Musical Lyrical Lingo
We're Musical Lyrical Lingo!
Join Tim and Lj who delve deep into the wonderful world of musical theatre and more importantly the lessons they have learned from different musicals.
Join them as they explore some of the greatest musicals ever created, from the classics to the new and exciting shows that continue to teach us something new.
So whether you're a seasoned fan of the stage or a newcomer, this podcast is for you.
So sit back, relax and get ready to immerse yourself in the world of musical theatre.
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Musical Lyrical Lingo
The Intriguing World of The Wild Party
Prepare to unravel the gripping tale of "The Wild Party" and master the art of musical analysis with Tim and LJ on Musical Lyrical Lingo. Ever wondered how a single night of chaos could unravel relationships and trigger dramatic fallout? Join us as we dissect the tumultuous dynamics between Queenie and Burrs, exploring how their desperate attempt to rekindle passion through a provocative party spirals into controversy and heartbreak. Our hosts not only break down the characters' motivations and interactions but also delve into the historical context behind the idioms and phrases that pepper this compelling musical, enriching your understanding of its rich narrative.
In the heart of our discussion, we spotlight the fascinating revelation about "The Wild Party's" simultaneous adaptations and celebrate Andrew Lippa's genius composition. From Tim's early encounter with this gripping musical to LJ’s intriguing discoveries, you’ll gain insights into what makes this show a hidden gem worth exploring. We also share our excitement for potential future productions and recount standout performances by theatre heavyweights like Julia Murney, Brian D'Arcy James, Taye Diggs, and Idina Menzel, whose roles brought depth and intensity to the show.
Finally, our passion for discovering new musicals takes centre stage. We chat about other noteworthy shows like "Jelly's Last Jam" and "Millennials are killing musicals," and the thrill of finding new cast recordings that leave a lasting impact. Through this journey, you'll understand why "The Wild Party" remains a beloved piece in our musical repertoire and why its emotional richness and character-driven songs continue to captivate audiences. Tune in and let us guide you through the exhilarating world of "The Wild Party," encouraging you to immerse yourself fully in its mesmerizing story.
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Hello and welcome to Musical Lyrical Lingo. We're your hosts, Tim and LJ.
Speaker 2:Today and every week we will be discussing musicals, but specifically what they taught us.
Speaker 1:Honest to goodness, you would think two seasons in I could do the blooming intro. I haven't mucked it up in so long. I feel so disappointed in myself.
Speaker 2:You're so tired tired.
Speaker 1:I am so tired. Yeah, that's not good I'm so. I thought I was over that hurdle. Do you remember the faff we?
Speaker 2:had in the early days.
Speaker 1:I literally I couldn't have done it without the script, like in the in the early days, and then I totally got over myself and then had a wee miracle lingo going on there maybe whenever miracle, I don't know what came out there it certainly wasn't what was supposed to happen anyway um, maybe whenever we're like doing season three and we would have a rebrand and maybe we'll just have that all pre-recorded did you say season three rebranding? That's exciting. We haven't discussed this. This is news to me. I'm excited.
Speaker 2:It is not news to you. I'm joking. I was going to say no, you were definitely in the room when that happened.
Speaker 1:In the room where it happened. No people are going to think we're doing Hamilton this week. We're not, no, no, no, we're still having still haven't touched that bad boy. I was thinking about that. You know, when we eventually do Hamilton, which the fans are crying out for, we're going to probably have to do two or three episodes on it.
Speaker 2:Yeah, it's the same with a couple of those big ones. Like whenever we eventually do Les Mis, it's not going to be a one episode.
Speaker 1:Listen, I can't. I have too much Les Mis in my life.
Speaker 2:That's why we're not doing that anytime soon, but I mean like that's gonna be although I have met Cameron McIntosh now in the person have?
Speaker 1:I mentioned that in the pod. No, I met Cameron McIntosh he came into our rehearsals.
Speaker 1:He is, he was really very nice. The man clearly never stopped. So he he arrived at a quarter past seven, had to leave for a quarter to eight because he was starting a dress rehearsal at eight o'clock and I'm like that's like, you must never stop. What a gentleman. Though anyway, we're not here to talk about camera magintosh or lame is um, we are here to talk about a very exciting musical I know in your wee face it's so cute and actually I wish you were recording because you just like lit up.
Speaker 1:It amazes me. We're doing it. Why? Because it's not like. Let's be honest when do you ever hear about it? When do you ever see anything from it? When was when's it being done?
Speaker 2:Do you know what I mean? So this might be very obscure for our listeners, completely obscure but for you.
Speaker 1:But do me a favor. Do me a favor, like after this episode if you haven't heard of this musical before, do yourself a favor and go and listen to the cast recording, because I still remember when I first listened to it and I was, like what is going on? Like what is this? I immediately was hooked.
Speaker 2:Yeah.
Speaker 1:I was visualizing how I would do it or how I would set it if I was involved in it. And I've literally all of the directors I've worked with over the last number of years, it is the one show I've. I've always said to them would you never do such and such? Would you never do such and such?
Speaker 2:because I would love to do it you would love to be involved in the creative process absolutely no, I wouldn't want to be in it.
Speaker 1:I would love to stage it, like I would love to help stage it it's. I just think it's a really exciting show.
Speaker 2:I am really interested in doing this episode because I want to know more, because I think whenever you were obsessed with it or first introduced to it, we were, like, still pretty youngish and but I don't think I ever really asked you the questions as to why. So I think I'm really intrigued as to why you love this so much, like how how you were first introduced to it. So I'm looking forward to this episode to find out more.
