The Movie
https://www.youtube.com/watch?v=CjxugyZCfuw
"This Is Me: 1" took a look at the first ever presentation of this iconic song. It was a workshop presentation for Fox to determine whether to give The Greatest Showman the go ahead for production. Keala Settle's performance was, in my opinion, the meaning of the song, starting with her quietly, behind the music stand, wearing glasses, and leading to the remarkable climax.
The movie version shows the intent of the song. It serves to put the world on notice that there are those of us who "march to the beat I drum." And if you don't like it, world, pity. The number is beautifully shot, the freeze frame of the chorus while she continues to sing, and their fall to drive home the song sent shivers up and down my spine.
Understandably, though, it lacks a certain rawness. The song most certainly is the anthem it is meant to be and delivers the power it should. But the "holy shit, girl" feel isn't there, whether because of the rehearsal and recording process or the director's call.
I saw the movie first and was stunned and excited by this number. I thought it was one of the absolute best things in the movie. But I didn't really feel it, didn't truly get it, until I saw the that very first read-through, the singer discovering her song.
Graham Norton Pre-Oscars
https://www.youtube.com/watch?v=_BNRBgxiS2c&t=302s
After the huge reception The Greatest Showman received, both Hugh Jackman and Keala went sent out to do publicity, and once the Oscar nominations were announced, Keala did several solo performances. This meant singing the song as Keala Settle, no beard in sight. It's so incredibly exciting to see how she played with it a bit without breaking the integrity of the song. The song is powerful; Keala is powerful. Shaping it and making it her song, not the Bearded Woman's song, not that number from that movie, makes it explode with energy. This is after the nomination but before the ceremony.
I've included the interview following her performance because I really do think it's the real Keala Settle. Her story is still that of getting the part and not believing it or the words. Jackman insisted that she sing it and that she be in the movie.
Oscar Performance
https://www.youtube.com/watch?v=c6GrbAJq7tM
Deservedly, the song was up for an Academy Award. Rightly, it was sung by the original artist. And I think that it also shows that she was able to fashion the song more to Keala's comfort. The song, of course, morphed into A Big Production Number, as it should...Hollywood, the Oscars, and all. What I like about this, though, is that she manages to get that catch in her throat for "This is brave, this is bruised, this is who I'm meant to be." She was fighting back the tears in the workshop version; in the Oscar version, she brought it back and the song was all the better for it.
There may be a third blog in this series, where the song has gone, the song without Keala, and how the song takes on a different meaning, depending on the singer.
Thursday, April 16, 2020
Saturday, April 11, 2020
This Is Me: 1
First hearing
https://www.youtube.com/watch?v=XLFEvHWD_NE
Music has held a mystery for me all my life. Whether I sit alone and listen or I'm in the midst of a crowd and it's washing over all of us, whether I sing it or write it or direct it, it can cast a spell that I cannot deny.
That's why I'm so grateful to follow this song from the first time it was sung to well beyond servicing the movie for which it was written. The video posted here shows not just the original version but how a singer with a song she understands transforms the people hearing it, singing it, accompanying it. It's incredible to watch this happen.
In the opening interview, it's established that she didn't want move from behind the music stand to perform the number. Lord knows this is something I understand.
0:58 She hears the slight intro and does what she's supposed to do...sing the song, despite it being new to all concerned, including her. She knows she needs to get out from behind the music stand.
1:28 She looks at the singers and that gives her a poke.
1:45 She looks at Hugh Jackman, who has wanted her for the part since they first met. I wish we could see his face; it clearly inspires her (and really...who can blame her?).
1:52 She realizes that art needs the artist to take a chance. She steps out from behind the music stand.
1:56 Note the look on the pianist's face. It registers that she's left her comfort zone, at least to those who've worked with on this song. I'm embarrassed to say I don't know if he's the composer.
2:06 She and the singer in front of her make eye contact. The singer knows something's got to happen.
2:14 She now encourages the male singer to give it his all. He does.
2:18 The magic has begun. The singer in the light top is now thoroughly involved, the woman beside her is, too, and you can see the pianist's head bobbing from time to time.
2:34 Her spin back to the singers, the flip of her head, the look of the pianist from accompanying to being part of something way special.
2:45 "Glorious" frees everyone from this being a workshop to being a moment to remember.
2:56 The male soloist and Keala look like they're doing a call and response. He's there.
3:03 The camera pans to Hugh Jackman across to the other side of the room and more singers.
(3:08 I totally understand the woman at the table. That would probably be me at this point, too. We all boogy our own way.)
3:15 The other side of the room is alive. They have come into the magic, too. There is nowhere else on earth they'd rather be.
