I saw this performance. Great space. Perceptive direction. An actor delivering the emotion and honesty of the role. It was a fantastic experience that lives on.
We saw this production, twice, and for me it remains the definitive. l also saw Sheila as an electrifying Violet Venable in "Suddenly, Last Summer" opposite Rachel Weisz, and, memorably, in "Phèdre" after she was ravaged by cancer. She was a truly great actress.
Just became acquainted with her on Tales of the Unexpected-why are none of her pictures of her in her youth on the net? As an actress I was very surprised, I could see from wearing her patch what a real woman she was, and hoped to see her in her youth:(
I like her interpretation. As much as people use alcohol to escape their woes, it's still a depressant. So, I love the part towards the end where she sort of lets her real emotions go, then she reals it in. I'm sure I've done similar things in my drunken stupor.
She has a very interesting voice. I mean, it's powerful, yet sultry. She also infuses this number with a fine amount of emotion. Elaine Stritch would be proud, and perhaps even jealous.
I think the reason her held notes don't have any vibrato was an acting choice. She's drunk. it's like when you're drunk and you slur your words. Everything else is so specific I can't believe that she would do that if it wasn't a choice.
Hands down one of the best interpretations by a performer I've seen for this song. Sheila Gish won an Olivier Award for this role. What an absolute queen.
RIP, I saw this performance at the Donmar and it was wonderful...as good as Stritchy but in a totally different way. SG was one of Tenessee Williams' favourite actresses...I can see why.
Marvellous!! It';s great to have a record of this legendary performance, made more poignant by the fact that Miss Gish - such a great actress - is no longer with us. As for the comments about her being too drunk....Joanne is supposed to be too drunk that's the point..
Theatre also isn't about perfect vocals. It's about portraying the character through song. Last time I checked, drunk rich women don't normally have perfect vibratto if they somehow launched into song.
This type of acting and theatre is naturalistic, real-life. And accidents happen in real life, you gotta just go on with the show I suppose. And who's to say it wasn't an intentional spill? :)
@donaldcallen You're so lucky to have seen that! Come to think of it, he has done quite a few breakdown songs -- This, "Live, Laugh, Love" (Follies), "Epiphany" (Sweeney), "Rose's Turn" (Gypsy), "Franklin Sheperd Inc." (Merrily), are the only ones I can think of at the moment. But yeah, people typically like performances that they can relate to. You may relate much better to Stritch or Walsh. At least we can agree that Sondheim is incomparable.
Also, the accompaniment was wrong for the last 8-12 bars. The syncopated chords shoud be highly dissonant in the second bar of the last couple phrases. This reflects Joanne's self-loathing, frustration and depressing realization at the end of the song. I can only assume they took it out because it didn't sound pretty. :P Sondheim does everything for a reason! That's why he's a genious.
These are the perfect words from a female perspective. Women have certain characters to choose from and when they are tired of being the predetermined characters they are seen as self loathing but in reality they are unplugged.
@encorebc Probably because she isn't Elaine Stritch and this is her own interpretation. As an actress, she has the freedom to make her own choices and create her own interpretation. I love Elaine Stritch and I love this actress as well. She wasn't cast simply to repeat what another actress did, no actor should ever do that. Theatre should always be new and innovative, no matter how great you think another actress was.
My favourite version after Ellaine Stritch, before Barbara Walsh. Poor Sheila, she died of cancer. I've been very sad when I learnt it! R.I.P. Sheila. Frédérick, FRANCE. 19/08/09
The smirk is Joanne realizing it, and then putting on a little brave-face so that no one really sees that she's talking about her self-loathing. I think it works fine.
This was not over acted. It was specific and committed. Bold acting is effective if it is motivated and telling the story. And also when it is feeling the emotion or condition instead of playing the emotion or physically commenting on the idea of being "drunk" or "mad" '
She was very good. Much more drunk than Barbara but much less depressed. Everyone always says Stritch is the best...I don't see it. Maybe it's my aptitude for dissent, but her successors are much stronger in my opinion. Sorry.
An amazingly talented actress who is sadly no longer with us. I was lucky to see her phenomenal performance as Blanche Dubois in London many years ago.
@mog04 I don't like the word "subtle" because it suggests that the actor is pushing for a certain size, for an effect. If the actor is talented enough, the size will merely happen. Yelling can have the same effect of whispering if it has justification. I like Gish's performance because she doesn't watch hereself -- She is not self-consciously arranging herself or demanding bigness or smallness. She is experiencing the song from moment to moment.
