Lloyd Webber's switch in the tale's setting to rural Louisiana in the late 1950's lets him use local and topical influences to build a musical tapestry that hangs heavy on the wall.
(1/13/97), From Bootsie5: On a recent trip to D.C. we were privileged to see WDTW and there was something for everyone. Playbill On-Line thanks all those who took the time to write. Some interesting lighting effects, simple costumes - overall an understated but appropriate quality to the production which neither overwhelmed nor disappointed the viewer. Beautifully photographed in black and white this film should be considered a MASTERPIECE!
The children attend Sunday school, perform their dreadful Nativity play and speak of the Mayor of Burnley as if he is a superstar. I have never met anyone who didn't enjoy this underrated classic and defy anyone not to be moved by the naturalness of the performances. For me "Whistle Down the Wind" had no tingle--maybe a little on the opening number--but from there on it left me cold.
I count myself among the very fortunate to have been here for Whistle Down The Wind. While not exactly "sung through" this piece woven together with as much unanimity as Lloyd Webber's recent works.
It is a serious piece with serious themes and Harold Prince has staged it with admirable consistency of style.
Olivier winner Sharon D. Clarke will also honor Don Black during the evening, mostly pre-filmed at the London Palladium. If you are expecting an Andrew Lloyd Webber extravaganza, you'll be disappointed. Well, maybe I went up to five cents. The scenery seemed to be of a consistent and appropriate style - only drawing attention to itself in the Anna Karenina train scene (think On the 20th Century or Wild Honey - does anybody remember Wild Honey at the Anta/Virginia?)
I thought that he stole the show from Davis in the second act.
As now written, he is unconvincingly inscrutable and unmenacing - and flat out boring -until he sings about the nature of the beast - much too late in Act 2.
Davis Gaines gets a chance to originate a Lloyd Webber role but it is not as big a role as he deserves. No offense to the actress who played her, she was beautiful, and could sing and dance as well as anyone I've seen. Whistle Down the Wind is a magnificent piece of British filmmaking, with strong performances and an even stronger script which convey deep questions about life and purpose in the most accessible way. I'll call my kitten Spider. Hayley Mills excels in this understated, underrated movie juxtaposing the sordid criminal world (Alan Bates as a murderer on the run) with the innocence of children. The story concerns the three children of a farmer, who find a man hiding in their barn.
But, in terms of stagecraft and character development, Prince should be able to do a lot more with it.
Which ones will we be lip-synching to next year at this time? A charming movie made in the 1960s a tale of faith and children.Hayley Mills is very good as the junior lead, given marvellous support from the rest of the cast especially the boy who plays her littler brother.Bernard Lee gives a touching performance as the busy farmer who does the best he can for his kids, but is a very busy man.Alan Bates is very good as the man who is mistaken for Jesus, and there is some touching scenes where he realises that there's no escape and the hangman awaits, it seems to symbolise Gethsemane.The Norman Bird character brings a few laughs to the film as a bone idle farm hand.The theme music is very catchy and lingers in the mind, overall a very good little movie and I personally would like to see more of this type of movie made today. What are the songs and how do they sound?
"Wrestle With the Devil" is a treat but the show stops for a few minutes while we enjoy this treat ... it's fun, it's dazzle, it's Prince.
There is a tingle that happens.
Directed by Bryan Forbes and with a screenplay by Willis Hall and Keith Waterhouse, the film slotted into the new wave of working-class realism that was sweeping over British cinema in the early ‘60s and the challenge for Labey and Taylor was to make the storytelling relevant almost 30 years later.
The 1994 studio recording, also featuring Julia McKenzie and John Barrowman, is (finally) being released on the Jay Records label. To the extent the scene is intended to shape our initial impressions of the children and the relationship of Swallow and Aunt Dot - the scene is adequate. Not since the late 1970s ("Annie") has DC been the preview site for a major Broadway production. Forbes' well-loved film performs a delicate balancing act between symbolism and naturalism, and does so with sensitivity and humour. The Reviews Hub London is under the editorship of John Roberts.The Reviews Hub was set up in 2007. And speaking of filled, the theatre was not filled to capacity on the night we attended. Cathy, played here with a clear zest for life by Sadie Levett, is the oldest of three siblings, leading the way for the mischievous Charles (George Hankers) and the inquisitive Nan (Tara Lucas).
