CD REVIEW: Catch Me If You Can

My favorite musical of the 2010 - 2011 season, Catch Me If You Can will close this Sunday after a mere 32 previews and 166 performances.  I found it to be elegant, smart and sexy.  I love shows that offer a challenge along with the obvious entertainment.  Everyone involved offered up just that, theatricalizing a book, film and actual life story.  I found the show's framework - a 60's style variety show - to be a fitting and theatrical way of telling an epic cat and mouse game in a way that made it all work in just over two hours.  The direction was sleek, fast-paced, and, despite knowing how it all turns out before the show even starts, managed to keep you on the edge of your seat.   The score, matching the show's time and framework, is equally challenging and high quality, and that is the subject of my review today.

Grade: A+

Title: Catch Me If You Can
Artist: Original Broadway Cast Recording
Label: Ghostlight Records
Number: 8-4449
Format: Single CD
Case: Single Jewel Case
Booklet: Full color production photos; complete lyrics; essays by Frank Abagnale, Jr.
Bonus: Extra track of a song cut from the show, "Fifty Checks," sung by Tom Wopat.

Aaron Tveit and Norbert Leo Butz

Of the Show and Its Stars, I Wrote: "If history is any guide, I’m pretty sure critics will be divided on this show, but don’t wait for a revival 10 years from now at Encores! to decide that this show works brilliantly on every level. See it now, and soak it all in. With The Book of Mormon, we have a celebrated meta-musical comedy; with Catch Me If You Can, we have a superb concept musical.  And who better to take us there than almost the entire creative team of the blockbuster musical Hairspray, which itself took the traditional form to new comedic and socially important heights? Yes, composers Marc Shaiman and Scott Wittman have re-joined forces with director and choreography dream team Jack O’Brien and Jerry Mitchell, who have in turn re-joined with designers David Rockwell (sets), William Ivey Long (costumes), and Kenneth Posner (lighting) to create a completely different world than they took us to before. (Beyond the people themselves, there really is no other valid comparison to Hairspray – to come in expecting that would be like expecting King Lear to be anything like The Odd Couple. Both shows are great on their own.) This world that is as debonair and sleek as a 60’s new Boeing 727, full of innocent double entendres, sexy chorus girls and boys seemingly unaware of, yet basking in, their own steaming hotness, and a juicy story about getting away with everything but murder and coming out on top. All played to a soundtrack (not literally: the magnificent orchestra is in full view nearly all the time) of suave Sinatra-esque songs, and a cheeky modern jazz score that titillates as much as it pleases the ear.

"Live in Living Color"

"It isn’t often that you come across a love triangle involving three men, but that is the real meat of this story. And how amazing it is that all three are being given such grand treatment in three Tony-worthy performances. Tom Wopat gets the lion’s share of the heavy emotional content in this show. We see a man who really only wants to make life better for his wife and son, but can’t see that living by such credos as “The Pinstripes Are All They See” as a way to get around authority, and such platitudes as “Don’t Be a Stranger” and “Little Boy, Be a Man,” aren’t really the stuff of good parenting.  Then there is the honorable life led by FBI Agent Carl Hanratty, warmly played – through a veneer of g-man stiffness – by Tony winner Norbert Leo Butz.  We see the workings of the FBI as frustrating as they are through “Don’t Break the Rules,” and a little inside the man as he tries to out think his con man adversary in “The Man Inside the Clues.”   Aaron Tveit has found the first role, of many one hopes, that proves he can carry a show on his considerably young and talented shoulders. He has turned in a thoroughly engaging, exciting performance as Frank, Jr. It is a role that has huge demands in the singing (his big closer “Good-Bye” is a huge power belt number in the greatest Broadway tradition), dancing (he matches the entire ensemble step for step) and acting areas. We must believe he is smart way beyond his years, mature enough to make smart people believe he could be a pilot or doctor, charming and sexy enough to bed Playboy bunnies, and charismatic enough to woo an innocent girl, her family and a grizzled FBI agent. Tveit has the charming, sexy and high quality singing voice down pat. But this role shows that he is a true triple threat. With Catch Me If You Can he is a full-fledged Broadway star."

