haines his way

06/19/2003:
"THE ZOO STORY"

Well, dear readers, I have chosen the sections of Kritzerland that I will be reading come Saturday at Bookfellows in Glendale. I have also decided what kind of cake we will be serving. I do hope that some of you dear readers who have friends in the Los Angeles and environs area have told said friends to come on down. I have sent one mass e-mail and I shall send another reminder mass e-mail today just in case the people who got the last mass e-mail have forgotten they got the mass e-mail. In any case, I’m very much looking forward to it and I shall, of course, have a full report for you and perhaps even a photo or two.
As most of you who read the late posts know, I have made a decision about our uncouth interloper and I will reiterate it here for those who missed it. We will not feed the animals. If they wish to roam around the zoo, fine, but if they do their business we will not feed them. So, I ask all you dear readers to not respond to any post which seems designed to be inflammatory to either the site or me. It’s a long and complex story but this really has nothing to do with the site or me, but this person does not seem to be able to stay away or stop, and I’m tired of responding and playing their childish and silly games. If they post, just ignore it, and as soon as I see the post I will simply remove it because I don’t want their childish junk cluttering up our excellent posts. Hopefully they will move on someday and find another zoo in which to do their business. Well, someone told me it's all happening at the zoo and do you know what - I do believe it, I do believe it's true.
Well, why don’t we all click on the Unseemly Button below so I can do my business and answer all your excellent questions, by gum and by golly.

We had quite a bounty of excellent questions this week, so why don’t I get right to them, lickety-split or, at the very least, split-lickety.
Jrand asks in a musical film who stages the musical numbers, especially ones without dancing, where the actors might just be walking from place to place. Well, I’m sure it depends on the director, the choreographer, and the film. But, even when the choreographer is doing the dances, he’s usually doing them in consultation with the director who has to actually figure out how to shoot the scene (or they collaborate on the camera moves, like Donen and Kelly). But when it’s just the actors moving around, I should think the director and actors would block it and then show it to the cameraman, who then might have some suggestions. But I’m sure there are some directors who do consult the choreographer on how to do scenes like that.
Matthew asks when does one become ours and how does one become someone else’s? Well, I feel this question is the winner of the Samuel Beckett Award for most obtuse question. One becomes ours when we take it and one becomes someone else’s when they take it from you. My goodness, one is awfully popular, in fact, one is a singular sensation, if you ask me. The real question is when does two become theirs and how does two become nine? Two has to roll a seven, that’s how. What the hell am I talking about?
Ron Pulliam has a question about the overture on the album of On a Clear Day You Can See Forever. He says it’s a very lushly orchestrated piece with a big chorus. Was the overture done this way exclusively for the album, or did they have a chorus for each performance? Do I think the orchestra was enhanced for the overture or entire recording? And was the overture really this long (over six minutes)? I’ve never seen On a Clear Day on stage, but I do believe the overture is the overture that’s used, and yes, the chorus would have sung their bit from backstage. I’m sure the orchestra was enhanced for the album; that was the practice back then, although not so much with RCA. If it was enhanced, the only enhancement would have been a bigger string section. For example, when I recorded The King and I we brought in six additional violins and a viola or two. Also, why was Sing-Sing prison called Sing-Sing. Well, there was a big brouhaha at the time because the original powers that be wanted to call it Sing-Sing-Sing and Benny Goodman got very upset. The original idea behind Sing-Sing was that only criminals who had done musicals would be sent there. But, as usual with these types of things, that didn’t happen.
William E. Lurie recently read that prior to writing the Smile score with Mr. Howard Ashman, Marvin Hamlisch wrote another score with the late Carolyn Leigh. Am I aware of this and if so have I heard any of the score with the Leigh lyrics. Was any of the music used in both versions? Do I think the show would have been better received if the original lyrics had been used? Yes, I am aware of it and, in fact, I have a tape of the Hamlisch/Leigh score somewhere. The only piece of music that got recycled when Ashman came on board was the title song. I don’t remember much of the Leigh version – I’ll have to try and dig it out. I do remember not liking it as much as the Ashman version. It’s hard to know if it would have been better received, because the problem with Smile wasn’t the lyrics or the music, it was the book and the tone of the show.
S. Woody White says there is a restaurant called the French Laundry, which is located in Yountville, California. The food is supposed to be excellent, but it’s not the sort of place one goes to for a meal as for an experience. An experience can run to over twenty courses (each just a few bites) and can last for three or four hours. Would I feel comfortable having such a dining experience? I recently had such an experience (which I wrote about in these here notes) at a Russian restaurant. There were endless courses, one after another, and the whole thing lasted four hours. That is not my favorite way to dine – I like to go to a nice restaurant, order what I want, and eat a leisurely but not too leisurely meal.
MattH asks if I’ve ever gone to a show that I’d heard wonderful things about, really expected to love it, and then come out disappointed beyond belief. Yes, the revival of The Music Man was that way, even though I enjoyed Rebecca Luker and Craig Bierko. I just thought the production was a big blah. And I’d also heard marvelous things about both Swing and Fosse and I abhorred each of them. And the most disappointing was A Day in Hollywood/A Night in the Ukraine. Conversely, have I ever gone to a show not expecting much only to have it turn out much better than I could have imagined. Yes, Grand Hotel, which I went in expecting to hate and I actually enjoyed it quite a bit. Same with The Will Rogers Follies.
Michael Shayne asks when I appeared on any of the sitcoms that were filmed in front of a live studio audience did the audience really go crazy with applause and all that hootering and hollering whenever a major character made an appearance or were these sounds done later in post production sweetening? Also, if a joke bombed was laughter added. Well, I did my two Happy Days episodes pre audience, but I used to visit them quite often and I’m here to tell you that the yelling and screaming was quite genuine. Same with Laverne and Shirley. However, the audience is primed and pumped up by someone before the show ever starts, and they’re basically told to do that sort of thing. I remember on Alice they had to sweeten quite a bit of that show because it was spectacularly unfunny (at least the episode I did). On the other hand, when I did Angie I can tell you that those roaring laughs are all real. When I did the Doris Day Show did I know that I was also shooting a pilot spinoff? I think I realized that when Miss Day paid us a visit. But we always thought of it as a stand-alone pilot that just happened to be airing on The Doris Day Show. And, in fact, the first time it was shown on CBS it was aired alone, not on her show. One scene was added with her, and then the show was ultimately also aired as part of the series. When I worked with Paul Lynde was he as bitter as E! True Hollywood Story made him out to be? That certainly was not my experience with him – he was very nice, a gentleman, and very funny. Was I surprised that Richard Chamberlain came out of the closet? I was surprised that he did it at this late date, but I guess he thought it was finally time to just do it.
AnnaOD asks where the song My Brother Lived in San Fransisco is from. It’s from Elegies – Angels, Punks and Raging Queens. I’ve actually recorded that song three times: on the concert cast album with Emily Skinner, on Emily’s solo album, and a really nice version on Joan Ryan’s album (does anyone even know I produced Joan Ryan’s album?).
Td has his usual impossible to answer question: I’ve been granted the opportunity to record these singers – which one song would I have them do? Bernadette Peters – Somebody, Somewhere. Brian Stokes Mitchell – It’s All in the Game. Nathan Lane – Adelaide’s Lament. Dame Julie Andrews – Long Before I Knew You. Bobby Darin – The Ballad of Sweeney Todd. Billie Holliday – The Party’s Over. Barbra Streisand – Close Enough for Love. Whew.
Maya asks when Bernadette leaves Gypsy, who would I like to see replace her? I would really like to see Patti Lupone, really and truly.
William F. Orr asks if the Bar Mitzvah speech in Kritzerland is close to my own. No, I’m sad to say it isn’t – it’s the speech I wish I’d given. I honestly can’t remember what I said, but everything else in the chapter is exactly the way it was.
MBarnum asks if I could record the cute little Japanese duo Pink Lady, would I and why? I would, because I would record any cute little Japanese duo just because I am partial to cute little Japanese duos. For a minute I thought you were going to ask if I would record Pinky Tuscadero.
Dennis Clancy asks if there was a time that I planned to produce a studio cast recording of the musical Sherry!? I had indeed, and then another producer inserted himself, mesmerized the composer, and got the project. The tracks were recorded over two years ago, closer to three years, and an all-star line-up was cast, and Sony was on board to release it – but somehow it went wrong somewhere, and I don’t think the vocals were ever completed, at least that’s what I’ve heard. And so, it sits in limbo. When a performer is doing a solo show how are the royalties paid for the songs. The performer is not responsible for song royalties in live venues. The venue pays a yearly fee to the publishing houses and that covers whoever sings whatever.
My goodness what a bounty of questions that was and I hope I have answered each and every one to your satisfaction.
Well, dear readers, I must take the day, I must do the things I do, I must go attend a meeting this morning, and then I must come back, clear my head (no mean feat) and do some writing. Today’s topic of discussion: I think MattH’s question for me is a good one for a discussion – have you ever gone to a show that you’d heard was amazing and been thoroughly disappointed, and have you ever gone to a show that you weren’t looking forward to and that you’d heard was blah and been thoroughly delighted. If so, what were the shows and why were you disappointed or delighted? Post away, my pretties, and I’ll check back in after my meeting. And remember, don’t feed the animals.

