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[Jrand74]

Unless you are Lucy Ricardo - SHE would find a way to use that ticket.

[Jrand74]

Page 4 colorized Lucy Dance.

[FJL]

I understand this new big-screen version of LUCY is doing well at the box office.

[BrettySpaghetti]

Hey, question for all of you theater buffs!

I've noticed that there are two kinds of songs in musicals: (1) The sort where characters spontaneously begin to sing, generally advancing the plot and acting as a substitute for a narrative, and (2) Production-number songs where characters are typically on a stage-within-a-stage or acting in a show-within-the-show. Several shows contain both kinds of songs (i.e., Cabaret, Damn Yankees); a good illustration would be the difference between "What I Did for Love" (type #1) and "One" (type #2) from A Chorus Line.

Is there a formal nomenclature for these types of songs? It would come in handy in explaining the difference, for example, between the songs in the movie and stage versions of Kinky Boots.

Thanks!

Brett

[bk]

I'm up, I'm up.  I went back to bed around seven and fell right asleep, so I guess I got around five or six hours total.  Normally I'd go eat at noon, but I think today I'll wait till after two.

[FJL]

Hi Bretty - I've heard the expression "source songs" for the in-performance type of songs, but can;t find that definition on the net.

[BrettySpaghetti]

Hi DR FJL,

Yes, I have heard "source" vs. "score" referred to with instrumental music. Wonder if the same terms apply for songs in musicals...

B

[George]

I'll order the CD in the morning.

CD has been ordered!

[elmore3003]

Did you all hear that loud twang?

It was the sound of the final straw from the Man from Philadelphia breaking this camel's proverbial back. The bridge has been burned, the Rubicon crossed.  There is no return.

[George]

So, today at 11:00, I see Dr Vong, my sports injuries/back specialist, who will most likely have me do a few exercises and report on my status, then say "keep up the therapy and I'll see you in a month."

Before then, I will stop at the post office and send a package to Ohio. I think that's all i've got today.

DR George, I have found Alban Berg's WOZZECK and LULU next toimpossible t listen to. when I follow them with a vocal or orchestra score, I get antsy about "how can you tell if someone's played a wrong note" or the music's endless search for a home base drives me up the wall. I feel the same about Glass' endless repitition to some degree, only Glass' music bores me silly besides making me antsy. 

That said, I find watching WOZZECK and LULU live or on video absolutely enthralling. I get outside the intellectual right-wrong note situation and just let the emotional sweep and the visuals carry me along. You might like the Met broadcast of LULU. The Met's WOZZECK was one of the best things I've ever sat through.

Thanks for the info, Larry.  I put in an Inter-Library Loan request for the Julia Migenes(-Johnson) "Lulu."  We'll see if they can get it.

[bk]

I am very happy to see that Ray Courts is back on the celebrity signing circuit - I think he's had so many complaints about the "people" who run the Hollywood Show that he decided to start up again.  I've just written him to see if he'd like me to join the late September show.

[George]

I think my earliest TV dinners were Salisbury Steak...I loved those.  I don't remember when we first had frozen pizza, but I remember very distinctly making our own homemade pizzas for years with the Jiffy pizza dough mix.

And, of course, since it's "old school," it contains:  ANIMAL SHORTENING (CONTAINS ONE OR MORE OF THE FOLLOWING: LARD, HYDROGENATED LARD, PARTIALLY HYDROGENATED LARD)....

Mmmm....love that hydrogenated AND partially hydrogenated lard!

[George]

Did you all hear that loud twang?

It was the sound of the final straw from the Man from Philadelphia breaking this camel's proverbial back. The bridge has been burned, the Rubicon crossed.  There is no return.

That's too bad, Larry.  I'm sorry.

[George]

It's a tribute to Elvis night.  Back in 1987, my friends went to the 10th anniversary of his death and pretended to be with a TV station (or something) anyway, the interviewed a bunch of Elvis fanatics.   This will be the first time they've shown the video to anyone and I hear it's really funny.   They are also having a quiz, with fabulous prizes, an Elvis themed coaster (as in what you put your glass on) contest, and will be serving fried banana and peanut butter sandwiches.   I think the guys will love it

I was never a fan of Elvis, but that sounds like a fun evening.

[George]

DR George I apologize for missing the part about your sister's boyfriend and his new pacemaker. 
VIBES IT WORKS GREAT & HE FEELS BETTER!!!!

Thanks, Jane! 

[George]

DR George an hour earlier is going to be extra difficult in the winter months.

Well, when I got up this morning, I TOTALLY forgot about needing to get to work earlier and I got to work at what used to be my regular time.  SPOO!!  Fortunately, my supervisor is in Italy on a cruise, so no one really wondered where I was.

TOMORROW, I will get to work "on time."

[ChasSmith]

Sorry to hear about the camel's back, DR Elmore.

[George]

Dr Vong dismissed me: keep up the therapy and you don't need to see me again.

That's good news, Larry!

[Elan]

Hey, question for all of you theater buffs!

