Does LuPone's Tony performance of Anything Goes count?
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
I haven't SEEN any, but I've listened to a bunch of cast albums in different languages:
1) My Fair Lady -- German 2) My Fair Lady -- Hebrew 3) POTO -- German 4) POTO -- Dutch 5) POTO -- Korean 6) POTO -- Spanish 7) POTO (2004 Soundtrack) -- Italian
AND a whole bunch of them in "British English" instead of "American English."
I do not advise seeing a live show in another language unless you already know the book and score -- I'm sure it's much more frustrating than seeing a foreign language opera, because the story itself is not as important in opera.
One thing I found interesting about listening to POTO in Spanish (a language with which I am somewhat familiar): I was able to tell in a few instances where the translation was not literal, in order to fit the rhyme or meter. "Music of the Night" becomes "Music of the Darkness" (Oscuridad), which slightly changes the meaning.
Audrey, the Phantom Phanatic, who nonetheless would rather be Jean Valjean, who knew how to make lemonade out of lemons.
"One thing I found interesting about listening to POTO in Spanish (a language with which I am somewhat familiar): I was able to tell in a few instances where the translation was not literal, in order to fit the rhyme or meter. 'Music of the Night' becomes 'Music of the Darkness' (Oscuridad), which slightly changes the meaning."
Interesting you say that, because the 1989 Vienna production did the exact same thing (Musik der Dunkelheit).
"Was uns befreit, das muss stärker sein als wir es sind." -Tanz der Vampire
Bronx Bombers in Fanagalo Soul Doctor in Esperanto Bonnie and Clyde done by Navajo Code Talkers And Holler If Ya Hear Me done entirely in mime (does that count as a language?)
I'm really beginning to think this is all an experiment and Fantod is doing a 10th grade Social Studies paper on how obscure he can make these questions before people just stop responding altogether.
Having seen the show on Broadway and the West End, I wanted to see the show in its original language, and went to see LES MISERABLES in Paris in 1992, at the Mogador Theatre. It was not the original musical created by Boublil and Schonberg in 1980( which was performed at Palais des Sports) but a re-translation back to French of the Mackintosh production.
Jo, I read that, while the Boublil-Schoenberg French version of Les Miz did well in France, the French were not too enamored of the version you saw (a re-translation into French of the English-language version). Apparently, French people did not believe that it was true to French culture.
Audrey
Audrey, the Phantom Phanatic, who nonetheless would rather be Jean Valjean, who knew how to make lemonade out of lemons.
FishermanBob, I was just curious. This question isn't really all that obscure, and you never know what kind of answers people might give. Your uncalled for rudeness, however, is ridiculous and unbecoming.
No ruder than someone like you who lacks the maturity to simply say you didn't care for something and has to call things ugly, horrendous etc. You've got a lot of growing up to do, kid.
I've seen Next to Normal and The Producers in Portuguese, but I speak that language.
And I've listened to a La Cage cast recording in Spanish (the Mexican one, I think), a language I don't understand. Not really my cup of tea (listening to musicals in languages I can't speak), but it was a nice experience.
So you want me, when I think something is ugly or horrendous, to say "oh, my opinions don't matter because I'm so young and if you disagree with me, you're probably right, but I just had a differing opinion from somebody else, but I'm probably wrong about my opinion because I'm immature and stupid". Ok. Got it. I didn't realize that this was a place where only some peoples' opinions had value, and that I wasn't allowed to personally find something ugly or horrendous.
The original French production was commercially successful, having been seen by almost half a million over a short run of over a few months time. The staging was different, though, because it was more like a series of tableaux. The Mackintosh production was not all that different in terms of the musical score - except for some changes in the songs and who sang the songs (such as On My Own was originally L'Air de la Misere and sang by Fantine), new songs ( such as Bring Him Home was originated by Colm Wilkinson and Empty Chairs which was originated by Michael Ball in the London production), more emphasis on Gavroche ( whose songs were eventually truncated in the British version, etc.
But many of the melodies were essentially the same ( except for the new songs and some editing of some of the songs) and Boublil and Schonberg were joined by Herbert Kretzmer.
Also, Valjean was a baritone, as originally composed for the 1980 French production) instead of a tenor.
But I don't know why the Mogador production would be shunned by the French audiences. In the same way, the film adaptation was also not a major hit in France, unlike the UK where it ran massive box office numbers.
Fortunately, they re-released the original concept album based on the original Paris production some ten years later in 1990/1991. There is also a cast recording of the Mogador production.
Updated On: 1/5/15 at 04:24 AM
Several. "Elisabeth" in Vienna, which was of course, its original language. Also "Tanz Der Vampire" in Berlin which was such a better show than what was at the Minskoff.
I saw a fantastic "Cabaret" at Theater Des Westens in Berlin in 1993 that was done all in German except for the Cabaret songs - "Mein Herr", "Cabaret", "Money" but with the book songs all in German. (And "If You Could See Her", for some reason - I remember it as "Seht Ihr Sie Mit Meinem Augen".) "Tomorrow Belongs To Me" in German is pretty intense, and this production used the movie device of starting the song with a child singing solo.
I also saw a semi-pro "Sweet Charity" on the Reeperbahn in Hamburg where the dialogue was all in German but the songs were in English. It made for a very funny foreign ad lib from the Charity - it was a very elderly audience and they made a lot of noise and dropped a lot of things on the floor throughout the show. During the "Where Am I Going" Reprise, Charity sang the line "Looking inside me, what do I -" and at that moment somebody dropped a hard plastic glass that noisily rolled down the entire length of the auditorium, and she paused for a moment and sang "….hear?" which I thought was quite clever for someone singing in a foreign language.
Dance of the Vampires - German Nine - German Hunchback of Notre Dame - German Saturday Night Fever - Spanish Man of La Mancha - Spanish Hoy, No Me Puedo Levantar - Spanish Art - Spanish
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
It was a TERRIBLE production in Madrid (actually, a revival of a 1998 Madrid production). The music was pre-recorded. The staging was horrible using projections and bad lighting where the projections could be seen on the actors themselves. The entire minimalist concept was axed including the choreography. Instead of the horse dance, they wheeled out Quixote and Sancho on a wooden horse and mule in an attempt to mimic a statue in Madrid. There was nothing great about it at all. It was like bad community theatre, but set in one of Madrid's major theatres and billed as a professional production.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
I saw Les Mis in Prague, done in Czech, and Chicago in Copenhagen, in Danish, both in 2007. Chicago was a replica production of the revival, Les Mis was a non-replica production they've been doing on and off for years. It was the same Valjean as the one who sang during the 10th Anniversary Concert finale.