(no subject)
Oscar season is officially upon us. As expected, "Brokeback Mountain" has led the pack with 8 nominations, including Best Picture. I was rather surprised to see "Capote" receive nominations for Best Picture, Director, Supporting Actress (Catherine Keener), Adapted Screenplay as well as the expected Best Actor nomination for Philip Seymour Hoffman. The other three Best Picture nominees include "Crash", "Good Night & Good Luck" and "Munich". I was frankly quite surprisedt that "Walk the Line" was shafted from the Best Picture category, though Joaquin Phoenix and Reese Witherspoon (the anticipated winner) were nominated for their performances. Oh well, it's time to start the annual screening sessions. Jane Adams' supporting actress nomination for "Junebug" appears to come out of nowhere, as I personally have never heard of the film or the actress. I also wasn't expecting William Hurt to be nominated for "A History of Violence." The Academy is always full of surprises. My predictions will be made known the day before the awards ceremony.
The new revival recording of "Sweeney Todd" is astounding. The 2-disc set really managed to capture much of the essence of the stage production without any of the distraction of watching the actors playing their instruments (their musicianship on the recording is stunning). The cast recording also cements my thoughts on the stars, which were mixed. Patti LuPone is brilliant as Mrs. Lovett, in excellent voice, holding back from her usual shock-tactic belting and using quite a bit of her rarely-heard head voice. Her catatonic deliveries and wry comments are there for your enjoyment. The only thing missing is her hip-wiggling during her tuba solo during the act two opener, "God, That's Good!" Michael Cerveris is an underwhelming Sweeney, even moreso on disc than in the theatre. He's unexpectedly raspy on many of his sung and spoken lines. His "Epiphany" lacks the gravitas of George Hearn, Bryn Terfel and Len Cariou (even if the latter lacked the vocal prowess of the former two) and never becomes the maddening pinnacle that it should and overall, his performances leaves something to be desired (though he improves somewhat - or I just get used to him - during the second act). "A Little Priest" is worth the price of the set; one of the greatest comic list songs ever. (I am surprised with those who think it is too long; I wish it would keep on going, but that's probably just further proof as to how warped I am). It's required listening for all - and makes a nice alternative to the definitive and operatic original or the recent NY Philharmonic concert recording which features a more traditional and broader interpretation of Mrs. Lovett by LuPone. (For evidence of her strength as an actress, listen to both recordings and realize how she recreated the character from the ground up for this new production. Her sung lines in the final sequence are chilling in the revival - and her diction is crystal clear, which is a rarity of rarities with her - just listen to her "Anything Goes" for contrast). I still miss the grand sweep of the Prince original, but the new production is evidence of how a classic can be reinterpreted and completely reconceptualized. It's a production that should be seen, regardless of what anyone, including myself, thinks as it is a unique theatrical experience and it's Sweeney-fucking-Todd! (and the fact that its the front-runner for the Best Musical Revival Tony in June doesn't hurt either). Patti LuPone should win the Best Actress in a Musical Tony. (I'm sure this show will be a big winner as its designs are astounding, and I'm certain the new orchestrations will be as eligible). Oh - and if Lupone doesn't win, then Roxie and I are going to make her a Tony out of macaroni and popsicle sticks ;)
The job front is getting desperate, I went with Doug and Paul to a temp agency today just to try for something. Whatever happens there, I need to keep my schedule clear for my commitment to Annette. The first rehearsal was impeccable. A reunion of the Panas chorus kids was wonderful, we were all rather nuts and got along swimmingly. The Lakeland kids were either intimidated, disgusted or what have you, but they were much quieter and more subdued in comparison. Kinda just starting at the rest of us, with this amazing chemistry. We worked hard for three hours. I am singing on the tenor section of "Joseph", which will cover almost 2 full octaves of my voice. Though I only got two hours of sleep the night before (I don't even want to get into it, because it was one of the more idiotic evenings sponsored by my drunken housemates). I was exhausted, zoning and singing Fs, Gs, etc. But the afternoon proved a magnificent workout as I was catching myself and singing properly (for certain). We got through the entire 20 pages of the piece and finished up on the Great Amen section. As Jocelyn put it, on the last Amen, I have the "Kathy Najimy in 'Sister Act' note" with a high Bb. Don't ask me how, but of all things to do, I somehow pulled a muscle in my shoulder. But the ab burn was sure as hell worth it (and proof that I've STILL got it - and that I need to do some crunches, my God). It's looking to be a cathartic experience working on this piece and I really can't wait till next Sunday's rehearsal. Annette was and is one of the greatest teachers I've ever had.
