Showing posts with label broadway. Show all posts
Showing posts with label broadway. Show all posts

Chicago - A Musical Vaudeville (1975 Original Broadway Cast) Review

Chicago - A Musical Vaudeville (1975 Original Broadway Cast)
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Chicago - A Musical Vaudeville (1975 Original Broadway Cast) Review... why this show flopped the first time around (yeah, yeah, "A Chorus Line"... biiiig deal... wow.). And why people don't realize what an absolutely TERRIFIC recording this is. First of all, just look at the names. GWEN VERDON (which, alone, is enough to make me gape in awe). CHITA RIVERA. JERRY ORBACH. I mean, these are absolutely brilliant performers. Let me tell you a little about each song, maybe that will help you in your decision to purchase this CD.
-The Overture is a LOT of fun. VERY roaring 20's ish.
-All That Jazz. FUN SONG! And, to me, this is Chita's baby. Nobody can perform it like her... BeBe came CLOSE... but this is Chita's song all the way. Such spirit.
-Funny Honey: Gwen does such a great job with this song... and I LOVE to hear her sing "Lord knows he ain't got the smarts!" I prefer Gwen's Roxie to Ann's because... well, as much as I love Ann Reinking, her voice is so grainy and rough hewn on this song. Gwen's is breathy and throaty, but still girlish enough to make you feel kinda sorry for Roxie. Gwen is so fantastic in this song! Marvelous!
-Cell Block Tango: I haven't heard a bad version of this song yet... but this song is my favorite... just to hear Chita go "I didn't do it!" And the Liz is SPECTACULAR with her "So I said to him I said, 'BERNIE! You pop that gum one... more... time.' And he did. So I took the shotgun off the wall, and I fired two warning shots. Into his head!"
-When You're Good To Mama: Mary McCarty does a GREAT job with this song... she and Vicki Lewis sing it very similar, which I think is great.
-All I Care About: Jerry Orbach RULES as Billy Flynn. I mean, he just sounds so much more... sleazy and... sneaky... and like some crooner out of the 20s than James Naughton. The man has an amazing voice, which, up until I heard this, I didn't know. (Idiot me didn't realize he was Lumiere in Beauty & The Beast... go figure!)
-A Little Bit Of Good: Just listen to M. O'Haughey hit those high notes. You'll understand. :o)
-We Both Reached For The Gun: Fun and a half on this one, ladies and gentlemen! Again, the high point in this song is to hear Gwen Verdon go "Are you kiddin'?!" But it's a truly great, fast, fun song!
-Roxie: Okay, FAR SUPERIOR to ANY version I have EVER heard done of this song, including that of Ann Reinking and Ruthie Henshall. This is classic, wonderful, ever-sparklin' Gwen Verdon. I mean, had I ever been around in 1975 to see her do this number... I'd have probably fainted. Her vocals are terrific, and the song is just so much fun... and not as choppy and wavering between speaking and singing as the other versions are. Gwen's absolutely TERRIFIC in this song, she sparkles like no one else ever did and ever will again!
-I Can't Do It Alone: Another rousing rendition of a song by Chita. Lots of fun... you'll run around going "She'd say 'What's ya sista like?!' I'd say 'MEN!' Yuk yuk yuk!" for days!
-My Own Best Friend: Beautiful, beautiful song sung by two beautiful ladies with beautiful voices.
-Me And My Baby: Some people don't like the ballad version that Gwen sings as much as the jazzier version. Oh well, this one's still cute as it can be. Gotta adore Gwen.
-Mr. Cellophane: Barney Martin does a superb job with this song! Chalk one up for him!
-When Velma Takes The Stand: Chita shines again... ya gotta love her.
-Razzle Dazzle: I like this version of Razzle Dazzle more than James Naughton's, and ESPECIALLY more than the way they did it in "Fosse"... all... slow and what not. Jerry Orbach's vocals again work their magic.
-Class: Chita and Mary McCarty belt out this one! Great fun, and great voices!
-Nowadays: Gwen does a GREAT job with the solo at the beginning... I've often heard said that Gwen was not a first rate singer, but I don't see what's so bad about her voice. Maybe she's not Shirley Jones or Ethel Merman, but she's anything BUT off-key and she's got SPIRIT. She brings a lot of spirit to the first half. Then, she and Chita make a harmonious sound together in the second half... it's wonderful just to hear their devilish little laughs after "It's gonnnnna change, ya know... hahaha!"
-All That Jazz Reprise: And it closes with a bang from Chita, belting out "All That Jazz"!
All in all, this is a GREAT CD, and a must have for die hard "Chicago" fans, die hard Gwen Verdon fans (such as myself), and die hard Chita Rivera fans.
This is ALSO a GREAT CD if you just want a recording from "Chicago". It's a masterpiece in my eyes, and you won't regret purchasing it.Chicago - A Musical Vaudeville (1975 Original Broadway Cast) Overview

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Flahooley (1951 Original Broadway Cast) Review

