Theater-related blogging has been light here, I'll confess. That's because whatever bloggy energies I have have been redirected to my music blog, where I've been revisiting formative albums in their entirety for about two months straight; meanwhile, my theater-related writing has been confined, if that's the word, to my day job and several freelance assignments.
Those formative albums do, of course, include some show records; though so far I've considered just two Broadway offerings, Fiddler on the Roof (and that in its film version) and Pacific Overtures, and two 20th-century operas (Turn of the Screw and Threepenny)--I'd almost count Tom Waits' Nighthawks at the Diner as a show record (though not Bowie's Ziggy Stardust film soundtrack)--there will be more. And there will be tears.
Those formative albums do, of course, include some show records; though so far I've considered just two Broadway offerings, Fiddler on the Roof (and that in its film version) and Pacific Overtures, and two 20th-century operas (Turn of the Screw and Threepenny)--I'd almost count Tom Waits' Nighthawks at the Diner as a show record (though not Bowie's Ziggy Stardust film soundtrack)--there will be more. And there will be tears.
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