Cut Song: “Bring Me Home” from SUMMER’S CHILD

by Amanda DeLalla

HOLLY:

BRING ME HOME

KEEP ME AT YOUR SIDE AND THEN

BRING ME HOME

SO I CAN FEEL ALIVE AGAIN

SO WHEN THE SUN WILL RISE

AT EVERY DAWN’S BRIGHT CRACK

YOU CAN LOOK INTO MY EYES

AND I’LL BE LOOKING BACK

OH, WHAT GOOD IS A MEMORY

IF IT ONLY BRINGS YOU PAIN?

IF I LOSE THE PAST, SET MY SOUL FREE

ALL MY STRENGTH I CAN REGAIN

I’VE NO ENERGY LEFT TO ROAM

SO OH, OH, OH BRING ME HOME

YOU AND ME COULDA BEEN A GOOD FIT

 

DEXTER:

DON’T YOU WASTE ANOTHER MINUTE

 

BOTH:

STEP ON INTO YOUR FUTURE

AND SEE WHAT COULD BE

DON’T LET YOUR FEAR OF ONE OR TWO

KEEP YOU FROM DOOR NUMBER THREE

 

DEXTER:

BRING ME HOME

DON’T SAY ANOTHER WORD

BRING ME HOME

IT’S ALL YOU, OR HAVEN’T YOU HEARD?

BRING ME HOME

 

HOLLY:

BRING ME HOME

 

DEXTER:

BRING ME HOME

 

HOLLY:

BRING ME HOME

 

BOTH:

REWRITE THIS FATE

LET GO OF MY HATE

IF YOU’LL GAIN WHEN YOU LOSE

 

HOLLY:

THEN I KNOW WHAT I SHALL CHOOSE

 

BOTH:

AND BRING ME HOME

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(Source: Christopher Clark)

All That Jazz: Seven Things You Didn’t Know About the Chicago Film

Ah, Chicago. One of the greatest stage-to-film adaptations ever made, this Kander and Ebb musical has been playing nonstop on Broadway since the 1990s. Bringing it to the big screen was a considerably daunting task, but director Rob Marshall and screenwriter Bill Condon pulled it off…and then some. The movie was released just after Christmas of 2002 and proceeded to snag six Oscars, including Best Picture. In celebration of Chicago’s impending 15th anniversary, I’m going to share seven fun facts about this “razzle-dazzle” film that you might not have known.

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  1. Richard Gere was not the first choice for Billy Flynn. Weird but true! The producers originally considered John Travolta for the part.
  1. The original Velma Kelly, Chita Rivera, appears in the movie. The legendary Broadway dancer can be seen greeting Roxie (and smoking a cigarette) when the latter first arrives at the Cook County Jail.

 

  1. The director and screenwriter were later involved in two other major musical films. Rob Marshall directed 2009’s Nine, while Bill Condon did the screenplay for 2006’s Dreamgirls!
  2. Christine Baranski could never play Mary Sunshine on Broadway. Although Baranski is a veteran stage actress, she couldn’t actually play Mary Sunshine because (on Broadway) the role was written for a man!
  3. Lucy Liu wasn’t supposed to play Go-to-Hell-Kitty. They actually had pop diva Britney Spears tapped for this cameo role!
  4. The song “Class” was shot for the movie, but ended up on the cutting room floor. You can still watch the scene on the DVD as a bonus feature.
  5. Of the three main actors, only one has played a leading role on Broadway. That’s Catherine Zeta-Jones, who not only won her Academy Award for Chicago but took home a Tony Award for her performance in A Little Night Music.

Goodbye, Amelie: Shows That Could (in theory) Play at the Walter Kerr Theatre

The theatrical industry is kind of a funny animal. You just never know what will catch on and what won’t. Many things factor into this: word-of-mouth, critics, award season, marketing, and pure luck. And for one reason or another, Amelie (a musical adaptation of the beloved 2001 French movie) just couldn’t make enough stars align. The show (which I quite enjoyed) will play its final NYC performance at the Walter Kerr Theatre on May 21st.

