Happily, though, producer Stephen Byrd is revving up to take the show to the big screen – supplanting the classic film with Paul Newman and Elizabeth Taylor. Those are might big shoes to fill, and it’s certainly going to be a challenge for director Debbie Allen, but this is one case where I think that the idea of universal themes crossing cultural boundaries works. Even more exciting, before the show closes Byrd is arranging for several simul-cast live performances to go on in several cities.

Like the High School Musical production in Beirut that managed to open last week in spite of the turmoil in the country, having African-Americans play the roles in a classic southern tale lends a glimpse into both the common well of emotion as well as the triumph over prejudice and ignorance. There was a time when a show like this was unheard of; that it is a triumph on Broadway is a tribute to the work of decades to overcome unequal stereotypes.

Not that we still don’t have a long way to go. But it’s a start.

image courtesy of Newscom

Post from: Fame or Famine

I’m not so sure that this new turn of Morris Dancing is a good thing, however. According to this article in the UK Independent, there is a movement to take the traditional white-hanky-waving bell-jangling wholesome Morris Dance and turn it into, as the reporter put it, “the devilish spawn of Hell’s Angels and medieval mummers.”

It’s an interesting article, and you can learn a lot about Morris Dancing – with the caveat that while a lot of people have opinions about it, nobody really knows what it’s about. The interesting thing is the new generation, coming in with skulls on their hats and purple lipstick and embracing heartily the sexual and pagan aspects of the dance. It will be interesting to see what the old guard pagans make of that.

I have close friends in Minnesota who are part of a Morris Dancing team, and they also embrace the sexual and pagan aspects – in fact, they have a longstanding arrangement as the official Morris Dancers for the Smitten Kitten, an feminist sex-positive store. As for the pagan, well, as Wil Stryk (and what an apt name for a guy who operates an accordion for people hitting sticks together) put it to me, “We don’t really believe that we have to dance on May Day in order for the sun to come up the next day.”

“But if it didn’t….we’d feel really bad.”

Post from: Fame or Famine

It’s kind of like Fame, but live (wait, haven’t they actually got a show like that?). The music is the hardest – good lord, singing a capella? Just with a mic? Holy cow, talk about pressure. It will be interesting to see if the plot of the show improves since there is more talent to actually put into each episode.

The ubiquitous “look how bad it gets” montage again makes you wonder who was planted (such as the valley girl).

Now, when 9009 started…holy cow. Doing that many foutte turns on bare feet on marley? That’s the rubberized material that covers the stage, and it is not easy to just turn like that – as you see by the guy’s foot that they show after “Miss Sparkly”.

She’s an interesting one. Miss Abigail, my viewing companion this evening, commented that “sequins are not your strong suit, honey.” She knew she was a club dancer by the way she dressed, and while I thought that the comment that she was “a Mariah” a little cruel, I thought that Carrie Ann’s statements that “it’s easier to teach someone to dance than to sing” interesting.

Bruno made a good impression on Miss A. “Wow…that’s different than the rest of the chirpers…” Sasha was not as charitably taken “I hate singers like that,” she said. I asked why just as Sasha changed key for the third time. “That’s why!” she said triumphantly. New York also gave me my own favorite: Jessalyn the Waitress. Yes, partially because she’s gorgeous, but also because she’s a waitress trying to make it big, and I really dig that kind of archetype.

Diddy was totally a ringer. (and yes, I did actually write that before his wig fell off). I’m interested in knowing more about him…so let’s go to the website…

A native of Cincinnati, Ohio, Drew Lachey is a past winner of ABC’s Dancing with the Stars. He and his dance partner, Cheryl Burke, took home first place, beating out 10 other dance couples in 2006.

OK, so he has some cred…and on we go to California. Skipping the entire midwest, because of course there’s no dance talent out here. Hubbard Street? What’s that? OK, so I’m a little bitter…

The gorilla’s not bad…

Of course, in LA they pull out the sex appeal and off the clothes “Oh, sure, ’some people stand out’ just as the girl with the rack steps forward…nice editing!” wryly commented Abigail. I kind of felt that Casey vs. Sheryn was unfair – I thought that putting the two of them next to each other, and having Bruno decide that Sheryn was “not what we want” while Carrie Ann stated that Casey was “adorable” did not bode well for the rest of the show. I personally am really of that nasally whining tone in pop songs (Gwen Stefani is the exception). Michelle Branch, for example, is not our friend…

(side note: We’re not sure where they came from – but Farmer’s Branch commercials? They’re hilarious).