Replies: 75 Unseemly Comments

First Post?
BK-You didn't answer my question. What happened to the 8x10 glossies of the Joe Allen soiree? Is someone errant and truant?
Posted by Arnold M. Brockman @ 06/19/2003 09:01 AM PST

While at a Leicester Square half-price ticket booth in London, we tried to figure out which not-sold-out-yet show to go to that evening. The "helpful" ticketbooth gal told us how marvelous "Blood Brothers" was, how it's a legend of British theatuh, yadda yadda yadda. So we went and found it quite bad. Melodrama with a trite score. Unintentional humor ("DON'T PUT THE SHOES ON THE TABLE!!!") was the highlight of the evening.
Thank God it was the first night, and we were just thrilled to be in London. Made it not as bad as it could have been.
Posted by Lulu @ 06/19/2003 09:01 AM PST

I had similar feelings about The Music Man revival. However, the night I saw it, Jim Walton was on - who I actually like and liked. But it was all the "transitional" stuff that just seemed to be filler. -And when we were leaving the theatre, guess who happened to be greeting Miss Luker at the door? None other than Mr. Craig Bierko - ????. -And that was the start of my perennial Craig Bierko sightings in NY.
As for being blown away by a show... Well, I had heard that the Japanese production of Pacific Overtures that was at Lincoln Center and the Kennedy Center last summer was great, but I had no idea just how great it would be. As I've related here before, I literally walked out of the theatre trembling and speechless. Such a powerful evening of theatre.
The Who's Tommy was a mixed bag for me. Loved the first 2/3rd, maybe even the first 3/4ths... But the end really dragged the show - it even drags on the OCR for me.
OH! And the biggest disappointment had to be The Phantom of the Opera. It wasn't so much the whole ALW "controversy", but I just found the whole evening kind of "there there" (a Maltby & Shire reference). Of course, I felt even worse for my partner at the time who had been wanting to see it desperately, and even he was a bit unimpressed with the whole production.
Posted by Jose C. Simbulan @ 06/19/2003 09:05 AM PST

Arnold, your question got in too late. The answer is, I think you know is that it's almost impossible to get anything done around here. I'm trying to get the photo department turned over to Mr. Craig Brockman who is, by the way (BTW, in Internet lingo) your very own son. Hopefully that can happen soon because the photos are deelightful.
Robert posted this just now to last night's notes and I thought I'd reprint it here so you all can see it:
"Comments: Hey, folks, lay off BK -- especially on the subject of me. I fully understand why BK politely asked me not to post here and I have consented to his wishes. I have only returned on rare occasions when someone has made a comment about me which I felt needed a response. And although Dave is a good buddy, he is wrong when he suggests that I frequently post here under pseudonyms. Yes, in jest, I have made a few comic comments under obviously comic names, but I can honestly tell you that in almost EVERY instance that someone has suggested that an uncouth interloper is me -- it AIN'T me. Paranoia runs rampant around here sometimes, but my respect for BK would not permit me to rampage through his "home" in such a way. When I do post, it should be clear, I do not hesitate to use my FULL name. Pseudonyms are the refuge of cowards and I am most certainly not a coward with my thoughts and opinions. Now, that said, I will crawl back into my hole."
Several issues here - Mr. Armin has never ever been the person or people I've referred to as an uncouth interloper (s). I will reiterate one final time: This particular uncouth interloper has nothing whatsoever to do with my former company (you know, the one I created) and nothing to do with Mr. Armin, who is a gentleman.
Posted by bk @ 06/19/2003 09:22 AM PST

Well - the show that most disappointed me was...really...A CHORUS LINE, which I saw at the Schubert Theater in May, 1985! I don't know what I expected. It was a Saturday night and half the cast was out - we saw lots of understudies. The theatre was only about half full.
Unexpected? A few months ago I saw AIDA on tour. Liked it very much. I hadn't listened to the score or read much about it, because I thought it was another LION KING...but I enjoyed the whole show...and in fact DR Kurt and I saw it twice in one day!
Posted by Jrand52 @ 06/19/2003 09:34 AM PST

My response to Robert's post was late in getting in, so here it is:
"Robert,
As you say, "I have made a few comic comments under obviously comic names", this is what I was referring to when I said that you have posted under other names. I hope I didn't suggest otherwise.
BK has written me privately to complain that he feels I am "goading" or "baiting" him. Let me assure everyone here that this is NOT true.
When I have expressed my view that it is sad that we feel the need to censor posts on this site, I meant exactly what I said. If someone read something else into that, then they were mistaken. "
Posted by Dave @ 06/19/2003 09:49 AM PST

Message to Dear Reader Dave: I have the instructions for fire-eating from a professional Plaid. I'm leaving now, but I'll have email access by Monday. Make up a free hotmail.com or yahoo.com address just so I can send you the info. That way you don't have to give out your real email address.
Bye everyone!
Posted by Laura @ 06/19/2003 09:54 AM PST

