I dont think there is any bad writing on any of her songs in Ghost, i have no idea what you are talking about. The songs are vocally demanding yes, but most certainly not badly written.
Also nobody has said anything about the Broadway production closing at any time, never mind October. Right now they want to see how they get on during the summer.
Whatever one makes of it, the GHOST score is certainly taxing for Molly -- more so than for Sam -- as she sings almost as much as Elphaba. I thought Levy sounded fine on the Tony's (though the wig version of her hair looked strangely...wiggy; this whole phenom of creating versions of actors' hair still fascinates me). She has formidable vocal chops, and her performance is powerful.
I don't think they'd post an October closing for NY in June. Had the show run a long time, perhaps. But they are still trying to build an audience. If it's a daunting challenge, even unlikely, it seems to me they'd either opt to kill the show now, and save a bundle, or continue on indefinitely. There's no financial reward in keeping an expensive show going 4 more months.
I agree -- no shows other than freakishly long running show posts this far in advance. I would think they are (at this point in time) hoping to last the summer. (Although a Sept/Oct closing wouldn't suprise me.)
I mentioned on the Tony thread I though Cassie's looked like she had two black eyes -- her makeup looked horrid.
As far as the wig like your own hair: I remember there being quite a bit said about Lea Michelle demanding a wig during her run in Spring Awakening. I believe she stated damage to her own locks from both the lights and the products (hairspray?).
The Merm could sing this score (all the parts) 8 X a week with her hands tied behind her back (which would be fun to watch). Seriously, can scores these days be harder to sing than say ANNIE GET YOUR GUN? Rock musicians sing these songs nightly while touring, What's the prob? The $ notes? Karen Morrow would belt her tits off in every show and her voice has lasted quite well.
"Rock musicians sing these songs nightly while touring, What's the prob? The $ notes?"
I was talking to John Gallagher Jr (before Billie Joe joined the cast) about American Idiot, and he said that the Green Day guys really respected the cast's ability to sing the show 8 times a week, because when they're touring, they'll do a night, take a night or two off, maybe to two more nights of performing, then take a night or two off. That may be exclusive to Green Day at that point in their career, but apparently the Green Day guys were like, "we could never do what you guys are doing" in terms of doing the show eight times a week, with only one day off.
Look at Adele. She hasn't been around that long but she's already damaged her voice because of how demanding her schedule is. Rock music can really strain the voice if you don't have great technique and you usually have to sacrifice some technique to get the rock sound.
I'm unsure what the source of vocal issues during Ghost is. Caissie missed only 4 shows over the entire London/Manchester run, and since she used almost her entire holiday allowance for her wedding, she had very long runs with no breaks at all. Her replacement in London has missed a lot more than 4 shows since starting in January.
I saw the show for the first time in Manchester and the last show in London, with others in between, and there was no deterioration that I could hear. If anything she improved vocally as she played around with little changes and riffs.
Wynbish, they had only days off between finishing in London and starting rehearsals for Broadway.
Maybe you had seen Cassie on a bad night because she was sick a few weeks ago, but if you read the interview that was posted a few days ago about the show and Cassie you would see that her songs were actually written to fit her specific vocal range. She sounds beautiful on stage every night that I have seen her and there is no reason to bash how she looked at the Tony Awards. In my opinion she looked gorgeous as she does at every event. Maybe she was just a little run down from the 8 show week plus Tony rehearsals. But thats just my two cents, needed to get it out there.
OK, so I should point out I adore the score for GHOST and think it's a fantastic score.
However, in terms of something being sung 8 times a week, some of the music is not well (idiomatically) written (mainly Molly's music) and despite sounding nice does takes a toll on the voice.
A lot of it is full voiced with very blatant/open vowels over sustained melodies directly on the passagio. It creates a dramatic sound, but coupled with the already emotional circumstances of Mollys character can often prove difficult to do. Whether or not it was written for Levy's vocal range is irrelevant - it doesn't mean it's healthy to sing it 8 times a week. The Phantom of the Opera was written for Sarah Brightmans vocal range but A) She didn't even sing it live and B) Listen to her voice now.
A person above me made a very relevant comment about the sacrifice in technique many singers have to employ to get a more genuine "rock" sound. Being a performer myself, and having sang with many West End singers and worked with West End vocal coaches I can safely say that this is often (unfortunately) the case.
