Before I go into a couple of my beloved’s more recent musical missteps that have done their part to annoy the hell out of me, I think it’s only fair to share the best clips available of John Wilson’s own 24-year-old orchestra—cannily named, as I have mentioned, the John Wilson Orchestra—which, out of over 200(!) on YouTube in nine years, come down to about three, maybe four of those clips spread out through 2009-2017.
So in no particular order: This is from their 2012 show Broadway Sounds at the BBC Proms in the Royal Albert Hall in London, which seats 5200, with standing room for 1300 on the ground floor (tickets for which go for only 6L and for which people camp out overnight at the box office like it was freakin Winterland). This is pertinent, because it seems like the JWO only does its best work when it can blast the roof off a barn.
I had the old Ben Bagley recording and the 1983 Broadway revival recording (conducted by John Mauceri) of the Rodgers & Hart show On Your Toes—which of course includes the climactic ballet “Slaughter on Tenth Avenue”—but both producer Bagley as well as musical theater preservationist Mauceri put on disc the 1936 Robert Russell Bennett orchestration rather than the 1954 one by Don Walker. Our John, being John (I’m starting to get into his “ear”), chose the Walker score to play in the Royal Albert, and for once he was entirely right.
And right around the time in history James “Smiling Cobra” Aubrey was turning MGM’s historical music scores into LA landfill and baby John was home in Gateshead falling out of his high chair in excitement over the brand-new BBC news theme, forty-five years ago today—even down to the day of the week—I fled Minneapolis for New York (on the pretense of auditioning at Juilliard) and took a shared room at Sage House, a genteel women-only boarding house on 49 West 9th Street in Greenwich Village.
With 2 meals a day included it came out to $33 a week. You read that right. A place in Greenwich Village, breakfast and dinner, for thirty-three dollars a week. Try to imagine the mischief I got into with all the money I had left over from my weekly paycheck from my first job as a solfeggist at ASCAP, that it’s summer in NYC, it’s 1973, I’m eighteen, cute as a button and old enough to drink, and gorgeous men are everywhere. And imagine too that I’m singing a song (in my heart and sometimes while bounding down the street) that every American girl of my generation inspired by Julie Andrews sang:
I have confidence in confidence alone
Besides which you see I have con-fi-dence in meeeeeeeeeeeeeeeeeee
The most audacious musical film sequence ever directed. If I had seen Love Me Tonight before I went to work for The Old Man I would’ve been more patient with him.
Rodgers wrote this song, including the lyrics, for the musical No Strings, which opened on Broadway in 1962 and ran for 580 performances. He got the idea for casting a black actress in the star role after seeing model-turned-actress Diahann Carroll on The Tonight Show, feeling that the casting spoke for itself and any specific references to race in the play were unnecessary. “Rather than shrinking from the issue of race,” said Rodgers, “such an approach would demonstrate our respect for the audience’s ability to accept our theme free from rhetoric or sermons.”
Not my favorite version of all the R&H Cinderellas (this is my favorite version—I mean come on, it’s Julie Andrews) but this one boasts, as I mentioned, the gorgeous Paolo Montalban as well as the queen of Broadway Bernadette Peters, singing and singing great another interpolated Rodgers song, “Falling in Love with Love“. Exceptional orchestration by Doug Besterman.
When you’re awake
The things you think
Come from the dreams you dream
Thought has wings
And lots of things
Are seldom what they seem
In this, Scorsese’s fourth feature, Ellen Burstyn plays Alice Hyatt, a New Mexico housewife suddenly widowed and left without means of support, who decides to try to return to her childhood home of Monterey, California and make a go of it again as a professional singer.
Weak and breathy as her voice is, something about the way Edna Rae sings this song appeals to me so much I come back to this scene again and again. By the way, you do notice the sheet music for Oklahoma on the piano…