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Post by jo on Mar 26, 2015 15:43:28 GMT -5
Amanda is going to tread the boards soon. But in this interview, it is her dream of being cast as Glinda in the film adaptation of WICKED which is interesting! www.broadwayworld.com/article/Amanda-Seyfried-Talks-Fear-of-Singing-Live-Off-Broadway-Stage-Debut-WICKED-Movie-Dreams-20150326#I have always thought that this possibility is something that could happen -- *Amanda was in the two best-selling film adaptations of stage musicals ( Mamma Mia! and Les Miserables) *Both films were produced and distributed by UNIVERSAL Studios. It is likely that they will go with the proven star. Btw, UNIVERSAL owns the stage and film rights to WICKED. *Amanda is blonde...and so is Glinda. Her competition could be Anna Kendrick? Or could Anna be Elphaba and Amanda could be Glinda? Jo |
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Post by jo on Mar 28, 2015 2:33:57 GMT -5
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Post by jo on Mar 28, 2015 2:57:03 GMT -5
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Post by jo on Mar 31, 2015 6:15:58 GMT -5
Fun interview -- the singing reporter requested a sung response as well  Like singing in church  www.youtube.com/watch?v=_TgsThCFfEM&feature=youtu.be&a=Except for Annie who chose not to sing...and Samantha not being able to ( she kept laughing) -- they responded differently, with Javert being the most impressive (and frightening) and Hugh and Eddie responding like church hymn singing - LOL! JO |
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Post by njr on Mar 31, 2015 13:13:34 GMT -5
Fun interview -- the singing reporter requested a sung response as well Like singing in church www.youtube.com/watch?v=_TgsThCFfEM&feature=youtu.be&a=Except for Annie who chose not to sing...and Samantha not being able to ( she kept laughing) -- they responded differently, with Javert being the most impressive (and frightening) and Hugh and Eddie responding like church hymn singing - LOL! JO I'd hardly call what the reporter did as "singing." She was terrible! (I loved Russell Crowe's response--"That was singing?")LOL! Hugh took it very good naturedly of course! Nancy |
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Post by jo on Apr 7, 2015 1:53:28 GMT -5
There were so many things going on before, during, and after the release of Les Miserables that one could only appreciate very briefly many of the various discussions with the director and the cast, especially the Q&A's which dotted the many screenings for the awards communities. Plus there is a different level of appreciation one derives after the passage of time. I rewatched Les Miserables during Easter week...and this Q&A is particularly resonant. www.youtube.com/watch?v=um-QWNYD0dkContinuation -- www.youtube.com/watch?v=CUzUkQ2dKlY"The only way to respect the language of film is to abandon the language of the stage!"-- from Anne Hathaway, was something that the audience in this particular forum ( mostly actors and probably other creatives who will nominate and eventually vote for the winners of the various awards) would have noted! She had especially noted how she abandoned " Look, I'm singing!" to one of discovering the human truth of the character she was portraying. Not to belabor the point, but maybe there should have been a separate screening for the musical theatre actors who have disdained the live-singing concept, so they could have fully appreciated those words brilliantly highlighted by Anne! And for all the fans of the musical who insisted that the stage version should have been kept at all costs! And I love the way Tom explained how the project was a "Possible" in his mind to "Definite" after the audition with Hugh - and that it has been because of what he discovered in Hugh Jackman! Even Amanda and Eddie had their special contributions to the film making. It would have been great to have heard the views of Russell Crowe, Samantha Barks, and Aaron Tveit ( who is also a student of voice teacher Joan Lader) in this particular forum, too. Looking back, I am so glad that I had the opportunity of knowing a lot of what went on during pre-prod, filming, and post-prod, as well as the awards-season campaign, from the vigil-like discussions on message boards with avid Les Miserables fans ( particularly at IMDB) and the reporting from regular and social media, as well as the paps ( great scoops ). It was funny how we were all trying to figure out what Tom Hooper was trying to do, as he was filming not in sequence at all! Plus he filmed scenes which did not make it to the final film version. It was not disappointing at all (the film script was made available online for the awards bodies ... but reached us) when we also noted some missing scenes or edited scenes based on the film script. We were so nosy but we were all happy bunnies, us Les Mis fans Jo |
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Post by jo on Apr 7, 2015 3:08:52 GMT -5
Here's a more lighthearted chat with Hugh, Amanda, and Eddie, with the Facebook crowd -- www.youtube.com/watch?v=bhF16PWZ2vwNew things that I picked up : *Cameron Mackintosh promised he will find a way for the major cast to have an ensemble singing piece during the awards season. I wonder if he had anything to do with the Oscars's feature of ONE DAY MORE? Maybe not the inclusion at the ceremonies ( that is probably the decision of the show director/producers) but he did get numerous cast members of other stage productions to join the movie cast when ONE DAY MORE was presented, to a standing ovation. SUDDENLY was included in the piece, because the song was nominated for a Best Song Oscar. *So, Amanda did take singing lessons, which included opera arias when she was 17. There were a lot disdainful comments about its veracity when this was reported in the press. *Eddie says he will never say Never, when he was asked if would be interested to appear in a stage musical. He is not new to the stage, having won both an Olivier and a Tony for a support role in RED. Btw, there is early buzz that Eddie may have another award-winning role in an upcoming movie called The Danish Girl, a movie about a transgender which is again directed by Tom Hooper -- www.latimes.com/entertainment/movies/moviesnow/la-et-mn-tom-hooper-eddie-redmayne-danish-girl-release-date-20150304-story.html*Have you noticed how Hugh would make an effort to address his response directly to the person who submitted the question? Jo |