My initial comment was mostly about the vocal problems Caissie suffered in Wicked, which, unfortunately, became quite famous.
Then about her absences in Hair.
And then about my own personal experience of her voice being of less quality seeing her towards the end of her London run than when I saw her at the beginning.
There's just sometimes a risk in a score of this nature to damage the voice and when that's the case it's a score that's very difficult to control (again from my own personal experience).
Having said all of this, I must refer back to my initial statement - the score of GHOST is absolutely fantastic to listen to, serves the drama perfectly and is just one of the most beautiful scores ever.
Clap -- I hear what you are saying about the score. I find that is the case of MOST newer composers: they write music full of WOW music choices instead of INTELLIGENT music choices with well place wow moments.
In general, most music is too demanding on the vocalists -- both by the wow factor, and the amount of singing the lead characters have all combined with the 8 times a week for a long time.
The inevitable, "let's hope this show closes and another one fills its place" comment that so often defines these threads. The latest from someone who joined this board on June 9th. Enjoy.
I think when the West End production announced it was closing in OCT, like that old game of telephone it made it's way to someone who translated it into a Broadway closing. Someone is putting big bucks into the show, I see new billboards all the time. Some people are stubborn and believe they can turn anything into a hit. since the show is not making money in London, did the producers really think they could "fix" it? Did they think it was more an American Title? Given the critical reception here, they have a long road to profit. If it tours, can they bring the set, which is the star of the show?
I'm surprised no one has mentioned it yet, but Caissie has already had severe vocal troubles. She was forced to leave the Los Angeles production of Wicked early due to the damage she incurred from playing Elphaba. She got surgery and one can only assume she is now taking excellent care of her voice. My respect has gone up so much for her due to the comeback she was able to make.
No clue how to find them, but there are recordings out there of her last performance in Los Angeles, it's amazing to hear the recovery her voice has made from then to now- it definitely is stronger!
^^^ I'm assuming you're genuinely asking, since you're a new member... I didn't violate site guidelines (although I have no clue what your post was.)
There's no reason to believe the recording I'm referring to is illegal, assumptions aside. (It could've been an archived soundboard, promotional recording, etc.) Also, I have no access to these recordings and therefore am not offering them to others.
Like I said, I don't know what you wrote, but I gave a subjective thought, pertaining to something that has no legalities involved.
You may want to familiarize yourself with the site guidelines.
I have to feel sorry for GHOST....it seemed to start as a 'sensation' but sales have declined and it's closing so soon in London and it never really took off on Broadway at all - it was suggested on the forum that they were rushing it to Broadway to take advantage of the slow season and Tony Awards....look how well that turned out.
Based from the clips, the set looked interesting and I wish I could have seen it. Based on the cast recording, the show probably crosses towards the 'commercial trash' rather than 'art' side of a continuum, but the music often does tell a story and is hard to dislike - the main issue being of course the often banal lyrics.
"the damage she incurred from playing Elphaba" You make it sound like the role attacked and beat her. Unless scenery hit her on her noggin' or a wire snapped and dropped her 20 feet (those things happen), she damaged her voice because she was singing incorrectly or wasn't trained well. After your post I was imagining a green hospital where every actress who has played the part is slowly melting.
I posted that it might become the new AIDA, but I think that was wishful thinking. The show's ads are ubiquitous, in print, all types of media. You find it on the oddest of web pages with zero connection to the theater or entertainment. But it doesn't seem to be capturing the public's attention or imagination.
I'm thinking that if neither TARZAN or LITTLE MERMAID could have long runs, the second truly beloved as a film, the title-identification concept of hit-making could be overrated. GHOST's story makes it great fodder for musical theater. A tragic love story with a cosmic as opposed to earthly "happy" ending, it presents an opportunity to enjoy a strong enough detective story to hold you until the inevitable eleven o'clock good cry. I think it mostly works, and I like the attractive leading players. I still like the score, and admit it's a guilty pleasure. And will remain one. But I'm still in the minority. I'm wondering if the word of mouth beyond these boards -- with Jane and John Q -- is less than stellar.
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joined:11/29/09
Posted: 6/14/12 at 10:17am