Sondheim: a Celebration at Carnegie Hall

Has any musical theater composer been the subject of more special concerts during his life-time than Stephen Sondheim? Doubtful. I wonder why that is?

I believe he appeals to performers, who enjoy the opportunity to sing his songs with orchestra. I don't dislike his music, but I won't be lining up to sing it with the Chicago Symphony Orchestra at Ravinia this summer (even if they ask me to have done, which they should have asked me to have done). I get that his shows are creatively formatted and explore more contemporary human situations in a more modern setting. He probably also appeals to anyone who appreciates clever, urban word-play--which I do.

Still, so many Sondheim revues/evenings/tributes/galas/concerts/acts? Well, I don't have any more lined up for the remainder of my Year, and gratefully Sondheim: A Celebration at Carnegie Hall from 1992 is a good tribute concert on which to end my Sondheim thinking.

Firstly, while I groaned when Bill Irwin walked onto stage after the overture, he turned out to be really funny. I hate clowns, but this was a hysterical take on the "fake stage manager" routine. Of course, I'm a fake stage manager myself, so I'm biased.

I mourned the late Jerry Hadley and Madeleine Kahn, both of whom do their songs very well. Liza Minnelli was fantastic in her songs, both of which were new to me. I thought Liza Minnelli was very good. Glenn Close was not quite at the level she was at in the Lloyd Webber tribute I listened to last week. Betty Buckley was miscast singing "Children will Listen". I didn't care for the Tonics.

While I have heard most of this music before, just about everything from Merrily We Roll Along and Assassins was new to my ears.

Perhaps I do need to look for a little more Sondheim.

Sondheim: A Celebration at Carnegie Hall
Music and lyrics by Stephen Sondheim
Staged in 1992
Released on video in 1993
(Amazon says this is a two-disc set and Netflix sent me only one disc that seems to contain a compilation of what is on the two-disc version. What gives?)

Cast: Bernadette Peters, Billy Stritch, Liza Minnelli, Glenn Close, Betty Buckley, Patti Lupone, Mark Jacoby, Dorothy Loudon, Patrick Cassidy, Victor Garber, Bill Irwin, Jerry Hadley,

Godspell film on DVD

I can't believe that the film versions of Jesus Christ Superstar and Godspell came out in the same year, 1973. There are very different in style, tone, and even in their religious viewpoints, although both end the story with the crucifixion and don't refer to resurrection (hmmm). This is composer/lyricist Stephen Schwartz's second appearance in my Year.

My Midwestern, protestant upbringing in the 70s included knowing and loving much of the music from Godspell, although I don't think I saw the film until years later. I still love the music, but find the story-telling techniques and production style very dated. The broad clowning to enact the parables between songs falls flat to me. And it struck me as very odd that the New York City scenes are void of people, making the ministry of Christ seem very insular.

The cast was probably all unknowns in 1973 (although two are from the original 1971 off-Broadway stage version of show). Today Victor Garber (Jesus) and Lynne Thigpen are well-known, respected actors. It was fun to see them in their pre-CSI-Law&Order-Alias (pick your tv franchise) days. The World Trader Center towers are all over this film (including in the photo I've uploaded for this entry), and I can't help but realize that this posting is going up on September 11th.

Godspell

A Musical based upon the Gospel According to St. Matthew

Music and lyrics by Stephen Schwartz

Film directed by David Greene released by Columbia Pictures

Cast: Victor Garber, Lynne Thigpen, David Haskell, Katie Hanley, and several others.

Music Man 2003 television production on DVD

If my goal for this Year is to see if I can be re-inspired by musical theater, then Music Man should be the perfect show to set my juices running again. And for the most part this 2003 television production works its magic on me. The production is well-filmed with high production values and manages to retain the presentational style of a stage production without being trapped by static camera positions.

I've never seen this show live and I need to, because I think that a lot of the charm of Harold Hill needs to work its way across the footlights. Matthew Broderick is good, but doesn't quite capture the somewhat slimy side of the character for me. Hill needs a bit of the sexy scoundrel. Or maybe that's just what would work on this sadder by wiser girl.

Kristin Chenoweth makes her third appearance in my Year (which is only six weeks old). Sorry, I'm trying to vary composer and lyricist teams and eras of the productions as much as I can, but am sometimes stymied by what I have, what's available, and what's delivered to me by Netflix.

Anyway, Marian is oddly dressed to me. Is that a dig, that my comment about Ms. Chenoweth's performance refers to her costumes, which she probably had little to do with other than wearing? Marian's costumes are very ornate with lots of dangley things and metal pieces and a large variety of patterns in single garments. Has Marian succeeded so well at holding her dreams at bay, only to let her wild side show in her clothing?

Music Man
Music, lyrics and book by Meredith Willson
2003 Television production by the Walt Disney Company
Cast: Matthew Broderick, Kristin Chenowith, Molly Shannon, Debra Monk, Victor Garber