This is such good work! Unlike the Stratford recording you can hear and see everything, and given my first impression of the original In as an 80's workout video, it was a nice choice for an 80's dance spectacular! It probably only belongs there.
This is the closest i will ever get to witnessing the full original carrie “In” performance from broadway/stratford. The dancers did a PHENOMENAL JOB and i LOVE THE OUTFITS (so much better than those white outfits). I have decided that that performance will from now on live vicariously through this video.
This is great. This is the best shot version of the original "In" with the Debbie Allen choreography that I've seen. What year did you do the show? It was at Disney World?
I think this was 2009??? It was a number from a show called "I Wanna Dance with Somebody " which was an all 80s dance revue. This was our "80s Broadway" number.
Compliments on the inspired decision to include this in the show! I bet it was a major draw and talking point, with some audience members a lot more impressed than they expected to be.
I miss my favorite line "What if all my ends should split?" When did that line get changed, I wonder? This number was so exhausting and the accelerando toward the end is brilliantly exciting. Debbie Allen got a Kennedy Center Honor Was "Carrie" even mentioned?
I wonder what Debbie Allen was smoking/snorting when she choreographed that monstrosity? The reason the book didn't work is because they kept trying to bend it around her bizarre choreography, not the other way around.
Wrong. Terry Hands was an incompetent director who didn't get the story. HE cut the book to practically nothing because he didn't like when the audience laughed. As the director he should have given Debbie some parameters to work within but he didn't. Her choreography is quite brilliant tho it may not serve the story. But In and Wotta Night are perfect.
This is interesting, because I always read that Debbie meddled with Hands’ (less than stellar) direction and kept adding more dancing and movement where there was supposed to be none. And, yes, I remember listening to the Stratford soundboard and there were many dialogue scenes and recitative that helped move the story forward and explain various details, as well as helping the character development. Then when I heard the audio for the Broadway preview, about half of those moments were gone and when I finally listened to the Broadway closing night soundboard, it sounded more like an abstract song cycle. It was stupid for Terry Hands to delete scenes he didn’t like and not replace them with something better, as done in other shows during the developmental period. And he is supposed to be an accomplished opera director.
Makes you wonder if the Broadway critical reception would have been better overall if they had seen the Stratford version. I saw the last performance at Stratford and the audience response seemed completely positive, in contrast to what I've read about some of the Broadway performances.
This is WHY the 2012 and 2016 revival is WAY better than this monstrosity! It’s like they forgot the musical they were doing was CARRIE. This looks like FAME aerobics.
Education time: The 2012/2016 version is very nice but rather boring. The reason you're picking up on some FAME moments here is because Debbie Allen actually choreographed both. The creators of the show, Michael Gore and Larry Cohen worked with Deb big on FAME and wanted her involved. They are also recorded in a 1986 workshop of Carrie as saying the teenage stuff should be very 1980s MTV. And that is exactly what this is. For better or worse the creators got exactly what they wanted from Debbie. Carrie is not simply a story of a girl with a monster of a mom (especially if you watch the new version where Margaret is some nice old lady who reads the Bible too much ... gimme a break) and one or two mean kids at school. No. She is completely isolated. Her world at home needs to be an unbelievable nightmare while the world of the high school kids needs to be this bombastic unattainable world like you'd see in teen movies. That's how it works so well in the book and movie and how it WOULD have worked in the 1988 musical had Terry Hands not cut the entire book and made it all sung through. Watch the 1970's movie. It has a lot of camp in it. It needs to. All good horror does. If it starts taking itself too seriously it becomes one note.
Jonny Nelson I understand that, I just feel that the updated version focuses more on the psychological horror aspect from the book, whereas the ‘88 version is very upbeat and out of place with mirrors and random dance numbers. I get that Debbie Allen was the choreographer, but you have her and still have the horror and suspense of the novel with the dance numbers.
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Wow, this is such an affectionate tribute. It’s like someone staged one of my dreams
if the Greece/Grease incident didn't happen
It didn't happen, its a tall tale.
This is absolute PERFECTION!!! It looks as if Debbie Allan were there to choreograph it herself! 😍
This is such good work! Unlike the Stratford recording you can hear and see everything, and given my first impression of the original In as an 80's workout video, it was a nice choice for an 80's dance spectacular! It probably only belongs there.
This is the closest i will ever get to witnessing the full original carrie “In” performance from broadway/stratford. The dancers did a PHENOMENAL JOB and i LOVE THE OUTFITS (so much better than those white outfits). I have decided that that performance will from now on live vicariously through this video.
