Soundtracking: Hocus Pocus

by Chris Feil

As derided as Hocus Pocus was at the time of its release it was ultimately wholeheartedly embraced by a generation well-accustomed to watching Disney villains sing splashy musical numbers. In just a few numbers, Hocus Pocus somewhat accidentally honors a tradition that the audience instinctively recognizes. It may not be a complete musical, but Hocus Pocus falls right in step to Ursula’s “Poor Unfortunate Souls” or Scar’s “Be Prepared”. It’s no wonder that fans constantly demand it be given the Broadway treatment -- they already think of it as belonging to the genre.

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Soundtracking: The 2018 Oscar Performances

by Chris Feil

Thank you Lady Gaga, all of the nominated Original Song performances were given a shot to perform on the Oscars! That "Shallow" leverage reportedly kept the ceremony as much of a musical night as possible. Sadly logistics kept us from getting a Kendrick Lamar and SZA performance of Black Panther's "All the Stars", but I found it frustrating that the producers didn't find some way to work the song into the telecast somehow. A montage needle drop, underscoring for the pre-commercial announcements, something?!

Even without Lamar (who also missed the Grammys), the night was a mostly solid salvage of Oscar musical tradition. It certainly fared better than some recent years, and also helped set variety and a pace for the night that otherwise felt a tad too amorphously rushed. A Star is Born's "Shallow" triumphed for the win as expected all season long, but what of the performances themselves? Time for a ranking!...

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Soundtracking: "The Rose"

by Chris Feil

History may never let us forget that The Rose began as a Janis Joplin biopic before objections from her family and even its eventual star, Bette Midler. And sure, the similarities remain: a tragic end after a life of drugs, booze, and emotional bruises so deep that they bled out into the vocals.

But the unfortunate side-effect of the Joplin adjacency is that Midler’s achievement is overshadowed in the public consciousness. It’s Joplin as template only and its songs are nearly all covers of other blues and rock artists, and still Midler creates her own unique persona and musical identity. When so many actual biopics fail to discover the inner humanity of an artist, she ends up capturing the the crushed spirit of an entire genre...

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Soundtracking: "The First Wives Club"

Chris Feil's series on music in the movies dips into some actressexuality this week!

Do you and your friend group have a song, one that defines and unites you instantaneously? Or is that just something that happens in the movies? I’ve certainly never had that, but my two best gays from college do namesake ourselves by a set of cinematic galpals that do: The First Wives Club. (I’m the Bette.)

This film has the good sense to capitalize on the musical charms of its legendary actresses Bette Midler, Goldie Hawn, and Diane Keaton. This threesome foursome *technically* (RIP Cynthia) has their origins defined by their place in musical history, with Diane Keaton’s opening narration evoking Woodstock and The Beatles. But its the beginning twinkle of Hal David / Burt Bacharach fantasy over the opening credits that more musically defines the feminine fantasy thrust upon their generation - idyllic beauty, subservience to men, etc. By the time Aretha Franklin and Annie Lennox have them breaking down literal walls in the third act, these sisters are doin’ “Sisters Are Doin’ It For Themselves” for themselves.

But obviously the film’s most enduring and notorious musical impact comes from Lesley Gore’s “You Don’t Own Me”.

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Tony Awards 2017: Key Moments, Interesting Stats, Winners List

by Nathaniel R

Last night the American theater community, and a boat load of adjacent stars (hello Tina Fey & Scarlett Johansson) celebrated Broadway triumphs at the 71st Annual Tony Awards. As expected the revival of Hello Dolly and Dear Evan Hansen owned the evening with 4 and 6 wins respectively. Composers Benj Pasek and Justin Paul are now halfway to the EGOT in less than half a year having picked up the Oscar for Best Original song for La La Land back in February. But the peak of the evening was Bette Midler's very funny, quite enthusiastic and extremely long acceptance for Best Actress in a Musical (the biggest lock of the evening going in). It's the first time I can recall a performer ignoring the orchestra trying to play her off so insistently that they finally gave up. Her speech had a whole and even better second act as if the orchestra's interruption was just a particularly noisy intermission! 

Kevin Spacey began his hosting job with a very strange and anxiety ridden number about competing with the memories of Tony hosts like Neil Patrick Harris, James Corden, and Hugh Jackman...

Whoopi Goldberg made a cameo with an "in the closet" joke, which played very strangely given that she was standing right next to a man who's famously been inside one his whole career. For his part, Spacey relied heavily on his rather amazing if also dated impersonation skills trotting out his super Johnny Carson and Bill Clinton mimicry for mini-skits within the show. He also leaned into his past and present personal career peaks with American Beauty, Usual Suspects, and House of Cards jokes and cast reunions.  But, alas, not a host for the ages even though he seemed like a smart choice on paper.

Glenn Close presented Bette Midler her Best Actress prize

Backstage before commercial breaks Crazy Ex Girlfriend's Rachel Bloom brought the theater nerd funny and maybe she should host in the future! More after the jump including a complete list of winners...

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