To me, this is the only version of the song that captures what the song is really about -- Even setting aside the drunkenness. I connect with the song as I do the same thing about once a month, and Gish perfectly mirrors that sort of breakdown. But apples and oranges. (Is there a vid of Cook doing this song? I've never seen it, but would love to)
This is, by far, my favorite performance of this song. Better than Elaine Strich, better than Carol Burnett, better than Barbara Walsh. This is how this song is supposed to be. Embittered, angry, sarcastic. It's perfect.
@AtLastOnTheGround Melodramatically subtle? Thats a oxymoron if I ever heard one lol. I see what you're saying, I just think the impact of the characters self loathing comes across much more powerfully when its subtle. I personally dont think the character of Joanne 'hates herself' persay, I think its more that she desperately wants to 'like herself' I know that sounds stupid but there is a difference. What Walsh does is show the desperation, I just think Gish is a bit panto at times.
@DivaBehavior I agree. However, I had a feeling throughout this that she was just trying to outwardly imitate Stritch too much. It seems like she didn't really try to find the role for herself. Any thoughts?
She didn't quite get the character in my opinion. I'm sure this was probably consitant with the way she played Joanne throughout the show, but Joanne should (in my opinion, that is) these ladies who lunch throughout the show prior to this song. Bitter, sarcastic, and almost uninterested in everything. That makes a huge contrast for when this song is done. If Sheila played Joanne as a cartoony, slapstick-esque (if that's even grammarically correct) character, that would explain why this song...
This is exactly how I pictured Joanne. Elaine and Barbara are both fantastic, but Sheila really brings it home with that smoker's voice and that disgusted demeanor.
@weaselprince71 See, I don't think she's even playing that drunk. I see a character who is acting out for attention, who is being brash and mean for the sake of it, and who has lost any sense of self-worth. I've been completely sober and acted quite similarly.
not a big fan of her held notes with no vibrato especially the lower ones-without spin they seem to sound flat even if they aren't....all that aside-i like her-shes feisty! get it girl.
(continued from previous comment) is not up to it's full potential. She was getting close towards the end, but got lost in the anger. The end of song needs show the real Joanne that's been hiding behind a facade the whole show. Again, just my opinion!
Couldnt agree more, obscenely overdone. Walsh is my favourite cos I love the cynicism when she plays it, but I love the narcacistic comedy that Stritch portrays, so shes a close second.
As someone who works in a bar, I can tell you that Sheila totally nailed many of the drunken well-to-do ladies that have come into the bar. She's completely accurate and not over the top
She keeps a lot of the notes out too long, and I agree, she acts too drunk. I liked the (1995) Broadway revival much better with Debra Monk sinigng this song (I've yet to see the newest Bway revival so I can't really compare them)
When I first start watching this I thought it was a low budget, community theater production because the acting is so overdone. I felt there was no focus in this performance, just a woman ranting on stage and not getting the point of the song. I don't think Joanne's primary emotion would be anger. She appears angry on the surface, but underneath, she's frustrated. This is not a simple ranting song, it's a woman coming to terms with her own demons, which I didn't get at all from this performance.
campy, unrealistic, obnoxious, and lacks any of the self realization that makes the song. AT THE MOMENT OF SELF REALIZATION SHE LOOKS LIKE SHE HAS A SMIRK LIKE SHE HAS THOUGHT OF A NEW INSULT. When she gets frustrated she goes over the top yelling. This feels like 19th century melodrama acting
I saw this performance. Great space. Perceptive direction. An actor delivering the emotion and honesty of the role. It was a fantastic experience that lives on.
We saw this production, twice, and for me it remains the definitive. l also saw Sheila as an electrifying Violet Venable in "Suddenly, Last Summer" opposite Rachel Weisz, and, memorably, in "Phèdre" after she was ravaged by cancer. She was a truly great actress.
Sheila Gish was magnificent. I was lucky enough to meet her once, she sparkled, such charm and charisma.
Just became acquainted with her on Tales of the Unexpected-why are none of her pictures of her in her youth on the net?
As an actress I was very surprised, I could see from wearing her patch what a real woman she was, and hoped to see her in her youth:(
I loved this.
I like her interpretation. As much as people use alcohol to escape their woes, it's still a depressant. So, I love the part towards the end where she sort of lets her real emotions go, then she reals it in. I'm sure I've done similar things in my drunken stupor.
She has a very interesting voice. I mean, it's powerful, yet sultry. She also infuses this number with a fine amount of emotion. Elaine Stritch would be proud, and perhaps even jealous.
I went to see this production, my favourite version I must admit and Sheila was brilliant. Sadly, no longer with us
I think the reason her held notes don't have any vibrato was an acting choice. She's drunk. it's like when you're drunk and you slur your words. Everything else is so specific I can't believe that she would do that if it wasn't a choice.
