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#terrence mcnally
doyouknowthismusical · 5 months
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texaschainsawmascara · 11 months
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Ordinary People (1980) / Wishbone - Richard Siken / Corpus Christi - Terrence McNally / A Primer for the Small Weird Loves - Richard Siken
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pygartheangel · 1 month
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phaespxria · 2 years
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Frankie and Johnny (1991)
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justinkirkism · 10 months
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Justin Kirk as Bobby Brahms in Love! Valour! Compassion!
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derekklenadaily · 4 months
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QUOTE OF THE DAY!
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droughtofapathy · 5 months
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The Gilded Age of Broadway Divas: Duets, Trios, and Other Crossovers
While I wait for my matinee show to start, here's our final compilation just six hours before our season finale. If you've been following along with this series, you'll notice how much overlap there is in the theatre. Everyone has been with, or sung with, or played the same role as everyone else. Here is just a taste of the sublime combined talents of our favorite Broadway Divas. And yes, this is my petition to have a musical episode.
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#1: "Lily's Eyes," (The Secret Garden) Miscast 2022 - Audra McDonald and Kelli O'Hara
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I watched this, and my soul transcended space and time. Performed at MCC's 2022 Miscast gala honoring Christine Baranski (of course), Audra and Kelli have a brief tiff about which soprano is worthy of Soprano Island before joining together to sing the most resplendent duet you will ever experience in your life.
The Secret Garden opened on Broadway in 1991 starring Rebecca Luker as Lily. Kelli and Audra are singing the parts of Lily's husband and brother-in-law respectively. And like Lily, Rebecca Luker has since passed away. Knowing that they are singing not only to honor Christine, but also to Rebecca, their dear friend and fellow soprano, is yet another layer of heartbreak. I love this song.
#2: "Move On," (Sunday in the Park with George) Princetown concert 2022 - Audra McDonald & Michael Cerveris
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Former co-stars reunited in Princetown last year to sing this impromptu duet from the Pulitzer-winning Sunday in the Park with George. Sunday is filled with sublime music, and "Move On" is one of the best. In it, Dot appears to George, the grandson of Georges Seurat, and encourages him to move on with his artistry and stop worrying about perfection. The show itself is beautiful and complex, and a proshot is available for your convenience.
Audra and Michael had previously done a three-day, semi-staged production of this show in 2004, also featuring Patti LuPone as Yvonne/Blair Daniels (the role Christine Baranski created in the original pre-Broadway workshop). Interestingly, this trio would move on to take part in the Lincoln Center Broadcast of Passion in 2005 with Audra as Clara (the Marin Mazzie role), and Patti as Fosca (the Donna Murphy role).
Michael Cerveris would play Giorgio multiple times in his career, including the 10th Anniversary concert with Marin and Donna.
#3 Tonight: Quintet (West Side Story) - Lucky to Be Me: The Music of Leonard Bernstein (2010) - Kelli O'Hara, Donna Murphy, Michael Cerveris
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Speaking of Michael Cerveris and Donna Murphy, and joined by Kelli O'Hara, this audio comes from a 2010 concert celebrating the music of Leonard Bernstein. The youtube video incorrectly attributes this to a 2012 concert, but it is not.
"Tonight (Quintet)" is, of course, from West Side Story, where Bernstein wrote the music, and Sondheim wrote the lyrics. Because this was a concert, certain singing parts are taken by those who would not sing such parts in a full production...anymore. (Lest we forget Natalie Wood in the movie.)
Donna sings Anita, and Kelli sings Maria, the two young Puerto Rican women in the show. And I think we'll leave that there. Michael Cerveris sings the part of Riff, and they are joined by Cheyenne Jackson as Tony.
Also featured in this concert is the amazing, incredible, beloved soprano Victoria Clark, who has starred opposite all three of our Gilded Age actors at one point or another. As the Margaret to Kelli's Clara (Light in the Piazza), the Sally to Donna's Phyllis (Encores! Follies), and in Titanic with Michael Cerveris. Theatre, it's all connected.
