#Peter pan live nbc

[not-wholly-unheroic]

Thoughts on Christopher Walken’s Captain Hook?

Whooooooo boy…. 😬 There’s a reason I don’t talk much about Walken’s Hook on this blog and that reason is that he might very well be my least favorite version of Hook. (Leaving aside Peter and the Starcatchers’ Black Stache, but they just totally missed the point of Hook there with their disgusting, bawdy, dense caricature of a man. Black Stache is not, never has been, and never will be Hook. But I digress.) Anyway, I have several problems with Walken’s Hook, some of which I think can just be chalked up to poor casting choice and some of which where the blame falls entirely on Walken’s performance.

First off, Walken has a VERY distinctive New York accent, which…just doesn’t work for Hook. Hook is supposed to sound like a posh English professor from London, not Rizzo the con man from Midnight Cowboy. True, people fake accents all the time in Hollywood, but Walken is one of those people who is immediately recognizable by his particular sound, so I don’t know why they would have chosen him to play ANY English character.

Second, Walken is too old for the role. Yes, Hook is supposed to be an adult who seems old to Peter, but typically, he is cast as someone who is maybe 30-40-ish. Some people headcanon him being a little younger at around his 20s while others (myself included) place him around 50-something. And it’s also true that other older actors have played Hook in the past. Cyril Ritchard was around 62 at the time he played Hook in the 1960 filmed version of the stage play. But Walken was 71 at the time he played the Hook. That’s like…grandpa age. And at least Ritchard’s Hook seemed to still be having fun. Walken’s Hook is just…lifeless…

And that’s another issue in and of itself… I don’t know what the deal was that day, but Walken’s game was off. I can accept a physically older Hook if he does the role well, but Walken was just…not into it at all. He was so…flat and emotionless. He didn’t seem intimidating or sympathetic or funny or…anything, really. He didn’t even seem too worried about the crocodile…just…sort of mildly concerned. And he kept forgetting and stumbling over his lines…multiple times. It was pretty obvious at some points that the other pirates—most notably Smee (played by Christian Borle, who also ironically played Black Stache on stage…) had to keep not-so-subtly reminding him what came next. Maybe he wasn’t feeling well that day and was on some heavy medication. Maybe he had experienced some personal tragedy that was distracting him. Or maybe he just had too much to drink. Whatever it was, he came off as being half asleep or drunk the entire time, and it was extremely off-putting. By the time the crocodile showed up near the end, I was like, “C’mon and put the guy out of his misery already! Please get him off the stage.” I think that’s the only time I’ve ever WANTED the crocodile to get Hook. That’s how bad it was.

So yeah…. Not a fan…

[elyjm1313]

Every so often I think about the 2014 Peter Pan Live cutting "O My Mysterious Lady" (one of my favorite songs in that stupid musical) and replacing it with a blandly forgettable ballad for Wendy and get annoyed all over again.

Also taking "Distant Melody" away from Peter. It's the ONE moment of nuance for him in the show (That other ballad also sucked and I forgot about it til just now).

[andhumanslovedstories]

Excited to announce that the podcast episode we recorded today about a trans retelling of Peter Pan unfortunately somehow also has a significant portion that is just me describing true facts about the 2014 NBC live musical of Peter Pan, a production no one else on earth thinks about and that I think about every goddamn day

[citizenscreen]

On March 7, 1955 audiences saw Mary Martin soar as 'Peter Pan' live on television, a special episode of NBC’s “Producer’s Showcase”

[spade-riddles]

btw Peter Pan is traditionally performed by a woman

🧚

[emilysworldoffandoms]

Peter Pan and Wendy

This movie did not work. The structure and pacing were off and Peter was painted as a villain. I wanted more for Tiger Lily and Tinkerbelle was too nice. They kept the ending of the stage show, where the Darling family adopts the Lost Children. I liked the diversity of the cast. I would’ve liked to if Peter and James’s friendship/past were explored more in this version. My favorite versions of the story are the original Disney movie, the Mary Martin stage version, and the 2003 film. Certain changes need to be made since they are problematice, but I think that was done well with the NBC live version of Peter Pan.

