Zero Patience -- A Movie Musical about AIDS on DVD

You have to love Canadian film making; it is so much more adventuresome than American movies (at least the ones I see). Yet the films of our Canadian counterparts are still relatively accessible to me, whereas European independent films are too out there most of the time for me. So when a friend of mine loaned me the soundtrack to Zero Patience--A Movie Musical about AIDS, I was glad to find the film available through Netflix, since it is a Canadian production. And if I hadn't watched the film connected to this soundtrack, I think I would have been completely baffled by the score.

This film from 1993 follows a 180 year-old British scientist (who looks pretty good, considering) as he puts together a museum exhibit on this history of epidemics in Toronto. Rather the exhibit is in Toronto, the epidemics were everywhere, which I guess makes them pandemics. As part of his research, the 180 year-old British scientist looks into the story behind Patient Zero, a real life French-Canadian airline steward who was an early AIDS victim and critical in the determination in 1982 or so that HIV was sexually transmitted.

Well, during the course of his research, Patient Zero appears to the 180 year-old British scientist; the two enter into a love affair and the course of the museum exhibit is altered from blaming "Zero" as a Typhoid Mary-like figure, to understanding that it took some amount of courage and understanding for "Zero" to cooperate with the medical community prying into his sexual history. During the course of the film, we also see several of Zero's friends struggle with the disease and involved with an Act Up protest.

The music in this film forms the more outlandish fantasy sequences of the story. It is treated a bit like a music video, with the music commenting on the situation in the story rather than moving the story along. There is a funny song called the Butthole Duet which use disturbing puppets. The music is mostly in an 90s pop style. The only song I really cared for was the duet ballad "Six or Seven Things" which is a lovely song about lost love.

Zero Patience--a Musical Movie about AIDS
released in 1993
Screenplay by John Greyson
Music by Glenn Schellenberg
Lyrics by John Greyson and Glenn Schellenberg
Directed by John Greyson
Cast: John Robinson, Normand Fauteux, Diane Heatherington, Richardo Keens-Douglas

Ghost Light Monday--the funniest thing I've read in a while

Fans of obvious double entrendres prick up your ears! This article from the recent issue of The Tracker (a quarterly on historic organs--you know the musical instrument) is the funniest thing I've read in weeks. I'm not certain if its an April Fool's joke or the real deal. It helps if you know that pipe organs are essentially wind instruments with high-pressure air chambers that force air through their pipes in order to make sound. A footnote to the article says it is reprinted from Everybody's Guide to Music from 1894 and was written by Josiah Booth. The headline gives a strong hint of the text to follow:

Directions for Blowing the Organ

Although the blowing of the instrument does not devolve upon the player, it is important that he should have a full knowledge of this department to start with. More harm can be done to the organ by bad blowing than by bad playing, therefore see that this duty is always properly performed, according to the following directions:

The bellows' handle should be firmly grasped near the outer end, and then moved up and down with a slow, sweeping stroke, which must be absolutely free from all jerking. An indicator usually shows the amount of wind contained in the reservoir, and this should be kept as nearly as possible in the position shown in the illustration.

With a soft organ a very slow stroke will suffice to keep in the wind; a loud organ will require a quicker and stronger stroke; in all cases, the indicator must be made to ride steadily in one place. Wind must on no account be blown when the indicator is at full, as this causes a straining of the wind-chest, and gives annoyance to the player by the noise of superfluous wind rushing from the escape-valve.

Footlight Parade

This is pure Hollywood, not written for, not adapted from, not conceived for the stage. Although it is the world of the stage musical that Footlight Parade explores. Specifically it looks at Prologue productions, which were short live presentations given between movie screenings. I believe they were the way movie theater owners drew audiences to their movie house while their competitors might be showing the same film. "We're Air Conditioned!" "We have more comfy seats!" "We have a waterfall and scores of bathing beauties that swim in a tank that could never really fit in this movie house!"

If I'm wrong on the history lesson, I'm sure someone will correct me, or point me to a good source--Oscar Brockett never covered it in the text book he wrote for my theater history courses in college.

