Jennifer Hudson: THE Dreamgirl

Over the weekend, I watched Dreamgirls on DVD with some friends. It’s been a while since I saw it and I think part of me had forgotten how much I enjoy the film. At one point, we were all discussing how glad we were that Jennifer Hudson won the Oscar for playing Effie White. As my friend Jacqui says, there are bits (like “And I Am Telling You (I’m Not Going)”) that are even better than Barbra Streisand on the steamboat in Funny Girl. Personally, I don’t think la Streisand even comes close.

(Digression: I also remember how annoyed I was when not one of the three nominated songs – “Love You I Do”, “Patience” and “Listen” – won the Academy Award for Best Song. The performance of those three songs was the highlight of the Oscars. But political correctness won out when the song from An Inconvenient Truth took home the trophy. I’m all for green issues but, when it comes to music, motown-inspired showtunes beat out rock-styled message songs any day.)

One of the things we chatted about was whether she was nominated in the wrong category. After all, Effie is a lead role. Personally, I would even go so far as to say that it’s the lead role. The plot revolves around her: everything else in the show from the Dreams, to Deena, to Curtis is related through her experience. And even the subplot involving Lorelle and Jimmy is, in some ways, a mirror of what’s going on in the main plot. One of my friends mentioned that maybe it’s because the film is called Dreamgirls and not Effie – but even the title highlights the role because ultimately, as the action of the play unfolds, Effie is pushed out and excluded from the Dreams. She is conspicuous because of her absence.

The balance is thrown out a little in the film with the addition of “Listen” in an attempt (I assume) to give Deena a moment that is as dramatic as “And I Am Telling You (I’m Not Going)” but of course it doesn’t come close to having the dramatic impact that the earlier number has.

So why was Hudson nominated as a supporting actress? Who actually knows? Marketing? Fancy footwork? Her billing? The fact that the producers knew there was no way she would win in the “Best Actress” category? Whatever the reason, it all boils down to movie-making politics rather than anything to do with the film itself. But what a super film it is to revisit!

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West Side Story

West Side Story: I won’t lie. West Side Story was the revival I was most excited about this season. Not only do we get to revisit one of the great Broadway musicals of all time, we get to explore it in a new way because of a bilingual approach to the material conceived by Arthur Laurents. Now West Side Story has a lot going for it: a fantastic score by Leonard Bernstein, some great lyrics by Stephen Sondheim and some fantastic Jerome Robbins choreography that really pulls everything together. Oh yes, it also has a book by Arthur Laurents – but it’s really the contribution to the show that is least touched by genius and I guess to compensate for that Laurents has fiddled with the show here and there – cutting a good portion of the “Somewhere” ballet along the way. Tut, tut, tut, Mr Laurents – the “Somewhere” ballet was a beautifully conceived piece of choreographic storytelling and your staging with the cutesy little boy just doesn’t measure up. Fortunately, we were spared that bastardization at the Tony Awards and were treated to a magnificent “Dance at the Gym”. What a pity Robbins could not have supervised the final edit of this for the film – the thematic and storytelling motifs in the choreography come through on stage in a way that they never do in the movie and here every second is fantastic – not only because it’s entertaining but also because it manages to keep the narrative and its themes in the foreground. The “Dance at the Gym” is no simple diversion here; it’s an essential piece of storytelling in a show where – apologies to Mr Laurents – the score and choreography do far more than words alone ever could.

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Guys and Dolls

Guys and Dolls: I’ve been in two minds about this revival. I really wanted it to work, but nothing I’ve heard about it has indicated that it does. Watching this clip, the first thing that hits me – besides the sound problems – is that the projections just don’t work. It makes the whole thing look like something out of a (rather cheap) revue. I’m also reminded what a great number this is. But this arrangement doesn’t work as well for me as the one used in the 1992 revival. Sure, Tituss Burgess can sing crazy high, as they say, and Mary Testa cuts loose (in a way that I don’t think works for the period or the character). But I don’t think this really makes the number – or the show, for that matter – any better. Oh well..

