A Face In The Crowd: new musical

Pretty self-explanatory
FAVEHOUR
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Re: A Face In The Crowd: new musical

Postby FAVEHOUR » Thu Apr 27, 2017 7:36 pm

you wouldn't think so, no.....

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Man out of Time
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Re: A Face In The Crowd: new musical

Postby Man out of Time » Fri Apr 28, 2017 4:39 am

It looks like Hugh Jackman may also be in New York at the moment. This article from the New York Times in mid-February had him there filming "The Greatest Showman"- coincidentally a musical about PT Barnum (subject of The Secret Songs). The article says:

"when “The Greatest Showman” is done, Mr. Jackman said, his schedule will be clear. “I’m actually freer than I’ve ever been,” he said. “I don’t have anything actually planned for after this movie, which is really exciting for me.”

So he would be free to be involved in A Face In The Crowd.

MOOT

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Re: A Face In The Crowd: new musical

Postby bronxapostle » Fri Apr 28, 2017 8:02 am

FAVEHOUR wrote:you wouldn't think so, no.....


RIGHT? i am sure, BET MY PAYCHECK POSITIVE IN FACT, that they have a 90 minute set, that all four can plow through, if awoken in the middle of the night, after four years off the road and play it letter perfect, with a BIG handful of off the cuff requests playable as well. :D :D :D

sweetest punch
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Re: A Face In The Crowd: new musical

Postby sweetest punch » Sat Apr 29, 2017 4:37 am

I made a mistake a few posts back that led to some confusing comments.
The Imposters play this one off gig on Saturday and not on Friday.
And this gig is in Washington ( and not New York).
I made these posts quickly at work on my smartphone.
Guess that wasn't a good idea after all.
I'm sorry for that.
:)
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

johnfoyle
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Re: A Face In The Crowd: new musical

Postby johnfoyle » Sat May 13, 2017 1:46 pm

https://twitter.com/gentlyrotting/statu ... 1542820864

Lee, U.K., Tweets -

That time I caught a glimpse of Elvis Costello's hat and sunglasses #elviscostello #musicalgenius



Image

Mike Tandrow comments -

New LP artwork revealed!


Image

sweetest punch
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Re: A Face In The Crowd: new musical

Postby sweetest punch » Thu Jun 15, 2017 1:21 pm

Elvis talks about the musical in a new interview in Rolling Stone: http://www.rollingstone.com/music/featu ... ic-w488090

(...)
You're working on a musical version of A Face in the Crowd, and playing some of those songs live. Could that end up as an Elvis Costello album as well?

I couldn't say it hadn't crossed my mind that I might sing these songs and put 'em down in some way. But, you know, the show is moving along at such a speed now. It's a different process than anything I've ever done. It's somewhere between making an album and making a big movie. In terms of people pooling their resources, their schedules, it'd be like if you were trying to cut The New Basement Tapes, except you only wanted to have Beyoncé and Adele and Bono on it. Then you might have had a bit more difficulty getting the studio time!
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

sweetest punch
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Re: A Face In The Crowd: new musical

Postby sweetest punch » Fri Oct 27, 2017 12:40 pm

viewtopic.php?f=2&t=1784

http://www.lemonde.fr/musiques/article/ ... 54986.html

(...)
Vous aviez annoncé ne plus souhaiter enregistrer d’albums après Wise Up Ghost, votre album de 2013 avec les Roots. Mais vous écrivez toujours des chansons ?

J’en ai écrit 19 pour une comédie musicale qui, je l’espère, sera montée en 2018, A Face in The Crowd, fondée sur une nouvelle dont Elia Kazan a tiré un film [Un homme dans la foule, 1957]. L’histoire d’un chanteur de hillbilly qui devient un démagogue médiatique. Et la dernière en date est à moitié en français, à moitié en anglais, elle s’intitule Adieu Paris (l’envie des étoiles).

Google translation:

You announced that you would no longer wish to record albums after Wise Up Ghost, your 2013 album with Roots. But you still write songs?

I wrote 19 for a musical that, I hope, will be staged in 2018, A Face in The Crowd, based on a short story from which Elia Kazan shot a film [A Man in the Crowd, 1957]. The story of a hillbilly singer who becomes a media demagogue. And the latest is half French, half English, it is called Adieu Paris (the envy of the stars).
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

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Re: A Face In The Crowd: new musical

Postby bronxapostle » Fri Oct 27, 2017 7:16 pm

How many of 19 can we list please?
Okay... i can start. Cut, paste, continue please.