Well, Footlight Parade is a "let's put on a show" variant. They put on three Prologues at three different movie houses in one evening. Different Prologues, same cast. Realistic? No.

While you get a taste of some singing and dancing during the course of the film, you have to wait to the end to see the three ultra-elaborate Prologues presented back-to-back-to-back at the end of the film. The waterfall/pool number is particularly stunning to watch, if you can get past the idea that this is supposed to be seen in a live stage show. Exactly how would an audience experience the overhead and underwater shots as created by Busby Berkeley (see above)?

Jimmy Cagney is rough and tumble as the man who dreams up the Prologue themes and then rallies the team. He also performs one of the Prologues. It's a good preview of the more nuanced and worthy performance Cagney will give as George M. Cohan nearly a decade later in Yankee Doodle Dandy. Joan Blondell, Ruby Keeler and Dick Powell round out the cast.

I didn't care for any of the music, which is written by Al Dubin and Harry Warren, although "Shang-hai Lil" is somewhat catchy. It is surprising to see a cast of all shades in this one number--Black, Asian, White. Did it cause a sensation?

Oscar Brockett doesn't know.

Footlight Parade
Music by Harry Warren
Lyrics by Al Dubin
Film released in 1933 by Warner Bros.
DVD released in 2006
Cast: James Cagney, Ruby Keeler, Joan Blondell, Dick Powell

Andrew Lloyd Webber Celebration at Royal Albert Hall on DVD

Well, I suppose since it is at Royal Albert Hall and it is Andrew Lloyd Webber, I shouldn't be surprised that this Celebration is over-produced and involves a somewhat larger battalion than was used in the D-Day invasion. That said it must have something to see live. It's something to see on DVD.

Some quick observations and questions are all I have time for now:

Is Sarah Brightman some kind of cross between a cupie doll and Stevie Nicks? Why does she sing "Music of the Night" from Phantom, rather than a man? Her overly rounded vowels are distracting to watch and are some kind of bastardization of vocal technique.

Donny Osmond is cute. He sings well. He's charming with the children's choir backing him up.

Antonia Banderas is also cute. He doesn't sing well. His circling around everybody is a little odd--is he a herding dog?

I like Elaine Paige's singing. While her Evita gown probably "read" well live in the hall, it's a little much for close-up television.

The roller skating musical hasn't improved with age.

Was that Bonnie Tyler? I'm sure there are credits, but I haven't gotten to them yet. I eventually did get to them and, yes, that was Bonnie Tyler. Which leads to my next question; why was Bonnie Tyler there?

I don't know who any of the British rocker men or boys are. Labels would have been nice. Then again, so would me finishing watching the whole DVD before writing this entry. The cast is listed at the end, and a song by song list is given if you scene select on your DVD player.

There are things I very much like about Andrew Lloyd Webber's theater music. Some of the themes are lovely, but don't developed enough to keep me interested.

The same is true for the Requiem: the "Pie Jesu" for soprano and treble has some beautiful moments and I would appreciate them more if they weren't repeated 10 times in a 3 minute movement; the "Hosanna in excelsis" (I could have that Latin wrong) is exciting and needs a really good tenor, but again let's vary some of the musical motives, Andy.

I want to hear more of the cello concerto, or whatever the piece is referred to as. It's called Variations for Cello and Orchestra.

Glenn Close might not be the best singer out there, but she surely outshone everyone else in the acting department; I couldn't take my eyes off her. I would not have wanted to sing "Memory" after Ms. Close's songs.

Michael Ball is not as cute as I had hoped.

Two show of Webber's that I don't know but need to hear more of are Sunset Boulevard and Aspects of Love.

What kind of name is Tina Arena? It sounds like a pole dancer. And was her song from Whistle Down the Wind repeated to give some sort of closure to the event? It seemed anti-climatic.

If anti-climatic is "against the climax", how does one state "against the climate"? Well, I just looked it up and anti-climatic is "against the climate"; anti-climactic is the word I meant for the repeat of Tina Arena's song. Learn something everyday--that's my motto.

