most
>about the RCA recording 

I like the number, too.  In the community version I was in, the
couples dancing were the older Vanessa and Vincent, the younger
V & V, and two other (young) couples.  I strongly disagreed with
the decision to put the other couples in (not that I bothered
saying so... or that it mattered what I thought), but was deeply
envious at not being in one of the couples, because I loved the
dance that was choreographed.  (To give you some idea of how
wrong headed this prod'n was, and how little of what the director
was trying to do was conveyed to the cast, the very young woman
who was playing the older Vanessa -- incredibly stupid casting --
got in a tremendous snit when she got a note to lower her
extensions because she was dancing out of character.  She
repeated the step, demonstrating it as a woman in her early
twenties, and snapped, "It's *supposed* to be that way -- high
and sharp."  She never did dance that number as an older woman;
it became a point of contention with her that she could *not* be
"shown up" by the woman dancing young Vanessa.  !!)

>(another was the curtailment of the Who's That
>Woman dance).

Which sounds like one of the most brilliant uses of dance in a
musical I've ever heard of.

-desiree
From: RJONES@cornell-iowa.edu (Rick Jones)
Newsgroups: rec.arts.theatre
Subject: RE: Judi Dench
Date: 23 Jan 1993 14:45:24 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

>>	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.

She is indeed one of the leading serious actors of her generation.  I
first saw her in a film version of _A Midsummer Night's Dream_,
playing a VERY sexy Titania.  I seem to remember that she played
either Goneril or Regan in Olivier's film/tv _King Lear_, but I may be
mistaken about that.  She was also on a _Mystery_ on PBS three or four
years ago -- her performance was excellent, but the series wasn't
much, and I've forgotten most of the details.

I didn't know she did musicals either, though it doesn't surprise me.

Rick
From: haro@sable.jpl.nasa.gov (Raul Haro)
Newsgroups: rec.arts.theatre
Subject: Phantom closing in LA
Date: 27 Jan 1993 15:52:21 GMT
Organization: Jet Propulsion Laboratory
Distribution: world
Reply-To: haro@sable.jpl.nasa.gov (Raul Haro)
NNTP-Posting-Host: sable.jpl.nasa.gov



Hi There,

Just got the news that the Phantom is planning to leave LA sometime in August
of this year. I am really suprised to hear this, I was just over at the music
center to inquire about tickets and I got the impression that it was not going
anywhere soon based on ticket sales. Oh well, I guess now I have more of an 
incentive to re-visit the Phantom.

C-YA
Raul
From: jaemicv@yalevm.ycc.yale.edu (Mike Jaeger)
Subject: Welsh in Henry IV, Part I - help!
Followup-To: rec.arts.theatre
Organization: Public Macs, Academic Computing, Yale University
Date: Sat, 23 Jan 1993 07:11:03 GMT

Hi - I'm a senior at Yale directing Henry IV, Part I as a senior project,
and am having a few problems with the Welsh scene (III, i).  I have the BBC
video, and an audio of an early production, but can find no written
transcript.  Nor does there appear to be a single person on this campus who
can speak or write it.  Does anyone have (or know where I can get) a
transcript of the Welsh used in ANY production?  

Thanks in advance - if emailing me directly doesn't work, you can just post
it.

- Mike Jaeger

(no signature file yet)  :)
Newsgroups: rec.arts.theatre
From: JLINTHI1@ua1vm.ua.edu
Subject: Re: Judi Dench
Organization: The University of Alabama, Tuscaloosa
Date: Mon, 25 Jan 1993 19:43:10 GMT

And from the movie end:
   Judi Dench was also Nora in the movie version of _84, Charing
Cross Road_ with Anne Bancroft and Anthony Hopkins (Hannibal
as a mild mannered bookseller)
   Sorry, this isn't the movie newsgroup.
   By the way, does anyone know anything about the play version
of 84? I've heard about the productions, but don't anything
beyond that.
 
Julia Linthicum
From: atzachar@unix.amherst.edu (Aladdin)
Newsgroups: rec.arts.theatre
Subject: Re: Falsettos
Date: 27 Jan 93 01:35:46 GMT
Organization: Amherst College
X-Newsreader: TIN [version 1.1 PL7]

richard f. dutt (rdutt@mksol.dseg.ti.com) wrote:
> Also, is there a recording of "In Trousers" out there?  I'd be
> interested in getting it.

