Bed knobs and broom sticks overture to candide
Blood Brothers. Tell me it's not true. Say it's just a story. So did y' hear the story. Of the Johnstone twins? As like each other as two new pins.
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Cast & Creative
Friday Night is Music Night is the longest-running live radio programme in the world, and this week's edition promises to be as exciting as ever.
The conductor for the evening is one of the finest and most respected in the business. Larry Blank has several decades of experience in Broadway theatre and film, and is no stranger to the concert stage either.
He's also a world-renowned arranger and orchestrator, with credits including The Drowsy Chaperone and White Christmas , as well as the scores for Jerry Herman's last two musicals — Miss Spectacular and Mrs Santa Claus. London audiences recently enjoyed his orchestrations of Fiddler on the Roof and Carousel , while amongst his recent projects is the first complete recording of Rodgers and Hammerstein's third musical, Allegro.
An orchestrator of the old school in the best sense — he met Robert Russell Bennett, knew Phil Lang and was mentored by the great Irwin Kostal — Blank is a charming, articulate and generous person, and there's plenty to talk about when we meet in between rehearsals for the Mercer concert. I begin by asking why he chose to devote his life to the Broadway repertoire in particular.
They went to see all the big shows. My mother played the piano very well — she trained as a classical pianist as a child and won a bunch of awards — so we had a piano, and she always played. We had lots of records, too — mostly things like Camelot , which was seminal to people of my generation. It's a great score, and of course it had Richard Burton before he became famous. You turned on the radio, and it was somebody singing "Hey There" or "Some Enchanted Evening" — it was after the big band era, in the '50s and '60s.
So that's what I was listening to. I tried to listen to a lot of music, and I enjoyed lots of it. When I do a concert and talk to the audience, I joke: "Theatre music — every number a finale! I was lucky because I grew up around theatre people — I remember hanging around Broadway stage doors, and meeting Steve Sondheim when I was I also really like listening to opera — not going to it, but listening to it. When I went to opera in those days, the productions were mostly stodgy.
And for a kid in New York, opera was expensive whereas Broadway was not. But the music is great, and I like both styles. I also played the piano on Julia Migenes' Broadway album, which she made at the height of her fame here. The BBC's concert is unusual, in that very few concerts are devoted to the work of a lyricist rather than a composer. What makes Mercer so special?
He worked with everybody — the big songwriters of his lyrics are people like Harold Arlen and Hoagy Carmichael. So many of his songs were just very accessible. It's easy to forget that he founded Capitol Records, so all those great records by Nat King Cole and Sinatra came through him. Another thing is that he had a great feeling for songs that had a jazz feel — "That Old Black Magic" or "Come Rain or Come Shine" — and he had a real sense of style. Blank has written a special overture for the concert, and having heard him do this kind of thing before, I ask him how he goes about constructing an arrangement like this.
With my theatrical background, overtures are kind of easy. He's a great friend, and an expert on the American songbook. I said to him, "If you were writing an overture for Johnny Mercer, what songs would you include? The most famous songs for which he wrote the music and the words are 'Something's Gotta Give' and 'Dream'.
So they've got to be in there. I then had an idea which the BBC wouldn't let me do. I wanted our session singers — the Capitol Voices — to sing the titles of the songs from the overture.
And they just said "No! But my attitude is that we're honouring a lyricist, so we should say the words.
But I will say that the producer relented slightly, and when we go into "Moor River" the singers are on it. It's absolutely thrilling when they come in, because it's so unexpected.
And the choice of songs for the concert? The producer and I sat down and decided what we had to include, and then we found out what was in the BBC library so that we didn't have to spend a lot of money on new arrangements.
It's quite tricky to find things that are appropriately arranged and have the right style and quality for today — and then we have to match them up to the artists and find the right keys. We got John Coleman, who's a very fine arranger here, and Roy Moore, to do some new ones. What was great when we rehearsed it was that the BBC Concert Orchestra's leader, Cynthia Fleming, turned to me and said "It's amazing not to know one tune in that overture!
Blank has an excellent relationship with the orchestra, honed over many years: 'The two producers there, Jodie Keane and Anthony Cherry, took a liking to me, and I have a very loving relationship with the orchestra. They're happy when I'm there and I'm happy to be with them, and we get along very well because my talents cross over between popular and classical music, so they feel I'm very competent with them.