Flahooley (1951 Original Broadway Cast)
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Flahooley (1951 Original Broadway Cast) ReviewFLAHOOLEY has had a checkered career in record company catalgues. The musical was a flop that folded after 5 weeks (40 performances) in the spring of 1951. Capitol records issued the cast album on June 18th ..2 days after the show had played its final performance. With the show no longer playing, interest was minimal and the Lp was deleted in 1955. Since very few copies had been sold, collectors who wanted the score had a difficult time tracking down the album. By the early 1970s its estimated value in collectors circles was $300. Finally in 1977...22 years after the album had left the catalogues, Capitol brought it back. A mid-priced ($6.98) reissue that duplicated the original album cover. The reissue was short-lived, for beyond harcore show music collectors there was no mass market for FLAHOOLEY and the Lp was deleted again.
In 1993 EMI launched a major Cd reissue campaign called Broadway Angel transferring 40 of the Capitol cast albums to CD, including FLAHOOLEY. This time the liner notes were expanded to include a history of the show, a detailed synopsis and an interview with Barbara Cook.
The CD again was bought mainly by collectors and was deleted in 1996. You would think that after 3 go-rounds, this would have been the end of FLAHOOLEY. But Noooooooooo... now DRG has brought it back.
The score by Sammy Fain and Ey.Y Harburg has several charming numbers: "Here's to your Illusions", "The World is Your Balloon"
and "The Springtime Cometh." None of the songs became hits, and FLAHOOLEY is never revived... not even in concert format.
Don't miss out on a chance to own a copy of FLAHOOLEY before it gets deleted for the 4th and final (?) time.Flahooley (1951 Original Broadway Cast) Overview

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The Producers (2005 Movie Soundtrack) Review

The Producers (2005 Movie Soundtrack)
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The Producers (2005 Movie Soundtrack) ReviewAlthough the movie may have been less than the stellar hit that was hoped for, the album carries the day. It contains almost all of the music heard on the movie, with some dialogue exceptions, and even includes a bonus track not included in the movie. By far my favorite is the title credit version of "Guten Tag Hap-Clap."
The cast is also wonderful. Not only do you hear the original Broadway stars Nathan Lane and Matthew Broderick in their original roles, you also get Will Ferrel playing the hillarious role of Franz Liebkind but also Uma Thurman as the dazzling Ulla flaunting (and belting) all the way. All in all, a great buy, and well worth the add to the library!The Producers (2005 Movie Soundtrack) OverviewProducers [2005 Soundtrack]Original Soundtrack Label: Sony Release Date: 11/22/2005 1 The Producers, musical play~Overture - :432 The Producers, musical play~Opening Night - 1:463 The Producers, musical play~We Can Do It - 3:574 The Producers, musical play~I Wanna Be A Producer - 6:145 The Producers, musical play~Der Guten Tag Hop-Clop - 1:576 The Producers, musical play~Keep It Gay - 5:537 The Producers, musical play~When You Got It, Flaunt It - 3:118 The Producers, musical play~Along Came Bialy - 3:529 The Producers, musical play~That Face - 4:1610 The Producers, musical play~Haben Sie Gehürt Das Deutsche Band? - 1:1911 The Producers, musical play~You Never Say Good Luck On Opening Night - 1:3412 The Producers, musical play~Springtime For Hitler - Part 1 - 3:4013 The Producers, musical play~Heil Myself - :5214 The Producers, musical play~Springtime For Hitler - Part 2 - 3:0115 The Producers, musical play~You'll Find Your Happiness In Rio - 1:1016 The Producers, musical play~Betrayed - 4:2617 The Producers, musical play~Til Him - 3:1018 The Producers, musical play~Prisoners Of Love (Broadway) - 2:1619 The Producers, musical play~Prisoners Of Love (Leo And Max) - 1:2720 The Producers, musical play~There's Nothing Like A Show On Broadway - 3:4221 The Producers, musical play~The Hop-Clop Goes On - 3:3422 The Producers, musical play~Goodbye! - :3723 The Producers, musical play~The King Of Broadway (Bonus Track) - 4:38

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Tarzan - The Broadway Musical (Original Broadway Cast) Review

Tarzan - The Broadway Musical (Original Broadway Cast)
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Tarzan - The Broadway Musical (Original Broadway Cast) ReviewFirst of all, I have to say that I love the movie soundtrack. Ironically, the movie songs here are by far the best ones. And, surprisingly enough, Tarzan's singing (Josh Strickland) is the strongest. Kerchak's (sp?) voice is plain annoying and Jane sounds like a past-her-prime Julie Andrews. Frankly, I'm disappointed with the voices of the cast.Tarzan - The Broadway Musical (Original Broadway Cast) Overview

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Sweeney Todd - The Demon Barber of Fleet Street (Broadway) (Snap Case) (1982) Review

