One of the most overwhelming emotionally roller coaster scenes in a Broadway musical. Masterful performance by the 63-year old Miss Hepburn who manages to go through these various stages of triumph, anger and grief over the course of fifteen minutes convincingly. My jaw drops whenever I watch this video. Were I in the theater, I think I would have been sobbing even though Coco convinces herself that she is triumphant in the end. Fortunately or unfortunately, I was mainly going to opera and ballet in NY in 1970, so I got to see and/or hear the likes of Beverly Sills, Norman Treigle. Gilda Cruz-Romo, conductor Julius Rudel, and a wide range of NYC Ballet and Joffrey Ballet performers. I still have the programs and remember those college days so well. Working class kid with a part-time after-school job in the university's music lab, with access to all their records and tapes, getting a chance to attend the opera and ballet live. Who woulda thunk it? I didn't see _Coco_ except on TV at the Tonys. Did eventually get into going to Broadway plays and musicals as the years went by.
FYI - This was taped on stage at the Mark Hellinger Theatre, rather than performed live at the Tony Awards (at Hepburn's insistence). Coco was the most expensive Broadway show up to that time. That spectacular set was by Cecil Beaton - and note that this was before computerization, so all those separate stairs, turntables and mirrors had to be coordinated manually. The staging of the "mannequins" was by Michael Bennett.
@@MondoMiami Ever been in the same situation as Coco in this version of her life? Try it, and see if you agree with your assessment, at least in this scene.
LOS AÑOS QUE YO ESTUDIABA FRANCÉS EN LA ALIANZA FRANCESA, SOÑABA ALGÚN DÍA CONOCER LA CASA EN PARÍS DE SUS DISEÑOS TAN FAMOSOS EN EL MUNDO Y PODER HABLAR CON ELLA, EN FRANCÉS!. ASÍ NO FUE, PERO DEJO AQUÍ MI RECUERDO Y MI ADMIRACIÓN ENORMES POR ESTA GRAN ACTRIZ QUE ES SIEMPRE LA SRA. HEPBURN Y POR ESA INCREÍBLE SEÑORA CHANEL!. JUNTAS LAS DOS AQUÍ POR UN REGALO DIVINO...!!!. AU REVOIR MES AMIS...!!!, MERCI A TOUS....!!!, ET BONNE VIE POUR TOUT LE MONDE...!. A VOTRE SANTÉ....!!!.
That was Coco's Act 2 entrance line, in the wake of the (failed) fashion show that Act 1 closed anticipating. Lerner wanted Hepburn to substitute "Merde," and she logically argued that only ballet dancers and Francophiles would get the impact. She prevailed, and a killer entrance moment ensued.
"SCREAMING Noelle's lines?"!?! I don't hear screaming. But, neither do I hear film or television drama acting. Gale Dixon originated the role of Noelle in Coco, which played the 1,505-seat Mark Hellinger Theatre (Dec 18, 1969 thru Oct. 30, 1970). The ubiquitous use of body mics that we see now in Broadway shows was very, VERY sparse in 1969. Performers prior to, and into the 1960's and 1970's were trained to project and be heard and understood acoustically without the use of amplification. It is my speculation that Ms. Hepburn, Mr. Rose, and Mr. Halliday were familiar with scaling a performance to the camera lens (as you know, this was pre-recorded). I agree, Ms. Dixon seems to at least be acting for the last row in the balcony, if not in a melodrama, in a much earlier decade. But, based on her enunciation alone, I'm guessing she's "playing the house she's in", rather than the intimate lens and boom mic of the camera. In the mid-1970's, floor mics were being introduced and some body mics. By late 1979 - 1980, body mics were intermittently distributed on some ensemble members (think mic stands with omni-directional mics to pick-up groups of singers). And then, the mics, still positioned on the costumes, would be redistributed to different performers throughout the performance. That changed in 1982 with CATS, which, reportedly was the first show in which every cast member had their own body mic. By then, the microphone heads had become small enough to be fed into, and partially hidden by the wigs. Battery packs has also become smaller and more efficient.
@@timothysmith7888 Thank you for the history lesson. I think you are right about Gale Dixon not adjusting her performance for the camera as the other actors did. That’s why her “projecting” seems so out of place in this performance compared to everyone else. Also, I could have sworn that all the main characters in Evita were mic’d in 1979, but now that I look I can’t find even one picture of a cast member with a body mic. Looks like Cats for the win. 😆
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
One of the most overwhelming emotionally roller coaster scenes in a Broadway musical. Masterful performance by the 63-year old Miss Hepburn who manages to go through these various stages of triumph, anger and grief over the course of fifteen minutes convincingly. My jaw drops whenever I watch this video. Were I in the theater, I think I would have been sobbing even though Coco convinces herself that she is triumphant in the end.
Fortunately or unfortunately, I was mainly going to opera and ballet in NY in 1970, so I got to see and/or hear the likes of Beverly Sills, Norman Treigle. Gilda Cruz-Romo, conductor Julius Rudel, and a wide range of NYC Ballet and Joffrey Ballet performers. I still have the programs and remember those college days so well. Working class kid with a part-time after-school job in the university's music lab, with access to all their records and tapes, getting a chance to attend the opera and ballet live. Who woulda thunk it? I didn't see _Coco_ except on TV at the Tonys. Did eventually get into going to Broadway plays and musicals as the years went by.