I also give the show points for using Gene Kelly’s recording of “Singin’ in the Rain”, not some pop version. When Zack came out, Miss Abigail perked up. “Ooooh…he’s good looking.” He’s got some club dancing looks, from watching him – I almost puked when Bruno said “He’s got technique…”
“He does not have technique!” I screamed at the tv.
“He’s got a cute butt,” stated Abigail firmly. and that seemed to put the matter to rest.

We zoom through the “easy ones” – dance teachers, obviously trained and experienced. The North Carolina girl seemed a little too uncontrolled and frantic to me. The last performer seemed to be another ringer, in my opinion – as Bruno said, “He is exactly what we’re looking for.” A little too coincidental. Miss Abigail was also bothered by the Biker Vest on the Beach look sported by Carrie Ann.

Still, the show does its job of making people care. When the Hollywood callbacks were announced, “Yay! Pre-Med Boy!” burst out of Miss Abigail, and I had a moment of panic when I didn’t see Jessalyn there…but I remembered that she was from NYC, and felt better.

Ah, they do hit the midwest…though Nashville is not really representative. It’s about as much representative of the MidWest as Vegas is of Nevada.

(Another side note: If we never hear the Rocky theme again, we will not be sad. At all. Really.)

“He’s weird – and I love it!”

Nashville seemed remarkably harsh – until they show the manufactured drama of the three friends, and end the solos wit the obviously not-talented-enough Mary Alice. I think as I watch these shows, they start to get closer and closer to actually showing that the passion and work involved in being an artist are enough, really, to make an interesting show.

Philip annoys me. He’s too cute looking, and the American flag they threw in at the end of his solo really annoyed me. You know what else really annoys me? A camera shot that has the judges perfectly framed but

Best comment of the night? “What do you do when you’re not dancing?” “…sleep?” Nashville, in general, was a little rushed – they wanted to get to Hollywood with plenty of time.

“Dancing Darwinism” is what Miss Abigail called it, and she’s right. The 2 day call back process is the closest thing to reality that I have seen here – the kind of camaraderie that can really develop. At the same time you get to see the development of individuals – Quantrell’s solo and singing was a triumph, for example.

The actual performance was a good way to show just how hard this process will be – dancing and singing, and for that matter, singing while dancing, is one of the hardest things to deal with. The process of letting people know was handled well, I thought- it was interesting and heart wrenching enough without “You’re….NOT the one that I want” kind of drama.

On the other hand, there is real drama and surprises. Quantrell not making it in was a shock to me. Again, like when the whinyvoiced singer sang, little decisions like that make me think that this show is less about finding “new” talent and more about finding “another” talent just like the talent that has been out there for the last 10-15 years. Quantrell would have brought something fresh, and could have taught as much as he learned; I think the show really missed an opportunity by letting him go. Maybe TruTV will pick him up for a reality show? One can hope.

By the time we got to the live show, Miss Abigail was tattooing “Zack is MINE!” across the back of her hips, and squealing every time he appeared on the screen. “It’s because he’s pre-med! Really!” she said, wiping the drool from her chin. She’s going to be so heartbroken when he runs off with Philip and the two of them open their own dance studio…

The finale was less than inspiring – though Mariel is my new fave (since Jessalyn was left out). Zack looked like he belonged in any old boy band. The one surprise was the blonde from the trio from Louisiana – Miss Abigail thought that she and Elizabeth really seemed to stand out and glow when they reached the live performance.

I’m looking forward to watching these people grow together.

Post from: Fame or Famine

I have to say…as holiday specials go, this is a fantastic idea. With all my bitching about the way the things are arranged, there still are moments like Shelton’s choir singing “Rockin’ Around the Christmas Tree” with so many happy talented changes and voice that I literally got chills.

