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Post by mrbarnaby on Aug 9, 2020 16:55:59 GMT
He should just be honest and do a musical called ‘Recycle’ or ‘Pillage’ for full transparency. We could have all 15 versions of Love Never Dies/Our Kind of Love
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Post by danb on Aug 9, 2020 17:42:45 GMT
I think ‘Pillage’ needs an exclamation mark. How exciting would that make it?
‘PILLAGE!’
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Post by oxfordsimon on Aug 9, 2020 18:15:29 GMT
In his defence he is a lot more prolific so has a much larger body of work, whereas B&S have only written like, 5 full length musicals so their opportunities to nick from Puccinni (sp?) have been much less. I’m sure there’s a pie chart or a histogram somewhere that could be used in a court of law...that, and it’s out of copyright so it’s fair game. 😬 B&S have basically exploited the broken chord as far as they possibly can now. It is one of the most evident parts of their scores when you see them written out |
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Post by richey on Sept 13, 2020 10:40:20 GMT
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Post by HereForTheatre on Sept 13, 2020 10:46:11 GMT
That's actually really beautiful, you can imagine that break with the full orchestrations. The two songs I've heard so far from this show I've enjoyed.
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Post by Deleted on Sept 13, 2020 10:49:52 GMT
Big ALW fan here. However, I don’t like that. Clunky lyrics (who’s the lyricist?) and familiar melody. |
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Post by danb on Sept 13, 2020 11:19:03 GMT
That's actually really beautiful, you can imagine that break with the full orchestrations. The two songs I've heard so far from this show I've enjoyed. Exactly what I thought. |
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Post by johartuk on Sept 13, 2020 11:25:31 GMT
I like it - pretty (and catchy) melody, which is probably going to be stuck in my head all day. It does sound like it should be in LND, with Christine singing it at Coney Island!
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3,426 posts
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Post by ceebee on Sept 13, 2020 11:47:11 GMT
Best thing about that is the news that the chandelier will rise again. Cinder-meh-la. It's a nice tune as most ALW tunes are but something bugs me about CHF.
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Post by theatre241 on Sept 13, 2020 11:48:43 GMT
It really sounds like something but I cant put my finger on it, I bet the orchestrations will be beautiful.
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Post by oxfordsimon on Sept 13, 2020 11:56:50 GMT
It is a bit of a wet sentiment lyrically. I thought this was supposed to be a spunky, modern Cinders - this feels very passive and weak.
Melody is ok - but CHF isn't setting my world alight with her talent. The top of her voice is a bit thin
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1,481 posts
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Post by steve10086 on Sept 13, 2020 12:20:07 GMT
The song definitely outstays it’s welcome. It goes on and on, and yet also goes absolutely nowhere.
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1,210 posts
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Post by musicalmarge on Sept 13, 2020 17:01:22 GMT
This is a very interesting new song.
Carrie isn’t acting through song and the lyrics say nothing.
The song itself is a melodic mash up of Tell Me On a Sunday meets Whistle meets Sunset with no excitement, key change, bridge or any crescendo.
It sounds very bland, YET catchy, romantic Lloyd Webber meets stolen from something else yet we can’t remember.
So much for the subversive funky new score and cutting edge style!
4/10 from me.
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Post by Seriously on Sept 13, 2020 18:23:43 GMT
Puts me in mind of "Next time you fall in love" from Starlight Express.
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Post by crabtree on Sept 13, 2020 19:22:39 GMT
I was more concerned about the plastic cup perched perilously above the keyboard.
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Post by ThereWillBeSun on Sept 13, 2020 20:02:19 GMT
The melody is gorgeous and it’s refreshing to not hear something belted ALL the time in your face. Lyrics aren’t the best - who knows what will happen?! I prefer this one than the ‘BAD CINDERELLA,’ one. Just jarring and a blatant rip off from R&H. The fact ALW keeps referring it to ‘MY Cinderella.’ Can’t help but think of ‘...MY ANGEL OF MU-SICCC.’ 🤣 |
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Post by chernjam on Sept 13, 2020 20:13:08 GMT
What a beautiful tune...Not knowing the story or context - and trying to imagine with the orchestrations, it really is a treat to get a glimpse of ALW's works in these early stages. And the thing that stood out for me about the lyrics was that they weren't predictable... they seemed clever, particularly when you remember (normally) ALW writes the music first - so the writer has to write something poetic that is appropriate and fits the melody.