I love this !!!
This was performed at MGM Studios in Disney World.
This is great. This is the best shot version of the original "In" with the Debbie Allen choreography that I've seen. What year did you do the show? It was at Disney World?
I think this was 2009??? It was a number from a show called "I Wanna Dance with Somebody " which was an all 80s dance revue. This was our "80s Broadway" number.
Wow.
This is so cool!!
I can't believe this used to be music for a workout video.
Awesome vid.
Compliments on the inspired decision to include this in the show! I bet it was a
major draw and talking point, with some audience members a lot more impressed
than they expected to be.
This just screams 80s music video
I am DEAD. YAS!!!!
3:45
Is there an original audio to this?
I miss my favorite line "What if all my ends should split?" When did that line get changed, I wonder? This number was so exhausting and the accelerando toward the end is brilliantly exciting. Debbie Allen got a Kennedy Center Honor Was "Carrie" even mentioned?
Is this on the Beauty and the Beast: Live stage at Walt Disney World? Lol
yes, it is
How do you know that? 😳
Mason Williams you can tell. Especially if you’ve seen it
I wonder what Debbie Allen was smoking/snorting when she choreographed that monstrosity? The reason the book didn't work is because they kept trying to bend it around her bizarre choreography, not the other way around.
Wrong. Terry Hands was an incompetent director who didn't get the story. HE cut the book to practically nothing because he didn't like when the audience laughed. As the director he should have given Debbie some parameters to work within but he didn't. Her choreography is quite brilliant tho it may not serve the story. But In and Wotta Night are perfect.
This is interesting, because I always read that Debbie meddled with Hands’ (less than stellar) direction and kept adding more dancing and movement where there was supposed to be none. And, yes, I remember listening to the Stratford soundboard and there were many dialogue scenes and recitative that helped move the story forward and explain various details, as well as helping the character development. Then when I heard the audio for the Broadway preview, about half of those moments were gone and when I finally listened to the Broadway closing night soundboard, it sounded more like an abstract song cycle. It was stupid for Terry Hands to delete scenes he didn’t like and not replace them with something better, as done in other shows during the developmental period. And he is supposed to be an accomplished opera director.
Makes you wonder if the Broadway critical reception would have been better overall if they had seen the Stratford version. I saw the last performance at Stratford and the audience response seemed completely positive, in contrast to what I've read about some of the Broadway performances.
@@jonnynelson9485 , I agree. It is fantastic choreography, but it didn't work for the show. Did you guys do Wotta Night?
@@josephcamhi5676 We did an 80s prom number but it was to “I Wanna Dance with Somebody.” We did use a heavy Carrie influence though!
Is there a reason as to why you guys picked a crackhead energy song to dance to
This is WHY the 2012 and 2016 revival is WAY better than this monstrosity! It’s like they forgot the musical they were doing was CARRIE. This looks like FAME aerobics.
Education time: The 2012/2016 version is very nice but rather boring. The reason you're picking up on some FAME moments here is because Debbie Allen actually choreographed both. The creators of the show, Michael Gore and Larry Cohen worked with Deb big on FAME and wanted her involved. They are also recorded in a 1986 workshop of Carrie as saying the teenage stuff should be very 1980s MTV. And that is exactly what this is. For better or worse the creators got exactly what they wanted from Debbie. Carrie is not simply a story of a girl with a monster of a mom (especially if you watch the new version where Margaret is some nice old lady who reads the Bible too much ... gimme a break) and one or two mean kids at school. No. She is completely isolated. Her world at home needs to be an unbelievable nightmare while the world of the high school kids needs to be this bombastic unattainable world like you'd see in teen movies. That's how it works so well in the book and movie and how it WOULD have worked in the 1988 musical had Terry Hands not cut the entire book and made it all sung through. Watch the 1970's movie. It has a lot of camp in it. It needs to. All good horror does. If it starts taking itself too seriously it becomes one note.
Jonny Nelson I understand that, I just feel that the updated version focuses more on the psychological horror aspect from the book, whereas the ‘88 version is very upbeat and out of place with mirrors and random dance numbers. I get that Debbie Allen was the choreographer, but you have her and still have the horror and suspense of the novel with the dance numbers.
Lmao the Broadway version is better than whatever the 2012 version is stay mad 💀
@@ENAnonymous_ FR
@@ENAnonymous_oh yeah? Is that why it flopped?