These are real people. The show must have a great costuming staff, because they take bodies of literally all shapes and sizes and create complimentary colored outfits for each group. Each group has an identity, but it’s not to blindly follow their celebrity leader – no, it’s in solidarity to the town they come from, and (at least from what I can see) there are all quite diverse in race, background, everything else. There’s a part in Shelton’s first piece where one of the soldiers grabbed a long-haired hippy looking guy in a hug…and it just gives you a warm feeling, to see 20 people drawn together in this. Especially since they are – well, not fighting, but singing their hearts out not for their own pocketbooks, but to help out the people who live with them in that town, wherever it is.

It’s just a different approach, and I have to say, it’s workin’ for me.

Ok, I’m starting to sound like one of the judges. Let’s get all Cowell on their Celebratin’ butts. Come on, you couldn’t come up with a more intricate song to show off the vocal talents? The chorus of the song is basically unison. The verses are…well, pretty ridiculously repetitive. There were some moments of bliss, and yeah, the men’s voices are great…but I was looking for something more like what they opened with, or like “Take Me Home.” And as C.L. said in the comments, this team does have the hottest women, what’s with putting them all in back? (and yes, I am prepared to take heat for that..)

It won’t be hard for Patti to blow them out of the water. And when that low back beat started, with the gorgeous soloist backed up by a strong, rich choir…I saw Team Shelton’s chances fading fast.

Team Lachey has a nice tone to them…but I don’t think they’re going to beat out Patti. It’s a very low, slow, rich version of “What a Wonderful World.” Nice, beautiful, but it just doesn’t bring out the kind of energy that Patti’s did. Perhaps a more fair competition would have forced the choirs to each sing a piece in a different language, or a slow song, or a piece written before the 17th century. Given those kinds of challenges and creative constraints would have leveled the playing field.

That, and having the choir forced to assemble the entire Star Wars Lego catalog in a swimming pool full of baby oil while singing all the choruses from the Pirates of Penzance. That might make an interesting challenge.

So…three have sung, which two will stay? I predict…Shelton and Patti. And then Patti will win. That prediction is made during a Nissan commercial at 7:53pm CST…

And now…filler! We watch them trot out the other performers, and I’m not going to talk much about it, because I got a phone call during Ms. Rowland’s piece (Camille kept track though, and said “it was ok –one lead vocal –i forget her name –the woman i think leading that group and then everyone else was back up vocals –not very original”). And Iris popped online just in time for Michael Bolton’s Song Least Needing Covering…with not much to do for his choir at all.

Very disappointing filler. The question is, what happens next?

Ah…next Team Shelton gets sneaky. Put the soldier up front, America has a notoriously tough time finding the wherewithal to send them home! And yes, that is snarky, because all I want for Christmas, really, is an exit strategy, please? (here ends the political part of the blog). The number is rich, it’s layered, it’s well performed…I think he might have a shot at beating out Lachey…

And more filler…with a song I happen to not like much. “Weren’t they eliminated? I want better filler!” are the comments of my online fellow watchers. And I suspect we’re going to be going on to the next commercial…NO! Something new about Team Rowland. Another family based charity event…see, this is like “It’s a Wonderful Life” all over again!

Unfortunately, the song that Team Rowlad picks…well, it’s beautiful, and it’s full of the sign language that the father needs…and ok, I was going to say something snarky, but no, this is just too neat. As a father, I can’t do anything but wipe the tears off my keyboard.

Now I want them to win. Even if they were eliminated.

Finally we see Patti’s team again…and I see her head to the top. She’s been saving these guys, I bet, to pull out the stops now. Problem I have, is…ah, heck, you know the problem. It’s beautiful, but it’s not choir. It’s soloist backed by…(sigh). Ok, I’m just going to call this The Gripe, and refer to it as such for the rest of my entries.

Team Lachey’s “Sing a Song” was, as Iris put it, a “middle-of-the-road choir piece… I’m liking it, though. Interesting and difficult parts for the soprano’s… nice” It was safe, and…wow, Marguerite’s real fervor for her team having “already won!” is what I’m talking about. It makes things so different than other shows I’ve seen.

And down goes Team Shelton. “What are you going to tell these guys?” He came up with something inspirational, but I bet it’s going to be something more like “Hey, drinks are on me!”

(blink) Wow. Every charity gets $50,000? That’s…wonderful. A drop in the bucket for GE, and yet something really useful for the charities. Again…this is a great show.

And Nick takes it. I’m not really surprised – he took the lead and held it after the “Flight of the Bumblebee”, and to be honest, his choir showed more breadth and unity than Patti’s. And Blake, well, he was good, but he admitted he really didn’t know choirs.

