People just don't SING like this anymore. Of course it was before the days of body mics and all they had were mics on the foot of the stage. But still, despite hearing any imperfections in this raw performance, what you DO HEAR is the spirit of a charactor singing for it's very life!
@@marcelobocao01 Back then actors didn't rely on body mics.... actors projected out over a live band/ orchestra and could be heard all the way to the back of the balcony. Nowadays actors rely on 2-3 body mics and sing to prerecorded backing music.
When I was in high school (1978-82) we usually did not use mikes and had to speak and sing out. It wasn't a huge auditorium, 1500 seats including a balcony, but I remember the drama teacher always yelling "Project!!" ....
She had a partner who knew how to show her off at her best. And him. Let's not go into the fact that everything she did was a variation on this choreography. It was the same with the great Gwen Verdon. Bob Fosse found out what she did best, and what she couldn't do, and did it over and over - and a legend was born. Neither of them could tap, so, limited. The both had what it really takes, brilliant choreographers who showed themselves and their dancers off to perfection. This is pretty much exactly what she did in Company.
@@jochenstossberg5427 Gwen Verdon was great tapper! But definitely not Bennett or McKecknie. Verdon is said to have helped dub some of the tap sounds in Singing in the Rain.
I've seen this choreography on other bodies. NO ONE does it like Donna. The elegance. The fluidity. Just visual perfection. She moves like a gazelle. No wonder she was Bennett's muse.
Incredible!! Is this from the Off-Broadway "tryouts" at the Public Theatre?? This is truly historic footage. I saw Donna dance this on Broadway with the original cast in July of 1975--the performance and the audience response was indescribable! And to see this now--magic--chills! Thank you for this! :)
They don’t come much better. I saw Ann Reinking as Cassie in 1976 and I thought she was so good it was scary. I can’t believe they used footlights in this show it’s a miracle nobody kicked one and broke a toe
I’m sorry but Michael’s original choreography in this drove me nuts. Kinda all over the place with frozen weird ballet arm positions. Halting and quite disruptive. However, and what made him an incredible Director is He played to the strengths of the incredible Donna! This is no dish to her, but her musicality, extensions and expressive feet were what stole this song! Technique? Hmmm. Todays Cassie’s do DOUBLE pirouettes repeatedly down the chorus “line”. Donna, not so much, she fudges it with footwork and a lot of shuffling. Her voice is SPECTACULAR! I do love that Michael and Donna created something special for HER and the SHOW. Other Cassie’s may be better technically but not hold up to the well rounded expressionism that is Donna’s lyrical quality.
I would like to see the evolution of this routine for the Broadway production when the show transferred from the Public to the Shubert. I think this dance probably also changed, grew, refined. It's definitely not the same steps you can see Laurie Gamache do in the video of the final performance.