FYI - This was taped on stage at the Mark Hellinger Theatre, rather than performed live at the Tony Awards (at Hepburn's insistence). Coco was the most expensive Broadway show up to that time. That spectacular set was by Cecil Beaton - and note that this was before computerization, so all those separate stairs, turntables and mirrors had to be coordinated manually. The staging of the "mannequins" was by Michael Bennett.
It wasn’t “at her insistence.” It’s because that set isn’t portable. Broadway shows do it all the time for the Tonys. Even this godawful turkey.
@@MondoMiami it may seem like a turkey only because she’s not a singer! but as far as I’m concerned, the lyrics & KH’s performance are very poignant!
@@willwjl “Is it worth a stitch ending up a witch.” Very poignant.
@@MondoMiami Ever been in the same situation as Coco in this version of her life? Try it, and see if you agree with your assessment, at least in this scene.
I never knew that Froggy from the Little Rascals had a run on Broadway.
LOS AÑOS QUE YO ESTUDIABA FRANCÉS EN LA ALIANZA FRANCESA, SOÑABA ALGÚN DÍA CONOCER LA CASA EN PARÍS DE SUS DISEÑOS TAN FAMOSOS EN EL MUNDO Y PODER HABLAR CON ELLA, EN FRANCÉS!. ASÍ NO FUE, PERO DEJO AQUÍ MI RECUERDO Y MI ADMIRACIÓN ENORMES POR ESTA GRAN ACTRIZ QUE ES SIEMPRE LA SRA. HEPBURN Y POR ESA INCREÍBLE SEÑORA CHANEL!. JUNTAS LAS DOS AQUÍ POR UN REGALO DIVINO...!!!. AU REVOIR MES AMIS...!!!, MERCI A TOUS....!!!, ET BONNE VIE POUR TOUT LE MONDE...!. A VOTRE SANTÉ....!!!.
11:30 Carol Burnett
11:47: Tammy Faye Bakker
MARAVILLOSA KATHARINE ,, SOU BEATIFUL
By the way, only for your information. It is Katharine and not Katherine. She herself would have told you so.
Who the devil CAYYUZZZZ?
What a woman WEAAAAUUUZZZ!!!
What's up with the laugh track?
I commented on another site about the laugh track here. It's pretty obvious, but I wasn't believed.
Have another Chesterfield, Kate.
Lovely woman!
My father saw the show with her.
I belive it 2as at the end of acto one.
She saya SHIT. And the audience goes crazy
That was Coco's Act 2 entrance line, in the wake of the (failed) fashion show that Act 1 closed anticipating. Lerner wanted Hepburn to substitute "Merde," and she logically argued that only ballet dancers and Francophiles would get the impact. She prevailed, and a killer entrance moment ensued.
When there were real STARS on Broadway!!!
I wouldn't spend a single solitary cent for the absolute crap on Broadway today!
Is there a double-entendre here? "Right or wrong I'm glad to be....Katherine Hepburn..."????
Katie Hepburn was no singer but this scene is well acted and beautifully staged.
LOL!!
Saw it. Thrilling to see Kate and the big production, but the book was lacking.
Oy!
Imagine that
You can't. It needs to be seen to be believed.
@@rudolfix7772 I'm talking about the mini fashion show
@@TSquared2001 That too.
huh
Who is the loudmouthed, pumpkin-headed actress SCREAMING Noelle’s lines?
"SCREAMING Noelle's lines?"!?! I don't hear screaming. But, neither do I hear film or television drama acting. Gale Dixon originated the role of Noelle in Coco, which played the 1,505-seat Mark Hellinger Theatre (Dec 18, 1969 thru Oct. 30, 1970). The ubiquitous use of body mics that we see now in Broadway shows was very, VERY sparse in 1969. Performers prior to, and into the 1960's and 1970's were trained to project and be heard and understood acoustically without the use of amplification. It is my speculation that Ms. Hepburn, Mr. Rose, and Mr. Halliday were familiar with scaling a performance to the camera lens (as you know, this was pre-recorded). I agree, Ms. Dixon seems to at least be acting for the last row in the balcony, if not in a melodrama, in a much earlier decade. But, based on her enunciation alone, I'm guessing she's "playing the house she's in", rather than the intimate lens and boom mic of the camera. In the mid-1970's, floor mics were being introduced and some body mics. By late 1979 - 1980, body mics were intermittently distributed on some ensemble members (think mic stands with omni-directional mics to pick-up groups of singers). And then, the mics, still positioned on the costumes, would be redistributed to different performers throughout the performance. That changed in 1982 with CATS, which, reportedly was the first show in which every cast member had their own body mic. By then, the microphone heads had become small enough to be fed into, and partially hidden by the wigs. Battery packs has also become smaller and more efficient.
@@timothysmith7888 Thank you for the history lesson. I think you are right about Gale Dixon not adjusting her performance for the camera as the other actors did. That’s why her “projecting” seems so out of place in this performance compared to everyone else. Also, I could have sworn that all the main characters in Evita were mic’d in 1979, but now that I look I can’t find even one picture of a cast member with a body mic. Looks like Cats for the win. 😆