Sweeney Todd - The Demon Barber of Fleet Street (Broadway) (Snap Case) (1982)
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Sweeney Todd - The Demon Barber of Fleet Street (Broadway) (Snap Case) (1982) ReviewI have been watching this 1982 production of "Sweeney Todd: The Demon Barber of Fleet Street" for almost twenty years on videotape, so releasing it on DVD would be greatly appreciated. The cast features three of the original stars of the 1979 Broadway production: Angela Lansbury in her Tony Award winning role as Mrs. Lovett, Edmund Lyndeck as Judge Turpin, and Ken Jennings as Tobias Ragg. Well, you can also add to this list Cris Groenendaal and Betsy Joslyn, who play the young lovers Anthony Hope and Johanna, since they were members of the original company. Len Cariou had been replaced in the title role by George Hearn, who was still two years away from winning the Tony Award for his performance in "La Cage aux Folles." On Broadway Hearn played opposite Dorothy Louden before teaming up with Lansbury for the show's touring company and eventually this Showtime production of the musical.
Stephen Sondheim has said that if people insist on putting "Sweeney Todd" into a category it would be black comic operetta, which is as good a way as any of defining its uniqueness. If you are going to have a barber who slits the throats of his customer team up with a woman who bakes the corpses into meat pies, then black comedy would be the way to go. But what makes "Sweeney Todd" so marvelous is that it mixes the dark comedy with chilling horror. For the most part the comedy is carried by Lansbury's Mrs. Lovett, starting with "The Worst Pies in Lond," while Hearn's Todd provides the chills, beginning with the hauntingly beautiful "My Friends," sung to his razors. Of course, it is "A Little Priest" that brings these two elements together, but while it is no doubt the show's signature piece it is not the supreme dramatic moment. That comes right before that glorious end to Act I when Hearn signs "Epiphany," which for me remains the song I would most like to be able to do on Broadway, although I can forget about matching Hearn's tour-de-force performance.
When you consider that the last three songs of Act I are "Pretty Women," "Epiphany," and "A Little Priest," it is difficult to imagine a show having a stronger ending before Intermission. There is a sense in which Act II does not measure up, but that is become the bloody climax to "Sweeney Todd" rests more on action than songs. I can still remember watching it for the first time, in live performance fortunately, and thinking that they were reaching the point where things were going too far and the tragedy was about to become too complete. The only real complaint about this video production is that unlike the original cast album or what you are subjected to in live performance, the steam whistle that accompanies each slash across a victim's throat does not make your nervous system explode.Sweeney Todd - The Demon Barber of Fleet Street (Broadway) (Snap Case) (1982) OverviewTimes are hard in 1846 London and one must make do. So Nellie Lovett adds something extra to the meat pies she peddles on Fleet Street. The secret ingredient: freshly murdered victims of her partner in crime, barber Sweeney Todd. Composer/lyricist Stephen Sondheim refashions a macabre tale into a musical masterwork in this dazzling performance of the 1979 Broadway hit originally staged by Harold Prince. In her Tony-winning role (one of eight the show earned, including Best Musical), Angela Lansbury plays Nellie. George Hearn turns his stage role of twisted Sweeney into an Emmy-winning triumph. The score coils around itself in ever-tightening spirals. The lines ripple with black humor and madness. Enter Sweeney's tonsorial parlor. Attend the tale.

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My Fair Lady (1956 Original Broadway Cast) Review

My Fair Lady (1956 Original Broadway Cast)
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My Fair Lady (1956 Original Broadway Cast) ReviewThe original Broadway cast album of MY FAIR LADY is a mandatory disc in every self-respecting musical fan's collection. It captures the cast at the top of their game, and Julie Andrews at the peak of her Broadway career. Her voice is sparkling and effervescent, with Rex Harrison as a thrilling Higgins and Stanley Holloway a delight as Eliza's erstwhile father Alfred P. Doolittle. The monaural sound is warm and lush in Columbia's best style. This newest remaster of the album sounds better than ever. By the time the London cast album was recorded 4 years later (to take advantage of the new stereo format), a tired feeling had crept into Julie Andrews' singing (or perhaps boredom), so the Broadway edition is the format of choice, despite the technical limitations of the mono mix.My Fair Lady (1956 Original Broadway Cast) Overview

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Cabaret: The New Broadway Cast Recording (1998 Broadway Revival) Review

Cabaret: The New Broadway Cast Recording (1998 Broadway Revival)
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Cabaret: The New Broadway Cast Recording (1998 Broadway Revival) ReviewThe current Broadway revival of Kander and Ebb's 1966 musical CABARET is not entirely faithful to the original production. Some changes are based on Bob Fosse's 1972 film version, while others date from more recent revivals. Gone are the songs: "Meeskite", "Why Should I Wake Up?" and "The Telephone Song" and the film's "Money Money" has replaced the original show's "Money Song" - but we gain from the addition of "Mein Herr" and "Maybe This Time" from the film score, and "I Don't Care Much" cut from the original show during previews.
Natasha Richardson handles Sally's songs well - but not too well: You never lose sight of the fact that Sally is a second rate singer in a tacky Cabaret. John Benjamin Hickey isn't given a lot to do on the recording: Aside from a few lines of dialogue he shares but one duet with Ms.Richardson. Pity, as he seems to exhibit a fine singing voice.
The real star of the disc is Tony winner Alan Cumming as the Emcee: Comic and terrifying all at once. While Joel Grey presented a leering Emcee, Cumming is much darker: more decadent - Listen to him relish the word "beautiful" not once but three times in a row during the opening number..
Lotte Lenya brought such depth to the characterization of Frau Schneider, that others have paled in her wake, but Mary Louise Wilson gives the character a quiet dignity and resists any temptation to mimic her celebrated predecessor.
RCA Victor has again done an outstanding cast recording capturing the look and sound of one of Broadway's biggest hits. The accompanying booklet offers several color shots of the production and all the lyrics - but, unfortunately, no synopsis to provide the uninitiated with any kind of story link. It's the only flaw in an otherwise first rate package.
Columbia's classic original cast album (recently reissued on CD by Sony in their Columbia Broadway series) remains definitive - but this new darker more abr! asive production has yielder a very fine CD that crackles with theatrical excitement.Cabaret: The New Broadway Cast Recording (1998 Broadway Revival) Overview

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Camelot (Original Broadway Cast) Review