Laura,
Thanks so much. I will get back to you with an address you can send it to.
Posted by Dave @ 06/19/2003 10:02 AM PST

A few years back, on a rare trip my ever-lovin' der Brucer and I made to New York City, we succumbed to the buzz and went to see The Beauty Queen of Leenane, an import from Ireland. The critics had raved about the writing, about the cast, about everything imaginable about the show. Naturally, der Brucer and I found the writing trite and predictable, the acting either over-the-top or phoned-in, and everything else nothing remarkable. Naturally, all four actors were up for Tonys that year. Just as naturally, the one actor who made a moderately good impression was the only one of the four who didn't win a Tony.
On the other hand, we have often found that the TKTS booth in NYC, like the Leicester Square booth in London, is the best way to go to see theater in either city, because you don't automatically know what you're going to find, and surprises are always right up there on the boards. Der Brucer didn't expect much when he went to see For Colored Girls... years ago, but that's what was on the board that evening, so he took a chance and loved the show.
DR Lulu: We totally agree with your assessment of Blood Brothers. It's a depressing piece of masochistic self-flagellation, in my opinion. Still, it was a hit with some people in London. Go fig.
Posted by S. Woody White @ 06/19/2003 10:11 AM PST

I think the show that disappointed me most was “Cats.” This was back in ’84 in London when I was leading a tour group. We had to get the tickets months in advance through a broker, and, of course, pay through the nose. The whole group, including myself, were thrilled about the chance to see this SRO hit. Well, most of the group thought the show was incredible, but my vote was for incredibly awful. I apologize to those who like the show, but I thought the whole thing was pretentious and boring. And when the spare tire flew whatshername to cat heaven, I couldn’t stop laughing.
Actually, the biggest theatrical surprise came the very next day on the same London trip. The theatre broker had talked us into buying tickets to this other show that none of us had ever heard of, in return for getting us great seats for “Cats.” I went expecting nothing. The show was “Noises Off.” I have never laughed so hard in my life.
Posted by TCB @ 06/19/2003 10:19 AM PST

TCB, great story! Poetic justice at its finest.
I've been racking my brain trying to come up with an answer to the second part of today's topic, but to no avail. I think that the price of theater tickets these days has prevented me from ever purchasing tickets to a show that I didn't fully expect to enjoy!
Posted by Lulu @ 06/19/2003 10:22 AM PST

Let's see, I REALLY wanted to like the 2000 "Martin Guerre" tour that came to LA, since I like the Cast Recording so much, but to no avail, Act Two fell flat on its face. People told me how much "Contact" was just incredible, it was the most boring piece of musical theatre ever presented on a stage. And I call it musical theatre because that's what it's categorized, after all, it did win the most undesrved Tony award in all of Broadway history.
The most pleasent surprise is a simple one - "Footloose" I was in NYC and needed a show to see for the eve, I went to the TKTS booth and bought a ticket thinking, "Well, I guess I should see something BAD while I'm here" I turned out to be so much fun and I'm so glad I went out on a limb and saw something new, no matter what the critics said.
Posted by Matthew @ 06/19/2003 10:36 AM PST

I agree with TCB about Cats - I thought it was appalling and couldn't wait for it to finish. Felt the same about Phantom of the Opera.
I'm afraid, Lulu and S. Woody, I'm one of those people who liked Blood Brothers (the original, with Barbara Dickson). Maybe it's a cultural thing. I come originally from Merseyside where the show is set, so I could understand a lot of humour in it (Liverpool people have a great sense of self-deprecating humour). I honestly can't see it translating well to an American audience and was very surprised when it went to Broadway.
I also agree with TCB about Noises Off - I expected it to be a 'comedy' of the sort that we have in England in our TV sit-coms (i.e. not in the slightest bit funny), but I almost wet myself laughing.
Posted by Allan @ 06/19/2003 10:36 AM PST

Allan, I totally agree that the Blood Brothers schism probably is a cultural thing. The Brits in the audience loved it, the Americans just kind of sat there, puzzled. Oh, well...I imagine something like The Brady Bunch would be just as interminable and impenetrable to Brits as Blood Bros. was to me. :) And this is coming from an American who loves Beyond the Fringe, the Goons, Python, Blackadder, etc.
Posted by Lulu @ 06/19/2003 10:44 AM PST

LuLu and S. Woody, I agree with you both about Blood Brothers. A friend was in town and wanted to see the show. He had heard great things about it, knew the music and was so excited. I went expecting something very good at least but I couldn't wait for it to be over. I disliked it so much. The difficult thing was, my friend did LOVE the show. He was crying at the end. He couldn't stop raving about it. I was noncommittal because I didn't want to break his euphoria (he loved it so much that he saw nothing wrong with it) at the experience. Oh, well. As BK says, that's what makes a horse race.
I was also disappointed in Whoop de Doo, the first Howard Crabtree extravaganza. I saw it late in the run, for free and by the time I saw it, it was a tired old piece. I enjoyed the cast recording but the production was not very good. So it was with trepidation that I went to see When Pigs Fly (with a friend who got tickets). We saw it very early in the run (I think it had just opened a week earlier) and I LOVED it. It was funny and over the top (oh, a Howard Crabtree When Pigs Fly reference) and I ended up recommending it to everyone I knew.
Posted by Ben @ 06/19/2003 10:45 AM PST

Oh, yeah, I loved Educating Rita, as well (written by the same guy). Go figure.
Posted by Lulu @ 06/19/2003 10:47 AM PST

Last night I saw the new Adam
Guettel musical, "The Light in
the Piazza," in Seattle. As
promised, here is my report on
the show...
I quite enjoyed the show,
finding it well-crafted, both
book and score. I'm a big fan
of Guettel, and this music has
his mark all over it, particularly
in his harmonic progressions
and voicings. There are
moments where it is 100%
clear that this came from the
same pen as "Floyd Collins."
The book is well-written,
providing a good amount of
humor to the lighthearted love
story aspect of the show,
leaving the score to handle the
not-so-light-hearted aspects.
Unfortunately, I do not see "big
hit" in the show's future. The
score is not one I feel will be
all too popular with the
populace, but I could be, and
hope I am, wrong. Really only
the first three songs are what I
would call musical theatre
style songs. After these, the
remainder of the songs mostly
come in the darker moments
of the show, with a few love
songs sprinkled throughout.
There are definite operatic
aspects to the score,
particularly in the darker
pieces. As I said, I quite
enjoyed it, but am wary of its
appeal reaching beyond us
through-and-through theatre
types. Very story-specific
songs throughout, perhaps
one or two that some singers
could find use for outside the
show, but not much. With
"Clara's Tirade," Guettel has
provided a real frantic tour de
force number for ingenues.
The performances were quite
good. Victoria Clark is just
fantastic as the American
mother touring Italy with her
daughter, wrapping the
audience around her finger.
Her comic touches are dead
on, and I found her voice a
wonderful fit for Guettel's
score. Celia Keenan-Bolger is
quite good as the daughter,
and would probably fare a bit
better were the show not being
performed acoustically, as it is
at the Intiman. The other real
standout in my mind is Kelli
O'Hara as Franca, the jealous
sister-in-law to be, displaying
fine dramatic and comedic
abilities along with a fine
soprano voice.
With this fershluganah column
my Mac formats my posts into,
I've taken up more than
enough inches for one post...
Posted by Jed @ 06/19/2003 10:56 AM PST