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Rock of Ages

Rock of Ages: It took me a while to find this clip. At first, all there was to see was a multitude of clips showing how Bret Michaels walked upstage into a descending piece of scenery. As for the show itself…. hmmm… it’s fun! But it looks more like a rock concert transposed to Broadway than a musical and I don’t know how a narrative finds the space to fit in with such big numbers. Still, looking at the synopsis of the show, it seems like it might work much better than We Will Rock You – probably the most similar jukebox musical in terms of the musical material used. Of course, that’s no big chore: We Will Rock You is one of the most poorly conceived shows I’ve ever seen – even by jukebox musical standards…. Getting back to Rock of Ages, I did like the guy who narrated the segment – his bit with Liza is really the best bit of the performance – and it’s so easy to be seduced by the energy of it all, so I guess I can understand the nomination better than I did this morning. Until I saw the clip, I was wondering how this show got nominated instead of 9 to 5. The part of me that still does is the bit that just isn’t all that interested in a jukebox musical built around rock hits from the 1980s – but which loves a bit of Dolly anytime!

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Shrek: the Musical

Shrek the Musical: Shrek is a show that really doesn’t interest me. I guess its pleasant enough, but for me it’s one to file with the Mel Brooks musicals (OK, haha, we get it, ooh silly rude puns, put it on the shelf and never listen to it again). Surely Jeanine Tesori can get commissioned for better properties than this?

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Next to Normal

Next to Normal: This was a great choice for the broadcast, showcasing some great performances and really encapsulating a show that musically picks up where RENT left off and takes what that Pulitzer Prize-winning show gave us a step further in terms of form, narrative clarity and character.

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Billy Elliot

Billy Elliot: Perhaps an odd choice as a showcase piece, but I suppose it involves more of the adult cast than a more typical choice (like “Electricity”, “Shine” or “Expressing Yourself”) might have. But I don’t know that it sells someone who’s experiencing the musical cold, as it were, on the show. I wasn’t sold on this show when I first experienced it, but later on something just clicked and I really enjoy it now. Elton John’s work is leagues ahead of what he did in Aida!

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Tony Awards 2009

So the Tony Awards for 2009 have come and gone. I’m also super stoked that Angela Lansbury now has her fifth Tony under her belt. The woman is truly astounding! I’m all right with who won what – no really big surprises, I don’t think. Ok… Time to do some YouTube for the performances.

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Hello world!

The announcement of the closing of Geocities had me reeling. Suddenly, one is left with no idea of “where to go from here”. I needed a place where I could store the wealth of information I’ve collected about musicals over the years and thought of adding a blogging element, where I could comment not only on musical theatre – my great passion – but also on other things that interest me: theatre, film, music, opera, art and so on.

So this is a dawn of a new era. MUSICAL CYBERSPACE as a blog. Three cheers, folks. I think it’ll be pretty exciting.

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AVENUE Q reopens in London

Avenue Q reopens in London’s West End today at the Gielgud Theatre, two months after vacating the Noël Coward Theatre for Cameron Mackintosh’s production of Calendar Girls. The show’s return is something of a reprieve: it would have closed in October last year, but a sudden rise in ticket sales kept the show going until the end of March, with the opportunity to reopen now in a new theatre.

Responses to the original production in London were mixed, perhaps most easily summed up in Brent Meersman’s write-up for The Real Review:

After three successful years on Broadway, the people-and-hand-puppet musical Avenue Q transferred to the West End in June. This is great matinée idea while in London. The Americans are at their best when they’re acerbic and ruthlessly candid – with songs like “Everyone’s a Little Bit Racist” and “The Internet is for Porn”…. The music leans towards amusing the little ones and the book is at times preachy and sentimental, but overall the first act is charming fun.

I like the show a fair bit more than that – but, if a production is playing near you, go and see for yourself. I’m certain you’ll have a great time.

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