3:26 Jackman now feels the music, keeping time with his green apple.
3:31 There is now no one who is not in the moment.
3:35 Keala realizes the she and the song are one. It's necessary to step out from behind the music stand.
3:43 As Keala and the song consume each other, the pianist clearly is beyond delighted, which makes me think he is one of the composers or perhaps the music director.
3:48 The glasses comes off. She is now fully exposed.*
3:52 This is the start of what she talked about in the intro. She sings to Jackman, "When the sharpest words wanna cut me down." I think this is when the song hits her full force.
4:00 They are both in tears because of that realization. "This is brave, This is bruised, This is who I'm meant to be. This is me."
4:07 Jackman involuntarily makes a sound. It's as if he can't believe what's happening.
4:10 Singer, song, everyone become one."
4:25 Jackman is up and loving it.
I've been involved in enough rehearsals to know that there is frequently that moment the artist understands and feels what it's about. The know the words, they know the notes, they know what they're supposed to convey. And then, with luck, it all connects. It's magic.
It's also a mystery.
I'd like to follow this with the clip from the movie, a performance on The Graham Norton Show, and also a video of how a song can change its meaning slightly, depending on who sings it.
*I took a one-week crash course in choral directing. The instructor was adamant that no one should ever direct wearing glasses. It separates your eyes from the chorus or the audience.
https://www.youtube.com/watch?v=XLFEvHWD_NE
Music has held a mystery for me all my life. Whether I sit alone and listen or I'm in the midst of a crowd and it's washing over all of us, whether I sing it or write it or direct it, it can cast a spell that I cannot deny.
That's why I'm so grateful to follow this song from the first time it was sung to well beyond servicing the movie for which it was written. The video posted here shows not just the original version but how a singer with a song she understands transforms the people hearing it, singing it, accompanying it. It's incredible to watch this happen.
In the opening interview, it's established that she didn't want move from behind the music stand to perform the number. Lord knows this is something I understand.
0:58 She hears the slight intro and does what she's supposed to do...sing the song, despite it being new to all concerned, including her. She knows she needs to get out from behind the music stand.
1:28 She looks at the singers and that gives her a poke.
1:45 She looks at Hugh Jackman, who has wanted her for the part since they first met. I wish we could see his face; it clearly inspires her (and really...who can blame her?).
1:52 She realizes that art needs the artist to take a chance. She steps out from behind the music stand.
1:56 Note the look on the pianist's face. It registers that she's left her comfort zone, at least to those who've worked with on this song. I'm embarrassed to say I don't know if he's the composer.
2:06 She and the singer in front of her make eye contact. The singer knows something's got to happen.
2:14 She now encourages the male singer to give it his all. He does.
2:18 The magic has begun. The singer in the light top is now thoroughly involved, the woman beside her is, too, and you can see the pianist's head bobbing from time to time.
2:34 Her spin back to the singers, the flip of her head, the look of the pianist from accompanying to being part of something way special.
2:45 "Glorious" frees everyone from this being a workshop to being a moment to remember.
2:56 The male soloist and Keala look like they're doing a call and response. He's there.
3:03 The camera pans to Hugh Jackman across to the other side of the room and more singers.
(3:08 I totally understand the woman at the table. That would probably be me at this point, too. We all boogy our own way.)
3:15 The other side of the room is alive. They have come into the magic, too. There is nowhere else on earth they'd rather be.
3:26 Jackman now feels the music, keeping time with his green apple.
3:31 There is now no one who is not in the moment.
3:35 Keala realizes the she and the song are one. It's necessary to step out from behind the music stand.
3:43 As Keala and the song consume each other, the pianist clearly is beyond delighted, which makes me think he is one of the composers or perhaps the music director.
3:48 The glasses comes off. She is now fully exposed.*
3:52 This is the start of what she talked about in the intro. She sings to Jackman, "When the sharpest words wanna cut me down." I think this is when the song hits her full force.
4:00 They are both in tears because of that realization. "This is brave, This is bruised, This is who I'm meant to be. This is me."
4:07 Jackman involuntarily makes a sound. It's as if he can't believe what's happening.
4:10 Singer, song, everyone become one."
4:25 Jackman is up and loving it.
I've been involved in enough rehearsals to know that there is frequently that moment the artist understands and feels what it's about. The know the words, they know the notes, they know what they're supposed to convey. And then, with luck, it all connects. It's magic.
It's also a mystery.
I'd like to follow this with the clip from the movie, a performance on The Graham Norton Show, and also a video of how a song can change its meaning slightly, depending on who sings it.
*I took a one-week crash course in choral directing. The instructor was adamant that no one should ever direct wearing glasses. It separates your eyes from the chorus or the audience.
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