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| 10-yr Light in the Piazza Anniversary Concert | |
| Posted by: Fredrick 09:28 am EST 02/07/21 | |
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| Does anyone know if this concert was filmed or recorded? And if it was, is it available for viewing or purchase? It was mentioned so fondly in the streaming event ‘Looking Back at the Light . . .’ Many thanks. | |
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| re: 10-yr Light in the Piazza Anniversary Concert | |
| Posted by: WWriter 08:01 pm EST 02/08/21 | |
| In reply to: 10-yr Light in the Piazza Anniversary Concert - Fredrick 09:28 am EST 02/07/21 | |
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| I don't think there's any recording available, audio or video, sadly. I did get to see it, just barely, and I've linked to the blog post I wrote at the time. It was just barely because I only heard about the reunion four or five hours after tickets went on sale. I immediately went to the ticket website and called my sister at the same time to make sure she was free the day of the performance (she had seen Piazza 18 times or so). Then I had her call one of our main theatre buddies, and as I bought tix for my sister and I, I called the other. I didn't want to wait to get okays from everyone, because I was afraid of the tickets disappearing. My sister and I got third row balcony, off center. Once we had verified our friends' availability (there was never a question of whether they'd want to see it!), we got tickets for them--also third row, I think, and to the other side. And then there were no more tickets available! Gone! We had just made it! I should specify that we got the last $150 tix. I don't know if there were still $1,000 tix available. And, speaking of the $1,000 tix, I wrote in my blog post that I didn't know if the audience downstairs was as buzzing as the one upstairs. Years later, I met someone who had seen it in orchestra seats and she said the orchestra was full of Piazza fans who were also thrilled, thrilled, thrilled to be there. The performance itself was painfully wonderful. There's always that wistfulness at seeing something for the last time, and I had felt that wistfulness at Piazza's final performance. But there's an extra intensity, at least for me, in seeing something you thought you would never see again. (I also cry more at movies where a dead person comes back and then leaves than I do at regular deaths. There's something about that miracle appearance that deepens things for me. Like you almost could get away without the loss happening, and then it hurts twice as much. See, eg, Here Comes Mr. Jordan and Truly, Madly, Deeply.) Each second of the Piazza reunion was there, perfect, then gone. There, perfect, then gone. There, perfect, then gone. And when the music for Fable started, I think the whole audience's heart broke, because we knew the show would soon disappear again. Sigh. |
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| Link | Light in the Piazza 10 Anniversary |
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| re: 10-yr Light in the Piazza Anniversary Concert | |
| Posted by: Fredrick 12:39 pm EST 02/09/21 | |
| In reply to: re: 10-yr Light in the Piazza Anniversary Concert - WWriter 08:01 pm EST 02/08/21 | |
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| Thank you so very much for this account of what must have been a transportive evening. I’m incredibly sad I missed it and that there is no digital record of it. Piazza was a glorious gut punch to me each time I saw it. Having a recording of this reunion would have been very special. But, alas! | |
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| re: 10-yr Light in the Piazza Anniversary Concert | |
| Posted by: Michael_Portantiere 11:17 am EST 02/09/21 | |
| In reply to: re: 10-yr Light in the Piazza Anniversary Concert - WWriter 08:01 pm EST 02/08/21 | |
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| "There's an extra intensity, at least for me, in seeing something you thought you would never see again." Alas, I did not see the PIAZZA reunion concert. But the feeling you cite was what made the MERRILY WE ROLL ALONG 20th reunion concert absolutely thrilling, tear-jerking, and unforgettable, because that was a case where the show was such a tremendous flop the first time, it's safe to say that no one who was involved with it or saw it back then would ever have thought for even half a second that the show would be revived in concert form for one night 20 years later before an adoring, cheering, weeping audience :-) |
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| Let's be honest: Adam Guettel was the breakout star of that show | |
| Last Edit: GrumpyMorningBoy 10:47 am EST 02/09/21 | |
| Posted by: GrumpyMorningBoy 10:43 am EST 02/09/21 | |
| In reply to: re: 10-yr Light in the Piazza Anniversary Concert - WWriter 08:01 pm EST 02/08/21 | |
