Here We Are Again Do I Hear a Waltz

Musical

Exercise I Hear a Flit?
Original Broadway Cast Album
Music	Richard Rodgers
Lyrics	Stephen Sondheim
Volume	Arthur Laurents
Basis	The Time of the Cuckoo by Arthur Laurents
Productions	1965 Broadway 1999 New Brunswick, New Jersey 2001 Pasadena, California

Practice I Hear a Flit? is a musical with a book by Arthur Laurents, music by Richard Rodgers, and lyrics by Stephen Sondheim. Information technology was adapted from Laurents' 1952 play The Fourth dimension of the Cuckoo, which was the basis for the 1955 movie Summertime starring Katharine Hepburn.

Background [edit]

Laurents originally conceived the production as a small chamber musical with music past Richard Rodgers, lyrics by Oscar Hammerstein, and Mary Martin in the lead role of spinster Leona Samish.^[i] Past the time the project began to clot, however, Hammerstein had died, and Stephen Sondheim was asked past Laurents and Mary Rodgers, Richard Rodgers' daughter, to write the lyrics. Even so, Rodgers felt that the original play did non lend itself to musicalization; Sondheim agreed.^[ii] According to Peter Filichia, "Sondheim didn't want to practise the musical in the start place, but given that Laurents sought him – and had recommended him for 'West Side Story' when he was a novice — he accepted. Also a cistron was that his at present-deceased mentor Oscar Hammerstein had recommended that he succeed him equally Rodgers' lyricist."^[three]

Rodgers, who was producing the Broadway production, rejected Martin as too old for Leona.

Franco Zeffirelli was the get-go pick for managing director, and he met with Laurents, Sondheim, and Rodgers, who fell asleep during their word. Laurents suspected Rodgers had been drinking, and when he discovered a bottle of vodka secreted in the toilet tank during a later visit to the Rodgers apartment, he realized he had been correct. The composer's chronic drinking proved to exist a major problem throughout the rehearsal period and pre-Broadway run at the Colonial Theatre in Boston and the Shubert Theatre in New Haven.^[four]

Laurents suggested that John Dexter direct the show, just subsequently regretted the option. Dexter insisted on giving the lead role of Leona to Elizabeth Allen, who Laurents felt could manage the interim and singing but had a cold personality too contrary to that of the grapheme. Rodgers' mistreatment of Sondheim left the lyricist feeling apathetic if not outright sour about the project, but he maintained his professionalism. The first run-through was disastrous, and Dexter immediately lost interest, leaving most of the work to his assistant-cum-choreographer Wakefield Poole. Herbert Ross was chosen in to work on the dance routines and brought with him his wife Nora Kaye, who served as a mediator amid the warring factions. She was faced with an arduous task, given Rodgers' open dismissal of Sondheim's lyrics as "shit," as well as his eventual ban of Laurents from rehearsals completely.^[five]

Productions [edit]

The musical opened on Broadway on March xviii, 1965 at the 46th Street Theatre and closed on September 25, 1965 subsequently 220 performances. Information technology starred Elizabeth Allen and Sergio Franchi; other principal cast members included Carol Bruce, Madeleine Sherwood, Julienne Marie, Stuart Damon, Fleury D'Antonakis, and Jack Manning. Choreography was by Herbert Ross, with scenery and costumes by Beni Montresor and lighting by Jules Fisher.^{[6] [7]}

Laurents rued the casting - he felt Allen was too young and colorless and Franchi couldn't deed - and ignored all the ongoing problems in favor of making his dream a reality, but near of all he regretted the intermission in his friendship with Sondheim after the testify.^[8]

The musical received three nominations for the Tony Awards: Elizabeth Allen was nominated for the Tony Award for Best Performance by a Leading Actress in a Musical; nominated for All-time Original Score; and nominated for All-time Scenic Design, only lost in all iii categories.

