![]() By then, audiences had lost interest in ESP and other forms of psychic phenomena held little box-office appeal. When the original production opened in 1965, critics were lukewarm about the show but raved about the songs and the way Barbara Harris sang them. Even Barbra Streisand, in the flop 1970 movie version, was compared unfavorably to Barbara Harris.) If you want to know why, just play the original cast album and discover pure magic. (It was one of the very few opening nights in history in which an unknown leading lady walked onstage, opened her kewpie doll eyes, sang out the enchanting “Hurry It’s Lovely Up Here” to a pot of flowers, and got a standing ovation. The musical score is what remains, along with the electrifying memory of Barbara Harris, who catapulted to fame as Daisy. The long-winded twist is that Daisy falls in love with the handsome psychiatrist, but he falls in love with the ghost of Melinda, leading her to belt out the rousing show-stopper “What Did I Have That I Don’t Have?”Įverything, in fact, leads up to some kind of song, and Alan Jay Lerner, composing lyrics to his first Broadway score without his history-making writing partner Frederick Loewe after a string of hits that included Paint Your Wagon, Brigadoon, Camelot and My Fair Lady, and Burton Lane ( Finian’s Rainbow) provided some memorable ones. It’s the one about extrasensory perception, psychoanalysis, and reincarnation that centers on a kooky girl named Daisy Gamble who goes to a shrink for hypnosis to give up a smoking addiction and discovers, on the analyst’s couch, that she’s the reincarnation of a 19th century lass in London named Melinda Welles who married a poverty-stricken portrait painter beneath her station (for love instead of social position) and tragically died young, in a shipwreck at sea. Here is a relic that was always unwieldy and problematic, and still is. Lively and not without a kind of historic charm, this refurbished incarnation, directed by Charlotte Moore, is a nice, albeit mediocre production of a show with a boring book and a spectacular score that might be better off left to grow moss, in a drawer with Alan Jay Lerner’s old socks. First up at bat: the Irish Rep company’s revival of the Alan Jay Lerner-Burton Lane musical On a Clear Day You Can See Forever. This year, all kinds of new shows are opening, large and small, on and off-Broadway, including one major musical, the singing and dancing version of the movie Pretty Woman, which is scheduled for the middle of a heat wave in the middle of August. Things opened (and closed) in the fall, winter and spring, and after the Tony awards, everyone took the summer off. The New York theater used to have a season. Hope Sandoval and The Warm Inventions released Through The Devil Softly on September 29, 2009.Craig Waletzko, Melissa Errico, and William Bellamy in Irish Rep’s On a Clear Day You Can See Forever. ![]() In 2008, Hope had a song, "Wild Roses", on a compilation CD from Air France titled In The Air. In addition to Mazzy Star and The Warm Inventions, Hope has collaborated with a variety of artists including The Jesus & Mary Chain, The Chemical Brothers, Death In Vegas, Bert Jansch, Richard X, Air, Vetiver, and Le Volume Courbe. Two EPs were also released: At The Doorway Again and Suzanne. In 2001, Hope Sandoval and The Warm Inventions released Bavarian Fruit Bread and toured the US and Europe in the fall of 2002. I always feel awkward about just standing there and not speaking to the audience. Once you're onstage, you're expected to perform. "For me recording is better," says Sandoval. Hope writes almost all the lyrics for Mazzy Star. Mazzy Star has released 4 albums: She Hangs Brightly (1990), So Tonight That I Might See (1993), Among My Swan (1996), and Seasons Of Your Day (2013). Keith Mitchell flew home and the next day he flew back with Hope. They did two more shows together but then she flew home. They found Kendra and had some discussions. David called Hope to see if she would be interested to take Kendra's place in Opal. During the Opal tour in December '87, Kendra left the band and disappeared. Hope and Sylvia played gigs in California throughout the mid '80s, and stayed friends with both Kendra and David. David Roback offered to produce some recordings for them and they went into the studio and recorded an album that to this day is yet to be released. Sylvia Gomez handed Kendra Smith a demo tape which was comprised of Hope Sandoval on vocals and Sylvia on guitar. Hope had admired Kendra Smith as a teen-age Dream Syndicate fan. She started her career together with her friend Sylvia Gomez in a band called "Going Home", a folk duo formed in 1986. H ope Sandoval was born Jand grew up in east L.A.
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