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| Really enjoyed reading your blog post just now!!! I must agree that "Octet" is some of the most terrific music in the score, and I ADORE it too. I am a bit unusual, in that I got the chance to hear many of Adam Guettel's original demos for this score before the Broadway production, and it was clear even then that the octet was going to be transcendent. Nonesuch released several of those demos for online streaming -- no longer available, sadly -- and Mr. Guettel's "Dividing Day" demo was on the first audio CD's, so that's still out there. It's just him and a guitar and it's terrific. Although many in the audience were clearly moved by this show's excellent book and luminous performances, we've gotta be honest. Adam Guettel was the real breakout star of this show. Very few people at that point were familiar with FLOYD COLLINS or SATURN RETURNS / MYTHS & HYMNS. No one writing for the musical theatre is composing more original and thrilling music than Adam Guettel. I don't think anyone even comes close, to be honest. And although I'll take a long gestation period for any masterpiece, I am VERY eager to hear more of his talented man's work. Ms. O'Hara said during the recent live stream that she's had the chance to sing through some of his forthcoming score for DAYS OF WINE AND ROSES, another collaboration with Craig Lucas. She said it's beautiful, original, and wonderful. A few songs from his treatment of MILLIONS have also been recorded & performed... Link below for one those songs performed by Audra McDonald. Need to hear these scores. Soon. - GMB |
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| Link | March is a Windy Month from MILLIONS -- Audra McDonald and the NY Philharmonic |
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| Thanks! (nm) | |
| Posted by: WWriter 01:15 pm EST 02/09/21 | |
| In reply to: Let's be honest: Adam Guettel was the breakout star of that show - GrumpyMorningBoy 10:43 am EST 02/09/21 | |
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| re: 10-yr Light in the Piazza Anniversary Concert | |
| Posted by: claploudly 02:05 pm EST 02/08/21 | |
| In reply to: 10-yr Light in the Piazza Anniversary Concert - Fredrick 09:28 am EST 02/07/21 | |
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| I have been trying to follow this topic with great interest, but has anyone answered the original question "Is it possible to find online that video of the 10th Anniversary Concert of Light in the Piazza"????? | |
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| re: 10-yr Light in the Piazza Anniversary Concert | |
| Posted by: Chazwaza 05:59 pm EST 02/08/21 | |
| In reply to: re: 10-yr Light in the Piazza Anniversary Concert - claploudly 02:05 pm EST 02/08/21 | |
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| As far as I know, there is sadly no commercially released recording of this concert. Not sure beyond that. | |
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| re: 10-yr Light in the Piazza Anniversary Concert | |
| Posted by: Michael_Portantiere 05:20 pm EST 02/08/21 | |
| In reply to: re: 10-yr Light in the Piazza Anniversary Concert - claploudly 02:05 pm EST 02/08/21 | |
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| I'm guessing the reason no one has answered that question is that no one knows specifically if the video exists online anywhere (I suspect it does not), and if so, how to find it. | |
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| re: 10-yr Light in the Piazza Anniversary Concert | |
| Last Edit: Singapore/Fling 08:22 pm EST 02/08/21 | |
| Posted by: Singapore/Fling 08:21 pm EST 02/08/21 | |
| In reply to: re: 10-yr Light in the Piazza Anniversary Concert - Michael_Portantiere 05:20 pm EST 02/08/21 | |
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| And even if they did, they wouldn't be able to share it. I believe even acknowledging the existence of such things will lead to the post being removed. | |
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| Did anyone here see the Seattle cast of THE LIGHT IN THE PIAZZA? | |
| Last Edit: GrumpyMorningBoy 10:07 am EST 02/07/21 | |
| Posted by: GrumpyMorningBoy (grumpymorningboy@yahoo.com) 10:04 am EST 02/07/21 | |
| In reply to: 10-yr Light in the Piazza Anniversary Concert - Fredrick 09:28 am EST 02/07/21 | |
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| I too would be VERY interested to see / hear this 10th year anniversary concert! Please email me (link above) if you know anything. On that streaming event, I was really taken by the way Kelli O'Hara talked about feeling like a bit of an uninvited guest into a role that wasn't originally hers, and how she didn't feel in her bones -- I'm paraphrasing here -- that the title song was truly her song until she had the chance to sing it at that 10th Anniversary concert. She spoke about singing the song for Adam Guettel after she'd already been performing the role of Franca, and feeling a bit like she was stepping onto someone else's territory. It was very moving, to be honest. And Ms. O'Hara was tremendously sincere and humble as she spoke about it. I know several people connected to that Seattle production, and I know that the replacement of Celia Keenan-Bolger in the role was poignant and difficult for many within the company, in part because Ms. Keenan-Bolger is a performer for whom so many people feel genuine affection. I've always loved Ms. O'Hara in everything I've seen her do, but I really wish I could have seen the Seattle cast with Ms. Keenan-Bolger as Clara and Steven Pasquale as Fabrizio. I'm sure their interpretations of the roles would have been really something. Anyone here see it? Or, have the chance to compare the Seattle cast with the Lincoln Center cast(s)? - GMB |
