The title question is answered in the article. Not a lot of new information here.
"A show that might ordinarily raise $10 million for its Broadway capitalization might now, without much more effort, raise $10.4 million, that extra fraction letting the producers pay for (and thus own) the OCR outright."
"The upside for the producers (and for the artists as well) is that they have a permanent record of work they may love, or at any rate hope to profit by in the future. A show creamed by the New York critics might yet live on in high schools and regional theaters — if there’s an OCR to spread the word."
That ranking of cast albums from last season is a joke.
I think every show should be recorded; I wish there were original cast recordings of Kelly, Breakfast at Tiffany's, A Broadway Musical, Lolita My Love, The Fig Leaves Are Falling, Harrigan 'N Hart, etc. Every show (almost) has at least one song that's fun to listen to again.
But of the list, there are only three that I'm interested in having (and already have). I got a few others as gifts at parties, but probably won't listen tho them after the first time (for instance, I will always listen to the original cast of On The Twentieth Century - they and the orchestra just are better in every way then the revival, to my ears). I saw the others, and don't care enough to pay to hear them again.
I guess I just see this a bit differently than the author of this article. The fact that nearly every musical from last season was recorded is something to celebrate. In spite of reviews and profits every show will have its group of fans, no matter how small, that will cherish some of these cast albums. This author is acting as if they've been somehow personally slighted by the mere existence of a Doctor Zhivago cast album. If they didn't like the show then don't buy the cast album and don't listen to it. Why **** on those who enjoyed the show? What is to be gained by that?
Well, because it's a list that's aiming to be comprehensive. And I'd argue that before we eliminate the notion of theater criticism completely, we learn not to take such criticism personally and rather stand up and support the things we like with well-articulated reasoning.
I'm not arguing the inclusion of the Doctor Zhivago cast album on the list. What I don't understand is what this man gains from continuing to lambaste a show that is no longer running. To me his criticism comes off more like a hunter aiming his rifle at a carcass.
Did anyone hear the report that print outlets (like the NY Daily News) fired a lot of their arts reviewers and are going to focus mainly on "star-driven shows?"
"I guess I just see this a bit differently than the author of this article. The fact that nearly every musical from last season was recorded is something to celebrate."
Better question. Why isn't everything recorded? Obviously I know the practical reasons why but I wish that everything could be recorded whether in a big way (Live from Lincoln Center, Met Live in HD, OCR's) or a small way (sheet music, recordings of press performances). I know the ephemeral nature of theatre is part of what makes it special but it's also very frustrating for the many, many people who will never get to see a particular production or performer for a variety of reasons.
And yes, some people were happy to get a Doctor Zhivago recording and it didn't hurt anyone who didn't want it. There are quite a few recordings that ranked high on his list that I have no desire to own/listen to even though they're easily obtained. Critics don't get to dictate the taste of the masses anymore (if they ever did). While I don't want to argue against theatre coverage in mainstream publications, this kind of feels like a less extreme version of the trolling of "what is acceptable theatre attire" articles.
An informative piece, but the 'something for everyone' theme undermined by the pointless trashing of the Side Show. Finding Neverland, and Doc Z recordings.
Why don't you go? Why don't you leave Manderley? He doesn't need you... he's got his memories. He doesn't love you, he wants to be alone again with her. You've nothing to stay for. You've nothing to live for really, have you?
Quick, someone pull up the "HONEYMOON IN VEGAS struggling on broadway" thread.
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I downloaded HONEYMOON because of this thread and I am shocked by how much I like it! Surely one of the best overtures since GYPSY! And for the first time I understand the praise for JRB's lyrics.
So if a production ever plays LA, it has already sold at least two tickets, however putrid the book may be.