Parts of A Show That I Never Got- Page 7
Parts of A Show That I Never Got
#150re: Parts of A Show That I Never Got
Posted: 9/24/15 at 9:33am
(previously answered)
Updated On: 9/24/15 at 09:33 AM
Rumpelstiltskin
Broadway Star Joined: 4/22/07
#151re: Parts of A Show That I Never Got
Posted: 10/8/15 at 11:55amAt the end of the song "Auditions" in Bare the Musical, Peter talks to his mom on the phone. They talk about who was cast in the school play and some other things. At the end Peter tells his mom that he loves her to which she responds "And I love you Peter" followed with an energetic "Excelsior!" Is that a reference to the play (Romeo and Juliet) or something else altogether? TIA
#152re: Parts of A Show That I Never Got
Posted: 10/8/15 at 9:34pm
In Next To Normal, Diana tells Dr. Madden that she's not some sex-starved soccer mom. Dr. Madden replies that, interestingly, the underlying issues are similar. This always gets a nice laugh, but I don't really get it.
[I apologize if this question's been asked on this thread. I doubt it, but then again I haven't read the whole thing.]
#153re: Parts of A Show That I Never Got
Posted: 10/8/15 at 9:45pm
@Rumpelstiltskin Bare is basically Romeo in Juliet with two gay guys in a catholic school who are also doing the play Romeo and Juliet. Most likely it was a reference. The whole 2013 LA Revival is posted on youtube in two parts (posted by the actual company). If you have the 2007 Studio Cast Recording, listening to it is exactly what you hear on stage. It's one of my favorite musicals.
#154re: Parts of A Show That I Never Got
Posted: 10/9/15 at 1:19am
Okay so these are both from West Side Story that I honestly don't understand.
First, as much as I adore the song "A Boy Like That" I do not understand the part when Anita sings to Maria:
"And when he's done
He'll leave you lonely
He'll murder your love
He murdered mine"
Anita is singing to Maria that "He'll murder your love." Maria's love is Tony. So does that mean that he's most likely going to kill himself??
Also, there's the part about when they came to the US and that they came with their hearts open, with their minds open, etc. Then the character I played in high school, Pepe, says to Consuelo, "you came with your mouth open." She takes offense and slaps him. Is it like a sexual thing? I don't understand.
#155re: Parts of A Show That I Never Got
Posted: 10/9/15 at 1:25am
1. I think "murder your love" in this sense is playing with two meanings. Anita is saying Tony's actions will ruin their relationship/break her heart/ metaphorically "murder" their love like he literally murdered hers.
2. Yes, "you came with your mouth open" is a sexual reference.
"...and in a bed."
Updated On: 10/9/15 at 01:25 AM
dramamama611
Broadway Legend Joined: 12/4/07
#156re: Parts of A Show That I Never Got
Posted: 10/9/15 at 5:56am
Re: West Side Story
That would have been incredibly risque for the time it was written, and I've never seen it performed that way. The scene is full of teasing....I never thought it ever meant anything other that she is always talking as in "shut your mouth."
Re: Bare
Yes, it's mum trying to be relevant to Peter's news/life and keep the conversation going....then contrast that to the second phone call when Peter calls to come out to her, mum can't get off the phone fast enough.
Re: N2N
The fact that soccer moms and someone suffering with Bipolar disorder are mentally only a stone's throw away from each other is a strange consideration.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
Fan123
Broadway Star Joined: 8/30/08
#157re: Parts of A Show That I Never Got
Posted: 10/9/15 at 7:26am
FWIW, my copy of the West Side Story libretto has the line as "You came with your pants open", so I imagine they cleaned it up (barely) for the film and high school versions.
Auggie27
Broadway Legend Joined: 10/13/03
#158re: Parts of A Show That I Never Got
Posted: 10/9/15 at 9:20am
To this day I do not understand how Albin can sing "I Am What I Am" at the end of act one of LA CAGE and then behave as he does at the top of act two. I also wonder what happens when Mrs. Johnson enters and finds her daughter about to have sex at the end of act one of PIAZZA. In both cases, the leap in time and emotional pick-up do not match or track where we left off. It's more of a continuity issue than a "what happens," but in both cases they annoy me. I forgive PIAZZA more because of the trajectory of act two (and in my opinion, it's a wonderful show anyway). Still, it's a cheat.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
MarkBearSF
Broadway Legend Joined: 1/25/11
Terhune
Swing Joined: 3/12/15
#160oops
Posted: 10/9/15 at 10:42am
At the beginning of the bench scene of Carousel, Billy says that Julie would never marry a guy like him and she replies "Yes, I would! If I loved you... It wouldn't make no difference what you'd- Even if I died for it." If she died for what? I know it's a line from the play Molnar wrote, but it still doesn't make sense to me.