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Post by jo on Apr 7, 2015 4:40:09 GMT -5
In case anyone missed this -- it was all over the place ( including some movie cinemas as part of the parade of trailers of upcoming movies) : www.youtube.com/watch?v=0Su_n0PAuXkJo |
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Post by jo on Apr 10, 2015 22:35:19 GMT -5
If you have never seen the stage production -- here is an upload on YouTube of the entire production, albeit in Spanish. It is easy to follow if you are very familiar with the show ( through the film adaptation). The lead ( Guillermo Rauch) also played Valjean in London, presumably singing in English. Presumably, this is based on the revised staging ( see the background screens compared to real sets...plus the rowing scene is a giveaway as the original production staged it differently). Btw, Rauch visited the set of Les Miserables which was being filmed in the UK when Rauch was about to join the London theatrical show and even had a photo taken with the film Valjean.  It is about 2 1/2 hours long. www.youtube.com/watch?v=tuG7Np9vl0YWhen I watch this, I am so elated that Tom Hooper gave us a film adaptation that is best suited to the screen. The Spanish production carried all the "theatricality" of the stagings -- over the top acting via facial gestures ( or contortions) and body language...plus the kind of singing usually identified with a stage production ( not much subtlety or variation in the emotional context) and sometimes it gets tiring to listen to all the shouting and the shrieking. But this has to be appreciated in the context that it is a live production and not meant to be seen on screen ( which demands a different kind of acting and more subtlety in the vocal performances). Les Miserables is a dramatic musical, and for me, the acting choices should dominate. Try to compare Rauch's Soliloquy ( which comes early on) with Jackman's interpretation. That best gives us an example of how different the mediums are! And why Tom Hooper did not want any other vocal performances than singing live, with the acting choices dominating the scene and the song choices simply complementing it. I am uploading it...and will see it in its entirety when I have more time. EDIT: can't get to download the whole thing  This is my favorite musical ( and fell in love with it as a stage production -- seeing it 9 times in different places!) -- But I think I have been spoiled now -- after seeing the film adaptation! That is definitely my choice for a reprise of the musical! Jo |
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Post by jo on Apr 12, 2015 21:04:25 GMT -5
I found this referral tweet to Hugh ( hope he sees it!) --There have been various instrumental versions of the musical score of Les Miserables -- but this is the first time I have seen it performed by a marching band ( in this case by the drum and bugle corps, as well as other percussion instrument and dancers). This was the competition number from the Santa Clara Vanguards in 2013. www.youtube.com/watch?v=9gWog_OzuZMSuch is the power of this score by Schonberg and Boublil that when the marching band show opened with the first two notes ( from the Opening Number of the show and the movie), the memories of all that is to come musically came back so powerfully. And for those who have seen the movie, it brought back memories of those convicts, led by Hugh, tugging at their ropes to bring in a stricken ship. One could hear the melodic strains of I Dreamed a Dream, On My Own, Castle on a Cloud, Bring Him Home, and even Who Am I -- but it is the powerful marching calls ( Do You Hear the People Sing, One Day More) that gave this performance its strong appeal! Hey, did you notice that they used the marching V formation from the show ( towards the end of One Day More...or has that been dropped in the current stagings?) as well as the famous Trevor Nunn walking-to-the-footlights finale ? The stage show developed a huge fanbase, but the film adaptation brought the classic to the attention of the whole world, including the attention of the stadium crowd which had stood in ovation at times! I wish I could have been there Jo
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Post by jo on Apr 14, 2015 2:37:45 GMT -5
Not exactly about Les Mis -- But do you remember when Russell had invited Hugh and Samantha to join him while he was performing at Joe's Pub in Dec 2012? It seems there was a second show with the singer Scott Grimes...and the three ended up being backing singers to Scott for the song Man in the Mirror -- www.youtube.com/watch?v=57H-1yzI1UY&feature=youtu.beThe video image is a little delayed...maybe more than a minute before it starts but the audio is fine. Our three Les Mis veterans seem to enjoy pop music a lot! Jo |
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Post by suefb on Apr 14, 2015 4:43:50 GMT -5
It's too bad we can't hear Hugh's voice (or at least I couldn't distinguish it listening on my phone, would have to listen again). But he was certainly into it!