BK - In all listings I have seen, the SHERRY CD was supposed to be on EMI, not Sony. In either case it's taking so long one would swear it's on Jay! (And I only gave you the sour gummies because you mentioned you liked them. I'm not standing over you forcing you to eat them despite the wishes of Chet and Eileen.)
We went to New York City Ballet last night (and everything was beautiful - a Hamlish/Kleeban reference). Actually it was more like a night of Broadway dance. The first part of the program was a classic ballet by Balenchine set to Brahms. However the second and third were strictly Broadway. The third was the Jerome Robbins WEST SIDE STORY SUITE. Mainly this made me want to see a full length WSS with the Robbins choreography. Six of the numbers used the original choreography and worked fairly well out of context (how great to see the dream ballet that was eliminated from the movie). The only part that didn't work was a solo ballet for Tony danced while a singer in the shadows sang "Something's Comin'". Somehow this was not the Tony I had come to know from various productions.
The highlight of the evening was Peter Martins' THOU SWELL. The ballet consisted of 15 Rodgers & Hart songs and 1 Rodgers & Hammerstein song as played by a jazz trio and a full orchestra (orchestrations by Don Sebesky, conducted by Paul Gemignani) and sung by Debbie Gravitte and Jonathan Dokuchitz. The dancing was a hybred of ballet and ballroom with beautiful clothes and an Art Deco set by Robin Wagner. This was probably closer to being a Broadway musical than CONTACT or MOVING OUT.
One comment... I have never before seen such milking of applause. After each of the three ballets the audience was very enthausiastic, but the applause decreased long before the bows did, and in all three cases people started walking out long before they gave up on the curtain calls.
Posted by William E. Lurie @ 06/19/2003 10:58 AM PST

Ok, I am so E and T when it comes to the stage and I don't know that I can even give any input to today's topic..however we have a very nice theater group here in Salem and I have seen several plays there. The only one I can think that I disliked, and thought I would like, was PIRATES OF PENZANCE...they altered the script quite a bit and some of the smaller roles were so overacted as to upstage the main characters, that I found the whole affair quite annoying. I generally go to the plays with an open mind and always expect that I will enjoy it. The best plays that I have seen to date were that same groups version of DRACULA (done with a vintage 1920s look), and Western Oregon State University's version of LITTLE SHOP OF HORRORS.
Regarding Dracula..I was quite surprised to find the actor who portrayed Dracula in that play works in The Dept. of Justice on the first floor of the building I work in! It just caught me off guard when I first started working here! LOL!
Posted by MBarnum @ 06/19/2003 11:12 AM PST

..and Bruce, I didn't know you were in the TV show ANGIE. I loved, loved, loved that show when I was a teenager! And the theme song is among my favorites!
Whatever happened to Donna Pescow anyway?
Posted by MBarnum @ 06/19/2003 11:13 AM PST

It's so sad to hear from some of the DR's post about their dislike of "Blood Brothers". To throw my two-cents in, I find it simple, moving, and heart breaking. I did the show a few years ago, and maybe it was just this production, but I was near to tears every night.
Posted by Matthew @ 06/19/2003 11:19 AM PST

I think the most disappointing show I ever saw was a production of "We Won't Pay! We Won't Pay!" which was written by NOBEL prize laureate Dario Fo. It was also the only play I have ever walked out of during intermission.
The play was supposed to be an anarchic comedy but it just came out like a string of "Three's Company-esque" misunderstandings. Worse, the play is set in Italy (and was originally written in Italian before being translated into English by the playwright) and the actors I saw felt forced to put on these HORRENDOUS fake Fonzi (sp?) from Happy Days-like accents that they imagined were "Italian". Wow. Two bad television references in one paragraph. It has to be all those late night reruns I've been watching :)
My trust in the Nobel committee was shattered forever. Even if I do like Jimmy Carter. And insulin (which was of course discovered by a Canadian).
Posted by Emily @ 06/19/2003 11:20 AM PST

What great comments....
And thanks for answering my question, Mr BK.
All these opinions...that's what makes horse racing. 8-D
I liked Blood Brothers, I like the CATS CD - don't like the show.
Jed, thanks so much for letting us know your thoughts on PIAZZA. Sounds interesting and something to look forward to...somewhere. I don't think there has been a mounting of FLOYD COLLINS in Indiana...or maybe one...anyway...eventually we get to see everything.
The new Clyde Fitch play is opening soon!
Posted by Jrand52 @ 06/19/2003 11:45 AM PST

The most unexpected good time I'd ever had in a theater was for "Little Shop of Horrors." I had tickets to the Westwood (now Geffen) Playhouse here, and really didn't expect much, being myopically focused on Broadway and not knowing from off-Broadway. Had a great time.
I'm afraid that I have to agree with others that "Cats" was a major disappointment. What the hell was that all about, anyway? Oh yes, I remember; it was about nothing.
Posted by Vincent Jan @ 06/19/2003 11:51 AM PST

Thank you BK, for your fascinating answers to my questions.
Show which I expected to hate: last summer's JECKYLL & HYDE at Pittsburgh's Civic Light Opera. Considering that I can't even listen to ANY of the many recording the whole way through, I expected to be leaving at intermission. BUT, as directed by Bob Cucciolo, and as played by Kevin Grey, this production was everything which (I have heard) the Broadway production was not. I was even with someone who had seen the Broadway production, who lit up each and everytime there was a change from the misbegotten B'way production.
Show which I expected more of:
PHANTOM OF THE OPERA, starring Franc D'Ambrosio. Yikes! All flash and no substance. Smoke and mirrors. And "All I Ask of You" repeated ad nauseum. God, I hate this show. Really. I can't beleive that I actually saw this show as directed by Hal Prince AND didn't leave at intermission.
HOWEVER, when it comes to BLOOD BROTHERS, I love every single moment of it. From the Barbara Dickson recording, to the Kiki Dee recording. From seeing the superlative Stephanie Lawrence on the Broadway stage to seeing Petula Clark on the national tour. From the opening "Tell Me it's not True" to the closing "Tell Me it's not True," I was there.
Maybe it's me, but, it is one of those few shows that I feel that the score is the most appropriate, most direct and only possible score for. The score (to me) is a reflection of the lives of the characters, and superstitious little bugger that I am, I was more than willing to accept Willy Russell's superstitions.
Being an adopted child, the resonance of the final, "I could've been HIM!" chokes me up everytime. (Of course, being adopted puts a whole new spin onto Speilberg's A.I. for me as well).
Oh, and any dear readers out there who happen to have a Stephanie Lawrence recording of BLOOD BROTHERS . . .let me know; it's the only English language recording I'm lacking. . .
Posted by td @ 06/19/2003 11:56 AM PST