I've noticed that there are two kinds of songs in musicals: (1) The sort where characters spontaneously begin to sing, generally advancing the plot and acting as a substitute for a narrative, and (2) Production-number songs where characters are typically on a stage-within-a-stage or acting in a show-within-the-show. Several shows contain both kinds of songs (i.e., Cabaret, Damn Yankees); a good illustration would be the difference between "What I Did for Love" (type #1) and "One" (type #2) from A Chorus Line.

Is there a formal nomenclature for these types of songs? It would come in handy in explaining the difference, for example, between the songs in the movie and stage versions of Kinky Boots.

Thanks!

Brett

In movie lingo, a fancy term for music whose source is visible on-screen is "diegetic." I've heard the term used by some fancypants types for musicals as well (e.g. the nightclub songs in "Cabaret" would be diegetic, while "Why Should I Wake Up" is non-diegetic).

TOD: There was some frozen kosher chicken and beef pot pie company back in my youth that we ate fairly frequently, as I recall. Not sure about the brand name...

[elmore3003]

Sorry to hear about the camel's back, DR Elmore.

It's been coming for a year, but this recording has been difficult and he continues to work my last nerve.

[ryacko]

Happy Monday, all!

I had to pop in and say how much I loved the show last night, BK! I came in near the start, then found out that it was starting a little later. I got invited to sit with Carol Kline and Helen Geller in the back, and let Michale know I might have ot sneak out before the end. By the time Carol and Helen and I caught up, the show was beginning. Then, of course, I got up to leave for my rehearsal as you were announcing Dan's number from Ragtime as the last song, so I stayed for that. But I did have to bolt before the sing-along. So sorry I didn't get to see you and Adryan and the gang afterward.

I loved your number with Heather. It's funny that you called it your George and Gracie moment. That's exactly what I said to her last night on Faceplant, errr Facebook. It was perfectly played and so much fun. I never saw My Favorite Year the musical, but I know that film very well and remember the scene with Mark Linn-Baker and Jessica Harper well.

Heather's Crow number slayed me. One of the funniest things ever. And Shannon's "Alto's Lament" is another brilliant piece. Too bad I can't do that one.    It was also lovely to see you step in for Guy Haines, the poor guy, going to the wrong venue.  And yes, your patter was wonderful and the audience ate it all up.

Lovely performances all around and a fun show. Way more fun than my rehearsal too. I got there and the new girl, who was the main focus of the rehearsal... never showed. I coulda stayed for another half hour. grrrrr.

Anyway, Congrats!!

[FJL]

ryacko - She never showed?  Had she called to say she wasn't coming?

[Jane]

Is it too late to go?

Uh . . . yes.

Sorry.  I thought you might have been able to make it.

[BrettySpaghetti]

In movie lingo, a fancy term for music whose source is visible on-screen is "diegetic." I've heard the term used by some fancypants types for musicals as well (e.g. the nightclub songs in "Cabaret" would be diegetic, while "Why Should I Wake Up" is non-diegetic).

Very interesting! Thanks, DR Elan!

Brett

[bk]

Happy Monday, all!

I had to pop in and say how much I loved the show last night, BK! I came in near the start, then found out that it was starting a little later. I got invited to sit with Carol Kline and Helen Geller in the back, and let Michale know I might have ot sneak out before the end. By the time Carol and Helen and I caught up, the show was beginning. Then, of course, I got up to leave for my rehearsal as you were announcing Dan's number from Ragtime as the last song, so I stayed for that. But I did have to bolt before the sing-along. So sorry I didn't get to see you and Adryan and the gang afterward.

I loved your number with Heather. It's funny that you called it your George and Gracie moment. That's exactly what I said to her last night on Faceplant, errr Facebook. It was perfectly played and so much fun. I never saw My Favorite Year the musical, but I know that film very well and remember the scene with Mark Linn-Baker and Jessica Harper well.

Heather's Crow number slayed me. One of the funniest things ever. And Shannon's "Alto's Lament" is another brilliant piece. Too bad I can't do that one.    It was also lovely to see you step in for Guy Haines, the poor guy, going to the wrong venue.  And yes, your patter was wonderful and the audience ate it all up.

Lovely performances all around and a fun show. Way more fun than my rehearsal too. I got there and the new girl, who was the main focus of the rehearsal... never showed. I coulda stayed for another half hour. grrrrr.

Anyway, Congrats!!

Didn't know Helen Geller was there!  Damn.  I didn't see Carol either, and I was trying to make my way around the room before the show.

[John G.]

Did you all hear that loud twang?

It was the sound of the final straw from the Man from Philadelphia breaking this camel's proverbial back. The bridge has been burned, the Rubicon crossed.  There is no return.

Very sorry, Elmore. Vibes for new work soon.

[singdaw]

DR elmore3003 - very sorry about the end of Toyland.   {{{hugs}}}

[singdaw]

We have just completed a much-needed whirlwind bout of heavy cleaning. I'm a-sweatin' up a storm.

[Jane]

Unless you are Lucy Ricardo - SHE would find a way to use that ticket.

[Jane]

I understand this new big-screen version of LUCY is doing well at the box office.

The previews look good to me.