"Doctor's Orders" and "Jet Set"

Of the Score, I Wrote: "This world that is as debonair and sleek as a 60’s new Boeing 727, full of innocent double entendres, sexy chorus girls and boys seemingly unaware of, yet basking in, their own steaming hotness, and a juicy story about getting away with everything but murder and coming out on top. All played to a soundtrack (not literally: the magnificent orchestra is in full view nearly all the time) of suave Sinatra-esque songs, and a cheeky modern jazz score that titillates as much as it pleases the ear.   The homey sweetness of the production numbers from weekly variety shows of the Perry Como/Lawrence Welk ilk, as well as the sexy, dazzling, send-the-kids-to-bed-before-it-starts variety shows that were star vehicles for one performer – like Mitzi Gaynor, and later, Liza Minnelli. You know just the kind of numbers I mean – a common setting, a risqué arrangement of a familiar tune, and costumed dancers in the tightest possible versions of setting appropriate costumes, with the star bedazzled in sequins from head to toe. Each number is carefully constructed to please everyone – the song lover, the singer lover, and the blush inducing dancer lovers. The show has an abundance of such numbers – the airline-themed “The Jet Set,” and the hospital-themed “Doctor’s Orders” – to name but two."

Of this Recording, I say: First and foremost, I think all of us who love musical theatre need to thank Ghostlight Records for recording so many shows that not too long ago would have gone by the wayside.  Catch Me If You Can, with its short run, would probably have gone without a cast recording.  As usual, Ghostlight has delivered a top notch product, from the full color booklet to a terrific sound.
Marc Shaiman and Larry Blank's vibrant orchestrations, under the direction of John McDaniel sound simply gorgeous, played by a full jazz orchestra.  They were great live onstage, and certainly do not disappoint here.  And, absent of the visual, the score is even more vivid and exciting when one can concentrate on the music and lyrics (by Shaiman and Scott Wittman).  What was terrific in passing while the show was going on, is even more fun just listening to it.  In the theatre, I knew I liked the score.  After listening to the CD, I really appreciate the wit and intelligence of the songs. 

The score itself is a mix of theatre music, torch songs and period/genre specific numbers.  And yet, and much of a mix as there is, the score is a cohesive whole.  There are times when you expect Frank Sinatra or Dean Martin, cigarette and scotch glass in hand, to start crooning the smooth jazzy numbers - "The Pinstripes Are All They See," "The Man Inside the Clues."  Or maybe Perry Como comes to mind when hearing the clever story-song "Butter Outta Cream" or "Seven Wonders." 

"Seven Wonders"

(Aaron Tveit and Kerry Butler)

"Little Boy, Be a Man"

(Norbert Leo Butz and Tom Wopat)

And of course the big dance numbers performed by all those innocently sexy boys and girls of the ensembles of all the best variety shows come across pretty well here, too.  In the show, they are "The Frank Abagnale, Jr. Players" and here, as there, they come across well, excellent singers, all, in such numbers as "The Jet Set" and "Doctor's Orders."  Of course, it is sad that one can't see what goes with these numbers - the dancing and staging really make the big numbers - "Live in Living Color" especially, and the smaller, stagier numbers like "Don't Be a Stranger."

Stand-out Numbers:  The whole recording is terrific, but there are several songs I find myself playing over and over.  Surprisingly, the awesome-as-you-watch-it-number "Don't Break the Rules" isn't one of them - you really need to see that number to fully appreciate it.  But I love the following: "The Pinstripes Are All That They See," with Tom Wopat's suave song-stylings and the back up of the girls.  "Doctor's Orders" is a sexy double-entendre number, featuring great vocals from Candace Marie Woods.  I love the emotion behind two of Norbet Leo Butz's numbers, "The Man Inside the Clues" and his poignant duet with Aaron Tveit, "Christmas Is My Favorite Time of Year."  But it is the upbeat numbers that set my feet a-tappin' (I literally have trouble sitting still when I drive): "Live In Living Color," "Jet Set."  But my two absolute favorite songs are the infectious "(Our) Family Tree," a (literally) sing Along with Mitch production number, and the powerful "Goodbye," which is gloriously sung by Mr. Tveit.  For me those two numbers alone reveal a really terrific show sadly under appreciated.

Here's hoping national audiences embrace the National Tour.