I hope these songs are offered somewhere. “take me home”, “bumblebee”, and “Freedom” are all tunes I really want to hear again.

Post from: Fame or Famine

The “tense Xmas music” is kind of weird…like a Santa Horror flick. I really, really despise that they try and build up that tension. It’s not that I don’t think things should be tense – I just think the way they are doing it is heavy-handed.

And finding out that Blake’s choir is in the bottom two? It is scary, in a way, the way this is more based on popularity (and, yes, charitable need) rather than talent.

and Patti’s choir begins…with a soloist. How surprising. I find it interesting that she uses the choir in the same way that horns are used in R&B, as “seasoning” or punctuation for the phrases. Um…they sing “Jeeeez…take it…” and I don’t know about their church, but in mine, you’d go to hell for calling the Big Guy’s son by such a diminutive. Iris felt it was the worst performance by that choir, and I’d have to agree – of course, the judges are all sugar and niceness. I’m beginning to like Blake simply because he’s not quite as saccharine as the rest – “I’ve got no problem with throwing up on Team Latchey!”

In the commercial there’s a bit of the sponsoring movie, “First Sunday” – and there was some good choir music! That’s what I’d like to hear through this competition!

What to say about Nick’s choir? Well, here’s what Iris and I said:

Iri: WHEE!!!!
Graydancer YES!!!!!!
Iri: THAT’S REAL CHOIR MUSIC!!! Wow. I’m SO ecstatic right now.

Then it’s back to the stupid scary music…and then I am vindicated! Bolton has gone down! I should be sad…but Shelton’s group did deserve it more, IMO.

Speaking of which, wow, two actual choir pieces in one night! I’m amazed! Interesting, this is also in the gospel style…and I gotta wonder if Blake’s trying to out-Patti Ms. Labelle. Iris didn’t care for one of the two soloists, but I thought they had a nice contrast of rough/smooth singing, and best of all, they really seemed to be more a support to the choir, rather than the other way around. I kept hoping for the layering of the chorus to expand and become more and more layered, but even with the way it went, they did have a more interesting performance than Patti’s – for the first time, I think it might come down to the City Chorus vs. the Country Chorus.

Of course, having Patti get to sing last…well, that’s not exactly fair, but I can’t really say anything against a worthy cause getting the attention it needs. However, if Shelton had had the final performance – I don’t think anyone would have a doubt.

And as I watch Patti…I’m starting to think that he still doesn’t have to worry. Once again, we’re focusing on the front people, and after seeing two choirs really actually perform as choirs, I’m kind of hoping that people vote for those.

Once again they’re all nice and complimentary…and as usual, Blake has a wit that is just really, really well done. I’m amazed at the off-the-cuff witticisms he comes up with.

As we go into the second round, Iris is impressed with the start…and I’m not even bothered by the soloists, because there are enough of them that it feels like a choir. “wow…” she asks, “Where did this come from? Rock on!” I have to agree – I’m starting to think that Nick might just win the whole shebang.

Unless, of course, Shelton comes out with “Joy to the World”, one of the most popular and easy-to-amp-up songs ever….and as I heard him merge the Three-Dog-Night version with the traditional, I thought he had it…except that the energy seemed too low. The other leaders recognized the complexities in the music, and acknowledging them helped make me feel this is, actually, about the music more than anything else.

As they take on each other “head to head”, it seems less about the choirs, to me, than the performers. Patti’s years of experience combined with great talent put her way over Nick, but his choir, Iris notes, was “more choral”, and (a little snarkily) she adds “And they were on key…Patti’s song, I didn’t find it aesthetically pleasing, if you will.” I’m kind of amused by the way the family-friendly hostess stumbles over “…his hit album, Pure B….S?” Blake Shelton, of course…and then he sings a very, very raunchy song about a blonde dancing on his car hood while he’s drunk. Oh, wait, the choir – yeah, they had nice layers, and they were tight and right on key.

However, in the end, I think Patti was still the best solo performer…but her choir was the weakest. Nick’s was the strongest…but only just barely. If Blake’s had had a little more energy, they would have easily beaten out the others. As for my online compatriot, her boyfriend weighs in: “Will says “I know jack about music, and those guys are just bad” re: Bolton’s choir.” As for Iris? “Ok, so my rankings tonight: 1 – by a fucking lot – Nick Lachey, 2 – Blake Shelton, and 3 – by a decent margin – Patti LaBelle.”

