I Remember How Those Boys Could Dance (Stratford Production)

[@gasparmarino75]

People were not ready for a musical that was so close to grand opera. The new production does not approach the level of a Barbara Cook or a Betty Buckley.

[@this_Joe_Smith]

In 2017 i got to see a local high school do the 2012 version, and then researched the 1988 origins. I'm a hardcore Betty Buckley fan. I want what they've done in 2012 to be produced with the exact Betty Buckley/Linzi Hateley arrangements & vocal stylings. I'm so grateful these recordings are here.

[@MistyVVaves]

Everyone that says Barbara Cook wasn't great in this role must've been crazy. I mean I am literally entranced the entire time I listen to her as Margaret. With that big expressive nuanced voice, and quite frankly these two are the pairing that's described in the book more accurately. Love B. Buckley too though, naturally. P.S: That High E natural she belts at the end of the song? She couldve easily sang that like she did in Eve Was Weak but instead gave you full high belt. A.MAZE.IN. Like did anyone know Barbara Cook COULD belt...like THAT? My jaw drops to the floor every time.

[@susanboylefan91]

Bruce Jones I totally feel you. I find Barbara Cook's portrayal of Margaret riveting. It seems that we are in the minority. Even Cook didn't feel confident about her performance. All she said was that there were artistic difference between herself and the directors, but she was vague.

[@chocolatesouljah]

Interesting thoughts. I have preferred Buckley in this role but your points are well taken. I listened to this song for the first time and I can hear the magic. I love both Cook & Buckley who sing definitive versions of some of my fave songs. I have an unsubstantiated beliefs that Cook was no longer interested in returning to a Broadway 8 show a week grind, in such uneven material. Keep in mind that her last few outings on Broadway were unsuccessful. I just don't think she was happy in this show whatever the rumors might be and she had already re-established herself as a successful concert performer.

[@joshuascott1258]

@@chocolatesouljah it’s not that she didn’t want to return to Broadway Cook left the show because the flying staircase used for Carrie reprise 2 almost decapitated her so she quit but she stayed for the railing 4 weeks of the Stratford run

[@chocolatesouljah]

@@joshuascott1258 Oh, thanks for the information! I stand corrected.

[@giovannirastrelli9821]

@@joshuascott1258It wasn’t the staircase, it was the White living room wall moving into place during “Evening Prayers” (it’s probably why that set change was cut for Broadway), and it seems Barbara was already considering quitting due to her difficult relationship with Terry Hands and the chaotic rehearsals with constant script and music changes.

[@drjax1994]

Usually I prefer Betty Buckley's potrayal of Margret Whit, but I love Barbara Cook's voice on this song.

[@Dianaemanuel]

What I love about this is that it's rare opportunity to see Cook in a legit musical. I think she sounds amazing. Carrie is endlessly fascinating isn't it?!

[@searchengineopt]

I actually like the higher pitch of this one better than the new revival. It makes the final note of "and the sin never DIIIES" more striking (and more impressive on a vocal level). But this version is too slow, I'm glad they upped the tempo a bit.

[@UmmOopsy]

sweetophelia Barbara cook range and style made it difficult for her to sing it faster

[@this_Joe_Smith]

I'm bananas about the Betty Buckley arrangement, the Broadway version Because I'm a massive fan of those, I'm watching this one and noticing it's slower ...and noticing her style differences I love her for stuff, Barbara Cook, ...the sondheim Follies '85, especially. But I'm #teambettybuckley all the way

[@giovannirastrelli9821]

I actually like the slower version. More gothic and dramatic.

[@alanramos6362]

I wish they would remake this on Broadway again as a full scale production with the best songs from the original

[@mirellysrachumi]

agreed

[@ALittlePriest101]

They should do it in the Circle in the Square and do it like the killer musical experience version

[@eeaarrllaalloo1404]

@@ALittlePriest101 omg yesss

[@sheismymom]

Haunting

[@pukinowt]

everybody seems to blame the direction, but the things like lighting and the ends of scenes and things like that look really epic to me just sounds like the play was hard to put on, cos i swear it had a world class director?

[@PsychedelicCharm]

I meant when Carrie forced her to sit in the chair. I thought I hear "the power of the devil".

[@giovannirastrelli9821]

I think she says “spawn of the devil!”

[@angeldog15]

3:32 to 4:11 is SO GOOD.

[@davidjohncooke1]

Oooooh thanks for uploading! I love this show x

[@matthewalexander9514]

Was that a E she mixed/belted but sounds higher due to speeding of the tape? When I plucked it out it was a F. Just curious

[@xxkewldudexx]

It was an F (the London score with the higher keys confirms this).