This venue is named for Pulitzer Prize-winner Walter Kerr and opened in 1929. (Today, it is operated by the Jujamcyn Company.) With a seating capacity of just over 900, it is one of the smaller Broadway houses and therefore well-suited to plays and cozier musicals. Its external marquee, with the bright blue lights, is one of my favorites.

That being said, let’s look at a few shows that might inhabit this theatre as well as a few that won’t…but could, in theory.

heathers5 Heathers (New World Stages, 2014). Many a fangirl wished this show, based on the cult teen movie, would transfer to Broadway after its premiere run. Although that seems unlikely three years after the fact, it would still be hilarious to see a musical of this subject matter stand with the likes of Dear Evan Hansen or Come from Away.

taste0037_orig A Taste of Things to Come (York Theatre Company, 2016). Similarly, this small-scale show about women’s roles from the 1950s-60s probably belonged Off-Broadway. However, one of its calling cards was the fact that it also had an all-female cast and band; we could always use more of that!

cyclone0888r Ride the Cyclone (MCC Theater, 2016). This musical is about a group of teenagers vying for the afterlife in the wake of a horrid rollercoaster accident. It seemed to divide public and critical opinion but still managed to be nominated for several awards.

mbutterfly_content M. Butterfly (Planned for the 2016-2017 Broadway season). Now this production of David Henry Hwang’s classic play, directed by Julie Taymor, is confirmed to come to Broadway this year. The only question is which theatre will be chosen- and the Walter Kerr could be an ideal space.

twood_sg_07 The Secret Garden (Seattle Shakespeare Theatre, 2016). Rumors have been swirling that this acclaimed production of the show, featuring Daisy Eagan in a new role, has its eyes on a Broadway transfer.

Alternately, the powers-that-be could just annoy Lincoln Center Theater enough for them to bring Falsettos back.

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Suddenly Surprise!

Good afternoon, my wonderful readers! I’m just writing a quick note to say that, because I have a special post planned for next week, today’s will consist of some favorite musical-themed GIFs. (None of these were created by me.)

We now return to your regularly-scheduled Puccini’s Chronicles programming.

Songs You Probably Didn’t Realize Are About Dark Things

Mind=blown.

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The clock at Grand Central Terminal waits for nobody.

“Blown Away,” Carrie Underwood. What it’s about: In this song from Underwood’s album of the same name, the story centers around a girl with a dead mother and an abusive, alcoholic father. When a tornado hits their Oklahoma home, the girl leaves her passed-out father as she locks herself in the storm shelter. We can assume that he is destroyed when the twister rips through the house. Ouch!

“Unworthy of Your Love,” Stephen Sondheim. What it’s about: At first glance, this number from the Broadway show Assassins sounds like a standard, beautiful love ballad. But it takes on an entirely different tone when you realize it’s being sung by Squeaky Fromme and John Hinckley- a wannabe Manson follower and Jodie Foster’s stalker, respectively. These two also attempted to assassinate U.S. Presidents in an effort to win their beloved’s attention. Now that’s what I call tainted love!

“I Don’t Like Mondays,” The Boomtown Rats. What it’s about: This staple rock song is deceptively catchy for such dark lyrical inspiration. The title comes from a quote by Brenda Ann Spencer, a troubled teen who was asked why she sniped ten people in a playground (two died). Though composer Bob Geldof received some flack for allegedly “exploiting a tragedy,” which he denies, the record became the Boomtown Rats’ biggest hit.

“Pumped Up Kicks,” Foster the People. What it’s about: In a similar vein, the earworm-worthy hook of this band’s debut single masks some morbid subject matter. When closely listening to the lyrics, it becomes clear that the song is about a school shooter, in the vein of Columbine. “Pumped up kicks” refer to the designer shoes worn by the narrator’s intended victims. The lead singer, Mark Foster, said that he wrote the piece to raise awareness for teen mental illness.

