Secco Recit

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I have gathered that I am somewhat unusual among fans of the Tim Rice and Andrew Lloyd Webber musical Evita  in that I actually like the 1996 film adaptation. Moreso than liking it, I think it's actually good. The reasons why people don't like movie adaptations of popular musicals can be subtle and complicated, and a well-known case in point has been made by Lindsay Ellis' analysis of Joel Schumacher's adaptation of The Phantom Of The Opera . In her analysis, Ellis points to elements of framing, changes to the material, and the subtleties of cinematography that make Phantom  an exceptionally weak adaptation of incredibly strong musical. But when you ask the average person what went wrong with the Phantom  movie, the answer you usually get is "Gerard Butler can't sing." And this is a pattern with a lot of movie musicals. The changes can be numerous and subtle, but the ones that people tend to notice up-front are "they cast movie stars who can't...

I was recently challenged to name what I thought the best Andrew Lloyd Webber ballad was. This is a difficult question to answer because, as everyone even remotely aware of musical theater knows, Andrew Lloyd Webber has, over the course of his career, written an imperial buttload of ballads. (I'm using imperial measures rather than metric because the UK just cannot make up its mind.) Any given Andrew Lloyd Webber musical will contain at least one memorable ballad, often more. Evita alone contains at least three, depending on how you count, all of which became popular enough outside the context of the musical to merit their own individual Wikipedia pages. In fact, more than a dozen Andrew Lloyd Webber ballads have their own Wikipedia pages, and that's just the popular ones. The first song I thought to rank was "Memory" from Cats , which I have always found to be somewhat overrated. I think the popular rating of "Memory" is perhaps somewhat skewed because a ...

(All historical background is from Look I Made A Hat,  by Stephen Sondheim) Circa 1953, Stephen Sondheim took an interest in a book by Alva Johnston entitled The Legendary Mizners, a biography of brothers Addison and Wilson Mizner, an architect and con man respectively (among other things) who caused the Florida real estate crash of 1925/26. Sort of kind of maybe. It's all pretty sensationalized, but historical accuracy is of no concern for a theatrician. Sondheim attempted to obtain the rights to adapt the book into a musical, but was beaten to the punch by David Merrick and Irving Berlin. A few years later, while working on Gypsy  (so, circa 1959), the Mizner brothers musical had not come to fruition, and Sondheim asked Merrick what had happened to it. It turns out that everyone involved lost interest, and Merrick had let his option on the book lapse. Between 1960 and 1990, Stephen Sondheim was pretty much continuously working on other projects. In 1993, having just ...

I made a  post  last month with some of my thoughts about the new Broadway musical  Natasha, Pierre, And The Great Comet Of 1812 , based on the cast recordings and my research into the show. Now, having seen it live, I have a few more thoughts. There's been a lot written about this musical already, so I'm going to keep the review part of this short. We already know that this is a well-written music with great music. The cast album is out. It's not up to me to tell you whether you'll like the music. Josh Groban left the show on Sunday, and the Pierre I saw was Dave Malloy, the librettist and composer, who originated the role off-Broadway. I am generally opposed to writers and composers originating roles in their own works (cameos excepted) as a matter of principle, just as it's generally considered bad form for directors to cast themselves. That said, despite being in the title of the musical, Pierre is actually a fairly minor role, hardly featuring in the plot a...

After my last post speaking rather negatively about one of this season's most highly-acclaimed musicals, I thought I'd better make up for it by extolling the virtues of another one. But rather than more or less parroting what all the other reviews say, I hope to contextualize in the frame of a classical oratorio. And this blog post will be short. Much of the praise for Natasha, Pierre, And The Great Comet Of 1812  cites its highly innovative and immersive staging. It is perhaps more often described as an "experience" rather than a "musical." The corollary to this is that I have heard it criticized as being too complicated, difficult to follow, and not having enough hummable tunes. I will not justify that hummability criticism with a response. I thought Sondheim smashed that argument into the ground. The funny thing is that I don't find Great Comet  complicated at all. I had to look it up on Wikipedia (it does tell you to do your research in the ope...

Note: This blog post is lengthier than usual. Read it when you have time. *** "Thwarted happiness, confined activity, and unsatisfied wishes are not faults of a given period, but the problems of every single person, and it would be a bad thing if, once in his life, everyone did not have a period in which he felt that Werther  had been written exclusively for him." So said Johann Wolfgang von Goethe regarding his 1774 epistolary novel, The Sorrows Of Young Werther , about a young artist who goes to a quaint little village, falls in love with a woman who does not love him back, wallows in self-pity for a little while, and then shoots himself with her husband's pistol. It became wildly popular, regarded as one of the most significant and influential works in romantic literature (a movement which Goethe later derided as "everything that is sick") and served as an inspiration for many subsequent works. It also lends its name to a sociological phenomenon. Tod...