Anne Frank Superstar?!!

Posted on June 23, 2012 by David Fick

To purchase the Original Off-Broadway Cast Recording of YOURS, ANNE, a more traditional musical retelling of the Anne Frank story, click on the image above.

Every now and then, one comes across something really special on YouTube. At the beginning of the month, I posted some clips from a musical about Helen Keller featuring songs from Legally Blonde and Bat Boy. Today I am able to share two clips from a musical about Anne Frank featuring the songs of The Carpenters, which seems to be titled Anne Frank Superstar. Anne Frank was a young Jewish girl who kept a diary during the time she and her family were in hiding in an attic from the Nazis. When the Nazis discovered their hiding place, Anne (along with her family and the others who hid with them there) was sent to a concentration camp, where she died. The story has been musicalised previously by Enid Futterman and Michael Cohen as Yours, Anne, a show that deals with the subject matter with integrity. This production, in contrast, does not, despite its sincerity. Marrying the story of Anne Frank with the music of The Carpenters is a recipe for disaster. I can’t believe that this production made its way from someone’s mind onto the stage. It’s sheer lunacy. See for yourself…

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The ALLEGIANCE World Premiere

Posted on June 15, 2012 by David Fick

I was reading about the world premiere of Jay Kuo and Lorenzo Thione’s musical, Allegiance, on the press page for the show, which will take place in San Diego at The Old Globe in October this year. The show is described as ‘an epic story of family, love and patriotism set during the Japanese-American internment of World War II’:

On the 60th anniversary of Pearl Harbor, a meeting with a young journalist forces WWII veteran Sam Otsuka (television and film icon George Takei) to remember his family’s relocation from their California farm to the Heart Mountain internment camp. As they struggle to adjust to their new home, Young Sam (Broadway favorite Telly Leung) and his sister Kei (Tony Award winner Lea Salonga) find themselves torn between loyalty to their family and allegiance to their country. With its moving score, Allegiance takes audiences on a journey into our nation’s history through the eyes of one American family.

An interesting milieu, no? I think it sounds intriguing enough to deserve attention and the principle casting is fantastic. Here’s a song from the show, performed by Leung with Allie Trimm:

The song is beautiful, but it throws up questions around how the score has been composed in relation to the drama. For a show that deals with history, this song has an incredibly contemporary feel about it. I’d be keen to hear how it plays when fully orchestrated in the context of the show on the whole. Nonetheless, here’s wishing everyone in the Allegiance family well as they work towards their opening night!

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UP FOR DISCUSSION: “Musical Theatre and the Uncool”

Posted on June 5, 2012 by David Fick

I just read an article called “A Slushy in the Face: Musical Theatre Music and the Uncool“. Some interesting points, but I felt several are steeped in generalisations. One of the things that I found to be so was the idea that ‘the music of musical theater has evolved into a highly stylized and specific “genre” of its own, instantly recognizable’. Sure, that’s true of some musical theatre music. But would some of the songs from, say, Bloody Bloody Andrew Jackson be recognised instantly as ‘musical theatre music’? I don’t think so. Certainly when I’ve had the cast album playing in the car, people have asked me what band is singing the music. I’d certainly agree that there is a certain theatricality to musical theatre music that is perhaps missing from pop music, but I think that within musical theatre music there is a fair variety of styles that make musical theatre music far more variegated than it was prior to the 1960s.

There is also the claim made that Glee is single-handedly making musical theatre more popular and a direct link is made between the popularity of Glee and the financial success of The Book of Mormon and Spider-Man. Where’s the evidence of that? Both The Book of Mormon and Spider-Man have other factors at play in regard to their selling power. The rest of the article ponders the history of musical theatre and its links to popular culture. Dave Molloy’s conclusion to this argument is that musical theatre music lacks authenticity and that’s why it is unpopular. The best actors in musical theatre (Liza Minnelli and Lea Salonga), he says, are barely acting at all, just being themselves. The way to make musicals cool is to make them into concerts, with onstage bands that put the music ahead of the storytelling. I don’t really agree with any of this. The best musicals are those that acknowledge their inherent hybridism, not those that ignore it.