Camelot (Original Broadway Cast)
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Camelot (Original Broadway Cast) ReviewThe original cast of "Camelot", Richard Burton as Arthur, Julie Andrews as Guinevere, Robert Goulet as Lancelot, is one of those rare coming togethers of great talent in a Broadway show that all you can do is wonder why in God's name (a) the show wasn't recorded in its entirety back then on film or tape and (b) none of these participants reprised their roles in the dreadful 1967 movie version. What was Joshua Logan smoking when he insisted on Richard Harris instead of Burton? It remains one of the most baffling stories in the history of Broadway musicals mucked up by Hollywood.
This CD of the original cast is therefore all the more precious because its your only chance to sample this wonderful assemblage of talent performing the best Lerner-Loewe score next to "My Fair Lady". The remastered CD is a must, putting the songs back in their right order and sounding much better than the earlier CD pressing did.
Ultimately, the CD gets only four stars from me not because of its presentation, but because of the manner in which this recording was first produced back in 1960. Goddard Lieberson, the head of Columbia Records who produced cast recordings back then was notorious for damaging the essence of what a cast recording was supposed to be, i.e. a document of the show and its music and instead often made some very bad tamperings with the material in order to achieve a supposedly "purer" musical listening experience. This meant (a) always eliminating all dialogue snippets that led into a song or was spoken between verses (b) sometimes eliminating whole musical sections that didn't sound "musical" enough and were more stage bound. In the case of "Camelot" this supposedly more "artistic" decision results in the loss of Julie Andrews lines and contributions in the title song so that it's a Burton solo. We also lose Burton's angry prelude to "How To Handle A Woman" where he rails against Merlin, and finally the ending which reprises the title song has been tampered into something it wasn't and never was on stage. Goddard Lieberson's aversion to dialogue from the play in this case not only harmed the integrity of this recording as a document of the play, but also robs us the ability to hear how really good Burton, Andrews etc were in their performances as well as their singing. The end result is still magnificent in the form its presented, but should have been more definitive than it turned out to be.Camelot (Original Broadway Cast) Overview

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Urinetown (2001 Original Off-Broadway Cast) Review

Urinetown (2001 Original Off-Broadway Cast)
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Urinetown (2001 Original Off-Broadway Cast) ReviewIt's been a long time since a show has had as memorable a score as Urinetown. Having seen the off- Broadway show twice I can say that the recording has preserved the fun and sprit of the show and performances. The cast headed by John Cullum is steller, every member is perfect and gives a standout performance. Mark Hollman and Greg Kotis must be given standing ovations for their score. You really leave the the theatre humming the score! Don't let the title turn you off - nothing is that offensive or crude -neither is the musical a one joke show overdone to death, it's a clever mix of Threepenny Opera meets The Cradle Will Rock with a generous helping of Broadway self parody thrown in for good measure. You would die with laughter if you only saw the number "Snuff that Girl" let alone the whole show. Hats off also to the orchestrator and the 5 musicians who sound like a full pit orchestra. If you get to New York after the show opens on Broadway RUN and get a ticket- but for now get the CD and start to relish a truly original, funny, tuneful, well sung and performed rare gem of a show.Urinetown (2001 Original Off-Broadway Cast) Overview

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South Pacific: In Concert From Carnegie Hall (2006) Review

South Pacific: In Concert From Carnegie Hall (2006)
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South Pacific: In Concert From Carnegie Hall (2006) ReviewWhat superlatives are left to describe this concert? This is a truly exhilirating, incandescent performance filled with an all too rare quality, passion. The New York Times review described it best as "near complete rapture." For those who belittle the idea of Reba McEntire in a Broadway musical, take a look at this first before passing unjustified comments. It doesn't matter if she's a country singer, an opera singer or a rap singer, or if she is older than what Nellie Forbush should be. Anyone who can perform with this level of passion and conviction deserves unstinting praise. What a pity it was a one-night only performance. At least we have this DVD as a permanent keepsake. Brian Stokes Mitchell is in equally fine form as Emile de Becque, the French plantation owner, who deservedly brings the house down (and the concert itself to an almost minute-long standstill) with his moving rendition of "This Nearly Was Mine." It may only be a concert performance, without costumes or sets, but it puts many fully staged musicals to shame. All the supporting cast are equally commendable. My one tiny criticism is that the voice coach should have taught the children to sing "Dites Moi" with a more "neutral" accent. The children are supposed to be French Polynesian, children of "a cultured Frenchman." However, they sound more American than Nellie Forbush.
The picture quality on this DVD is absolutely gorgeous. When you consider that it was practically a last minute decision to film the concert at all, the camera crew, sound crew and all the technicians involved did a truly remarkable job. One of the finest live performance recordings I've had the pleasure to watch. The picture is presented in its original 1.78:1 widescreen (enhanced for widescreen TV) with razor sharp images, vibrant, natural colors & perfect black levels. Two soundtracks are provided, one in 2.0 Dolby Stereo and the other in 5.1 Dolby Surround. Rich, sumptuous sound throughout. This is a performace to treasure for years to come. Already I've watched it through thrice, two occasions back-to-back. It always has me singing and whistling along from start to finish. Guaranteed to raise a smile on even the dreariest day. A deliriously joyful DVD. There are no extras but I don't begrudge the lack one bit. This will be my favorite DVD for many months to come.South Pacific: In Concert From Carnegie Hall (2006) OverviewBroadway, like everyone, loves Reba McEntire. The redheaded Oklahoma firebrand took on the one-night-only concert role of Nellie Forbush on June 9, 2005-the role Mary Martin immortalized in the 1949 Rodgers & Hammerstein classic South Pacific-and the rialto's toughest critics, led by The New York Times' Ben Brantley, instantly surrendered. "Open-voiced and open-faced, she was born to play Nellie," Brantley wrote of the Carnegie Hall benefit performance, adding that the entire production was performed "in a state of nearly unconditional rapture. It was one of those nights when cynicism didn't stand a chance." Happily that enchanted evening can be shared with fans everywhere when "SOUTH PACIFIC" IN CONCERT FROM CARNEGIE HALL comes to DVD. Completing the luxury casting are Broadway and Hollywood icons Brian Stokes Mitchell and Alec Baldwin, as, respectively, French planter Emile de Becque and wise guy sailor Luther Billis. The performance also aired on Thirteen/WNE! T New York's GREAT PERFORMANCES on PBS in April/May.