A FACE IN THE CROWD
VITAJEX
THEY CALL ME MRS. LONESOME
BLOOD AND HOT SAUCE
AMERICAN MIRROR
BURN THE PAPER DOWN TO ASH
THEY'RE NOT LAUGHING AT ME NOW
THIS UNEASY HOUR
STRIPPING PAPER
UNDER LIME
ADIEU PARIS
A TOWN CALLED RIDDLE
BIG STARS HAVE TUMBLED
WHAT IS THAT I NEED THAT I DON'T ALREADY HAVE
ISABELLE IN TEARS


bronxapostle
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Re: A Face In The Crowd: new musical

Postby bronxapostle » Sat Oct 28, 2017 12:48 pm

Wow, so I am in error here including some that do NOT belong

sweetest punch
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Re: A Face In The Crowd: new musical

Postby sweetest punch » Thu Dec 07, 2017 1:59 pm

http://www.latimes.com/entertainment/en ... story.html

(...)
Inside the hotel’s intimate lounge, Costello sang, “You Shouldn’t Look at Me That Way,” a lushly orchestrated, bittersweet love song he wrote for the movie, paying particular attention to the film’s star, Annette Bening, in the audience. He also performed his old standby “Alison” and a song he has written for a musical adaptation of Budd Schulberg’s “A Face in the Crowd,” a project that will be going into its third workshop soon.
(...)
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

sweetest punch
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Re: A Face In The Crowd: new musical

Postby sweetest punch » Wed Dec 13, 2017 5:58 pm

http://variety.com/2017/music/news/elvi ... 202637190/

(...)
“That’s separate from the 19 songs that I wrote for ‘A Face in the Crowd’” — his musical-theater update of the Budd Schulberg novel about a corrupt populist politician that became most famous in Elia Kazan’s 1957 film version. he says. “I don’t know how far away from opening night we are with ‘Face in the Crowd.’ You know that business — the theater world is a complicated amount of agreements between the resources, the cast, and the timing, apart from what the actual thing is about.

“But I have been previewing ‘Face in the Crowd’ songs in my shows with the agreement of my cohorts, [director] Des McAnuff and [book co-writer] Sarah Ruhl.” (He even played one of them at the “Film Stars” after-party; see the video, above.) “It’s a good way of getting the measure of whether these songs read to an audience on one hearing… and also thinking about what kind of voices could sing these, because it’s not going to be me singing them in the musical. All of that is all investigation, aside from the fact that it’s just thrilling to play a [new] song and have somebody go, ‘Hey, that’s good,’ or ‘That makes me laugh.'”
(...)
——————
Des McAnuff: https://en.m.wikipedia.org/wiki/Des_McAnuff
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sweetest punch
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Re: A Face In The Crowd: new musical

Postby sweetest punch » Thu Jan 04, 2018 1:25 pm

https://www.billboard.com/articles/news ... -interview

(...)
You also continue to workshop a musical based on 1957 classic, A Face in the Crowd, a film that seems more relevant today than ever.

I wrote 19 songs for A Face in the Crowd. It’s a great film. We went back to [Budd Schulberg’s original short story], “Your Arkansas Traveler.” Sarah Ruhl adapted that as much as the screenplay Schulberg wrote for [director Elia] Kazan. It will be on a stage. It has a different rhythm, different presentation [from the film]. It doesn’t have the luxury of cinematic cutting. It has to do things in the frame of a theater. Like Paddy Chayefsky’s Network, it’s about the ability of television to make monsters. I wouldn’t demean the story by comparing it to the present resident of the White House because that would be somebody too mediocre to trouble with because this will pass.
(...)
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

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Re: A Face In The Crowd: new musical

Postby edney » Wed Jan 10, 2018 8:48 am

The 19th song would be “Adieu Paris (L’Envie Des Etoiles”).

Wasn't it suggested that he had recently written this song for the production?

sweetest punch
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Re: A Face In The Crowd: new musical

Postby sweetest punch » Wed Jan 10, 2018 9:20 am

Adieu Paris is written for a famous French artist. We don’t know yet who.
My guess for the 19th song is This Uneasy Hour. Hasn’t Elvis discribed this song as “heard playing on the radio in the early hours of morning”?
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

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Re: A Face In The Crowd: new musical

Postby sweetest punch » Wed Jan 24, 2018 1:32 pm

https://www.broadwayworld.com/new-jerse ... e-20180123

Manoel Felciano (...) Workshops: Duncan Sheik, Elvis Costello.