In May 1966, Do I Hear a Waltz? made its regional theatrical debut at the Pabst Theater in Milwaukee (Wisconsin): Dorothy Collins as Leona led a cast which besides included Ron Holgate (Collins' husband) as Renato, Joel Fabiani equally Eddie Yaeger.^[9] The production encored at the Paper Mill Playhouse in May–June 1966.^{[x] [11]} Too in the summer of 1966 Do I Hear a Waltz made its West Coast premiere, with Anne Jeffreys as Leona leading the Valley Music Theater production in which Richard Torigi played Renato and Fleury D'Antonakis again played Giovanna.^[12]

Dorothy Collins would reprise her role of Leona in the summer of 1967 when Exercise I Hear a Waltz? was presented by the St Louis Municipal Opera, with a cast as well including Fleury D'Antonakis (reprising her Broadway role as Giovanna), Clifford David (Eddie Yaeger), Enzo Stuarti (Renato), Monique van Vooren (Fioria) and Karin Wolfe (Jennifer Yaeger).^[13] With Holgate encoring every bit Renato opposite Collins equally Leona, the production was scheduled for ii subsequent Boston-area engagements of Do I Hear a Waltz? that summer: however Collins' motherhood get out mandated Julia Meade instead headlining those 2 engagements opposite Holgate.^[fourteen] Also in the summer of 1967 Monique van Vooren encored as Fioria in the Kenley Players of Dayton (Ohio) production of Practise I Hear a Waltz? which starred Anita Bryant as Leona and featured Don Amendolia every bit Vito (Ballad Bruce had originally been announced as encoring her Broadway role of Fioria for Kenley Players).^[15]

In the summer of 1972 Ronald Holgate again encored as Renato in a tour of Do I Hear a Waltz? with Patrice Munsel headlining as Leona: also in the cast were Richard Kline (Eddie Yaeger) and Denise Lor (Fioria).^[xvi]

In March 1975 Rosalind Harris starred every bit Leona in a revival of Practice I Hear a Waltz? by the Disinterestedness Library Theatre of the New York [City] Public Library whose cast also included Melanie Chartoff (Jennifer Yaeger) and Barbara Lea (Fioria).^[17]

In 1997, Sondheim was sent a recording of a concert version of Do I Hear a Waltz? that had been presented in London. It was then he realized the original play did lend itself to musical adaptation, but the score Rodgers composed wasn't very skilful. He enthusiastically contacted Laurents and the two discussed changes that could be made to improve the show.^[18]

A revised production was staged at the George Street Playhouse, New Brunswick, New Jersey from October 13, 1999 through November 14, 1999, with Penny Fuller every bit Leona and Charles Cioffi as Renato, the cast also featuring Anna Belknap (Jennifer), Lynn Cohen (Fioria) and Carla Bianco (Giovanna). For this production the dropped song "Everybody Loves Leona" was restored, lyrics were contradistinct or added, and Laurents "revamped quite a bit of the book."^{[nineteen] [twenty]}

A 2001 revival of the musical was staged at the Pasadena Playhouse, Pasadena, California, where information technology ran from July xv through August 19: with stage musical icon Carol Lawrence as Fioria, the cast also included Anthony Crivello (Renato), Eddy Martin (Mauro), Alyson Reed (Leona), Jack Riley (Mr. McIlhenny), Elmarie Wendel (Mrs. McIlhenny), and Annie Wersching (Jennifer Yaeger). The production was well received by the critics, and a bandage recording was subsequently released on the Fynsworth Alley label.^[21]

In 2003, the Landor Theatre in London staged the musical^[22] and in March 2014, Charles Court Opera further revived the evidence at Park Theatre in Finsbury Park.^{[23] [24]}

The musical was presented by Encores! at New York City Centre in May 2016. It was directed past Evan Cabnet^{[25] [26]} and starred Melissa Errico (Leona), Claybourne Elder (Eddie Yaeger), Sarah Stiles (Giovanna) and Richard Troxell (Renato De Rossi).^{[27] [28]}

The 42nd Street Moon company of San Francisco has mounted 2 revivals of Practice I Hear a Flit?, the commencement in 1998 with Darren Criss as Mauro, the 2d in 2022 with Emily Skinner every bit Leona.^[29]

Synopsis [edit]

New York Metropolis secretary Leona Samish arrives in Venice ("Someone Woke Up"), where she is staying at the Pensione Fioria, where she is greeted by owner Fioria ("This Week Americans"). There she meets Americans Eddie and Jennifer Yaeger, who are living in Rome and have come to Venice for a vacation, and the McIlhennys, an older couple on a bundle tour ("What Do Nosotros Do? Nosotros Fly!").

