A lot to admire about this biggest of all Rodgers and Hammerstein financial flops. Based on the novel Cannery Row and its sequel, Sweet Thursday, which was written specifically for a Broadway adaptation by John Steinbeck (The Grapes of Wrath). The rocky relationship between these two lonely but proud outsiders from very different backgrounds is handled very well, as evidenced by this poignant song. Suzy has another lovely song "Everybody Has A Home But Me," as does a weary Doc. ("The Man I Used to Be") The main love song, "All At Once You Love Her," is no "Some Enchanted Evening," although Perry Como had a minor hit with it. This show does feature perhaps the most hummable tune ever written by Richard Rodgers, "Sweet Thursday." As sung by Leslie Uggams and played by the orchestra, it takes only about twenty seconds until you start humming it. It is described as a type of song that Rodgers rarely if ever wrote, a "cakewalk," which I only know as a type of dance popular in the first part of the 20th Century. Someone change the lyrics, or use as an instrumental, but don't waste this song. As to the failure of the show, the usual reason given is that love interest Suzie in Steinbeck's novel was, briefly, employed as a hooker in the friendly local bordello. Supposedly Hammerstein and Rogers found the connection between Suzie and prostitution of be objectionable, and thus removed from the show the motivation of the plot and Suzy's character. I believe that the problem was more with the overuse of the Cannery Row lovable bums. In South Pacific the Seabees were an effective chorus that contributed some memorable songs. But there were long periods with no Seabees while the principal characters moved ahead with their relationships. The Cannery Row bums are just always around commenting on matters and breaking into song. In addition, the casting of an opera singer as the owner of the bordello was a poor choice. Leslie Uggams is much more comfortable in the role. It seems a shame that this show can't be disinterred and enlivened again with changes to the book and songs. Since there are high quality R & H songs, and a solid love affair between two interesting and different characters, why must they all be wasted, and never shown the light of day. That's just the way Broadway works, I guess. From the Overture to Encores' Pipe Dream, here is "Sweet Thursday." ruclips.net/video/O8nanP23kTU/видео.html
I prefer this Encore version more than the 1955 original Broadway cast William Johnson and Judy Tyler. Its one of the few times that the revival cast was better than the original one.The same happened with Leslie Uggans better than Helen Traubel.
She is so personable and talented! Thanks for sharing.
I absolutely love will chase! Amazing performance!
A lot to admire about this biggest of all Rodgers and Hammerstein financial flops. Based on the novel Cannery Row and its sequel, Sweet Thursday, which was written specifically for a Broadway adaptation by John Steinbeck (The Grapes of Wrath). The rocky relationship between these two lonely but proud outsiders from very different backgrounds is handled very well, as evidenced by this poignant song. Suzy has another lovely song "Everybody Has A Home But Me," as does a weary Doc. ("The Man I Used to Be") The main love song, "All At Once You Love Her," is no "Some Enchanted Evening," although Perry Como had a minor hit with it.
This show does feature perhaps the most hummable tune ever written by Richard Rodgers, "Sweet Thursday." As sung by Leslie Uggams and played by the orchestra, it takes only about twenty seconds until you start humming it. It is described as a type of song that Rodgers rarely if ever wrote, a "cakewalk," which I only know as a type of dance popular in the first part of the 20th Century. Someone change the lyrics, or use as an instrumental, but don't waste this song.
As to the failure of the show, the usual reason given is that love interest Suzie in Steinbeck's novel was, briefly, employed as a hooker in the friendly local bordello. Supposedly Hammerstein and Rogers found the connection between Suzie and prostitution of be objectionable, and thus removed from the show the motivation of the plot and Suzy's character.
I believe that the problem was more with the overuse of the Cannery Row lovable bums. In South Pacific the Seabees were an effective chorus that contributed some memorable songs. But there were long periods with no Seabees while the principal characters moved ahead with their relationships. The Cannery Row bums are just always around commenting on matters and breaking into song. In addition, the casting of an opera singer as the owner of the bordello was a poor choice. Leslie Uggams is much more comfortable in the role.
It seems a shame that this show can't be disinterred and enlivened again with changes to the book and songs. Since there are high quality R & H songs, and a solid love affair between two interesting and different characters, why must they all be wasted, and never shown the light of day.
That's just the way Broadway works, I guess. From the Overture to Encores' Pipe Dream, here is "Sweet Thursday."
ruclips.net/video/O8nanP23kTU/видео.html
Lovely performance.
I prefer this Encore version more than the 1955 original Broadway cast William Johnson and Judy Tyler. Its one of the few times that the revival cast was better than the original one.The same happened with Leslie Uggans better than Helen Traubel.
That's the magical talent of Laura Osnes and Will Chase.
+Daisy Valerio that is beautiful that you can come out and admit that because so am I! I would reply to you directly but I don't know how!