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| re: What surprises me is the number of posts for bandstand | |
| Posted by: Ann 05:55 pm EDT 07/08/17 | |
| In reply to: What surprises me is the number of posts for bandstand - dramedy 05:24 pm EDT 07/08/17 | |
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| But there were a lot of posts about War Paint - it was about a month before Bandstand, which was the last to open, and War Paint was discussed weeks before the nominations came out. I think people just hadn't seen Bandstand to talk about it, and once the nominations came out, there was more talk about the shows that were nominated. They're now catching up on it. The testimonials from people I respect are all that make me think Bandstand is not the show I thought it was (too earnest, saccharine, etc.). Enough that I'll try to see it if it's still open next time I come in. I've made it through the cast recording twice, and there's some great swing music there. But the cast recording I keep listening to is The Great Comet. |
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| re: What surprises me is the number of posts for bandstand | |
| Posted by: lowwriter 11:06 am EDT 07/09/17 | |
| In reply to: re: What surprises me is the number of posts for bandstand - Ann 05:55 pm EDT 07/08/17 | |
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| The show is far from saccharine. That was evident in its tryout at Paper Mill. It's my favorite musical of the season alongside of Dear Evan Hansen. | |
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| To your point about not being saccharine. | |
| Last Edit: Delvino 01:19 pm EDT 07/09/17 | |
| Posted by: Delvino 01:17 pm EDT 07/09/17 | |
| In reply to: re: What surprises me is the number of posts for bandstand - lowwriter 11:06 am EDT 07/09/17 | |
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| The show consciously, and with great calculation (admitted by all authors) works with the MGM (often post-war) musical construct. Let's put on a show. Boy meets widow. Vets are to be thanked as heroes. And then turns each trope inside out. Some more than others, but everything re-visited with a new depth, even if shorthanded. By working with the known conventions, even cliches, they give us access. Re-invention. It's subversive, and to my thinking, much harder to do -- all emotion that spills forth in "Bandstand" is earnest, not cynical or arch. What fascinates me are the critics who think they are schooling Andy Blankenbuehler -- at this late date -- on the show's use of these conceits and plot and character archetypes. As if he (and, say, designer Korins) -- people who spent years on a little show called "Hamilton" -- went into this project unaware that they are working on a show that strategically mirrors the MGM or old school musical romance. After seeing the matinee yesterday I revisited many of the reviews, that had no awareness of the show's stylistic ambitions, beyond adding PTSD. Again, that the creative team daringly asks us to feel something from the very first image strikes me as the real risk-taking here. To create a period show that wants us to get deeper inside the familiar. And finally, it's that insistence that heart will drive this show, a beating but broken one, is what deeply moves so many of us. |
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| re: To your point about not being saccharine. | |
| Posted by: AlanScott 03:30 pm EDT 07/09/17 | |
| In reply to: To your point about not being saccharine. - Delvino 01:17 pm EDT 07/09/17 | |
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| So do you think the ending is a commentary on MGM musical endings? Are we perhaps not supposed to take it literally as what really happened to the characters? | |
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| The middle of "Bandstand"'s act two onward (SPOILERS). | |
| Last Edit: Delvino 04:20 pm EDT 07/09/17 | |
| Posted by: Delvino 04:12 pm EDT 07/09/17 | |
| In reply to: re: To your point about not being saccharine. - AlanScott 03:30 pm EDT 07/09/17 | |
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| MAJOR SPOILERS. Big discussion in my digs this a.m. about the stylistic change once they board that train for NYC. Everything alters visually, almost -- this is just for shorthand's sake -- the way "Follies' changes for "Loveland." Korins' gritty reality -- brown, aging walls, real deviled eggs, the ugly back of an upright piano, worn shoes, cigarettes and booze -- is abandoned entirely, as is the rear "Hamilton"esque faux brick wall of the theater. From then on, the entire show is lit differently against a cyc. And once those conductors arrive in grand, shiny 20th Century attire, with silver footlockers, and the band picks up gorgeous satin suits -- with only so much cash -- we are still seeing fantasy on some level, aren't we? The bold pieces that Korins flies in are abstract and not in the same world as the rest of the show. Not just to dazzle us, but to *say* something, theatrically, yes? Is the show suggesting that this is what the overdue journey to New York *feels* like? So wonderful, that they enter MGM land in their minds, finally? (The entire score is built on the opening sung refrain, "There is a train..." poignantly played out in "Right This Way," so finally getting to that specific train is organic, fulfillment dramatized.) But is what happens after they lose "true?" It would be believable enough if they ended up a successful band in the midwest, making progress. But one year later, they are at the Rainbow Room? Well, it's possible, due to the focus on the contest, bogus though it is. And maybe because Osnes's Julia is that damn good. I don't know. I would've been happy with them returning to Cleveland and struggling but with some ground made. They are suddenly Tommy Dorsey. To a certain extent, it doesn't ruin the show for me, that they are rewarded for their honesty. But is it believable? It isn't "Follies." These creators want to reward their character *and" the audience. Thoughts? I know you're not a big fan, Alan. |
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| re: The middle of act two onward (SPOILERS). | |
| Posted by: AlanScott 04:20 pm EDT 07/09/17 | |
| In reply to: The middle of "Bandstand"'s act two onward (SPOILERS). - Delvino 04:12 pm EDT 07/09/17 | |
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| Now that posts are staying much longer, I can simply link to the old thread. I don't think I have much to add to the posts I wrote there specifically about the show. This does make life easier. :) |