While shopping, Leona sees a ruby drinking glass goblet in a store window and goes inside to inspect it. The owner, Renato di Rossi, tells her it is an authentic 18th-century piece, not a reproduction. He offers not just to discover her a matching glass to brand up a pair, just to show her the sights of the metropolis, as well. Leona refuses his offer and leaves, but returns the next 24-hour interval to buy the goblet. After that twenty-four hours, a package with a second goblet is delivered to the hotel. Before long afterwards, Renato arrives to invite Leona to join him for coffee in Piazza San Marco that evening. When the McIlhennys bear witness her their buy of a prepare of glasses exactly similar hers, Leona believes Renato misrepresented their value, just Signora Fioria assures her they are antiques.

Later in the day, Renato's son Vito comes to tell Leona that Renato will be late for their meeting because i of his children is ill and needs to see a doc. Realizing Renato is married, she cancels their rendezvous. He comes to the pensione and explains he and his wife have not loved each other for years merely divorce is not an pick, not just because the country doesn't permit it, only because they have their children to consider equally well. To Leona, his casual attitude about extramarital diplomacy is wrong, simply she however finds herself attracted to him, and agrees to keep their date.

Meanwhile, the Yaegers are facing bug of their own. Eddie, finding himself enamoured with Signora Fioria, announces he wants to put distance between himself and the adult female by returning to the U.s..

Renato arrives with a garnet necklace for Leona, who is thrilled with his gift and agrees to extend her stay in Venice. She hosts a political party in the garden of the pensione, and as the party is in progress, Renato's son Vito comes to tell his father that the jeweler wants his coin; overhearing this, Leona happily gives him the coin. However, when she discovers Renato has received a commission on the sale of the necklace, she accuses him of beingness interested merely in her money, and he leaves.

Fioria and Jennifer attempt to comfort Leona, who drunkenly reveals Eddie and Fioria spent the previous evening together, only to immediately regret her words ("Everyone Loves Leona"). The following twenty-four hour period both the Yaegers and the McIlhennys check out of the pensione as Fioria is happy that everyone is leaving and making way for the next group of guests ("Last Week Americans"). On hearing Renato had been there before she awoke, Leona goes to his store to brand apology, but he tells her a relationship with her would exist incommunicable considering of her complicated outlook on life. His affection for her is gone, and they part equally friends ("Cheers So Much").

Original Broadway bandage [edit]

• Elizabeth Allen – Leona Samish
• Sergio Franchi – Renato Di Rossi
• Carol Bruce – Signora Fioria
• Stuart Damon – Eddie Yaeger
• Julienne Marie – Jennifer Yaeger
• Jack Manning – Mr. McIlhenny
• Madeleine Sherwood – Mrs. McIlhenny
• Fleury D'Antonakis – Giovanna
• James Dybas – Vito
• Christopher Votos – Mauro

Paper Mill Playhouse cast (1966) [edit]

• Dorothy Collins - Leona Samish
• Ronald Holgate - Renato Di Rossi
• Dorothy Stinette - Signoria Fioria
• Joel Fabiani - Eddie Yaeger
• Gay Edmond - Jennifer Yaeger
• Avril Gentles - Mrs. McIlhenny
• William Martel - Mr. McIlhenny
• Fleury D'Antonakis - Gionanna
• Andrew Amic-Angelo - Vito
• Jomar Cidoni - Mauro
• Hank Selvitelle - Alfredo
• Jacque Dean - Mrs. Victoria Haslem
• Nick Athos - Man on Span

Vocal list [edit]