Speaker 1:I hope I can answer all those questions.
Speaker 2:I'm sure you will be able to.
Speaker 1:We are talking about the Wild Party.
Speaker 2:Which is wild?
Speaker 1:Which is wild. Yeah, it's obviously a musical with book lyrics and music by Andrew Lippa.
Speaker 2:Yes.
Speaker 1:Who we know of because of the adams family and big fish yes I'm gonna put it out there now and um charlie brown char. Oh good, he did a few songs that he wrote a few extra songs for good man, charlie brown, because he wrote one of my favorite songs in that it my new philosophy that Kristen Chenoweth is famous for doing. He, in my opinion, is one of musical theatres most underrated composers you love him.
Speaker 1:I just think his work's amazing and I would love him to do more. I want him to do more like. I want him to like do more musicals, like write more things like, because I just there's like the music in the wild party is amazing, like it's one of the the show strengths, I think yeah well, probably the only one, because I haven't actually seen it on stage so I can't give give you any more strengths about it, but I just think it's brilliant.
Speaker 1:It's based on Joseph Moncure Marches what a name. 1928 narrative poem of the same name, and this blew my mind and then answered so many questions and so many confusions. I had Okay, right then. Answered so many questions, okay, and so many confusions. I had okay, right. So when I obviously was um researching this episode, I discovered it coincidentally made its debut off broadway during the same theatrical season as a broadway production of the same name and source material oh my goodness where was the bloody plan in there?
Speaker 1:Okay, so I have watched some documentaries on this Of course you have, and you haven't noted a documentary on the pod for a couple of weeks, so I'm looking forward to this, I think that this is very we need to make it clear.
Speaker 1:I always knew that it was the Andrew Lippa one that we were going to be looking at, but there are two versions that we were going to be looking at, but there are two versions and I then also did panic when doing my notes for this. I was like I hope Laura knows it's the Andrew Lippa version we're doing, Because the other version La.
Speaker 2:Chusia, la Chusia.
Speaker 1:You've researched how to say that, haven't you? Chusia, chusia. You've researched how to say that, haven't you? So the Broadway production of the same time was Le Chusia's musical of the Wild Party, and they're very different.
Speaker 2:Yeah, so I knew that it was Andrew Lippa one because I recognised the album cover. Yeah, so obviously, the playbills, the album covers are very different. But yeah so, andrew L, the playbills, the album covers are very different. Um, but yeah, so andrew lippas once started um, so he started to adapt it um in 1996, and originally he wanted it to be like cats, where he just took the, the source material, and then put music around it so a bit like how cats are.
Speaker 2:Andrew loeb weber did with TS Eliot, yeah, but once he, you know, started to develop, he realized that a lot of it is in third person and he wanted to use the words like I am and I feel. So he soon wasn't able to do that, so he started it in 1996. But Michael John LaChiusa I can't remember now, but I think it's LaChiusa began writing it in 1996. But michael john lachusett like I can't remember now, but I think it's what you said began writing it in 1997.
Speaker 2:So um, andrew technically came to it first, but it's, but it was both 97 that the musicals were. Um, the concept yeah, concepts kind of came up in 97. Um andrew lippa had held a workshop and christian chenoweth was part of that yeah, okay but that was her last involvement yeah, that's right? Um, so they're both working on this independently. Um, it is. Have you read the poem?
Speaker 1:like from the fact that you like it no so I've read a little bit of it.
Speaker 2:But this, what I this is what I don't understand about poetry is you're always thought that poetry is just like five or six lines, or like one page at most, but like poetry can be a book.
Speaker 1:Yeah.
Speaker 2:You know so, but it's so. It's thick, like it's not just, it's almost like a story just told in poetry.
Speaker 2:But they both then were working on this wild party and they were both going to be off Broadway and it was going to happen that they would both be off Broadway and then happen to be eligible for the Tonys at the same time. But Lippa ended up having the same producers as Rent, same producers as Rent and no, sorry, the other guy ended up having the same producers as the people who produced Rent, who then were able to transfer it off Broadway to on.
Speaker 1:Broadway, on Broadway, yeah.
Speaker 2:And the people involved in on Broadway were Mandy Patkin, eartha Kitt from Emperor's New Groove and loads of other things, and Toni Collette then had to step in because oh, I've forgotten her name, I think it was she fell ill, so, anyway, or she was pregnant, so she ended up stepping in. But off Broadway with Andrew Lippa was the lovely Idina Menzel, taye Diggs and Brian Darcy James yeah, exactly so big names that we know and understand for being involved in these productions.
Speaker 1:Yeah.
Speaker 2:Off and on, literally seven minute walk away.
Speaker 1:I just don't understand how they ever thought either would be successful when there was the same. I know they're different shows but, like you know, you're not going to go and see one wild party and then go and see the other one.
Speaker 2:But this is what's happening with Gatsby at the minute, so that's why this documentary came up.
Speaker 1:Oh, why? What's happening with?
Speaker 2:Gatsby. We've got the Great Gatsby and we've got Gatsby.
Speaker 1:Oh really At the same time. Oh really, two musicals.
Speaker 2:So they were like, the last time this happened was the wild party and I was like what I'm researching? The wild party we honest to goodness like we don't know so we're special, like so strange we have powers.
Speaker 1:Yeah, I just I'm like I just don't, can't get my head around why any producer didn't go. Do you know what it is? Let's pull the plug on this right now and do it at another time.
