Re: Sailor Moon R: The Movie: The Promise Of The Rose Download Torrent
Sibyl Piccuillo
BETTY BUCKLEY
Next week, on July 3, the one-and-only Betty Buckley will celebrate her 50th birthday. This multi-talented performer has been dazzling Broadway audiences since her debut on The Great White Way in the 1969 production of 1776, and she will soon be returning to the stage in the new musical Triumph of Love. In honor of BB's 50th birthday, I thought I would comprise a list of my 50 favorite tunes that I've heard Buckley sing over the years. I've also listed where you can hear them; some, unfortunately, Ms. B has yet to record (for those numbers I've included where I heard her sing the tune), but hopefully she will record these plus many more during the next 50 years. Here they are, in no particular order:
Sailor Moon R: The Movie: The Promise of the Rose download torrent
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In other Buckley news, Betty recently spoke with Daily Variety's Army Archerd about her work on Robert Redford's new film The Horse Whisperer, which also stars Kristin Scott Thomas. In the film Buckley portrays Redford's former girlfriend and told Archerd that he is "so lovely, sweet, with a great sense of humor, laughs at himself--and he's gorgeous!" Redford picked Buckley for the part after viewing both her emotional performance in the award-winning Horton Foote movie Tender Mercies and a tape she had made "recounting anecdotes about herself and horses!" Buckley is also considering a part in another feature film, Of Love and Fantasies, before she begins her upcoming Broadway musical. And, as if this isn't enough to keep the Tony-winning talent busy, Buckley will be singing in concert in San Francisco on July 18.
BERNADETTE PETERS
Exciting news on the Bernadette Peters front this week. BP is currently filming a new production of the Rodgers and Hammerstein classic Cinderella . See separate story "Bernadette, Whoopi, Whitney in New TV Cinderella" in U.S. Theatre News. The lavish production comes right on the heels of Peters' sold-out concert to an audience of 6,000 at Los Angeles's Universal Amphitheatre last week. The evening was based on BP's acclaimed Carnegie Hall performance this past December, and I thought you'd be interested in some excerpts from the rave reviews Peters garnered for her latest concert gig.
Charles Isherwood in Daily Variety:
"Taking the stage in a sequined, strapless Bob Mackie gown, her impossible pile of golden curls ringing a pale moon face that seems permanently beyond the reach of passing time, Bernadette Peters opened her solo show at Universal Amphitheatre with a Sondheim classic, "Broadway Baby," that might have been written for her, so perfectly does it suit her inimitable voice, a potent mixture of kittenish squeak and belting brass. In a 2-hour concert rich with highlights, Peters rolled with unaffected enthusiasm through the West Coast debut of a show she bowed at Carnegie Hall in December (and which is now available on a live CD).
. . . She's the rare singer who can pull herself up to full diva emotionalism with utter conviction, and turn around and poke fun at the pose a few tunes later. The plaintive power of "Time Heals Everything," from Jerry Herman's "Mack and Mabel," was among the non-Sondheim highlights of the theater music. . .and J.D. Souther's "Faithless Love," delivered with quiet simplicity, was the lone inclusion from Peters' absolutely first-rate new country-rock CD.
. . .Peters was at her comically charming best in a medley from "Into the Woods" ("Hello Little Girl/Any Moment"), playing the wolf with gusto. She brought the requisite elegance to the haunting "Johanna" from "Sweeney Todd," and the quiet ache of "Not a Day Goes By" was rendered with almost palpable emotion. From "Company" came the snazzier "You
Could Drive a Person Crazy" and the de rigueur "Being Alive." Show closed
appropriately with "Move On," a tune from "Sunday in the Park With George," in which Peters starred. . . Tony Gieske in The Hollywood Reporter:
" . . .it's what this magical lady does to a word that gets 'em. Stephen Sondheim's sophisticated soliloquy "Happiness," for instance, a characteristic litany of graduate angst concerning love, was played to the hilt for the words, and Peters made every one count double. She nailed the message, but what's even more amazing, she nailed the complex music, threading her way inside, in front of, behind and over the top of the first rate orchestra, which had a lean and accurate string section.
Not too many out there can pop those Bartok changes without blinking an eye, make 'em into a love song, and take it on up to the rafters like Ethel Merman. "Not a Day Goes By" and "There Won't Be Trumpets," with their overtones of art song, became vivid and personal under the Peters musicianship, with just the right touch of Audenesque neurosis.
We lonely voyagers were overcome with cool delight as Peters served up
Sondheim for the entire second half of the program, as she had in its prototype in Carnegie Hall. . ."