(Photos by Joan Marcus)


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Jeff
3.005

CD REVIEW: Women on the Verge of a Nervous Breakdown

One of my biggest disappointments from last season was the musical Women on the Verge of a Nervous Breakdown.  But it wasn't a disappointment for me for all of the reasons you are probably thinking.

I was privileged, yes privileged, to see the second preview of the show.  It was the thrill of this theatre fan's life to see some of the most revered talents on Broadway "in process."  Sure the show wasn't ready.  As I said way back when I saw it, it needed a fast opening number, it needed clarity, and it needed a consistently zany pace.  One of the biggest problems with it is that it relied too heavily on the audience understand European sensibility and the Latin style of telenovelas.  The closest thing we have here is soap operas which wouldn't know fast pacing if their lives depended on it.  And in those first previews, the translation of film style staging - vignettes sliding by, projections of colors moving every which way during scene changes, and even creating close ups and montages - was creaky at best.  But, and here is where I diverge from the common consensus of the audiences and critics, I could still see through all the clutter what was going to be.  And what it was going to be was something smart, sexy and as non-Broadway a sensibility as one can get.

I had tickets to revisit the show just before its scheduled limited engagement was over.  Unfortunately, the show closed early, and I never got to see what I was sure was a terrific musical when all was said and done.  Yet another show, that pushes boundaries and asks its audience to participate by thinking and feeling outside the box, failed despite the constant outcry from theatregoers for just that sort of thing.  And so you can see why it ended up being a disappointment.

But the great news is that Women on the Verge of a Nervous Breakdown, the Broadway musical version, will live on forever thanks to Ghostlight Records, which went ahead with a cast recording despite the show's untimely demise.

Grade: A+

Title: Women on the Verge of a Nervous Breakdown
Artist: Original Broadway Cast Recording
Label: Ghostlight Records
Number: 8-4447
Format: Single CD
Case: Single Jewel Case
Booklet: Full color production photos; complete lyrics; essays by Pedro Almodovar and Frank Rich

As I did not formally review the show, I will offer my comments in a slightly different format than usual.  I caveat everything I say below with this understanding: I did not see the final product, but based on the differences between what I saw and what is preserved on this recording tells me that nearly everything I had hoped they would do, they did.

The Booklet:
This one is of high quality, with a full color rendition of the show's manic logo, and full color throughout.  Included is a sweet essay from Pedro Almodovar, upon whose film the show was based.  As you might expect he offers nothing but praise for the creative team and cast.  More surprising, and more appreciated by this listener at least, is a very telling essay by Frank Rich, former New York Times reviewer who could cut your career to shreds with some scathing reviews.  The difference between him and his predecessors is that his criticism was agenda-free and applied equally no matter if you were a new Broadway talent or a 10 time Tony winner.  And generally, after the hurt and anger subsided, you could at least understand his point of view, even if you couldn't fully agree with it.  Pithy, bitchy sound bites were not his thing.  And the essay he includes here is very telling of the final product.  While it is clear that he found the show to be imperfect, he finds much of it ahead of its time, and goes so far as to say that Women on the Verge will join the ranks of many a show that critics and audiences failed to embrace at first, but have/will become beloved. 

I also love that the booklet contains great color production photos as well as the super snazzy cast photo that was outside the Belasco Theatre.  And I love the complete synopsis as well as lyrics (including some stage directions), which really help to illuminate the complete work.

The Quality of Sound:
A big fan of both of David Yazbek's previous Broadway scores, The Full Monty and Dirty Rotten Scoundrels, it is wonderful that this gem has been recorded.  All three scores are from projects where films have been turned into musicals, and like the first two, Yazbek has captured not only a Broadway sensibility in his music and lyrics, but the rhythms and sentiments of the particular piece.  Time and again, he has brought to vivid life the vibrancy and urgency of Latin music and culture.

Simon Hale's (along with additional work from Jim Abbott and David Yazbek) orchestrations are lush and full.  The background under the main tune is consistently rich with complicated patterns of percussion and individual instrumentation that mirror the craziness of what is going on, whether it is zany physical action or the crazed musings of women ready to kill for their lovers, kill their lovers or even themselves, so desperate a frenzy these ladies are in.  Jim Abbott's musical direction allows that same depth in the vocals as well.  How wonderful, for example, to hear Patti LuPone work her same magic in solo numbers AND as a part of the ensemble!

