| re: MEMPHIS. No contest. (more...) | |
| Last Edit: PlayWiz 12:00 pm EST 01/30/21 | |
| Posted by: PlayWiz 11:58 am EST 01/30/21 | |
| In reply to: MEMPHIS. No contest. (more...) - ShowGoer 07:28 am EST 01/30/21 | |
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| "Redhead" and "Hallelujah, Baby!" both have very enjoyable scores, plus in performance they had Tony-winning performances by Gwen Verdon, Richard Kiley and Leonard Stone in the former, and Leslie Uggams and Lillian Hayman in the latter, so I'd think they'd be even more enjoyable seeing the visuals as well as what's on the OCRs. Plus "Redhead" was considered perhaps Verdon's show with the most dancing, since it was Bob Fosse's first directing credit alongside him doing the choreography, so he apparently really loaded it with dancing to show off Verdon. Of course, that's made the show incredibly hard to cast to those standards, so revivals are really rare, but from the OCR it sounds like a really fun show. "Gentleman's Guide" had good storyline and a traditional kind of score, with one real showstopper in "I've Decided to Marry You", so I thought it was a deserving winner. "Applause" is pretty bad, though the title song is good and maybe a few others, made tolerable by some fine performances with Bacall's star presence somewhat making up for her singing efforts (though Ethel Merman immediately didn't think so in the famous story). "Contact" was made enjoyable especially by Karen Ziemba, The Girl in the Yellow Dress (Deborah Yates) and its choreography, but it wasn't really a musical. "Two Gentlemen of Verona" has some fun numbers in its score, though I'm betting a lot of animosity towards it is more because it beat the classic "Follies" for Best Musical that year. |
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