Molloy states that the music in musicals is an afterthought these days, taking second place to the book. I don’t agree with that either. Some of the books we see in some of the most mainstream of musicals today don’t live up to the scores. The book of The Book of Mormon, for instance, starts off well, but then degenerates into little more than a series of song setups at some point in Act I and never really steps up its game after that. And with cast albums travelling further faster than new productions do, it is the music that is known more widely than the shows themselves.

Any thoughts on this, or on anything else raised in the article? I thought it an interesting read, but I don’t think that Molloy really gets to grips with the reason why musical theatre needs to be “cool” to be compelling. Popularity sells, for sure, and if that were what he was implying – fine. But he’s trying to link coolness to artistry and I’m not sure he does that all that well here.

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Helen Keller: the Musical?!!

Posted on June 1, 2012 by David Fick

Goodness knows how long this will remain up on YouTube, but I thought I should share it while I had the chance. What you will see when you click play is a musical based on the life of Helen Keller. For those who don’t know, Keller was a woman who was both deaf and blind and who learned to communicate with the help of Anne Sullivan. That inspirational story is the subject of the play and film, The Miracle Worker. It’s not perhaps the first topic you’d pick when writing a musical, but lots of musicals are based on unconventional subject matter, so it also isn’t surprisng that somewhere in the world, someone might try to do it. But here’s the thing. This particular musical uses songs from Legally Blonde and Bat Boy to do it. In Korean. And it’s a bit of disaster. Have a look…


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Updates: THE PHANTOM OF THE OPERA

Posted on May 27, 2012 by David Fick

I’m piloting a refreshed look for the show pages here at Musical Cyberspace and I thought I would test things out on The Phantom of the Opera.

What’s New

Still to Come

  • The index will be linked directly to the content once the content is complete.
  • A decision around the inclusion or exclusion of Webring will be taken.
  • An analytic commentary of the show will be added.
  • Reviews of the remaining 2 major English recordings as well as reviews of the film and the 25th anniversary concert video recording will be will be written.

I hope that you are enjoying the changes and the new content. If you have any suggestions, feel free to write them down by commenting on this post. I can’t say that I’ll accommodate everything – for example, I am never going to include the lyrics for the show here, nor will I host an extensive show specific photo gallery because I simply don’t have the space, but I will take what is posted into consideration and take it from there.

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Single-Song Showstopper: “Beethoven Day”

Posted on April 30, 2012 by David Fick

To purchase the 1999 Broadway Revival Recording of YOU'RE A GOOD MAN, CHARLIE BROWN, click on the image above.

The theme for April 2012 at Musical Cyberspace is “Single-Song Showstoppers”, a series of big numbers sung by a featured characters in a show – typically their only solo, although they might sing minor bits and pieces elsewhere – each of which raise the roof.

Today’s single-song showstopper is “Beethoven Day”, one of the new numbers written by Andrew Lippa for You’re a Good Man, Charlie Brown, a musical comedy by John Gordon and Clark Gesner. The song offers Schroeder a definitive moment in the show that his spots in other numbers in the show didn’t give him. Stanley Wayne Mathis introduced this song to Broadway in the show’s most recent mainstream revival in 1999.

The Setup: Nothing profound here. It is Beethoven’s birthday and a jubilant Schroeder is spreading the word and getting everyone to celebrate the life and music of his idol.

The Song: When Andrew Lippa reworked the score for You’re a Good Man, Charlie Brown, it’s as if he tried to turn every song into a showstopper. This didn’t really work on more modest numbers like “My Blanket and Me” and where it worked best of all was in the two original numbers he wrote for the show, the other of which was featured here earlier this month. That song, “My New Philosophy”, is much better and a tighter piece of character work than “Beethoven Day”, which strays a bit into the generic energy that is typical of Lippa’s shows. But that energy still delivers in spades, certainly here where the number’s skew logic fits fairly well into the world of the Peanuts gang. Stanley Wayne Mathis did quite well by it musically, but – like the song – he perhaps offers more generic energy than sharp characterisation in his performance. As such, his performance simply isn’t definitive in the way that Kristen Chenoweth’s is of “My New Philosophy”, but it’s still pretty entertaining.