Speaker 2:Yeah.
Speaker 1:To monopolise on it a wee bit more.
Speaker 2:I don't know. Yeah, it is, I suppose, because they were very different. So Lucas did open first.
Speaker 1:Yeah, so it opened off Broadway in 2000 in the Manhattan Theatre Club and ran for 54 performances.
Speaker 2:I know. So his is slightly different because the poem is used, but it's mainly Lippa's style which some say is similar to Cabaret, and then it didn't transfer to Broadway due to the critics, even though the audience has loved it.
Speaker 1:Yeah well, I mean from listening to the two, even though the audience has loved it. Yeah well, I mean I, from listening to the two versions like, oh my goodness, there's no comparison they're night and day and they're like chalk and cheese, like I much prefer lippas lippa only focuses on four out of the 15 characters.
Speaker 2:So and I think his is a more of a musical than the other. One is more of a play with music.
Speaker 1:Yeah, his style of writing as well. In Lippa's version, lippa's version, the plot is tightly focused on the central love triangle of the poem and the cast is much smaller. Many of the characters- in. La Chusa's version don't even appear in Lippa's version. The major differences are the music. Obviously Lippa's songs are not wholly dependent on the plot.
Speaker 2:Yeah.
Speaker 1:And can be understood arguably better than La Chusa's use this yeah, I think that's what it was he used all 15 he mainly focused.
Speaker 2:The main line that drew him was her face was tinted, was a tinted mask of snow which is also in lippas but, that is what really drove um.
Speaker 1:Let's use this sort of version critics hated it too so it wasn't that critics none of them were over the other so, but it won.
Speaker 2:It did get seven tony nominations yeah, it was going to close, but because of the tony nominations and then they were performing, obviously because yeah but it closed a week later right, okay so they didn't win any. Yeah, um, and I, yeah, I think the wild party that the poem, like it's set in the 20s, 1920s, like that roaring 20s. I don't I think if it was done now. I know that it was done in the fringe in 2004 right, okay I think if somebody was to do it now, it might work.
Speaker 2:Yeah, that free that you know, understanding Queenie people might be able to. I I thought that was a very good comparison for again somebody who's never seen it but has watched like snippets and listened to the soundtrack, I think that cabaret style yeah, yeah a good comparison so I think people would would get it now and maybe be more patient towards it yeah, I mean also like le chus's mimic jazz of the era, like the music was very jazzy whereas lippas was like pop rock, like a pop rock sound.
Speaker 1:Yeah, the wild party tells the story of a vaudeville dancer called queenie you've just mentioned her there and a vaudeville dancer called Queenie You've just mentioned her there and a vaudeville clown named Burrs, her passionate and violent lover. And Queenie and Burr set out to make each other jealous by having like a party, like you know, having a wild party inviting loads of different people. But Queenie begins to fall in love with her conquest, mr Black, and after a long night of decadence, burr's jealousy erupts and comes to a violent end.
Speaker 2:Yeah, yeah. So Lippas is more of this is what people said. Lippas is just a love story and Latrice's was just too complex. So because, yeah, queenie and Burr's, queenie's looking for somebody to kind of like to satisfy her sexually and she meets burge, but he has demons. And then they decide that they want to get that passion back and they decide a party is going to be the best way to do it. But that's throwing people into their house and into their lives.
Speaker 1:But she also wanted to do it to make him jealous. Like yeah, like from the onset she was like I'm gonna do something to make him jealous she wants that passion back she feels like he's.
Speaker 2:He's no longer like yeah you know she I think that's how their relationship has been um, that jealousy has fired their relationship, and then whenever he flirts with, like, is it? I think it's an underage girl, like I think she's somebody that is not of age or something that's isn't that, kate that um Idina Menzel?
Speaker 2:plays yes, and she so, then that causes controversy with the rest of the guests, where I think that's where LaTiusse's version you can kind of see that more yeah, and then obviously, as you said, falls in love with Mr Black and then becomes that violent end where who's it gonna be? Who's it gonna be? Who's it gonna be? Who's it gonna be? I said I'd die for you and then, yeah, death happens and Queenie is left contemplating everything. Was she?
Speaker 1:It's brilliant. Honest to goodness, it's absolutely brilliant. But we talk about her music a little bit later.
Speaker 2:Go for it. So in the first number Queenie was a blonde and her hair stood still and I think we had the same one and she danced twice a day in vaudeville timothy loves this musical I could honestly sing it word for word until I have to say this word and I can't say it properly.
Speaker 1:I can't say it either so they say queenie was sexually ambitious, capricious, c-a-p-r-i-c-i-o-u-s Did.
Speaker 2:I say it right, you did.
Speaker 1:And capricious means to be fickle, basically given a sudden or unaccountable change in mood or behaviour.
Speaker 2:Yeah, liable to sudden or unaccountable changes in attitude or behaviour.
Speaker 1:Yeah, they also sing about. Now we're knocking on wood.
Speaker 2:Oh, okay, yeah wood.
Speaker 1:Oh yeah, okay, informal idiom that people use to um avoid bad luck or to express gratitude for good um future. Yeah, knocking on wood, knock, knock, knock on wood. Um, I was interested in how like that came about that that idiom like where did it come come from? Now there are pagan origins in Europe, where people would appeal to tree spirits to ward off bad luck, and they would have knocked on the trees. Oh, knocking on wood, boom, boom, ba, ba, ba ba Will give me more men. Queenie's class.
Speaker 2:Yeah, she's a great, great character.
