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[Freddie]

I knew about the Monopoly/Landlord kerfuffle.....

Bruce Kimmel's Demos.

That sounds like a fun board game.

That mention in the notes of the BK demos is quite intriguing!

[Freddie]

Speaking opf A & T Book 1, I got a lovely email from my publisher. After apologizing for the delay, he wrote:
. . . you should know that your book is the last outside title that Moreclacke will publish, and I intend to go out with a bang. Kristine[his wife] firmly believes that A&T will be very successful and who am I to disagree?

That's great, Larry!

[Freddie]

Page Two!

[Donald]

Happy Sunday to one and all.  It's time for another Putting It Together episode on the Broadway Radio Show.  This time we are putting together Lionel Bart's Tony Award winning score for OLIVER! using 6 different cast recordings, including the just released live cast recording of the hit London revival.  Check it out!

http://www.haineshisway.com/the-broadway-radio-show-2/

[ChasSmith]

Good morning, all.

[ChasSmith]

Some interesting posts this morning...starting with BK's notes about the reel-to-reel "Demos". MOST interesting.

[ChasSmith]

Speaking opf A & T Book 1, I got a lovely email from my publisher. After apologizing for the delay, he wrote:
. . . you should know that your book is the last outside title that Moreclacke will publish, and I intend to go out with a bang. Kristine[his wife] firmly believes that A&T will be very successful and who am I to disagree?

And this is - at first, alarming, but - very positive news. I love their feeling about it, and I hope they make it happen SOON.

[ChasSmith]

I have always done my own rehearsal schedule.....and other directors I have worked with have done that also.

Interesting.

I hate it because you have to work around "conflicts."

I've always done my own as well. I like it. Of course, with recording, there are only occasional hurdles since the singers are hired for a certain number of days and expected to arrive knowing the material. In 2001, when John McGlinn recorded Babes in Toyland, we got to London and the soprano hired to sing the role of Tom-Tom arrived with such a cold and vocal issues and she was paid off and replaced immediately. In 1998, recording The Most Happy Fella in London, our Tony, Louis Quilico arrived thinking he remembered the score from singing the role before. We ended up, for the most part, recording his orchestra tracks and giving him several months to relearn the material. He was a very nice man and once a great baritone, but . . .

Wow. Several MONTHS? I remember seeing him at the Met (will have to think what it was) and probably hearing him on broadcasts. He was a big deal then.

[ChasSmith]

How could I forget "Goldfinger?" I loved the movie and was crazy about the song. I drove my parents mad when I got the sheet music and wouldn't stop playing it on the piano. WThen, when the soundtrack album was released, I played that sucker to death.

Goldfinger was my entry point into the Bond films because my parents hadn't let me go to the first two at my tender age! But man, what a whole new world that opened up. I went repeatedly and I'm sure I destroyed my first copy of that soundtrack album, too. As for playing on the piano, I don't remember if I got the sheet music. I probably picked out "Goldfinger" and little bits of the soundtrack by ear, and it would almost certainly have sucked.

[ChasSmith]

Great photos last night, DR John G. That must have been even more beautiful in real life!

[ChasSmith]

In our 99- (give or take) seat theeders, the directors I've worked with have had to draw up their own rehearsal schedules - and yes, deal with the CONFLICTS which seem to become a more nightmarish challenge every year.

We have a few stage managers who are excellent in all respects, but none I've been involved with have had that responsibility. They do, of course, take charge at maintaining the schedules and herding the cats - I mean the casts - or was I right the first time? - accordingly.

[Jrand74]

Great news DR ELMORE.

[elmore3003]

I have always done my own rehearsal schedule.....and other directors I have worked with have done that also.

Interesting.

I hate it because you have to work around "conflicts."

I've always done my own as well. I like it. Of course, with recording, there are only occasional hurdles since the singers are hired for a certain number of days and expected to arrive knowing the material. In 2001, when John McGlinn recorded Babes in Toyland, we got to London and the soprano hired to sing the role of Tom-Tom arrived with such a cold and vocal issues and she was paid off and replaced immediately. In 1998, recording The Most Happy Fella in London, our Tony, Louis Quilico arrived thinking he remembered the score from singing the role before. We ended up, for the most part, recording his orchestra tracks and giving him several months to relearn the material. He was a very nice man and once a great baritone, but . . .

Wow. Several MONTHS? I remember seeing him at the Met (will have to think what it was) and probably hearing him on broadcasts. He was a big deal then.

I think his most fampous roles were in Verdi operas, particularly Rigoletto. His handsome son Gino had a big career for a while, particularly Figaro in Corigliano's Ghosts of Versaille.

[elmore3003]

Great photos last night, DR John G. That must have been even more beautiful in real life!

That's true! I bet the food was wonderful and that a good time was had by all.

[elmore3003]

Gino Quilico is 69 years old now! I guess in my mind he'll always be 30-40 and very handsome. And he was a wondewrful baritone. I think I have a DVD of The Barber of Seville with him in the title role.

[John G.]

Good morning, all.

[John G.]

I’m glad you enjoyed the photos. I may post a couple more.

[John G.]

Nice note on the book, Elmore.

[elmore3003]

Last night, I began watching the 1980 BBC production of Pride and Prejudice. I love Elizabeth Garvie as Elizabeth Bennet but the teleplay - on five episodes as opposed to six in the 1995 BBC production - does some strange things to cover lost plot elements and the romantic quality is far superior in Andrew Davis' 1995 teleplay. This time around I noticed two things:
1. The score is far inferior to Carl Davis' energetic and witty 1995 work.
2. The novel closely adheres to the 1812-1813 calendar, and the novel covers a year, September 1812 to September 1813:
Late summer, September 1812, Bingley rents Netherfield Hall;
Late Nov. 1812, Bingley leave Netherfield;
Just after Christmas, Jane Bennet goes to London for several months to stay with her Aunt and Uncle Gardiner;
March 1813, Elizabeth spends two months in Kent with Charlotte and Mr Collins;
Early April 1813, Mr Darcy proposes to Elizabrth and she rejects him;
July 1813, Elizabeth and the Gardiners travel to Derbyshire and Pemberley; Lydia is seduced by Wickham;
August 1813, Darcybuys Wickham to save Lydia's reputation;
September 1813, Bingly returns to Netherfield and proposes to Jane Bennet, Darcy proposes to Elizabeth.

In the 1980 production, the seasons never change; thew entire series of evens takes place in warm weather anmd the events of the novel appear to take place over a couple of spring-summer months!

[John G.]

A tree decorated to look like spring

[John G.]

The exterior of Buddha Hall

[John G.]

The interior

[elmore3003]

Access-a-Ride booked.

[John G.]

I want to dance on the ceiling

[elmore3003]

The interior

That's quite lovely.

[John G.]

We went late last night, so no one was particularly hungry. We did share a bowl that could be described as a Vietnamese version of ramen. Rice noodles in a tasty broth with beef and plenty of fresh vegetables. It was excellent, particularly thin slivers of red and green cabbage that were still crunchy.

[Jrand74]

Lovely photos DR JOHN G.

[John G.]

I didn’t even know the retreat was there. It’s fairly secluded. And it’s only about six or seven miles from my house.

[John G.]

Let’s move on.

[John G.]

One more.