Andrew Lloyd Webber Celebration at Royal Albert Hall
Music: Andrew Lloyd Webber
Lyrics: all his collaborators, from Tim Rice on...

Filmed in 1998, released on DVD in 1999
Cast: Elaine Paige, Donny Osmond, Antonio Banderas, Sarah Brightman, Julian Lloyd Webber, Michael Ball, Glenn Close, Tina Arena, Kiri Te Kanawa

Something for the Boys--film on DVD

This is another example of a fine Cole Porter show being drastically changed in the process of becoming a film. Some of it is understandable as a film is a different medium and needs to fit the talents of the film cast. The stage version starred Ethel Merman--again one of her signature roles given away in the film version. Poor Mr. Porter seems not to have had one of his shows filmed in earnest by Hollywood. Earnest, Hollywood, what am I thinking?

The film version of Something for the Boys is in that classic WWII-era mold--with lots of soldier boys, and sweet young things wondering how they can help the war effort. In this case they help out by fixing up an old Georgia plantation house and puttin' on a show or two.

This is the first entry in my Year with Carmen Miranda. A unique talent, perhaps not given adequate material in this film. One of the DVD extras is an interesting (if overly long) profile of Carmen Miranda's career. I knew nothing about her except the silly accent and hats. There is a lot more there, and quite a bit of it is sad, particularly her death at age 46 after having a heart attach on live TV!

This is the second appearance in my Year for Perry Como, although he was only was in three for four films. I can see why he was best experienced on the radio--he has a lovely voice, but looks very awkward on film (what do I do with my hands?). He really doesn't have a character in this film, his song seems just dropped in. He's a crooner, as is Vivian Blaine here, although I will forever think of her as Miss Adelaide in Guys and Dolls.

The score is rather forgettable, although the only Cole Porter song that seems to be in both film and stage versions is the title song, so I'm forgetting songs not by Cole Porter but by Jimmy McHugh. There are several cast albums of the real Cole Porter show, so I will need to seek them out.

Something for the Boys
Music and lyrics by Cole Porter, well only for one song, the rest are by Jimmy McHugh
Opened on stage in 1943, film released in 1944
Cast: Carmen Miranda, Phil Silvers, Perry Como, Vivian Blaine. Michael O'Shea

Mary Poppins--live Broadway touring production

My recent discovery that only 5 of my entries at the 10-month point of my Year of Musical Thinking have come from seeing live shows sent me right over the box office of the Cadillac Palace Whorehouse, I mean, Theater to buy a ticket to see Mary Poppins, which has started its North American tour in Chicago. I was particularly interested to see Ashley Brown and Gavin Lee, both of whom are reprising their Broadway roles on this leg of the tour. The show and its leads did not disappoint, in fact they more than delivered on their promise to delight and inspire.

While based on the Disney film and incorporating most of the songs from that score, the story takes some different twists than fans of the film will remember. There are also some new songs added to the score. But nothing is added that is not firmly in the style and feel of this feel-good show. Not to say its all saccharine, but even the darker bits of the story are not too dark.

I'm sure the role of Bert will remain a signature role for Gavin Lee for life. With his tall, lean frame and legs that seem to go up to his chin, he proves an athletic and charming host for the show--serving as participant as well as a bit of a narrator for some scene shifts. His dancing is first rate and his Cockney accent must more reputable than Dick Van Dyke's. I was struck by the fact that Mr. Lee has the whitest teeth I've ever seen for a chimney sweep. Not that I know any chimney sweeps.

Ms. Brown (above) is also delightful in the title role, and takes the bulk of the responsibility for the show's charm on her well-tailored shoulders. Her Mary Poppins is its own creation without drifting too far from the standard set by Julie Andrews in the film. Ms. Brown is rarely off-stage in this 2-1/2 hour production, yet the definite twinkle in her eye never flinched. She also has the bulk of the singing to do and proved to have a lovely, soubrettish voice that fit the role and score perfectly.

