Page 3 of 163 FirstFirst 123451353103 ... LastLast
Results 31 to 45 of 2444

Thread: 'The Light Princess' and its Cast Recording

  1. #31
    Lyrical acuity and mum-smarts menju56's Avatar
    Join Date
    Jun 2010
    It's been in the works for about four years but she's only really mentioned it when asked about it (apart from the one time in May 2007 when she just came out with it in an interview out of excitement); I think wisely she didn't want to talk it up in case it didn't go ahead and I'm really thrilled for her that it's gone to plan so far.

  2. #32
    I am not a loony beanstew's Avatar
    Join Date
    Jun 2010
    I'll just put missing it down to too many people to track then.
    Maybe for once, someone will call me "Sir" without adding, "You're making a scene."

  3. #33
    mat-a-tat-tat bratboy's Avatar
    Join Date
    Jul 2010
    Austin, TX
    Quote Originally Posted by Veronica View Post
    I, also, became very excited when I learned that A Winter's Carol is from The Light Princess.
    Oh that's interesting, I hadn't heard. Seems like a good sign to me.

  4. #34
    The Universal Remonster Keule's Avatar
    Join Date
    Jan 2011
    Words cannot describe how excited I am for this!

  5. #35
    Spoiler King RisingPhoenix's Avatar
    Join Date
    Jun 2010
    Madison, WI
    i'm curious if this will come to the states. It's hard to get excited for something I possibly won't ever see. At the very least maybe the music will be released.

    I'm not complaining I realize full well that the states have gotten things that other places havent
    Last edited by RisingPhoenix; 01-27-2011 at 12:26 PM.

  6. #36
    Surely, like Winter's Carol, Tori will release her own take on the songs? I really hope so. Wasn't That Guy a LP song?

  7. #37
    Yeah, it was, and I think she even said it still might be. I remember the first time I heard AATS and listened to That Guy, I knew immediately it was a musical song.

  8. #38
    Crimson Liberator Faust's Avatar
    Join Date
    Jun 2010
    I thought it was the other way around- more that it was her own album track, but that it might make an appearance in The Light Princess.
    'Tis better to bend with the wind than stand tall and be broken. Therein lies hope; therein lies freedom.

  9. #39
    Quote Originally Posted by G. View Post
    I thought it was the other way around- more that it was her own album track, but that it might make an appearance in The Light Princess.

    Hm, not sure now but I don't think so. Menju will come to the rescue and provide us with the exact quote soon.

  10. #40
    I'm a sensible girl GirlForPele's Avatar
    Join Date
    Jun 2010
    Near Philadelphia
    I really, really hope I can make it to London for this...
    When pianos try to be guitars...out of my black and white world

  11. #41
    Lyrical acuity and mum-smarts menju56's Avatar
    Join Date
    Jun 2010
    Unfortunately don't have the exact quotes to hand, BUT I definitely remember her saying that when she was writing she was not separating it out in her mind in the sense that "this is for the musical" and "this is for the album," and that there might be some overlap. She cited "That Guy" as a song that might feature in the musical but I don't think was written specifically for the musical.

    In an Oct.13, 2008 interview in The Independent, a song called "Delectable Guy Pain" was mentioned in connection with the musical, which may or may not be an entirely different song. She's not spoken about it since.

  12. #42
    Hm, maybe I assumed Delectable Guy Pain was That Guy. Could have sworn she said in an interview though that That Guy was written for the musical. Will have to do some hunting myself now. Maybe she just said there could be overlap because she was writing for the album and the musical at the same time and That Guy could end up on either or both.

    Another reason why I assumed they were the same song is that she definitely talks about having written a 'Shirley Bassey belter style' song and to me that is exactly what That Guy is.
    Last edited by PurplePerson; 01-27-2011 at 08:04 PM.

  13. #43
    Lyrical acuity and mum-smarts menju56's Avatar
    Join Date
    Jun 2010
    Here's a collection of quotes about the musical over the years - "That Guy" quote is in the Popdose interview


    ME-ME-ME.TV, MAY 2007
    Oh, I do need to leak something to you … I think I am writing a musical! I’m gushing but I’m under fucking lock and key.

    Will you be in it?
    That is not my plan. I am writing all the songs. I’m trying to be, who are those guys, I know one of them, Tim Rice…

    And Andrew Lloyd-Webber?
    Yes, Webber and Rice. I’m trying to be both. So I’m busy.


