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Author Topic: THE EMERGENCY NOTES  (Read 24349 times)

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Matt H.

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Re: THE EMERGENCY NOTES
« Reply #60 on: March 15, 2009, 07:57:53 AM »

As I mentioned last night, I'll be working on BOLT today, the SD version. Should make for a pleasnt but undemending afternoon.
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Matt H.

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Re: THE EMERGENCY NOTES
« Reply #61 on: March 15, 2009, 07:58:09 AM »

Page Three Dance!!!
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Matt H.

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Re: THE EMERGENCY NOTES
« Reply #62 on: March 15, 2009, 07:59:58 AM »

I hope Time Warner (bk's nemesis) has put up WEdnesday night's DAMAGES on the HD Showcase channel by now. When I checked yesterday afternoon, it hadn't been put up yet, and that has kind of become my Sunday lunch program.

If it's not up, I'll watch Wednesday night's LAW & ORDER as I eat lunch.
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Matt H.

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Re: THE EMERGENCY NOTES
« Reply #63 on: March 15, 2009, 08:02:34 AM »

I apologize for missing a few of BK's blogs over the past few weeks, but I've been mostly tied up with my move.

However, today I read (probably old news for most) that BK is going to release the score for ILLYA DARLING...which brings back a personal memory.

When that show was nominated for several Tony's, composer Manos Hatzidakis hired me to set up a press conference, so that he could refuse his nomination.  [He had already won an Oscar for the main song in the movie version, NEVER ON SUNDAY.]

For the life of me, I can't recall his reasons for refusing the nomination, but the Tony people didn't take his name off of the list, nor did he win.

I recall that Manos spoke very little English and that his translator was Stathis Giallelis (AMERICA, AMERICA).

The 1967-68 season was one of the weakest in Tony history. None of the four nominated shows ended up being a hit and actually all ran less than a year and had huge losses (for the time): HALLELUJAH BABY (the winner), THE HAPPY TIME (which should have won), HOW NOW DOW JONES, and ILLYA DARLING.
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Druxy

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Re: THE EMERGENCY NOTES
« Reply #64 on: March 15, 2009, 08:05:09 AM »

As I mentioned last night, I'll be working on BOLT today, the SD version. Should make for a pleasnt but undemending afternoon.

I watched BOLT the other night and almost turned it off after the first 5 minutes, because it looked like it was another mindless superhero movie.  Then, thankfully, it was revealed to be a movie-within-a-movie.

We really enjoyed it.  Very entertaining.
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Druxy

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Re: THE EMERGENCY NOTES
« Reply #65 on: March 15, 2009, 08:08:54 AM »

I can understand bk's frustration when the internet is down which just goes to show how much it has burrowed into our lives. When my DSL went down twice in a month, I was frantic. I mean, my work depends on having access to the internet at some point, and when that was taken away, I immediately began worrying about how I'd be able to get reviews posted in a timely fashion.

Plus, I stay in touch with friends much more through the internet now than I do via telephone.

This Time/Warner thing concerns me, primarily since that's the service we're going to have in Austin (internet, phone, tv),.  None of the other providers are available in our new development yet.  So, if one goes out, they all go out.

We are, however, going to get a land line for the FAX (which will also have a handset).  At least, we won't be completely cut off in an outtage.
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td

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Re: THE EMERGENCY NOTES
« Reply #66 on: March 15, 2009, 08:12:54 AM »

Dixie Bell has good taste, DR td.

 :D
(she does like "Love Changes Everything," but my favorite Michael Ball recording is NOT on PAST AND PRESENT: "Walking in Memphis.")
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Druxy

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Re: THE EMERGENCY NOTES
« Reply #67 on: March 15, 2009, 08:12:55 AM »

I apologize for missing a few of BK's blogs over the past few weeks, but I've been mostly tied up with my move.

However, today I read (probably old news for most) that BK is going to release the score for ILLYA DARLING...which brings back a personal memory.

When that show was nominated for several Tony's, composer Manos Hatzidakis hired me to set up a press conference, so that he could refuse his nomination.  [He had already won an Oscar for the main song in the movie version, NEVER ON SUNDAY.]

For the life of me, I can't recall his reasons for refusing the nomination, but the Tony people didn't take his name off of the list, nor did he win.

I recall that Manos spoke very little English and that his translator was Stathis Giallelis (AMERICA, AMERICA).