Perfect. We've all been with her. If you get stuck in the bar with her late one night, you've HAD it.
Hands down one of the best interpretations by a performer I've seen for this song. Sheila Gish won an Olivier Award for this role. What an absolute queen.
i love her she was great
RIP, I saw this performance at the Donmar and it was wonderful...as good as Stritchy but in a totally different way. SG was one of Tenessee Williams' favourite actresses...I can see why.
Also -- Her American accent is so flawless that it's not even noticeable to me (an American, who lives relatively close to Manhattan).
I love her salute to Mahler's excerpt of symphony no 4. This. Bitch. Knows.
I also love the two long shadows coming from Joanne's feet at the beginning. Great symbolism of how we see two sides of her in the song.
I would love to hear her do the dialogue leading into this song.
Marvellous!! It';s great to have a record of this legendary performance, made more poignant by the fact that Miss Gish - such a great actress - is no longer with us. As for the comments about her being too drunk....Joanne is supposed to be too drunk that's the point..
Theatre also isn't about perfect vocals. It's about portraying the character through song. Last time I checked, drunk rich women don't normally have perfect vibratto if they somehow launched into song.
Why on Earth would anyone give this a "thumb down"?! Fabulous performance of an amazing piece of work!
Shes amazing.
It's better than Elaine. I can't say enough good things about this version. I'll drink to that.
Fearless.
This type of acting and theatre is naturalistic, real-life. And accidents happen in real life, you gotta just go on with the show I suppose.
And who's to say it wasn't an intentional spill? :)
She kind of reminds me of Elizabeth Perkins from "Weeds." Amazing performance!
You noticed too! I like it too that smile!
Why does she remind me so much of Kathleen Turner and how i could see her singing this now.
I love the raspy quality in her voice.
perfect scary drunk
she's brilliant
Just amazing! N e 1 who does Sondheim has to be fab.
@donaldcallen
You're so lucky to have seen that! Come to think of it, he has done quite a few breakdown songs -- This, "Live, Laugh, Love" (Follies), "Epiphany" (Sweeney), "Rose's Turn" (Gypsy), "Franklin Sheperd Inc." (Merrily), are the only ones I can think of at the moment.
But yeah, people typically like performances that they can relate to. You may relate much better to Stritch or Walsh. At least we can agree that Sondheim is incomparable.
Also, the accompaniment was wrong for the last 8-12 bars. The syncopated chords shoud be highly dissonant in the second bar of the last couple phrases. This reflects Joanne's self-loathing, frustration and depressing realization at the end of the song. I can only assume they took it out because it didn't sound pretty. :P Sondheim does everything for a reason! That's why he's a genious.
Nowhere to go? She started high, and went higher. Still consider Elaine's the gold standard, but this is up there with it.
I love that smile at 3:07. Wicked.
These are the perfect words from a female perspective. Women have certain characters to choose from and when they are tired of being the predetermined characters they are seen as self loathing but in reality they are unplugged.
Elaine Stritch - now and forever - will be THE definitive Joanne.
It's not overdone! She's drunk, hurt and despises the reality she lives in, I think it's perfect.
@encorebc Probably because she isn't Elaine Stritch and this is her own interpretation. As an actress, she has the freedom to make her own choices and create her own interpretation. I love Elaine Stritch and I love this actress as well. She wasn't cast simply to repeat what another actress did, no actor should ever do that. Theatre should always be new and innovative, no matter how great you think another actress was.
Since it's a musical, she should at least be able to sing and not go flat on all the high notes!
Omg she’s so good!
This woman is brilliant.
The greatest
My favourite version after Ellaine Stritch, before Barbara Walsh.
Poor Sheila, she died of cancer. I've been very sad when I learnt it! R.I.P. Sheila.
Frédérick, FRANCE. 19/08/09
The smirk is Joanne realizing it, and then putting on a little brave-face so that no one really sees that she's talking about her self-loathing. I think it works fine.
This was not over acted. It was specific and committed. Bold acting is effective if it is motivated and telling the story. And also when it is feeling the emotion or condition instead of playing the emotion or physically commenting on the idea of being "drunk" or "mad"
'
She was very good. Much more drunk than Barbara but much less depressed. Everyone always says Stritch is the best...I don't see it. Maybe it's my aptitude for dissent, but her successors are much stronger in my opinion. Sorry.
Nice.....
An amazingly talented actress who is sadly no longer with us. I was lucky to see her phenomenal performance as Blanche Dubois in London many years ago.
She was a fantastic Blanche. Also fantastic in Vieux Carre, even if only for a few performances before falling out with Tennessee Williams.