[esquerita68]

10/27(金）タイロン橋本＋ウスダミホ/夜のアモーレ

開場18:00/開演19:00

予約2800円/当日3300円（共に１ドリンク別）

＜予約＞

3日以内にメール返信のない場合は、

電話053-485-9968(14:00～18:00：店休日を除く）にてご確認願います。

＜タイロン橋本＞ 1971年ニッポン放送主催の「全国フォーク音楽祭」にて大賞受賞をきっかけにプロの道に入る。慶応大学在学中に細野晴臣の率いるTin Pan Alleyに参加。 その後芸大大学院在学中の坂本龍一などと交流を深め、のちに細野晴臣の誘いによりYMO1stアルバムで「シムーン」を歌う。 （クレジットは橋本俊一）

‘77 日本初のサルサバンド「オルケスタ・デル・ソル」に参加しアルバム2枚を残す。 '83 スティビー・ワンダー作曲のStay Gold(フランシス・F・コッポラ監督の映画ーアウトサイダーズのテーマソング)を日本リリースし、その際タイロン橋本に改名、オリコン洋楽チャート12位にランクされる。 '88 1st オリジナル・ソロアルバム"Moments Of Love"を全米・日本で発売し、全米3大ネットワークNBC制作のドキュメンタリー"The Evening"にシルベスター・スタローンとともに出演、全米放送される。ルーファス＆チャッカ・カーンのベースプレーヤーBobby Watson、ジョージ・クリントン・バンドのClay Lawrey、 Bell & James、グラミー賞受賞プロデューサー Peter Bunnetta & Rick Chudicoff、Joe Sample、David T. Walker等を起用し、今までに8枚のソロ・アルバムをリリース。

NAACP（全米黒人地位向上委員会）集会、全米各地の教会、ラングストン・ヒューズ作Black Nativity などに出演し国内外で活躍中。 現在まで600余りのCMの歌唱、作編曲、演奏、プロデュース、ナレーション、出演等に関わり、第41回カンヌ国際広告映画祭にて銅賞受賞。 故ジェイムス・ブラウンを起用したUCCコーヒーでは、作編曲、プロデュース、出演交渉までも手がけジョージア州オーガスタにて憧れのJ.B.とレコーディングする。 2014年The Unforsaken　1st live album"Hello To The World"で再び世界を目指す。

[tvrundownusa]

tvrundown USA 2023.04.28

Friday, April 28th:

(exclusive): "Warner Bros. 100 Years" (HMax, docuseries, all 3 parts), Wave Makers (netflix, Taiwanese political drama, all 8 eps), Headless Chickens (HMax, "Pollos sin cabeza" soccer manager dramedy, all 7 eps)

(movies): "Clock" (hulu, horror-thriller), "From Black" (Shudder|AMC+, horror), "Classmates" (TUBI), "AKA" (netflix, French action-adventure), "Peter Pan & Wendy" (dsn+, new live-action adaptation premiere)

(streaming weekly): Citadel (amazon, spy thriller series premiere, first 2 eps), The Marvelous Mrs. Maisel (amazon), The Power (amazon), "#BringBackAlice" (HMax), Drops of God (apple+), The Last Thing He Told Me (apple+), Big Beasts (apple+, next 2 eps), [note: The Afterparty (appleTV+) season 2 delayed until July 12th.]

(specials): 2023 NFL Draft Rounds 2&3 (ABC|ESPN/ESPN2|NFLN, live), "Fatale" (LIFE, 2020 feature film, 2.5+ hours), "International Jazz Day from the United Nations" (PBS)

(hour 1): Grand Crew (NBC, penultimate) / . / Grand Crew (NBC, season 2 finale), Secrets of Sulphur Springs (disney) / . / Saturdays (disney, 60mins), Power Book II: Ghost (Starz), Couples Therapy (SHO, reality season 3B opener)

(hour 2): Whose Line Is It Anyway? (theCW) / . / The Great American Joke-Off (theCW), Saturdays (disney, contd), Blindspotting (Starz), The Last Drive-In with Joe Bob Briggs (Shudder)

(hour 3): Real Time with Bill Maher (HBO), "Dear Mama" (FX, ~75mins), Minx (Starz), Who's Talking to Chris Wallace (HMax|CNN)

(hour 4 - latenight): A Black Lady Sketch Show (HBO)

[repeats, resuming next week: S.W.A.T. (CBS), Fire Country (CBS), Blue Bloods (CBS) ]