[@RadioCityChristmas]

@EvanOz85 Yes but Terry Hands was the lighting director for the show

[@RadioCityChristmas]

@pukinowt I agree! Terry Hands is a bad director but he is a master when it comes to lighting! I thought the lighting in this show was just amazing, except for the Destruction, it needed a lot more elements

[@CraigFrancisSoto]

Yes,Barbara Cook had a great voice but Betty Buckley's voice was just magnificent in this role. Her powerful voice has a wonderful resonance that just rings through the air. And she had unbelievable breath control and phrasing. Cook's voice was beautiful but did not have the resonance and power of Ms Buckley. What a shame this show didn't run long enough for many people to even see it.What a thrilll that would have been. Some stunning and thrilling music here. Bravo !

[@emlodik]

The abstract Brechtian staging is what kills it. Even weirder when combined with Debbie Allen disco eurofunk choreography.

[@courtneyvalentine1181]

The choreo would have worked if they didn't confuse Grease for Greece, tbh.

[@giovannirastrelli9821]

@Courtney Valentine That’s an urban legend. They knew what they were doing all along, the director was going for a “Greek Tragedy” and “Religious Tableaux” imagery, but all of that got lost in the chaos.

[@nylilhotman]

as bad as this show is...here's a powerhouse song.

[@jessica23claire]

This arrangement is so confused. It wants to be opera, reggae and an 80's rock ballad all at once and it can't decide on a tone. Nothing against Barbara Cook but damn this just doesn't work. Glad they changed it later in the run.

[@this_Joe_Smith]

I love Barbara Cook, especially for Follies '85 But i am forever now attached to the Betty Buckley productions/arrangements.

[@giovannirastrelli9821]

They re-orchestrated it for Broadway to sound more like a classic rock opera ballad, but the song was later ruined in the 2012 revival and turned into a bland snooze fest.

[@eeaarrllaalloo1404]

reggae? where?

[@wwozanewmusical]

@@giovannirastrelli9821 yea, m this is why if you let directors take over your script and score to much and have full and finale say on everything, than you get the mess but if you as the producers step in and say you got what we told you in the first meeting wrong, go back and change it, they should have been harder and more controlling with a director who didn't understand American kids and American high schools. The MTV choreography was used due to footloose and the choreographer, i'm not against that, just against the togas, and the way the Director had no clue how to put american high school and its students and teachers on a Broadway or london stage. they didn't need to change or update the score or the show just change sets and costumes and not have a wicked the wicked witch of the west moment with billy throwing the blood on her and instead do the bucket dropping like in the LA versions. don't fix what aint broke, and do ficx what is broke.

[@giovannirastrelli9821]

@@wwozanewmusical From what I understand, they tried to do dump the pig’s blood on Carrie the same what it happened in the book and film, but it kept short circuiting Linzi’s mic, creating dangerous puddles on the stages, and sometimes miss her entirely. Having Billy put an empty bucket over Carrie’s head while she popped strategically hidden blood squibs was a last resort. I guess this stunt is easier to pull off these days than in 1988.

[@RadioCityChristmas]

@pukinowt Actually, I ment that he was a bad director when it came to this show. I in fact managed to see Poppy when it was performed. I thought it was magnificant. He didn't have much to irect becaue the show seemed to be in the hands of Debbie Allen with her nonstop dance rehearsals.

[@fiddlefiend]

@Articunoluver would you like the sheet music for this song? I can give it to you if you want.

[@pukinowt]

@RadioCityChristmas Terry Hands isn't a bad director, he was the artistic director of the RSC, set up a theatre in Liverpool, won a huge number of awards and was considered one of the best theatre directors in the world. have you seen his productions like cyrano? you can't even claim he was a bad musical director, because he won best musical of the year for Poppy wouldnt it be a more sensible solution that this play was just incredibly difficult to put on despite some great score moments?

[@this_Joe_Smith]

The songs of the Kids/Ensemble needed to be what 2012 gave us. What 1988 got 300% right were the Carrie&Margaret -scenes, Linzi Hateley and Betty Buckley. Those two, plus all the rest of 2012. --that's my Make A Wish ***

[@killoa2002]

@nylilhotman listen to the broadway version of this song...its INTENSE

[@this_Joe_Smith]

Yes. I much prefer the Broadway with Betty Buckley arrangements ...this seems really ....polite ....rinky-dink

[@PsychedelicCharm]

What was Margaret saying when Carrie revealed her powers? I could hardly hear her.

[@giovannirastrelli9821]

I think she says “Spawn do the Devil! Satan’s Child! Witch! Witch!”

[@josephcall8501]

Does any one know the keys of Barbara’s song in the part because I want to transpose them up for a production I’m doing where I’m playing the role

[@paulybarr]

This is in b flat minor

[@EvanOz85]

@RadioCityChristmas - Are you not aware that the director doesn't design the lighting for their productions?

[@boohemian_ghost]

I don’t like this song in this high of a key. I think it loses intensity. It’s so light and airy and shouldn’t be. It’s an intense, powerful song. I also don’t believe Barbara’s character 😕

[@this_Joe_Smith]

Fully agree. Light&airy. Not hearing her character in the voice. Have you seen the Betty Buckley version? 💕 🔥 🔥 🔥

[@sheismymom]

I like both