We're working on organising more stuff for the future. One of Blank's most proud achievements is the complete recording of Rodgers and Hammerstein's Allegro that came out last year.
It features a mixture of opera singers such as Nathan Gunn and Broadway stalwarts like Audra McDonald, and even features a cameo appearance from Stephen Sondheim. Blank explains how it all came about: 'We were recording White Christmas in London, by choice.
I love the musicians here, and since it was not a show that opened on Broadway, we had no obligation to use American musicians. It was actually no less expensive to record here, and whatever we gained by doing it here was made up by air fares, hotel and bar bills.
But I love the London musicians and I have a great rapport with them. Although I wasn't conducting this particular recording, I worked on the movie Chicago , and we used the same studio and many of the same musicians.
It was a very happy experience. He asked if I could suggest a place where it could be recorded fairly cheaply as an experiment. I had done some work in Bratislava in Slovakia, which is only about an hour's drive from Vienna. Their musicians are extremely well qualified, and they have a radio orchestra. They were going to be relatively cheap to use, and the musicians would just sit for hours and play, so I suggested it to Ted.
We had a slightly larger string section, with fifty-five musicians, and the percussion was divided up, but we didn't rewrite anything. The only changes were the style of the drums, and perhaps the basses. It was traditional with a lot of the older shows to play the bass with the bow, and I changed it to pizzicato because it's just too lugubrious. The drums were changed because in those days it could sound like a school band marching rather than a theatre piece.
When you record in this situation there's no isolation, so you're in a big sound stage, very much as if you were recording symphonic works. And not only had we not rehearsed with the singers, we also hadn't chosen them yet! He was sitting in the recording booth, and I couldn't even see him because it was on a different floor. Also, of course, the musicians in Bratislava don't speak English, but the leader of the orchestra spoke enough to translate my desires, and I had to show everything else with my hands.
When I got to a fermata, I would give it a little extra room. I have a reputation for having very good "time" — a good sense of rhythm and tempo. In fact, one of the reviews accused me of being too metronomic! But what was my alternative in that situation? It was amusing, though, because we had no click track, and I'm well known for not beating time!
All the tempi felt right, and they could feel where to take the breath. I don't think the result sounds like it was tracked. With good sales and excellent reviews, is there any chance of more coming from the same stable? Allegro has always been shown interest, and some rentals over the years, but not Pipe Dream. And Pipe Dream has never been updated — the orchestral parts are literally out of the pit from There is talk about getting a definitive recording of Carousel , but I don't know if it will happen.
I'm flattered that they would think of doing it though, and I'm flattered that because I did Allegro they would probably ask me to conduct it. Eventually, I orchestrated it for the West End, so I really hope it happens. What was the relationship between the original movie orchestrations and Blank's new ones?
The show was originally done by Paul Blake at the St Louis Muny — an outdoor theatre with 12, seats that operates every summer. They've done lots of musicals, and they always had a big orchestra — maybe 50 or so, and now it's , which is a large orchestra these days.
So Paul came to me and said "I have access to the Paramount catalogue, and I want to do White Christmas as a musical". He adapted the story for the stage, took the songs from the film and added a few more. Bruce Pomahac was hired as the dance arranger, and I was the orchestrator.
I was given free rein to do what I wanted. I lean towards the opulence of the MGM musicals; I just wanted to make it sound like a big, old-fashioned film musical. Bruce and I came up with the overture, and I wrote it as a big theatre overture, which sounded wonderful at the Muny.
The Berlin daughters and the Rodgers and Hammerstein Organization who handle the Berlin catalogue came to the dress rehearsal, which was in broad daylight in the sweltering heat.
They played the overture just for a sound check, and Ted Chapin came running up the aisle to me, and said: "Based on the overture alone, the show is going to into production next year. He was a trombonist in West End musicals, but he's been living in America since and was one of my teachers. The reason I asked him to arrange that one is that he was a top television arranger in the States, working a lot with Peter Matz who did lots of Barbra Streisand's arrangements.