#4: LoveMusik (2007)
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A little more on LoveMusik. While I've already detailed a little on my Donna Murphy post, here's some more about Michael Cerveris, two-time Tony winner. As Kurt Weill, Michael was nominated for a Tony, Drama Desk, Outer Critics Circle, and Drama League Award, but did not win any. While the show itself was given mixed reviews, the performances of Donna and Michael were almost universally praised.
The 2007 Tony Award for Best Leading Actress in a Musical included three Gilded Age nominees. Debra Monk (Curtains), Audra McDonald (110 in the Shade) and Donna Murphy (LoveMusik). All three lost to Christine Ebersole of the Grey Gardens variety. Fair. I suppose. However, Audra and Donna tied for the Drama Desk. And there WAS a wonderful clip of their award ceremony online for years, except now that I need it for this, it's been taken down. Of course.
#5: "At the Ballet," (A Chorus Line) - Audra McDonald & Kelli O'Hara
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Joined by Megan Hilty, Kelli O'Hara and Audra McDonald performed "At the Ballet" from A Chorus Line at a Lincoln Center Marvin Hamlisch tribute in 2013. Audra showcases a robust lower range I simply adore. Unfortunately the lower key change leaves Kelli's soprano in an awkward place, but I love her anyway.
A Chorus Line is one of the musical theatre greats, and while "At the Ballet" is often overshadowed by "What I Did for Love," it's my personal favorite. The original stage show ran for 6,137 performances, and was nominated for twelve Tonys, winning nine. After Follies, this is the show I most want to see fully staged. A 50th Anniversary revival was rumored back in 2016 for 2025, but I'll believe it when I see it.
#6: The Ladies Who Lunch (Company) - Take Me to the World: A Sondheim 90th Celebration - Christine Baranski & Audra McDonald (ft. Meryl Streep)
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Legends. Icons. Divas. What more can I say about "The Ladies Who Lunch," performed by Christine Baranski, Audra McDonald, and Meryl Streep, mother to Louisa Jacobson? As the story goes, they had done so many takes that by this time, they were well and truly on their way to being drunk. And yet, Audra McDonald still sounds more exquisite than anyone on earth.
I watched this when it premiered "live" on YouTube during the early days of the pandemic. Several Broadway stars who would go on to The Gilded Age are featured, including Kelli O'Hara, Laura Benanti, Nathan Lane, and Michael Cerveris.
It has been almost four years, and I have still not recovered from this song's placement in the concert. Picture it: you have just been emotionally wrung out by Donna Murphy's revelatory "Send in the Clowns," sung whilst seated in front of an Al Hirshfeld print of Passion, with her cleavage out in true Mrs. Astor fashion. And then suddenly there's jaunty Company music, and an illustration of the great Elaine Stritch with her martini glass high. And then there is Christine Baranski in a bathrobe and a truly massive glass of red wine. And you think it cannot get any better. And then the second verse hits and there's Meryl Streep with a cocktail mixer. AND THEN Audra Fucking McDonald. They put those two songs back-to-back and expected me to recover one day? As if.
Bonus: "Lips Together, Teeth Apart" (2018) - Nathan Lane & Christine Baranski
While not a musical performance, I would be remiss if I didn't direct your attention to this masterpiece. Did you ever think you'd hear Aunt Agnes gunning to see Ward McAllister's dick? No? Well, here it is. Terrence McNally wrote "Lips Together, Teeth Apart" specifically for his 1991 original cast which included Christine as Chloe and Nathan Lane as her brother Sam. And they are going through marital troubles with their respective spouses. Nathan and Christine reunited in 2018 to perform this scene for McNally's 80th Birthday.
But the Gilded Age connection doesn't stop there:
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In 2019, The New York Times Magazine ran a special "America 2024" issue, as a tribute to Terrence McNally. The whole thing is a fantastic read, and I'd recommend it. In it features photoshoots depicting scenes from several of McNally's plays, including "Lips Together, Teeth Apart." And look who's here: Donna Murphy as Chloe (the Christine Baranski role), Broadway's Leading Man Brian Stokes Mitchell, Michael Shannon as Sam (the Nathan Lane role), and Katie Finneran.
And on one of four covers for this issue, Celia Keenan-Bolger.
With that, the conclusion to my little Diva miniseries. I hope you've found this as entertaining as I have. And if you'd like me to go into more detail about anything you've seen throughout this series, let me know, because I have so much more gossip and drama that I had to restrain myself from adding.