Act I Overture "Someone Woke Upward" – Leona Samish "This Week Americans" – Signora Fioria "What Practice Nosotros Exercise? We Wing!" – Leona Samish, Mrs. McIlhenny, Mr. McIlhenny, Eddie Yaeger and Jennifer Yaeger "Someone Like You" – Renato Di Rossi "Bargaining" – Renato Di Rossi "Here We Are Again" – Leona Samish, Vito and Ragazzi "Thinking" – Renato Di Rossi and Leona Samish "No Sympathise" – Signora Fioria, Eddie Yaeger and Giovanna "Take the Moment" – Renato Di Rossi

Act Ii "Moon in My Window" – Jennifer Yaeger, Signora Fioria and Leona Samish "We're Gonna Exist Alright" [revised] – Eddie Yaeger and Jennifer Yaeger "Do I Hear a Waltz?" – Leona Samish and Company "Stay" – Renato Di Rossi "Perfectly Lovely Couple" – Leona Samish, Renato Di Rossi, Mr. McIlhenny, Mrs. McIlhenny, Jennifer Yaeger, Eddie Yaeger, Giovanna and Signora Fiora "Give thanks You So Much" – Renato Di Rossi and Leona Samish Finale

Cut songs

• "Two by Two" - Leona, Vito, girl, Eddie, Jennifer, Fioria, male companion, Mr. McIlhenny, Mrs. McIlhenny
• "We're Gonna Be Alright" [original] – Eddie Yaeger and Jennifer Yaeger
• "Everybody Loves Leona" - Leona (restored in the George Street Playhouse product)^[30]
• "Perhaps"
• "Philadelphia"

Disquisitional response [edit]

The original production received mixed reviews. Howard Taubman of The New York Times observed, "The authors . . . have accomplished their conversion from the play with tact and grace. They have not attempted a complete transformation. On the other paw, they accept non cheapened or falsified the play . . . They were wise not to overload the musical with production numbers; their taste was unexceptionable when they chose not to plough their work into a brash, noisy thing, which would have been out of keeping with their theme. At the same time ane cannot suppress a regret that they failed to be bolder. For there are times, particularly in the early stages, when the songs are only a ornament. They give the impression that they are at that place because a musical requires music. They do not translate the story into the fresh and marvelous language that the rich resources of the musical stage make possible."^[31]

William Ruhlmann wrote: "Despite the pedigrees of the creators, the evidence opened to negative reviews, which is explained only partly by the score every bit heard on this cast recording. Elizabeth Allen, in the lead office, was criticized with backhanded compliments for beingness too young and bonny for the part, flaws not credible on the album. Sergio Franchi, as her romantic partner, besides came in for criticism, but comes off much better here. And the minor supporting cast, featuring Ballad Bruce as the proprietor of a pension, is likewise impressive. But the songs, for the most part, are non memorable."^[32]

The production did not recoup its investment, but several songs, including the title song, received radio play. RCA released a single (RCS 47-8552) of 2 of the songs recorded by Sergio Franchi ("Someone Like Yous" and "Have The Moment"); and he sang them on several televised shows. Franchi by and large received first-class reviews of his singing performance on this evidence, his Broadway debut.^[31]

Post mortem [edit]

With the passage of fourth dimension, Sondheim, the longest surviving fellow member of the original creative squad, has reflected on what went incorrect with Do I Hear a Waltz? To begin with, his reasons for collaborating with Rodgers were prompted out of obligations to others rather than a belief in the material. In his terminal meeting with Hammerstein, the dying lyricist recommended that Sondheim collaborate with Rodgers. Additionally, Mary Rodgers (the composer'due south daughter) was a proficient friend of Sondheim and forcefully urged him to consider a collaboration.^[33] In getting to know Rodgers, Sondheim found a "funny, bleak, difficult fellow" who was plagued with cocky-dubiousness, thinking that his musical abilities were failing him.^[33] This manifested itself in the composer's adamant unwillingness to consider rewriting annihilation. Sondheim considered "What Exercise We Do? Nosotros Fly" and "Bargaining" to exist repetitive songs; victims of the lack of want to rewrite, a type of song he named "mechanicals."^[33] Sondheim felt that Rodgers need non have been then self-doubting "as songs like "Take the Moment" and the bear witness'southward title tune attest." Somewhen Rodgers' self-dubiety grew into paranoia with his thinking that Sondheim and Arthur Laurents were plotting against him.