Laurie Winer in the Los Angeles Times:
"Va-va-va-voom. Bernadette Peters sang at the Universal Amphitheatre on Friday night, and she brought her perfect hourglass figure with her. She is that rare, sexy diva who never seems secretly insane or about to involve you in some kind of emotional blackmail if you don't love her forever.
. . .To paraphrase a lyric from her favorite composer-lyricist, Stephen Sondheim, there's something about "the way she catches light" when she's on a stage. She knows it too--she throws back her head and stretches out her arms and lets the audience drink her in. This is not precious or conceited; she's just sharing the wealth.
. . . Though still kittenish, she brought a mature emotional range to the Sondheim songs, and for the most part avoided his overdone numbers. She sang "Hello, Little Girl," the leering wolf's song from "Into the Woods," and "Johanna," the sailor's love song from "Sweeney Todd." She made a wistful dirge out of the lovely "With So Little to Be Sure Of" from "Anyone Can Whistle". . .
Comedic highlights included "Raining in My Heart," from "Dames at Sea." Four chorus men in Burberry raincoats and umbrellas joined the star in a gentle parody of standard production numbers. The large onstage orchestra, conducted by Marvin Laird, sounded smart. It put a new twist on "Move On" from Sondheim's "Sunday in the Park With George," which was outfitted with a poppy orchestration, half Burt Bacharach, half standard Broadway.
As always, Peters shone in her ballads. Jerry Herman's "Time Heals
Everything," which she sang on Broadway in the 1974 "Mack and Mabel," has become her signature song, and for good reason. She prowls down deep into its stubborn heartache, and the passage of time has brought a new wisdom to it as well. Peters wasn't going to include the song in the show, she said, but felt she had to because "it haunts people." And she certainly showed why. . ."
*And, a reminder that Bernadette's appearance on VH1's "RuPaul Show" will first air on Monday, July 14 at 11pm, with repeat broadcasts on Tuesday, July 15 at 7pm, Saturday, July 19 at 11pm and Monday, July 21 at noon.
DEBBIE GRAVITTE
In May Debbie Gravitte returned to the New York stage in the "Encores!" production of The Boys from Syracuse, part of City Center's acclaimed series that presents great American musicals in concert over the course of three weekends each year. And now Gravitte can be found on the smaller cabaret stage of Rainbow & Stars, bringing her lush voice and her comedic and dramatic talents to a host of songs ranging from Rodgers and Hart's "Little Girl Blue" to the song that won her a Tony for Best Featured Actress in a Musical, Irving Berlin's "Mr. Monotony."
Gravitte, dressed to the nines in a slinky black dress, began her act with two tunes that can be found on The MGM Album, her latest recording for Varese Sarbande: The first was a slowed-down, jazzy interpretation of Harold Arlen's "Get Happy" and the second was the Gershwins' "Treat Me Rough." After peeling off her black silk gloves, Gravitte then greeted the audience and poked fun at her many name changes in the past few years (Debbie Shapiro, Debbie Shapiro Gravitte, Debbie Gravitte), joking that this show featured "the long-running debut of my latest name change." An elegant rendition of Johnny Mercer's "Dream" followed that found Gravitte harmonizing with recorded tracks of her own voice. Following this high tech arrangement was one of the highlights of the evening, Alan Menken and Tom Eyen's spirited "I Want to Be a Rockette." Actually, both Menken tunes (she closed with his "Take Care of My Heart") of the evening were particularly effective. Gravitte has a nineties sensibility, and the more current Menken material suits her extremely well. This is not to say, however, that her take on the Gershwins' "Samson & Delilah" wasn't equally dazzling because it was. A tune introduced by the one-and-only Ethel Merman in Girl Crazy, "Samson & Delilah" was a perfect match for Gravitte's somewhat bawdy personality. Gravitte then treated the audience to a medley of songs from The Boys from Syracuse, including the "politically incorrect" "Sing For Your Supper" and "Oh, Diogenes!"
Other highlights of the performance included her award-winning rendition of "Mr. Monotony" that built slowly to a soaring, full-voiced climax; Lerner and Lane's "What Did I Have"; a heartfelt version of Alan Menken's "Take Care of My Heart," which Gravitte dedicated to her young son Charlie; and an encore of John Kroner and Faye Greenberg's "Where's the Beat," a song that showed what great comic timing this performer--who at times reminds me of a cross between Melissa Manchester and Julia Louis-Dreyfuss--has. Gravitte will perform in the plush cabaret room atop Rockefeller Center through this Saturday night. Show times are Tuesday Saturday evenings at 8:30pm and 11pm, and there is a $40 cover charge, with dinner required at the early shows. For information/reservations, call 212-632-5000.
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