I believe that there is a LP from the late 70's of "In Trousers", but
it's probably fairly difficult to find.  I saw it listed at a library.
 
> "My father's a homo, my mother's not thrilled at all."  What a great line.
  "Father homo, what about chromosomes?
   Do they carry, will they carry?
   Who's the homo now?"
--
	** Ala"ddi"n **

	"There will be riches and magical places
	 A private oasis out there in the sands..."
Newsgroups: rec.arts.theatre
From: b-spachman@nwu.edu (Brad Spachman)
Subject: Re: CATS and theatre sound systems
Followup-To: rec.arts.theatre
Organization: Northwestern University
Date: Wed, 27 Jan 1993 00:16:00 GMT

In article <C1DqsH.FCz@panix.com>, goldfish@panix.com (Paul Goldsmith)
wrote:
 
> Amplification in theatre is like catsup on cooking; fine for french
> fries, but not for everything.  As to loss of directionality,
> reasonable amplification as a "helper" can still give good
> directionality with appropriate line delays, and competent sound
> people.  As a replacement for the voice itself; well, is that really
> live theatre?
> 

The need for amplification in the theatre these days has become paramount,
not just because people have higher sound thresholds, but because the
houses the shows are playing are larger and larger in order to bring in
more and more money.

As someone who works quite often in the technical side of the theatre, but
is terrified of working in the very subjective area of sound, I know that
it is often necessary to amplify performers in order to be heard in the top
row of a 1200 seat house. I am just coming off a campus production of
"Sunday in the Park with George" and was surprised to find that the sound
designer only planned to put mikes on the two leads. I then found out he
had six mikes in the stage floor for the remainder of the cast. I, too,
would prefer non-miked performers, but the number of performers who can
project to the back of a large house is vanishingly small. These days,
sound design is the last big area of growth in the technical theatre arts.


Brad
b-spachman@nwu.edu
"More red...more blue...more beer!"--George
Newsgroups: rec.arts.theatre
From: dsy@psych.toronto.edu (Desiree Sy)
Subject: Re: I wish I had seen...
Organization: Department of Psychology, University of Toronto
Distribution: rec
Date: Sun, 24 Jan 1993 14:41:15 GMT

In article <MURRAY.93Jan20205858@aristotle.ils.nwu.edu> murray@aristotle.ils.nwu.edu (Thomas Murray) writes:
>
>What are the top ten (if you can name that many) productions (B'way or
>othewise) you wish you had seen.  And why?  This is not limited to
>musicals (for those of us who find plays their principal attraction to
>theatre).  This also isn't limited to recent shows (though maybe we
>should try to stay within the 20th century?).

Okay, I lied a little.  I said that all three of the original
Broadway cast of FOLLIES, the West End prod'n of FOLLIES, and
FOLLIES IN CONCERT would make my top ten list.  After sitting
down and thinking it out for real, this isn't true (I mean, ten's
a short list!).  And boy, this is a rather hard exercise --
there's so much I haven't seen that I wish I have.  However, my
(present) top ten list:

(with a general understanding that I'd be time travelling, and
possess my current knowledge of theatre -- that is, that I
wouldn't be eight years old, or unborn, etc. :) )

1.  Original Broadway cast of FOLLIES.  (Still the head of the
    list.)

2.  Peter Brook's production of A MIDSUMMER NIGHT'S DREAM.

3.  Gielgud's HAMLET.

    (Burton's HAMLET just got edged off this list.)

4.  Original B'way cast of A STREETCAR NAMED DESIRE.

5.  Original B'way cast of THE GLASS MENAGERIE.  
    
6.  The original cast of WEST SIDE STORY.

7.  The National Theatre prod'n of GUYS AND DOLLS.

    (Just edged out the original prod'n of same.)

8.  Either the London prod'n or the B'way touring cast of
    NICHOLAS NICKLEBY.

9.  Performance 3389 of A CHORUS LINE.  

10. Original cast of SUNDAY IN THE PARK WITH GEORGE.
    
    In fact, I've *never* seen an original cast of a Sondheim
    show, and I've only seen one of his shows on B'way.  And I'd
    love to have seen any of them.  However, in spite of having a
    greater fondness for some other of his shows, I think this is
    the show that gains the most in being seen, rather than heard
    as a cast recording (closely followed by PACIFIC OVERTURES).

