haines his way

06/06/2002:
"THE BOXER SHORTS AND THE FLYING DISC"

Well, dear readers, you’ll never guess what I received yesterday, so I’ll tell you what I received yesterday because why should I keep such things from you? Yesterday I received two boxes of products from haineshisway.com. Yes, Virginia, I received two count them two boxes of brand spanking new products. Isn’t that exciting? Isn’t that too too? I am thrilled with my new products. For example, all last night I paraded around my very own home in my very own Nudie Musical boxer shorts. I looked very buff and toned with abs and buns of steel in my Nudie Musical boxer shorts and I would have been the envy of one and all and also all and one, if only someone else had been here to see me in them. All my various and sundried Nudie Musical shirts and hats look very spiffy, too. I also received my Benjamin Kritzer products, some of which I loved and some of which I didn’t. You see, I’d suggested the design of said products, but when I saw the way it printed I didn’t care for it. So, Mr. Mark Bakalor, at my behest, has changed the design (I didn’t like the way the little boy from the cover artwork printed – it’s much cleaner with just the title treatment. But the mousepad and the tile look faboo, and I have reordered all the other items to get the new and cleaner design. But here’s the best thing – you can now get a Nudie Musical or Benjamin Kritzer clock. Can you believe it? Your very own handy-dandy Nudie Musical and Benjamin Kritzer clock? I could barely contain myself. Also, you can get a Nudie Musical or Benjamin Kritzer flying disc. Yes, you heard it here, dear readers, you can own your very own Nudie Musical or Benjamin Kritzer flying disc. I feel that each and every one of us needs to have a flying disc, so be sure to order yours soon. You simply cannot be without a flying disc, because if you are you will not be part of the In Crowd, you will not be With It, you will not be Cool, Man, Cool. Besides, if no one orders products then Mr. Mark Bakalor is sad and he tries to rip his eyebrows off.
Last night I watched all of Mr. Blake Edwards’ S.O.B. on D.V.D. and I did so whilst wearing my Nudie Musical boxer shorts. I must say, parts of it are really funny and a lot of it is really not very good at all. This is the film in which Miss Julie Andrews shows her “boobies” as she calls them. I have the feeling that this film is a real film a clef – isn’t that the film equivalent of a roman a clef? I think this is all about Mr. Edwards’ legendary flop, Darling Lili. I think this is Mr. Edwards’ revenge on Hollywood. As I said, some of it is right on target and beautifully staged, and some of it is pretentious and unfunny and labored. Still and all, if you’re a fan of Mr. Edwards, you must have it. William Holden is terrific, as is the over-the-top Richard Mulligan. Nice supporting turns from Robert Preston and Robert Vaughn.
What am I, Ebert and Roeper all of a sudden? Don’t I have excellent questions to answer? Why am I shilly-shallying when I should be shally-shillying? Why am I asking questions when I’m supposed to be answering them? Shouldn’t we all click on the Unseemly Button below so we can go on with the show? Yes, I think we should, and by gum and by golly I think we shall. How's that for an answer? Oops, that was a question, wasn't it?

I keep forgetting to mention that over at amazon.com they have a sales ranking for all their various and sundried products. In other words, if there’s a CD listed, and the sales rank is in the top 500 or so, that means it is doing very well indeed. Well, would you like to know what the amazon.com sales rank of Nudie Musical was today (it changes all the time – so it may not be at that number tomorrow)? Well, I’ll tell you what the sales rank was because if I keep it from you you will look askance at me. As of this afternoon the sales rank was 295. I think that is pretty astonishing when you consider that amazon.com lists over 13,000 DVDs. Ever since they’ve listed it, it has run the gamut, sales rank-wise, although it’s never been worse than in the top 4,000. But this entire week it’s been in the top 700, and there are still three weeks to go before it’s released. That made me want to dance a jig, and I did dance a jig whilst wearing my Nudie Musical boxer shorts. If only I'd had a flying disc.
Well, let’s get to your excellent questions, shall we?
Craig has his usual group of questions. This week, they are: What is my opinion on the score of Seven Brides for Seven Brothers, both film and stage musical, and how does it rank against Li’l Abner? Well, first off I don’t love the songs that were added to the stage musical, but I do like the film songs very much. I don’t think that any of them, with the exception of the glorious Wonderful, Wonderful Day, rank with Li’l Abner, but that’s just me.
Have I picked up the newly remastered edition of Barnum and what is my opinion? I did pick it up, but it’s not really all that different sounding than the original CD, although it does have some fun demo tracks. I must admit that the charm of Barnum mostly escapes me – although Cy Coleman’s tunes always make me smile. Craig then mentions a show CBS once had called The Songwriters and asks if I ever saw it? No, I didn’t. Craig thinks it is time to resurrect that type of show. I think it’s time for a lot of things, and I am working away trying to bring said things to fruition, although that is sometimes difficult to do in a world populated by people without much vision.
Michael Shayne asks if it’s possible that the Henry Higgins songs from My Fair Lady can be arranged and orchestrated so that a wonderful singer like Ron Raines can take full advantage of them, or is it written in a way that would preclude that? Well, certainly the songs are written without any sustained notes – that said, I’ve Grown Accustomed to Her Face certainly works, and it’s a beautiful track on the album I produced for Brent Barrett. Michael also asks if I ever found out from Rupert Holmes who was voted the murderer, Datchery, and the lovers most times in Drood. Rupert has been away and very busy, but I will get an answer.
Mattso asks if I’ll be giving the faithful, loyal and true Hainsies/Kimlets a hint about the Easter Eggs on the Nudie Musical DVD. I will tell you that one of them is a never-before-heard song that was filmed but ultimately ended up being used only in a montage. Mattso also wants to know if I have a favorite cocktail. Yes, a Diet Coke with a cherry. What is the etymology of the word “cocktail”? Well, it stems from days of old when farmers, in a drunken stupor, would try to put a rooster in a glass and drink it. All they would get is their noses tickled by the tail of the rooster, or cock, in the farm vernacular. Finally, have I ever seen a Bollywood musical. I must say that the only Bollywood musical I’ve even seen a portion of is the one that’s shown at the beginning of Ghost World. I did find it giddy in its lunatic and rather manic way. Finally, wasn’t I going to do a radio show using our dear reader picks for favorite show tunes, replete with phone interviews? Yes, that is still in the works, so stay tuned.
Philip Crosby asks – in all the musicals (stage or film) that I’ve seen, who was the most perfectly cast performer? Where the fit of actor and role was so perfect that it couldn’t possibly be as good with anyone else? Well, certainly Mr. Robert Preston as Mr. Harold Hill would fit that category, as would Mr. Yul Brynner as The King, and Mr. Rex Harrison as Henry Higgins. I would also put Robert Weede as Tony in The Most Happy Fella in that category, and I would also add Pert Kelton as Mrs. Paroo, Donna McKechnie as Cassie, Elaine Stritch as Joanne in Company, Len Cariou as Sweeney Todd, Paul Lynde as Mr. MacAfee, Barbra Streisand as Fanny Brice, Peter Palmer as Li’l Abner, Tammy Grimes as Molly Brown, Dorothy Collins as Sally Durant Plummer in Follies and Lotte Lenya in Cabaret. I think every one of those people will never be bettered in those roles. Conversely, who was the most miscast? That’s much harder – certainly Bernadette Peters in Annie Get Your Gun comes to mind.
Tom from Oz asks what are my favorite cities in the world? Well, I have a shocking admission to make: I have never been to Europe. The only place I have been to outside the US is Canada, where I visited Toronto and Montreal, both of which I liked very much. Tom also asks if I’ve caught up with Bugsy Malone yet? No, it’s still unreleased on DVD, but is coming soon from what I understand. Also, have I ever seen the musical Robert and Elizabeth. No, I’ve never seen it, but I had the album (and now CD) and I rather like it, especially the beautiful I Know Now.
Freedunit has a plethora of questions. To wit: With regards to musical theater, is it the case that a performer is either to the manner born or not – in other words, are some performers born with a musical theater gene and others not, and can it be taught? I suppose it’s something that’s born in you, but I don’t think Robert Preston or Rex Harrison probably ever thought they’d end up in the musical theater, and yet each of them was definitely to the manner born as it turns out. I’m sure some things can be taught, but I think if someone is totally without musical theater talent, no amount of teaching will help. Next, when recording a cast album are there performances I thought might be presented to better effect on the recording rather than the stage? Most certainly. I’ll give you an example – Faith Prince in Little Me. Most people didn’t think the conceit of her playing young and old Belle worked in the theater. I was determined that it would work on the album, and she and I made sure that it did. Were there ever excellent stage performances that came off poorly on a recording. Yes, Jerry Orbach in Promises, Promises comes to mind. A fantastic stage performance, but very pitchy on the album – you just get very little sense of how brilliant he was in the show. Were there ever poor stage performances that made excellent recordings. Sure. Did I ever observe a stage performance and think I’d be able to assist a performer in improving it for a recording, and if so was it improved? Most definitely, several times, although I won’t mention names. Did I ever observe a stage performance that I thought would translate perfectly to a recording, only to find that major work was required in the studio? Most definitely, several times, although I won’t mention any names. Have I ever electronically corrected a singer’s pitch in the studio? Very infrequently, but yes, on occasion we have done a little tweaking. In the old days you had to do it very sparingly – when we began recording in Pro Tools, it became much much easier. How frequently, if ever, have I been able to record orchestra and vocalist together? The vocalist is always there on the band date and sings every song with the orchestra (in the old days, when I used to do the band in sections, the singer was there with the rhythm section – but for the past four years we’ve had the entire band in the room at once). If we get great takes, we use them. If we have to fix a line or two, we do. If we have to do other vocal takes later, we do. On the multiple artist albums, if the singer is in town, we have them at the band date – if not, they get a tape of the track to work with before we do the vocal. However, we’ve all rehearsed and know exactly how we want to do the song. Broadway albums are of course recorded with orchestra and singers at the same time. Freedunit then asks for knee-jerk reactions to the following: Ginger or Mary Ann? Mary Ann. Mary Martin or Ethel Merman? Ethel Merman. Betty Buckley or Patti Lupone? Patti Lupone. Andrew Lloyd Webber or Frank Wildhorn? Andrew Lloyd Webber. What is my favorite chocolate cake? It’s called a Parisienne cake, and it’s delicious. What about the Reprise Follies and the Kennedy Center Sondheim Celebration? Haven’t seen them and therefore cannot comment. Finally, what is my reaction to the following: Contact? Never saw it. Discotheque pantomime? Never seen any. Mamma Mia? Like Abba, thought the show was loud and obnoxious.
William F. Orr asks what my feelings are about various and sundried rock musicals, specifically Jesus Christ, Superstar, Tommy, The Rocky Horror Show and Hedwig and the Angry Inch, both stage and film? Well, they’re certainly not my faves, although I enjoy bits of all of them.
Arnold M. Brockman asks what, in my opinion, is the best complete recording of a Broadway or off-Broadway show? And why? I will just say Gypsy and be done with it. It’s a perfect album (pre Tom Shepard and his revisionist history) of a perfect score featuring perfect performances by everyone, captured in perfect sound by Goddard Lieberson and his engineer. I remember sitting my engineer Vinnie down and playing him the overture. His jaw dropped, so amazed was he by the sound. Next, if I were to pick one musical from the following composers, what would it be? Cole Porter: Kiss Me Kate. Gershwin: Porgy and Bess (I’m counting it as a musical, so there). Irving Berlin: Annie Get Your Gun. Rodgers and Hammerstein: Flower Drum Song (okay, so shoot me). Rodgers and Hart: On Your Toes. Kander and Ebb: Cabaret. Schimdt and Jones: The Fantasticks. Cy Coleman: Sweet Charity. Lerner and Loewe: Camelot. Harold Arlen: House of Flowers. Jule Styne: Gypsy. Stephen Sondheim: Follies. And although Arnold M. Brockman didn’t include him, I will: Frank Loesser: The Most Happy Fella.
Scott R. has some questions about CD packaging, specifically about the cover and liner notes, and his questions apply more to the theater performer solo CDs as opposed to cast albums. First, who comes up with the concept? It really depends. Normally, the artist and I talk about the album, the songs, what we want to say with the cover. Then we hire a photographer, and we send them a copy of the album to listen to. Then the performer and photographer take the photos. Next, how are the designers chosen for a project? Well, I work with several different ones and each has their own strengths, so I determine which of them I think would be best for whichever project. Are they in-house personnel at the label, or outside people? I’m sure certain labels have in-house people, but my albums were always done by independent designers. Are photos staged specifically for use on the CD package or are they scavenged from past shoots? Well, for albums I produced, all photos were taken specifically for each of the albums. What you really want is for that tiny 4x4 space to instantly say something – to instantly evoke a mood. If you look at Judy Kuhn’s Jule Styne album you’ll see what I mean – same with Christiane Noll’s A Broadway Love Story. Finally, why are there so many typos? I like to think that we had less than most, but I can only say that proofing is difficult and sometimes things get by. With my albums, I always had four or five people proofing them. Sometimes, though, you’ll have proofed and proofed and finally gotten everything perfect and approved, you’ll send it to film, and some idiot will hit a wrong keystroke and something will shift and you get a royal screwup like The King and I revival cast album, where the music is by Oscar Hammerstein and the Lyrics are by Richard Rodgers. What can you do but shake your head in dismay?
Sushi Tomoto asks what my favorite Japanese movies are? Do I prefer Samurai films or the traditional monster movies, and how do I feel about anime? Well, I happen to love the Japanese cinema, and like almost everything I see. Some of my favorites are High and Low of Mr. Kurosawa (but I like mostly everything by him, including Dodeskaden), Goyokin of Hideo Gosha, well, there are simply too too many to even think of. I adore all Godzilla films, both old and new, and I even like Gamera, the Flying Turtle. I loved The Makioka Sisters, too. As to anime, it’s not my favorite, although I certainly enjoyed Princess Mononoke (if that’s considered anime).
S. Woody White wants to know what I think of DVD packaging, especially multiple disc sets. I guess I don’t have the problems that some have with snapper cases versus keep cases. As to the multiple disc sets, I like what they did with Harry Potter and Blue Velvet, very classy and easy to use. I also like the packaging on The Sopranos multiple disc sets.
Kerry asks what was my favorite part that I did get to play (film, theater, and tv)? Well, I loved playing John Smithee in Nudie Musical, I just loved that character. I really enjoyed playing Finch in How to Succeed, and Littlechap in Stop the World. And I guest-starred on the premiere episode of a show called Doctor’s Hospital, with George Peppard, and I liked that part a lot. Kerry also asks what my second favorite restaurant in LA is (after Musso and Frank). Well, that’s a hard one, so I’ll give you a few: I adore Dan Tana’s, Du-Par’s (for coffee shop food), and El Cholo for Mexican. All quite yummy. Finally, who would I write a part for, just so I could do a show with them? They can be any sex, and they can be living or dead. I would like to write a part for a dead hermaphrodite. Other than that, of people I haven’t worked with, I suppose I’d write a part for Miss Ethel Merman.
William F. Orr asks if I am going to replace my morte and muerte turntable. Well, yes, I have to, as there are LPs I need to transfer to CD.
Bill asks the reason why CDs and DVDs are released on Tuesdays, and why stores can’t sell them early? I don’t really know why Tuesday is the chosen release day, it makes no sense really, but I suppose it’s as good a day as any other. Studios and labels try to be very strict with stores about breaking street dates – although many stores do, in fact, put stuff out early. But if the studios and labels find out about it, they send someone to the store and the store owner is promptly bitch-slapped from here to eternity and back again.
Lolita asks the following: What is your first thought upon waking up in the morning? Oy, how am I going to get out of the bed this morning? What is the greatest absurdity of life? That people like to expend energy causing others grief. What do I eat with French Fries? I’m not certain I understand this question. If you mean what do I eat on French Fries, I favor ketchup and ranch dressing. If you mean what do I eat along with the French fries, usually a burger or filet o’ fish or something like that. Where are my flashlights located in case of a storm. In a cabinet on the island in the center of my kitchen. That sounds peculiar, doesn’t it, but I think that’s what it’s called, an island. Well, no man is an island, that’s all I know. Why are there no size small baseball t-shirts here at haineshisway.com? Because most baseballs that I know like size large t-shirts. Will we ever hear of the romantic adventures of Meltz and Ernest? We have some real surprises in store for the fans of Meltz and Ernest, and all I can say is stay tuned. Can I make up lyrics to the 12 Days of Christmas using things that I love? I could, but only at Christmastime. File this question away and ask it in December.
And that, dear readers, is all she wrote. I always worry that when I do these answers that it’s very boring, but I hope you find something to like in the answers I have provided to your excellent questions. If any questions appear after the fact, I shall post the answers during the day.
I am placing my book orders on Monday, so if you haven’t ordered yet, do so, or you may have to wait for me to replenish stock (I’m only ordering enough to fill orders and have a few left over). I will reiterate that if you order your copy here at haineshisway.com, not only will it be signed, but you will be getting a surprise extra with it, that will be available nowhere else in the world or environs.
Well, dear readers, I must away, I must do the things I do because the things I do must be done. Today’s topic of discussion: Logos and artwork for shows are really important, because if they’re good they make you intrigued about the show, and sometimes even make you want to see the show, just based on the artwork. What logos and artwork are your favorites – which have captivated you and immediately made you want to see or know more about the show? I’ll start: A Chorus Line – simple and brilliant. Follies – one of the greats, by David Byrd. So evocative and perfect. Company – and I can’t even tell you why. Just bold and distinctive and an eye-grabber. The Most Happy Fella – I just love that drawing. And Li’l Abner – what’s better than those Al Capp black and white characters? Your turn.

Replies: 56 Unseemly Comments

Logos! Wonderful!
A Chorus Line—I loved and love both the type “A Chorus Line” logo and the photo silhouette. Love it.
Evita—the black, white and silver logo fascinated me as a child before I saw the production.
Gypsy—original—piqued my interest—love the play in the red letters “Gypsy”; it said “show business” to me and as a child made me wonder, Why the word gypsy for a title?
Funny Girl—love the word-based logo of an upside-down woman on roller skates; I thought it was silly and fun and mysterious.
Merrily We Roll Along—loved the colors and the skyline and the movement of the art
The Boy Friend—1972 revival—love the Hirschfeld!
Sweet Charity—original—great font and great picture of Gwen Verdon; made me long to see the show
42nd Street—original—love the Merrick red logo and the showgirl; seemed so art-deco and fun; made me long to see the show and luckily I got to see Elizabeth Allen, Ron Holgate, Bibi Osterwald, and Jim Walton on tour; I thought the show lived up to the logo and vice versa.
How to Succeed in Business Without Really Trying—original—crazy about the office-chair logo! Love it! Musical-comedy heaven.
Chicago—original—dark, moody, twenties, Fosse. Mysterious. Wonderful.
Follies—original—love the Byrd logo, too—mysterious, alluring, theatrical, fantasy-inspiring.
Posted by freedunit @ 06/06/2002 05:25 AM PST

Thank you for the answers, bk. Inadvertently left that out when pasting for posting. Pastes for posts sounds like a cubist motto.
Where can a good Parisienne cake be found? What are the ingredients? Is it like a Gateau St. Honoré (pâté à choux and pastry cream)? Do you have a favorite recipe?
Posted by freedunit @ 06/06/2002 05:35 AM PST

First, thank-you for your answer about DVD cases. I happen to agree that the Harry Potter case is classy, but I do worry about the plastic they use breaking.
I do hope you find time to enjoy the link I provided sometime. So far, I've found you link with most everyone else in two or three steps. Kevin Bacon would be jealous.
Posted by S. Woody White @ 06/06/2002 06:13 AM PST

Silly me, my mind is slipping. My favorite logo is one I drew myself, for a play called "Rats," back when I was a student at Fresno State College.
I was able to draw the title so that the R and S looked like very spooky rats, and the only addition I had to make was their itty bitty little paws. Considering that I am by no means an artist, it came off very well.
Of this year's logos, Urinetown is the only one that sticks in my mind. I mean, Elaine Stritch At Liberty...told me nothing. Her picture told me everything, the logo went zip. At least Urinetown flew it's colors correctly.
Posted by S. Woody White @ 06/06/2002 06:25 AM PST

Offhand (and on hand) I would say my favorite show logos are S.S.'s Saturday Night and Sweeney Todd (the original cartoon of Todd and Lovett)
Posted by Craig @ 06/06/2002 06:46 AM PST

Oh my dear, dear Bruce Kimmel San. Boring? How can you possibly say that? Your writing may be quirky, weird, convoluted, twisted, sick, and often incomprehensible. But boring? Never, never, never.
And thank you for your answer about Japanese film. I happen to agree with you, and I feel that the Godzilla mythos (together with Mothra, Rodan, et al) is one of my country's major contributions to world culture. There is so much to learn about the nature of humanity and our relationship to the natural world and other living things in these films. Alas, that the Matthew Broderick version lost sight of the essence of the epic.
With admiration,
Your Sushi
Posted by Sushi Tomoto from Kyoto @ 06/06/2002 06:50 AM PST

Logos/Cover Art:
In addition to many already mentioned:
"Dreamgirls" -- exceptionally classy and evocative!
"Nine" -- ditto!
"Once Upon A Mattress" -- funny and funky
"Baker Street" -- deceivingly attractive cover art. One would think it a great musical effort. Yawn. And yawn again.
Regarding HainesHisWay t-shirts:
No size smalls means you lose the greatest advertising too there is: infants/toddlers of your readership!!!
Posted by Ron Pulliam @ 06/06/2002 08:39 AM PST

Other logos:
Sweeney Todd—The Demon Barber of Fleet Street—original—simple, bloody, Grand Guignol.
Amadeus—original Broadway—iconographic and irresistible—and scary in a fun way.
Brighton Beach Memoirs, Biloxi Blues, Broadway Bound—I liked the consistent theme and symbols of the alliteratively named Neil Simon semi-autobiographical trilogy.
Smile—curvaceous and subversive—the beauty pageant contestant with implausible measurements—an actual smile would have missed the mark—at first I hated it, but I came to love it.
Getting Away With Murder—I love Frank Verlizzo’s work; the original logo of a gargoyle with a handgun was great, but it was even better after the closing notice was posted and the gun was turned to aim at the gargoyle’s head.
Posted by freedunit @ 06/06/2002 08:59 AM PST

In addition to the David Byrd Follies, my favorite logo was for the original production of How To Suceed In Business Without Really Trying (I have a framed copy of the original RCA snipe). I hated the "H2$" logo for the revival which, I believe, was created by the same artist who did the ugly Guys and Dolls dice logo (in which the arrangement of the spots is wrong). Both of the latter logos are appropriate for high school productions (where they are now, presumably, used all the time), but not Broadway.
I live near Triton Gallery in New York and it has been a long time since I've purchased a window card from a new show -- they just don't appeal to my eye the way they used to. I really wanted a Contact poster with Karen Ziemba, but they were a limited release and are now gone.
Posted by Robert Armin @ 06/06/2002 09:52 AM PST

I had a dream.
Yes, I did. And it wouldn't stop for anything.
This was night before last -- the night of overwrought allergies, restless sleep and pounding headache.
Almost always, these pounding headache restless sleeps have an irritating dream attached to them, and I HAD A DREAM.
I DREAMED IT FOR YOU, GUYS...it had to be you guys, cause where else WOULD it have come from if not from the pages of this here website.
I call the dreams my "Creche" dreams.
Huh?
"Creche" -- as in "nativity scene" -- but with a twist.
I am working with a creche-making artist trying to convince him to create creches for Broadway musical fans -- to treat each creche as though it was a proscenium and to recreate the best or most recognizable set from a Broadway musical and to create little figures to be the characters in the show...painted to reflect the actual costumes used in a specific number. There would be a music box built-in that would -- upon the press of a button -- play the big number from the show. The owner of the creche could position his figures wherever he wanted them.
I kept waking up thinking this was the stupidest dream I'd ever had and wondering if I could get the guy to do the "Beautiful Girls" number from "Follies."
The dream went on and on and on...the headache pounded on and on and on.
Now, some 24 hours removed from that dream, I'm wondering if it was such a bad idea.
Posted by Ron Pulliam @ 06/06/2002 09:53 AM PST

For seven different versions of the origin of "cocktail", try http://www.wordorigins.org/wordorc.htm#cocktail
But I'm sure Bruce's is the correct one. After all, he wouldn't kid us, would he?
Poster art:
Follies, the original, the best, repeat, best art work ever conceived for a musical.
Hirshfeld's My Fair Lady drawing is a classic. Worth much more than a thousand words.
Sunday in the Park with George also tells you a lot in one drawing.
Nine is one of my favorites on my wall.
The Hal Prince Candide from the Broadway Theatre is just chaotic enough to capture the show and the spirit of Voltaire.
The original West Side Story photograph is a shock of realilsm for a musical at the time.
A Little Night Music, the tree with the nudes in it was so perfect until someone decided for the movie that the nudes had to be colored in--talk about underestimating your audience! I hope Hal had nothing to do with that.
The deco On the Twentieth Century is a perfect mood setter.
The original rooftop Merrily We Roll Along is the entire final scene, sputnik and all, in one pantomime tableau.
I know I'll think of more.
Posted by William F. Orr @ 06/06/2002 11:02 AM PST

I will tell you all what a great logo is!! It is CAROL over CHANNING over HELLO over DOLLY! All in red!!
Posted by David Merrick from a Hot Place @ 06/06/2002 11:36 AM PST

I am definitely with those who praise David Byrd’s Follies logo. I like his unused artwork, too. Mister Armin, I see we are of like mind with regard to the logos for the Broadway productions of How to Succeed in Business Without Really Trying: fond of the original’s and detesting the revival’s. H2$ was annoying. I wish I had an original RCA snipe. When is snipe season? I liked the 1992 Guys and Dolls logo, but only the words “Guys and Dolls” with the dice by themselves—not when the logo was repeated and not when it was used with other decorative elements.
WFO, I appreciate your selections. I also loved Hirschfeld’s George Bernard Shaw-Rex Harrison-Julie Andrews God-marionette drawing for My Fair Lady. The gold-foil embossed Sunday in the Park With George window card is one of my all-time favorites. How could I have neglected to mention the logo? It is a wonderful and telling one. When posting earlier, I was trying to remember the original West Side Story logo and all I could remember were the type and that photograph on the street in front of the brownstones on the Upper West Side. Great photograph. Love the movement and emotion captured in Carol Lawrence and Larry Kert, but I was distinguishing logo from artwork. And, of course, the original logo for A Little Night Music is wonderful. I was very, very little when I first saw it and I will never forget the day I finally found the nudes hidden in the tree. I was surprised and a bit embarrassed and I think I moved the LP out of general view because I did not want my mother to see it. I always hated the artwork for the motion picture. The artwork for On the Twentieth Century is perfect; it very much makes me wish I had seen the original production. I hope it receives a superior New York revival soon. I would love to see Kristin Chenoweth, original understudy Christine Ebersole or Patti LuPone in the role of Lily Garland. [I know Judy Kaye was the standby, but I do not want to see her in the role.]
Mister Merrick, I take it you are somewhere in the South, maybe Miami. All my love to you from New York City! And, yes, “CAROL” over “CHANNING” over “HELLO,” over “DOLLY!” in white on blood red is a great logo
Mister Pulliam , if your dream does not come true, would you be creche fallen?
Posted by freedunit @ 06/06/2002 12:47 PM PST

Mr. Freedunit: I'd rather be creche-fallen than to be up the creche without a paddle!
Posted by Ron Pulliam @ 06/06/2002 12:57 PM PST

I, too, love the artwork for "On the Twentieth Century."
I found, and won the bid on, this beautiful poster -- all foils and shiny -- on eBay. It may be a window card, as it's heavier stock than normal. The edges are worn, but the artwork remains intact and is stunning.
Am STILL seeking an original "A Little Night Music" poster. Thanks to all who referred me to various dealers some weeks ago. Alas, this particular poster seems scarcer than honest politicians.
Posted by Ron Pulliam @ 06/06/2002 01:01 PM PST

I actually collect show posters from the shows I see as well as posters that I think are interesting artisically
I think my favorite is the poster for "Face Value", the flop David Henry Hwang play that closed during previews....it's just a wonderful piece of art and the colors are so attractive.....I tend to rotate posters at my house and whenever I put this one back up, I get a lot of comments about it...I now wish I had actually seen the play!
Posted by Donald @ 06/06/2002 01:11 PM PST