There are of course, other characters in the show; Mr. and Mrs. Banks are seen quite a bit, and Megan Osterhaus has a lovely second act song for Mrs. Banks. The Banks children, Michael and Jane were on stage a lot for relatively young children, yet their performances were never anything except right on the mark. A colorful array of characters rounded out the cast.

The scenic elements and technology for this show are fantastic without beating one over the head. It started with the Bank's house, which opens like a doll's house at the beginning of the show and reveals more surprises in its clever design as the show progresses. But there is also fantastic scenery that is not technically advanced, but delightful all the same; the simple scrims used for the park trees, the painted backdrop of the bank where Mr. Banks works, and the shop in the park for Mrs. Corry are wonderful by just being imaginative. There are two highly-technical, and very satisfying effects--one for Bert and one for Mary. I won't give them away.

As a kid, my family had a songbook of Disney songs from live-action and animated films. I remember discovering at some point that many of the songs were by Richard and Robert Sherman. Who were these two who wrote songs for The Jungle Book, Chitty Chitty Bang Bang, The Aristocats, Winnie the Pooh, and Bedknobs and Broomsticks (my favorite of the bunch)? Well, I'll have to do a little more investigation, but it appears their only Broadway effort (prior to the "expansion" of Chitty Chitty Bang Bang and Mary Poppins to full stage shows) was Over Here!, a 1974 show for the Andrews Sisters, which I believe I saw the Kalamazoo Community Theater perform in the late 80s. More digging needed.

I also saw this show as a bit of a fact-finding mission; my mother is planning to take her grandchildren (my niece and nephews) to see the show in May.

Shhh, don't tell her I've already seen it.

Mary Poppins
Music and lyrics by Robert and Richard Sherman, with new songs by George Stiles and Anthony Drewe who also added some new sections and lyrics to several of the Shermans' songs.
Cast: Ashley Brown, Gavin Lee, Megan Osterhaus, Karl Kenzler, Ellen Harvey, Valerie Boyle,

Follies in Concert on CD

I've never heard the original cast album of Follies; apparently it was missing many songs in order to fit onto the vinyl of the day. So this 1985 concert version of the show is much more complete and gives a better impression of the score.

The format of Follies fascinates me. I've never seen it on stage, but the idea of "ghost" chorus girls floating through scenes, and the past and the present inhabiting the same space is very cinematic and endlessly intriguing to me. Its not often staged and understandably when so many characters are doubled with young and old versions.

There is so much music I like in this score--and surprisingly for me, I like the "contemporary" songs of the score as often as the follies-era songs--"In Buddy's Eyes", "The Road you didn't Take", "I'm still Here", "Losing My Mind", and "Too Many Mornings" are all good or better.

The number of wonderful performers in this concert also makes this recording a gem. About the only cast member I have issues with is Mandy Patinkin--and that's more for his being much too young for the role. Although I believe his ultra-manic version of "Buddy's Blues" is a drastic change from the original stage version.

I bought this concert album soon after it was released in 1985, the version I own is on two audio cassettes. I'm listening to it today on CD, because I don't even have a cassette player any more. I remember being so taken from the very start with Arthur Rubin's robust tenor in "Beautiful Girls" and with the two Heidies singing "One More Kiss". This was before I'd ever been to an opera, but I was still attracted to the most "legit" singers in the cast.

Of course, in 1985, I wouldn't have known any of the famous names in the cast (except Carol Burnett and Mandy Patinkin, which is probably why I bought the thing in the first place). No, I wouldn't have known George Hearn, or Barbara Cook, or even Elaine Stritch.

So, I came a long way even before starting my Year of Musical Thinking.

Follies

Music and Lyrics by Stephen Sondheim

Book by James Goldman

Opened in 1971, this stage version recorded in 1985

Cast: Arthur Rubin, Barbara Cook, George Hearn, Jim Walton, Howard McGillin, Mandy Patinkin, Lee Remick, Liz Calloway, Daisy Prince, Betty Comden, Adolph Green, Lilane Montevechhi, Elaine Strich, Phyllis Newman, Carol Burnett, Licia Albanese, Erie Mills