Speaker 1:Absolutely brilliant.
Speaker 2:One of my musical lyrical lingos was obviously learning about the poet and the poem.
Speaker 1:Of course, who would have thought there was more than just Andrew Lloyd Webber that would use a poem or poetry as his source material?
Speaker 2:There you go.
Speaker 1:Did you have any in? Queenie was a blonde.
Speaker 2:No, that was it. I had capricious, capricious, capricious. I had that too then, yeah, I did. There wasn't a huge amount I found in this musical no, I agree but I think I feel like if you watch it you it could definitely tell you more of like character interactions or human interactions.
Speaker 1:Yeah.
Speaker 2:And you get that a little bit from the soundtrack, but I think maybe seeing that on on stage.
Speaker 1:Yeah, I am dying to see a professional production of it Somebody, do it quickly, please do it this is good, because normally when we say something on the podcast, it happens.
Speaker 2:Yeah, I had something for Out of the Blues.
Speaker 1:Out of the blue, out of the blue, out of the blue.
Speaker 2:Why don't you just do a one man version of it?
Speaker 1:Something lightning will hit me yeah.
Speaker 2:Well, I had Out of the Blue, but Out of the Blue. And then, or sorry, Out of the Blue. I was like what, when did that come from?
Speaker 1:That's what I wanted to know. Oh, my goodness, this is freaking me out, right. So I was like, where did that?
Speaker 2:So it came from the expression bolt out of the blue, yes, and then blue, alluding to the sky.
Speaker 1:Yes.
Speaker 2:So just that something could have fallen out of the sky, because isn't that like a huge thing Without warning?
Speaker 1:warning without warning.
Speaker 2:Like back, like in olden days, they were terrified of things falling out of the sky. Yeah, so that's where it is like out of the blue, out of the sky. It was more like a fear thing yeah um yeah, so I just was really like intrigued about where that came from there you go.
Speaker 1:This is weird because I had exactly the same thing. I was, I think, because I got onto the the, the idiom of now we're knocking on wood. And then the next one was out of the blue, and I was, I think, because I got on to the the the idiom of now we're knocking on wood and then the next one was out of the blue and I was like that's an idiom too where did that come from?
Speaker 2:where did they come from?
Speaker 1:yeah, we are so in tune with each other. It's not even funny, uh, in the song what a party. Um, they're going through. Basically they're introducing everybody that's been invited to the party.
Speaker 2:So, they're like Madeleine lesbian Eddie pugilist. Yeah.
Speaker 1:And I didn't know what a pugilist was. No, and I was really surprised with the answer, like pugilist doesn't sound like. What a pugilist?
Speaker 2:is no pugilist. Sounds like purge.
Speaker 1:Yeah, or like fighting with swords. I don't know why I thought of that, but yes, you're. That's. Yours is a much more intelligent suggestion. But a pugilist is actually a sport or practice of fighting with fists, so basically a boxer, right is a pugilist.
Speaker 2:Okay, isn't that right, yeah?
Speaker 1:okay, just checking, like you're kind of going yeah, are you sure about that? Yeah, yeah, pugilist, who knew who? Knew, but it doesn't fit, like you're kind of going a pugilist is a boxer, is it?
Speaker 2:Yeah, really, hmm.
Speaker 1:But maybe was it like Pugil you.
Speaker 2:Maybe is it, was it you? Maybe is it, was it a better way of saying boxer, because maybe in the 20s was that not like, I don't know I don't know.
Speaker 1:I don't know about boxing much, and nor me, to be fair, as long as nobody punches my pretty face you're okay yeah the.
Speaker 1:I actually don't have any other musical lyrical lingos. However, when I first listened to the soundtrack, the one thing like way, way back when I first first listened to the soundtrack, the one, one of the numbers that really like took me was the juggernaut. Yeah, let's all do the juggernaut. Da da, da da, juggernaut, da, da, da, da, da, da, da da da. And I I was like the way it kind of sounds and the way it kind of seems to have been set. I was like, oh, they're doing a dance, they're doing the juggernaut. And I was like, oh, there must be a dance called the juggernaut. And I got quite excited because, like, as a choreographer, it's always interesting. You know, if, like another, you know dance style is mentioned like you then go away and you research. You know dance style is mentioned Like you then go away and you research. Like, for example, another one of Andrew Lipper's musicals in the Addams Family, they reference the bunny hop. Yes, yeah.
Speaker 1:And it was an actual style of dance. So I got dead excited when, like hearing the juggernaut. And I went and I spent hours and hours and hours and hours researching to find out what the juggernaut was. What was the dance style? Could I find anything?
Speaker 2:No.
Speaker 1:I don't actually think there is a dance called the juggernaut.
Speaker 2:Oh, I just assumed it was a dance too, but like in Wizard of Oz like the jitterbug.
Speaker 1:Yeah, or like in the Music man, do you?
Speaker 2:know what I mean.
Speaker 1:Like an actual dance style. But no, he tricked me. Are you sure you google away and you just let me know if you find anything?
Speaker 2:oh, it's a fictional character. That's how I know it.
Speaker 1:I was like I definitely but that fictional character, the juggernaut, has nothing to do with this musical. I was like I know that word. I definitely know that fictional character, the juggernaut, has nothing to do with this musical like I know that word, I definitely know that word.
Speaker 2:No, yes, but there's no man um but there's no dance style is there like?
Speaker 1:type in the juggernaut dance style and you're not going to find anything.