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Big River: The Adventures Of Huckleberry Finn (1985 Original Broadway Cast) Review

Big River: The Adventures Of Huckleberry Finn (1985 Original Broadway Cast)
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Big River: The Adventures Of Huckleberry Finn (1985 Original Broadway Cast) ReviewIf you are going to be audacious enough to try and make a musical of Huckleberry Finn, then choosing Roger Miller of "King of the Road" fame to write the songs is certainly an inspired move. "Big River," the Tony Award winning musical, owes as much to Miller as it does to Mark Twain for writing the classic story in the first place. Of course when you are talking Roger Miller you are talking fun songs, from John Goodman's ripping diatribe on "Guv'ment" as Huck's Pappy and Tom Sawyer's (John Short) "Hand for the Hog" to the two songs by the King (Bob Gunton) and the Duke (Rene Auberjonois), "When the Sun Goes Down in the South" and "The Royal Nonesuch" ("She's got one big breast in the middle of her chest/And an eye in the middle of her nose/So says I, if you look her in the eye/You're better off looking up her nose"). Even when Miller offers us the tender country ballad, "You Oughta Be Here with Me," Mary Jane Wilkes (Patti Cohenour, who later went on to play Christine in "Phantom of the Opera" on Broadway) sings the song to her father's coffin. "The Crossing" is a nice spiritual, but clearly the best songs are reserved for the Huck (Daniel Jenkins) and Jim (Ron Richardson): "Muddy Water," as they shove off on a raft for Freedom, "River in the Rain" as they spend their last moments alone on the river, and "World's Apart" as the recognize the gulf that exists between them. They also do a trio with Mary Jane on "Leavin's Not the Only Way to Go." The only shortcoming of this musical comes at the end, when we get to the greatest passage in American Literature, when Huck declares he will help Jim to freedom even if it means going to hell; Miller offers a reprise of "Waitin' for the Light to Shine" rather than coming up with a new song to capture this epic moment. Similarly, Jim's "Free at Last" echoes too much of the old spiritual instead of offering something more unique. However, while this is somewhat disappointing it is not entirely unsatisfying, and I do not mean to downplay Miller's monumental success with this score. After all, Leonard Bernstein never came up with a final aria for Maria at the end of "West Side Story," and that did not take away from the greatness of that musical. At the end of "Big River" what stands out are the moments between Huck and Jim captured in song; those are the ones you are going to want to hear over and over. With his wide variety of songs for this show, Miller perfectly matched the breadth of Twain's writings. It is a monumental achievement and a lasting legacy for Miller, who proved himself to be a writer of much more than novelty hits.Big River: The Adventures Of Huckleberry Finn (1985 Original Broadway Cast) OverviewNo Description AvailableNo Track Information AvailableMedia Type: CDArtist: BIG RIVERTitle: ORIGINAL CASTStreet Release Date: 06/23/1988

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Cabaret: Original Soundtrack Recording (1972 Film) Review

Cabaret: Original Soundtrack Recording (1972 Film)
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Cabaret: Original Soundtrack Recording (1972 Film) Review~
~ - ~ For the most complete set of songs from Cabaret, I recommend the 1998 Broadway version. But for the most memorable performances, this Movie version with Joel Grey and Liza Minelli is a winner.
~
~ - ~ However, the one thing you will miss most in any other version of Cabaret is Liza Minelli belting out the title song, and even more importantly, her rendition of "Maybe this time". I've seen the show twice, and have 3 different sound tracks, but no one anywhere can sing these two songs like her. Another bonus is Liza Minelli and Joel Grey singing "Money, Money, Money".
~ - ~ This version, while it has fewer songs, (and some lyrics were cut), is remarkable for the quality of the singing. It is especially good if you've seen the movie. Then such numbers as "Tomorrow Belongs to Me" will really carry an emotional impact.
~
~ - ~ Overall, not the most complete collection of songs from Cabaret. But I have to give it 5 stars because I keep this tape in my car along with the Broadway version, just so I can hear Liza sing "maybe this time I'll win..." one more time.Cabaret: Original Soundtrack Recording (1972 Film) Overview

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Next to Normal (Original Broadway Cast) Review