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| Link | Older Bandstand chat |
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| Points well taken, Alan. (SPOILERS) | |
| Last Edit: Delvino 04:48 pm EDT 07/09/17 | |
| Posted by: Delvino 04:38 pm EDT 07/09/17 | |
| In reply to: re: The middle of act two onward (SPOILERS). - AlanScott 04:20 pm EDT 07/09/17 | |
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| I actually find "Welcome Home" prettier when Cott sings it with the original tempo. But that's another issue. The song has a kind of visceral power in performance, because Osnes commits fully to singing verses to the individual band members, and when finally gets to Cott/Donny, it's personal and -- I'll just add -- got me. I don't think it's a perfect song either, but I cannot deny its power in context. (Would still love to hear what you think of my comments on the design elements. I landed on something that has not been discussed in detail -- the complete abandonment of naturalism.) |
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| re: What surprises me is the number of posts for bandstand | |
| Posted by: Ann 12:52 pm EDT 07/09/17 | |
| In reply to: re: What surprises me is the number of posts for bandstand - lowwriter 11:06 am EDT 07/09/17 | |
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| Yes, believe me, I know you love it. | |
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| Saw "Bandstand" this very afternoon. Count me among the the fans. | |
| Last Edit: Delvino 08:31 pm EDT 07/08/17 | |
| Posted by: Delvino 08:30 pm EDT 07/08/17 | |
| In reply to: re: What surprises me is the number of posts for bandstand - Ann 05:55 pm EDT 07/08/17 | |
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| And fully understanding all of the objections and reservations (except about the actual music -- which I don't get, since I find it mostly thrilling), I was in its thrall. Yes, it's predictable, it's drifts toward boilerplate plotting in places, and abandons some of its stabs of daring after the intermission -- it almost runs out of time in the middle of the second act, when it needs a bit of a breath before a windup. But it's so heartfelt, and the production so expertly manages the dance-driven, visual storytelling -- riding a wall of almost non-stop music -- it's just lovable, start til the final moments. Whole company in, all in fine form and voice. Cott -- who carries not only the story but the show's heart and heartbeat -- is remarkable. I've nothing new to add to those besotted with his performance except to say: it's the real deal. He plays the book scenes with an understated reality, and lets the music push him into the emotional corners, both the darkest revelations and those that allow him to explode with delight. At the end of the first act he must rally a despondent group who just had the wind knocked out of them, and he makes it a moment of genuine, illuminating personal triumph for this damaged GI. Nothing in act two is quite as moving, but the moment and the song ("Right This Way") inform the rest of the show's drive. Osnes sings with great range and power, and matches Cott expertly. Very subjective: I wouldn't have minded a *less* satisfying ending, as crazy as that sounds. But this show wants to leave us happy, and why complain about that? House was about 75%, but heavily discounted. Go now if you want to see this sweet, sad, love of a show. |
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| re: What surprises me is the number of posts for bandstand | |
| Posted by: ryhog 08:17 pm EDT 07/08/17 | |
| In reply to: re: What surprises me is the number of posts for bandstand - Ann 05:55 pm EDT 07/08/17 | |
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| I think even for those who adore the Bandstand recording, many of them might say Comet is the better one as a cast recording. (Assuming they don't hate Comet, which of course some do). Without the show's wonderful dancing as a backdrop (or even a frame of reference), I think Bandstand is less engaging. I like Comet more anyway, but I am also on record saying I think Bandstand is all about that dancing. | |
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| re: What surprises me is the number of posts for bandstand | |
| Posted by: lowwriter 12:40 am EDT 07/09/17 | |
| In reply to: re: What surprises me is the number of posts for bandstand - ryhog 08:17 pm EDT 07/08/17 | |
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| I saw The Great Comet three times, the last time from a perfect seat in first row front mezz. I love the staging but I find the score very uneven. There are a few brilliant songs. I'm happy Bandstand is finding fans but every time I've gone to the theater in the past few weeks, the person sitting next to me has been unaware of the show. That saddens me. | |
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| re: What surprises me is the number of posts for bandstand | |
| Posted by: Chazwaza 06:07 pm EDT 07/08/17 | |
| In reply to: re: What surprises me is the number of posts for bandstand - Ann 05:55 pm EDT 07/08/17 | |
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| Woo Hoo Great Comet! Me too. It's the only score I had to buy the cast recording of after seeing it the first time. The others I figured I'd get to it eventually, but GC I thought "I have to hear that again ASAP". | |
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| Me Three | |
| Posted by: BruceinIthaca 07:55 pm EDT 07/08/17 | |
| In reply to: re: What surprises me is the number of posts for bandstand - Chazwaza 06:07 pm EDT 07/08/17 | |
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| Great Comet has become my go-to for the daily walk, which I dread, but the score keeps me moving, especially that extraordinarily witty, fun opening. No greater praise. | |
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| re: Me Three | |
| Posted by: Chazwaza 08:53 pm EDT 07/08/17 | |
| In reply to: Me Three - BruceinIthaca 07:55 pm EDT 07/08/17 | |
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| Agreed! And I like "Letters" opening act 2 even more than the act 1 opener. | |
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| re: What surprises me is the number of posts for bandstand | |
| Posted by: Ann 06:17 pm EDT 07/08/17 | |
| In reply to: re: What surprises me is the number of posts for bandstand - Chazwaza 06:07 pm EDT 07/08/17 | |
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| And I had had the off Broadway recording since it came out. But this one is more addicting. Especially the second disc. | |
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