Im so sad for carrie that the heather's fans were so cruel to her during her run as veronica. It seems to have soured her memory and experience of something that should have been so exciting and amazing. I saw her perform and it was absolutely brilliant, I wish others could have seen it that way too rather than being hypercritical and bullying the cast
it honestly drives me and when people focus on how high you can sing, Just cause you or someone else can sing high doesn't make it good! singing is so much more then that high note at the end. Chesting a low notes is just as difficult but to be people not near as impressive
I agree with you completely about new composers not thinking about the demands of 8 shows a week musical theatre. Shows like Heathers, Legally Blonde and Beetlejuice have some VERY difficult parts in them that don't let up and are killing the voices of talented women who want to play those roles. (In my experience they're always written by men also...)
My guess would be in shows like Les Mis that are through-sung, not only are they established shows but also changing the key of one song would mess up all sorts of orchestration, surrounding songs etc. But I do think it should be normalised to sing in the key that suits your voice in a number show, even a semi-tone can make such a difference!
I love the way the theater I work at does it. They produce their original shows and uses tracks. So for solo songs they’re totally willing to change the key between the primary and understudies in a role! My favorite being a song that was pretty much written for the lead, in a bari-tenor key and the understudy being a high gospel tenor, so they bumped it up by something like two whole steps so that he could use and show off his awesome high range!
as an alto who’s more comfortable singing tenor i wish people were more willing to adjust keys. i have yet to find a role i can comfortably sing that isn’t a male tenor role (which i’d have no chance at being cast as)
that's so sad that people were so gross about heathers to you carrie... i absolutely loved your veronica at the other palace !! as a musician i felt so lucky to see & recognise all the work you guys put into developing the music (and show itself ofc) and how you'd worked to create a new and fab production! i noted a lot of the musical choices as i knew the show fairly well and loved the changes of keys, new riffs, all the changes that maybe some criticised, but (not that my opinion matters i'm just a fan lol) i really appreciated the musical choices made and super enjoyed it ! you and the whole west end cast make that show a joy carrie :) love your video as usual, good morning! x
All I can think about is Mean Girls changing a duet to a solo and then lowering notes and then changing harmonies for Cameron Dallas... and I feel bad but he struggles to do that.
My flute teacher used to play in the pit and she told me that one night they were just given a song in a different key and had to sight read for that performance!
She Used to Be Mine from Waitress has been performed in three different keys! In the original Boston run it was in G major, Sara released her version in F major, and then for Broadway they did it in G flat major. But when Sara and Katherine McPhee play Jenna, its in F major again. In the first "rehearsal footage" of She Used to Be Mine, it was still in G major, so that version has much more mixing than the other versions, which are very belt-y. I was so bummed when they switched it to G flat because I feel like most contemporary musical theatre songs are written to be fully belted, or mix-belted but still meant to sound belt-y. So finally I had a song that was meant to be unapologetically mixed! And then they brought it down so it could be fully belted
Good morning! Well done carrie for finishing the audio book, I'm definitely going to get it from the hellish conditions carrie went through to produce the book😊
The only show I have heard about from a backstage interview where the interviewer asked a similar question about keys and vocals is Six. Apparently when the cast member was auditioning, they were auditioning for 3 different types of the show: Local, touring and abroad. Here the director had no problem with some of the cast members changing key as Carrie said they kept the story alive ❣🤗
Have you done Alto's Lament? Best song ever! But seriously, as a former alto (I was stuck in alto in a choir because I could do the notes and we had hardly anyone, then I got a much more qualified singing teacher and it turns out I'm a top soprano... I found this out at 22 and I was fuming I'd missed out on training for so long but here are) I fully appreciate how hard it is to find songs for repertoire, let alone characters to play!