Next to Normal (Original Broadway Cast)
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Next to Normal (Original Broadway Cast) Review"Next to Normal," with music by Tom Kitt and lyrics by Brian Yorkey, is the kind of cast recording I respond to immediately, in which the music is in perfect synch with the plot. The songs are not just "songs," but extensions of the characters--direct outpourings of their emotions. Musical fans know it's not just about a catchy melody or lyric--the music has to hook into your emotions in an almost intangible way. On the best cast recordings, you don't have to listen to an entire "song"--sometimes just a mere musical phrase or dramatic moment can tingle the spine. I suppose, in theory, good musicals should always do this, but the last time I felt a musical worked this well, particularly in a sung-through style, was "Caroline, or Change." There are no clunky moments here--just two discs of musical theater bliss.
Like "Caroline," "Next to Normal," features a nimble, varied score--here it ranges from pop, rock, to folk, even a waltz and a hilarious Rodgers and Hammerstein parody. It's hard to pin down the sound exactly-- which is one of the great pleasures of the recording. Another pleasure is the cast. The fantastic (and soon-to-be Tony winner) Alice Ripley is Diana, a suburban mom in the throes of bipolar disorder. She's well matched with J. Robert Spencer, affecting as her well meaning but hopelessly enabling husband. Jennifer Damiano and Aaron Tveit make strong impressions as the struggling teens rounding out the family, and Adam Chanler-Berat and Louis Hobson add fine support in smaller roles. Singing Yorkey's smart and perceptive lyrics, the cast gives full due to the weighty subject matter. This is certainly the best new Broadway score of the year, and a superb cast recording. Not to be missed.
Next to Normal (Original Broadway Cast) Overview

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Chess in Concert (2009) Review

Chess in Concert (2009)
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Chess in Concert (2009) ReviewFour items make this a must-have. The first is Josh Groban singing the classic "Anthem", where, as the Russian chess champion, Anatoly, he avows his love for his homeland. As Anatoly's discarded wife, Svetlana, the amazing Kerry Ellis totally nails "Someone Else's Story." There's "The Story of Chess", where the Chorus perform Tim Rice's witty take on the evolution of the game. Finally, the Quartet, where Florence (Idina Menzel), Anatoly, his minder Molokov and the Arbiter deplore how chess has sunk from "a model of decorum and tranquillity" to "a battleground for rival ideologies to slug it out with glee."
Having seen the original London West End production in 1986 with Elaine Paige, I was lucky enough to witness this superb 21st Anniversary production in the Royal Albert Hall, London, last year. Tim Rice has tightened up the plot of love and betrayal played out in the setting of chess championships in the Cold War. Florence, who manages the American champion, falls for the Russian; complications - political, ethical, personal - ensue. From the moment the outstanding Chorus bursts into "Merano" - blending chess with commercialism as a tiny Central European town prepares to welcome the world - right to the devastating "Endgame" and final twist, the dramatic pace never lets up.
In this DVD, hopefully the sound difficulties of this production will have been ironed out. As to the cast - they were fantastic!! Groban is a revelation: a brilliant actor as well as singer. Kerry Ellis was a showstopper. As Florence, Idina Menzel, (so good in Wicked (2003 Original Broadway Cast), was too strident for my taste, lacking subtlety and roundness in acting. ("Heaven Help My Heart" doesn't register, and "Nobody's Side" pales away.) However, her "You and I" with Groban still tugs the heartstrings: "we go on pretending / Stories like ours Have happy endings."
The wonderful David Bedella (Jerry Springer: the Opera), makes a great, sinister Molokov. And Adam Pascal gives his charismatic ALL as Freddy, the tormented American bearing luggage from the past: "Pity the Child." Marti Pellow (of pop group Wet Wet Wet) was a disappointment as the Arbiter, a little under-performed I felt.
Rice's lyrics are trenchant, tender, intelligent, witty. The music, by Benny and Bjorn of ABBA, is a perfect rock score, conveying all the emotions and tensions necessary and fully matching the lyrics.
In the main, this is a superb production of a classic and underestimated musical.Chess in Concert (2009) Overview

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Spring Awakening (2006 Original Broadway Cast) Review

Spring Awakening (2006 Original Broadway Cast)
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Spring Awakening (2006 Original Broadway Cast) ReviewI saw this on Broadway without having heard this recording. In this particular case I'm glad I didn't as my experience of total shock and surprise and wonderment may somehow have been diminished. As I sat in my seat at The Eugene O'Neill Theatre I was held spellbound by the energy, talent and beauty of this cast (which features multiple Tony winner Stephen Spinella). However, as great as the cast is (and they are indeed great), the stars of the night were director Michael Mayer, choreographer Bill Jones and the composing team of Duncan Sheik and Steven Sater.

A teenage angst musical set in Germany circa 1890 and featuring a rock n roll score didn't actually sound like something that would interest me. Yet, in the hands of these grossly talented people, this material has been reanimated into a work of fabulous art, rooted in tradition and yet wholly original.
I picked up this CD after I returned home and have listened to it several times - and still cry. The music and lyrics are top drawer. The cast in dynamic. This is quality rock and roll - the high energy numbers are terrific, but the ballads (and they are plentiful) are what keep me listening again and again. Buy this CD (see this show).Spring Awakening (2006 Original Broadway Cast) OverviewDecca Broadway presents the cast recording for the acclaimed new Broadway production, SPRING AWAKENING. Written by pop music composer Duncan Sheik and playwright/lyricist Steven Sater, the musical explores emotional earthquakes in the lives of teenagers. SPRING AWAKENING is based on Frank Wedekind's controversial 1891 drama, which was scandalous in its day for addressing sex violence and suicide. The story, dialogue and costumes suggest the 19th Century, and are perfectly wedded to a beautiful alternative pop music score by Grammy® nominated singer/songwriter Duncan Sheik. The creative team also includes Tony® Award Winning director Michael Mayer (Thoroughly Modern Millie) and legendary choreographer Bill T. Jones.

