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| re: Such a great opportunity for her | |
| Posted by: Delvino 08:20 am EDT 08/04/22 | |
| In reply to: Such a great opportunity for her - KingSpeed 05:36 am EDT 08/04/22 | |
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| The new blocking/keys thing jumped out for me as well. A question from a non-singer: Are standbys required to sing in the keys as the star? Always? (I've seen this topic before, but forgive me for lacking the necessary recall). Are the current Benko keys the Feldstein keys? Are they generally used for anyone playing Fanny? | |
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| re: Such a great opportunity for her | |
| Posted by: CamMacFan 06:33 pm EDT 08/05/22 | |
| In reply to: re: Such a great opportunity for her - Delvino 08:20 am EDT 08/04/22 | |
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| When Toni Braxton went played Belle in Beauty and the Beast, the keys were lowered for her. However, both of her understudies were sopranos. When they went on (which was semi-regularly), they sand the show in the show in the original key. I do remember one performance where they forgot to switch the key for the opening number....It was not pretty |
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| re: Such a great opportunity for her | |
| Posted by: NightMusic77 12:39 pm EDT 08/04/22 | |
| In reply to: re: Such a great opportunity for her - Delvino 08:20 am EDT 08/04/22 | |
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| Typically, an understudy or standby will perform the songs in the exact same keys as the person who typically plays the role (though I'm sure there have been exceptions over the years). Whenever as understudy goes on, the production wants as little disruption elsewhere as possible, and that would include keeping keys the same. The same question came up a lot when Kathy Voytko went on as Marian in The Music Man; she sang the songs in the same key as Sutton Foster (they didn't suddenly pull out soprano orchestrations). | |
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| re: Such a great opportunity for her | |
| Posted by: Marlo*Manners 02:01 pm EDT 08/04/22 | |
| In reply to: re: Such a great opportunity for her - NightMusic77 12:39 pm EDT 08/04/22 | |
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| I saw Kathy Voytko when she subbed for Sutton during her last bout of COVID-19 earlier this Spring. I was delighted that Voytko not only was a delightful actress with a distinctive flinty personality but also sang Marian's solos with quite a bit of head voice and soprano mix. I was wondering if the keys were raised for her. Evidently not. It was just her vocal production. I hope Lea's keys work well for Benko. I felt that Beanie's keys were too low and in some places Benko could let rip more with higher keys. Also, Beanie's costumes downsized for Benko's slimmer frame were not flattering. The anonymous producer who contributed to the Daily Beast exposé mentioned that Lea Michele would need redesigned costumes - I hope those also work well for Benko. Most of all I hope they redo the sound design. There was too much reverb on Benko's miking which probably was there to boost and fill out Feldstein's thin, underdeveloped voice. Both Benko and Michele have big Broadway voices and don't need that level of artificial resonance. The overture was also painfully overmiked as well and jarringly shrill - due perhaps to hide the scrawny instrumental resources for this production. Marlo Manners (Lady Barrington) |
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| Btw, how many instruments are in the orchestra for "Funny Girl"? | |
| Last Edit: PlayWiz 11:27 am EDT 08/05/22 | |
| Posted by: PlayWiz 11:27 am EDT 08/05/22 | |
| In reply to: re: Such a great opportunity for her - Marlo*Manners 02:01 pm EDT 08/04/22 | |
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| Also, what's the current status of instruments being used in most musical nowadays? Is "Phantom" the largest these days? Back to topic of "Funny Girl", I hope sound design is fixed if it needs to be. The overture is one of the great ones. | |
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| re: Such a great opportunity for her | |
| Posted by: jjbkvm 08:32 pm EDT 08/04/22 | |
| In reply to: re: Such a great opportunity for her - Marlo*Manners 02:01 pm EDT 08/04/22 | |
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| "There was too much reverb on Benko's miking which probably was there to boost and fill out Feldstein's thin, underdeveloped voice." Wouldn’t it be nice to just say… There was too much reverb on Benko's miking which probably was there for Feldstein. Is there a reason people still feel the need to pound on her? Let’s move on. I’m sure hope she has. |
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| The Funny Girl sound design. | |
| Last Edit: Delvino 06:18 pm EDT 08/04/22 | |
| Posted by: Delvino 06:16 pm EDT 08/04/22 | |
| In reply to: re: Such a great opportunity for her - Marlo*Manners 02:01 pm EDT 08/04/22 | |
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| “Most of all I hope they redo the sound design. There was too much reverb on Benko's miking which probably was there to boost and fill out Feldstein's thin, underdeveloped voice. Both Benko and Michele have big Broadway voices and don't need that level of artificial resonance.” When I saw the show with Feldstein, I attributed the oddly artificial sound to (layman’s ears) someone adjusting the volume to enhance and amplify specific belt portions of the vocal performance; others raised the point with different language. But it’s gratifying to hear that something in the overall design is off. |
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