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| re: Did anyone here see the Seattle cast of THE LIGHT IN THE PIAZZA? | |
| Posted by: BillEadie 11:39 pm EST 02/07/21 | |
| In reply to: Did anyone here see the Seattle cast of THE LIGHT IN THE PIAZZA? - GrumpyMorningBoy 10:04 am EST 02/07/21 | |
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| I saw both the Seattle version and the Lincoln Center version. I wish I could give you lots of detail for comparison, but I don’t have that specific a recall. My general impression of Seattle was that it was quite unfinished. In particular, I remember that the accompaniment was performed by a string quartet and piano (or maybe no piano), and that it was quite wrong-headed for a piece that seemed as though it wanted to be operatic. I sought it out at Lincoln Center because I thought it had a lot of potential and I wanted to see if that potential had been achieved. It was, in the score, the orchestrations, and the staging. I did see the LA Opera’s version and enjoyed that one, too. Bill, in San Diego |
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| re: Did anyone here see the Seattle cast of THE LIGHT IN THE PIAZZA? | |
| Posted by: dottie20 03:36 pm EST 02/07/21 | |
| In reply to: Did anyone here see the Seattle cast of THE LIGHT IN THE PIAZZA? - GrumpyMorningBoy 10:04 am EST 02/07/21 | |
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| I had heard a recording of Steven's Love to Me, and it was absolutely beautiful. I particularly liked the phrasing of the end of the song. | |
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| Why was Celia Keenan-Bolger let go? | |
| Posted by: mikem 03:40 pm EST 02/07/21 | |
| In reply to: re: Did anyone here see the Seattle cast of THE LIGHT IN THE PIAZZA? - dottie20 03:36 pm EST 02/07/21 | |
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| Why was Celia Keenan-Bolger let go from the show? I'm sure she could act the part, although perhaps the creators were looking for something different than what she was giving them. I don't know her singing well enough to know whether the music was a challenge for her. | |
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| Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Last Edit: DanielVincent 07:57 pm EST 02/07/21 | |
| Posted by: DanielVincent 07:56 pm EST 02/07/21 | |
| In reply to: Why was Celia Keenan-Bolger let go? - mikem 03:40 pm EST 02/07/21 | |
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| Celia discusses her dismissal in her episode of the Hollywood Reporter's podcast "Awards Chatter." It was taped and released during the season she was nominated (and ultimately won) the Tony for To Kill a Mockingbird, so it's been a while since I've listened to it and I don't recall many details. However, I do remember thinking it was the most I'd ever heard her talk about it, including the awkwardness of having to re-audition when Lincoln Center picked it up. I believe she made some comment to the effect of, "I can't sing like Kelli does," but I don't think she honed in on that as the reason she was let go. I saw Celia in Chicago, and then, on Broadway, Kelli (twice) and Katie Rose Clarke (whom I didn't feel was up to the part). Although Celia had all of the notes, the size and facility of Kelli's soprano showcased the score far more powerfully. From a narrative standpoint, the show also made more sense with Kelli because she clearly read as an adult woman. With Celia, it was unclear if Clara was a child, teenager, or adult, which confused the romance between her and Fabrizio. Although you didn't ask about it, it's worth commenting on a couple other members of the Chicago cast. Wayne Wilcox has never quite gotten his due in New York, but he was a wonderful Fabrizio. He did not have had all the star quality that Matthew Morrison had, but he sang it more powerfully and was more believably Italian. Kelli was DYNAMITE as Franca and stole every scene she was in. Admittedly, I did not see her recent revival of Kiss Me Kate or Nice Work If You Can Get It. However, in all the other productions in which I've seen her, I've never seen her have the chance to play fiery and brash the way she did as Franca and it's a damn shame because she NAILED it. She was probably funnier than Sarah Uriarte Berry was on Broadway, but Sarah was probably more touching. Because her Franca initially read as more subdued, easily reminding me that this was the woman I saw as Julie Jordan and Belle in the 1990s, when the lyrics turned dark in The Joy You Feel, it was more surprising. In general, Kelli's Franca seemed angrier over the way her life with Giuseppe has turned out while Sarah seemed sadder. Two wonderful takes--I can't say which I preferred--whereas I can definitely say that Kelli's Clara was superior to Celia's. Matthew's charisma probably packed more of a punch than Wayne's technical proficiency. When he joined the Broadway cast as a replacement, Aaron Lazar, my favorite Fabrizio, delivered both. |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Last Edit: dsleft 01:30 pm EST 02/08/21 | |