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Memphis: A New Musical (Orginal Cast Recording) Review

Memphis: A New Musical (Orginal Cast Recording)
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Memphis: A New Musical (Orginal Cast Recording) ReviewI have been working on this show for three years and still LOVE listening to the music. Even my boyfriend, who does not like musicals, listens to this album in the car, and especially likes the David Bryan track and Chad Kimball's high note in "Memphis Lives in Me." In fact, one of the best days of my life was driving in the car over Christmas and singing "Someday" with my non-musical loving boyfriend. "Someday" was the first song I fell in love with and now the whole thing is a favorite.Memphis: A New Musical (Orginal Cast Recording) Overview

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Company: A Musical Comedy (2007) Review

Company: A Musical Comedy (2007)
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Company: A Musical Comedy (2007) ReviewMarry me a little,
Love me just enough.
Cry but not too often,
Play but not too rough.
Keep a tender distance
So we'll both be free.
That's the way it ought to be....
Only Stephen Sondheim could come up with such sophisticated couplets to a love song as disquieting as the beautiful "Marry Me a Little". I was very fortunate to have seen the enthralling 2006 production at the Ethel Barrymore Theater last season, and I'm thrilled it has been captured for posterity on DVD as part of PBS's "Great Performances" series. There is something supremely ironic about how a 37-year old show, already revived twice, can feel fresher than most Broadway musicals written today. However, when the music reflects Sondheim at his most accomplished with performers so adept, it becomes a moot point, even though several of the songs here have been inescapable at karaoke bars for years from the lips of overly zealous musical theater aficionados.
Staged like a minimalist cabaret act, John Doyle's joyous revival uses the same technique he used in his 2005 production of Sondheim's Sweeney Todd, specifically he has the actors play their own musical instruments, a daring move which actually helps underline the characters' feelings. The story is blessedly simple as it revolves around perennial bachelor Bobby, as he turns 35 and observes his circle of upscale Manhattanite friends, five married couples at different stages in various vignettes that make him reconsider what he wants out of life. Juggling three girlfriends, Bobby is a likeable but elliptical figure with commitment issues, and the story really follows his journey toward self-acceptance. There is an element of contrivance to the structure, but what I thought would be a severely dated libretto by George Furth continues to resonate with wit and insight.
For a canon as legendary and often erratic as his, Sondheim's sophisticated music and lyrics never seemed as accessible and hummable as they do here. So much of the show rides on the crucial casting of Bobby, and Raúl Esparza is terrifically bold and poignant in managing the precarious balance between yearning romantic and cynical hedonist. With a beautifully expressive singing voice coupled with a common-guy demeanor, he captures the character's arc with an escalating emotional intensity from the measured romanticism of "Someone Is Waiting" to the tender tentativeness of "Marry Me a Little" (with the beautiful, Sondheim-trademarked rolling piano) to the bursting climactic catharsis of "Being Alive".
The rest of the cast accomplish wonderful moments that already come with high expectations - Heather Laws' dexterously motors her way through "Getting Married Today" with her character's nerve-wracking intensity intact; Elizabeth Stanley brings a likable warmth to the dim-bulb flight attendant April as she duets sweetly with Esparza on the comically post-coital "Barcelona"; Angel Desai's saucy turn as hip Marta on "Another Hundred People"; the poignant "Sorry-Grateful" performed by the comparatively less spotlighted male ensemble; and of course, there are the lacerating observations in "The Ladies Who Lunch", handled with fierce worldliness by Barbara Walsh as Joanne. In the intimidating shadow of Elaine Stritch, Walsh lets out repeated primal screams at the end that pierce with wounding acuity.
TV director Lonny Price does a fluent job transferring the production to the small screen with minimum fuss. The 2008 DVD contains three terrific extras. First, there is a fifteen-minute interview with an articulate and thoughtful Esparza who discusses his connection with Bobby, the challenge of learning piano, and the alternating joy and pressure of working with Sondheim (for the third time). There is also a nine-minute interview with the erudite Doyle who explains how his unique use of actors as musicians went over with Sondheim. The centerpiece has to be a fascinating, 38-minute interview that Australian TV personality Jonathan Biggins conducted with Sondheim last year in Sydney's Theatre Royal. Sondheim is particularly forthcoming with humorous anecdotes about working with the likes of Leonard Bernstein, Ethel Merman, Barbra Streisand, and his mentor Oscar Hammerstein II during his long, illustrious career. This is a wonderful DVD for any Broadway aficionado and particularly for fans of Sondheim, Esparza and Doyle. I happen to be all three.Company: A Musical Comedy (2007) Overview

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Les Miserables: The 10th Anniversary Dream Cast in Concert at London's Royal Albert Hall (1995) Review

