Posts Tagged ‘musicals’
January 9, 2014 | by Sadie Stein
Not that long ago, I was walking down a Brooklyn street and encountered an elderly woman surrounded by grocery bags. I offered to help carry them into her apartment, and I was sort of disappointed when she said yes and I saw what a long staircase it was and how heavy the bags were. After several trips we’d gotten them all in and she thanked me. “I was worried I was going to miss the beginning of Seven Brides for Seven Brothers on TV,” she explained. “It’s my favorite movie.”
“You know,” I said, “it’s out on DVD now. I’d be glad to loan it to you.”
“Oh, I have the DVD,” she said blithely.
The film inspires such irrational devotion. Whenever I am down, I go to YouTube and watch the barn-dance scene, which is famous not just because of the number of accomplished dancers in the cast but also because of the sheer, exhausting athleticism of Michael Kidd’s choreography. As a child, I decided that my wedding party would replicate the entire number—I was going to be Milly and do the pas de deux in the middle—but then you grow up and realize that unless you are a dictator on an international scale, this kind of thing is impossible. Nevertheless, I defy anyone to watch it and not get just a little bit cheered up. Read More »
November 29, 2013 | by Matt Weinstock
“If I had any visual talent, I would have loved to be a filmmaker,” Stephen Sondheim told me in a recent phone interview. “But I didn’t. So this is what I became.” It’s jarring to think that the legendary composer-lyricist of Sweeney Todd and Into the Woods only resorted to musical theater out of an inability to compose a wide shot. In the 1950s Sondheim directed amateur horror movies (“The photography is like a five-year-old’s”) and he later co-wrote the enjoyably chilly mystery film The Last of Sheila, but he has made a relatively piddling contribution to the art form that is deepest in his bones. As he told Frank Rich in 2000, “Movies were, and still are, my basic language.”
It’s the language he used to write Follies, the sumptuous 1971 Broadway musical about middle-aged showgirls gathering for a boozy, confrontational reunion on the eve of their old theater’s destruction. While critics have treated the show as an elegy to the theater, Hollywood seems to have been the headiest influence on Follies’ creative team. Sondheim has said that during the writing process, he “could only imagine the spectacle of a Ziegfeldian ‘Loveland’ in terms of movie musicals,” and co-director Harold Prince’s concept for Follies as a story about “rubble in the daylight” grew out of a Life magazine photo of Gloria Swanson standing in the ruins of the Roxy movie palace. Prince insisted that the libretto be rewritten to include cinematic techniques like dissolves, close-ups, and black-and-white flashbacks, and the orchestrations were deliberately rigged with MGM-isms (like the thrilling piano-to-orchestra swell midway through “Beautiful Girls”). Even the casting of old vaudevillians in many of the roles was inspired by Billy Wilder’s casting of silent movie actors in Sunset Boulevard. “We just kept hoovering up people who were close to the story,” Prince explained to me in a phone call. “That’s what Billy Wilder did: he put Swanson in the part so you thought, ‘Hey, she’s playing herself.’ She wasn’t, of course, but you made that connection.”
Was the fabled original production of Follies always pining away to be a movie? I called Sondheim and Prince after learning that they actually had cooked up a scheme to make a film version in the early 1970s, featuring dozens of faded stars from Hollywood’s Golden Age congregating on a studio backlot about to be torn down. It is intoxicating to imagine such a film, with archival footage of the stars sewn into the plot, and each cut functioning like an electric restoration of youth.Read More »
December 6, 2012 | by Sadie Stein
About ten years ago, after depositing my brother at camp, my parents found themselves in a junk shop in upstate New York. My dad came upon the following playbill for The Evil Eye: A Musical Comedy in Two Acts, presented by the Princeton University Triangle Club from 1915 to 1916. He opened the first page and noticed the following: “Book by Edmund Wilson, Jr., 1916,” and, a bit further down, “Lyrics by F. Scott Fitzgerald, 1917.” Numbers like “Jump Off the Wall” and “Harris from Paris” may be lost to history, but we thought we’d share the program with you nevertheless!
December 14, 2011 | by Sadie Stein