And boy -- there are a heap of other productions that cycled on
and then off the list.  Like any Bob Fosse show with its original
cast.  Or all those Sondheims I left off the list.  Or a number
of plays that I think depend strongly on good casting, like
Durang's MARRIAGE OF BETTE AND BOO, or Lucas' PRELUDE TO A KISS.
And I didn't think we could go back to Elizabethan England, or
I'd have chosen an original Shakespearian prod'n.

And of course, I've never collected a genuine cult flop, so
CARRIE is rather appealing (yes, I read NOT SINCE CARRIE, too).

Yup, a fun thread.

-desiree
Newsgroups: rec.arts.theatre
From: qtm2w@Virginia.EDU ("Quinn T. McCord")
Subject: Re: Answer to Into the Woods Trivia
Organization: University of Virginia
Date: Fri, 22 Jan 1993 09:08:49 GMT


	It's five pounds, not five gold pieces.  And since when
does the 1700's qualify as "early renaissance"?

						-Quinn
From: RJONES@cornell-iowa.edu (Rick Jones)
Newsgroups: rec.arts.theatre
Subject: Top 10
Date: 22 Jan 1993 13:08:14 -0600
Organization: UTexas Mail-to-News Gateway
NNTP-Posting-Host: cs.utexas.edu

My top 10 list of shows I wish I'd seen will read a little
differently from most so far.  In no particular order:

1.  The San Quentin _Waiting for Godot_ ... or the original
production, before it became an icon.

2.  The first Paris production of _Six Characters in Search of an
Author_.

3.  Any of Donald Wolfit's lunchtime Shakespeare series during the
blitz... if I have to choose one, I'll go with _Henry V_ for the
unfettered patriotism which would've come in handy about then.

4.  Gielgud's _Hamlet_.  Or in anything good: I saw him live only
once, in a pretty wretched play in the late '70s.

5.  The original _Oklahoma!_.  My friends will no doubt be astonished
that I include this: but it marked a major turning point in the way
musicals were constructed.

6.  _Dionysus in 69_... just to see what all the fuss is about.

7.  Lotte Lenya in _The Threepenny Opera_.  I did get to see her do
some of the songs in a Brecht/Weill compilation piece.

8.  Opening night of _The Crucible_.  It's never been one of my
favorite plays, but in context... it certainly shuts up those who say
that theatre can't be a force in the real world.

9.  Any really good production of _The Visit_, which practically never
gets done because of staging and casting requirements.

10.  The off-Broadway _Little Shop of Horrors_.  A personal one here:
a good friend from college got her first juicy role in this, and I'd
have liked to have seen her... it's a fun show, too.

So, if I can't go earlier than 1900, there's the list... subject to
change without notice.  Your mileage may vary.

Rick
From: tt27+@andrew.cmu.edu (Todd Nicholas Tarantino)
Newsgroups: rec.arts.theatre
Subject: Re: Original cast recording of "Follies"
Date: 25 Jan 93 16:27:04 GMT
Article-I.D.: andrew.wfN_5s200iUx0_SOZ4
	<1993Jan24.144817.19289@psych.toronto.edu>
Organization: Freshman, Drama, Carnegie Mellon, Pittsburgh, PA

wasnt the bolero called "vincent and vanessa" in the score? i may be
wrong, but it is a nice piece of music. 
interesting notes on follies
follies went through perhaps more changes than any other sondheim show.
there are all these recordings availible of music taken out of it or
only used as underscoring, i.e. the prologue which was to be a duet by
ben and sally called "all things bright and beautiful" to be sung
somewhere around "too many mornings" and "can that boy foxtrot" which is
heard every now and then as well as many other songs, the double duets
were originally "who could be blue/little white house"  the opening
number originally called "bring on the girls" which was a title for the
show, another title being "the girls upstairs" and on and on. almost the
entire score of "marry me a little" is made up of follies outtakes.
an excellent album for sondheimophiles is called "a collector's
sondheim" this album features recordings of songs you probably just
haven't heard, such as the "invocation and instructions to the audience"
and the beautiful "fear no more" from "the frogs" perhaps my favorite
sondheim song. as well as outtakes from "forum" i.e. "the house of
marcus lycus" which was a song but was eliminated in favor of a dance
and "there's something about a war" replaced by "bring me my bride"
because the director didnt want to deal with vietnam, and on and on in a
treasure trove for sondheim fans. as you can see i highly recommend this
album.