MBarnum: Donna Pescow is currently in a Disney Channel series called Even Stevens. She plays the mother of a brood of "wacky" family members and their even more "wacky" friends and neighbors. It actually isn't too bad. I've seen it a few times while channel surfing and while it's your basic Disney sitcom, it does have some cute moments.
Posted by Ben @ 06/19/2003 12:12 PM PST

It's very rare that I'll go into a play not knowing what to expect. So surprises are usually in the production itself, not the material.
But biggest surprise was a tiny production of ASSASSINS. Bare bones, but they just got out there and played it as written. And I was amazed at how starkly powerful that made it.
Biggest disappointment was the original LA production of NINE, which they reset in a train station. Horrible, just horrible.
Posted by Christopher @ 06/19/2003 12:20 PM PST

I've been very lucky, but also limited, too.
My "professional" theatrical experiences have all been dazzlingly rewarding.
Did I think I'd enjoy "La Boheme" -- I hoped, but I didn't know I'd love it quite so much.
Did I think Barbara Cook's "Mostly Sondheim" would move me to tears? The show wasn't 20 minutes old and tears flowed the whole time -- it was heaven to be in the audience and hear that voice!
Did I ever imagine that Dame Edna would be quite as funny live as she is on the telly? I hoped...but I didn't know that my facial muscles would seize up several times during the show as I dissolved into near-hysterics. And my face hurt for more than a week afterward.
I've beaten this horse nearly to death here, but here it is one more time. I had NO expectations -- other than a hope that it would be fun -- about "Wicked". I was dazzled, stunned, enraptured, and a tad fahrklempt. Imagine what would have happened if the show had been perfect at the time!!!!
My worst theatrical experience was an amateur production. As a theater major, I was involved in all plays in various functions. For one play, I managed the house. It was "Darkness At Noon." Woof. "Darkness" descended on that production the minute the director selected it for his first show at the college. It was the kind of production that can ruin the reputation of a great department!
And then some...
: )
Posted by Ron Pulliam @ 06/19/2003 12:26 PM PST

How about some theatre-related jokes today?
I will start:
Man goes into a bar. Friend is sitting there. Friend buys man a couple of drinks. They are having a good time.
Friend says, "Hey, community theatre is doing a play. Let's go watch. I promise you it's like nothing you've ever seen."
Man agrees. They walk into theatre, performance has already started. Man and Friend sit in back.
One actor takes a telephone call. Talks awhile hangs up, sits down. Other actor goes to bookcase, chooses book, reads awhile. Sits down. First actor makes drinks. Both actors drink and then sit in silence.
Man: "You're right, I've never seen anything like this. What are they doing?"
Friend: "They're waiting for me to make my entrance."
Posted by Jrand52 @ 06/19/2003 12:38 PM PST

Well BK most people probably did not know you produced that wonderful solo album of Joan Ryan's because you did not take a producer credit! You're billed as "the creative consultant" To show how important the placement of the songs are on a cd I give up Miss Ryan's album. I absolutely love the very first song "Trust the Wind" and it has become a favorite of mine. It's an great album overall I highly recommend it.
Click here to go to the Joan Ryan page on the Bruce Kimmel site.
http://www.brucekimmel.com/ryanjoanalbum.html.htm
Then go here to see more about here album on the LML site which released the albums. Lee Lessack has a great group of artists attatched to his labels. Take a look at them too.
http://www.lmlmusic.com/artists/rya_entry.htm
Posted by Michael Shayne @ 06/19/2003 12:45 PM PST

Well BK most people probably did not know you produced that wonderful solo album of Joan Ryan's because you did not take a producer credit! You're billed as "the creative consultant" To show how important the placement of the songs are on a cd I give up Miss Ryan's album. I absolutely love the very first song "Trust the Wind" and it has become a favorite of mine. It's an great album overall I highly recommend it.
Click here to go to the Joan Ryan page on the Bruce Kimmel site.
http://www.brucekimmel.com/ryanjoanalbum.html.htm
Then go here to see more about here album on the LML site which released the albums. Lee Lessack has a great group of artists attatched to his labels. Take a look at them too.
http://www.lmlmusic.com/artists/rya_entry.htm
Posted by Michael Shayne @ 06/19/2003 12:45 PM PST

As for the show I heard was great and thought was awful was The Will Rogers Follies. It was so bad I wanted to leave at intermission. But I thought my parents liked so I stayed. It turned out they wanted to leave at intermission and only stayed because they thought I liked it
Posted by Michael Shayne @ 06/19/2003 12:47 PM PST

LOL, Jrand. :)
Wish I knew some theater jokes.
Posted by Lulu @ 06/19/2003 12:48 PM PST

I LOVE these posts, I truly do.
WEL: EMI is right. But I don't think they're sitting on it, I think they aren't putting it out, and as I said, from what I've heard the vocals haven't even been completed.
I've seen Donna Pescow over the years - she's terrfically nice and very talented.
I had a lovely meeting and may or may not have more to say about it tomorrow or the next day.
Posted by bk @ 06/19/2003 12:58 PM PST

JOAN RYAN is a Cabaret West member (click on my name to go to our site). She'll be performing "The Music of Andrew Lloyd Webber" with three other cast members on June 21 at Vilar Center for the Arts in Beaver Creek, Colorado, and on July 11-27 at Fullerton Civic Light Opera in Fullerton, CA. Here's a link to FCLO http://www.fclo.com/andrewlloydwebber.html.
MARTIN GUERRE: I saw the show in L.A., too. What I most remember about it (besides the real onstage fire!) was how I felt at the end of the show. I was emotionally wrung out. Just now thinking about it makes me gasp for air!
Posted by Donna - Cabaret West @ 06/19/2003 01:37 PM PST

Jrand - Great joke!
Not to pick on ALW, well, yes, actually to pick on ALW: Years ago, when I was living in Jersey, a friend of mine came to visit me and, of course, he wanted to see a show. Well, since he was paying for the tickets he got to pick the show. He chose "Velvetta". I should have known better after my experience with "Cats', but I went anyway. Mandy was fantastic, Miss LaPone was okay [smirk], but God what an awful show. How man times can one cast sing that damn "Don't Cry For Me, Argentina"? I had nightmares for months.
Posted by TCB @ 06/19/2003 01:44 PM PST

DR Jed, your comments about LIGHT IN THE PIAZZA seemed pretty much to mirror the review in today's VARIETY - the reviewer pretty much damned it with faint praise. Really had little bad to say about it, but made it clear it wouldn't make it on Broadway without a major re-think.
Since I answered my own question when I asked it of BK yesterday, let me just comment about one of BK's choices, GRAND HOTEL. I had no expectations about it grand or otherwise, but I absolutely adored it. I talked it up to everyone I knew who was coming to NYC while it played its two year run, and every one of them to a person LOATHED it. Taught me NEVER to give recommendations again. But I will add one more show that I had great expectations for and that I left feeling totally letdown: MISS SAIGON. Huge disappointment.
Put me down on the side of those who were not particularly entertained by BLOOD BROTHERS. It was only OK, nothing more to me.
Posted by Matt H. @ 06/19/2003 02:08 PM PST