The 1967-68 season was one of the weakest in Tony history. None of the four nominated shows ended up being a hit and actually all ran less than a year and had huge losses (for the time): HALLELUJAH BABY (the winner), THE HAPPY TIME (which should have won), HOW NOW DOW JONES, and ILLYA DARLING.

I love the score for THE HAPPY TIME.  I saw the show with Goulet/Wayne...and a very young Michael Rupert...when it tried out here before going to New York.  I think they cut/replaced one number for Broadway.
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Matt H.

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Re: THE EMERGENCY NOTES
« Reply #68 on: March 15, 2009, 08:26:57 AM »

I apologize for missing a few of BK's blogs over the past few weeks, but I've been mostly tied up with my move.

However, today I read (probably old news for most) that BK is going to release the score for ILLYA DARLING...which brings back a personal memory.

When that show was nominated for several Tony's, composer Manos Hatzidakis hired me to set up a press conference, so that he could refuse his nomination.  [He had already won an Oscar for the main song in the movie version, NEVER ON SUNDAY.]

For the life of me, I can't recall his reasons for refusing the nomination, but the Tony people didn't take his name off of the list, nor did he win.

I recall that Manos spoke very little English and that his translator was Stathis Giallelis (AMERICA, AMERICA).

The 1967-68 season was one of the weakest in Tony history. None of the four nominated shows ended up being a hit and actually all ran less than a year and had huge losses (for the time): HALLELUJAH BABY (the winner), THE HAPPY TIME (which should have won), HOW NOW DOW JONES, and ILLYA DARLING.

I love the score for THE HAPPY TIME.  I saw the show with Goulet/Wayne...and a very young Michael Rupert...when it tried out here before going to New York.  I think they cut/replaced one number for Broadway.

I saw the show in NYC at the cavernous Broadway Theatre. I think it was the first Broadway show I ever went to (going back to 1958) that there were lots of seats along the side sections that were empty, so I knew watching it that the show hadn't caught on. I fell instantly in love with the charismatic Goulet, and was so very impressed with Michael Rupert's touching, sincere portrayal. David Wayne, of course, stole all of his scenes and numbers.

I adored it, and still consider it one of the most criminally underrated Broadway shows ever. I think Gower Champion misread the material and tried to turn it into a HELLO DOLLY supermusical instead of the smaller almost chamber piece it was. I'm convinced if it had played at, say, the Music Box or even a smaller theater like the Booth, it would have had a long, happy run. But it was too small a show for the huge Broadway Theatre.
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Matt H.

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Re: THE EMERGENCY NOTES
« Reply #69 on: March 15, 2009, 08:29:09 AM »

Now, I need to tend to a few housekeeping chores in my office and then head down to get laundry sorted and lunch started.

WBBL.
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Michael

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Re: THE EMERGENCY NOTES
« Reply #70 on: March 15, 2009, 08:49:01 AM »

I apologize for missing a few of BK's blogs over the past few weeks, but I've been mostly tied up with my move.

However, today I read (probably old news for most) that BK is going to release the score for ILLYA DARLING...which brings back a personal memory.

When that show was nominated for several Tony's, composer Manos Hatzidakis hired me to set up a press conference, so that he could refuse his nomination.  [He had already won an Oscar for the main song in the movie version, NEVER ON SUNDAY.]

For the life of me, I can't recall his reasons for refusing the nomination, but the Tony people didn't take his name off of the list, nor did he win.

I recall that Manos spoke very little English and that his translator was Stathis Giallelis (AMERICA, AMERICA).

The 1967-68 season was one of the weakest in Tony history. None of the four nominated shows ended up being a hit and actually all ran less than a year and had huge losses (for the time): HALLELUJAH BABY (the winner), THE HAPPY TIME (which should have won), HOW NOW DOW JONES, and ILLYA DARLING.

I love the score for THE HAPPY TIME.  I saw the show with Goulet/Wayne...and a very young Michael Rupert...when it tried out here before going to New York.  I think they cut/replaced one number for Broadway.

I saw the show in NYC at the cavernous Broadway Theatre. I think it was the first Broadway show I ever went to (going back to 1958) that there were lots of seats along the side sections that were empty, so I knew watching it that the show hadn't caught on. I fell instantly in love with the charismatic Goulet, and was so very impressed with Michael Rupert's touching, sincere portrayal. David Wayne, of course, stole all of his scenes and numbers.