[suchananewsblog]

‘Peter Pan & Wendy’ Review: Jude Law Keeps Us Hooked In This Live Action Disney Reboot Of The Classic Tale

The question you may be asking is ‘do we really need yet another take on Peter Pan? Ever since J.M. Barrie published his book “Peter And Wendy” in 1911 there have been countless film, TV, and stage versions of one stripe or another, starting with silents, and of course NBC’s live musical in the 50’s with Mary Martin, and later versions with Sandy Duncan, Cathy Rigby, and just a few years ago…

[inktober-of-a-fan-girl]

Day 5: Cyril Ritchard

This is the one in 1954 but also 1960. This version is very popular…don't get why.

More notes & links in Keep Reading.

Peter Pan (1954), directed by Jerome Robbins, is an authorized musical stage adaptation with music by Mark "Moose" Charlap and lyrics by Carolyn Leigh. Taking the opposite path of the 1950 adaptation, it was originally to have only a few incidental songs but evolved into a full Broadway musical with some new songs from composer Jule Styne and lyricists Betty Comden and Adolph Green. This version became widely known as a vehicle for Mary Martin, who appeared in three television productions of this version and won a Best Musical Actress Tony Award for her performance as well as an Emmy when it was aired on television. Cyril Ritchard won a Tony as Captain Hook in the Broadway production opposite Martin and reprised the role in the first television production opposite her, and it is the role for which he has remained best known. Revivals featured television actress Sandy Duncan and gymnast Cathy Rigby as Peter. A 2014 TV version was broadcast by NBC as Peter Pan Live!

The red highlight will come up later.

Here is a video of one of the songs with Hook singing. Cringy…

That's from the 1960s.

So this version of Hook lost his mustache..damn it. He still has his hair though. He also has the hook on his right hand.

And here is a link to Spotify for you folks…

[cjbolan]

Let’s brainstorm a “The Tail of Emily Windsnap” stage musical together!!!

It’s that time of year for televised stage musicals 🎭 🎶 😉

1. Should the mermaid/merman costumes be…

A) heelies with an attached tail at the end ,like the Broadway The Little Mermaid?

B) tail suits while actors are suspended on a wire, like ABC’s The Little Mermaid Live ?

2. Should the kids be played by…

A) actual kids?

B) teenagers and 20something adults?

3. When Emily’s houseboat finally sets sail, should that scene be staged with either…

A) an actual boat gliding along the floor like Phantom of the Opera?

B) boat props onstage against a giant projector screen showing a moving ocean, again like ABC’s Little Mermaid Live?

4. Should the Rainbow Rocks be depicted with either…

A) Actual painted rock set props?

B) Rainbow light display ?

5. Should the music be either…

A) Original music?

B) Song covers a la jukebox musical?

6. Should we see flashbacks of Mary Penelope&Jake’s love story?

A) Yes (how would you envision it?)

B) No

[instrumental-break]

(click for better quality)

[ensembleeding]

Reasons to Love NBC’s Live Musicals

makes theatre accessible

THEIR CASTING

makes jobs for hella talented people in theatre

gateway drug to theatre (which can very easily lead to theatre education, which can lead to these)

so fun to watch?? 

makes theatre accessible 

[dreaminginthedeepsouth]

Liza Minelli and Christopher Walken 1963

Walken is not an actor who dabbles in dance but rather a dancer who fell into acting. He studied tap as a kid, toured in a musical, and even strutted his stuff alongside the teenage Liza Minnelli pictured here. “I think that if he had been around in the heyday of MGM, he would have been a big star of musicals on film,” said NBC’s “Peter Pan Live! executive producer Craig Zadan.

[American Lindy Hop Championships]

[Dancers Over 40, Inc.]

[princesssarisa]

Cinderella September-through-November: Rodgers and Hammerstein's "Cinderella" (1957 TV musical)

Rodgers and Hammerstein's Cinderella needs almost as little introduction as Disney's animated version. Three TV productions, glitzy Broadway, West End and national tour productions, and countless productions in schools, children's theatres and community theatres have made this unquestionably the best-known, best-loved Broadway-style musical version of the fairy tale. The legendary duo of Richard Rodgers and Oscar Hammerstein II crafted a tuneful array of songs that so many of us have known by heart since childhood: "The Prince is Giving a Ball," "In My Own Little Corner," "Impossible/It's Possible," "Ten Minutes Ago," "Stepsisters' Lament," "Do I Love You Because You're Beautiful?" and "A Lovely Night," as well as the orchestral "Gavotte" and "Waltz for a Ball."