Speaker 2:I've been there, done that, got the t-shirt well, mean there's quite a lot of YouTube videos of people dancing.
Speaker 1:No, you're lying, I'm not.
Speaker 2:Aye, but are they not like dancing to the song Juggernaut dance?
Speaker 1:Are you kidding me?
Speaker 2:I sat for four hours one night. Well, the juggernaut comes from the English loanword juggernaut in the sense of a huge wagon bearing an image of the Hindu god. It's from the 17th century, inspired by the Juggernaut temple in Puri, Odisha.
Speaker 1:Dead on. This has got to do with this musical and this song.
Speaker 2:An annual possession of chariots carrying images.
Speaker 1:Talk about crowbarring something into a podcast that's got nothing to do with the juggernaut that's been referenced here. Let's all do the juggernaut, did it?
Speaker 2:I mean, it sounds amazing like I wanted to learn the juggernaut, the juggernaut from the wild party see somebody is teaching correct somebody the dance.
Speaker 1:Yeah, so it's not an actual dance? Yeah they've taken the juggernaut song from the music. Okay. They've done a dance to it.
Speaker 2:Okay, we can all do that, sweetie I just thought you didn't know how to use um the internet there no I am gonna look up that. No, yeah, it just keeps.
Speaker 1:It just keeps showing people, it just keeps going. Four hours, Lauren, four hours oh no, no, no it is like here we go oh. No, let's move on quickly.
Speaker 2:Okay, we'll move on Because. I mean, I have spent four hours doing this already, you're not going to prove me wrong, I'd just like to prove you wrong.
Speaker 1:I know it's not going to happen.
Speaker 2:So I have questions for you Okay, yes, so. I want to know when did you first, when and how were you introduced to the Wild Party?
Speaker 1:So I am a wild one.
Speaker 2:See what.
Speaker 1:I did there. I love, like I love my musical theatre, but I also am not the type who will listen to the same show or the same cast recording. Yeah, over and over and over again. I have always loved like exploring different musicals that.
Speaker 1:I've never seen or I've ever heard of before, which is why I get so excited, you know, when there is like a new Broadway season and there's loads of brand new musicals Like this year particularly, has been quite impressive with the number of new writing. So I'm always like going. I'm not going to listen to Oklahoma for the 732nd time Well, I would Absolutely.
Speaker 1:But so I like listening to new or finding new, like cast recordings your sister's actually quite good at it too, because she sent me a few that I hadn't picked up on and I'm like, oh, this is good, like it just interests me, and if it's really pants, then I'll put it in the drawer and never look at it ever again. That's how I came across the wild party.
Speaker 1:I had no idea what I was listening to okay and immediately I just went this this is class, like really class. I think I like it because it's so character driven that actually you don't need to see it on stage, but you understand 100 what's happening yeah, because I think the writing is so good.
Speaker 2:Do you know?
Speaker 1:what I mean. So that that was a plus, you know. So you know it is probably good to 10 years since I first discovered it. Wouldn't that be right about longer?
Speaker 2:longer. Yeah, I'm pretty sure we were in school. I know, I'm trying to remember, I know, do you know?
Speaker 1:what I know exactly when in my life it happened, but I can't put a year on it, because my mum was actually in hospital okay remember that time mum had like her blood, the blood clots on her lungs, and she was in the matter hospital in Belfast and I remember driving up to the matter hospital listening to it and driving home listening to it. Okay, do you know what I mean? Like, and there was like a week that went by that that was the only thing I listened to. Okay, do you know what I mean? So I remember, but I don't know what year that was, but it's funny how you remember like certain soundtracks, like link into certain times of your life, anyway, so, yeah, that's how I came across it and I just really liked the songs, like the music, and liked the fact that I was able to follow the storyline without having ever seen the show or knowing anything about it.
Speaker 2:Yeah.
Speaker 1:You know, I didn't know it was based on the poem until I researched for this podcast. Do you know what I mean? Okay, yeah. So there you go. Any other questions?
Speaker 2:No, because.
Speaker 1:I feel like I'm one of the guests. I get asked questions. Ask me another question.
Speaker 2:You must have been really interested in it when we were about 15, 16 as well, which would make sense because, it came out like 1990 000. Yeah, so that would probably probably you know by the time it filtered over to northern yeah but also I remember singing the song um I.
Speaker 1:Maybe I like it this way okay, yeah, with your dad, who was my singing teacher.
Speaker 2:I'm wondering did you like pick it up? You know, did your dad? Or did you like it? Did you let your dad know?
Speaker 1:Yeah.
Speaker 2:And then did he pick up the sheet music at one of your amazing holidays or something.
Speaker 1:Yeah, maybe.
Speaker 2:So that's why I didn't know Was it your dad that introduced you to it, or no, I will have 100% introduced dad to it. Yeah, also there was a connection, do you remember? I?
Speaker 1:am the musical theatre buff in our family. It's not dad.
Speaker 2:Do you remember whenever you were giving me the list of different musicals to listen to and one of them was Jelly's Last Jam or something?
Speaker 1:Yeah, I love it.
Speaker 2:There's a connection to Wild Party with him see, it must be that sound I like yeah, so I think it might actually be Latusas or something, but maybe maybe it's not, but there's definitely a connection to.
Speaker 1:Jelly Slash Jam. Did you ever listen to it properly?
Speaker 2:well, I listened to it to then be like I'm not listening to that one.
Speaker 1:I'm going okay, I don't want to listen to something I've heard before. I want to hear something new yeah and then most of its pants like it's rubbish and you're like well, that was an hour I've wasted, but every so often you get like wee gems, like you and um.