I wanted to like PHANTOM OF THE OPERA and CATS, but just didn't. On the other hand, I didn't like to enjoy SUNSET BOULEVARD, but found much to enjoy there. So ALW isn't all bad. ;-)
BLOOD BROTHERS seems to be one of those shows that divides people into two camps: "love it" or "hate it". I am one of the rare people who is in neither camp. I have fond memories of the production I was involved with, but I also recognize the inherent weaknesses in the show.
Likewise with TITANIC. I expected to love it, having grown fond of the score on CD. When I saw it on the national tour, I was decidedly unimpressed. However, when our company performed the show, it was very moving, and I enjoyed the experience very much.
Speaking of which, I hope you are enjoying your voyage, Jason. Godspeed!
Posted by Dave @ 06/19/2003 02:12 PM PST

Oh, and I forgot to mention...
When a friend of mine offered me a ticket to a workshop production of NINE at University of Michigan, I almost said 'no'. I was only acquainted with the show from the OBC, and I could barely get through it, as it is so poorly sung. Well, I dragged myself along to the little theatre, and immediately fell in love with this show.
Posted by Dave @ 06/19/2003 02:16 PM PST

Add me to the MISS SAIGON haters. The first twenty minutes were excellent, and then there wasn't another good moment on stage all night.
I did, however, quite like GRAND HOTEL. I thought it was fun.
Posted by Christopher @ 06/19/2003 02:29 PM PST

Yep, I'll join the roster of Miss Saigon haters. I couldn't have cared less what Kim did to herself at the show, so long as she did it quickly so I could get out.
Haven't we got polarised opinions about Blood Brothers, though? I'm so glad there are others who like it, I was beginning to doubt myself for a wee moment there.
Another big disappointment was Bernstein's Wonderful Town. Maybe it was just the London production that I saw, but it was leave-in-the-interval awful.
And Candide. Having adored virtually every incarnation of the score on CD, I went with high expectations to the London National Theatre's production, which had got good reviews. But I was bored stiff. Again, maybe it was just that production. Has anyone seen a good one?
Posted by Allan @ 06/19/2003 02:44 PM PST

... that's " .. what Kim did to herself AT THE END of the show ..."
of course.
Posted by Allan @ 06/19/2003 02:46 PM PST

Allan - many years ago, before I ever heard the score, I saw a production of CANDIDE at DePauw University. It was a co-production of the opera and theatre departments.
AND it was wonderful. I enjoyed it so much and immediately went out and bought the album (vinyl it was that long ago.) I don't still have my program so I don't know who was in it....but one moment I will never forget (in addition to GLITTER AND BE GAY) is when Pangloss talks about Candide's sojourn as an Actor.... A curtained stall was rolled out....Candide appeared in a dress. Pangloss said: "His Hecuba was booed by even the most non-discriminating of audiences." And all the musicians in the pit stood and threw vegetables at the the stage.....LOL.
Give it another chance!
Posted by Jrand52 @ 06/19/2003 03:00 PM PST

I saw GRAND HOTEL for the first time about two years ago. It was a local production in the Seattle area. Since I had several good friends in the production I was looking forward to seeing it. I thought the production was great and the cast was uniformly excellent, but I didn't like the show. I disliked all of the characters in the show, but I still found it an interesting evening of theater.
As for TITIANIC, as I have said before, I saw the delayed first Broadway preview (as well as the first complete run-through)and immediately fell in love with the score and the show. When I saw the show, the song "We'll Meet Tomorrow was sung only by second-class passenger Charles Clarke (no Barrett or Bride)and it brought down the house.
Posted by TCB @ 06/19/2003 03:12 PM PST

Just for the record, and I really don't care if I'm the only one here that agrees, but I absolutely LOVE Sunset Blvd. And Miss Saigon is a close second as is Titanic (even though the Nat. Tour was hokey the score still stands alone.)
Been home all day reading posts and stuff, I could never do this daily!!
Posted by Matthew @ 06/19/2003 03:20 PM PST

Wow! A "Blood Brothers" festival. I think you know my feelings. It was very successful in Melbourne and I had the feeling that I was close to being the only one in the audience who thought it was merde. Like DR Lulu I really like "Educating Rita"!
Disappointments: "Sunset Boulevarde". I don't think any performance can save it. I saw Buckley in London. Suprise: "Little Shop Of Horrors" which I saw in London.It was such a great night.
Biggest waste of money on a show that failed to live up to any sort of positve expectation:
"The Lion King" (NY production)- all down hill after the opening and it had no "Soul". The orginal production of "Starlight Express" in London was just dead boring.
The two prodctions of have seen of "Candide" - one professional and one local amateur were both really enjoyable. This year's local (amateur theatre)production of "Gigi" was charming and a real surprise. I think it was based on the cut down London effect where the production values did not overpower the lightness of the material.
Posted by Tom from Oz @ 06/19/2003 03:45 PM PST

Thanks for answering my question, BK.
You know, I really don't have that many bad theatre memories. I guess I've seen about 35 or 40 Broadway shows (my first was CATS and Liz Callaway sang Grizabella so there's no way I can knock this show, even if almost all theatre people hate it).
I go into most shows with good expectations and even if I'm not entirely pleased with the production, I can find something in there to enjoy. But there were a couple of shows I couldn't get much out of. I agree with DR Matthew that MARTIN GUERRE (I saw it at the Kennedy Center)was mostly a snooze, even though there were some lovely songs. Also the recent OKLAHOMA revival left me underwhelmed.
Shows that I didn't expect a lot out of that I liked? Don't laugh at me, but I really liked SWEET SMELL OF SUCCESS, even though people were saying it was bad. I can't think of anything else for the moment.
Can't add anything to the BLOOD BROTHERS debate except that Forbidden Broadway did a great parody of it.
Oh and DR Jed--thanks for the Guettel review.
Posted by Maya @ 06/19/2003 04:13 PM PST

So where are you François?
Late answer to DR Ron: Darin & Holly were a short lived group who recorded "Early In The Morning"/"Now We're One" in mid 1958. The duo broke up due to "artistic differences" and the vocals were very cleverly "plucked" from the Master tapes and released on different labels with only one vocalist being heard on each. Amazing technology for the time.
(OK I made it all up but the songs are out there!)
Posted by Tom from Oz @ 06/19/2003 04:56 PM PST

The one time I went to New York (in 1995), I walked by the theater where "Robeson" starring Avery Brooks was playing. I had no idea what it was about other than it was some play about the life of Paul Robeson starring the captain of Star Trek Deep Space Nine. I bought a ticket from a woman standing outside the theater, went in, sat down and was totally blown away by Brooks' performance and the show itself. The whole show is just Avery Brooks telling the life of Paul Robeson and singing some of the songs associated with him. The only other person on stage was a piano player. It was phenomenal.
I don't think I've seen any show expecting it to be good and having it turn out not to be. I try not to have any expectations. There have been quite a few shows that I've had to see (local shows with friends in them), knowing that they would be bad. Never a good thing.
About "Blood Brothers," friends of mine saw this in New York, knowing the Kiki Dee CD. One of them loved the CD and ended up hating the show, the other one hated the CD and loved the show. Go figure. I really like the CDs that I have except for the Petula Clark/Cassidy Brothers recording. It's just okay to me. I don't know why. TD, I'm pretty sure that I have the Stephanie Lawrence CD. I can check when I get home, if no one else has contacted you yet.
Posted by George @ 06/19/2003 05:04 PM PST

