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The Roar of the Greasepaint—the Smell of the Crowd

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The Roar of the Greasepaint—the Smell of the Crowd

The Roar of the Greasepaint –
The Smell of the Crowd
215px
Original Recording
Music Leslie Bricusse
Anthony Newley
Lyrics Leslie Bricusse
Anthony Newley
Book Leslie Bricusse
Anthony Newley
Productions 1964 UK tour
1965 Broadway

The Roar of the Greasepaint – The Smell of the Crowd is a musical with a book, music, and lyrics by Leslie Bricusse and Anthony Newley. The musical is best known for producing the standards "Who Can I Turn To?" and "Feeling Good." The show title is a transposition of the phrase "the smell of the greasepaint, the roar of the crowd," referring to the experience of theatre performers.

Synopsis

Resembling a music hall production more than a book musical, the allegorical plot examines the maintenance of the status quo between the upper and lower classes of British society in the 1960s. The two main characters are Sir and Cocky. Since Sir forever is changing the rules of the game of life, downtrodden young Cocky always gets the short end of the stick. Assisting Sir is his eager disciple Kid, anxious to pick up bits of wisdom while helping keep Cocky in his place.

History

With this project, Bricusse and Newley had hoped to match the success of their 1962 hit Stop the World – I Want to Get Off. The show opened at Theatre Royal in Nottingham on 3 August 1964,[1] and then toured the UK in anticipation of a London opening. Cocky was played by Norman Wisdom; Sir by Willoughby Goddard; The Kid by Sally Smith; The Girl by Dilys Watling; The Negro by Cy Grant; and in the chorus Elaine Paige made her first professional appearance on stage.[1]

However, audience interest was minimal, and it never reached the West End. American theatre producer David Merrick saw it in Liverpool and, aware production costs could be kept low, decided to bring it to the States, starting with a lengthy national tour. An original cast recording was released by RCA Victor long before the show reached New York City, and Tony Bennett's version of "Who Can I Turn To?" proved to be a hit that kept the show in the public's awareness. The tour was so successful that most of Merrick's investment was paid back while the show was on the road.

After seven previews, the Broadway production, directed by Newley and choreographed by Gillian Lynne, opened on 16 May 1965 at the Shubert Theatre, where it ran for 231 performances. The cast included Newley as Cocky; Cyril Ritchard as Sir; Sally Smith from the UK production repeating her role as The Kid; Joyce Jillson as The Girl; and Gilbert Price as The Negro.[1] Conductor Herbert Grossman served as music director.

Song list

Song recordings

In addition to Bennett, Newley and Dusty Springfield had hit recordings of "Who Can I Turn To?"

"Feeling Good" has been covered by a number of artists, including Sammy Davis, Jr., Nina Simone, Traffic, Yard Dogs Road Show, Muse, John Barrowman, Michael Bublé, Adam Lambert, The Pussycat Dolls, and Joe Bonamassa.

"Look at That Face" was recorded by Carmen McRae, Mel Tormé and Barbra Streisand and was once sung by Jane Norman on her children's TV show Pixanne.

"The Joker" was covered by Shirley Bassey, and was recorded by Gina Riley for use as the opening theme song for the Australian sitcom Kath & Kim.

The main theme song for Miss Venezuela beauty pageant since early 1970s until 2008, used the tune from "A Wonderful Day Like Today".

Awards and nominations

Original Broadway production

Year Award Category Nominee Result
1965 Tony Award Best Producer David Merrick Nominated
Best Original Score Anthony Newley and Leslie Bricusse Nominated
Best Performance by a Leading Actor in a Musical Cyril Ritchard Nominated
Best Direction of a Musical Anthony Newley Nominated
Best Scenic Design Sean Kenny Nominated
Best Costume Design Freddy Wittop Nominated
Theatre World Award Joyce Jillson Won

References

Open a New Window: The Broadway Musical in the 1960s by Ethan Mordden, published by Palgrave, 2001 (ISBN 0-312-23952-1)

External links

  • Template:Ibdb show
  • Commentary by Judy Harris
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