去后台,然后怀旧

Andy Propst
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引用次数: 0

摘要

在20世纪60年代末和70年代初,贝蒂·科登和阿道夫·格林制作了两部新剧。第一部是《掌声》(掌声),虽然故事发生在当时的纽约,但它有点像对过去的回顾。这是贝蒂·戴维斯的经典电影《彗星美人》的音乐版。这部由作曲家查尔斯·斯特劳斯和作词人李·亚当斯谱曲的剧,在编剧和主演劳伦·巴考尔(Lauren Bacall)之间大获成功,后者是她首次出演音乐剧。随后,他们又创作了另一首怀旧的作品《罗蕾莱》(Lorelei),这是音乐剧《绅士爱美人》(Gentlemen爱美人)的修订版,专门为该剧的原主演卡罗尔·钱宁(Carol Channing)而写。科登和格林只为几首新歌提供歌词,但当制作陷入困境时,他们作为导演介入,为它工作了一年多。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Going Backstage, Then Getting Nostalgic
As the 1960s end and the 1970s begin, Betty Comden and Adolph Green worked on two new shows. The first was Applause, which though set in then-present-day New York was something of a backward glance. It was a musical version of the classic Bette Davis film All About Eve. The show, which had a score by composer Charles Strouse and lyricist Lee Adams, was a hit for the writers and its star, film luminary Lauren Bacall, who was making her debut in a musical. They followed with another nostalgic piece of writing, Lorelei, a revision of the musical Gentlemen Prefer Blondes, penned specifically for its original star, Carol Channing. Comden and Green were only to provide lyrics for a handful of new songs, but when the production was foundering on the road they stepped in as its directors, working on it for over a year.
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