Thanks to this recording, we get to hear and see Cole Porter's original and Robert Russell Bennett's orchestrations, and not all the crap that's been done to this show and its music all these years😢
Knowing that this performance was true to the interpretation by Cole Porter, I was pleasantly surprised to discover that the movie with Katherine Grayson and Howard Keel also stayed very true to the actual stage play. I loved that movie, and also loved this performance. Well done to cast and orchestra.
I was in a school production of KMK (McKinnon High School, Melbourne Australia) as a student, and then years later was the Music Director of a production ( 1995, St. Michael's Grammar School, Melbourne Australia.) It's wonderful to hear the great music of Cole Porter played with such style!
7:42 Another Op'nin', Another Show 15:29 Why Can't You Behave? 21:19 Wunderbar 28:03 So in Love 33:43 We Open in Venice 39:04 Tom, Dick or Harry 42:32 Bianca 44:48 I've Come to Wive it Wealthily in Padua 49:04 I Hate Men 54:59 Were Thine That Special Face 1:09:10 We Sing of Love (Cantiamo D'Amore) 1:15:42 Kiss Me, Kate 1:18:56 Too Darn Hot 1:28:00 Where is the Life That Late I Led? 1:35:52 Always True to You in My Fashion 1:49:05 Bianca 1:56:20 So In Love Reprise 2:00:44 Brush Up Your Shakespeare
The key to making these old musicals fresh is to respect the style they were written in. The last Broadway revival was a bust because everyone thought that Kiss Me Kate needed updating. Frankly every single change they made only weakened the production. Here a top notch cast recreates exactly what was seen on Broadway in 1948, a quite witty book by Sam and Bella Spewack, Cole Porter's best score for any one show, brilliant arrangements by Robert Russell Bennett, the greatest orchestrator for musicals ever. All of this musically lead with buoyancy by John Wilson and his magnificent orchestra. Previously champion at bringing these pieces to life was John McGlinn, and he did a very fine recording of the complete score, unfortunately marred by a mixed blessing of a cast. All that no longer matters, this cast is much more effective, especially Ben Davis, who appeared in two productions locally at Asolo Rep (Show Boat and South Pacific) to great effect. I don't think there is anyone around today who can better inhabit any of Alfred Drake's old roles as well as Mr. Davis does. He shows all the charm and some of the comic side that were such a part of Drake's persona. My most fervent wish is that they release a CD of the musical parts of this performance or the whole concert on video. I must come back to Wilson's conducting, so many tiny details that add to the whole performance. One example is in the overture when he leans into "Bianca" and makes it into so much more than this dreadful song really is (I would gladly give up coffee for Sanka, even sanka Bianca for you). The entire overture, one of the finest from the goldenest of golden ages on Broadway is amazing.
William Oser If you ever thoroughly studied the subject of shows and scores from the golden era of musical theater you would know quite well that R.R. Bennett seldom did anything on his own. There were usually several other uncredited collaborators/colleagues , even in some of his most revered work for Rodgers & Hammerstein. This show is no different. While this orchestra plays well in spite of the unimaginative and musical stiffness of Mr. Wilson, the rearranging of the orchestration for this production doesn’t exactly sparkle like it could.
Credits Role Contributor Fred Graham/Petruchio Ben Davis Lilli Vanessi/Katharine Alexandra Silber Bill Calhoun/Lucentio Tony Yazbeck Lois Lane/Bianca Louise Dearman First Man (Gunman) James Doherty Second Man (Gunman) Michael Jibson Harry Trevor/Baptista Ian Talbot Hattie Louise Marshall Paul Jason Pennycooke Harrison Howell Alex Bourne Ralph (The Stage Manager) Christopher Howell Gremio Michael Pickering Hortensio Gary Watson Performer Kiss Me Kate Ensemble Conductor John Wilson Orchestra John Wilson Orchestra Stage Director Shaun Kerrison Choreographer Alistair David Producer Helen Mansfield Director Bridget Caldwell
Saw this on BBC 4 here in London a few days ago. I was Totally blown away by The performance that Ben Davis gave. I'm a big fan of his now. Hey the rest of the cast gave a great performance too. 20 out of 10 from me 😉😘🙌🙌🙌🙌🙌
This was the first musical i saw live (community theatre) as a teen. My enjoyment was increased by visiting Ten Chimneys near Milwaukee, WI where the couple who this was based on lived
Great musical, I saw it on Broadway late 60ths or 70ths as a young man then, It became of my favorite plays, I must say this is a great product as well. I enjoyed it and live it all over again as I did then...
I saw the RSC version of this show in the Eighties with the late, great Stephanie Lawrence as Lily,she was amazing and had one of the finest voices in the West End.
Huh? I came out of curiosity as to how the Brits would do it. Just OK... UNless you're talking about the repetition of the word "dick" which they keep at a minimum here, as opposed to the US PRODUCTIONS! Maybe they don't use the word in England!
@@princeandrey we do, it’s more of an insult tho… for example, to call someone a dickhead would be to call them an idiot, whether that be in terms of endearment to friends when they do something daft or to someone who has pissed us off. We do use it to describe the genitalia, but we have other way funnier words to describe it😂
Can you sing an entire musical live while being active on stage with no errors or pitchiness? Even professional opera singers and Audra McDonald aren’t perfect. I personally don’t judge someone on occasional pitch issues if they’re mostly on point which she is
I’m playing in Lois/Bianca in my college production of KMK, and this interpretation is so wildly different than what I’m doing lol, this actress is incredibly talented but we obviously have very different versions of who Lois is to us
Emmanuel Davis Yep, it would have actually been last weekend. My school went online awhile ago and bc of how our theater organization works they won’t be continuing with the show in the fall and I can no longer audition for other shows with this particular group (we limit auditioning to new students)
I am not sure if BBC bleeped the naughty word or if it was done live with the orchestra making that sound (not sure which instrument would make that sound).
I loved this - just stumbled across it - had no idea it even existed. Far superior to the DVD with Brent Barrett and Rachel York. The MGM movie has it's charms - Ann Miller steals the show and most of the original score is used (though the lyrics have been drearily sanitized). I'll take any suggestions on more videos like this one!
Love it, but why, why, WHY does every Bianca have to sing "True to You In My Fashion" like she's Betty Hutton? Ann Miller managed to be lively, foxy, and very sexy when she sang it, and Lisa Kirk sure knew her away around great lyrics.
Oh dear, Betty Hutton? Harsh criticism indeed - I have never been able to make it even half way through Annie Get Your Gun. I sat through this just fine! Still, good crack and you're right about Ann Miller - by far the best thing in the movie, along with the dancers.