The Quality of Performance:
As one might expect from a group of actors with the level of pedigree that that this company has, the performance quality on this recording is extraordinary, from the supporting vocals of the ensemble to the leads and the supporting cast.  No one is a star here, and yet everyone is giving a star turn on this album.

One wishes there were a bit more dialogue and more material for both Justin Guarini and Nikka Graff Lanzarone, both of whom delivered the goods in their Broadway debuts.  But really, other than that, this cast recording captures great performances and some really superb songs.  I find myself really liking almost 100% of the score after several listenings.  Even upon my first listen, I liked nearly the entire thing, and really loved several songs right off the bat.  I have learned over the years not to immediately judge a new score until I have listened to it many many times, allowing it to become almost background music in my mind.  It is at that point that different things strike my ears and brain at different times.  With this score, I really have learned to appreciate the imagery, sensuality and bold sexuality of the lyrics.  And I have really come to admire that Yazbek (and book writer Jeffrey Lane) allowed the stage version to rely less on shtick and physical comedy throughout and allowing the frenzy of these women to show up in their thoughts and emotions.  One probably associates being "on the verge' with the hilarity and physicality of Laura Benanti's likely Tony turn, "Model Behavior," which even on just the recording sounds like a mad dash all around the stage.  But there is also the more emotional breakdown allowed by Patti LuPone's equally frantic but physically subdued "Time Stood Still" and most definitely in a showcase of understatement, "Invisible."  Then, too, is the lashing out from scorn by Sherie Renee Scott in "Lovesick," which succinctly (and devilishly) tells us that sexually, women can think with their crotches just like men do.  And later, her disappointment and anguish over what was supposed to be is revealed in the complex "Island."  These are women who think with their hearts and bodies first, and when their minds catch up, go right to the brink.  Song after song tells us how a woman, who is otherwise smart and fully self-realized, can fall so fast and easily for a known Lothario, a nebbish geek living under his mother's thumb and in his father's shadow, and even a known terrorist.

And those men are mostly in the periphery of the show, as they should be, but they are not just plot points, but rather the catalysts for the whole show.  Brian Stokes Mitchell, as Ivan, male slut, uh, Casanova, makes the sensuality seem so easy in "Lie to Me," and radiates charm right through your ear buds in "Microphone," supported in that number by his learning-the-ropes son, played by Justin Guarini.  And if Ivan's philosophy and magnetism weren't already apparent, he lays it all out for you in "Yesterday, Tomorrow and Today.

The ending number, "Shoes from Heaven," as well as the bonus track, the original opening number (which did not work dramatically) "My Crazy Heart," are beautiful, complex numbers which give the show emotional depth and some gorgeous vocals to boot.

I'm not going to pretend, though, that the spicy songs with their urgent beat and tricky word play don't appeal to me the most.  They do.  I have the overture, "Madrid Is My Mama," the vastly superior opening number, which used to open act two, "Model Behavior," "On the Verge," and "Tangled" programmed to play and repeat in my car.  They are nothing less than exhilarating!

Yes, not seeing the final production will always nag at me.  But I am so grateful that I got to see it at all.  Women on the Verge, I hope, is really on the verge of big things!


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Jeff
2.269

CD REVIEW: The Scottsboro Boys

In a fairer world, where every show gets an equal shot at success and failure, with producers who stick with, rather than feel obligated to, a show that they've put money up for, and with a public that not only demands more challenging theatre, but supports it when it comes along, The Scottsboro Boys would not only still be running, but it would be garnering press at a rate like Spider-Man, and be generating ticket sales like The Book of Mormon.  Every season, when people do their inevitable re-cap of the shows that played, the hue and cry for more shows with substance goes up.  EVERYONE agrees: more shows that have something to say while they entertain us, PLEASE.  And yet, when shows come along that challenge, people stay away in droves.  Just ask Stephen Sondheim, who has yet to have a show run over 1,000 performances, and he is the gold standard when it comes to challenging entertainment.

Now I haven't yet seen all of the musicals of the 2010-2011 season, but I can say that The Scottsboro Boys is so far the one to beat on all levels: the staging, the acting and the book and score.  that it has substance is indisputable.  That it is challenging theatre is also.  And I will venture to say that the score is the best not just from this season, but for the last several seasons.  Knowing their track record with Cabaret and Chicago, a show of the same ilk will likely find even greater success in a decade or two when someone comes in and revives it, highlighting the sublime pleasures and amazing quality of the piece.  What was the last show you left feeling that you were somehow a changed person for having had the experience?  I just pray that the Tony voters don't overlook this brilliant little gem.

