| re: At least based on the original B'way staging... | |
| Last Edit: Chazwaza 05:00 pm EDT 08/27/20 | |
| Posted by: Chazwaza 04:57 pm EDT 08/27/20 | |
| In reply to: At least based on the original B'way staging... - GrumpyMorningBoy 10:23 am EDT 08/27/20 | |
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| And I, so often, with you! I think the way the super-focus of the story (super meaning above the other focuses) switches, it a lot of act two does feel devoted to Coalhouse but i think that's also because his story is more urgent, emotional and exciting by its nature, and has more bold things to say about America and has more plot points. But a LOT of act two is about Mother and Father fading away from each other and Mother's budding connection to Tateh. But I think if you look at the writing - the type of writing more than the amount - the character development is top heavy on the side of Mother. One "Back to Before" is worth 3 "Make Them Hear You"'s. Outside of "Sarah Brown Eyes" (a personal favorite), there's very little in the way of emotional development for Coalhouse in act 2. It's all anger and justified righteousness... and plot. His songs are plot sequences and stating bold anthemic thoughts about life and America... but they aren't so much about HIM. Mother's songs have more depth and are about her. Sadly "Our Children" is one of my least favorite of the full out songs of the score (i.e. i'm not counting the musical sequences and musicalized plot advancing narrations). Tateh clearly has the weakest material and least impactful material in act 2 (i don't think they meant for that to be, i just think his songs are weaker and his story is rooted in a bit too much lucky coincidence, however i know he is also representing an America experience of the time), but he has a ton of amazing stuff in Act 1, more than Mother if you add it up. But also the story begins with Mother's situation and conflict and feelings, and it ends on the evolution of her personal story as a legit story and as a metaphor for America's evolution. Unlike Coalhouse and Tateh who are spending the better parts of the show reacting to things happening to them (good or bad), Mother is making more choices. And as showtunesoprano pointed out, technically Mother/Father story only has 1 more track than Coalhouse/Sarah... though I would agree that stuff like "Nothing Like the City" almost doesn't count toward what we are debating. But again, "Back to Before" is a huge piece for the play and character, in a way that the rousing and memorable and effectively placed "Make Them Hear You" isn't. But I think a strength of this show and its incredible book is that every Lead Character's story is every other Lead Character's story. They all mix and none of the plot points or character development would be possible without the other leads/communities. But I do also think the strength of the actors and the way the show is directed has a lot to do with who any given viewer sees as who the show is "about", besides what that viewer brings to it personally. I have no doubt many thought it was about Coalhouse and many thought it was about Mother. I doubt anyone thinks the show as a whole is "about" Tateh more than Mother or Coalhouse, but that's why I say it is clearly "about" all 3 on a specific level and a community/symbolic level. (I saw it twice on Broadway in the original run and I was a teen so I didn't specifically relate to any of the 3 leads more, I just took in the entire show and felt it was pretty evenly about them all while ultimately being about Mother's journey from guarded wealthy housewife who questions nothing to independent modern woman owning her life and place in society). And all three have amazing material and story and character development in Act 1. I think a weakness of the show (which I find to be one of the strongest original musicals of the last 50 years) is that Act 2 just isn't as interesting or strong in its pay off of the stories/scenes set up in Act 1. But I think they generally do a remarkable job of keeping the show afloat and the score impressive. |
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