Is this the actor who plays Lonesome Rhodes? https://en.m.wikipedia.org/wiki/Manoel_Felciano
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Re: A Face In The Crowd: new musical

Postby sweetest punch » Thu Apr 19, 2018 2:22 pm

Seems like the musical is really going to happen:

https://www.irishexaminer.com/breakingn ... 38060.html

Elvis Costello is all about the now

(...)
An example of the legacy of such a story, he says, is A Face In The Crowd, a planned stage musical based on Budd Schulberg’s story originally published as Your Arkansas Traveler and adapted into the 1957 film A Face In The Crowd written by Schulberg, directed by Elia Kazan, and starring Andy Griffith.

The tale follows an an American singer, Larry “Lonesome” Rhodes, who rises through local radio to become a national television celebrity thanks to his wise-cracking salesman-like aura.

Eventually, however, he becomes more of a megalomaniac and tries not just to influence government policy but dictate it.

Costello has already written 18 tracks for the musical, on which work had begun the spring before Donald Trump declared his candidacy. Ever since, he says, people have mentioned it as some sort of parallel.

“The truth of it is that Schulberg was an extremely smart writer about human nature,” he says. “If he were to be alive today he would probably include social media along with television and radio in this story — the ability to shape opinion but similarly create monsters.”

Referring back to his apprehension of protest songs, Costello agrees they may lend power to people but says movements such as Time’s Up require vigilance and continued effort to really leave their mark.

“It’s not assuming once you’ve got your badge on that it’s taken care of because it’s not. It’s vigilance, it’s always the way.

“The cynical forces that arrange against vested interest will wait out the gesture that a march or a slogan when that becomes old news, cynicism can outlast it,” he adds.

“A song won’t fix that unfortunately. You can sing it and feel good about yourself but you have to do it every day.”

(...)

“Beyond the new album there’s A Face In The Crowd, after I finish in the studio I go back into workshop on that.”

(...)
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

sweetest punch
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Re: A Face In The Crowd: new musical

Postby sweetest punch » Wed Jun 20, 2018 12:39 am

Promo interview for the concerts in Barcelona and Madrid: http://www.elmundo.es/metropoli/musica/ ... b45b9.html
Elvis hopes that the musical will be staged next year!

Elvis Costello: "Las redes sociales son un parásito”

¿Cómo prefiere que le llamen, Declan o Elvis?

"Como tú prefierass, cualquier cosa menos Gladys". Una entrevista que empieza así nunca puede defraudar. Y es que Declan MacManus, o como es más conocido, Elvis Costello (Londres, 1954), necesita muy poco para sacar a relucir su humor socarrón y su lengua afilada. Y, de paso, anunciar por sorpresa que tiene un nuevo disco entre manos. De vuelta con los Imposters, tras una década en la que ha abordado todo tipo de colaboraciones y proyectos paralelos, uno de los compositores clave del pop de los últimos 40 años será el encargado de abrir la programación de Noches del Botánico, en una velada compartida con el músico brasileño Seu Jorge, sólo horas después de participar en el festival Jardins de Pedralbes, en Barcelona.

Hace dos años vino a España en solitario, ahora con los Imposters será un concierto muy distinto...

Sí, puede que toque algunas de las mismas canciones, pero aquí me presento con toda la banda y eso lo cambia todo. Detour era una propuesta más intimista, con un componente biográfico muy fuerte. Con los Imposters el concierto va a estar más centrado en la música. Voy a compartir la noche con un artista muy diferente y la atmósfera será completamente distinta. Habrá gente que vendrá a verlo a él y que a lo mejor nos escuchará por primera vez. Y eso está muy bien.

¿Va a utilizar esa ruleta que le acompaña desde hace años para elegir el repertorio sobre la marcha?

Sólo en mi cabeza. Es un elemento muy aparatoso como para traérselo de gira por Europa. Puede que toquemos un par de canciones de un disco que acabamos de terminar de grabar y publicaremos en otoño. Hace tiempo que no hacemos una gira todos juntos, pero sabemos lo que nos traemos entre manos.

Pensé que no tenía intención de publicar nada más...

