Boggets In The Greasepaint

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Newley and Bricusse also had a show that was modestly successful in London but never made Broadway called "The Good Old Bad Old Days" that I'd love to see finally make it across the pond, as the Brits say.

A friend of the family was in the chorus in the London production and he sent us a copy of the album. The show is a sort of an extended Music Hall act starring God and Satan. I would love to see that come to Broadway after all these years. James2, who do you think should play Cocky in "Greasepaint"?

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Hi, Shirley Temple Pudding. Why do you think he'd be so good? Anthony Newley was idiosyncratic but bursting with energy and capable of tremendous pathos. His singing voice was unmistakeable and not to everyone's taste.


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I guess Esparza is the only current performer who has that electric immediacy for me. He's great at playing self-centered neurotics, but Cocky is a sort of sad sack vaudeville clown who keeps getting knocked down and comes back for more.

A greasepaint glossary

I think Butz could probably manage the vocals pretty well too, which is no mean feat. Newley wrote a tough sing for himself. And after hearing his phenominal rendition of Being Alive I would kill to hear him sing Who Can I Turn to among the many other great songs in the score. I think hed be great. He has a tremendous warmth and child-like quality - I think he could get the Chaplinesque aspects of Cocky if he was called upon to do it. The rest of the cast was excellent too. What is your problem with the book? It's just the way I make my noise. I always liked that phrase of his: "I was so inside the lyric.

Eventually, he got "so inside", he disappeared. Even at the time Leslie Bricusse was more relaxed about the whole business.

WHRHS Script & Cue Presents: The Roar of the Greasepaint (Friday Performance)

They were really just entertainment vehicles for Newley, but he had these intellectual pretensions that I'd try to hold down. He always wanted to declaim from the mountain, and eventually he succeeded. It was nice, but I think I would have stopped him doing that. Roar Of The Greasepaint 's two post-nuclear survivors are archetypes - the patrician "Sir" and the lowborn "Cocky", because even the H bomb can't kill the British class system. On a morning like this I could kiss Ev'rybody I'm so full of love and good will Let me say furthermore I'd adore ev'rybody To come and dine The pleasure's mine And I will pay the bill In context, it seems tailor-made for Willoughby Goddard's rotund bonhomie, yet Lena Horne made a groovy little record of it.

It had the good fortune to emerge into the world in the heyday of variety-show television, on which it soon established a ubiquitous presence. A few years ago, when Andy Williams put together a best-of-the-guests compilation from the archives of his weekly show Bing, Ella, Bobby Darin, Sammy Davis , he shrewdly chose a performance of "Wonderful Day Like Today" as his opener — the definitive opener, one that sums up an entire television genre.

In my teenage years, I inveigled my way into a village entertainment because there was a bird in the cast I wanted to put the moves on, and it seemed the easiest way of getting to see her night after night. The am-dram directrix handed me "Wonderful Day", and, being into a lot of terrible progressive rock at the time, I was aghast at the prospect of having to sing in public what I regarded as a supersized slab of cheesy hokum. The last time I mentioned this a longtime SteynOnline reader Daniel Hollombe, a boomer-pop aficionado, reckoned this confession explained everything:.

So that's your problem.

Examples of “greasepaint”

You'll just have to take my word for it when I tell you that you're missing out on a lot of great musical craftsmanship that is easily as melodic as "On A Wonderful Day Like Today," that simply wasn't composed for any stage show or movie. Maybe he's right. As for "Wonderful Day", once I was up on stage I sorta found it irresistible — in part because you have to be a total incompetent not to stop the show with it:.

May I take this occasion to say That the whole human race should go down on its knees Show that we're grateful for mornings like these For the world's in a wonderful way! In Nottingham, the common little everyman Cocky was played by Norman Wisdom. A very British star who never quite made it in America, Wisdom usually played an idiot not-so-savant with plenty of room for slapstick. Beyond the Commonwealth, he was a huge hit in Communist Albania, where the idiosyncratic dictator Enver Hoxha allowed no other western films but Wisdom's to be shown to his people.

But Norman Wisdom had a musical side, too. My heart wants to know And so I must go Where destiny leads me With no star to guide me And no one beside me I'll go on my way And after the day The darkness will hide me Norman Wisdom liked the song enough to have Highland lassie Moira Anderson sing it at his funeral. It's easy to see Norman wallowing in the lugubrious self-pity of the thing, and kind of impressive that Tony Bennett heard something else in it.

Certainly few singers have ever been shorter of people to turn to than Bennett: Since his original take, he's recorded it with Queen Latifah and a couple of years later with Gloria Estefan and who knows who else.

A year or so back, I was in a Starbucks with my daughter and she picked up that week's Bennett all-star duets CD at the counter and mused offhandedly, "Tony Bennett's really the duet slut, isn't he? For all his music, libretti, screenplays and children's books, Bricusse seems to take most delight in in the intricate word puzzles which lyric writing involves. Lerner, in the opening number of My Fair Lady , commits the great solecism of having Professor Henry Higgins, a supposed master of the English language, sing:.

By rights they should be taken out and hung For the cold-blooded murder of the English tongue By rights you should be taken out and hanged For the cold-blooded murder of the English tanged On reflection, I think Lerner and I were wrong. If you listen to Van Morrison's recording from , it's a great bluesy wail, and the prepositional end is not merely something up with which we should put but is necessary for the vernacular authenticity of it.

The last was played by Cy Grant, born in British Guiana and the first black man to appear regularly on UK television: on the BBC news show "Tonight" he'd had a regular gig for a couple of years singing a "topical calypso" strung around stories from the day's headlines. If a British musical goes to the trouble of making one of its five characters "the Negro", it's no surprise they'd want him to have a solid song.

Nina Simone moved it into r'n'b territory, and then the rock guys wanted a piece of it.

Michael Billington: A greasepaint glossary | Stage | The Guardian

But "Feeling Good" has a musical sensibility on an entirely different level. Nobody spotted it on that English tour, alas, as Leslie Bricusse ruefully acknowledged to me many years later. I went to see Norman in Liverpool in Sinbad in a 2,seater jammed to the roof. The Temptations recorded the song on their album In a Mellow Mood. Harry Connick, Jr. Mark Vincent covered the song for his album Compass. Barbra Streisand recorded the song for her album, Encore: Movie Partners Sing Broadway as a posthumous duet with original singer and co-songwriter, Anthony Newley. This is the only existing version of the song as played by the quintet and is captured on "Miles Davis Quintet - Live at the Oriental Theatre ," released in June, From Wikipedia, the free encyclopedia.

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