LINK TO MASTERPOST
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power-chords · 1 year
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Pacino and Pfeiffer eventually grew on me, but THEY will always be my Frankie and Johnny...
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glimeres · 5 months
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1998, Rosie O'Donnell Show - Marin Mazzie and Peter Friedman perform Our Children from the musical Ragtime
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cineclub84 · 1 day
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Frankie et Johnny, 1991
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Après avoir passé 18 mois en prison pour contrefaçon, pendant lesquels il s'est découvert un goût pour la cuisine et la littérature, Johnny est engagé comme cuisinier dans un restaurant de New-York. Il y rencontre Frankie, une serveuse de nature solitaire et il en est très vite amoureux. Mais celle-ci a eu de très mauvaises expériences avec les hommes et méfiante, se refuse à s'engager dans une relation durable...
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L'histoire d'amour difficile voir impossible entre un ancien taulard désespéré avide d’amour, et une de ces collègues terriblement meurtrie par la vie terrée dans sa sphère contre tout sentiment. Mais quelle découverte, c'est un film superbe, qui déroge à toutes les lois sur ce qu'est une comédie sentimentale, un film très mélancolique, ambigü, baigné dans la grisaille du quotidien, ce n'est jamais niais, ni involontairement drôle. Gary Marshall a su capter le mal-être, sans chuter dans un excès de misérabilisme ni céder aux poncifs des romances hollywoodiennes, et surtout, il laisse avec brio son histoire se dérouler constamment sur la corde raide sans jamais tomber dans les travers, les redondances et les convenus classiques du genre, l'intrigue évolue dans une ambiance contradictoire faite de blues, de haine, d'attente, de crainte, d'humour et d'envie et surtout on nous délivre un couple en état de grace. Certes nous ne sommes peut être pas devant le plus grand film car malgré le superbe cheminement du film, certaines scènes sont trop longues d'autres inutiles et on a l'impression que les personnages répètent parfois la même rengaine, il n'y a vraiment pas beaucoup d'action ce qui peut laisser une sensation de platitude à certains. Mais la magnifique réalisation arrive à nous faire oublier ces faiblesses alors qu'elle n'est pas l'atout principal de cette œuvre, car tout le monde reconnaîtra l'interprétation époustouflante des deux acteurs. Michelle Pfeiffer est attachante et émouvante, elle est simplement parfaite, et ce film nous la fait découvrir comme on ne l'avait peut être jamais vue : immense comédienne qui domine sa génération. Al Pacino est grandiose avec une présence comme d'habitude "vivant" cette comédie avec un naturel fascinant et extraordinaire. Ne manquer surtout pas ce film.
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Frankie & Johnny - Trailer
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doyouknowthismusical · 6 months
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anthonyvcrivello · 3 months
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Saddened by the passing of my pal #ChitaRivera. She was a pro’s pro & a lovely, gracious lady. May #Chita ride on Wings of Angels... But I doubt she's resting. More likely dancing & singing with the Angles, entertaining the Saints!! A hole in my heart. Love you, always Chita. xo
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Frankie and Johnny, 1991
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yepthatsacowalright · 10 months
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I was worried this documentary would be a lot, because the synopsis made it sound like it was focused on the controversy and right-wing protesting of the play Corpus Christi by Terrence McNally (a reimagining of Jesus Christ as a gay man in Texas,) but it actually focuses more on the cast and how being in this play profoundly changed them. Initially it talks a bit about and interviews some of the original cast (who had to deal with a stupid amount of protesting and threats in NYC) but then centers mostly on a different group of actors who were brought together for a revival of the play at a small church in North Hollywood, for free. The production received such a positive response that it ended up touring nationally and internationally, and even made its way to a small church in Texas. So much of the cast is very candid in interviews about their own upbringings, what they came to the show with and what the show gave them in return. (Many are queer and grew up in religious households that did not accept them.) It is very cathartic to see them take back a space of trauma and turn it into a space of healing and acceptance, the kind of space it should have been for everyone this entire time.
An excellent hour-ish watch if you're in the mood to feel things. 👍
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lee-pace-yourself · 2 years
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