Yo también, me cogió por sorpresa. El pasado verano los Imposters y yo nos unimos para dar unos conciertos y la banda sonaba tan fantástica... que cambié de opinión. Cuando haces un disco ahora, tienes que tener claro que lo estás grabando como un recuento de canciones que realmente te importan. No lo haces para construirte una piscina nueva en el jardín. Si lo que buscas es obtener beneficios, harías mejor en apostar a los caballos o jugar a la bolsa. Nunca pensé en crear música para hacerme rico. Yo soy ambicioso, pero no en ese sentido. Creo que jamás podría haber hecho este disco salvo ahora. Representa cómo sonamos a día de hoy y creo que a la gente le sorprenderá, con suerte, en el buen sentido. Es lo mejor que han hecho nunca los Imposters. Tenía la música en mi cabeza, y estos tipos dieron todo lo que tienen para hacer un trabajo colectivo en el estudio. No puedo decirte que las canciones son de uno u otro estilo. No puedo describirlas salvo con una palabra: buenas (ríe). Ésa es la mejor palabra.

¿Puede imaginar su vida sin hacer música?

No lo sé, nunca he estado alejado de ella desde que nací. He escrito muchos temas en los últimos años. Es verdad que el último disco que grabé con los Imposters es de hace una década. Y el siguiente, que sólo tenía mi nombre en la portada, de hace ocho años. Entre tanto, tuve tiempo de publicar uno con los Roots, una experiencia alucinante, formar parte del colectivo The Basement Tapes, que también fue maravilloso. Además, he escrito para películas y estoy trabajando en un musical que, con suerte, se estrenará el año que viene... Algunas de esas cosas llevan ritmos muy diferentes a la rutina de grabar discos y salir de gira. Tardaron diez años en levantar el musical de Hamilton, así que creo que lo estamos haciendo bastante bien. Tengo que ser paciente y no me voy a desanimar, porque estas cosas llevan su tiempo.
Si lo que buscas [cuando grabas un disco] es obtener beneficios, harías mejor en apostar por los caballos o jugar a la bolsa

¿El lugar que ocupa la música en nuestras vidas y en la sociedad es el mismo que usted vivió en los años 70?

Nunca ha permanecido igual. Escribí un libro (Música infiel y tinta invisible) que tiene que ver con estar junto a mi padre, que era músico, en los conciertos que daba. Siendo niño, resultaba muy curioso ver a gente que podía encontrarme en la portada de una revista, salir al escenario y hacer la prueba de sonido. Sabía cómo se hacía ésta antes de coger ningún instrumento. Por tanto, mi perspectiva es muy diferente a la de chicos que crecieron soñando con estar en una banda. No sé cómo será para las generaciones actuales o para alguien que no ha vivido desde dentro lo que significa ser músico.

¿Qué es lo más influyente que ha pasado en la música pop en los últimos 15 o 20 años?

No tengo ni idea, no pienso en esos términos. Soy muy malo haciendo listas. Es algo muy masculino y creo que no tengo esa mentalidad jerárquica. No sé por qué. Si una revista me pide la lista de discos que recomiendo, puedo enviarles una de 500 nombres, pero no una de cinco. Escucho un montón de cosas, aunque no consigo poner un orden o saber si esto es mejor que lo otro.

¿Puede nombrar una banda o un músico que le guste de la actualidad?

Puedo, pero no voy a hacerlo. Creo que sería un lastre para ellos, no necesitan de mi aprobación. Los jóvenes artistas tienen que encontrar su propia confianza en lo que hacen, no precisan oírlo de mí.
Los artistas jóvenes tienen que encontrar su propia confianza en lo que hacen, no precisan oírlo de mí

¿Qué piensa de esta locura en torno a las redes sociales que vivimos hoy día?

Han convertido el hecho de sentirse ofendido, esa indignación estúpida, en toda una industria. La gente que promueve el uso de opiáceos hasta convertirlos en una epidemia a nivel mundial tiene la misma mentalidad que los que desarrollaron estas plataformas. Son el mismo tipo de parásito, traicionan algo que podría ser bueno para la humanidad y lo transforman en algo perverso. Han creado la posibilidad de comunicar cualquier cosa que pienses con extraños, ignorando que los impulsos naturales de mucha gente son acosar, censurar, aprovecharse de las debilidades del otro y propagar información falsa. Y, de paso, ser ciego ante cualquier otra opinión, consideración o decencia. Es lo mismo que envenenar a la gente a propósito. No dudo que estas nuevas formas de comunicación tienen cosas positivas, lo que me da rabia es ver en lo que se convierten. Así que así seguimos. ¡Esto es el progreso!