“Sweet Painted Lady,” Elton John. What it’s about: A majority of the tracks from Elton John’s smash Goodbye Yellow Brick Road album manage to be incredibly fun while telling some grim tales. In this slow, sea-soaked jam, a sailor sings of the prostitute he’s hired for the night and wonders how she feels about the life she leads. With its thoughtful lyrics by Bernie Taupin, the song achieves a certain poignancy.

“At the Ballet,” Marvin Hamlisch. What it’s about: This number from A Chorus Line is a semi-torch song for a trio of women. Typically sung by soubrettes, it conveys three distinct dramas that have something in common: their heroines all found relief when they went to the ballet. Sheila’s parents had a loveless marriage, Bebe’s mother made her feel unattractive, and Maggie’s father was absent entirely. Audiences who get lost in the glitter of the show tend to forget the inherent sadness of this scene.

Puccini’s Chronicles STYLE: Curated by Broadway’s Newest Leading Ladies

Patti LuPone as Helena Rubinstein

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Think red palettes, pearl accented jewelry, and fashion-forward hats with an old-fashioned flair. Your inner diva is sure to shine.

Denee Benton as Natasha

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Think femininely with gossamer dresses, faux fur stoles, and wrist-length gloves. For extra credit, pair with a Tolstoy novel or cute accordion player (whatever you prefer).

Jenn Colella as Beverley Bass

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Think navy blues, aviator shades, and tennis bracelets (just because). Channel your inner pilot with a brave outlook and grace under pressure.

Phillipa Soo as Amelie

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Think checkerboards patterns, gold jewelry, and a classic bob hairstyle. Your aura of excitement and wonder draws people to you. Duck into a photo booth for some fun!

It Ain’t Festivus, but I’m Airing Some Grievances

  1. The Broadway.com Awards are the epitome of why “the public” can’t be allowed to vote for anything in the entertainment industry. Why? Because “the public” voting on their smartphones is mostly comprised of close-minded teenagers who are just getting exposed to the theatrical world. Disclaimer: There is absolutely nothing wrong with that. Hell, my first “gateway show” was Wicked. Everyone’s got to start somewhere. But unless voters adequately acquire the breadth of knowledge required to judge performances…awards turn into a popularity contest. Which is fine, but then it should be touted as such. Call the category “Favorite Working Actress” instead of “Best Performance by an Actress,” so that when Idina Menzel or Laura Osnes win for shows that close in less than 6 months, it’ll make sense.
  2. On that note, the notion of “parody” adaptations being protected from copyright suits is starting to bother me. You make a mockery out of someone else’s work, and it’s totally fine. You lovingly adapt someone else’s work because you respect the material and want to see it anew, and suddenly you’re cutting legal red tape. It hardly seems fair…but as a friend pointed out to me, it’s also hardly about the art when dollar bills start falling into people’s laps.

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…So to speak.

Okay, my rant’s over.

A Bronx Tale Vs. Diner: Old America onscreen and onstage

When we hear the phrase “period piece,” our minds tend to conjure up an image of a lady wearing multiple petticoats having romantic problems in Britain. And that would indeed fit the bill. But at the same time, a story about a kid growing up with the mob in 1960s NYC…or one about 20something friends navigating love in 1950s Baltimore…would also fall into this category. The classic films A Bronx Tale and Diner are both pieces of Americana during decades that were quite different from the one we live in. Perhaps that is what can take credit for their lasting appeal; we are fascinated by this somewhat foreign climate, as it stands in stark contrast to the country we have become, for better and for worse. For those who did live through those prior decades, the movies can also be a great source of nostalgia for “a simpler time.”