My vocal coach calls them money notes, she's been training me to learn the money notes and find ways to make them sound impressive on less energy and then focus on the rest. She was Christine in Phantom and I fully appreciate how much she must have to do that
I always notice the end note in ‘I’m not that girl’ in wicked. I believe, because the last note is so low, some sing an octave higher (same note). Always sound weird but they make the allowances for this one note, if used to original cast recording. Another great topic guys, Thanks
When trying to sing a long to Wednesday Addams songs, i found it easier to sing in your key, Carrie comparing to the American actresses. I'm a mezzo soprano
Kristina Från Duvemåla [Kristina from Duvemala], which I see as a modern opera not a musical as it is only ever performed by opera companies, has in the score two full versions of the 11 o’clock number “Du Måste Finnas” (which Kerry Ellis has recorded as “You have to be there”) in different keys, clearly anticipating some Kristinas might do better with one than the other. Thinking about it, Katisha’s entrance scene at the end of Act I of “The Mikado” has two versions in the original conductor’s score from 1885 - probably anticipating that mezzos would sometimes be cast or the occasional contralto with a few high notes. I can remember in the “original” run of the revival of Chicago (1997) in London, Ute Lemper’s understudy as Velma (Vanessa Leagh-Hicks, now an agent, who was a totally believable double murderer!) sang the end of the reprise of “I can’t do it alone” down the octave.
I remember seeing Kinky Boots @ The Adelphi when Simon took over from Matt Henry and Simon's 'I'm not my father's son' being lower than what I'd heard from every other Lola. I know Simon was 2nd cover for Matt so I'm not sure if the change was implemented because he's gone from an odd cover when Matt was off to 8 shows a week as the principal Lola. I know that show like the back of my hand so when I heard the key change I remember sitting up straight as if to say 'well that's new!' haha! Simon was incredible though and as you say, his emotion during that song was incredible, so just because he was singing it lower than previous Lola's doesn't affect the quality of his performance or the story being told. Super interesting though, and definitely a reason why live theatre trumps all over arts as you never get the same show twice!
My absolute pet peeve, is when people say "never change the key". Even though plenty of composers, including some Golden age musical composers, are know to wait to see who will sing it before setting the key. If you can sing it, do it.
Really sad how songs are often moved higher to suit tenors and sopranos but hardly ever lowered. I’ve been working with a voice teacher to try and reach an F4, but I know that without being able to go to a G or higher I’ll never be able to have a singing part in a show at least until I’m old enough to play old man parts.
Jhelisa Carroll With both original productions of Evita and Phantom, “matinée Evas/Christines” were used for that reason - although given Christine’s highest note is click-tracked along with the first half of the title song... Evita is an awful part to sing for the huge leaps back and forth over the passaggio in A New Argentina - and the high notes therein - and for where it sits generally. LuPone in interviews at the time refers to herself as being a higher mezzo with more soprano notes so it must have been a particular struggle for her. Pia Douwes in the second Dutch production unusually sang the “he supports you, for he loves you...” sections down the octave (almost Madonna-like) but then belted some crazy high riffs for “if not how could he love me” - never quite understood that as she went higher in those parts than the score would have required for “is one of you”. Must have been a dramatic choice by the Dir rather than vocal ability...
Sunset Boulevard was famously lowered (Norma’s songs anyway) for the Broadway/LA runs when Miss Close came in as Norma as she could not sing it as-written. Patti LuPone meanwhile was singing it in the original keys in London. Once the latter was fired and the Broadway revised score and script and sets (they were repainted from sunset colours to greys) became “the show”, the only versions available have had the revisions e.g. With One Look has a much lower ending.
Since I started listening to your "daily talks" I sing so much more musical stuff at home, and I think it's a matter of days until my neighbors tell me to shut up 😂😂 but congrats Carrie on finishing your audiobook 😊💕
As an alto I find so many original published keys are too high or are pushing the limits of my range which is always a bit of a shame but at least when I'm just singing I can transpose them down if I want
I know that When He Sees Me is a song that the key changes sometimes, pretty sure it was lowered for Ashley Roberts but then Evelyn also sung it in the lower key
If you mean by plot ending, take this from Wikipedia: Veronica, having faked her suicide, races to stop J.D. ("Dead Girl Walking (Reprise)"). She confronts him in the boiler room, but in their struggle, J.D. is shot. Unable to disarm the bomb, Veronica takes it to the empty football field. J.D. convinces her to let him take the bomb instead ("I Am Damaged"). It explodes, killing him alone. Returning to school, Veronica takes the red scrunchie from Duke and ends the era of social ridicule. Veronica invites Martha and the remaining Heathers to hang out, rent a movie, and be kids before childhood is over ("Seventeen (Reprise)"). Edit: Might have been with regards to the lines, I don't know...
James Williams what did it change to in the London version(s)? Edit: I just realized instead of fighting over a gun, they fight with a croquet mallet as Carrie told us. So does JD not die, or does he just have blunt force trauma instead of being shot?