Check her out in Tales of the Unexpected--shes absolutely gorgeous..!! ................ sadly no longer with us Now !!
fascinating
No Joanne tops Barbara Walsh
@mog04
I don't like the word "subtle" because it suggests that the actor is pushing for a certain size, for an effect. If the actor is talented enough, the size will merely happen. Yelling can have the same effect of whispering if it has justification. I like Gish's performance because she doesn't watch hereself -- She is not self-consciously arranging herself or demanding bigness or smallness. She is experiencing the song from moment to moment.
As good as Stritch. Very different. Excellent.
To me, this is the only version of the song that captures what the song is really about -- Even setting aside the drunkenness. I connect with the song as I do the same thing about once a month, and Gish perfectly mirrors that sort of breakdown.
But apples and oranges.
(Is there a vid of Cook doing this song? I've never seen it, but would love to)
What do you think is missing?
This is, by far, my favorite performance of this song. Better than Elaine Strich, better than Carol Burnett, better than Barbara Walsh. This is how this song is supposed to be. Embittered, angry, sarcastic. It's perfect.
@AtLastOnTheGround Melodramatically subtle? Thats a oxymoron if I ever heard one lol. I see what you're saying, I just think the impact of the characters self loathing comes across much more powerfully when its subtle. I personally dont think the character of Joanne 'hates herself' persay, I think its more that she desperately wants to 'like herself' I know that sounds stupid but there is a difference. What Walsh does is show the desperation, I just think Gish is a bit panto at times.
HAHH excelent but i still think fritzi owned this song
I always fancied her nice looking woman RIP
@DivaBehavior I agree. However, I had a feeling throughout this that she was just trying to outwardly imitate Stritch too much. It seems like she didn't really try to find the role for herself. Any thoughts?
She didn't quite get the character in my opinion. I'm sure this was probably consitant with the way she played Joanne throughout the show, but Joanne should (in my opinion, that is) these ladies who lunch throughout the show prior to this song. Bitter, sarcastic, and almost uninterested in everything. That makes a huge contrast for when this song is done. If Sheila played Joanne as a cartoony, slapstick-esque (if that's even grammarically correct) character, that would explain why this song...
@mog04
w
I disagree. It adds a frisson of realism. She's genius!
This is exactly how I pictured Joanne. Elaine and Barbara are both fantastic, but Sheila really brings it home with that smoker's voice and that disgusted demeanor.
@weaselprince71
See, I don't think she's even playing that drunk. I see a character who is acting out for attention, who is being brash and mean for the sake of it, and who has lost any sense of self-worth. I've been completely sober and acted quite similarly.
Imho this performance was quite ghastly.
Why do you say that?
@@rh8872because they feel it gives them some power….
Wrong!
not a big fan of her held notes with no vibrato especially the lower ones-without spin they seem to sound flat even if they aren't....all that aside-i like her-shes feisty! get it girl.
(continued from previous comment) is not up to it's full potential. She was getting close towards the end, but got lost in the anger. The end of song needs show the real Joanne that's been hiding behind a facade the whole show. Again, just my opinion!
Didnt like this version at all. She started too bawdy and had nowhere to go. It's restraint that makes this song what it is when it finally blows up.
I wish her voice was with a more sweeter and softer tone. This video is kinda creepy.
Couldnt agree more, obscenely overdone.
Walsh is my favourite cos I love the cynicism when she plays it, but I love the narcacistic comedy that Stritch portrays, so shes a close second.
As someone who works in a bar, I can tell you that Sheila totally nailed many of the drunken well-to-do ladies that have come into the bar. She's completely accurate and not over the top
Over-done, I'm afraid.
she is a bit too much of a ham in this. She doesn't have the composure of Stritch nor the Depth of Walsh
sooooo much better than barbara walsh!
She keeps a lot of the notes out too long, and I agree, she acts too drunk. I liked the (1995) Broadway revival much better with Debra Monk sinigng this song (I've yet to see the newest Bway revival so I can't really compare them)
Why is she ape-ing Elaine Stritch's interpretation of the song?
When I first start watching this I thought it was a low budget, community theater production because the acting is so overdone. I felt there was no focus in this performance, just a woman ranting on stage and not getting the point of the song. I don't think Joanne's primary emotion would be anger. She appears angry on the surface, but underneath, she's frustrated. This is not a simple ranting song, it's a woman coming to terms with her own demons, which I didn't get at all from this performance.
campy, unrealistic, obnoxious, and lacks any of the self realization that makes the song. AT THE MOMENT OF SELF REALIZATION SHE LOOKS LIKE SHE HAS A SMIRK LIKE SHE HAS THOUGHT OF A NEW INSULT. When she gets frustrated she goes over the top yelling. This feels like 19th century melodrama acting
Eccessiva.
The greatest