Speaker 2:Millennials. I love that. Do you know what I?
Speaker 1:mean, Like that was through a random you know, you know, going into the ether and seeing what new musicals are right here that I haven't heard before. Do you know what I mean?
Speaker 2:Yeah, Is it? Is it an album that? Because I know that you don't listen to things repetitively unless you're doing it for a production or something like that. But would the Wild Party be one of those ones that you would come back to?
Speaker 1:more often. It's probably one of my favourite musical theatre cast recordings. I think you name. Checked them earlier. I think did you leave out Queenie though.
Speaker 2:Yeah, I can't remember her name.
Speaker 1:So Julia Murney plays Queenie. She's been in Wicked Like she was one of the witches. She is unbelievable, like her voice is unbelievable in this Brian Dorsey James.
Speaker 2:He's great.
Speaker 1:He is brilliant. As you said, Taye Diggs and Idina Menzel Like this is after Rent isn't it, but before Wicked right.
Speaker 2:Yeah, after Rent, because they were married.
Speaker 1:Yeah, that's right. Yeah, yeah, yeah, yeah, but Idina did this before she then went on to Wicked, didn't she? And like it's just so class and her number's brilliant yeah yeah, yeah, yeah, yeah, yeah, yeah.
Speaker 2:There's loads and loads of videos on YouTube.
Speaker 1:Yeah.
Speaker 2:Loads, so you can go and see.
Speaker 1:Oh no, I've been doing that YouTube binge as well, like there's one where Burrs is in a bathtub and it's getting wheeled around the stage and stuff.
Speaker 2:Yeah, it's like it is wild. Yeah, wild party, wild we are having a wild, wild party.
Speaker 1:I love it, I absolutely love it, and it like I think the songs are so varied.
Speaker 2:True, true.
Speaker 1:And then you come to that last, that three-parter between you know, mr Black, burrs and Queenie, and it is like I was on the edge of my seat. I nearly had to pull the car over the first time I heard it because it was like who's it gonna be? Who's it gonna be? Who's it gonna be? Who's it gonna be? Yeah, you said you'd die. For me, honestly, it's brilliant. Yeah, I love it and I get so. It excites me. Yes, and it excited the creative side of me, because there's every so often you'll get like a wee, a wee musical or you'll listen to something and go. I'd bloody love to be involved in that in some creative way. Like I can totally see it in like a cabaret supper club kind of setting.
Speaker 1:Oh, yeah, like I would set it like that People would be at tables, like you know, having nibbles and drinks at a party Do you know what I mean? Like it would just happen all around them. It would be amazing.
Speaker 2:I think it would be amazing. Immersive theater would work well for that it would be amazing, wouldn't?
Speaker 1:it like my version, would be class of course it would be, of course um, and there's very few shows. I feel like that, like I'm like I would love to give that a go but why?
Speaker 2:why have you not done it?
Speaker 1:because I do not have the money. Just like out your back garden if there's any really rich producers out there that fancy firing money my direction I'll do it.
Speaker 2:Pretty sure you could like do it in the wall garden and banger there are two.
Speaker 1:I'm not so sure can we get like a like kind of like party atmosphere in the walls garden and b? I don't know if outdoors would work. It needs to be a dark dingy, like very nicely lit kind of environment. Okay, Okay, somewhere that has like a lovely big staircase into the venue.
Speaker 2:Because, as they're coming in, like can you imagine?
Speaker 1:oh, my goodness, listen, the ideas are endlessly in my head somebody, please do this I know like literally and there's very few. There's very few shows. I feel like that, like I want to do a wild, the wild party yeah and I want to do a production of mac and Mabel. I don't know what it is. Those are the two that I'm like. I want to do them.
Speaker 2:And prom. I'm over prom now, oh are you I think I'm over prom.
Speaker 1:At the time I was like I would love. I'm too old to choreograph a show like prom. Okay, I'd have a cardiac arrest.
Speaker 1:But you're sticking with Mac and Mabel and that party because I could do those, I think, without killing myself no, but they've been around for like in your head for a long time it's like shows like Grease that I've choreographed and I'm like I was able to choreograph them then if you asked me to do it now, you'd need an oxygen tank and at least a defibrillator or something. Do you know what I mean? So I think the prom is probably a wee bit and Okay, we're done with that. Yeah, although it's brilliant.
Speaker 2:Yeah, okay, a director prom. I mean I'm just throwing it out there. I don't know if you hear me. Could you do the wild party in my house? I went to a couple of like plays in London.
Speaker 1:Holy moly, that's a brilliant idea.
Speaker 2:Each room was like a different scene. Yeah, and it was like in this. One in particular was in this. I can't say the word. You know where they hang all the meat.
Speaker 1:Yeah, but like, yeah, I know what you're talking about and it was it was amazing. Abattoir. Yes, abattoir, yeah, abattoir, abattoir.
Speaker 2:And then I noted have you ever watched the Girls?
Speaker 1:No.
Speaker 2:No, well, there's like a version of like some play that they're doing and it's like they've got to go around different rooms and whatever you could do. The Wild Party in somebody's house.
Speaker 1:Yeah, like an old house. That's a brilliant idea. Actually, I never thought of that. I also did a production like that on one of the summer projects I did, like in Kent, dale, kent and it was in Dale Castle and the audience walked around the castle, and it happened in different parts and that's how I seen a production of Macbeth was in Cromlin Road that's class. Yeah, I love all that you see I think that's why I really enjoyed that the recent production of Guys and Dolls because it was like, although you didn't walk around, things happened around you.
