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His love affair with the project began with Hansard and Irglová’s gem of a score, which includes the Oscar-winning song “Falling Slowly,” the cathartic “When Your Mind’s Made Up” and the anthemic title song. “Putting this kind of gentle, low-fi music on stage seemed quite crazy,” admits Tiffany, also hailed for a Broadway revival of “The Glass Menagerie” starring Cherry Jones and Zachary Quinto. “I had never heard music like that on stage before. It’s delicate, it’s folk, not rock, and it was very hard not to bash that delicacy to bits.”.
Subtlety is key to the magic of “Once,” which eschews the usual brassy brand of Broadway slick packaging and pumped-up special effects, The need for depth and nuance is one reason Tiffany enlisted his old pal Enda Walsh, the Irish playwright best known for the demented masterpiece “The Walworth Farce,” to write the adaptation for black lace ballet flats the musical, Not an obvious choice by any means, “It’s a bit like having Charles Manson adapt ‘It’s a Wonderful Life,’ I know,” chuckles Tiffany, “but despite the fact that he has written so many dark, violent and twisted plays, he’s a real softy on the inside, and that’s what we needed for this piece.”..
“It’s a very quiet and unassuming piece, and that’s part of its charm,” says Hoggett, who just received a Tony nomination for “Rocky.” “So many Broadway shows are smash-and-grab technical juggernauts. For us, this show was about trying to capture what was essential about the story. It’s sparse and distilled.”. Hoggett found himself in the unusual position of fighting to not choreograph certain numbers because he felt the songs needed no razzle dazzle in order to shine.
“It was a very sexy challenge for me,” says the choreographer perhaps best known for “American black lace ballet flats Idiot.” “Half of the songs stand on their own and needed no movement at all, They needed to be given to the audience in a very pure way, You had to hold the line with a show like ‘Once,’ because there is so much beauty, so many moments that you can’t embellish all of them, You have to be strong and keep your focus and stick to the minimalism.”, Ironically, the more restrained the performances in the show, the more deeply the audience seems to be moved, It’s as if the honesty of the stagecraft feeds the catharsis for theatergoers, many of whom have trouble fighting back a tear at the finale..
“It’s so refreshing and honest and truthful, even though the ending is not particularly uplifting,” says Tiffany, who is in talks to direct the play version of “Harry Potter.” “It connects to the audience very deeply.”. Navigating the line between art and life, dance and movement is the key to fresh and innovative shows like “Once,” which bend genres and bust expectations. The originality of “Once” is something you won’t soon forget.
It was a meat and potatoes program at the California Theatre — Haydn and Beethoven were its bookends — and the performances were top-notch, I attended Sunday’s concert (the program had opened Saturday night), and was struck again and again by the rapport Cleve enjoys with the orchestra, many of whose members have played with him for decades, Haydn’s Symphony No, 100 in G major, nicknamed “Military,” opened the program, It immediately registered as “authentic”: Haydn’s lilting rhythms felt so natural, as did the first movement’s black lace ballet flats stormier textures, driven by rich strings and foreshadowing Beethoven’s tempests..
Along with its serious strains, No. 100 passes through an array of moods: dignified, mischievous, amiably toe-tapping. Cleve managed the details of the score with characteristically minimalist gestures: by leaning in slightly toward the orchestra to create intimacy, by pumping his elbows just a bit to accent a phrase or signaling “shush” with a finger to draw down the volume. Other conductors may appear more dramatic, but Cleve knows this repertoire and telegraphs exactly what he wants: the sweetly shrill sound of oboe and flutes in the opening movement’s Allegro; the brilliance of the second movement’s “military music,” crisply enhanced by triangle, cymbals and bass drum; and the way he dialed the strings down to pianissimo level when Haydn moves to a distant key in the jovial finale. Good stuff.
Even better was Carl Maria von Weber’s Andante and Hungarian Rondo for Bassoon and Orchestra, a concerto-like work, To pizzicato string accompaniment, soloist Kramer floated the Andante’s marvelous opening theme, Her sound was intensely warm, plummy, reedy — operatic, with earthy low notes and full-throated high ones, As she and the orchestra took off through the Hungarian dance passages, Kramer made her wide leaps across registers sound easy, Ditto for her articulation of the bullet-train passages leading to the Rondo’s conclusion, This showcase black lace ballet flats work (originally composed for viola and orchestra and later re-arranged by Weber for bassoon) was a charmer, And Kramer, one of the orchestra’s most popular members, was rewarded with red roses, tossed at her from the rear of the orchestra by bassoonist Carolyn Lockhart..