yes, follies is one of my favorite shows also.

todd
Newsgroups: rec.arts.theatre
From: sws8n@faraday.clas.Virginia.EDU (Stefan William Sittig)
Subject: Re: New Sondheim show?
Organization: University of Virginia
Date: Sun, 24 Jan 1993 17:57:35 GMT

In article <1993Jan19.124228.1@eagle.wesleyan.edu> bcimmet@eagle.wesleyan.edu writes:
>Did I dream this, or is it true that Stephen Sondheim is working on a stage
>play version of the Julie Andrews/Robert Preston movie "Victor/Victoria"? If
>so, does anyone know anything about this? I thought I saw a bit of something in
>a TV interview with Julie Andrews... No? Yes?
>
>-- 
> =============================================================================
> ||     Brian "Medford" Cimmet      ||      BCIMMET@EAGLE.WESLEYAN.EDU      ||
> =============================================================================
> ||   "Well, of all things, can it be peeling?  No, yes, Ohio! My eye..."   ||
> ||	- T.H. White's "Old Possum's Book of Practically Nothing"           ||
> =============================================================================
>

You didn't dream, you were just a little confused.  Julie Andrews is planned
to star in a production of various Stephen Sondheim songs called "Putting It
Together" , her OTHER work in planning is a stage version of the movie "Victor
/Victoria".  So there are two very different projects in the works.  Since
Henry Mancini wrote the  music for V/V I suspect most of the songs will be kept
and if any need be added then Mancini will do so.  I remember hearing Andrews
in an interview saying that the play would be very different from the movie,
because "a musical and a film are such different animals, really".
			_stefan
From: tt27+@andrew.cmu.edu (Todd Nicholas Tarantino)
Newsgroups: rec.arts.theatre
Subject: Re: "Children Will Listen"
Date: 25 Jan 93 16:15:43 GMT
Article-I.D.: andrew.0fN9vDO00iUxI_SMY3
	<1993Jan24.180824.268@murdoch.acc.Virginia.EDU>
Distribution: usa
Organization: Freshman, Drama, Carnegie Mellon, Pittsburgh, PA

stefan sittig writes:
>the show have seized to grasp.  INTO THE WOODS is not really about
"fairy-tales
>gone bad" but about the breaking of fantasy by reality as a child. 
Children ha

personally i feel, and the conclusion i came to while doing the show,
that it is more about growing up and adapting to the new burdens that
society places on a person (sondheim's major theme) all the characters
have some sort of mixed up childhood and are tossed into this world
ill-equipted for survival etc. 
as an example: the baker had a messed up childhood, his mother died, his
father ran away, when he was say twelve or so. somehow he goes out and
meets his wife whom he regards as a mother figure, when she goes he is
lost. he goes into his memory and deals with his dead father ( i think
the entire "no more" scene is a dream sequence) taking the message from
the past and using it in the present. and helps out jack whom he feels a
special connection too, (jack's father ran away and his mother dies) he
sees jack as what he was and realizes that without a family environment
jack will have a hard time surviving. 
many of the other characters have the same types of familial problems. 

that's my humble opinion, it all testifies to the genius of sondheim and
lapine that so much can be made from his show.

todd
Newsgroups: rec.arts.theatre
From: wwd1@ra.msstate.edu (William Duncan)
Subject: Re: Answer to Into the Woods Trivia
Organization: Mississippi State University
Date: Thu, 21 Jan 1993 18:09:41 GMT

Well, I don't have any date at my disposal, but Jack's mother tells him
not to sell his cow for less that 5 pounds, so it must be sometime
after the pound became the unit of currency.  Unfortunately, I don't know
when that was, so . . . .   :)

Newsgroups: rec.arts.theatre