I had done so many arrangements of "Blue Skies" over the years that I was afraid that I would repeat myself. It turns out to be one of the great highlights of the score. For his work on White Christmas , Blank was nominated for a Tony award, but didn't win on the night. Nor did he win for his previous nomination, The Drowsy Chaperone in But when I ask him whether he's upset about that, Blank is typically pragmatic. The Tony voters are across the States.
Overture and Night Waltz / Love Takes Time – A Little Night Music
Susannah York, who begins promisingly, ends up wallowing in hysteria of her own devising but Keach, Plummer and the other York acquit themselves with honor. The final revelation is purest claptrap; any military unit that would permit the schizophrenic madman at the root of the mystery to operate with impunity would also deserve to be tried en masse, or at the very least instantly disbanded. Deadline — U. Forster novel, a movie young gay men of my generation desperately needed. The Big Trail One of the great follies of its time, with what should, had the picture not bombed, have been a star-making performance by John Wayne in his first major role. And then the market crashed.
Irwin Kostal
Below, if you care to scroll , I chronicled the shows that met my return from chemo-then-lockdown in An enfeebled theatrical year. Today a longer list and reflection pays tribute to , and tributes are deserved. In the months from May to December it was, once again, possible to see live shows and review them in London and across the country : for me Birmingham, Sonning, Lowestoft, Ipswich, Norwich, Colchester, Northampton and elsewhere. Audiences came back, often surprising wary producers with their enthusiasm. Some were, and still are, nervous of the illness itself, and certainly of the danger of a pinged issolation. The Omicron variant, easy to catch and often slight, has closed a lot of shows and suspended others, which is economically a disaster. But theatre has rolled on, brave and risky and loyal to itself and its people. Ventilation and care kept us safe. What felled me in the end was just a social yacht-club dinner in Essex, with its accompanying stand-and-shout cocktail bit in a lousy acoustic.
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Did any of the children under the age of 12 who saw that last one know the Whig campaign slogan of ? It seems doubtful. Since Walt Disney initially intended to make a feature of the A. It diminishes what came before and, almost worse, represented for Walt a step backward.
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The Best of All Possible Costumes: Q&A with Tony Award Winning Costume Designer, Judith Dolan
Ellen, in her eccentric, stylish hat and fur coat, escapes, haughtily pushing through the rabble. The canons hold nothing sacred: the French are a bunch of … The soldiers parody her. How pretty; for the regiment to have such a daughter. But Jane Archibald, red-haired, short-cropped, with a pony tail, in her dungarees and white tee-shirt, brings out her huge washing basket and ironing board. The stage Chantal Thomas is now an unfolded map presumably of the Tyrol: a battle front. Anyway, Sulpice, grown fond of Marie, chides her for seeing a Tyrolean, who turns out to be her lover. Yes, she admits to talking; he saved her life picking flowers on a cliff!
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This entry is trivia, which is cool and all, but not a trope. On a work, it goes on the Trivia tab. The melody to the song can sometimes be found in background music, especially dance music. Often these become "trunk" songs that composers later salvage for reuse in later productions.
All American was nominated for two Tony Awards in , but did not win in either category. The music and lyrics are worth listening to. It is very well suited to high school productions and perhaps Mr. Brooks will consider a rewrite of the book at a future date. Until that happens high school directors may want to ask for permission to make any script alterations. This hilarious musical premiered in Seattle and has become quite a cult hit along the way.
But I thought the extra stage song should be a little lighter , so I cried and cried and threw it out. A song from a stage musical or film musical written for the show but unused or dropped from the production. Like the Image Song in anime, this can add depth to a character for those who know the song and its relation to the show. In the past, the Cut Song tended to be left off the original cast album even if it had already been recorded, so as not to give the impression that it was still part of the show. Nowadays, the Cut Song is a common bonus track on both new and reissued cast recordings. Since movie versions of stage musicals inevitably cut one or more songs from the original, cut songs from movie musicals should not be listed unless one or more of the following apply:.
He recreated this memorable character for Universal's film adaptation of the musical. Bart has worked extensively in television and was seen most recently in the series regular role of "Judge Wilson" in the Freeform series, Good Trouble. Other popular television appearances include Revenge; Desperate Housewives and 30 Rock.
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