| re: "The grit, the funk, and the Blackness it aspired to." | |
| Last Edit: Chazwaza 01:24 pm EDT 03/19/22 | |
| Posted by: Chazwaza 01:07 pm EDT 03/19/22 | |
| In reply to: re: "The grit, the funk, and the Blackness it aspired to." - Singapore/Fling 12:31 pm EDT 03/19/22 | |
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| Why are sex workers not allowed to "sound broadway"? You know who also sounds broadway? Slaves in Rome in Forum, sex workers in NYC in the 60s in Sweet Charity, 50s street gangs in West Side Story, among others... I'm not saying I don't get why you want them to sing grittier songs based on your understanding of the lives they lead, but I don't entirely think it's fair to bring that to the show as an expectation. The show has a musical language and sound. I also don't think talking about the show as if it's an animated disney musical or Guys & Dolls in skimpier clothing is fair. They sing about some very adult things all throughout the show, and the score may sound old fashioned by not like 1950s or Disney. Yes, they sing in a more neat and written-for-entertainment broadway musical style that some think doesn't work for them, or feels at odds with the setting and realities but also, that's part of why it worked as a musical for the writer of the musical... Billy didn't have to do that writer's musical (and many would say he did not do it). Also, Cy Coleman's score for The Life isn't only a "broadway" sound, there's plenty of R&B in there among other styles... just not funk or disco, and apparently not the "blackness it aspired to", but you'd really have to talk to Cy about what he aspired to (blackness or not), and assigning a certainly specific kind of blackness to how it should have sounded or aspired to sound is a bit weird. |
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