Title: The Scottsboro Boys
Artist: Original Off-Broadway Cast Recording
Label: Jay Records
Number: CDJAY 1421
Format: Single CD
Case: Jewel Box
Booklet: Full color production photos; Complete lyrics; Liner notes

What I said about the production itself: "I can count three times in my more than twenty-five years of attending Broadway shows where I held my breath during an entire performance.  The third was the show that opened last night at the Lyceum Theatre, The Scottsboro Boys.  With an eye toward a 21st century audience, Kander and Ebb's lyrics, David Thompson's book and Susan Stroman's choreography and direction, all have conspired to give the minstrel show a modern edge. Things are heightened and exaggerated well beyond the minstrel milieu, the jokes are pointed and razor sharp so there is no ambiguity as to the meaning, and the staging is ultra-modern, spare, tight and endlessly creative. All of these elements, have, naturally, been studiously kept in check so that the minstrel show tradition is honored (I'm not sure if that is the right word), but also used to bring out the deeper and more insidious themes of the history it is telling. In short, the frame here is a device to make us relate to the story in a musical way and to not lessen the blow of all of the "ugly" we are presented with, but to trick (again, maybe not the right word) us into learning as we are entertained. As the tag line says, 'Entertain the truth.'  So complete is the package, it is really difficult to single out any one or two elements or persons as to the reason why this is one of the best new musicals of recent memory.  The show started with a breathtaking silent few moments, and ended with the same silence. Before the lights were completely down, we, transported and changed, numb from the journey, stood as one. Only then did I exhale."

A note about this recording:  Especially considering the show's quick Broadway demise, I am just grateful that a recording was made at all of the score.  This represents the show as it stood during its off-Broadway premiere at the Vineyard Theatre.  Some cuts, tweaks and minor additions were made en route to Broadway, and it would have been nice to have those as well, but again, I am not complaining.  And, unfortunately, for the actors in both productions, some were in the off-Broadway production and not in the Broadway version and vice versa.  Three of the off-Broadway cast members did not make the transfer: Sean Bradford, Cody Ryan Wise and Brandon Victor Dixon.  They were replaced by, respectively, James T. Lane, Jeremy Gumbs and Joshua Henry.  No slight is intended to Mr. Dixon, Wise or Bradford, all of whom do excellent work on the recording, but I specifically enjoyed the Broadway performances of Lane, Gumbs and Henry, and would love to have had their performances preserved.  That said, had I not seen the Broadway production, the recording is still absolutely top notch.

What I said about the score: "Is it Kander and Ebb’s score (with orchestrations by Larry Hochman) that magically matches tone and style to the wide variety of emotions the story demands? Yes. They have written one of their best scores ever with perhaps the widest range of any show they’ve done since Cabaret. The jaunty opening number, “Hey, Hey, Hey, Hey!” is a toe-tapper to be sure, and the plaintive power ballad “Go Back Home” is the kind of no holds barred tear-jerker/call to arms not heard on Broadway in years."

What I have to say about this recording:  SUPERB!  Top quality sound, beautifully engineered orchestrations and balance are just the beginning.  Really, with the exception of some stunningly beautiful stage images created by Susan Stroman, the recording does a remarkable job of transforming a listening experience into an all-senses experience.  The cast sings and, perhaps more importantly, acts each number as if they were doing the show.  And because of that, much of the satirical, pointed bite of the show remains as sharp as ever.  John Cullum fairly drips Southern charm and nastiness all in the same breath, and Colman Domingo and Forrest McClendon are absolutely riveting (and a whole bunch scary) as the minstrel show men, Mr. Bones and Mr. Tambo.  All of the cast sings wonderfully, and Brandon Victor Dixon's rendition of "Go Back Home" is as stunning and heartbreaking on the recording as it was live under the care of Joshua Henry.

Standout numbers include the aforementioned "Hey! Hey! Hey!", "Go Back Home" and "Commencing in Chattanooga."  One can't help but be peeved at "Alabama Ladies," and "Make Friends with the Truth" is as meaningful as it is charming.  In truth, the whole score stands out. There isn't a sub-par number in the bunch.  And John Kander's "Go Back Home", a bonus track on the CD, is touching and sad. 