The same verdict, different margins.

Tomorrow, the finale…

Post from: Fame or Famine

Iris tells me that Shelton had one iffy soloist, but was pretty good. She’s irritated that the choirs seem to be more focused on soloists & backups, rather than having group ensemble pieces. I am too – the Alleluia, Vaughn Williams, something classical, maybe something along the lines of Bobby McFerrin or Ladysmith Black Mambazo…let’s hear something groupish!

I’d have to agree…it becomes American Idol with backup singers. It’s also amusing when you see them dance – there was a blonde in Lachey’s choir that looked almost like she was auditioning for the Pussycat Dolls (wrong reality show, dear). The way his choir broke down the “Low Places” seemed kind of a low, pale imitation of Patti’s group, too. Lachey’s a good musician, no doubt, but again – compared to Patti, it was just pale.

And so it happens: the first outrage. Bolton stays, and Kelli goes? That’s awful! (deep breath) Ok, I shouldn’t be upset. It’s all good, right, it’s not so much that they’re saying that Bolton’s choir was better – they’re just saying that more people wanted HIS charity to win than Kelli’s.

Yeah. I’ll keep telling myself that. Iris says, via chat, “If I were voting based on charity, I’d be voting for Kelly… Then Bolton…” She disagreed with the hosts judgement “…there’s no way he’s still at the bottom with that performance…It was pitchy, kind of uncontrolled, and… just not that good.”

We agree that Patti took it, again, and Blake was a close second (how can a guy who can’t read music produce those kinds of harmonies?) and as for Lachey and Bolton…well, I don’t really care. One of those two will be gone.

Post from: Fame or Famine

This didn’t matter. It was a great show. We got to try out new choreography, the rope tricks I do with Betty Wantsme were some of the best we’d done, and Ms. Behavin was even better than usual, especially in the final number.

I suspect it’s because of the lack of pressure we had. It let us be relaxed, play it loose, and generally meant that if we stretched ourselves, we were secure in the lack of consequences for failure.

We’ve had larger shows, and we will. But I kinda hope we never quite outgrow the smaller times when there’s just not that much goin’ on.

Post from: Fame or Famine

“…we don’t have a Pavarotti because DANCE DOESN’T RECORD WELL — i.e., it’s not mass-producible, like a Pavarotti CD or video or PBS special, and so there’s no dancer who’ll be viscerally KNOWN to millions of people as Pavarotti was through radio, TV and CDs, and the newspaper headlines generated by his stadium concerts with the 3 Tenors.”-Foot in Mouth

I’m not entirely sure I agree with this – Mikhail Baryshnikov comes to mind, and to some extent Bill T. Jones and Pilobolus. I don’t know of any Pavarotti calendars, for example, and neither has Kiri Te Kanawa starred in any Hollywood blockbusters that I know of. And films such as Moulin Rouge seem to beggar the idea that dance doesn’t record well (or Step Up or any of the bevy of mainstream dance films, some of which, yes, I think are lame (I was SO disappointed with the way the dance in Stomp the Yard was portrayed)).

Still, as Doug Rosenberg, my mentor, would argue, what we see on the screen is not actually the dance – it is a mediated version of the dance put into 2 dimensions and with the attention focused by first the director, then the camera operator, then the editor, and finally the venue in which you see it (whether iPhone or iMax). Then again, that applies to the Pavarottis of the world, too – I’ve never heard him sing, I’ve heard only recordings.

(sigh) it’s complicated. But I think that Mikhail has as much name recognition as Pavarotti to the general public. What do you think?

Post from: Fame or Famine

I’d never seen the musical before, and was…astonished. In fact, I have a new dream role. Having played the Teen Angel in Grease, I think I need to move up, and someday, somewhere, play Jesus in this musical. You’ll see why in the clip below, but fair warning: this will offend you if you are deeply religious and don’t have a sense of humor. The number of blasphemes in this one song make the Simpsons look like they were sponsored by the Catholic Church.

Sorry for offending folx. It was funny. Really.

Post from: Fame or Famine

Post from: Fame or Famine