But how much simpler was it, really?

large_ico3ikmveqcjvifzufcbe8jybf4Bronx Tale

At their cores, these two films are about a certain social issue: Diner focuses on male coming-of-age and A Bronx Tale deals with racial strife and Mafia politics. In these eras, it was perfectly acceptable for boys to catcall their girls, and the decimation of black people’s property was a fairly regular occurrence. Both of these movies were made some 20 years after the fact, so it’s clear that such behavior was not necessarily condoned. Rather, the pieces served as portraits of the ever-changing times. And this “snapshot” status is part of what solidified them as classics of cinema.

However, within the last five years, both stories have also found their way onto the stage. And suddenly, they’ve lost their classic status and must be looked at through fresh eyes once more. But live theatre is an entirely different animal than the silver screen.

Seen through today’s progressive filters, and in the flesh, both of these musical adaptations have come under heavy criticism. They’ve been called “dated,” “offensive,” and “no longer relevant.” Granted, A Bronx Tale has found much better commercial footing on Broadway; Diner never even made it out of regional theatre. (I have no good explanation for such a discrepancy.)

But the fact remains- does today’s America need to be reminded of its past imperfections (some of which persist to a degree) in a musical? Or, with the advent of groundbreakers like Hamilton or War Paint, should Broadway only be looking ahead?

Further food for thought: A forum thread on A Bronx Tale‘s adaptation and an interesting article on why Diner really shouldn’t be a musical. What do you think?

Shine…Again?

Thank you to everyone who took an interest in my NYC cabaret debut!

I’m pleased to announce that thanks to this show, I have booked another gig- this time at Don’t Tell Mama. I’ll be singing in the April 4th edition of Seth’s Showcase, emceed by Seth Bisen-Hersh, alongside 5 other performers. We’ll each be doing a set of two songs, and all of the sets will either share a theme or tell a story of our choosing.

I don’t want to give too much away, but here are some clues as to my rep for this show:

  1. Both songs will surround a theme.
  2. Both songs are from modern musicals.
  3. One song is an uptempo and the other is a ballad.

My kingdom for a Tony Award…

Get tickets!

A Tale of Two Show Boats

One of my favorite musicals ever is the groundbreaking Jerome Kern/Oscar Hammerstein piece called Show Boat. Although I have never seen it live, I did watch the Papermill Playhouse production that PBS recorded…it was during my high school Musical Theatre class. I remember being blown away by the grand set designs, the gorgeous music, and the heartbreaking story that also managed to be very hopeful.

Anyway, when I was a teenager, I acquired a CD of the 1965 Lincoln Center Show Boat, which starred Barbara Cook, Constance Towers, and William Warfield. I loved this recording because everyone was in fine voice and the orchestra was amazing. I was also annoyed at this recording because it didn’t include the complete score of this phenomenal show. But it was all I had.

And because it was all I had, fast-forward to the premiere BroadwayCon in 2016. There, I got an autograph from Rebecca Luker, who played Magnolia Hawks in the 1994 Broadway staging of the piece. (Magnolia is one of my bucket list roles, incidentally.) Since I only had the Barbara Cook production, I asked her to sign that, which she happily did. So, I have the wrong recording of Show Boat signed by Rebecca Luker.

Picture it: Midtown Manhattan, the last day of February, 2017. I’m on lunch break and decide to stop by the secondhand electronics/bookstore. I browse through the music section and choose the Almost Famous soundtrack for my boyfriend; it’s one of his favorite movies. A few minutes later, I find- wait for it- the 1994 Broadway cast CD of Show Boat, starring…Rebecca Luker!

Both discs cost $5, and you really can’t ask for a better deal than that. So I headed for the cashier, two items in hand and a silly grin on my face. The moral of the story: now I just need this album signed by Barbara Cook and I’ll be in business!

I don’t know…were you able to follow this story? Or are y’all feeling a bit like the secretary in Cagney right now?

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(Thanks to BroadwayBox for creating this magical thing.)