#162oops
Posted: 10/9/15 at 11:45am
I recently saw a solid local production of A New Brain not really knowing the show well. Eating Myself Alive confused the Hell out of everyone I saw it with. It may have been the staging but. I mean I know it's meant to be a crazy dream sequence but is there something I am missing?
#163oops
Posted: 10/9/15 at 11:53am
GavestonPS said: "Sheila2 said: "In Company. I never get the part where Peter says (sings) "The kind of girl you can't send through the mails".
In the number Have I Got a Girl for You. What does "send through the mails" mean?"
I don't know if this got answered, but I don't think the line has anything to do with mail-order brides. (Seriously, kids, it was the ORDER that was sent parcel post, not the woman!)
Up through the 1960s, at least, there were especially severe federal obscenity laws and mailing porn carried harsher penalties than merely selling dirty mags in the back room. Images and text that "couldn't be sent through the mails" was far sexier than images and text that could be ordered by post.
I don't know what the law is now, but as late as the 1980s, the Canadian post office was confiscating nude pictures that had a gay context and magazines that were also sold in Canada tended to have censored content.
"
Not quite true. stuff coming over the boarder through customs had such issues but it has been written that within the country gay erotica and pornography was often allowed to be much more graphic than the us or uk even if sent thru the mails
Rumpelstiltskin
Broadway Star Joined: 4/22/07
#164I've never understood the part where . . .
Posted: 10/9/15 at 12:46pm
dramamama611 said: " Re: Bare Yes, it's mum trying to be relevant to Peter's news/life and keep the conversation going....then contrast that to the second phone call when Peter calls to come out to her, mum can't get off the phone fast enough."
Thanks dmama. I do appreciate the character arc, although I wish there were a final chapter toward the end of the show. The relationship of Peter and his mom is an important dynamic that is forgotten as the story progresses. However, I'm still focused on the exclamation "Excelsior!" Was it simply some nonsensical non-sequitur to (as you described) continue the conversation, or does it have some hidden meaning?
JoseLee - Thanks for your comments. I also have a place in my heart for Bare, although like many people I'm frustrated with various plot issues like the one I described above with Peter's mom. Also, the show is an unpleasant reminder of a period in my history where representations of gay people in theater and (especially) movies usually ended in tragedy of some sort. Eventually we got tired of having to die to balance the fact that our existence was acknowledged. Regardless, you have described the recent struggles in your life, primarily with your dad. If Bare and characters like Peter who come to accept themselves in positive ways have helped you, then I think that's a wonderful thing. I'm willing to overlook its faults.
#165I've never understood the part where . . .
Posted: 10/9/15 at 7:56pm
EricMontreal22 said: "...
I don't know what the law is now, but as late as the 1980s, the Canadian post office was confiscating nude pictures that had a gay context and magazines that were also sold in Canada tended to have censored content.
"
Not quite true. stuff coming over the boarder through customs had such issues but it has been written that within the country gay erotica and pornography was often allowed to be much more graphic than the us or uk even if sent thru the mails
"
Eric, I believe that's what I said, only I'm writing from an American view while you, quite naturally, are writing from the Canadian perspective. My point was that American porn--in magazines that were mailed to subscribers in Canada--either omitted photos of penetration (IIRC) or covered the penetration with black boxes. As in Canada, however, material that was sold only for domestic customers had no such restrictions.
But if I wasn't clear, I appreciate the clarification.
Kwong3
Swing Joined: 10/9/15
#166I've never understood the part where . . .
Posted: 10/9/15 at 8:12pm
N2N bipolar tend to full in love easily and have relationships
mailhandler777
Broadway Legend Joined: 8/15/15
#167I've never understood the part where . . .
Posted: 10/11/15 at 7:34pm
The ending of Kinky Boots when Nicola reappears. Earlier in the show she left Charlie and moved to London. Why does she all of a sudden appear at the end(in her own kinky boots) when they are in Milan of all places?
Hi, I'm Val. Formerly DefyGravity777(I believe)
jwsel
Featured Actor Joined: 8/2/05
#168I've never understood the part where . . .
