(Untitled)

[franklinshepard]

I have a suggestion - add some interests, like Richard Kiley, Joan Diener, Robert Rousenville, Mitch Leigh, Joe Darion, and Dale Wasserman. And Placido Domingo and Mandy Patinkin for cheap entertainment value

Comments

[missvelmakelly2]

Alright, thanks for the suggestion about the interests.

[spreadsothin]

I think it's one of the rare shows that has so much power for so many people, in so many generations.
The show at Martin Beck was the Brian Stokes Mitchell show, with many characters seeming so superfluous. The Innkeeper could not act at all. Each time I saw it, he just announced his lines. The muleteers' playing off the set got better in the time between the first and second show.
Not of my own doing, I saw it twice. Each time I was largely unimpressed. I mean, the scenery was incredible, the barber was incredible; Marin Mazzie (sp?) was much better than Mastratonio, and Brian Stokes Mitchell really was great in this role he made happen out of a dream.
I didn't like the horses from the scattered pieces, it was too distracting, and the blue lighting during the town scenes was excessively extreme.

That's some of my cents/sense on it all.
-TBAmoon

[franklinshepard]

I totally agree with you - The BSM show simply because Kent cut eveything out of the text that involved the journey that the other characters make. So, by the end of the show, when the characters all sing "Impossible Dream" while Cervantes walks out, it was just silly - there was no reason for them to being singing, or even involved in the situation at all.

Sad that this is how so many younger people were introduced to MoLM.

[spreadsothin]

I wouldn't go so far as to say that production was the one most younger audiences were introduced to- MLM is a show that thrives in regional theatre, which was my first introduction to such. (And lucky me to own the original score).

And yes, Marianne Mazzie (she pronounced her name Maar-in) was really great, in that she trumped the OBC like wow. I heard that her predecessor is known for looking beautiful without makeup, but Ms. Mazzie was terrific and her voice soared- which matters much more.

I can't even listen to the recording because I can't stand Dulcinea. I have to quickly skip over the tracks.

I did find the original padre much better than his later replacement- To Each His Dulcinea is one of my top twenty broadway songs.

[franklinshepard]

Yes, Robert Rousenville is the best padre on record. Of course, I think that Joan Deiner is the best Aldonza too - she's the only performer who actually plays the kitchen slut. Her performance gives the audience nothing. Both Mary Elizabeth and Marin were simply too classy to realisticaly portray Aldonza, although both certainly gave it her all.

A good second recording (after the OBC) is the two-CD set that Jay put out with Kim Criswell and Ron Raines. It's the complete show, all the dialogue as well as the music. The recent revival CD is simply poorly produced, with several performances that don't come across well on CD.

Another View

[questingbeast49]

You're entitled to your opinion of the Martin Beck production, although I vehemently disagree. BSM was made for the role, and I found the entire production extremely powerful. In particular, I loved the padre and Steven Bogardus (the doctor). I was a bit disappointed in Ernie Sabella (Sancho), but overall, found the entire endeavor simply wonderful.

But that's not the reason for my comment. I can't believe you would suggest the Placido Domingo/Mandy Patinkin version of MOLM to anyone. It's beyond cheap entertainment. Indeed, it is perhaps the most ghastly Broadway recording I own. Domingo has no idea how to sing musical theatre. Most of the cast does an equally rotten job. And his sons, singing "Little Bird," are worse than an embarassment. Thankfully, it's out of print.

[xrnatyb]

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