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The chance to express veiws on disliking a show. 
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Post Re: The chance to express veiws on disliking a show.
Annie
Oklahoma!
The Sound of Music
South Pacific
Legally Blonde
Grease
Hairspray
Mamma Mia!
Joseph and the Amazing Technicolor Dreamcoat

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Sat Sep 18, 2010 6:23 pm
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Post Re: The chance to express veiws on disliking a show.
(This isn't just directed at Keaton, but it reminded me)
What's with all the South Pacific hate? It's a beautiful show, and easily one of R&H's best scores (in my opinion, of course). I realize the plot is EXTREMELY dated, but the themes of racism still resonate today, and you can't really deny it's well-made. I'm just really curious as to why so many people dislike it. It's easily in my top 3 for R&H shows.

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Sat Sep 18, 2010 6:36 pm
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Post Re: The chance to express veiws on disliking a show.
Have you South Pacific haters seen the recent PBS broadcast :P?

I felt that Szot and (especially) o'hara made their relationship extremely convincing.


Sat Sep 18, 2010 6:50 pm
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Post Re: The chance to express veiws on disliking a show.
More shows I hate....


GREASE!!!! The songs are annoying to listen to and the story is just....wow....Why would Sandy need to change to being some kind of stripper for Danny??? Also that whole pregency sub-plot was pointless.

Young Frankinstein- I went in to this hoping it would be decent but when Roger came to the stage it went downhill. He's not one of the worst actors but he was just wrong for the role of Fredrick. He was too zany and he kinda forced the comedy. And I kinda was turned off of the idea of having a musical being based on Frankenstein movies from the 30's. it just doesn't fit well to music.

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Post Re: The chance to express veiws on disliking a show.
Young Frankenstein is based on the Mel Brooks film, Young Frankenstein, which parodies Frankenstein movies. The musical itself is not based on the Frankenstein movies. Just throwin' that out there.
But yeah, it sucks.

The more I listen to Grease, the less I enjoy it. It's low-brow humor, full of stupid one-liners, and the music is so obnoxious.

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Sat Sep 18, 2010 7:46 pm
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Post Re: The chance to express veiws on disliking a show.
I enjoyed Grease when I saw it. The story isnt *That* deep and thrilling, but it works well enough for me. But then again I havent been to a musical I really didnt like so far. (Well I remember that I didnt got that caught by POTO and West Side Story when I saw them way back but I guess it was cause I was to young and inmature to enjoy them fully at the time.)

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Sun Sep 19, 2010 2:35 am
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Post Re: The chance to express veiws on disliking a show.
Disney-Bway27 wrote:
(This isn't just directed at Keaton, but it reminded me)
What's with all the South Pacific hate? It's a beautiful show, and easily one of R&H's best scores (in my opinion, of course). I realize the plot is EXTREMELY dated, but the themes of racism still resonate today, and you can't really deny it's well-made. I'm just really curious as to why so many people dislike it. It's easily in my top 3 for R&H shows.


I do like it better than other R&H shows I know of, but that isn't saying much at all. It is too conventional, stereotypical R&H. I was on board with it, at the very least, until the ending. Nellie's past racism is completely okay, because Emile walks in on her singing "Dites-Moi" with the children. So we're all good, and everything's great. It's too neat, it's too clean, and not an appropriate resolution to the problem, in my opinion. None of the songs are particularly brilliant. I found them to be nothing more than hummable tunes. I didn't really understand what the score was trying to convey, and I think that should be fairly clear.

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Post Re: The chance to express veiws on disliking a show.
ActingDude17 wrote:
Disney-Bway27 wrote:
(This isn't just directed at Keaton, but it reminded me)
What's with all the South Pacific hate? It's a beautiful show, and easily one of R&H's best scores (in my opinion, of course). I realize the plot is EXTREMELY dated, but the themes of racism still resonate today, and you can't really deny it's well-made. I'm just really curious as to why so many people dislike it. It's easily in my top 3 for R&H shows.


I do like it better than other R&H shows I know of, but that isn't saying much at all. It is too conventional, stereotypical R&H. I was on board with it, at the very least, until the ending. Nellie's past racism is completely okay, because Emile walks in on her singing "Dites-Moi" with the children. So we're all good, and everything's great. It's too neat, it's too clean, and not an appropriate resolution to the problem, in my opinion. None of the songs are particularly brilliant. I found them to be nothing more than hummable tunes. I didn't really understand what the score was trying to convey, and I think that should be fairly clear.


What I get from the ending is that after Nellie realises that she may have lost the man she loved, she was able to realise what was important and move on from her prejudice. What else did you want from an ending in 1948 :P?


Sun Sep 19, 2010 2:26 pm
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Post Re: The chance to express veiws on disliking a show.
Quote:
What do you think they needed to capture (in terms of 'mental illness'),


I didn't think that the songs were really intricate enough to capture the complexities of what a character like Diana might experience. The lyrics are so one-dimensional and sophomoric... the emotions barely register as anything more than whining "You just don't understand how I feel!" sentiments. The only real texture that the Broadway production had came from the brilliant performances and direction. I guess it just goes to show what good actors can do with crap.