I'm sure the late Fred Ebb would have been so thrilled with the entire thing.

Grade: A+


(Photos of the Broadway production by Carol Rosegg)



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Jeff
2.220

CD REVIEW: La Cage aux Folles (2010 Revival Cast)

With the major shift in the cast due to begin tomorrow, I thought I'd take a look today at what was preserved of the original cast of the 201 Tony Award-winning Best Revival of a Musical.  I know I am in the minority about this revival of La Cage aux Folles.  The "de-glamorizing" of it doesn't really work for me, and neither does half of the Tony-winning performance of Douglas Hodge.  No one should have to work that hard to put across the I'm marching to my own beat/I march to my own beat to hide my insecurities thing.  While the show - sentimental and as trite as it is today - remains among my favorites of all time, this production leaves me lukewarm at best, turned off at least.  And unfortunately, this cast recording has done nothing to change my feelings about it.

Title: La Cage aux Folles

Artist: New Broadway Cast
Label: PS Classics
Number: PS-1094
Format: Single CD
Case: Standard Jewel Case
Booklet: Full color booklet, with an essay, complete lyrics, credits and dozens of full color production photos.

What I said about the show and its stars: "So what about the play? The play and music both hold up exceptionally well, particularly Herman's saccharine-sweet, but lovable score. But, with a lot of the shock value gone now, Fierstein's book, while hilarious (we still love to laugh at the gays) as ever, is a bit quaint, and even a bit cliche. OK, not cliche, because the original (and the play and movie it was based on) started the whole thing. But subsequent productions, the film The Birdcage, and even The Addams Family now, have made this plot pretty obvious. But you expect that to an extent at a revival, anyway. And no one really tinkered with the proven, which is good.  How does it work "scaled-down" and "edgy"? It does and it doesn't. I really didn't see "edgy" on my visit. I saw plenty of overacting and needless and intrusive characterization where there should have been none. But the "scaled-down" worked 80% very well. And all of that can easily be laid to blame and praise in the hands of director Terry Johnson. The stage never felt crowded or claustrophobic, and it was a very good choice - economically and thematically - to have the same actors portray common citizens of St. Tropez and the ultra-conservative politician and wife determined to get rid of anything that doesn't reek of moral fortitude and family values.  [Still] there is no way this La Cage would be "the jewel of the Riviera." Cubic zirconia, maybe... the script does not bear out the dingy, run-down quality of the setting."

 

"The other chief problem I have with this production is co-star Douglas Hodge as Albin/Zsa Zsa.  I don't care how many awards he has already won, or the ones he could very well get in the future.  His performance in Act One is so over the top - he mugs and prances in a way that Broadway might not have seen since the Benny Hill years.  [But then] the Douglas Hodge of Act One is gone, and the award-winning Douglas Hodge is in his place.  He has brought the whole Zsa Zsa -as-defense-mechanism thing down about 50 notches, lets his own quirky accent and inflection take over, and he shows amazing depth as an actor.  The minute he makes his first entrance in act two, you see a man in pain, devastated by his own child, and still fiercely protective of his whole family.  In short, he is family values personified."

"OK, so what about the other star of the show, Kelsey Grammer?  Let me just list the adjectives: revelatory, distinctive, charming, charismatic, brilliant.  He is funny, sharp, and an incredibly good crooner (he's no Sinatra, but his voice is magnificent).  But most importantly, throughout BOTH acts of the show, he is giving a grounded in reality, down to earth performance that is notable for many things, but most appreciably for its understated grace.  His Georges is completely believable as night club owner, lover to an eccentric and bitter queen, a loving, doting father, and as a pillar of the community.  Were the role flashier, I'd call him a shoo-in for a Tony nod (and I am still hoping he gets one, though history says it will go to Hodge, like the other Zsa Zsas before him).  When he sings "Song on the Sand," you fall in love with him, and when he sings "Look Over There," you are reduced to tears, all schmaltz acted right through.  I am so glad I got to see him in this role."