Speaker 1:Do you know what I mean? It kind of flipped it a wee bit. The audience didn't have to move, everything moved around the audience, but yeah.
Speaker 2:I mean, I feel like you could do it. You definitely have the talent and the drive there. So, it's just the capital that we're missing, so capital, rich people subscribe to the podcast.
Speaker 1:Come to me but you are right, like when it come creatively, it I have so much more of a buzz for the likes of that do you know what I mean like yeah, no, I love it it's.
Speaker 1:It's so out there, it's so strange it it makes me smile because it reminds me of you, oh, um, and I know how much you love it what you said on that last episode, on our last episode, like really took me, like you know me so well, like when you were saying, like a picture of me in the middle, like and me surrounded by playbills, like very few people would know that the wild party would be up there yeah, yeah and you knew that that was really cool yeah, we've known each other a long time, lauren, we're so close, but yeah, it's what, and I think it's one that's always stood out and I've always loved that that you will always listen to, like new musicals come out and you always give everything a go.
Speaker 2:You always let something, you play it and then you go okay, not for me, and it's not because it's rubbish.
Speaker 1:It's just not for me. Yeah, but yeah, and you like it as a cast recording, don't you? Yeah, I do like it as a cast recording, don't you? Yeah, I do like the songs are like so brilliant, like that, um poor child, poor child, like they're all so different and I'm beautiful and I think I think the cast definitely helps like julian. Uh, noray is amazing. Brian.
Speaker 2:Dawson.
Speaker 1:Brian is amazing. Taye Diggs has that like, oh, I love his voice, like velvety, like voice, yeah, that you need for that Smoochy, like romantic lead that's come in and, like you know, flipped everything on its head. Yeah, dina, like it's so lovely. Like you hear a totally Different side to Dina Menzel. Like she's like, like childlike and like are we?
Speaker 2:she's we, you know, tinker like she's she's, she's, we call it like yeah, oh, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. And then that song I like it this way is queenie reflect it's like is it the end of act one or towards the end of act?
Speaker 1:one. Is it not the end of the show? Maybe I like it this way.
Speaker 2:The last song is what is the last song? Is it the very last song?
Speaker 1:No, the last song is how did we come to this?
Speaker 2:Yes, how did we come to this? No, I think it's the end of Act 1. Yeah, it is the end of Act 1, maybe, maybe I like it this way and she is saying because Burt and her have a very violent relationship, she's saying well, maybe I just like the way he treats me and maybe this is.
Speaker 1:I'm okay. She's grown so accustomed to being treated in that way that it's just the normal now for her and then she's questioning maybe.
Speaker 2:Maybe it's me that likes it. Maybe I seek it yeah maybe he does it to me because I like it rather than he does it to me because he's a bad person you know, it's a really thought provoking song but that's it.
Speaker 1:There's like legs to all of these numbers, like there's. So the character. That's why I probably like it too it's so character driven.
Speaker 2:But I think I said that didn't I you can follow the plot the burrs is a vaudeville clown which I think is really important to know whenever you listen to his songs yes, because obviously he's painting on a face.
Speaker 2:Yes, for his job yeah um, and he's and I think we can kind of get that From how he got Queenie is. He obviously was pretending To be one person and then turns Out to be not the nicest and then he obviously reverts back to that Whenever he's trying to suggest Kate. So he's not somebody that you, when you meet him, you'll not get the real person.
Speaker 1:So those songs Are very like um, dark, almost absolutely no, there there is such, there's such darkness to it and it sounds like, as we've been talking, it sounds like almost like a four-hander, but it's so not like, yeah, with the darkness you know, those are those meaty songs.
Speaker 1:Let's call them meaty rather than dark. Like you know, dramatically meaty songs. There is absolutely brilliant ensemble numbers, which is, I also think, what as a choreographer, it's what drew me to it. You know the likes of raise the roof and we're having a wild party, and let me drawing that. You know um birds sing let me drown this evening. Let me drown, let me drown. It's honest to God, I could talk about it all night.
Speaker 2:No, it's great. Please go and listen to it.
Speaker 1:It's fantastic guys, you'll love it.
Speaker 2:Listen to it and understand that it's probably not going to be something that you've similar Like you're not going to recognize it. You're not going to go. Oh that you're not going to go, oh, that's quite like such and such or that's quite like such, like you're not just listen to it, hopefully, like read the synopsis again so you kind of understand the characters and obviously it's different to let you says there's only the four well, I then did go one.
Speaker 1:I remember when I went to listen to it and was like I don't. I think I got through the second song and I was like I can't, I can't, I actually can't listen to this, I do like.
Speaker 2:What do you call her Eartha? Kitt but I like, I just like her.
Speaker 1:I like her voice.
Speaker 2:I don't, I don't know that. Mandy Patinkin is also like a huge Broadway star who has the most wonderful voice, and he does, and Toni Collette, that was the first Broadway thing that she did, so there's the Toni performances on YouTube yeah she was coming off the back of like Muriel's Wedding and Sixth Sense and About a Boy and things like that. But I just I think Andrew Lipp is one definitely it's just class.
Speaker 1:He is brilliant, though. He is good, absolutely Like when you look at his other musicals, like the music and the. Addams Family is excellent Like really stand out numbers that you remember. And Big Fish also is like fantastic. The problem with Big Fish I have that I didn't have with the Wild Party is I'm listening to it and I'm still confused about the storyline.