Optimistic at a gamble to do something unusual, Sondheim thought that Leona--the lonely and uptight American--should not sing until the terminate of the evidence. Rodgers refused to consider such an innovation, bringing Sondheim to recognize that in the Rodgers and Hammerstein collaboration, it was Hammerstein that was the pathbreaker, because Rodgers was an "archconservative" whose innovations were restricted to superficial gimmicks (for instance, no string instruments in No Strings).^[33] Sondheim felt that Rodgers was not able to write a story in vocal so he ended up writing many of the lyrics first. Unlike his other partnerships in which composers responded with a collaborative word between lyrics and music, Sondheim felt that working with Rodgers was similar "a set of assignments, either from me to Rodgers or Rodgers to me."^[33]

One detail incident involved an infamous lyric change referring to a married couple in the song We're Gonna Be All Right. Sondheim'south lyrics for the vocal tended to lean toward a more contemptuous view of spousal relationship and his proposition that the married man and married woman might discover alleviation by having dissever diplomacy, even a homosexual i, was quite revolutionary for 1965. He recalls, "I wrote lyrics which had some bite to them and Dick Rodgers thought the vocal was wonderful. Next day he called a tiffin and kept slamming the lyrics against my forearm and saying, 'This will non exercise, this volition not practice,' and I kept asking, 'Why?' The truth was, he'd shown the lyrics to his wife and she did not like it. He probably showed it to her out of enthusiasm. Just you know, information technology's got stuff well-nigh sexuality in it."^[34]

Ultimately Sondheim understood the failure of Do I Hear a Waltz? in the context of Mary Rodgers's formulation of what she called a "Why? musical". Such a musical is usually based on adept source material but raises the question as to what the addition of music does to enhance the original. With rare exceptions (Sondheim cited My Off-white Lady equally such an exception considering its creators loved and respected the story), "Why? musicals" gain nothing from having music added, usually resulting in a dilution of the original material. Sondheim accepted responsibility for being naive in thinking that his participation in Practice I Hear a Flit? was a quick fashion to make money off of skillful source fabric—an effort that failed.^[33]

Recordings [edit]

The original bandage recording was released by Columbia Records in 1965, and was called by Billboard equally an Original Cast Spotlight Anthology.^[35] A remastered version was released on compact disc and cassette tape by Sony Broadway in 1992. A KeelanMusic review gives a very favorable review to the Original Bandage recordings, irrespective of the Broadway criticisms.^[36]

The 13 March 1975 functioning of the 1975 Equity Library production was recorded on audiocassette and is held in the Disinterestedness Library Theatre collection.^[17]

A recording of the Pasadena Playhouse product was released by Fynsworth Aisle in 2001. Musical excerpts (not included on the original bandage recording) include the overture, Lezione in Inglese, We're Going to the Lido, Everybody Loves Leona.^[37]

Awards and nominations [edit]

Original Broadway production [edit]

Twelvemonth	Accolade	Category	Nominee	Result
1965	Tony Honor	Best Original Score	Richard Rodgers and Stephen Sondheim	Nominated
		All-time Functioning past a Leading Extra in a Musical	Elizabeth Allen	Nominated
		Best Scenic Pattern	Beni Montresor	Nominated

References [edit]

