Showing posts with label Broadway. Show all posts
Showing posts with label Broadway. Show all posts

Tuesday, December 29, 2015

*On The Question Of Cats- Really

Click on the headline to link to a "YouTube" film clip of a performance of "Memory" from the musical, "Cats".
Click on link below for a discussion of T.S. Eliot on the NPR show On Point  

http://onpoint.wbur.org/2015/12/15/ts-eliot-modern-poetry-waste-land

CD Review

Selections From “Cats”, “Cats” cast, The Really Useful Group Records, 1989


Okay, put a life long love of cats (real), with a literary love of cats (poetic, via T.S. Eliot), with a “Cat”-full of cats (on stage) and you throw in some now classic songs about our feline friends and that tells everything you need to know about this CD. Oh, except that for the life long cat-lovers out there you will know by each kind of cat mentioned in this compilation that it is probably not far removed from some cat that you nursed back to health, tripped over, got mad at, fed (in the middle of the night), groomed (at best you could) and got misty-eyed over the memory of when you heard that “Memory” song that kind of puts the whole production together. That says it all.

Rum Tum Tugger is one of the many feline characters in the poetry book Old Possum's Book of Practical Cats by T. S. Eliot and in the musical Cats. Cats was based on Eliot's book, published in 1939.

T.S Eliot draws attention to the similarities between feline and human personality traits in his book Old Possum's Book of Practical Cats. The Rum Tum Tugger is portrayed as the rebel cat who can't help but be difficult. He is never satisfied with what you give him;

The Rum Tum Tugger is a Curious Cat:

If you offer him pheasant he would rather have grouse.
If you put him in a house he would much prefer a flat,
If you put him in a flat then he'd rather have a house.
If you set him on a mouse then he only wants a rat,
If you set him on a rat then he'd rather chase a mouse.
He is notoriously hard to please and he sets himself apart from others by wanting to be different. He always does the opposite of what is expected of him and by the end of poem you are left with the idea that the Rum Tum Tugger is deviously self-centered and relishes in being so. The three words that are used to describe his character given to each performer who plays the role are, 'Perverse, Preening, and Independant'

In the musical The Rum Tum Tugger is a black tom cat with leopard spots on his chest, and a wild mane. In some Japanese productions, he is white. He is considered the ladies cat, and the rebel of the group. He loves the limelight, while at the same time he enjoys being seen as an individual by separating himself a little from the pack. He may be self-obsessed, but he has great respect for those who deserve it, such as Mr. Mistoffelees. The younger female kittens (Victoria, Etcetera, Electra and Jemima), and even some of the male kittens are in awe of him as well as some of the older queens, especially Bombalurina. He flirts openly with almost every female cat in the filmed version. Demeter seems to dislike him very deeply. This is shown in the filmed version. During The Awefull Battle Of The Pekes And The Pollicles, he plays the bagpipes.

Paul Nicholas played the role on the West End and Terrence Mann originated the role in the Broadway version. Rum Tum Tugger is played by John Partridge in the filmed version. In the 25th Anniversary tour of CATS, the role of Rum Tum Tugger was performed by Gary Watson. Right now in the Worldwide tour he is played by Adam Steiner. In most productions he sings 'The Rum Tum Tugger', 'Magical Mr Mistoffelees', and, along with Munkustrap he sings 'Old Deuteronomy'. In "Jellicle songs for Jellicle Cats, he sings "Can you say of your bite, that it's worse than your bark?" Also, in this scene, he doesn't have his mane, he has a different wig and doesn't have his belt on yet- they don't want him to stand out too much just yet. His first appearance with his mane and proper Rum Tum Tugger wig and accessories is in his own song (which he enjoys greatly - he gets to destroy the Gumbie Cat's fun.)

Andrew Lloyd Webber has stated that the part of the Tugger is intended to be an homage to Mick Jagger of the Rolling Stones. This homage is apparent in the way he moves on stage in the original Gillian Lynne choreography and the costume styling. His type of cat was said to be Maine Coon, because of his wild mane and being portrayed as being much bigger than the other cats. According to his song, he apparently would do pretty much anything to annoy his owners. He does not appear in many of the scenes, but when he does he usually has a solo. He and Munkustrap sing the solos to "Old Deuteronomy"

Retrieved from "http://en.wikipedia.org/wiki/Rum_Tum_Tugger"

Wednesday, May 28, 2008

The Real Smell Of Success

DVD REVIEW

The Sweet Smell of Success, Burt Lancaster, Tony Curtis, 1957


Apparently screenwriters when characterizing Broadway theater critics refuse to touch them with anything less than a cattle prod. At least that has been my recent film review experience after watching All About Eve and its totally cynical critic Addison played superbly by George Saunders. Here we are confronted with the weasel Broadway critic and man about town J.J played by Burt Lancaster ably assisted by press flak Sydney Falco played to a grovelling tee by Tony Curtis.

The story line is a little thin, mainly concerning J.J.'s overweening concern that his very much younger sister does not wind up with some ne'er do well. The tricks, manipulations, and down right skulduggery hatched up by this pair seem all too real to a modern audience who know that fame is fleeting and one better grab it by the neck, fast. More than a few bargains with the devil have been made for that elusive commodity. The tricks played in this film set in 1950's Broadway, however, seem almost like kids stuff compared to the vicious action today. That, my friends, was something of a `golden age' of gentile skulduggery by comparison.

A note on Tony Curtis who on the face of it seems to have been billed as something of a `pretty' boy in his early career. But then you think about the excellent performance here and in Spartacus and in Some Like It Hot and one, including this reviewer, is compelled to start changing one's opinion of the depth of Mr. Curtis's talent.