@@jhelisacarroll Haven't watched the UK bootleg yet (shocking, I know), but JD kills himself either way, whether from said blunt force trauma, or if he thinks the only way to restore 'normality' is to commit suicide. I mean, Veronica by this point is badass, but I can't imagine her socking JD in the nuts with a croquet mallet (cool as that may be). I've just looked and I don't think further parts are online yet (I may be wrong, but only the first half of Act 1 shows up).
@@jhelisacarroll It's been a little bit since I watched the UK bootleg but I didn't actually think that much changed. It's possible JD doesn't have the gun in the boiler room, but he still blows himself up at the end. There were a fair number of dialog changes but I don't think as far as the events go it was that different. Edit:I went back and looked, JD does have a gun in the boiler room and he does get shot like in the original. The only real changes are some dialogue adds before the fight, dialogue changes before he blows himself up, and some dialogue changes in seventeen reprise.
Can I just make a suggestion to people to follow thedavidjeffery on TikTok. He's in Dear Evan Hansen on Broadway and his videos are so informative and really interesting. 😄
Im so sad for carrie that the heather's fans were so cruel to her during her run as veronica. It seems to have soured her memory and experience of something that should have been so exciting and amazing. I saw her perform and it was absolutely brilliant, I wish others could have seen it that way too rather than being hypercritical and bullying the cast
I think that when Carrie's audiobook comes out we all get it. Out of solidarity with the hellish conditions she went through to record it!
Carrie signing “8 shows a week” has finished me 😂
it honestly drives me and when people focus on how high you can sing, Just cause you or someone else can sing high doesn't make it good! singing is so much more then that high note at the end. Chesting a low notes is just as difficult but to be people not near as impressive
I agree with you completely about new composers not thinking about the demands of 8 shows a week musical theatre. Shows like Heathers, Legally Blonde and Beetlejuice have some VERY difficult parts in them that don't let up and are killing the voices of talented women who want to play those roles.
(In my experience they're always written by men also...)
Andrew said it himself in an interview. So it’s very true. And I absolutely love it 😂
My guess would be in shows like Les Mis that are through-sung, not only are they established shows but also changing the key of one song would mess up all sorts of orchestration, surrounding songs etc. But I do think it should be normalised to sing in the key that suits your voice in a number show, even a semi-tone can make such a difference!
that was exactly what I was thinking!!
I love the way the theater I work at does it. They produce their original shows and uses tracks. So for solo songs they’re totally willing to change the key between the primary and understudies in a role! My favorite being a song that was pretty much written for the lead, in a bari-tenor key and the understudy being a high gospel tenor, so they bumped it up by something like two whole steps so that he could use and show off his awesome high range!
as an alto who’s more comfortable singing tenor i wish people were more willing to adjust keys. i have yet to find a role i can comfortably sing that isn’t a male tenor role (which i’d have no chance at being cast as)
that's so sad that people were so gross about heathers to you carrie... i absolutely loved your veronica at the other palace !! as a musician i felt so lucky to see & recognise all the work you guys put into developing the music (and show itself ofc) and how you'd worked to create a new and fab production! i noted a lot of the musical choices as i knew the show fairly well and loved the changes of keys, new riffs, all the changes that maybe some criticised, but (not that my opinion matters i'm just a fan lol) i really appreciated the musical choices made and super enjoyed it ! you and the whole west end cast make that show a joy carrie :) love your video as usual, good morning! x
All I can think about is Mean Girls changing a duet to a solo and then lowering notes and then changing harmonies for Cameron Dallas... and I feel bad but he struggles to do that.
they didn’t change them for Cameron Dallas they straight up removed them 😂
Can we just appreciate the band/orchestra when keys are changed. That stuff is hard.
My flute teacher used to play in the pit and she told me that one night they were just given a song in a different key and had to sight read for that performance!
She Used to Be Mine from Waitress has been performed in three different keys! In the original Boston run it was in G major, Sara released her version in F major, and then for Broadway they did it in G flat major. But when Sara and Katherine McPhee play Jenna, its in F major again. In the first "rehearsal footage" of She Used to Be Mine, it was still in G major, so that version has much more mixing than the other versions, which are very belt-y. I was so bummed when they switched it to G flat because I feel like most contemporary musical theatre songs are written to be fully belted, or mix-belted but still meant to sound belt-y. So finally I had a song that was meant to be unapologetically mixed! And then they brought it down so it could be fully belted
Good morning! Well done carrie for finishing the audio book, I'm definitely going to get it from the hellish conditions carrie went through to produce the book😊
The only show I have heard about from a backstage interview where the interviewer asked a similar question about keys and vocals is Six.