Quote:
All of the sex and violence toned down.



Since when did sex and violence equal character development?

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Sun Sep 19, 2010 7:07 pm
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Post Re: The chance to express veiws on disliking a show.
Quote:
the emotions barely register as anything more than whining "You just don't understand how I feel!" sentiments


Well I agree "You don't know" is a bit of 'You just don't understand', but it is built up after we have some kind of insight of what she might experience though "I miss the mountains", and "My Psychopharmacologist and I".

Because the show is not an exposition on mental illness, I don't think it has to capture every intricate detail of her illness though. I mean, the point of N2N is how it affects her family and they affect her etc.

So I think the emotions that 'register'' in songs like "I've been", 'light" etc.. are genuine.


Sun Sep 19, 2010 9:41 pm
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Post Re: The chance to express veiws on disliking a show.
dolbinau wrote:
ActingDude17 wrote:
Disney-Bway27 wrote:
(This isn't just directed at Keaton, but it reminded me)
What's with all the South Pacific hate? It's a beautiful show, and easily one of R&H's best scores (in my opinion, of course). I realize the plot is EXTREMELY dated, but the themes of racism still resonate today, and you can't really deny it's well-made. I'm just really curious as to why so many people dislike it. It's easily in my top 3 for R&H shows.


I do like it better than other R&H shows I know of, but that isn't saying much at all. It is too conventional, stereotypical R&H. I was on board with it, at the very least, until the ending. Nellie's past racism is completely okay, because Emile walks in on her singing "Dites-Moi" with the children. So we're all good, and everything's great. It's too neat, it's too clean, and not an appropriate resolution to the problem, in my opinion. None of the songs are particularly brilliant. I found them to be nothing more than hummable tunes. I didn't really understand what the score was trying to convey, and I think that should be fairly clear.


What I get from the ending is that after Nellie realises that she may have lost the man she loved, she was able to realise what was important and move on from her prejudice. What else did you want from an ending in 1948 :P?


I wanted something that's not what I described above. Would you not agree that the ending is a cop-out and too orderly, too convenient? I can't even describe Nellie's transformation, because it's not even there. Suddenly she's singing with the kids, Emile hears her, and all is well.

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Mon Sep 20, 2010 4:19 pm
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Post SOUTH PACIFIC
ActingDude17 wrote:
Would you not agree that the ending is a cop-out and too orderly, too convenient? I can't even describe Nellie's transformation, because it's not even there. Suddenly she's singing with the kids, Emile hears her, and all is well.

I wouldn't agree. When I read sweeping statements like this, it makes me wonder whether you've really engaged with the material when you've watched either the show or the 1958 film (as opposed to the poorly adapted 2001 TV movie), especially as Nellie's "transformation" is so clearly plotted through the second act, starting with the seeds sewn in the post-Thanksgiving Show scenes and reaching its pivotal moment in the scene where Bloody Mary brings Liat to look for Cable.

There is no transformation for the character in the final scene, because it has already happened. The only reason that Nellie is there in Emile's house, interacting with his children in the way that she does, is because of her transformation. At that point, she has no guarantee that Emile will return alive. That's the point; that's what shows how she's changed. She's no longer the 'cockeyed optimist' she was at the top of the show, nor is she the woman struggling with her own prejudices that she was before and after interval. This has not been a simple process: it has taken one woman the same amount of time that is has taken to change the course of a war. Nellie's transformation is her own "Operation Alligator" and the implication is that prejudice is a war that can only be won when each individual has taken responsibility for his/her own prejudices; when he/she realises not only that they are wrong but also why they are wrong; and when he/she take a conscious step forward towards reconciliation.

That Emile returns is only a final point of the narrative's dénouement, but it still is important thematically because it shows that reconciliation is possible. That's the other cornerstone of South Pacific: possibility, hope. It may be true that the effects of a process of reconciliation are rarely seen to pay off as quickly in life: in life, true reconciliation based around prejudice take years to play out because it takes place on a societal level. If this was not the case, and reconciliation was able to occur instantaneously in society, the kind of prejudice of taking place in the mid-twentieth century world that South Pacific reflects would not be seen today and the show's themes would be irrelevant, which of course, they are not, the evidence being the resonance of the show and what it says about prejudice in today's society. However, reconciliation on a societal level is not what South Pacific is about in terms of its narrative, although it certainly does connect with that idea thematically. The narrative of South Pacific is personal and it deals with the reconciliation of two people and the process leading up to that moment, something that is possible to achieve in the short term. The show doesn't deal with the terms of the reconciliation, what happens after the war as Nellie negotiates her life with Emile, and there is no reason why one should assume that the next phase of their life together would automatically be easy - but that's an idea for another play. It's not what South Pacific is about.

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