| Posted by: dsleft 01:27 pm EST 02/08/21 | |
| In reply to: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - DanielVincent 07:56 pm EST 02/07/21 | |
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| Celia was perfect for the part because, as in the original source material, she appears "different", and was able to portray a child-like adult. There was always something more interesting about CKB's performances than the sterling perfection of KO's. Adam preferred she hit all the notes with no discernable (to a professional) struggle. Steven Pasquale seemed a perfect harbor in a storm to her unvarnished soul, which seemed apt. He had a tv commitment, and, perhaps, Adam thought him not believable enough as an early 20's man. | |
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| I respectfully disagree. | |
| Posted by: DanielVincent 03:05 pm EST 02/08/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - dsleft 01:27 pm EST 02/08/21 | |
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| Although, yes, Celia appeared "different," it was not clear that she was supposed to be a "child-like adult," which I think was plainly communicated in Kelli's performance. I saw the show with five friends and, largely because of Celia's casting, none of us could figure if Clara was a child-like adult, a child, or a teenager. | |
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| re: I respectfully disagree. | |
| Posted by: Michael_Portantiere 03:13 pm EST 02/08/21 | |
| In reply to: I respectfully disagree. - DanielVincent 03:05 pm EST 02/08/21 | |
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| I suspect the main issue here is whether or not one knows going in to see the show that Clara is supposed to be 26. If one does know that, I could see why Celia's child-like quality would be a wonderful asset to her performance and to the show, whereas if one does not have this info ahead of time, I could certainly understand why that same quality would be confusing as to exactly how old the character is meant to be. | |
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| re: I respectfully disagree. | |
| Posted by: EvFoDr 04:28 pm EST 02/08/21 | |
| In reply to: re: I respectfully disagree. - Michael_Portantiere 03:13 pm EST 02/08/21 | |
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| Maybe this is splitting hairs, but does one have to have this info ahead of time? I vividly remember a scene where Fabrizio's father freaks out when he reads the marriage paperwork and learns that Clara is 26, much older than his son. Maybe this scene wasn't in the show when CKB was playing Clara? But if it was, then it shouldn't be confusing how old she is and one shouldn't have to know in advance, right? But maybe the earlier poster is talking more about how she "reads" than what the libretto is telling us. I do think CKB can read very child like, as evidenced by her being cast to play children numerous times. I didn't see CKB in Piazza, but some who did told me that she played whatever impairments resulted from the horse incident in a more apparent way than Kelli. Perhaps this playing of mental "otherness" came across as more childish? | |
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| re: I respectfully disagree. | |
| Posted by: Michael_Portantiere 05:12 pm EST 02/08/21 | |
| In reply to: re: I respectfully disagree. - EvFoDr 04:28 pm EST 02/08/21 | |
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| "Maybe this is splitting hairs, but does one have to have this info ahead of time? I vividly remember a scene where Fabrizio's father freaks out when he reads the marriage paperwork and learns that Clara is 26, much older than his son. Maybe this scene wasn't in the show when CKB was playing Clara? But if it was, then it shouldn't be confusing how old she is and one shouldn't have to know in advance, right?" Yes, but I assume the issue was possible audience confusion about Clara's age BEFORE it as mentioned that she's 26. On that note, see JereNYC's post below. |
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| re: I respectfully disagree. | |
| Posted by: JereNYC (JereNYC@aol.com) 04:59 pm EST 02/08/21 | |
| In reply to: re: I respectfully disagree. - EvFoDr 04:28 pm EST 02/08/21 | |
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| I vaguely remember that audience confusion on this point continued in previews at Lincoln Center and the creatives decided to add a scene that revealed this information to the audience much earlier on in the show. | |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Posted by: Michael_Portantiere 11:08 am EST 02/08/21 | |
| In reply to: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - DanielVincent 07:56 pm EST 02/07/21 | |