I found myself humming their songs. Only twice does it seem to violate the unanimity of the piece: "Annie Christmas" doesn't "sound" like it goes with the rest of the show. I have enjoyed reading the comments on this truly marvelous film. It was an intelligent, entirely believable, charming and powerful film that affected me profoundly. I liked the special effect train and the burning of the barn. There have been musicals with scenes during the overture (the recent Carousel). Neither has proved to be a huge success, but this revival of the earlier, coming at the time of year when the show’s action takes place, at least strikes the right seasonal note.
I wanted to be moved by her, but I did not find her to be sufficiently affecting.
One little boy numbers the eggs he has has eaten (a mixture of his bemusement and his feeling of monotony), one little girl vows to keep counting until Kathy comes out of the barn. The first act was a little slow developing in my opinion and the relationship between Candy and Amos, two young adults ready to leave the small southern town, added little to the rest of the story. I really enjoyed the incredible voice of Steve Scott Springer.
My suggestions before June--forget making a movie, give us more scenes, and if you insist on not using dialogue to develop character, but want us only to learn about character through songs then you had better make sure the balance between music and voice is correct so that we can understand the words. The story centres on children’s blurred vision of good and evil, setting childhood innocence against adult cynicism and pitching the blind faith of the young against the hollow faith of their elders. I especially liked the song "A Kiss is a Terrible Thing to Waste." At least 4 tunes are instantly memorable - title number, "kiss," "if only," and the "vaults of heaven." The children's cast was excellent. Also, several of our people misunderstood the snake handling scene in Act 2. I also am a great sentimentalist and a religious person so a sentimental Webber musical with religious undertones had my expectations high.
I think the story line needs some work. In the end he gave up peacefully instead of with violence which was the predictable outcome. Sets, costumes, lighting all blend to the same hue, the same feel, the same tone.
You can take it as recommended! Finally, there is the lovely score - which will be a source of pleasure forever. Answers will be posted as they come in.Here are the results so far. I've seen all the classics, past and present, and have to say this really is up there as one of my favourites. And there is one of Harold Prince's wonderful scenes that linger in the mind well beyond the evening but which don't seem to have a lot to do with the rest of the show.
BUT, the criminal, played by Alan Bates, also was transformed by their belief in him. Under-rated classic British movie of the sixties. Thanks for the opportunity to show my appreciation for the entire cast and production. Andrew Lloyd Webber and Jim Steinman, together with Patricia Knop and Gale Edwards (co-book writers with Andrew Lloyd Webber) have taken the original story and reset it in Louisiana in 1959. Her voice is strong, pure and expressive, her enunciation clean and without pretension.
The story could have merit, but it just didn't develop in any way that I felt sympathy or cared about what was going to happen to anyone .
And it's an easy show to love.
Sign up for exclusive discounts and save up to 50% on tickets! A star is born. No doubt we will be hearing more from him in the years to come. I choose to lean towards the hopeful- the power of the childrens love has transformed the criminal, and at a key moment he tosses out his gun without violence. Peter Pan, The Wild Party and Phantom of the Opera are examples that spring easily to mind, but doubtless there are others.
A 22-piece pit orchestra give polish and drive to orchestrations by David Cullen and ALW. Ms. Molloy is simply superb - her voice is clear, pure, and sweet, and she leaves us thrilled each time she sings. Songs: Cold * If Only * A Kiss Is a Terrible Thing to Waste * No Matter What * Unsettled Scores * The Vaults of Heaven * When Children Rule the World * Whistle Down the Wind. The show is clearly interesting and entertaining, but it probably cannot be the huge hit many would hope for because of the book of the show - which strives (and succeeds in some measure) to deliver a strong and touching message with characters who simply may not be very appealing to many people.
I myself was born and grew up in the north in an area similar to the one shown in the film and today, now aged 48, watch the film with great nostalgia and a warm feeling about my carefree life as a child. One of those old classics that if you haven't seen yet, you will be pleasantly surprised when you get round to it.
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