Can't wait to hear it in its complete form a- and eventually to see it.
Considering what a mess NYC has become, I'm imagining my first trip to London might be on the top of my list when the Theater's re open to catch Phantom at Her Majesty's and Cinderella.
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1,210 posts
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Post by musicalmarge on Sept 13, 2020 20:41:15 GMT
I WANT A KEY CHANGE AND A BELTING SECTION!!!
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834 posts
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Post by stuartmcd on Sept 13, 2020 22:06:53 GMT
I WANT A KEY CHANGE AND A BELTING SECTION!!! I’m sure there will be plenty of that in the show. |
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Post by djp on Sept 13, 2020 23:16:28 GMT
This is a very interesting new song. Carrie isn’t acting through song and the lyrics say nothing. The song itself is a melodic mash up of Tell Me On a Sunday meets Whistle meets Sunset with no excitement, key change, bridge or any crescendo. It sounds very bland, catchy, romantic riff off Lloyd Webber meets stolen from something else yet we can’t remember. So much for the subversive funky new score and cutting edge style! 4/10 from me. Far too long might be more apt a title . It has potential but it needs something more as well as a red pen. i kept on imagining it being sung by a higher ranged light soprano, or someone who could act the lyrics more movingly , or someone who would make a more interesting character - perhaps with a bit of waif about them. - a Katie, Lucie, Siobhan and Niamh came to mind. Age might be a factor but there's lots of singers who can sing and act down a decade or more.
#
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396 posts
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Post by djp on Sept 13, 2020 23:20:20 GMT
I was more concerned about the plastic cup perched perilously above the keyboard. Its moved in from Game of Thrones ...season 8- which isn't a good precedent... |
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Post by chernjam on Sept 14, 2020 2:45:09 GMT
Not to bash all the critics, but - take the whole thing in. I doubt this is considered a "big" hit number for the show. It's a reflective ballad that I'm sure in some reprise will have it's full evolution.
ALW is filming this somewhat somber piece in the middle of the home to his single greatest achievement that has been decimated by the pandemic with little clue from officials on getting things back together. Especially days after his lengthy video talking about the state of things - I think it was a way of expressing how he's feeling about the situation as well as giving a glimpse on his latest work.
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Post by Scswp on Sept 14, 2020 7:57:42 GMT
I tend to agree with comments already made that, lyrically, the song is very repetitive and ‘goes nowhere’. I also think the same applies to the music. There seems to be no ‘progress’ or ‘build’, so the song and vocal performance appear quite ‘flatline’ if that makes sense. I think it definitely needs to be made far less one-dimensional.
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Post by musicalmarge on Sept 14, 2020 8:54:36 GMT
I tend to agree with comments already made that, lyrically, the song is very repetitive and ‘goes nowhere’. I also think the same applies to the music. There seems to be no ‘progress’ or ‘build’, so the song and vocal performance appear quite ‘flatline’ if that makes sense. I think it definitely needs to be made far less one-dimensional. A key change / simple modulation would help that. Also without being rude to Carrie - she is a super talent but she’s not acting this song at all. Just singing it. No emotional gear change, thought process, subtext - just all easy surface singing. That’s why it’s boring and bland alongside the repetitive same music. |
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Post by karloscar on Sept 14, 2020 9:11:26 GMT
That "clean the slate" line is incredibly clunky, and worse they repeat it. The story of the song goes absolutely nowhere, she's no further forward by the end of it, so what's the point of it? I thought this Cinderella was spunky and modern, not mooning over Prince Charming like she's Christine from Phantom. It's certainly no On the Steps of the Palace.
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