There was a very scaled down, almost Brechtian version of My Fair Lady that made the rounds of the regional circuit a few years back that was directed by Amanda Dehnert. It was a two piano arrangement with, if I remember hearing correctly, the pianos onstage and the action taking place around them.
I think that's the one I saw at the McCarter in 2004, with Michael Cumpsty as Higgins.
I'd actually forgotten that it was just the two pianos until now. So I guess I didn't have a problem with it (though I also don't remember much else about it).
I saw a production of "The King and I" in Chicago that seemed to have all the King's children in the cast but was small scaled in production values and featured a two piano reduction of the score, which is now licensed by R&H Theatricals.
It's possible, newintown. I just remember that the one that friends of mine worked on at the Cleveland Playhouse back in 2006 or so, and that was a co-production with, I think, Actors' Theatre of Louisville, was directed by Amanda Dehnert. I don't know which came first, Griffin's two piano production or Dehnert's, but, from what I recall hearing, Dehnert took the small-scale concept much further than Griffin, giving the show a very Brechtian feel; no set, costume changes happening on stage in view of the audience by adding pieces that were scattered around the stage, that sort of thing.
I'll also add that Susan Schulman also did a stripped down Sweeney Todd some fifteen years before Doyle did his own small-scale take on the show.
ETA - a quick Google search shows that Amanda Dehnert has been mounting this production at least as early as 2000 (at the Trinity Rep) and it is part of this upcoming season at Oregon Shakespeare Festival. So there must be something to it if so many companies are willing to keep mounting it.
"I thought that Gary Griffin came up with that tiny Fair Lady idea, didn't he?"
The two piano version was originally developed at Trinity Rep in 2000 while I worked there. Directed by Amanda Dehnert, the wonderchild graduate from Trinity's conservatory. After wowing everyone by performing as the entire orchestra for Trinity's production of Into the Woods and then directing My Fair Lady, she became Oskar Eustice's Associate Artistic Director.
The production starred fellow conservatory grad, Rachael Warren. Warren later reprized the role in the same reduced version under Dehnert's direction at several theatres around the country.
From this New York Times article on the McCarter production (which was Griffin's) it sounds like while his and Dehnert's share the two piano and no chorus idea the style seems to be different. It doesn't seem like Griffin's is quite as stripped to the bare bones as Dehnert's production is.
The article also states that the two piano arrangement, at least the one used for Griffin's production, was created in the 50s by Trude Rittman, at the request of Loewe.
Well the two piano orchestrations were actually written back in the 50s for touring productions in small houses. So that is not Amanda's creation. But the bare bones, pared down production of the show itself, with pianos on stage, etc, was developed by Amanda. I'm not sure what Griffin's production was like...if he just used the orchestrations and created his own pared down version, or if he was "inspired" in any way by Amanda's production.
Dependent on your definition of "simple" whether it is in relation to the original production or limited to no set and orchestra. If it is the former than I defintly think that the 2009 revival of Ragtime qualifies. Their outlined set worked billiantly. I definitly did not miss the fireworks and replica Model T. Its set helped make the production about the characters rather than the spectacle of a set. Honestly if the original production used the revival's somewhat minimalist concept it might of beat Lion King for best production, since it too would of had some sort of inventive spectacle, adding to its already more solid book and score.
Griffin has been known to "borrow" other's ideas - sometimes resulting in lawsuits and the "Gary Griffin Rule" that limits how many times you can view a videotape at Lincoln Center.
BTW, Amanda Dehnert got her start as a kid at the Illinois Theatre Center, my family's theatre. She now teaches Musical Theatre at Northwestern.
Well the two piano orchestrations were actually written back in the 50s for touring productions in small houses.
Yes. I was going to add that summer stock houses in the "provinces" (as well as off-off-Broadway theaters) have been doing reduced-size productions with single or double-piano orchestras (with or without approval) since time immemorial.
I spent the summer of 1975 performing THE SOUND OF MUSIC in a seven-row theater in Appalachia. I played *all* the Nazis and we found a full contingent of von Trapp children in the local Baptist choir.
the two piano arrangement, at least the one used for Griffin's production, was created in the 50s by Trude Rittman
Trude Rittmman was an absolute genius at what she did. She escaped Nazi Germany early, soon after the ban on Jewish composers, and came to the US in the early 1930s. She created arrangements--especially dance-music arrangements--for musicals by pretty much every composer and choreographer of the Golden Age of Broadway.
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Posted: 1/18/13 at 01:28pm