The new revival recording of "Sweeney Todd" is astounding. The 2-disc set really managed to capture much of the essence of the stage production without any of the distraction of watching the actors playing their instruments (their musicianship on the recording is stunning). The cast recording also cements my thoughts on the stars, which were mixed. Patti LuPone is brilliant as Mrs. Lovett, in excellent voice, holding back from her usual shock-tactic belting and using quite a bit of her rarely-heard head voice. Her catatonic deliveries and wry comments are there for your enjoyment. The only thing missing is her hip-wiggling during her tuba solo during the act two opener, "God, That's Good!" Michael Cerveris is an underwhelming Sweeney, even moreso on disc than in the theatre. He's unexpectedly raspy on many of his sung and spoken lines. His "Epiphany" lacks the gravitas of George Hearn, Bryn Terfel and Len Cariou (even if the latter lacked the vocal prowess of the former two) and never becomes the maddening pinnacle that it should and overall, his performances leaves something to be desired (though he improves somewhat - or I just get used to him - during the second act). "A Little Priest" is worth the price of the set; one of the greatest comic list songs ever. (I am surprised with those who think it is too long; I wish it would keep on going, but that's probably just further proof as to how warped I am). It's required listening for all - and makes a nice alternative to the definitive and operatic original or the recent NY Philharmonic concert recording which features a more traditional and broader interpretation of Mrs. Lovett by LuPone. (For evidence of her strength as an actress, listen to both recordings and realize how she recreated the character from the ground up for this new production. Her sung lines in the final sequence are chilling in the revival - and her diction is crystal clear, which is a rarity of rarities with her - just listen to her "Anything Goes" for contrast). I still miss the grand sweep of the Prince original, but the new production is evidence of how a classic can be reinterpreted and completely reconceptualized. It's a production that should be seen, regardless of what anyone, including myself, thinks as it is a unique theatrical experience and it's Sweeney-fucking-Todd! (and the fact that its the front-runner for the Best Musical Revival Tony in June doesn't hurt either). Patti LuPone should win the Best Actress in a Musical Tony. (I'm sure this show will be a big winner as its designs are astounding, and I'm certain the new orchestrations will be as eligible). Oh - and if Lupone doesn't win, then Roxie and I are going to make her a Tony out of macaroni and popsicle sticks ;)
The job front is getting desperate, I went with Doug and Paul to a temp agency today just to try for something. Whatever happens there, I need to keep my schedule clear for my commitment to Annette. The first rehearsal was impeccable. A reunion of the Panas chorus kids was wonderful, we were all rather nuts and got along swimmingly. The Lakeland kids were either intimidated, disgusted or what have you, but they were much quieter and more subdued in comparison. Kinda just starting at the rest of us, with this amazing chemistry. We worked hard for three hours. I am singing on the tenor section of "Joseph", which will cover almost 2 full octaves of my voice. Though I only got two hours of sleep the night before (I don't even want to get into it, because it was one of the more idiotic evenings sponsored by my drunken housemates). I was exhausted, zoning and singing Fs, Gs, etc. But the afternoon proved a magnificent workout as I was catching myself and singing properly (for certain). We got through the entire 20 pages of the piece and finished up on the Great Amen section. As Jocelyn put it, on the last Amen, I have the "Kathy Najimy in 'Sister Act' note" with a high Bb. Don't ask me how, but of all things to do, I somehow pulled a muscle in my shoulder. But the ab burn was sure as hell worth it (and proof that I've STILL got it - and that I need to do some crunches, my God). It's looking to be a cathartic experience working on this piece and I really can't wait till next Sunday's rehearsal. Annette was and is one of the greatest teachers I've ever had.