    THE DAILY MAIL, JUNE 22, 2007
    "Watch out for… Tori Amos, the singer, who is collaborating with dramatist Samuel Adamson on a hoped-for production of The Light Princess, George McDonald’s story (which was illustrated by Maurice Sendak) about a princess cursed by a witch. The National Theatre has commissioned Ms Amos and Mr Adamson to see what they come up with."


    She said she was a bit nervous, cause musicals can be disastrous, or in her words: “It could be like Sound of Music or it could be like the Paul Simon musical. I love Paul Simon but still…”. Then she added something like: “But we’re getting the girls with the long legs to appear so it should be fine”.



    Amos says a Light Princess soundtrack will be made available, but “that’s down the road. First it’s got to be written. It’s sort of slated for the fall of 2009, and a lot of work is going into it as we speak.”
    Tori Amos is developing a musical with the British National Theatre. “The Light Princess” is based on a fairy tale written by George MacDonald in 1846. (“But I won’t be confined to a time—no way, no how.”) A surefire hit? Amos laughs. She knows it’s the highest tightrope she’s ever walked, career-wise, anyway.

    “You have to know that I’m very aware of the statistics of how many contemporary composers tank when they write a musical.” Here, she giggles, “People kiiiiiiiiindly just say, ‘Heads up, Tor, you’ve gotta know, you’re walking into a sonic minefield.’ And sometimes they’ll mention names of everybody that’s made a musical and it doesn’t work.

    “I say to them, look, you’re right…I know you can really mess up. What you can’t do is enter and think you’re just making another album. You have to go in and work as a team, and that’s the one thing about working with the British National Theatre: You come in as a team. No man is an island. You can’t just go off and…make this radical one-woman show.”

    Amos likes discipline. “It’s a blessing that I have to work within these constraints. I think that’s kind of…good for me,” she says, again laughing. “In no uncertain terms, when you work with the British National Theatre, you know what your gig is. I’m the composer. I write the songs. I’m not involved in the casting. I’m there to make sure that the singers and the actors have the best material they could possibly have.”

    The normally bold Amos sounds almost intimidated as she raves about the company involved in the production. “The playwright is one of the most exciting in England right now—and he’s a proper playwright. He’s not a book writer who’s trying his hand at the stage. He’s a playwright. He’s adapted Chekhov for the stage and just adapted [Pedro Almodůvar’s] All About My Mother for the British National Theatre…And he’s really helping me with the form and…you know, the form is on one hand pretty strict, and on the other hand, the world is your oyster. And I know that’s a paradox.”

    She says the British National Theatre is not concerned with ticket sales, “and I come from the position that, well, why can’t a lot of people like this and we still keep the artistic integrity? That’s difficult to do. You’re walking on both sides. But I like walking on both sides, on that tightrope. It’s really sexy to me to walk that tightrope.”

    SPINNER, JUNE 2008

    "It seems to be a full-time commitment," she says of the musical. "I've never written for other people before. Writing for a company and researching their characters, understanding how they speak, working closely with the playwright ... I've never experienced anything quite like it before. The collaboration process that I have when I'm making records is that the material is written and then you're working on arrangements. With 'The Light Princess,' another scene might be written or added or changed, which then will mean that a completely different set of songs have to be written for that scene. I like to work, so I don't mind how much work it takes. I'm not saying I'll never write another one. I'm enjoying it. But if you're writing a musical, you better like your collaborators. I happen to get along with them very well."




    ATTITUDE, MAY 2009

    How is the new musical going?
    The latest is that it’s in the next draft. Green light is still on, which is always kind of nice. [Originally] we wrote a musical that would probably last four days. So everybody got a song.

    A four day Tori musical would go down well in some circles.
    Well. Ha, ha. It could be a pilgrimage. But the thing is you give everybody a song. You think ‘Let’s give the soldiers a song, let’s give this guy a song’ and then finally the people involved kind of looked at Sam Adamson and me and said, “okay, now well you guys go back and make this two hours”.

    So can we expect a West End extravaganza with 30 chorus boys belting out Cornflake Girl?
    Oh god, I would love 30 chorus boys belting out something like Cornflake Girl. That would just make my year. But I don’t know if they’ll give that to me because, you know, every chorus boy has a price.

    Is it going to be staged in London?
    Well, yeah the idea is that it’ll go over to Broadway. The British National Theatre develops things that then go onto Broadway. And I think maybe because I’m an American, they thought maybe Broadway will at least kind of know who she is? And not just say: “Oh God what is she trying to do?”

    POPDOSE, JULY 2009

    Do you think that elements of the musical you’ve been working on seeped in there as well?