I have no expectations.
Posted by Fosca @ 06/19/2003 05:27 PM PST

I had a great experience today. Tacoma, unlike the Emerald City to the north of us, is not really a thriving theater community. We have one Equity house and three or four community theatres, as opposed to Seattle's numerous Equity houses and dozens of semi-professional and community theatres. I don't know what percentage of Tacoma's population attends theater productions, but I don't imagine it is a very large number.
So, (now that I have bashed my hometown) my unit from work went out to lunch today to celebrate a birthday. We were sitting there talking when I noticed this older woman looking at me. After about a half hour of watching me and listening to me talk, she finally came over to the table and asked if I was starring in "Hello, Dolly!". I told her I was (but not as Dolly)and she went on and on about the fact that she had already seen the show twice, that she was hoping to see it again before we close, and how wodnderful I was in the show. My co-workers were blown away by the whole thing. They are used to me doing shows, and sometimes they come see them and sometimes they don't; but I don't think they ever thought what I do is very important. ("It's Just Tom.") The funny thing is now that somebody else is raving about the show, they all want to see it, but with only two weeks left, and a lot of the performances sold out already, the chance of them all getting into see the show is pretty slim. LOL.
Sorry, I just had to toot my own horn.
Posted by TCB @ 06/19/2003 05:41 PM PST

Playbill has announced that, according to Variety, "Minnie Driver will play cantankerous diva Carlotta in the Joel Schumacher-directed film version of Andrew Lloyd Webber's The Phantom of the Opera."
The musical has Carlotta asking, "Will she sing? Will she sing?" What I wanna know is Can she sing? Can she sing?? Maybe they'll get the fabulous Judy Kaye be her singing voice. She won the Tony. Wait a minute...why didn't they just hire Judy to play the role? She won the Tony! Click on my name for the Playbill.com article.
Posted by George @ 06/19/2003 06:03 PM PST

Not on the topic, necessarily, but I thought I would share with you how I spent my evening yesterday.
In Los Angeles there is an organization called the Los Angeles Conservancy, the mission of which is to heighten awareness about preservation issues in the Los Angeles area. Each June, they mount a series called "Last Remaining Seats," during which they screen classic movies in various historic movie palaces in L.A., most of them clustered on Broadway in the downtown area. Some of these theaters have been restored (quite beautifully) and others are calling our for restoration. The point is to draw people to a part of L.A. that typically shuts down at sunset and provide those people access to venues that prove that L.A., indeed, has a remarkable architectural history.
Last night's film was TO KILL A MOCKINGBIRD. This film was placed on the series schedule months ago, so it was quite an eerie coincidence that it should come a week after the passing of Mr. Gregory Peck. The film was shown at the Orpheum Theater, which underwent a $3 million restoration two years ago. The place is GORGEOUS. The marquee is ablaze in neon, and the pseudo-French furnishings and decor are astounding. A Mighty Wurlitzer was restored when the theater was and we were treated to a concert on it before the show began. A brand new screen made its "debut" last night as well.
After the Wurlitzer and before the screening, Mr. Kenneth Turan, a film critic with the Los Angeles Times, interviewed Mr. Brock Peters, who, of course, played a central role in TKAM. Mr. Peters came across as someone with a good deal of class, and he spoke reverently of Mr. Peck and their time together making the picture. He also talked some about his career.
And then the film, which happened to be a fresh print from Universal Studios. (Unfortunately, the soundtrack on the first reel was out of sync with the image. We were warned of this beforehand, were told that heroic efforts were undertaken to try and fix the problem, and copious apologies were made.)
What a picture! It had been a while since I've seen TKAM, and though I remember it being a very moving film, I had forgotten just how moving. I marveled once again at the different dimensions of the story, ranging from Big Message (about racism and justice) to the very realistically told story of innocents growing up--and learning and maturing--in an all too real world to the very intimate story of a man's relationship (and what a man!) with his daughter. The acting--in every role--is simply astounding, and the score, by Mr. Elmer Bernstein, is perfection.
Last night was a great example--at least for me--of how film, especially in a setting such as the one I was in, can truly transport and, yes, transform us.
Posted by Jay @ 06/19/2003 06:12 PM PST

Congratulations TCB. I've had a few "fan" moments like that myself. It's fun when someone recognizes me from a show that I'm currently in, but a couple of years ago my sister and I took our parents on the Spirit of Washington dinner train for their anniversary and when we got to the winery at the end of the train ride (I forget the name of it), someone recognized me from a show I did in Olympia (where I'm from) four years before that!
Posted by George @ 06/19/2003 06:20 PM PST

I really must get back in the swing of things, LA-wise, for surely had I known of the Orpheum screening last night I would have been there. What do they use the Orpheum for when they're not doing these special events. Must be doing something down there if they spent 3 mil on the joint. I haven't been to one of those conservancy screenings in over ten years, but I used to really enjoy them.
In a few moments I will be heading over to Mr. Grant Geissman's home studio environment to record the lovely Sharon McNight.
Posted by bk @ 06/19/2003 06:25 PM PST

Yes, yes! Give Judy Kaye a
break and cast her in the
screen version of POO!!!
Hey, Mr Producer?! I'm
talkinfgto YOU sir!
Give the girl a break, darn it!
Posted by François @ 06/19/2003 06:41 PM PST

Thank you Jay for the nice
report of that special
screening!
It's events like this that make
me wish I could be
somewhere else, instead of
being "stuck" here in
UNmusical stinky Paris!!!!
Posted by François @ 06/19/2003 06:47 PM PST

The headlings were in the entertainment news KIMMEL GETTING DIVORCED!
I thought not again! I didn't even know he was married.
But wait a minute it turned out to be the other Kimmel and then I really didn't care
Posted by MDS @ 06/19/2003 06:49 PM PST

Bk,
May I blow my top for a minute,
please?
May I express some
disappointment?
Thank you!
Why is it that so few of us are
"sponsoring" Michael
Shayne's site he created for
BK???????
Michael has done some terrific
job and DESERVES to be
acknowledged, him, the site
and his job!!!!
Why, oh why there are not
MORE people to SIGN his
guestbook??? Until now, i
counted 8!! 8 signatures, for
crying out loud????
Are we all so blasé, bored and
indifferent????.... or darn
LAZY???
Sorry! I had to do it!
Merci; I feel better but I'm
terribly disappointed....
Posted by François @ 06/19/2003 07:37 PM PST

Francois
merci beaucoup mille fois. Vous etes tres gentile(?)
Posted by Michael Shayne @ 06/19/2003 08:04 PM PST

I saw "Blood Brothers" about 11 years ago in London. 5 minutes into the show I was totally taken. Perhaps you have to be in the right frame of mind for it. I always described it as a British "kitchen sink" musical drama. Stephanie Lawrence was starring in it at that time. I really love that show.
One show I did not expect a lot from but found it very entertaining was "Woman In Black" again in London. A very creepy, spooky ghost story that had the audience literally screaming from fright.
Hated "Cats" and "Phantom of the Opera".
Posted by Dennis Clancy @ 06/19/2003 08:39 PM PST

