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re: Brantley offers a (semi-)defense for jukebox musicals
Posted by: Chromolume 05:57 pm EDT 09/04/19
In reply to: re: Brantley offers a (semi-)defense for jukebox musicals - singleticket 09:12 am EDT 09/04/19

I'm not sure that on any level I would call Kismet a jukebox musical. Even if we open up the definition to include non-pop musical styles such as classical, there's not really enough Borodin in the score IMO. (A good number of the songs are based on musical themes, but then developed into popular song forms using additional music by Wright and Forrest. For instance, only the A section of "Stranger In Paradise" is Borodin.)
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re: Brantley offers a (semi-)defense for jukebox musicals
Last Edit: singleticket 07:16 pm EDT 09/04/19
Posted by: singleticket 07:08 pm EDT 09/04/19
In reply to: re: Brantley offers a (semi-)defense for jukebox musicals - Chromolume 05:57 pm EDT 09/04/19

there's not really enough Borodin in the score IMO

I'm sure you're right. I don't know the Borodin sources well enough to say.

Check this out:

Robert Wright and George Forrest had adapted classical music for shows and pop songs before (Grieg for Song of Norway and Rimsky-Korsakov for the film Balalaika), but Borodin was actually their third choice for Kismet. And, fortunately for them, by the time they finished writing, Borodin’s music had come into the public domain so they wouldn’t have to pay royalties. As it turned out, they filed their copyright on Kismet the very day that the copyright on Borodin’s music expired.
Link Behind the All-Stars: Alexander Borodin’s Polovtsian Dances
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