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Listen To Side Show's Erin Davie And Emily Padgett Sing "I Will Never Leave You" (Audio, On Sight Free Nationals Lyrics Full

Despite what seemed like weeks of buzz about its radical transformations, the revival of Side Show that opened on Broadway tonight is not as meaningfully different from the 1997 original as its current creatives would like to think. The Broadway revival of the Tony-nominated musical, starring Davie and Padgett as the Hilton Sisters, will begin previews Oct. 28 at the St. James Theatre prior to an official opening Nov. 17. As Daisy, the more ambitious one, grows sharper and harder with disappointment, Violet, the more conventional one, grows sadder and lonelier — even though it's she who gets married. Aggressively soliciting your interest and then scolding you for it is therefore a paradoxical and somewhat disagreeable approach, one that Side Show takes so often I began to shut down whenever the meta-material kicked in. Even the vaudeville pastiches, which ought to serve as comic relief, run out of wit before they run out of tune. That may be because the level of craft just isn't high enough. And when they sing together, as in the big ballads "Who Will Love Me As I Am? " All the subtlety unused in the big story is lavished here on a believable yet unpredictable arc for the twins. The music from Side Show is written by Tony nominee and Grammy winner Henry Krieger with lyrics by Tony nominee Bill Russell. Despite a clutch of new numbers, and a thorough shuffling of the old ones, the nearly through-composed score lacks texture. Listen to "I Will Never Leave You" below. Even the songwriting is of a different quality here: lithe and specific. All the effort seems to have gone into fashioning big visual payoffs, some of which are indeed jaw-dropping.

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Indeed, much of the music is indistinguishable from Krieger's work on Dreamgirls. Sometimes a big musical is best when it's very small. This tale, quasi-accurate, is told in flashback. ) For me, it's the intimate story that deserves precedence; it's far better told. And "I Will Never Leave You, " the size of the statements for once seems earned, as we have learned from the inside to care for the characters. But each of them is stuck with obvious outer-story characterizations and laborious outer-story songs; they thus seem like placards. There's no avoiding the Siamese imagery; many of the songs, and even the title, play on the theme. ) Orchestrations are by Tony winner Harold Wheeler with musical direction by Sam Davis. Even as the show proceeds, they often remain exhibits in a parable of exploitation. If so, perhaps Condon should have gotten rid of the brilliant device of having the Lizard Man, when on break from the sideshow, wear reading glasses.

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Watching them negotiate each other physically, while trying not to think about the giant magnets sewn into the actresses' underwear, one does not need help to see, or rather feel, the metaphor of human connection and its discontent. Perhaps this was Condon's intention; after all, there is a profound tradition of theater (and film) in which we are not meant to feel directly but to comprehend what the authors have identified as the apposite feeling. Whether the freak is a merman or a Merman, all that producers can sell to audiences is the uniqueness of their stars. In the moment of her choice between the gay man and the black man — a choice that naturally implicates the sister beside her — the best threads of the musical tie together in the recognition that though we are all conjoined we are also all distinct.

I Will Never Leave You Lyrics

But to support those moments, much of the story — by Bill Russell, with additional material by Condon — is grossly inflated, hectic, and vague. Whenever it gets big, it gets banal, with no relationship between the musical idiom and the material. Davie especially must negotiate an obstacle course of whiplashing emotion; not only does Buddy profess his love to her, but so, too, does the twins' friend Jake, the former King of the Cannibals in the sideshow and now their all-purpose body man. Their apparent rescue by Terry, the man from the Orpheum circuit, and Buddy, a song-and-dance mentor, only furthers the theme; Terry's eye for the main chance, and Buddy's for a way out of his own sense of abnormality (he's gay), eventually reduce them, too, to exploiters. Daisy always introduces herself with a confident leaping two-note figure; Violet with a drooping triplet. Oscar winner Bill Condon directs the upcoming revival. First they are exploited by Auntie, who raised them as peep-show attractions in the back parlor; then by Auntie's widower, Sir, who features them in his circus sideshow. As previously announced, the Broadway cast recording of Side Show will be released on Broadway Records in early 2015. Side Show is at the St. James Theatre.

Finally Hollywood, in the form of Tod Browning, chimes in; the famous director of Dracula brings the story full circle by casting the twins in a lurid 1932 sideshow drama called Freaks. The plot itself suffers from the rampant musical-theater disease I've elsewhere dubbed Emphasitis, in which the emotional volume is jacked up to the point that everything starts to seem the same. This seems to have gotten worse, not better, in the revamping. ) Before I get hacked to pieces by an angry mob of Side Show cultists, let me turn to the other half of the show: the one you might call Daisy and Violet. The problem with Side Show is that these stories can't be separated, and only one can thrive. In any case, you can't get to the first except through the second. For that we have Emily Padgett and Erin Davie, both thrilling, to thank; stepping into the four shoes of Emily Skinner and Alice Ripley, who played Daisy and Violet in the original, they are as powerful singers and more nuanced actors. This part is fiction, or at least conflation. ) The opening number, "Come Look at the Freaks, " efficiently says it all: "Come explore why they fascinate you / exasperate you / and flush your cheeks. " The show is almost always gorgeous to look at. ) Now as then, the cult musical about the conjoined twins Daisy and Violet Hilton is itself conjoined. In it, Daisy and Violet, joined at the hip, are placeholders, no different than the human pincushion and the half-man-half-woman and all the others being introduced; it hardly matters what each twin is like individually or what kind of "talent" makes them marketable together.

But Bill Condon, the film director who conceived the revival and put it on stage, lavishes much more attention on the other. The story of the Hiltons' rise from circus freaks to vaudeville stars in the early 1930s, with all the requisite references to cultural voyeurism and its human costs, is fused to an intimate story of emotional accommodation between sisters as unalike as sisters can be.

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