OMFG I have never seen a video of this scene so beautifully acted with voices powered from hearts on the brink of self-destruction! My favorite version so far!
Yup, Starobin got to enlarge it for this production. From NYTimes at the time: "The production, thanks in part to the arts budget of the city of Paris, is a more-is-more extravaganza, with elaborate sets, a light show, special effects and, most remarkably, a 46-member orchestra - and a new orchestration by Michael Starobin, who had done the original orchestration nearly 30 years ago, for a pit that had a mere 11 players."
@@bnorem09 I agree. I love the Cusak/Danieley version. This production was expanded with a larger orchestra by the original orchestrator with Sondheim's blessing. The actors are incredible but I think the larger orchestra soars as well. Sometimes I'm not a fan of a larger orchestra, can sound bloated and ponderous but this is pristine. These actors played in a very limited run, I wonder if they were able to pour it all out because, well, no 8 show a week grind?
@@chocolatesouljah I was lucky to see the Cusack & Danieley production my freshman year of college. Even from the $25 nosebleed seats with limited viewing, it completely changed me. Like no joke, my dog’s name is Seurat haha
@@bnorem09 That is a great anecdote. I can think of similar experiences when every blue moon there's a production that jolts me to the core. Sometimes those nosebleed seat is where it's at - you're leaning forward, they are trying to reach you in a way that so-called "good seats" sometimes can't compare. And Seurat is such a great name for a dog!
I wonder if there’s actually any productions that emphasize that Dot’s his great-grandmother. Cuz there’s always a weird romantic energy to this moment. That could also tie into when Georges’ mother appears, the three feel somewhat like disconnected figures the way it’s usually framed.
The way I look at it: George isn't falling in love with Dot so much as he's falling in love with her image in the painting. Not a romantic love, but rather a deep and personal connection to what Dot represents (inspiration). I take this scene to be almost entirely representational as George deals with his artistic crisis, but I'm sure others have wonderful interpretations that differ greatly from my own.
See, this is why I love FULL orchestrations. This sounds like it even has a larger string section than the original. When shows are revived with smaller orchestrations it doesn't mean or SOUND like they're taking an intimate- in depth examination of the text and score. It means the producers are too cheap to pay for proper reinforcement to support the work. The last Broadway revival of this might as well have been played on Kazoos.
@ugly dog there was definitely a sweet spot at some point in it's history, where the orchestra was beefed up but the synths and rock band elements were still in there.
this scene is almost straight after the scenes where she's playing her daughter (as an old lady) so the makeup is soft so make her appear older... after a quick change I'm guessing they didn't have time to adjust her makeup
Magnificent theatrical singing. Not impressed with the stage direction and choreography - more physical closeness and passionate embracing could have been employed.
They’re not meant to touch, that was very important to Sondheim. It’s a surreal meeting of 2 individuals from entirely different time frames & isn’t a love song. She’s his great grandmother & the song is about intergenerational patterns/connections, the struggles of the artist, & the need for each individual to shape their own destiny.
Still one of my favorite things on TH-cam. Thank you.
I sob like a baby every time.
OMFG I have never seen a video of this scene so beautifully acted with voices powered from hearts on the brink of self-destruction! My favorite version so far!
this is the comment of comments! so perfect\
What is this production!!!? I love it! She is transcendent!!!!
I love the Peters/Patankin version, but this is just spectacular!!!
absolutely.... I couldn't agree more. Moved to tears.
OMG the full orchestration!
Yup, Starobin got to enlarge it for this production.
From NYTimes at the time: "The production, thanks in part to the arts budget of the city of Paris, is a more-is-more extravaganza, with elaborate sets, a light show, special effects and, most remarkably, a 46-member orchestra - and a new orchestration by Michael Starobin, who had done the original orchestration nearly 30 years ago, for a pit that had a mere 11 players."
Though I will always say that the 11-piece sounds huge for what it is. Brilliant work by Starobin.
It was thrilling in the theatre!
