|Jesse Green’s comment on “The Miller’s Son.”|
|Last Edit: Delvino 07:47 pm EDT 08/12/22|
|Posted by: Delvino 07:38 pm EDT 08/12/22|
|In a rave of the Bennington Night Music, this strange observation stands out.
“She scores big with “The Miller’s Son” — a showstopper but, given to a minor character, perhaps the work’s one misstep.”
As someone who saw the OBC in June 1973, when the song stopped the show after the piece’s already famous showstopper, I take exception to this. The number has always been remarkable counterpoint to the self-absorbed leading players attempting to correct mistakes of their past, a minor character who steps forward to ruminate on all that lays before her. The one solo that focuses on the future, with clear eyed pragmatism. The number’s placement and its assignment to the young maid - in another class, no small factor - make it pop with theatrical focus. Have never heard it considered a structural flaw.
|Previous:||re: Don't judge me!!! - GreatMartin 01:21 pm EDT 08/13/22|
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