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| "From a narrative standpoint, the show also made more sense with Kelli because she clearly read as an adult woman. With Celia, it was unclear if Clara was a child, teenager, or adult, which confused the romance between her and Fabrizio." Thanks so much for this, and for the rest of your report. It had never occurred to me that this might have been an issue with Celia in the role, but I can completely understand why you felt that way. |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Posted by: claploudly 04:23 pm EST 02/08/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - Michael_Portantiere 11:08 am EST 02/08/21 | |
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| I didn't get to see Celia Keenan-Bolger as Clara in Seattle, but from what I was told by three people involved in that production and several who saw it, what Celia had that was so special was her sympathetic quality as an actress. Our hearts naturally go out to her in many of her theatre performances, and it served her and the production well in Piazza. That is a nuance that is very difficult for an actress to portray unless it is naturally in her persona. I wish I had seen her although I also adored Kelli. I saw her as Clara at Lincoln Center five times. Sure do wish I could find a video of the 10th year reunion concert. | |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Posted by: Quicheo 11:36 am EST 02/08/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - Michael_Portantiere 11:08 am EST 02/08/21 | |
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| There is something poetic about the possibility that she was let go for appearing too child-like then went and booked a show where she literally played a child and both she and the actress who replaced her in Piazza ended up facing off the Featured Actress in a Musical race that season. And, for me, each a triumph in their nominated roles. | |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Posted by: Michael_Portantiere 12:16 pm EST 02/08/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - Quicheo 11:36 am EST 02/08/21 | |
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| "There is something poetic about the possibility that she was let go for appearing too child-like then went and booked a show where she literally played a child and both she and the actress who replaced her in Piazza ended up facing off the Featured Actress in a Musical race that season. And, for me, each a triumph in their nominated roles." Agreed. |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Posted by: lordofspeech 09:38 pm EST 02/08/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - Michael_Portantiere 12:16 pm EST 02/08/21 | |
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| My opinion: I really didn’t « get » the show until I tracked down the film upon which it was based and watched Yvette Mimieux’s performance. Which was excellent. And perfect for her childlike/limited/sympathetic qualities. It may just be that, for me, the enormous sophistication of Clara’s music made it impossible for me to « get » her as someone who was « slow. ». So I kinda missed the point, except that the mother seemed to have a problem. |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Posted by: Quicheo 05:27 pm EST 02/10/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - lordofspeech 09:38 pm EST 02/08/21 | |
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| I remember at the time there was much discussion here about Clara and her condition which included many perspectives and responses. In my day job, I work with people with a variety of mental conditions, including brain injuries. What resonated with me in The Light in the Piazza was how sensitively and, in my view, accurately the piece portrays the enormity of what it means to raise a child with a "disability", especially when that child, whom you have protected and nurtured and kept safe reaches adulthood, both chronologically and developmentally. I understand the movie may have gone a different direction, emphasizing different aspects of the characters, but the play seems to show that Clara has become more capable than Margaret was led to believe she could ever be. And even more so, Clara is deserving of happiness and independence regardless of her injury. |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Posted by: JereNYC (JereNYC@aol.com) 11:35 am EST 02/11/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - Quicheo 05:27 pm EST 02/10/21 | |
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| Is it that Clara is more capable that Margaret thought or is that, as Margaret herself points out, her disability will be less apparent in Italy because, if anyone notices anything...off...about her, it will be put down to cultural differences and her facility with the language? Maybe it's both, although Clara seems relatively functional even at the beginning of the show. I love that Margaret grasps the idea that marrying Fabrizio and living in Italy is probably Clara's best and only shot at anything resembling a "normal" life. It would never happen, but I would love a sequel that checks in with these characters 10 or even 20 years later. I have this idea that Margaret eventually ends up Italy herself, either separating from her husband or after his death. Maybe she's the next one due for an Italian romance, perhaps something a bit happier than Leona Samish's. |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Posted by: Chromolume 10:46 pm EST 02/11/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - JereNYC 11:35 am EST 02/11/21 | |