I was actually not familiar with the name Scott Grimes, but I recognized him here from his stint as a character on ER! I'm constantly amazed how multitalented so many are in the show business.
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Post by jo on Apr 17, 2015 21:34:31 GMT -5
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Post by jo on Apr 17, 2015 21:44:53 GMT -5
Nobody else ( not Boe or Karimloo or Owen Jones ...or even original Valjean Wilkinson) could have given a true film actor's perspective on the issue than someone like Hugh Jackman! I think that was why Tom Hooper said he could not have made the film without Hugh Jackman because Hugh had the mindset and the talent to make the singing completely sound like natural spoken dialog ( which audiences are more comfortable with)!
Too bad that certain musical theatre actors and musical theatre fans did not completely think through why the singing in the film adaptation of Les Miserables was simply complementary to the acting choices! The emotions cannot be delivered purely with soaring notes! On screen, one must be mindful that movie audiences are looking at masterful storytelling and characterization for this movie musical, with dialogs sung but with a natural feel to it.
Look at Who Am I -- Valjean was confronted with a moral dilemma and had to verbalize the thoughts going through his mind. It sounded so much more natural for Hugh's Valjean to express his conflict in a way that was more natural compared to the straight singing onstage.
The same is true for One Day More -- onstage it was a group marching in formation as they sing of the impending confrontation. In the film adaptation -- there was more care in establishing how each character was coming from a different perspective as he/she approaches the coming together of the individual viewpoints and social circumstances. It was very beautifully done on film -- the essence of the Hugo novel where the many social classes come together for the final uprising. There was true individuality - something lost in the more traditional live stagings - and then a collective assembly of the disparate backgrounds and motives.
Probably the most natural of the many songs was Suddenly -- simply an expression of the paternal love that Valjean had discovered as he watched over his new ward. He was practically speaking of his paternal feelings -- even if musical notes highlighted the expression of the new -found affection ! Soaring notes would have been jarring for this poignant scene!
But in a different context ( such as the declaration of love of a man for a woman) -- "Suddenly" can be sung with all the soaring notes and all the drama of a love being expressed romantically by a man who has just found his woman. I have heard a cover of Suddenly from Michael Ball who gives it the full romantic treatment, sung in a concert!
Jo
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Post by jo on Apr 25, 2015 9:50:37 GMT -5
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Post by jo on Apr 25, 2015 10:09:24 GMT -5
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Post by jo on Apr 25, 2015 22:31:13 GMT -5
 Where's Annie Jo |
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Post by jo on Apr 27, 2015 3:24:22 GMT -5
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Post by mamaleh on Apr 27, 2015 11:24:34 GMT -5
Barks made a return trip to yesterday's matinee of HAMILTON.
I've been a big fan of that whimsical movie AMELIE since it was released. I can think of lots of moments just right for musicalization. Hope it does well.
