Category: Music

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Two of my fan interests sort of intersected* with a pair of articles I wrote last night, as I found myself looking at the Flash and Les Misérables in the late 1930s/early 1940s.

I review Orson Welles’ Les Misérables radio play over at Re-Reading Les Mis. Last weekend I stumbled on a cassette recording of the 1937 series, but since I don’t have anything portable to play cassettes on anymore, I went looking online, found it at the Internet Archive’s Old Time Radio collection, and listened to it on the way to and from work for several days. (I wish I hadn’t already used the Cassette…now I remember pun.)

A 1943 Flash comic book features Jay Garrick playing every role at once in a stage play, quick-change style, when the entire cast is quarantined for a measles outbreak. I’d recently updated the scans on an old post on the one-man team trope. The Disneyland outbreak made me think of the story, and I’ve posted a few scans at Speed Force.

*They’ve been intersecting all week, actually, since the actor playing Pied Piper on the Flash TV show is playing Marius on Broadway right now, and has been posting Les Mis-related stuff.

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Like Ragtime, Into the Woods is another show that I listened to years ago and never quite got around to seeing. “I Know Things Now,” “On the Steps of the Palace,” and “Giants in the Sky” were popular with the musical theater crowd back in college, and I performed “Agony: Reprise” in class once*, but somehow I never watched the filmed version of the stage play with Bernadette Peters (I’m kind of baffled, honestly), and it wasn’t popular among the local theaters…until this year.

I decided I wanted to see a production onstage before I saw the movie, and managed to score a discount ticket to the Oregon Shakespeare Festival’s production when the tour hit Los Angeles.

For those unfamiliar with the show: Act One weaves Little Red Riding Hood, Cinderella, Jack and the Beanstalk and Rapunzel together with the story of a childless couple seeking to lift the curse a witch placed on them years ago. Act Two picks up on the consequences of what happened in Act One: an angry giant looking for Jack, princes who are more charming than sincere, Rapunzel trying to overcome years of emotional abuse, and so on. “Happily” may exist, but “ever after” is an illusion, and everyone’s more complicated than their stories might suggest.

OSF On Stage

The cast was quite good, and I got a kick out of seeing John Vickery (whom I remember as Neroon in Babylon 5) as the Narrator and Mysterious Man. I did have trouble following some of the larger ensemble numbers, though: So many voices singing high-speed, precision Sondheim at once. There’s a reason the Sondheim section in in The Musical of Musicals (The Musical) is called “Into the Words.”

The set consisted entirely of several levels of platforms, scaffolding and ladders to suggest towers, beanstalks and the like. Costumes started out similarly minimal, just contemporary clothes that suggested the character’s personality or role, then slowly became more period over the course of the opening number. The show is strongly built around storytelling (the narrator’s abrupt disappearance in act two isn’t just a gimmick, it marks a major shift in the characters’ lives), and the costume changes fit with that.

Something I’d missed or forgotten from the songs was just how much of act two is set up in act one. Cinderella’s uncertainty, Jack’s recklessness, even the turns taken by the baker and his wife are given enough setup to be believable. (The baker seems like a nice guy in the songs. Add in the bits in between and it’s clear he’s also a bit of a “nice guy” at the beginning.) [Edit: Now that I’ve listened through the cast album a couple of times, there’s a lot more than I remember.]

I loved Little Red Riding Hood’s turn for the savage after the wolf encounter: wearing the wolfskin cape, living in a cave, carrying a knife and hunting wolves.

The Witch especially is a lot more complicated than she seemed in the songs that I remembered. I kept comparing her and Rapunzel’s relationship to the version in Tangled, which has got to have been influenced by this show. She’s less of a clear-cut villain than Mother Gothel is, though: as cruel as she is, she’s actually sincere in her love for her stolen daughter. She’s just waaay off base in how to show it.

I left the theater with a much greater appreciation of the show!

The Movie

I liked the movie a lot as well. The ensemble numbers actually worked better: a movie lets you perfect the sound balance, so everyone’s intelligible. [Edit: Also, the more complicated numbers like “Ever After” are gone.] Having actual children play Little Red and Jack also makes a big difference, and while I liked the actors’ performance on stage, I think it works better this way.