Well, I'VE certainly acknowledged the mighty and wonderful job Mr. Michael Shayne has done on the site devoted to ME. But, yes, I was rather taken aback by the lack of guest book signatures. Maybe there's just so much stuff to get through that people forget.
Posted by bk @ 06/19/2003 09:24 PM PST

What, is everyone on a poutine break? My dessert this evening was recording the delicious Sharon McNight. Now I'm home and there are no count them no posts to read.
I'm wearing jeans, a white t-shirt and a plaid shirt. I ate Popeye's Fried Chicken earlier in the day - two count them two breasts. That is all I've eaten.
Posted by bk @ 06/19/2003 09:32 PM PST

BK - Mild or Spicy? And did you take the breading and skin off? ;-)
Clothes-wise - blue-gray Old Navy ringer-tee; khaki shirts.
And another good, short rehearsal day. A whole three hours today! Two hours yesterday. And four max tomorrow. Oh, and we're taking off Saturday! *Well, it's a double show day anyway, and since two of the cast are in the other show, we would have only had three hours anyway, but since we're so far ahead already... But blocking starts Sunday, so... Hmm.. maybe we'll go five hours! Whew! -Getting tired just thinking about it already. ;-)
-It's also been fun figuring out all the "rip-offs" and references in the songs in the show (I Love You, You're Perfect, No Change).
Oh, and I happened to get a nice shipment of CDs in the mail today. And all five were produced by our very own BK! -I'm so happy to have Judy Kuhn's Jule Styne album again. -It's been one of those albums that I've loaned to people, and then they like it so much that I end up giving it to them. -"I can just get another copy." Well, I finally got another copy. And Guys Haines makes an appearance here and there too on some of the CDs. BONUS!
Posted by Jose C. Simbulan @ 06/19/2003 09:55 PM PST

Mild. Breading and skin intact, the hell with it. And one biscuit with butter, the hell with it. And cole slaw, the hell with it. Still, that's all I ate all day so it should be okay.
Where are our late night Hainsies/Kimlets? Don't you know this is the perfect place for a nightcap, and we can be sophisticated and civilized and eat canapes until the cows come home, and play with our swizzle sticks.
Posted by bk @ 06/19/2003 10:00 PM PST

Jose, please, do sign the
guestbook..... or you'll be
deprived of dessert, you hear!
Merci!
http://www.brucekimmel.com/g
uestbook.html
Posted by François @ 06/19/2003 10:03 PM PST

François - I will sign the guestbook as soon as I'm able to "fully" view the web-site...
Michael - I'm currently "on the road", and use my laptop. Unfortunately, my laptop has limited memory, but, more importantly, I'm a bit "tight" on free disk space, so whenever I go to a graphics/pics heavy site, my computer's performance really slows down - my cache just fills up. *I'm still not able to fully view the recording session pages. -I'm also usually on a dial-up connection too, so...
*Is there anyway to make the pictures "smaller"? Or to break the pages up - well, at least the recording session photos.
-Sorry to post this here, but I actually just tried getting to brucekimmel.com, and since I'm going through a hotel switchboard, the dial-up connection is a little slower than my home dial-up connection. In other words, I wasn't able to get to the front page to load... well, not as fast as I would have like it to. ;-)
Posted by Jose C. Simbulan @ 06/19/2003 10:21 PM PST

Oh, and BK - Good for you! Why the heck would one order fried chicken and NOT eat the skin! -Although I know people who do that - just get baked or roasted chicken then!
And even though I have been under the tutelage - more or less - of Chet and Eileen, I've always been a follower of the adage: "It's only fattening if you feel guilty about it." And I really think there's some truth to it, and it's probably part of the French "paradox". Sure red wine may have something to do with it, but, I also think that actually enjoying, tasting and savoring your food must help too. All those positive vibes!
Posted by Jose C. Simbulan @ 06/19/2003 10:26 PM PST

CATS...big yawn.

Busy installing my new DVD player...took me all of 5 minutes, which was a surprise, but it doesn't fit in the built-in compartment, so now I have to use the saw (on the compartment). My old player went berzerk.
Maya: did you get FRIDA yet? Tell me how you like the special features and interviews!
Posted by KT @ 06/19/2003 10:55 PM PST

I too have yet to make it through the amazing maze Of BK information. Always intended to sign the guest book but seeing it is a guest book I thought it was mine.
Posted by Guilty Tom Guest from Oz @ 06/20/2003 12:16 AM PST

I have faith in Minnie Driver. I think she's actually sung onscreen before, too. She was barely recognizable in her role in "GoldenEye" as Irina, Bond's Russian contact's mistress. She appears in an early scene in a bar, singing country music in a thick Russian accent, cowboy hat and all.
I think she's still got a lot of untapped potential. It's Joel Schumacher I'm worried about. I wonder if he's learned anything about making musicals in the years since he wrote the screenplay for "The Wiz."
On the other hand, there are those who see similarities between Joel's "Batman and Robin" and Baz Luhrman's "Moulin Rouge." Is that a GOOD thing?
Posted by Sigerson Holmes @ 06/20/2003 02:36 AM PST

Batman and Robin and Moulin Rouge? What's the connection?
Posted by MDS @ 06/20/2003 04:19 AM PST

Sorry, I was taking an extended poutine break.
I checked out Michael's BK site simply eons ago and enjoyed it very much, but I don't sign guestbooks. Just not my thing, daddio. But rest assured that I purveyed, enjoyed, and appreciated.
Has Joel Schumacher made a single good film EVER? I'm thinkin' the answer to that question is NO.
Posted by Lulu @ 06/20/2003 06:06 AM PST

I don't believe I signed Michael's guestbook either since after I perused the site, I immediately e-mailed him to tell him how impressed I was with it.
I think Schumacher has made a couple of decent films. I liked A TIME TO KILL. I liked TIGERLAND. I haven't seen PHONE BOOTH, but I understand he sustains the tension quite well in the film which has a short running time by today's standards. I must say, however, I have no confidence in the movie version of THE PHANTOM OF THE OPERA. CHICAGO, with its vamps, sexuality, and zippy songs and dances, was made "hip" by the nature of its story and execution. PHANTOM is going to play like an old fashioned musical that just isn't going to be a date movie. And without that going for it (some appeal to younger viewers), it's going to flop. I see nothing more than EVITA or MOULIN ROUGE box-office numbers for it, and it will surely cost more than either of those films to produce. Consequently, it will be deemed a failure.
Posted by Matt H. @ 06/20/2003 06:41 AM PST

Hmmmm... well I enjoyed Phantom of the Opera but then again that's the way it is.
I am not sure how it will translate to the screen - might make a good soundtrack CD though.
Minnie Driver - haven't really liked her in anything, but okay. To me she is a spoon person - you know, how your face looks when you look into a spoon...but then that's okay.
Posted by Jrand52 @ 06/20/2003 08:08 AM PST

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