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| It would never happen, but I would love a sequel that checks in with these characters 10 or even 20 years later. I have this idea that Margaret eventually ends up Italy herself, either separating from her husband or after his death. Maybe she's the next one due for an Italian romance, perhaps something a bit happier than Leona Samish's. You don't think that Margaret becomes Sr. Naccarelli's 2nd wife? (Or does he just have an affair with her while still married to his current wife?) Fabrizio, unfortunately, will probably not relinquish his fetish for young American girls with flying hats. ;-) |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Posted by: JereNYC (JereNYC@aol.com) 11:29 am EST 02/12/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - Chromolume 10:46 pm EST 02/11/21 | |
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| Both of those questions are ones that I would love to revisit. Clearly, there's some attraction between Margaret and Signore Naccarelli, but I can't imagine Margaret engaging in an affair if she or he were still married. Although, perhaps that might be the meat of THE LIGHT IN THE PIAZZA 2. Maybe Margaret discovers her light in a way that she wasn't expecting. I hope that Fabrizio doesn't break Clara's heart. If we're going with a story in which Margaret and Naccarelli are having an affair, perhaps it might be interesting to juxtapose that with the younger couple being completely devoted to each other and shocked to the core when the news comes out. |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Posted by: Michael_Portantiere 04:20 pm EST 02/11/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - JereNYC 11:35 am EST 02/11/21 | |
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| "Is it that Clara is more capable that Margaret thought or is that, as Margaret herself points out, her disability will be less apparent in Italy because, if anyone notices anything...off...about her, it will be put down to cultural differences and her facility with the language? Maybe it's both, although Clara seems relatively functional even at the beginning of the show." I think it is both. If I recall correctly, the only two moments in the show when Clara's disability seems very apparent are when she panics after becoming lost in the streets of Florence, and then later during that dispute with Franca. Her other behavior, such as her reaction to the statues of naked men, could probably -- if we didn't know the truth -- be chalked up to her sense of humor and/or a sort of childlike, innocent nature that would not necessarily be considered abnormal. At one point, when Margaret's husband objects to the Clara-Fabrizio relationship during one of his phone conversations with Margaret, he says something like, "If she has a child, she will drop it." I don't think we see anything in Clara's behavior to support that fear, so perhaps she has become more mentally capable than her father or mother had thought she would. |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) | |
| Posted by: Billhaven 02:25 pm EST 02/11/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - JereNYC 11:35 am EST 02/11/21 | |
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| One of the reasons that the title song is so powerful is that Clara is so sure, so articulate about her feelings . Margaret is taken off guard as to how much her daughter has grown since meeting Fabrizio. During the recent Lincoln Center talk with Vicki Clark, she said that is the turning point in her decision to support the marriage. | |
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| That Tony Race was one of the most competitive in recent memory. | |
| Posted by: DanielVincent 12:56 pm EST 02/08/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - Michael_Portantiere 12:16 pm EST 02/08/21 | |
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| It was such an exceptional year for featured actresses in musicals. I did not see the winning performance (Sara Ramirez as the Lady of the Lake in Spamalot), but it was, by all accounts, exceptional. That being said, I could make convincing arguments that all of the nominees should have won: in Dirty Rotten Scoundrels, Joanna Gleason gave a master class in dry comic timing and the difference between style, which she applied, and shtick, to which she never succumbed; Celia was the beating heart of The 25th Annual Putnam County Spelling Bee, bringing genuine pathos to a show that could otherwise have been one-note and jokey; in Chitty Chitty Bang Bang, Jan Maxwell was musical comedy PERFECTION, delivering madcap insanity while also, somehow, totally grounded; and in The Light in the Piazza, Kelli gave the most vocally lush performance of the season (and MANY seasons) while also convincingly selling a romantic fantasy and the transition of a differently abled girl into womanhood. Kelli probably would have gotten my vote, but, damn!, they were all SO BRILLIANT. And let's not forget about all the stellar performances that weren't nominated: Sarah Uriarte Berry and Patti Cohenour in Piazza; Deborah S. Craig, Lisa Howard, and Sarah Saltzberg in Spelling Bee; Sara Gettelfinger in Dirty Rotten Scoundrels; and Janine LaManna and Kyra Da Costa in Sweet Charity. |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli | |
| Last Edit: Chromolume 08:25 pm EST 02/07/21 | |
| Posted by: Chromolume 08:20 pm EST 02/07/21 | |
| In reply to: Celia, Kelli, Wayne, Matthew, Sarah and Kelli (long) - DanielVincent 07:56 pm EST 02/07/21 | |
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| and Katie Rose Clarke (whom I didn't feel was up to the part) My first time seeing the show was the telecast with Katie Clarke. I was disappointed it wasn't O'Hara. But then I saw Clarke on the tour, and felt she had really grown into the role. On the tour, I actually felt that the focus of the story shifted just a bit, from Victoria Clark's Margaret on Broadway, to the lovers on the tour, because Christine Andreas wasn't the powerhouse that Clark was. The Fabrizio at the time was David Burnham, who to me, was the absolute strongest (vocally, at least) of the Fabrizios. (Fabrizi?) He blew me away, in fact. On the recent reunion interview, Matthew Morrison talked about feeling like he had to prove himself after being known so much as Link in Hairspray. On first hearing the CD, I'd say he did just that. But then hearing both Lazar and Burnham later on, I almost have to wonder why Morrison was cast. (And then, hearing him pop scoop his way through Lt. Cable, I felt even more strongly that "legit" roles really are not his thing.) |
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| re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli | |
| Posted by: Michael_Portantiere 11:16 am EST 02/08/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli - Chromolume 08:20 pm EST 02/07/21 | |
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| "The Fabrizio at the time was David Burnham, who to me, was the absolute strongest (vocally, at least) of the Fabrizios. (Fabrizi?) He blew me away, in fact." I saw and heard him twice in the role, once in Boston and once in San Francisco. He was, indeed, perfection in the part in every respect -- singing voice, acting, and look. "On the recent reunion interview, Matthew Morrison talked about feeling like he had to prove himself after being known so much as Link in Hairspray. On first hearing the CD, I'd say he did just that. But then hearing both Lazar and Burnham later on, I almost have to wonder why Morrison was cast. (And then, hearing him pop scoop his way through Lt. Cable, I felt even more strongly that 'legit' roles really are not his thing.)" I had exactly the same reactions, in the same order and for the same reasons. I think Burnham should have opened the show on Broadway -- he was already in the cast, so we know he was available, even if Pasquale, Lazar, and/or Wilcox were not. |
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| South Coast Rep. | |
| Posted by: portenopete 09:47 pm EST 02/07/21 | |
| In reply to: re: Celia, Kelli, Wayne, Matthew, Sarah and Kelli - Chromolume 08:20 pm EST 02/07/21 | |
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| I saw David Burnham play Fabrizio at South Coast Rep in Costa Mesa CA and thought he was marvellous! (As was Patti Cohenour as Margaret.) Aaron Lazar remains my favourite (seen on PBS). I liked Morrison well enough until I saw Lazar. |
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| re: South Coast Rep. | |
| Posted by: Michael_Portantiere 12:18 pm EST 02/08/21 | |
| In reply to: South Coast Rep. - portenopete 09:47 pm EST 02/07/21 | |
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| "I saw David Burnham play Fabrizio at South Coast Rep in Costa Mesa CA and thought he was marvellous! (As was Patti Cohenour as Margaret.)" I was lucky enough to see both Patti Cohenour and Christine Andreas as Margaret, the former at Lincoln Center and the latter on tour. I thought all three Margarets I saw and heard -- Patti, Christine, and Victoria Clark -- were wonderful in a very challenging role, so brava to all three of them. |
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| re: South Coast Rep. | |
| Posted by: dottie20 10:52 pm EST 02/07/21 | |
| In reply to: South Coast Rep. - portenopete 09:47 pm EST 02/07/21 | |
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| Katie Rose Clarke improved immensely from her time on Broadway to when I saw her on tour. That being said, my favorite Clara after Kelli O'Hara was Elena Shadow. Her portrayal was beautifully acted and sung. I loved David Burnham on tour as Fabrizio. I also saw Adam Overett when he was on in Hershey, PA. I enjoyed his performance as well. The recent talk with Victoria, Kelli and Matt reminded me just how much I loved both the LCT and tour productions of The Light in the Piazza. |
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