Drood Comments & Questions

[Anshel2]

I saw The Mystery of Edwin Drood, and while I enjoyed it, I thought it paled in comparison to the original which I saw as a teenager.

The cast worked hard and I was particularly impressed with Stephanie J. Block in the title role.

I thought Chita Rivera, while a genuine theatre legend, just didnt' seem all that into it. I recall being mesmerized by Cleo Laine in the original, but I thought Rivera was rather lackluster in the role. I found it interesting that at the end, when the entire company was dancing, she was off stage until the less strenuous and complicated (if you can call it that) dancing was being done.

One thing that stuck out for me was Bazzard's final note. I thought in Act 1, he just hit a bad final note, but when he hit the same note in Act 2 (he was the murderer), I realized that the note had been transposed from the way it was originally written and recorded on the original cast LP.

Also, I seem to recall the end of Act 1 in the original ended with the more dramatic The Name of Love/Moonfall (reprise). Am I mistaken, or is my memory accurate? If accurate, I find that ending for Act 1 far more dramatic than Off To The Races ending Act 1 in the revival.

Any thoughts?

[ljay889]

I found it interesting that at the end, when the entire company was dancing, she was off stage until the less strenuous and complicated (if you can call it that) dancing was being done.

She's going to be 80 in January. Give her a break.

[Anshel2]

Brillant commentary as usual Ljay. Wasn't being critical, merely commenting that I found it interested. Big difference.

[PalJoey]

I agree with ljay.

[Bialyhoos22]

Regarding Bazzard's final notes in Never the Luck and his Confession -- they have indeed been modulated down. Unfortunately, rather than transpose the whole song, the quick modulation in Never the Luck sticks out like a sore thumb harmonically. Benson is hitting the correct note but the key change happens so quickly near the end, it doesn't jive with the rest. The note at the end of confession IIRC has had the same treatment, though it sounds like he might also be singing an alternative (lower) note in the final chord (untransposed). I'm surprised Rupert didn't find a better 'button' for NTL though...

And yes, you are correct -- The Name of Love/Moonfall Reprise originally closed Act I in the Delacorte/Broadway run. This was subsequently changed for the 87 London and 88 national tour. I definitely prefer it's original placement in the narrative. It feels particularly anticlimactic in Act Two, minutes before Puffer goes into Don't Quit While You're Ahead. Speaking of key changes, TNoL/MR is transposed down a step or two in the revival, which seems to take some of the soaring heft out of it IMO.

[Anshel2]

Thanks Bialy for confirming my recollections.