I’d love to hear your thoughts on “Beethoven Day”. Click on the comments link at the end of this post and share them with us!

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Single-Song Showstopper: “One More Angel in Heaven”

Posted on April 29, 2012 by David Fick

To purchase the Original Broadway Cast Recording of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, click on the image above.

The theme for April 2012 at Musical Cyberspace is “Single-Song Showstoppers”, a series of big numbers sung by a featured characters in a show – typically their only solo, although they might sing minor bits and pieces elsewhere – each of which raise the roof.

Today’s single-song showstopper is “One More Angel in Heaven”, from Andrew Lloyd Webber and Tim Rice’s Joseph and the Amazing Technicolor Dreamcoat. Originally sung by a random brother, the song has traditionally become a solo spot for Reuben – a fitting choice, since he is the eldest brother.

The Setup: The brothers, having sold Joseph into slavery have to come up with an explanation for their father, Jacob, that will cover their tracks.

The Song: “One More Angel in Heaven” is a modest song that was upgraded to showstopper status as Joseph and the Amazing Technicolor Dreamcoat was made into a bigger and bigger show. A laid back Western pastiche seems like an odd foundation for a high-energy showstopper, especially considering how serious the situation itself is, but it was when someone had the bright idea of playing into the irony of the situation, that the brothers not at all remorseful for their deeds or saddened by the loss of Joseph, that the idea for a celebratory hoedown was born. It’s that addition of dance that catapults this song into showstopper territory and, depending on how it’s handled in production, this can be an excellent example of how dance is not only be an entertaining diversion, but also a manner in which storytelling can take musicals further than what’s written on the page.

I’d love to hear your thoughts on “One More Angel in Heaven”. Click on the comments link at the end of this post and share them with us!

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Single-Song Showstopper: “Turn It Off”

Posted on April 7, 2012 by David Fick

To purchase the Original Broadway Cast Recording of THE BOOK OF MORMON, click on the image above.

The theme for April 2012 at Musical Cyberspace is “Single-Song Showstoppers”, a series of big numbers sung by a featured characters in a show – typically their only solo, although they might sing minor bits and pieces elsewhere – each of which raise the roof.

Today’s single-song showstopper is “Turn It Off”, from The Book of Mormon, a musical comedy by Trey Parker, Robert Lopez and Matt Stone. The song is sung by Elder McKinley, a role that was introduced by Rory O’Malley, and Missionaries

The Setup: Elder McKinley is the District Leader of the Mormon Church’s station in Uganda. Secretly gay but in denial of his feelings, “Turn It Off” is philosophy he uses to keep his feelings in check.

The Song: “Turn It Off” is not the funniest song in The Book of Mormon. Nor is it the most technically well-crafted: there are a handful of classic not-quite true rhymes here, like ‘time’/’line’. Some might say that doesn’t matter, but many people tend to knock the skill it takes to craft a song using true rhyme and in a witty comedy song, it’s one of the things that’s simply a must. So it’s clear that “Turn It Off” is probably not, as written, and speaking objectively, one of the best songs in the show. Yet, it is one of my favourites and it is a genuine, character-defining showstopper for Elder McKinley, with his missionary buddies in support. A great deal of that has to do with the phenomenally clever staging of the number. Starting off in a manner that reflects a simple conversation between the Mormon missionaries, the number shifts gear with a tap break that develops into a number with sequin clad waistcoats and clap-controlled light switches. And thus, a piece of charming dramatic writing turns into a moment of sheer theatrical magic! Their rhymes may not be perfect, but those South Park boys, Robert Lopez and director-choreographer Casey Nicholaw know what they’re doing.

I’d love to hear your thoughts on “Turn It Off”. Click on the comments link at the end of this post and share them with us!

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Single-Song Showstopper: “Song of the King”

Posted on April 6, 2012 by David Fick

To purchase the Original Broadway Cast Recording of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, click on the image above.

The theme for April 2012 at Musical Cyberspace is “Single-Song Showstoppers”, a series of big numbers sung by a featured characters in a show – typically their only solo, although they might sing minor bits and pieces elsewhere – each of which raise the roof.