Les Miserables: The 10th Anniversary Dream Cast in Concert at London's Royal Albert Hall (1995)
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Les Miserables: The 10th Anniversary Dream Cast in Concert at London's Royal Albert Hall (1995) ReviewThis new edition of the Les Miserables 10th Anniversary Concert (taped in 1995 at the Royal Albert Hall in London) is a welcome new edition for any person who found the original concert enjoyable and thrilling. The 2-DVD set comes in a good quality hard case with new artwork. The performances continue to be mostly excellent and one really does not miss the staging too much. There are several new positive additions to this edition. First is the wide-screen presentation of the concert. It was painfully obvious at certain points during the original release (especially the bigger numbers) that you were missing some of the singers on the sides. The new wide-screen presentation opens up the experience so you can watch the concert as it was originally taped. The second positive aspect of this issue is that the whole concert is on one side of one disk, which makes it much more convenient to watch. The third is the inclusion of the "Stage By Stage" Documentary from the late 80s tracking the recording of the Complete Symphonic Recording as a supplement on the second disk. Finally, for those who want to, you can follow along with new (optional) on-screen lyrics.
However, this edition is not without its disappointments. The first and by far the biggest disappointment is how it's only presented in stereo and not Dolby Digital 5.1 or better. Not having a digital audio option in 2008 is ridiculous and I would have greatly put up with changing disks if it meant having a better quality performance. The second disappointment is the deletion of parts of the concert previously available, which include part of "Little People" and the speeches by the creative talent behind the show at the end of the concert before the encore. Even if space was limited on the first disk, these deletions could have easily been put on the second disk as supplementary material.
So, while the concert itself continues to be quite enjoyable and there are some new additions that makes it a must have for any Les Miserable fan, there are some basic disappointments that keep this edition from being perfect.

Les Miserables: The 10th Anniversary Dream Cast in Concert at London's Royal Albert Hall (1995) OverviewA performance of Les Miserables by the Royal Philharmonic Orchestra at the Royal Albert Hall, for a 10th Anniversary Concert celebration.

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The Book of Mormon Review

The Book of Mormon
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The Book of Mormon ReviewI am a Mormon. I served an LDS mission to NYC, am still active in the church and I love this musical.
Don't think that I represent the church (or even many of the members). Yes, this is full of offensive things and dirty language, but you were expecting that, weren't you? They take some liberties with the beliefs of the LDS faith, but in general, these are things we believe (they did get the facts right for the song 'I Believe' at least).
And at least the music agrees with the official Church statement in one respect: "This is the most amazing book; you won't believe how much it will change your life." Though they do poke fun at the religion, they somehow do it respectfully. Don't forget, they say some very offensive things, but I think those shots are aimed to offend everyone, not just Mormons. That distinction is where the magic lies. I explained the plot to my extremely devout grandmother and even she had a chuckle. However, I wouldn't recommend that she listen to it because, as stated, it is explicit!
So down to the music: this is hands-down one of the best scores ever written. Forget Phantom. Hasa Diga Les Miserables. If you have an ear for catchy music and are familiar with the South Park crew, do yourself a favor and get this album.The Book of Mormon Overview

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Avenue Q (2003 Original Broadway Cast) Review

Avenue Q (2003 Original Broadway Cast)
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Avenue Q (2003 Original Broadway Cast) ReviewMy wife and I just saw this on Broadway last week. It was one of those wipe-the-tears-of laughter from my eyes experience.
The standard description for the show has been "Sesame Street meets South Park", because the puppets, the setting and the music all are OBVIOUSLY Jim Henson-inspired, and because it is gleefully bawdy and offensive in an equal-opportunity kind of way.
While that is true, I found that the true similarity lies within the amount of truth and humanity all three have. Things are said, and ideas proposed, that would be inappropriate for "humans" to say. Seeing "puppets" talk about racism, porn, homosexuality, poverty and love enables you to look at it from a slightly different angle, and you'll learn a little bit more about yourself without even trying.
That is, if you can stop from laughing so dang loud.
The cast album perfectly captures the show, including just enough of the dialogue to give you the gist of the entire production. The vocal talent is impressive, with most singers doing two (or more) parts.
Seeing it live, realizing they are acting and puppeteering at the same time, the talent rises from "impressive" to "awesome".
The songs are flat-out irresistible. You'll be humming along before the individual songs even end.
The titles alone induce giggling: "What Do You Do With a B.A. in English", "It Sucks To Be Me", "The Internet is for Porn"...
Now, let's be perfectly clear. This is NOT for everyone. If you are easily offended, if you are homophobic, if you are uncomfortable talking about sex or race...this is NOT for you. This is not for kids.
It IS one of the most riotously funny Broadway experiences I've ever had. And the CD captures it perfectly.
By the way, if you haven't seen puppet sex, you haven't lived...
("It's OK to Be Loud As Hell (When You're Making Love)".Avenue Q (2003 Original Broadway Cast) OverviewAVENUE Q is a musical that has been running on Broadway since 2003 and is currently the 25th longest running musical in Broadway history and it has won 3 Tony Awards including BEST MUSICAL. The show is largely inspired by (and in the style of) Sesame Street.for adults. Most of the characters are puppets (operated by actors onstage). The characters use profanity and the songs concern adultthemes.AVENUE Q is the story of Princeton, a bright-eyed college grad who comes to New York City with big dreams and a tiny bank account. He soon discovers that the only neighborhood in his price range is Avenue Q; still, the neighbors seem nice. There's Brian the out-of-work comedian and his therapist fiance‚ Christmas Eve; Nicky the good-hearted slacker and his roommate Rod -- a Republican investment banker who seems to have some sort of secret; an Internet addict called Trekkie Monster; and a very cute kindergarten teaching assistant named Kate. And would you believe the building's superintendent is Gary Coleman?!? (Yes, that Gary Coleman.) Together, Princeton and his newfound friends struggle to find jobs, dates, and their ever-elusive purpose in life.--This text refers to an alternate Audio CD edition.

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