1. ^ Laurents, Arthur, Original Story By (2000). New York: Alfred A. Knopf, ISBN 0-375-40055-9, p. 212
2. ^ Secrest, Meryle, Stephen Sondheim: A Life (1998). New York: Alfred A. Knopf, ISBN 0-385-33412-v, pp. 174-175
3. ^ Filichia, Peter. "Forgive Me, Stephen Sondheim" masterworksbroadway.com, March 23, 2015
4. ^ Laurents, pp. 213-214
5. ^ Laurents, pp. 213-217
6. ^ "Practice I Hear A Waltz Broadway", Sondheimguide.com, accessed July 18, 2012
7. ^ Do I Hear a Waltz? ibdb.com, accessed April three, 2016
8. ^ Laurents, pp. 217-219
9. ^ Waukeesha Daily Freeman 17 May 1966 "Play at Pabst is 'Interesting Evening'" by Tom Smith p.2
10. ^ Paper Mill Playbill, May/June 1966
11. ^ "Listing" ovrtur.com, accessed January 12, 2016
12. ^ Los Angeles Times 25 August 1966 "Waltz Not Rodgers' Best Attempt" by Cecil Smith p.4-13
13. ^ St Louis Post-Acceleration 25 June 1967 "Do I Hear a Waltz Premieres at the Opera" p.4g
14. ^ Newport Daily News nine August 1967 "Maurice Chevalier is Billed for Northward.E. Summer Theaters" by Harold F. Angione p.3
15. ^ "Do I Hear a Flit? (Kenley Players Product, 1967)".
16. ^ Camden Courier-Post 12 July 1972 "Flit in Park Good Three-Fouths of Fourth dimension" past Scott Hockenberry p.65
17. ^ ^{a b} http://www.worldcat.org.nz/title/do-i-hear-a-waltz/oclc/756946852?referer=br&ht=edition
18. ^ Laurents, p. 219
19. ^ Klein, Alvin."Jersey Footlights; Distinguished Visitors at Auditions" The New York Times, September 12, 1999
20. ^ "'Do I Hear A Waltz'" sondheimguide, accessed July ane, 2009
21. ^ Hitchcock, Laura."Review, Pasadena Playhouse" curtainup.com, July 15, 2001
22. ^ IndieLondon.co.uk: "Landor Theatre brings a taste of Venice to London"
23. ^ Do I Hear a Waltz Charles Court Opera (subscription required)
24. ^ Do I Hear A Flit? The Park Theatre, accessed 15 May 2016
25. ^ Clement, Olivia. "Encores! 2015-16 Musical Flavor Includes Tony Winner and Richard Rodgers Rarity" Playbill, May x, 2015
26. ^ Do I Hear a Waltz? newyorkcitytheatre.com, accessed April 3, 2016
27. ^ Viagas, Robert. "Encores! Do I Hear a Flit? Announces Cast" Playbill, Apr 4, 2016
28. ^ Viagas, Robert. "Encores! Do I Hear a Waltz? Bows Tonight" Playbill, May 11, 2016
29. ^ "42nd Street Moon dances to a new 'Flit'". 30 September 2014.
30. ^ " Exercise I Hear a Waltz Songs", Sondheimguide.com, accessed July 18, 2012
31. ^ ^{a b} Taubman, Howard."Theater: 'Practice I Hear a Waltz?' Opens" The New York Times, March 19, 1965
32. ^ Ruhlman, William. Di I Hear a Flit? allmusic.com, accessed April iii, 2016
33. ^ ^{a b c d e f} Stephen Sondheim, "Do I Hear a Waltz?" Finishing the Hat (New York: Alfred A. Knopf, 2010), p. 141-43.
34. ^ Secrest, Meryle, Stephen Sondheim: A Life (1998). New York: Alfred A. Knopf, ISBN 0-385-33412-v, pp. 176-178
35. ^ "Spotlight Albums." (April 17, 1965). Billboard, New York
36. ^ "Sergio Franchi--Italia's Romantic Tenor" Keelanmusic.com, retrieved two/05/2014
37. ^ Do I Hear a Waltz? Fynsworth Alley, 3020621262, 2001.

External links [edit]

• Do I Hear a Waltz? at the Internet Broadway Database
• Do I Hear a Flit at the Stephen Sondheim Reference Guide
• Background information and production details at RNH theatricals
• Detailed plot synopsis, guidetomusicaltheatre.com

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Source: https://en.wikipedia.org/wiki/Do_I_Hear_a_Waltz%3F

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