Besides the original broadway version, this has to be the best Move On I’ve heard
Agreeed. Carmen Cusack & Jason Danieley are up there as well
@@bnorem09 I agree. I love the Cusak/Danieley version. This production was expanded with a larger orchestra by the original orchestrator with Sondheim's blessing. The actors are incredible but I think the larger orchestra soars as well. Sometimes I'm not a fan of a larger orchestra, can sound bloated and ponderous but this is pristine. These actors played in a very limited run, I wonder if they were able to pour it all out because, well, no 8 show a week grind?
@@chocolatesouljah I was lucky to see the Cusack & Danieley production my freshman year of college. Even from the $25 nosebleed seats with limited viewing, it completely changed me. Like no joke, my dog’s name is Seurat haha
@@bnorem09 That is a great anecdote. I can think of similar experiences when every blue moon there's a production that jolts me to the core. Sometimes those nosebleed seat is where it's at - you're leaning forward, they are trying to reach you in a way that so-called "good seats" sometimes can't compare. And Seurat is such a great name for a dog!
It's hard for me to agree. The intonation is sooo round and soft. I just can't *move on* from the original. Nothing else will do. Lol.
I've never heard the orchestra sound like this on this song. Amazing.
This is so beautiful. It really is! Thank you very much for sharing it.
Sublime, spectacular, play, music, composer, painter, singers, actors, art. it really doesn't get any better.
I wonder if there’s actually any productions that emphasize that Dot’s his great-grandmother. Cuz there’s always a weird romantic energy to this moment. That could also tie into when Georges’ mother appears, the three feel somewhat like disconnected figures the way it’s usually framed.
The way I look at it: George isn't falling in love with Dot so much as he's falling in love with her image in the painting. Not a romantic love, but rather a deep and personal connection to what Dot represents (inspiration). I take this scene to be almost entirely representational as George deals with his artistic crisis, but I'm sure others have wonderful interpretations that differ greatly from my own.
Reminds me of the book the giving tree. A mom's message to his son who's an artist. tear.
This production was/is a gift to humankind.
I'm not necessarily a "Julian" fan as I never seem to embrace his interpretation of Broadway pieces. But this?????? NAILED IT! :)
See, this is why I love FULL orchestrations. This sounds like it even has a larger string section than the original. When shows are revived with smaller orchestrations it doesn't mean or SOUND like they're taking an intimate- in depth examination of the text and score. It means the producers are too cheap to pay for proper reinforcement to support the work. The last Broadway revival of this might as well have been played on Kazoos.
@ugly dog there was definitely a sweet spot at some point in it's history, where the orchestra was beefed up but the synths and rock band elements were still in there.
Love this so much! What a duet! Beautiful!
WOW! You have such class. Just the perfect mix for our world. Love it & YOU! More please X
These two take my breath away. Best by far!
Sublime. How the role was meant to be played!
THE SINGING!!!! SUPERB!
Stunning
Both BRILLIANT!!! Hard to touch these two. Fierce!!!!
Sublime!!!
this is the best version i've heard
fantastico,
Brilliant
someone still have the full video mezzo offered for free download? I lost it long ago and never been able to find it again
I like how the tempo was a little slower and she dragged the vowel sounds, and she has great vocal control
It's funny I was going to post this exact same thing except it was gonna start with "I HATE HOW" haha. ... Everybody has different taste!
Hello! I was wondering if you have the full show? I'd very much like to watch it. Thank you so much! :)
Lesson #8 on ludes. Somebody give these guys some coffee!
Has she ever played Judy Garland
I wonder what Julian's putting it together is like
My favorite version of this number, even better than Patinkin and Peters.
Wow
fuck guys. this is it.
Why does she look so different than the other videos? Her face is less round and such. She is a superb actress and singer though. Just curious...
this scene is almost straight after the scenes where she's playing her daughter (as an old lady) so the makeup is soft so make her appear older... after a quick change I'm guessing they didn't have time to adjust her makeup
Holy shit. Charles Blake can sing.
2:14 😮
Magnificent theatrical singing. Not impressed with the stage direction and choreography - more physical closeness and passionate embracing could have been employed.
They’re not meant to touch, that was very important to Sondheim. It’s a surreal meeting of 2 individuals from entirely different time frames & isn’t a love song. She’s his great grandmother & the song is about intergenerational patterns/connections, the struggles of the artist, & the need for each individual to shape their own destiny.
@@hm2011100 "She’s his great grandmother " (???)