Speaker 2:Is it a film? I was going to say I haven't seen the film, so it's one of my sister Caitlin's favourite films. Right, okay.
Speaker 1:Well, she loves the music musical as well, doesn't she? Yeah, yeah. But the songs in Big Fish are also absolutely brilliant.
Speaker 2:I've only listened to them a couple of times, but yeah, I've liked them.
Speaker 1:Yeah, and I think if I watch the film I'll have a better understanding as to what's going on.
Speaker 2:Yeah, it's pretty much a guy telling stories and his family don't believe him.
Speaker 1:Okay.
Speaker 2:About these stories.
Speaker 1:Okay, and are they not true stories? You have to watch it okay, got you fair enough so um but you know what? In the meantime, go and listen to the wild party and if you're really like rich, uh-huh and you want to throw some money at a really classy evening of theatre, send it my way perfect like I'm not saying I could do it on my own, like single handed we'll do it with you, yeah we need to get a wee team around us. Yeah, but I just think it'd be class.
Speaker 2:I think we could do it, you could do it, and I'll just be your wee leckie don't be ridiculous, I'll be your associate don't be that the music's brilliant.
Speaker 1:Why do people not do this like?
Speaker 2:I also. I honestly don't think people know about it.
Speaker 1:I also say to everyone who's like what show should we do? I'm like the Wild Party. It's really good like yes Project. The Wild Party like class.
Speaker 2:I think it's because people just don't know about it, and I think as well that is. We've had this conversation before about critics. Sometimes they hold not so much anymore, but they used to hold so much power that if a critic was like it's no, we don't like it it was shut in a week. So because critics didn't like both versions. Maybe that was. A downside is the fact that two versions went down at the same time and neither were successful.
Speaker 2:While it seems, with Great Gatsby and Gatsby they're both actually doing okay yeah, I, that completely passed me by.
Speaker 1:Is there a cast recording for both?
Speaker 2:uh, no, because I think, actually gatsby is just coming out oh, okay, I think it's like in previews at the minute.
Speaker 1:Got you okay, um, so the one I've heard is the great gatsby with. Yeah, jeremy jordan, yeah do you know I'm gonna put'm going to put it out there. I actually think the Wild Party is the cast recording I've listened to that has had such the biggest impact on me.
Speaker 2:Oh.
Speaker 1:I'm just thinking, I'm kind of going what other like shows have I listened to and been so? Taken by taken by like I did. I do like.
Speaker 2:I listened to that non-stop for about a month and I don't tend to do that very often, and especially with a new musical and a musical, then you have not then seen yeah, you know.
Speaker 1:So like I'm trying to think what other like? Yeah cast recording.
Speaker 2:I remember having such a you know, an instant love for, and I can't think of another one that's amazing yeah, that's kind of cool, so please do us all a favor and please listen to it, and then let us know, do me know.
Speaker 1:And if you think I'm talking rubbish like, do send a wee message going. I'm not so sure, tim, I think you're talking nonsense.
Speaker 2:As long as you understand it's based on a 1920s poem.
Speaker 1:Yeah.
Speaker 2:And it's about like it's very much that, even though it's like his isn't super jazzy. But you need to think of the era that the source material was set in and then try and get your head around that.
Speaker 1:But I think it's really self-explanatory. That's what I like about it. You listen to it and you hear, you know what's going on.
Speaker 2:But everybody interprets things differently.
Speaker 1:Well then they're wrong.
Speaker 2:Okay, they are wrong, they will listen to it and they will like it.
Speaker 1:And they they are wrong. They will listen to it and they will like it and they will go. Yeah, tim, you were right, okay. I think, we should leave it there. I'm joking. I'm joking, alright, I won't be offended if you don't like it. I'll just never talk to you again.
Speaker 2:No no, go listen to it. Do let us know. We love whenever you give us feedback.
Speaker 1:So, yeah, yeah, yeah, yeah, yeah, yeah yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, brrrrrr.
Speaker 2:Timothy's gonna go and perform a one man version. What is it? What's?
Speaker 1:the first line of that. It's like like, something like drop the. I don't know it that well, that's so I'm so disappointed, I can't even sing Idina Menzel's number. I'm so disappointed.
Speaker 2:I can't even sing Idina Menzel's number.
Speaker 1:I'm not sure, but hopefully by the time the one man performance happens raise the roof raise the thing and then she goes really high and I can't reach those notes well, that's ok, then get somebody else to play that part.
Speaker 2:Yeah, yeah, right down somebody's ear there. Well, the next couple of weeks we have some more episodes coming out, obviously.
Speaker 1:I hope that's what we do, yeah.
Speaker 2:And another exciting episode, and I feel like we're gearing up for like.
Speaker 1:A week off. A week off Four weeks off, ten weeks off.
Speaker 2:No, no, they would never forgive us if we took that much time off.
Speaker 1:I am just so tired.
Speaker 2:I know, I know, but yeah, we've had.
Speaker 1:I feel like season two has been very exciting with like, what we've done and who we've interviewed and it's going to continue, we did sit at the beginning of the year and talk about what we wanted wanted to do and we put it out there and it's happened happening, so it's great the gods can convert. I don't know what I'm trying to say.
Speaker 2:Timothy's really tired now and if anybody could see it, he's like lounging on the city. I'm like near horizontal, so I think this is time for us to say goodbye goodnight go listen to the wild party. We will be in your ears again next week. Yeah, yeah, bye.
Speaker 1:Bye.
