Well, dear readers, yesterday I picked up an advance copy of the soundtrack to the new TV version of The Music Man. I’ve made no secret that I am not a fan of these Meron/Zadan productions. However, I go into each one with a good attitude and high hopes. But knowing that for some viewers this is their first exposure to these musicals, I end up getting very annoyed. It’s all well and good and also good and well that people are getting exposed to musicals at all, but as long as they have this outlet they really need to stop trying to ‘fix’ what isn’t broken. In any case, I will, of course, reserve judgment until I actually see it, but here are my thoughts upon hearing the first few tracks of the CD. I am not criticizing the CD or commenting on its merits as a recording. Rock Island starts off fine, although all the “salesmen” sound like their right out of college and not seasoned pros as they should be – it’s weakly performed for the most part (a couple of the folks have energy), and I was willing to live with the train sound effects, although the number doesn’t need that (the movie, I believe used them once or twice). I was annoyed that in the recent Broadway revival they felt it necessary to put a drumbeat under the whole thing, as if the audience would be too stupid to “get” it. So, I was willing to accept the train sound effects, but it didn’t stop there. Half-way through the number they bring in the orchestra and they score the last half of it. Well, sorry boys, the authors tried it, hated it, cut it and did it the way it’s been done ever since. What makes the number one of the most unique in musical theater history is that it’s spoken in the rhythms of a train. In fact, it’s brilliant. But no, they had to “help” it and it’s just awful and dumb and condescending.
Then we get Iowa Stubborn, sung very well, but they’ve changed the arrangement and made it quirky, I suppose thinking that it helps show the quirkiness of the town. Sorry, don’t need the help, boys. I don’t mind changed arrangements if there’s a point. And the orchestrations by Martin Erskine (whose name I’ve seen before and never want to see again) are horrid (I don’t mean to be harsh, but they are). I’m not one of these people who say you should always use the show orchestration – the orchestration for the original film of The Music Man are wonderful and very different from the show. Same with the film of Flower Drum Song, and for that matter The King and I. But here they’re different without a point, just to be different. Then we get You Got Trouble which again they’ve futzed with the arrangement, but not much, thank goodness. Mr. Broderick plays it low-key and I didn’t believe he could sell a Three Musketeers bar let alone a boy’s band. He also, at times, sounds like he’s “commenting” on the number rather than believing it. I had no problem with Craig Bierko in the revival, even though everyone said he was channeling Robert Preston – I had no problem with him because I believed him. I will wait to see Mr. Broderick, but from the evidence here my ear doesn’t believe him. Then we get Goodnight, My Someone. Debra Monk does manage to bring life to the proceedings, even though she’s very Pert Keltonish. Kristin Chenoweth, one of my favorite people, sings lovely as usual, but she’s using that soprano thing that is more about the voice than the interpretation, and instead of being affecting it sounds a bit affected to my ear anyway. But it’s a beautiful instrument and I don’t blame her in any case – where’s the director? Was he not at the session? I will have further comment later today in the posts. I’m fearful to hear any more of these “new” arrangements and orchestrations. Thank goodness the original film is quite brilliant. But it doesn’t matter – it will get huge ratings and today’s audiences will enjoy it – as they should, because it’s wonderful musical theater. I’m just tired of them not trusting their audience and their incessant need to “improve” that which doesn’t need improving.
What am I, Ken Mandelbaum all of a sudden? I sounded like I was ranting, how unseemly of me. But changing the arrangements? Sorry, chummies, do it well or don’t do it, changing arrangement-wise.
I started watching the director’s cut of Amadeus last night. I’ve only seen it once before so I don’t really know what they’ve added (twenty additional minutes), but I certainly am enjoying it again.
Well, why don’t we all click on the Unseemly Button below because this section is starting to feel like Long Day’s Journey into Night.
Has anyone noticed how long and unseemly our first sections have been lately? And how abbreviated and unseemly our second sections have been? Tomorrow, I must do the opposite or I will be bitch-slapped from here to eternity by our very own Mr. Mark Bakalar or, as I like to call him, Mr. Bark Makalor.
I spoke to Mr. Harvey Schmidt on the phone last night, and he gave me the very exciting news that I will have the brand spanking new cover painting to Kritzerland next week. And you, dear readers, will be the first people anywhere to see it. Isn’t that exciting? Isn’t that just too too?
I should have some more performer news very soon in regards to our Tourette’s Syndrome benefit and of course you will be the first to hear about it.
Well, dear readers, I must take the day, I must do the things I do, I must fix lyrics in the new Nudie Musical songs, I must continue prepping the “bible” for the upcoming film, I must eat various and sundried foodstuffs and I must traverse the streets of Studio City in search of who-knows-what. Today’s topic of discussion: What do you think when these TV musicals and revivals change the orchestrations completely? And how do you feel if they muck about with the arrangements (the layout and feel of each number)? As I said earlier, I have no problem with new orchestrations as long as they have a point and serve the material. I have more of a problem with the arrangements, but again, if there’s a point and they’re done well then bully for them. In the revival of Damn Yankees there was an exquisite new trio version of Near To You (I think that was the song) done by James Raitt that I thought was wonderful. Your turn.