I adored it, and still consider it one of the most criminally underrated Broadway shows ever. I think Gower Champion misread the material and tried to turn it into a HELLO DOLLY supermusical instead of the smaller almost chamber piece it was. I'm convinced if it had played at, say, the Music Box or even a smaller theater like the Booth, it would have had a long, happy run. But it was too small a show for the huge Broadway Theatre.

I have always been intrigued by one of the songs that was cut after the opening of The Happy Time. It wasn't on the OC recording and as far as I know it hasn't been recorded by another artist.

The song is


Being Alive

four years before Sondheim wrote his song.
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Druxy

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Re: THE EMERGENCY NOTES
« Reply #71 on: March 15, 2009, 09:04:09 AM »

I apologize for missing a few of BK's blogs over the past few weeks, but I've been mostly tied up with my move.

However, today I read (probably old news for most) that BK is going to release the score for ILLYA DARLING...which brings back a personal memory.

When that show was nominated for several Tony's, composer Manos Hatzidakis hired me to set up a press conference, so that he could refuse his nomination.  [He had already won an Oscar for the main song in the movie version, NEVER ON SUNDAY.]

For the life of me, I can't recall his reasons for refusing the nomination, but the Tony people didn't take his name off of the list, nor did he win.

I recall that Manos spoke very little English and that his translator was Stathis Giallelis (AMERICA, AMERICA).

The 1967-68 season was one of the weakest in Tony history. None of the four nominated shows ended up being a hit and actually all ran less than a year and had huge losses (for the time): HALLELUJAH BABY (the winner), THE HAPPY TIME (which should have won), HOW NOW DOW JONES, and ILLYA DARLING.

I love the score for THE HAPPY TIME.  I saw the show with Goulet/Wayne...and a very young Michael Rupert...when it tried out here before going to New York.  I think they cut/replaced one number for Broadway.

I saw the show in NYC at the cavernous Broadway Theatre. I think it was the first Broadway show I ever went to (going back to 1958) that there were lots of seats along the side sections that were empty, so I knew watching it that the show hadn't caught on. I fell instantly in love with the charismatic Goulet, and was so very impressed with Michael Rupert's touching, sincere portrayal. David Wayne, of course, stole all of his scenes and numbers.

I adored it, and still consider it one of the most criminally underrated Broadway shows ever. I think Gower Champion misread the material and tried to turn it into a HELLO DOLLY supermusical instead of the smaller almost chamber piece it was. I'm convinced if it had played at, say, the Music Box or even a smaller theater like the Booth, it would have had a long, happy run. But it was too small a show for the huge Broadway Theatre.

As I recall, it played L.A. at the Dorothy Chandler, also  a huge house.
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Druxy

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Re: THE EMERGENCY NOTES
« Reply #72 on: March 15, 2009, 09:07:37 AM »

I apologize for missing a few of BK's blogs over the past few weeks, but I've been mostly tied up with my move.

However, today I read (probably old news for most) that BK is going to release the score for ILLYA DARLING...which brings back a personal memory.

When that show was nominated for several Tony's, composer Manos Hatzidakis hired me to set up a press conference, so that he could refuse his nomination.  [He had already won an Oscar for the main song in the movie version, NEVER ON SUNDAY.]

For the life of me, I can't recall his reasons for refusing the nomination, but the Tony people didn't take his name off of the list, nor did he win.

I recall that Manos spoke very little English and that his translator was Stathis Giallelis (AMERICA, AMERICA).

The 1967-68 season was one of the weakest in Tony history. None of the four nominated shows ended up being a hit and actually all ran less than a year and had huge losses (for the time): HALLELUJAH BABY (the winner), THE HAPPY TIME (which should have won), HOW NOW DOW JONES, and ILLYA DARLING.

I love the score for THE HAPPY TIME.  I saw the show with Goulet/Wayne...and a very young Michael Rupert...when it tried out here before going to New York.  I think they cut/replaced one number for Broadway.

I saw the show in NYC at the cavernous Broadway Theatre. I think it was the first Broadway show I ever went to (going back to 1958) that there were lots of seats along the side sections that were empty, so I knew watching it that the show hadn't caught on. I fell instantly in love with the charismatic Goulet, and was so very impressed with Michael Rupert's touching, sincere portrayal. David Wayne, of course, stole all of his scenes and numbers.