————————-
Google translation:

Elvis Costello: "Social networks are a parasite"

How do you prefer to be called, Declan or Elvis? "

As you prefer, anything but Gladys." An interview that starts like this can never disappoint. And it is that Declan MacManus, or as it is better known, Elvis Costello (London, 1954), needs very little to bring out his sarcastic humor and his sharp tongue. And, by the way, announce by surprise that you have a new album in your hands. Back with the Imposters, after a decade in which he has tackled all kinds of collaborations and parallel projects, one of the key composers of pop of the last 40 years will be in charge of opening the Noches del Botánico program, in a shared evening with the Brazilian musician Seu Jorge, only hours after participating in the Jardins de Pedralbes festival, in Barcelona.

Two years ago he came to Spain alone, now with the Imposters it will be a very different concert ...

Yes, I may play some of the same songs, but here I present myself with the whole band and that changes everything. Detour was a more intimate proposal, with a very strong biographical component. With the Imposters the concert will be more focused on music. I'm going to share the night with a very different artist and the atmosphere will be completely different. There will be people who will come to see him and maybe he will hear us for the first time. And that is very good.

Are you going to use that roulette that accompanies you for years to choose the repertoire on the fly?

Only in my head. It is a very bulky item to bring it on tour in Europe. We may play a couple of songs from a record that we just finished recording and we will publish in the fall. We have not done a tour together for a long time, but we know what we're up to.

I thought I had no intention of publishing anything else ...

Me too, it took me by surprise. Last summer the Imposters and I joined together to give some concerts and the band sounded so fantastic ... I changed my mind. When you make a record now, you have to be clear that you are recording it as a recount of songs that really matter to you. You do not do it to build a new pool in the garden. If you're looking to make a profit, you'd do better to bet on the horses or play the stock market. I never thought about creating music to make me rich. I am ambitious, but not in that sense. I think I could never have made this record except now. It represents how we sound today and I think people will be surprised, hopefully, in a good way. It's the best the Imposters have ever done. I had the music in my head, and these guys gave everything they have to do a collective work in the studio. I can not tell you that the songs are of one style or another. I can not describe them except with one word: good (laughs). That is the best word.

Can you imagine your life without making music?

I do not know, I've never been away from her since I was born. I have written many topics in recent years. It's true that the last record I recorded with the Imposters is from a decade ago. And the next, which only had my name on the cover, eight years ago. Meanwhile, I had time to publish one with the Roots, an amazing experience, being part of the collective The Basement Tapes, which was also wonderful. In addition, I've written for movies and I'm working on a musical that, hopefully, will be released next year ... Some of those things have very different rhythms from the routine of recording albums and going on tour. It took ten years to get Hamilton's musical up, so I think we're doing pretty well. I have to be patient and I will not be discouraged, because these things take time.
If what you are looking for [when you record a record] is to obtain benefits, you would do better to bet on the horses or play the stock market

Is the place that music occupies in our lives and in society the same that you lived in the 70s?

It has never stayed the same. I wrote a book (Infidel Music and Invisible Ink) that has to do with being with my father, who was a musician, in the concerts he gave. Being a child, it was very curious to see people who could find me on the cover of a magazine, go on stage and do the sound test. He knew how this was done before taking any instrument. Therefore, my perspective is very different from that of guys who grew up dreaming of being in a band. I do not know how it will be for the current generations or for someone who has not lived from the inside what it means to be a musician.

What is the most influential thing that has happened in pop music in the last 15 or 20 years?

I have no idea, I do not think in those terms. I'm very bad at making lists. It's very masculine and I think I do not have that hierarchical mentality. I do not know why. If a magazine asks me for the list of discs I recommend, I can send them one of 500 names, but not one of five. I listen to a lot of things, although I can not place an order or know if this is better than the other.

Can you name a band or a musician that you like about today?

I can, but I'm not going to do it. I think it would be a drag on them, they do not need my approval. The young artists have to find their own confidence in what they do, they do not need to hear it from me.
Young artists have to find their own confidence in what they do, they do not need to hear it from me

What do you think of this madness around the social networks we live in today?

They have turned the fact of feeling offended, that stupid indignation, into an entire industry. People who promote the use of opiates to become an epidemic worldwide have the same mentality that those developed these platforms. They are the same kind of parasite, betray something that could be good for humanity and transform it into something evil. They have created the possibility of communicating anything you think with strangers, ignoring that the natural impulses of many people are to harass, censor, take advantage of the other's weaknesses and spread false information. And, by the way, be blind to any other opinion, consideration or decency. It's the same as poisoning people on purpose. I do not doubt that these new forms of communication have positive things, what makes me angry is to see what they become. So we continue like this. This is progress!
Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.


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