Before I list my fav poster art
I would like to know if BK has any plans to post pictures of himself in his very own Nudie Musical boxer shorts. Since he looked very buff and toned with abs and buns of steel in his Nudie Musical boxer shorts and he would have been the envy of one and all and also all and one, if only someone else had been here to see him in them. So post any so we can be envious.
There is a wonderful artist who has done many of the Lincoln Center Theater posters. I am especially fond of the work he did for Anything Goes (Two versions) Threepenny Opera, Hamlet and others.
Hilary Knight for his whimsical drawings including Oklahoma (1980's Revival) No No Nanette, Irene and the CD artwork for the studio version of Secret Garden with Barbara Cook, Judy Kaye and George Rose.
Frank Verlizzo’s work for Deathtrap, Sweeney Todd and others
Costume and set designer Tony Walton for his Chicago (original) poster.
They person who did On the Twentieth Century (musica) and his Erte ifluence. Beautifully done.
Chigall influenced Fiddler on the Roof is another.
Nadir of poster designs.
Hello, Dolly! and How Now Dow Jones. Both the original Broadway productions.
I also must mention the logo I created for a play I wrote and directed called SURVIVORS. In place of the second R I substituted the AIDS red ribbon. The ribbon was white except for some red on the bottom right side. Red was dripping from it a forming a pool of red.
Posted by Michael Shayne (Coming to You From Montreal) @ 06/06/2002 01:15 PM PST

Of course I should have put Sweeney Todd near the top of my list. Are we all aware that Angela and Len's pose at the end of the first act was based on the art and not vice versa? Except that Prince moved the razor to Sweeney's left hand, so he wasn't in danger of slashing Mrs. Lovett. I am so happy to have personally dedicated autographs of both stars on my copy of the record album, a favor delivered by a friend in the cast during the run.
And while I have Angela on the line, a have a small poster--a "window card", is it?--of her in Gypsy that consists of a drawing of Angela in yellow and purple, one hand raised, one on her hip, and only the words "Gypsy" and "Angela Landsbury". Priceless.
And as long as Angela hasn't hung up yet, what about her haunting eyes in the Dear World poster?
Shameless Self-Promotion:
Well, everyone else is doing it, so why shouldn't I? I did a couple of dozen theatre posters for the apocryphal plays mentioned in my novel Any Other Season: New York Theatre through the Eyes of Rudolph Dedescu. Many of them are tributes to the classic posters we are discussing.
The bad news is that, after being on the Internet for some seven years, I no longer have my homepage. But once I get a new host, my novel will be up and running and you can all read it. Or just look at the pictures. Don't all cheer at once, now.
Posted by William F. Orr @ 06/06/2002 01:43 PM PST

Nothing stops the 20th Century!
I must agree with several of the above posts, particularly "Sweeny Todd" and "Little Shop of Horrors".
My favorite movie logo is from the original "Rollerball". This wonderful font is the only font used in teh entire movie, but it is great.
Posted by Mattso @ 06/06/2002 01:44 PM PST

I love a good logo!
I like Tony Walton's exhuberant
design for "Barnum," and his
original "Chicago," with it's
sleek, dark, deco sensibility.
Doug Johnson's work on "Big
River," "Ain't Misbehavin'" and
his floating luggage decal icon
for "Titanic." Not so fond of
his "High Society" or "H2$"
imagery.
I love almost anything Hiliary
Knight does - his work always
has such fluidity and charm.
I'm especially fond of his
work on "Meet Me In St. Louis"
and "Sugar Babies."
Loved James McMullan's
"come hither" shipdeck babe
for the Anything Goes revival.
The brass doorplate with the
reflected face for "Grand
Hotel."
The Berta illustration for
"Mame."
And of course, Mr. Byrd's
original "Follies." Gorgeous.
Of the new crop of shows, the
logo for the new "Thoroughly
Modern Millie" has some 20's
razzmatazz; and the logo for
the new "Hairspray" is fun, too.
"Sweet Smell of Success"
seems like the folks who did
the new "Chicago" only have
one concept.
Why is my post in this long
narrow column?!
Posted by Scott R @ 06/06/2002 02:13 PM PST

I loved Hilary Knight's poster for "No, No, Nanette."
Tony Walton's "Chicago" poster
David Byrd's "Follies"
"Chorus Line" is one of the all-time best (the Broadway Christmas take-off on that is quite clever)
Although it's a little too happy for the show, I also love Hilary Knight's design for "Gypsy" starring Angela Lansbury.
The design for "Mame" was always a favorite. A classic.
One of my other favorites was the Vargas-like painting Richard Amsel did for Bette Midler's "Clams on the Halfshell Revue"
One of the best and most recognizable is Hirschfield's design for the original "My Fair Lady."
Speaking of the Brent Barrett Lerner and Loewe CD, what is the status of that? Will it ever see the light of day (or more precisely, the light of my living room)?
And like freedunit, I want to know more about that cake.
Posted by Kerry @ 06/06/2002 02:22 PM PST

I was thinking random thoughts today (yes, my "creche" dreams were among them), and I suddenly thought of "The Gang's All Here" with its terrific score that included the fantabulous production number for "The Lady in the Tutti-Frutti Hat" and the wonderful ballad "Journey to A Star" -- and couldn't help but think that THERE is a swell idea for a screen-to-Broadway musical extravaganza! I'm sure a wonderful score could be compiled, including new material (why not?), as long as it is in keeping with the spirit/time of the piece!
Granted, the WWII screenplay will need some work, but it would be worth it.
Hey, Gang! Wanna put on a show???!!!
Posted by Ron Pulliam @ 06/06/2002 02:38 PM PST