Apparently when the cast member was auditioning, they were auditioning for 3 different types of the show: Local, touring and abroad.
Here the director had no problem with some of the cast members changing key as Carrie said they kept the story alive ❣🤗
Honestly as an alto it’s so depressing the amount of roles I can never do because of the key songs are in.
I know its so annoying
Have you done Alto's Lament? Best song ever! But seriously, as a former alto (I was stuck in alto in a choir because I could do the notes and we had hardly anyone, then I got a much more qualified singing teacher and it turns out I'm a top soprano... I found this out at 22 and I was fuming I'd missed out on training for so long but here are) I fully appreciate how hard it is to find songs for repertoire, let alone characters to play!
I'm a really high soprano, and honestly, I feel the same. I find that lots of songs are written in the middle right on my break
Sammy Tyler no I’ve not, I’ll have to check it out! X
Jenny Whittaker haha yeah I sympathise with that! X
My vocal coach calls them money notes, she's been training me to learn the money notes and find ways to make them sound impressive on less energy and then focus on the rest. She was Christine in Phantom and I fully appreciate how much she must have to do that
I feel like Frozen is a key example of this - Elsa's track is insane! Caissie Levy is crazy but that is one hell of a role to play 8 shows a week
They changed the key for pretty much every Jenna in waitress ❤️
I always notice the end note in ‘I’m not that girl’ in wicked. I believe, because the last note is so low, some sing an octave higher (same note). Always sound weird but they make the allowances for this one note, if used to original cast recording. Another great topic guys, Thanks
When trying to sing a long to Wednesday Addams songs, i found it easier to sing in your key, Carrie comparing to the American actresses. I'm a mezzo soprano
Kristina Från Duvemåla [Kristina from Duvemala], which I see as a modern opera not a musical as it is only ever performed by opera companies, has in the score two full versions of the 11 o’clock number “Du Måste Finnas” (which Kerry Ellis has recorded as “You have to be there”) in different keys, clearly anticipating some Kristinas might do better with one than the other. Thinking about it, Katisha’s entrance scene at the end of Act I of “The Mikado” has two versions in the original conductor’s score from 1885 - probably anticipating that mezzos would sometimes be cast or the occasional contralto with a few high notes.
I can remember in the “original” run of the revival of Chicago (1997) in London, Ute Lemper’s understudy as Velma (Vanessa Leagh-Hicks, now an agent, who was a totally believable double murderer!) sang the end of the reprise of “I can’t do it alone” down the octave.
I remember seeing Kinky Boots @ The Adelphi when Simon took over from Matt Henry and Simon's 'I'm not my father's son' being lower than what I'd heard from every other Lola. I know Simon was 2nd cover for Matt so I'm not sure if the change was implemented because he's gone from an odd cover when Matt was off to 8 shows a week as the principal Lola. I know that show like the back of my hand so when I heard the key change I remember sitting up straight as if to say 'well that's new!' haha! Simon was incredible though and as you say, his emotion during that song was incredible, so just because he was singing it lower than previous Lola's doesn't affect the quality of his performance or the story being told. Super interesting though, and definitely a reason why live theatre trumps all over arts as you never get the same show twice!
Morning. We voting in Poland today. For President. Fingers crossed tomorrow we will wake up in different country
Stay safe and never lose hope ❤️
Update. Homophobic minion won...
My absolute pet peeve, is when people say "never change the key". Even though plenty of composers, including some Golden age musical composers, are know to wait to see who will sing it before setting the key. If you can sing it, do it.
Really sad how songs are often moved higher to suit tenors and sopranos but hardly ever lowered. I’ve been working with a voice teacher to try and reach an F4, but I know that without being able to go to a G or higher I’ll never be able to have a singing part in a show at least until I’m old enough to play old man parts.
I mean it’s nice that ALW thought about Carrie having to do the song 8 times a week but then he also wrote Phantom of the opera 😂
Should’ve thought about that for Evita 😂 the amount of times Patti LuPone (and I imagine other Evas) have complained about Eva’s material!