Today’s single-song showstopper is “Song of the King”, from Andrew Lloyd Webber and Tim Rice’s Joseph and the Amazing Technicolor Dreamcoat. The song is sung by Pharaoh, a role that has been played by Tim Rice (on the so-called concept recording), Gordon Waller, William Parry, Tom Carder and Robert Torti.

The Setup: Chained and bound, afraid, alone, Joseph is taken to Pharaoh, who wishes to have his dreams interpreted. In the song, Pharaoh explains what’s been keeping him up at night.

The Song: “Song of the King” is a simple, straightforward piece of storytelling that takes the form of a rock ‘n roll pastiche in a tribute to “the King” – Elvis Presley. The Elvis song it recalls most easily to my mind is “Teddy Bear”, which makes me smile and it’s fun to notice how Pharaoh has the reputation of being a fierce and intimidating leader and then turns out to be something of a teddy bear – milder, sweeter and more charming that he might first appear. Only one example typical of Rice’s sloppy, “good enough” craftsmanship rears its head in this song:

Well the thin cows were as thin
As they had ever, ever, ever been
Well this dream has got me baffled
Hey, Joseph, won’t you tell me what it means?

Never mind the plural, the vowel sounds don’t match at all. The same combination repeats itself in the corresponding verse about the corn. Of course, the error appears less obvious in performance than on paper and Pharaohs have been whipping up a frenzy in audiences with “Song of the King”, just as Elvis did, for four decades or so now. After all, a great performance and imaginative staging are what will make this song a solid showstopper in any production of Joseph and the Amazing Technicolor Dreamcoat.

I’d love to hear your thoughts on “Song of the King”. Click on the comments link at the end of this post and share them with us!

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Single-Song Showstopper: “He Vas My Boyfriend”

Posted on April 5, 2012 by David Fick

To purchase the Original Broadway Cast Recording of YOUNG FRANKENSTEIN, click on the image above.

The theme for April 2012 at Musical Cyberspace is “Single-Song Showstoppers”, a series of big numbers sung by a featured characters in a show – typically their only solo, although they might sing minor bits and pieces elsewhere – each of which raise the roof.

Today’s single-song showstopper is “He Vas My Boyfriend”, from – to use its full unwieldy title – The New Mel Brooks Musical Young Frankenstein, a musical comedy that Mel Brooks allowed Thomas Meehan some room to assist with the book. The song is sung by Frau Blücher, a role that was played on Broadway by Andrea Martin, after Cloris Leachman, who had played the role on film, was gracelessly ditched by Mel Brooks who thought she wouldn’t do the role justice due to her age. (What would we do without the New York Post to get juicy bits of gossip like that?)

The Setup: Eerie violin music trickles through Castle Frankenstein. Upon inspection, it is discovered that the housekeeper, Frau Blücher, is the fiddler and that she was doing more than mere housekeeping for the late Victor Frankenstein.

The Song: All right, yes, I know. We all know. Young Frankenstein was a disaster and hardly anything in the show was good enough to qualify as a showstopper. So let’s call today’s song a “Single-Song Showstopper Gone Wrong” and try to learn a lesson by seeing where the song fell short. First of all, it’s very difficult to get a single-song showstopper from a relatively modest solo spot like this one. However, with a virtuoso performance of a brilliant piece of writing, it is possible. Look at something like yesterday’s “My New Philosophy”, for example. In “He Vas My Boyfriend”, Andrea Martin gave it all she had, but the music and lyrics by Mel Brooks didn’t support her and that’s where the song falls short. The song is a kind of Kurt Weill meets Lorenz Hart amalgam, a “Surabaya Johnny” spoof in the mode of “To Keep My Love Alive”. For that to work, each new section of lyrics has to top the one it follows and that just doesn’t happen here. After the original joke is stated, the song simply doesn’t go anywhere and the variations on the theme just aren’t funny. The song doesn’t maintain the interest it needs to fulfill its intentions: the clichés and hackneyed jokes pile up and by the end of it all, the audience is in a comatose rather than a rapturous state. Sad, isn’t it? When applause must reward the work and not the effect and the staging has to cover up the weaknesses of the song.

I’d love to hear your thoughts on “He Vas My Boyfriend”. Click on the comments link at the end of this post and share them with us!

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