I adored it, and still consider it one of the most criminally underrated Broadway shows ever. I think Gower Champion misread the material and tried to turn it into a HELLO DOLLY supermusical instead of the smaller almost chamber piece it was. I'm convinced if it had played at, say, the Music Box or even a smaller theater like the Booth, it would have had a long, happy run. But it was too small a show for the huge Broadway Theatre.

I have always been intrigued by one of the songs that was cut after the opening of The Happy Time. It wasn't on the OC recording and as far as I know it hasn't been recorded by another artist.

The song is


Being Alive

four years before Sondheim wrote his song.

The song that I recall being cut was a "Happy Birthday" kind of number that had all of the cast members rolling their own big birthday cake (with lit candles) onto the stage.

BTW: Does anybody know what the show's co-star, Julie Gregg, is doing these days?

I know she was in THE GODFATHER and the movie of MAN OF LA MANCHA, but I've lost track of her.

She used to be a publicity client.  A very beautiful/talented lady.
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Jeanne

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Re: THE EMERGENCY NOTES
« Reply #73 on: March 15, 2009, 09:22:43 AM »

Another slow day at HHW?
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bk

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Re: THE EMERGENCY NOTES
« Reply #74 on: March 15, 2009, 09:23:41 AM »

I'm up, I'm up.
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Jeanne

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Re: THE EMERGENCY NOTES
« Reply #75 on: March 15, 2009, 09:23:47 AM »

Where's MISS KAREN?? RON P???
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Jeanne

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Re: THE EMERGENCY NOTES
« Reply #76 on: March 15, 2009, 09:24:21 AM »

Well, BK is here.


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bk

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Re: THE EMERGENCY NOTES
« Reply #77 on: March 15, 2009, 09:24:46 AM »

I saw The Happy Time at the Dorothy Chandler Pavilion back when it was trying out.  I thought there were really good things in it, especially some of Gower's choreography, of which I was a huge fan.  But something about it didn't work even for me at my relatively young age.
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Jeanne

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Re: THE EMERGENCY NOTES
« Reply #78 on: March 15, 2009, 09:24:55 AM »

In his jammies, I see.
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bk

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Re: THE EMERGENCY NOTES
« Reply #79 on: March 15, 2009, 09:25:04 AM »

Shayne, I spoke of Howard The Duck in the notes a week or two ago.
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bk

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Re: THE EMERGENCY NOTES
« Reply #80 on: March 15, 2009, 09:25:42 AM »

I don't think this day has figured itself out yet, weather-wise.
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bk

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Re: THE EMERGENCY NOTES
« Reply #81 on: March 15, 2009, 09:26:12 AM »

Manos Hadjidakis shouldn't have been refusing anything.
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bk

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Re: THE EMERGENCY NOTES
« Reply #82 on: March 15, 2009, 09:26:38 AM »

When he writes his music down by hand, it's The Hands of Manos.
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bk

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Re: THE EMERGENCY NOTES
« Reply #83 on: March 15, 2009, 09:26:54 AM »

I'm on a roll. 
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bk

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Re: THE EMERGENCY NOTES
« Reply #84 on: March 15, 2009, 09:27:59 AM »

I've got about twenty orders here that have come in since we've addressed packages, so I'll have to get those packages ready today, otherwise I'm not doing ANY work.
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bk

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Re: THE EMERGENCY NOTES
« Reply #85 on: March 15, 2009, 09:29:32 AM »

I think I slept almost eight hours.
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bk

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Re: THE EMERGENCY NOTES
« Reply #86 on: March 15, 2009, 09:30:51 AM »

Can someone tell me how to do this "group" thing on Facebook - I want to send a message to all my friends and I don't know how to group them.
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Druxy

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Re: THE EMERGENCY NOTES
« Reply #87 on: March 15, 2009, 09:42:26 AM »

Manos Hadjidakis shouldn't have been refusing anything.

You weren't a fan?
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bk

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Re: THE EMERGENCY NOTES
« Reply #88 on: March 15, 2009, 10:27:48 AM »

He was okay - they were all VERY political - Mercouri gave a SPEECH opening night, all political.  It does get tiresome.
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bk

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Re: THE EMERGENCY NOTES
« Reply #89 on: March 15, 2009, 10:28:11 AM »

I've been procrastinating on the jog because it just looks so chilly out.
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