Jhelisa Carroll 😂👍
Jhelisa Carroll With both original productions of Evita and Phantom, “matinée Evas/Christines” were used for that reason - although given Christine’s highest note is click-tracked along with the first half of the title song... Evita is an awful part to sing for the huge leaps back and forth over the passaggio in A New Argentina - and the high notes therein - and for where it sits generally. LuPone in interviews at the time refers to herself as being a higher mezzo with more soprano notes so it must have been a particular struggle for her. Pia Douwes in the second Dutch production unusually sang the “he supports you, for he loves you...” sections down the octave (almost Madonna-like) but then belted some crazy high riffs for “if not how could he love me” - never quite understood that as she went higher in those parts than the score would have required for “is one of you”. Must have been a dramatic choice by the Dir rather than vocal ability...
Sunset Boulevard was famously lowered (Norma’s songs anyway) for the Broadway/LA runs when Miss Close came in as Norma as she could not sing it as-written. Patti LuPone meanwhile was singing it in the original keys in London. Once the latter was fired and the Broadway revised score and script and sets (they were repainted from sunset colours to greys) became “the show”, the only versions available have had the revisions e.g. With One Look has a much lower ending.
Thank you for answering my question! I really enjoyed hearing what you had to say on the topic 😊
Since I started listening to your "daily talks" I sing so much more musical stuff at home, and I think it's a matter of days until my neighbors tell me to shut up 😂😂 but congrats Carrie on finishing your audiobook 😊💕
You should've said "don't lose your keys"
As an alto I find so many original published keys are too high or are pushing the limits of my range which is always a bit of a shame but at least when I'm just singing I can transpose them down if I want
I know that When He Sees Me is a song that the key changes sometimes, pretty sure it was lowered for Ashley Roberts but then Evelyn also sung it in the lower key
good morning everyone💞💞hope everyone has a good day, lots of love xx
Good morning. Well done, bout the audio book. I'd love to do something like that. Where's cute Edgar? Our fur babies are the most precious
me you and Edgar too
You got to work with Gavin Creel! I'm a big fan :)
Don’t... get on the broom until you’re ready to catch the key.
andrew rannells has said that in an interview 😂
For once I’m here early! Good morning!
😀
Does anybody know what the original ending in America of heathers was?
If you mean by plot ending, take this from Wikipedia:
Veronica, having faked her suicide, races to stop J.D. ("Dead Girl Walking (Reprise)"). She confronts him in the boiler room, but in their struggle, J.D. is shot. Unable to disarm the bomb, Veronica takes it to the empty football field. J.D. convinces her to let him take the bomb instead ("I Am Damaged"). It explodes, killing him alone.
Returning to school, Veronica takes the red scrunchie from Duke and ends the era of social ridicule. Veronica invites Martha and the remaining Heathers to hang out, rent a movie, and be kids before childhood is over ("Seventeen (Reprise)").
Edit: Might have been with regards to the lines, I don't know...
James Williams what did it change to in the London version(s)? Edit: I just realized instead of fighting over a gun, they fight with a croquet mallet as Carrie told us. So does JD not die, or does he just have blunt force trauma instead of being shot?
@@jhelisacarroll Haven't watched the UK bootleg yet (shocking, I know), but JD kills himself either way, whether from said blunt force trauma, or if he thinks the only way to restore 'normality' is to commit suicide. I mean, Veronica by this point is badass, but I can't imagine her socking JD in the nuts with a croquet mallet (cool as that may be). I've just looked and I don't think further parts are online yet (I may be wrong, but only the first half of Act 1 shows up).
@@jhelisacarroll It's been a little bit since I watched the UK bootleg but I didn't actually think that much changed. It's possible JD doesn't have the gun in the boiler room, but he still blows himself up at the end. There were a fair number of dialog changes but I don't think as far as the events go it was that different.
Edit:I went back and looked, JD does have a gun in the boiler room and he does get shot like in the original. The only real changes are some dialogue adds before the fight, dialogue changes before he blows himself up, and some dialogue changes in seventeen reprise.
Please tell me you don't eat yoghurt with a straw .... :p
Can I just make a suggestion to people to follow thedavidjeffery on TikTok. He's in Dear Evan Hansen on Broadway and his videos are so informative and really interesting. 😄