This TV production, broadcast live and in color (though the only surviving version is in black and white) to millions of viewers on March 31, 1957, was where it all began. It was produced by NBC as their answer to the success of another TV musical, CBS's Peter Pan starring Mary Martin, and as a vehicle for the shining new star of Broadway's smash hit My Fair Lady, 21-year-old Julie Andrews.

For those of us who grew up with the 1965 and 1997 remakes, this original version of the musical is interesting to discover. The script, written by Hammerstein along with the lyrics, is a particularly frothy, comic take on the fairy-tale. The Stepmother (Ilka Chase) is cheerfully haughty and never really threatening, while her daughters, brassy would-be intellectual Portia (Kaye Ballard) and sourpuss Joy (Alice Ghostley) are broad figures of fun. Cinderella herself, dressed in a plain yet respectable ladies' maid costume without even the Disney version's few token tatters, is excluded and overworked but never blatantly abused, with the barrage of orders heaped on her played, again, mostly for laughs. Further gentle humor is provided by the Prince's slightly dotty yet devoted parents, the King and Queen, played by the real-life Broadway "power couple" Howard Lindsay and Dorothy Stickney. And the youthful, elegant Fairy Godmother (Edie Adams) is far from the sweet, motherly figure of tradition, but a mischievous trickster type of fairy instead. Cinderella already knows her from the beginning (this is one of the few retellings of the tale to follow Charles Perrault's version in that respect), but doesn't know she's a fairy: she masquerades as an ordinary, practical-minded godmother who scoffs at Cinderella's "foolish dreams," until it's clear that Cinderella won't give them up, and only then reveals her magic.

Still, Hammerstein brings sincerity and genuine tenderness to the figure of Cinderella and to her romance with Prince Christopher (a pre-Hill Street Blues Jon Cypher). Although they don't meet before the ball in this version, their two romantic duets bring a depth of feeling to their blossoming love that other adaptations (e.g. Disney's) sometimes lack. And Cinderella herself has a distinct character arc, as she starts out "as mild and as meek as a mouse," trying to be content with her fantasies alone, but by the end gains the courage to do more than just wish and ventures back to the palace in her shabby clothes. It's there – with a little more mischievous help from her Fairy Godmother – that she tries on the glass slipper.

By 1957 TV standards, no expense was spared for the production. That said, 1957 TV standards aren't today's standards. The sets look fairly cramped, narrow and studio-bound throughout, especially in the ballroom. It's probably for this reason, as well as Julie Andrews' association with My Fair Lady, that the costumes have a vague early 20th century look, with the women in simple, slender dresses that make dancing easier in a narrow space than lavish, full-skirted "fairy tale" gowns would have done. Cinderella's chic white ballgown could just as easily have been worn to the Embassy Ball by Eliza Doolittle! The "magic" effects are also fine for their day, but limited: unlike in the two later remakes, for example, Cinderella's dress transformation takes place offscreen. Still, the performance is carried not by its visual aspects, but by the all-star cast.

It's fascinating to see such a young Julie Andrews in the first bloom of her stardom, and without question she's a luminous Cinderella. I think it's fair to say, though, that her posh-accented, always composed and ladylike portrayal (although it would make Henry Higgins proud) lacks the depth and pathos of other Cinderellas. This is at least partly due to the airy-toned script, which lets her show wistful yearning but never deep sadness. At any rate, her legendary voice shines in the songs that were written for her. The rest of the cast is uniformly excellent, with first-rate voices and endearing characterizations. Although the breezily comic portrayals of the stepfamily won't suit all tastes, nor will Edie Adams's vinegary, puckish Fairy Godmother. The latter's portrayal has charm, but it most definitely wouldn't work in a less comic version of the tale or with a more fragile and abused Cinderella than Julie Andrews.

Whether you think this original version of Rodgers and Hammerstein's Cinderella is the best or if its later remakes are improvements is a matter of taste. But either way, this TV broadcast is a historic landmark, and a must-see both for Cinderella completists and for lovers of Rodgers and Hammerstein's musicals.