It takes itself a bit more seriously than it should, but the only place the movie really fell flat on its own terms was with the wolf. Everything else in the film is presented as a realistic take on fantasy (well, with singing). Making the wolf look human with furry ears and a mustache works on stage where everything is impressionistic, but here it just doesn’t mesh. It might have worked if they’d presented him more like a werewolf, transforming into human form for the song.

Compared to the stage version, act two loses something when it’s set right after act one instead of giving it time so that we’re seeing people adjusted (or not) to their happily ever afters. That’s a bigger loss than, say, the narrator, or Rapunzel’s aftermath. Rapunzel doesn’t really do much in the show, so much as she is — cutting her from the second act hurts the Witch’s story more than it hurts hers.

I really missed “No More,” though. It sums up everything the Baker experiences and learns in the show, and builds to his key self-realization and decision. What they did instead sort of works, but it’s not nearly as effective. Sure, they cut the Mysterious Man, but I think they could have made it work using the device of the Baker imagining his father.

I thought it was a great version of the musical, and while it does make me want to dig up the  Bernadette Peters version, it’s not out of disappointment, but a rekindled interest in the show.

*Flashback

When we presented the scene in class, I** mispronounced the title as “Agony: Re-prize.” My scene partner quickly corrected it to “Re-PREEZE,” and I automatically repeated it. It wasn’t planned, but it was a perfect echo of the “Dwarves–” “Dwarfs!” “Dwarfs.” exchange in the song!

**Actually, I can’t remember which of us got it wrong and which of us corrected it. But it was probably me.

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Seeing Ragtime on stage is a vastly different experience from listening to it, and not just because it’s live theater. There’s so much context, so many connections, so much subtext that you don’t get from the songs alone. It’s very much a go-home-and-hug-your-kids kind of show.

I’ve been a fan of the music ever since we did a few songs from it in a revue back in college, but I’d never actually seen it until this month, when I caught 3D Theatricals’ production in Redondo Beach.

It’s a big show — forty-six people on stage, according to the director — and they turned in a great performance. The vocal standout, I thought, was the actress playing Mother. The actor playing Coalhouse had a very different voice than the one on the album, but he had physical presence and was able to really convey both his optimism in act one and his rage in act two. The character needs both to work.

Speaking of differences between the production and the cast album, I should note: when you just have the highlights, Father comes off as just kind of clueless. When you have the full songs and the book, he’s a bit of an obstinate jerk.

I found myself struck by the layers of historical interpretation: It’s a modern production of a 15-year-old adaptation of a 40-year-old novel about life in America 100 years ago. And we’re still dealing with the same problems: Institutionalized racism and sexism, exploitation of the working poor, conflict over how to handle immigration. It really hit at the moment when authorities kill a young African-American because they think (wrongly) that she has a gun. You can argue that any historical fiction is as much about the present day as it is about the period it’s set in, and maybe it’s a matter of each era distilling the common themes from the older work, but it was telling (and disheartening) how topical the story still is.

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Fifth generation iPodAs I moved our iTunes library last week, I worried that the new system might not be able to sync with the old iPod, but relaxed when I saw that Apple still sold the click-wheel iPod Classic. They discontinued it a few days later, but fortunately we were able to sync the old devices.

Why do I prefer the older iPods with physical buttons and tiny screens?

Because I listen to music in the car, and a touch screen is a terrible interface for quick actions while driving.

While touch screens are better for menus, searches, finding albums, playlists, artists, and just about anything else, they’re actually dangerous for driving. A physical control of some sort is best for any action you might have to take while behind the wheel of a moving car.

Pause/Play, Skip and Volume. Those are the key things you want to be able to do with music without thinking too much about where you’re reaching, or taking your eyes off the road. (Especially if you have a mix of quiet and loud songs.) Volume’s on the dashboard, but it’s so much easier — and safer — to hit an actual button for pause/play or skip than to jab at the touch screen until you get it right.