Ellen
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Post by foxie on Apr 27, 2015 13:15:09 GMT -5
Ditto
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Post by jo on Apr 27, 2015 16:36:32 GMT -5
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Post by mamaleh on May 2, 2015 7:37:59 GMT -5
I ponder from time to time what would have been the Oscar outcome if Hugh had been allowed to use his lower register in LES MIZ. Probably the same--but if Colm Wilkinson had not sung the role as a tenor--sometimes ridiculously high--would Valjean always have to be sung like that? It seems not. Recently I came across a video of James Barbour (currently the Phantom on B'way) in the role, and he's primarily a bass-baritone. Yes, there's some "park and bark" stagey-ness in it, but I can't help but wish Hugh had been allowed to use his OKLAHOMA! voice. (I've stated before that Barbour has the best voice on Broadway; I still think so.) www.youtube.com/watch?v=cZ67Z_VHwdAEllen |
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Post by jo on May 2, 2015 9:06:56 GMT -5
The first Jean Valjean in the Paris production of Les Miserables was written for and performed by a baritone. The transposing to the tenor range came when Colm Wilkinson was hired for the English adaptation of the musical. Bring Him Home was written only at the time of the English adaptation and that reinforced the practice of having the role sung by a tenor. Both London and Broadway productions were originated by Colm Wilkinson. However, the Paris production did not contain all the songs and the recitatives that were used in the English production. The Paris production was presented like musical tableaux. When Hugh was singing baritone, his vocal range was reported to be quite limited. Many of the Les Miserables recitatives were mostly written for tenors. I think his expansion of his vocal range did not come only when he started filming Les Miserables. It happened earlier than that when he was discovered to be a high baritone ( which allowed him to reach the tenor range). Boublil and Schonberg and the musical director for the film ( Mackintosh own musical director) must have all agreed with the range that Hugh used for the part in Les Miserables. I think the reason why people are disappointed is because Tom Hooper and this cast agreed that in live singing situations, some songs were partly spoken for acting emphasis. They did not come out as the original stage productions and that did not sit well with many oldtime fans of the musical... Bring Him Home, as originally written, was almost like a prayer and became very famous because of its falsetto and very quiet delivery with some religious overtones. Hugh opted to sing it in a very different manner -- he was performing as a very conflicted man, going through the dilemma of whether he should accept Marius or not (and protect him if he could) so the belting version he delivered to show his angst and firm resolution of his dilemma was right for the film adaptation interpretation. He was primarily acting it out and the singing was the complementary choice! But in many cases (apart from Bring Him Home) his tenorish notes were very welcome, especially for the recitatives. I thought his vocal interpretation of the role of Valjean was very appropriate. I am aware that Hugh's vocal quality is not always the beautiful sound associated with other singers with genetic assets for beautiful singing. His voice is sometimes reedy and sometimes does not produce the most beautiful sound. I do remember that when I first received the orginal cast recording of TBFO, I was disappointed when the nasality in his voice came out ( and it still sometimes comes out, too, when he talks or acts in movies). But when I saw the staging of TBFO again, after the OBCR came out -- his overall performance was just wonderful! It felt fine to look at the overall package! Just sharing some thoughts Jo |
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Post by mamaleh on May 2, 2015 9:19:29 GMT -5
Don't get me wrong. I still think Hugh deserved the Oscar. But I do remember sone critics finding fault with his "Bring Him Home." Maybe those naysayers influenced Oscar voters. All Monday-morning quarterback speculation, of course.
Ellen
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Post by jo on May 2, 2015 9:28:39 GMT -5
Sorry, but I find the James Barbour version totally monotonous! He was simply singing one note after another, showing off the power of his lungs, but no heart and soul to his portrayal. It probably thrilled the theatre fans but it would have been boring for the film adaptation, whose main vision is masterful storytelling! Hugh's Soliloquy was perfect acting, complemented by his singing. I do remember that one of the IMDB posters who shared many thoughts on the filming and the release of Les Miserables posted that Valjean's Soliloquy was " Hugh Jackman's Oscar moment!". And this guy had great credentials for making that statement. He was on the Nominating Committee of the Screen Actors Guild. The Oscar nomination was mainly the results of the actors branch in the Ampas voting. Unfortunately Oscar final voting for the award was not just the actors voting but also included all other branches in the AMPAS.
I think the Oscar that was given to DDLewis (no offense meant) was pre-ordained! He was portraying a part of the life of arguably the most beloved American president. His campaign manager was Steven Spielberg ( Time cover, White House screening - Ahem!). The AMPAS is dominated by a demos of white male voters, aged over 60. Also, the thought of a three-time awardee record must have been very tempting for people who were history-conscious.
At least the Golden Globes media had done right by Hugh Jackman!
JO
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