March 10, 2002
For two weeks in a row, your writers have missed the perfect chance to review a great new CD. Both Don Heckman ("Versatile Vocalists Who Shouldn't Be Overlooked," Feb. 24) and Don Shirley ("Sometimes, the Good Songs Are Preserved," March 3) should have got their hands on Susan Egan's new CD. Titled "So Far . . ." and packed with show tunes, Egan's premiere solo disc is breathtaking. Notwithstanding that I have no connection to Egan, and even though the official release date was March 5, I was able to get an advance copy of the album via her Web site.
March 28, 1993
It was great to see Julie Andrews as the subject of a cover article in Calendar ("Mary Poppins Gets Gnarly," March 14). I was amused, however, that even now, Rodgers & Hammerstein is viewed as her forte, while the Darker Side of Sondheim is considered a surprising stretch in a new direction. Twenty-five years ago Julie followed up her hugely successful romp in "Thoroughly Modern Millie" with a dazzling exercise in versatility: Robert Wise's "Star!" When American Movie Classics recently unearthed "Star!
May 26, 1985
Dan Sullivan's review of "South Pacific" (May 18) is the crowning insult; an unfounded bitter attack. This production is definitely not the "low-budget, flat-floor road show" Sullivan described. To say that this classic Rodgers & Hammerstein score "remains serviceable" is quite simply absurd. I think we can all agree that these songs will still be around long after Dan Sullivan is gone. At last the CLO has given us a show to be proud of, and anyone who is interested in a lovely, rewarding evening at the theater should ignore Sullivan's pompous remarks and get to the Dorothy Chandler Pavilion before July 6. A. DUDLEY JOHNSON JR. Los Angeles
July 18, 1999
Charles Hirschhorn's citing the enormous numbers the recent TV remake of "Cinderella" garnered as proof of Disney's dedication to "high-quality musical entertainment" gave the whole argument away (Letters, July 11). Two years ago, I was one of the 50 million-plus who tuned in, and as a sometime musical theater professional and longtime Rodgers & Hammerstein devotee, I was appalled. In place of Richard Rodgers' specific and sophisticated melodies and harmonies and Oscar Hammerstein II's deliberately timeless fairy-tale libretto and Broadway-cum-television construction, one was subjected to watered-down chord changes, pointless interpolations, self-serving rewritten lyrics, '90s-style R&B back-beats and a cast whose legitimate Broadway performers took second place and worse to two pop divas.
June 10, 2000
Yikes! What demonic force has taken control of the Tonys, my favorite awards show (" 'Contact,' 'Copenhagen' Big Winners at Tonys," June 5)? These awards used to be in good taste, a real class act! Now we have to endure Rosie O'Donnell screeching the opening number, a shame with all the musical talent on Broadway. Silly me, I know TV is all about ratings and not good taste! And though I adore Nathan Lane, why did he constantly make snide remarks about so many of the actors presenting awards as well as Hillary Clinton, who may be an actress but wasn't at the ceremony?
June 25, 2009 |
No need for clever titles when you're bringing on the theatrical heat. "An Evening With Patti LuPone and Mandy Patinkin" wisely puts its headliners first. And these two musical theater legends deliver a sparely elegant master class in the art of conjuring emotional truth in dramatic song. The show, which runs through Monday at the Ahmanson Theatre, makes for a nonpareil middle-age date night. Married couples and domestic partners who worry that they've fallen into a rut shouldn't miss an opportunity to let these two Broadway veterans revive the old passion with their inimitable mix of spring freshness and autumn color.