    Absolutely! I think “That Guy” very much was inspired by the musical process, without question – to the point where “That Guy” might end up in the musical, because I can’t say that the song wasn’t influenced by writing the musical. And I’m still in the process of writing the musical. Certain songs have come out of that. Just because it ended up on the record doesn’t mean that it shouldn’t be in the musical as well. There isn’t a segregation between the work that I’ve been doing for the last couple years and writing the musical, because they go hand-in-hand and they’re being written together.



    Tell me about this project -- The Light Princess?

    Yeah, that’s a musical [I’m writing, based on the short fairy tale "The Light Princess" by George MacDonald]. I think we’re doing it in the right way. There’s a lot of work that’s gone into it, and more work has to go into it to make it great -- not good, but great. I have an entitlement vibe. I want it to be great. I want it to hold up against other musicals, not because of who’s doing it, but because the work is powerful. That takes a lot of woodshed time. I’m working with people who do a lot of musicals. Tim Leavy’s the producer working on Broadway now. And Samuel Adams is the playwright. He did the adaptation of All About My Mother, coming to Broadway. Really great playwright. But really, it’s a work in progress. At the earliest it would be out late autumn 2010.


    QRO, DECEMBER 2009

    QRO: So, I heard that this album doesn't count toward your contract, and I was wondering what was next.

    TA: Oh, um, well, I'm finishing writing this musical, The Light Princess, which is something that I've been developing with Samuel Adamson, the playwright, along with the producer Tim Levy, who's out of New York now. He's New York-based, although he was with the British National Theatre for a long time. And so it's a mixture of American and British, um, people together.

    QRO: Which will be nice. It'll be opening in London, right?

    TA: Well, we'll see where it's opening. It'll be work-shopped in the spring in London, and after the three-week workshop, I think everybody will decide the best place for where it should open.


    SUMMER 2010
    Leaks out on Twitter during the workshops that there will be puppets

  14. #44
    Thanks very much for digging that out, that was the quote I was looking for.

    That Samuel Adamson interview really whets the appetite!
    Last edited by PurplePerson; 01-27-2011 at 08:52 PM.

  15. #45
    Join Date
    Jun 2010
    New article about TLP:

    Tori Amos’s New Musical: The Next “Wicked”?
    Posted Thursday, January 27, 2011 2:25 PM | By Nina Shen Rastogi

    Be still my beating middle-school heart: Tori Amos is writing a musical.

    The show—based on George MacDonald's 1864 fairy tale "The Light Princess"—will premiere in April 2012 at the National Theatre in London. Singer-songwriter Amos will be writing music and lyrics, with additional lyrics by playwright Samuel Adamson. (Hot-shot director Marianne Elliott will be helming the production.)

    In MacDonald's story, a wicked aunt curses her princess niece with weightlessness. Her lack of gravity is literal as well as metaphorical: She laughs "immoderately," MacDonald writes, and "never could be brought to see the serious side of anything." She can, however, swim, which keeps her from floating off into the air. Eventually a prince comes along and falls in love with her, as princes are wont to do, but their happily-ever-after is imperiled when the princess's beloved lake dries up—thanks to the aforementioned evil aunt—and the prince decides to sacrifice himself to revive it.

    Amos being Amos, we can expect a work that combines the dreamy and the dark. "There's nothing wrong with Disney," she told the Independent in 2008, "but my benchmarks are more West Side Story meets Jesus Christ Superstar. I'm trying to write a musical that will be relevant to a 16-year-old today, a rite of passage for a young girl into womanhood." Amos hinted to the U.K. paper that her musical will modernize MacDonald's story, drawing out the environmental themes and using the princess's "lightness" as a way to explore modern afflictions like anorexia.

    The show also promises a healthier take on cross-generational gender issues:

    The thing about the original story I wasn't crazy about is that the princess's disability gets blamed on an old hag ...We're not going to deal in spells cast by old ladies; we're dealing with problems caused by power and greed, many of which start with men.

    Could Amos's musical—with its themes of flight and girlhood and its revisionist M.O.—become the scrappy little sister to Broadway juggernaut Wicked? We'll see next spring.

    Meanwhile, you can hear a song from the show, "Winter's Carol," on Amos's 2009 "seasonal" album Midwinter Graces. Although the number I'm dying to hear is "Delectable Guy Pain," which was inspired, somewhat improbably, by Shirley Bassey's "Big Spender."

    Amos fans can tide themselves over with wrestling legend Mick Foley's unlikely love letter to the chanteuse, published in Slate last fall.

Tags for this Thread

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts