141 posts
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Post by Mr Crummles on Oct 31, 2016 12:25:32 GMT
I think the discussion about what is more important, the book or the score, is not very dissimilar to the one on what’s preferable: a brilliant actor who is not so brilliant at singing? Or a great singer who cannot act that well? The answer will depend on whether you find that musicals should be more operatic or theatrical. Musicality seems to be the most important goal in opera, with everything else – acting, dialogues, story, etc – playing second fiddle to it. Many people expect the same in musicals: sweeping music, wonderful voices, glorious singers, etc. For the theatrical crowd, drama is what matters, and lyrics, book, great acting, etc., defines quality. That probably explains why Stephen Sondheim, and to some extent Rodgers and Hammerstein, are not so popular with those who hope to leave the theatre at least humming a few of the show’s songs. The theatrically-minded artists use music to enhance drama. The magnificence of their work is less obvious as they are placed unobtrusively in the play, organically, to serve the narrative and help to tell a credible story. I think there’s an incredible amount of artistry in that.
Well, after all the speech, I’d like to suggest Candide as a show with a great score but not-so-great book (even if the Menier production was one of the best shows I have ever seen).
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240 posts
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Post by Anniek on Oct 31, 2016 12:53:22 GMT
Wicked for me
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Post by Deleted on Oct 31, 2016 13:18:49 GMT
I think the discussion about what is more important, the book or the score, is not very dissimilar to the one on what’s preferable: a brilliant actor who is not so brilliant at singing? Or a great singer who cannot act that well? The answer will depend on whether you find that musicals should be more operatic or theatrical. Musicality seems to be the most important goal in opera, with everything else – acting, dialogues, story, etc – playing second fiddle to it. Many people expect the same in musicals: sweeping music, wonderful voices, glorious singers, etc. For the theatrical crowd, drama is what matters, and lyrics, book, great acting, etc., defines quality. That probably explains why Stephen Sondheim, and to some extent Rodgers and Hammerstein, are not so popular with those who hope to leave the theatre at least humming a few of the show’s songs. The theatrically-minded artists use music to enhance drama. The magnificence of their work is less obvious as they are placed unobtrusively in the play, organically, to serve the narrative and help to tell a credible story. I think there’s an incredible amount of artistry in that. What if you're like me who prefers a fantastic score to a fantastic book but who also values great acting in musicals over great singing in musicals? Haha. |
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141 posts
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Post by Mr Crummles on Oct 31, 2016 14:17:05 GMT
I think the discussion about what is more important, the book or the score, is not very dissimilar to the one on what’s preferable: a brilliant actor who is not so brilliant at singing? Or a great singer who cannot act that well? The answer will depend on whether you find that musicals should be more operatic or theatrical. Musicality seems to be the most important goal in opera, with everything else – acting, dialogues, story, etc – playing second fiddle to it. Many people expect the same in musicals: sweeping music, wonderful voices, glorious singers, etc. For the theatrical crowd, drama is what matters, and lyrics, book, great acting, etc., defines quality. That probably explains why Stephen Sondheim, and to some extent Rodgers and Hammerstein, are not so popular with those who hope to leave the theatre at least humming a few of the show’s songs. The theatrically-minded artists use music to enhance drama. The magnificence of their work is less obvious as they are placed unobtrusively in the play, organically, to serve the narrative and help to tell a credible story. I think there’s an incredible amount of artistry in that. >What if you're like me who prefers a fantastic score to a fantastic book but who also values great acting in musicals over great singing in musicals? Haha. Ha! This is how perfectly reasonable theories get knocked out. No Noble prize for best musical theatre theory for me this year... :-) |
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Post by juliem on Oct 31, 2016 16:30:48 GMT
Allegro?!
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4,020 posts
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Post by Dawnstar on Oct 31, 2016 20:50:58 GMT
the one that immediately sprung to mind when I read the title: Love never dies. I keep wishing ALW had used the terrific score for a wholly different musical with a fresh story. I totally agree with this. I remember when I saw LND I was sitting there at one point simultaneously going into goosebumps at the music but hating what was being done to the characters. Whenever I've seen Phantom since I've just pretended LND never happened! |
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131 posts
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Post by primitivewallflower on Nov 1, 2016 1:42:04 GMT
West Side Story. By no means a terrible musical, but the score is so, so far beyond the book.
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258 posts
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Post by notmymuse on Nov 1, 2016 17:51:27 GMT
West Side Story. By no means a terrible musical, but the score is so, so far beyond the book. Absolutely. A great score and not sure any book could keep up. I also like the Candide score, but have never seen a production that's been anything but a bit yawny. Bridges of Madison County is also a great score but by all accounts not a great musical. I also really like the score to Bright Lights, Big City, but the musical itself isn't the best (although I think the score may make no sense whatsoever unless you've seen the musical). Sadly, I think the converse is more common in this case. I've seen more musicals I've really liked but haven't ever wanted to listen to the score again than the other way around. |
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4,970 posts
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Post by Phantom of London on Nov 2, 2016 20:40:55 GMT
Come on girls, keep them coming, I got loads of calories I need to work off on my walks and in the gym, looking for that hidden gem I would've never thought of.
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Post by Deleted on Nov 2, 2016 23:39:26 GMT
I actually really enjoy the score of Carrie the Musical - "And Eve Was Weak" is probably my favourite duet in all of musical theatre; Linzi Hateley and Betty Buckley just knock it out of the park.
The book is basically the film on stage and really nothing unique. And some of the lyrics are just cringeworthy.
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Post by Deleted on Nov 3, 2016 8:53:24 GMT
I love Bright Lights Big City as a recording but agree it's a bit of a mess as an actual show. For me as well Mama Mia- I think ABBA's music is classic pop gold, and gladly listen to the cast recording versions and enjoy but the book/musical for me is distinctly meh not terrible but meh.
Also I adore the music from Aida but likewise the show is a bit meh.
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258 posts
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Post by notmymuse on Nov 3, 2016 22:19:33 GMT
Come on girls, keep them coming, I got loads of calories I need to work off on my walks and in the gym, looking for that hidden gem I would've never thought of. I really liked A Christmas Story's score, also Pipe Dream, but both in real life aren't great. Phantom (the other version) had some lovely songs even if the performers the soundtrack aren't the best. |
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Post by hitmewithurbethshot on Nov 4, 2016 0:23:48 GMT
Also I adore the music from Aida but likewise the show is a bit meh. I feel the same way. The score is classic Elton John (in a good way) but the story is iffy at best. It's the same problem I have with Pocahontas, the white guy (or Egyptian played by a white guy) has no issue oppressing/enslaving an entire race until he meets one he wants to bone. Ugh |
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573 posts
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Post by Dave25 on Nov 4, 2016 12:34:26 GMT
An animated musical, Disney's "Home on the range". It's terrible but the score is just fantastic with songs as "Little patch of heaven", "Yodel-Adle-Eedle-Idle-Oo" and "Will the sun ever shine again". I listen to the score all the time. Same goes for "Hunchback".
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