Posted: 10/11/15 at 8:45pm
mailhandler777 said: "The ending of Kinky Boots when Nicola reappears. Earlier in the show she left Charlie and moved to London. Why does she all of a sudden appear at the end(in her own kinky boots) when they are in Milan of all places?
"
The whole ending of Kinky Boots is a mess. It's not just Nicola suddenly joining in, which I agree makes no sense. It's also ridiculous that the workers suddenly show up in Milan. Everyone was supposed to be barely getting by. The workers just sacrificed a week's pay to finish the shoes for Milan. So where did the money come from for the workers to hop on a plane to Milan. It would have been much better if the finale had been staged so that Charlie, Lola, and the Angels return triumphantly from Milan during Raise You Up.
Nicola's participation in the Kinky Boots finale is similar to Amber and Velma joining in You Can't Stop the Beat at the end of Hairspray. Yes, it's fun that the entire cast is involved in the finale, but it's unnecessary and lazy to have the "bad guy" suddenly see the light.
#169I've never understood the part where . . .
Posted: 10/11/15 at 9:35pm
"The ending of Kinky Boots when Nicola reappears. Earlier in the show she left Charlie and moved to London. "
Well, actually, Charlie leaves Nicola, not the other way around. At the beginning of the show, they move to London together and buy and apartment there, both saying that they are excited to start this new phase of their life. Charlie then goes back to deal with the factory in the wake of his father's death, but then never returns to London, leaving Nicola there in the apartment that they bought together. She tries to come back and get him, offering him what he had always told her he wanted - a way to get out of his father's factory business. But by then, he has changed his mind and decided that he wants to stay in the hometown and work in the factory after all. Nicola has not done anything "bad" to Charlie. If anything, he has led her to believe that they have similar goals and wishes, and perhaps they initially did, but then his goals and wishes change, and they are no longer compatible. Neither of them is a 'bad guy' in the relationship. It is not comparable to Velma and Amber joining in at the end of Hairspray, having always been cruel to the protagonist and trying to thwart her at every step. Nicola tried to help Charlie get what he told her he wanted, but by then he didn't want it any more (the life in London).
#170I've never understood the part where . . .
Posted: 10/11/15 at 9:37pm
In re Auggie27's post above about the Act I finale of LA CAGE, I not only agree, but would add DREAMGIRLS to his list.
By the time Effie finishes "And I am Telling You I'm Not Going" (emphasis added), we KNOW she isn't going. Yet by the time the curtain rises again, she's gone (at least until the end of Act 2). I know the song is iconic and anthemic, but it's really the wrong lyric at that point in the show.
mailhandler777
Broadway Legend Joined: 8/15/15
#171I've never understood the part where . . .
Posted: 10/12/15 at 11:08am
@adam.peterson44
Actually Nicola moves to London permanently after she comes back so she is in fact the one that leaves Charlie in the end. But thanks for trying to explain it to me. lol
Hi, I'm Val. Formerly DefyGravity777(I believe)
#172I've never understood the part where . . .
Posted: 10/12/15 at 1:24pm
She doesn't move to London after she comes back to visit Charlie in his hometown - she *still* lives there, having never moved away after moving in there with Charlie. Charlie, on the other hand, has moved away from their joint home in London and never went back.
Updated On: 10/12/15 at 01:24 PM
theminutepast
Broadway Star Joined: 2/1/06
#173I've never understood the part where . . .
Posted: 10/18/15 at 5:59pm
I've never understood what the feeling is supposed to be at the end of "Nothing" from Chorus Line when Morales sings that she cried after Karp's death yet felt nothing. Is this the ultimate payback - that she feels nothing for a man who called her nothing? Or is she honestly sad about feeling nothing about his death? But then, why does she cry unless she's making a point about how good an actress she is now?
Updated On: 10/18/15 at 05:59 PM
TheGingerBreadMan
Broadway Legend Joined: 12/7/12
#174I've never understood the part where . . .
Posted: 10/18/15 at 6:08pm
Auggie27 said: "To this day I do not understand how Albin can sing "I Am What I Am" at the end of act one of LA CAGE and then behave as he does at the top of act two."
I'm not sure what you mean by this. I recently worked a production of this show, and it seemed fairly straightforward. Albin is clearly upset that he is not invited to dinner with the Dindons and Jean-Michel's birth mother, so out of anger/spite/humiliation/whatever he and Jacob leave the house for the night. Georges then romances him into not being upset anymore.
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