Mister Pulliam, Indeed, and you may need that paddle because, if you will pardon the expression, Jeff Calhoun is said to be returning to Broadway with a deaf-friendly revival Big River. The poster with foil of On the Twentieth Century that you have sounds like the window card. The term window card refers to usage and size of the poster, not the weight of its paper. According to the Triton Gallery, window cards nearly always are printed on paper (24# or 28# sub weight), not card stock (generally low-grade chipboard). The many window cards that are rigid and on heavy stock are actually paper posters that have been mounted and trimmed to size en masse.
Michael Shayne, with regard to most Lincoln Center Theater posters since 1985—Contact is an exception—you are thinking of artist James McMullan. His artwork does nothing for me. I do not like it; it all seems untheatrical, muddy and miserable. Strangely enough, I like the art and ads for Contact; it is only the alleged show I do not like. Your mention of McMullan reminded me that I neglected to cite Paul Davis’ work for the New York Shakespeare Festival. Davis created some great images, memorably the logo for Streamers. I am very fond of all things Fiddler—the Chagall-influenced logo and Boris Aronson sets included. Merrick’s logos for Hello, Dolly! and How Now, Dow Jones feature very similar fonts, and I do like the Dolly! logo. I prefer chocolate cake to bleeding logos. Perhaps I will have a piece of Mahler’s…
WFO, Angela Lansbury in any form is divine. I had so hoped to see her live onstage doing something other than narrating at Carnegie Hall or being celebrated at the Majestic Theatre. I guess it is not to be. For me it is the essence of Lansbury captured in the Mame logo that makes it work.
Posted by freedunit @ 06/06/2002 02:44 PM PST

Ok gang -- I have a friend who teaches theater at a junior high school in a rich town. Can you fellow posters suggest some shows that have large casts that might be suitable for junior-high age? Last time they did Wizard of Oz. Thanks~
Posted by Laura @ 06/06/2002 02:53 PM PST

Laura:
"Oliver!" and "Bye, Bye Birdie" are two of the most obvious that I know of.
Posted by Kerry @ 06/06/2002 03:16 PM PST

Laura:
The Adventures of Tom Sawyer
Annie
Babes in Arms
Big River
The Boy Friend
Bye, Bye, Birdie
Cinderella
Honk Jr.
Joseph and the Amazing Technicolor Dreamcoat
Les Miserables Jr.
The Music Man Jr.
Once Upon a Mattress
Peter Pan
The “Jr.” versions are school-age adaptations licensed by Music Theatre International.
Posted by freedunit @ 06/06/2002 03:18 PM PST

OMG! Would somebody please bitch-slap me? Kerry? How could I have not thunk of Oliver! Of course, Oliver!—not only obviously, but brilliant. Great show.
Kerry, what more would you like to know about the cake? I am awaiting bk’s answers to my Parisienne-cake questions. Maybe I should have some cake in the meantime…
Posted by freedunit @ 06/06/2002 03:21 PM PST

Don't Laugh now:
The Best Little in Texas. There is a clean version for High School and Church groups.
Nine: There is an alternate version that has roles that can be played by men.
a couple of different and uncovential choices.
Posted by Michael Shayne (From Montreal, Canada) @ 06/06/2002 03:26 PM PST

Some more high school maybes
If they have the big $$$, ambitious and the talent
Follies
On the Twentieth Century
How To Succeed in Business
Posted by Michael Shayne (From Montreal) @ 06/06/2002 03:29 PM PST

Michael Shayne, you forgot Hair; 70, Girls, 70; Ballroom; Carrie; and Scandal.
Posted by freedunit @ 06/06/2002 03:44 PM PST

Ah, the Parisienne cake. I've only ever seen it at two bakeries - on on Third St. near the Beverly Center, and then at Victor Benesh (sp?) at Gelson's. It was my mother's favorite cake - and it's the only thing I serve for dessert at dinner parties. It's a very light and airy light chocolate cake, with flakes of chocolate on top and a yellow cake base. It is quite quite yummy and that is all there is to it.
Posted by bk @ 06/06/2002 03:46 PM PST

Thanks! That is all there is to it. Easy as cake! Non? What do you think, Kerry?
Laura: There are also:
Guys and Dolls Jr.
Pirates of Penzance Jr.
Posted by freedunit @ 06/06/2002 03:53 PM PST

Thanks. I'll forward the lists to him. I appreciate the help!
Posted by Laura @ 06/06/2002 04:31 PM PST

I love the art on the cover of my LP copy of "Fiorello" -- that silhouette rather captures his stature -- both physical and political (i.e., you can tell he was short, but the silhouette seems larger-than-life, as well).
I hate the new poster for "Into the Woods" -- looks like it might have been done by a kindergartner (in which case it would be cute).
I don't think any of the other "Follies" posters I've seen have captured the elegant delapidation as well as the original one does.
Posted by Ron Pulliam @ 06/06/2002 04:39 PM PST

The poster for Herb Gardner's CONVERSATIONS WITH MY FATHER has always been a favorite of mine.
Also FOLLIES(original) MAME and PACIFIC OVERTURES(original).
Posted by Arnold M. Brockman @ 06/06/2002 07:41 PM PST

I am sleepy and I have a cold and I just love that word and.
My favorite cover art: She Loves Me, Anyone Can Whistle, and Follies.
;)
Posted by Lolita @ 06/06/2002 08:23 PM PST

Logos: Lolita mentions a really good one that I forgot: Anyone Can Whistle. It is terrific in any form—on the LP, in green on the book, on the CD, and on the Carnegie Hall CD.
Laura: I would have mentioned You’re a Good Man, Charlie Brown and Snoopy, too, but they do not have large casts, even though they have been performed by some school groups with more performers than specified.
Kerry: It is time for cake. Where are you?
Posted by freedunit @ 06/06/2002 08:55 PM PST

Logos - most of the ones I like have already been mentioned, but I particularly like the London/concept album logo for 'Chess'. The Broadway one, however, stinks.
Posted by Stephen Farrow @ 06/06/2002 08:57 PM PST

Well, I just had a piece of cake. I would have loved to have joined freedunit in a piece of cake-- even in having a piece of cake. But I think geography got in my way.
I told Laura yesterday about this great Oreo Cake, but the restaurant was out. Well, guess what? They had it today. It's a three layer dark chocolate cake with vanilla buttercreamm frosting (the real stuff, not the commercial bakery kind) with Oreos crushed on top. All the talk of cake yesterday really got to me. So, I had to have some today.
Now, Laura has a great list of shows with kids; freedunit owes me a piece of cake; I'm 5 pounds heavier, but happy; we have Bruce's answers, and all is right wiht the world (not quite, but good cake can make you feel that way). And I'll buy ANY of you a piece of cake if you ever come to Phoenix. Given our weather, I'd suggest you wait until October.
Off the subject, I once met Michael Stewart (who wrote the book for "Bye, Bye Bidie" and "Hello, Dolly" among others). He told me his main source of income was not the other shows, or even the incredible run and revivals of "Dolly." It was every church group and high school across the country doing a production of "Birdie." He said there wasnt' a week that went by when it wasn't playing somewhere. So, the key is to write a decent musical with LOTS of parts for different aged kids wiht as few sets as possible! And for those of you who do it, please remember me when you start collecting royalties!
Posted by Kerry @ 06/06/2002 09:16 PM PST

I think Ron's creche dream takes the cake!
Posted by Kerry @ 06/06/2002 09:19 PM PST

Bruce,
I know yesterday was ask BK day, but who did the logo for "The First Nudie Musical"?
Posted by Kerry @ 06/06/2002 09:34 PM PST

Scott R - I'm guessing you made your narrow-columned post from a Mac, not a PC. I've noticed that my posts turn out the same way when I post from home, but are nice and wide when here at work.
Logos/posters - Chorus Line tops my list.
Really don't care for the revival H2$ or the new Into the Woods.
Posted by Jed @ 06/06/2002 09:53 PM PST

The Nudie Musical logo on the DVD cover is by the great Jim Pearsall, who also did the brilliant logo for Chinatown.
Posted by bk @ 06/06/2002 09:56 PM PST

O.K. Now I really do want to have a piece of chocolate cake and to see a Michael Stewart musical.
Posted by freedunit @ 06/06/2002 09:57 PM PST

I thought I recognized Jim Pearsall's work. I have a poster he did (from about 28 years ago-- I was but a child at the time) of a woman's figure (similar to the one for your movie). The entire body, as well as the background, are all the names of movie actresses (supposedly everyone who had appeared in movies at that time). Very clever and a striking (as opposed to bitch-slapping) graphic. I think it was titled, "Ladies of the Silver Screen."
Is Mr. Pearsall still around?
If so, would he like to join us for cake?
Posted by Kerry @ 06/06/2002 10:51 PM PST

Thanks, Kerry. Hmmmm....the "Creche Dream" -- sounds like it might make one helluva cake...just imagine all the layers of frosting it would require.
Posted by Ron Pulliam @ 06/06/2002 11:05 PM PST

Sadly, Mr. Pearsall passed on, around twelve years ago.
Posted by bk @ 06/06/2002 11:07 PM PST

Retrieved my copy of my beloved Stages on LP and taking back to good ol' Florida aqnd transfering it to CD! Can't wait!
Posted by Michael Shayne (Currently in Montreal) @ 06/07/2002 05:26 AM PST

Jed -- that's what I thought, too
- but when I post from my
home Mac, the text is fine. It
only happens when I send
from my office Mac. Wierd.
Posted by Scott R @ 06/07/2002 06:14 AM PST

Freedunit: I was lucky enough to see Angela Lansbury do Gypsy twice -- once at the Opera House at the Kennedy Center, pre-Broadway, and once during a post-Broadway summer tent theatre tour. She was, of course, as mesmerizing as you would imagine, each time.
Posted by Philip Crosby @ 06/07/2002 06:34 AM PST

I think the column-width issue is related to the version of Macintosh browser.
The Chinatown logo is a terrific one.
Please pass the cake around.
Posted by freedunit @ 06/07/2002 07:25 AM PST

Scott: The "narrow box" issue is usually a result of using IE 5.0 for mac (it submits an automatic line break in form text boxes). You're probably using the latest IE at home, which fixed the bug.
Posted by Elan @ 06/07/2002 07:27 AM PST

Elan, Freedunit -- thanks for
the tip. I just updated to IE
5.1.4, but the problem
persists. Oh, well!
Posted by Scott R @ 06/07/2002 08:03 AM PST

It's Friday, pre-Bruce's awakening and posting, and I feel like I get trapped in computer science-advanced.
"Subways are for Sleeping" had an intriguing cover art, IMO.
And "Superman, the Musical" always captured my fancy.
Posted by Ron Pulliam @ 06/07/2002 08:20 AM PST

When I was going through my LPS stored in my parent's basement I came across an old TheaterWeek magazine from January 8, 1990 (It had a picture of Samuel Beckettt on the cover) What interested me was an advertisement for a production that was playing at the WPA Theater at the time. It was called TWENTY FINGERS, TWENTY TOES. It had a book by Michael Dansicker and Bob Nigro and a score by Dansicker. Nigro directed the show. The only names that I recognized in the cast were Roxie Lucas (Forbidden Broadway), Paul Kandel (Tommy, The Hunchback of Notre Dame) and Ken Prymus (Ain't Misbehavin', The Wiz, film version of MASH).
The musical was about the Hilton Sisters who were also musicalized in Sideshow. I was wondering if anyone ever heard about this show, saw it or can give any more insight to it,
The tagline said, "If you've ever felt exploited,foresaken, or misunderstood, come sheer for the Hilton, two sisters joined together in a fight for love and happiness"
Posted by Michael Shayne (Montreal) @ 06/07/2002 08:21 AM PST

Scott R., I was not recommending an update. Quite the opposite. As Elan points out, version 5.0 and later inserts an unwelcome hard return where it is programmed to do so. I am sure the bug is described as a feature in the documentation, if it is mentioned at all.
Posted by freedunit @ 06/07/2002 09:25 AM PST

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