On the Recording and the Stand Out Songs:  As I said at the top, this recording does not change my mind about the production is preserves.  In fact, I think I would like the production even less had I heard the recording first, or maybe I'd have skipped the revival altogether.  That said, I am still glad I saw it for all of the reasons - well, the reason - I praised it: Kelsey Grammer - who is as good, if not better on the recording.

And there are other things to praise about this recording:

• It is a more complete documentation of the score.
• There is a good deal of dialogue included, and all of it is well played and helps the CD.
• The orchestra is MUCH better recorded than live.
• The booklet is also first rate - having the lyrics alone is worth opening the jewel case!  And the pictures capture a La Cage that you you don't see onstage.  As focused and cropped as they are, you'd think this show was a cavalcade of glitz and glamor, rather than a cheapened, pared-down version.

But what was wrong onstage is still as wrong, if not more so on the recording: Douglas Hodge in any of the first 12 tracks.  The difference is that the vocals alone make his nutty, over-the-top performance seem even more schizo that it is.  Talk about over acting!  And it ruins probably my favorite song in the whole show, "A Little More Mascara."

And so the songs that really stand out for me are "Song on the Sand," "La Cage aux Folles" (especially all the terrific lyrics additions and the fact that you can understand every word clear as a bell) and "Look Over There," which makes me tear up just listening to it.

Ultimately, I'll keep playing the Original Cast Recording, and burn a few selected tracks of this one onto my computer.  That way I can get a Kelsey fix whenever I need it.

Grade: C

 

 

 

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Jeff
2.167

CD REVIEW: Sondheim on Sondheim

From three to none: over the past few months Broadway has been home to as many as three Stephen Sondheim shows, but now there are none left.  And Sondheim fans are wondering what's next?  Finally a revival of Anyone Can Whistle? Not another Gypsy!  For now, though, fans can enjoy the CDs of all three recent Sondheim efforts: West Side Story, A Little Night Music, and the CD of today's blog, Sondheim on Sondheim. Indeed all three recording represent some of the very best in the Sondheim canon: West Side Story won the Grammy last year, and both Night Music and Sondheim are up for the Grammy this year.  And having listened to the CD several times now, one can understand why it was nominated, and perhaps why it won't win.

Title: Sondheim on Sondheim
Artist: Original Broadway Cast Recording
Label: PS Classics
Number: PS-1093
Format: Double CD
Case: Jewel Box, 2nd CD Insert, Cardboard Slip Cover
Booklet: Full color production photos; Complete lyrics; Liner notes

The Show Itself:  One of several revues of the works of Stephen Sondheim, this one differentiates itself in one key, and most satisfactory way.  Guiding us through selections from his very own oeuvre, Stephen Sondheim himself appears via video screen and narrates the evening.  Self-deprecating, funny and honest, you get to see more than a glimpse of what makes this genius tick.  His discussions on the evolution of songs (how we got "Being Alive" in Company; how we got "Comedy Tonight" in Forum) will please students of his work.  Segments from two of his biggest flops, Passion and Merrily We Roll Along will introduce audiences to two of his finest scores.  And a brand new song that really tells you the tenor of the evening, "God" opens Act Two.

What I Said of the Production:  "Were the attitude any more heightened, one might knock it, calling it "cruise ship material."  But, under the wise, and vastly knowledgeable direction of James Lapine (and smart musical stager Dan Knechtges), one could hardly compare this to a Love Boat show.  Both Lapine and Knechtges instead are giving a nod to the genre's history, while sweeping us into the 21st century, and allowing us to remember revues past briefly before transporting us into a new age: respectful, but showy, inventive, but grounded, and with a technological flair akin to the first time Broadway saw a huge tire float effortlessly above the stage.  Of course, there are many reasons to hope that the show succeeds and makes a recording - ask any Sondheim fan why. But let me help enumerate them: Barbara Cook, Vanessa Williams, Tom Wopat, Leslie Kritzer, Norm Lewis, Euan Morton, Erin Mackey and Matthew Scott. Even though the first three names are above the title, it would be misleading and a slight to the cast not to say that they are a true company. All of them have solos. All of them have distinct moments to shine, and all have times to support the others. Another key reason to hope for a recording is the quality of the musicians who play the show (orchestrations by Michael Starobin) and the terrific mix of traditional and unique arrangements of the song selection (music direction and arrangements by David Loud). There is literally something for everyone in this show."

What I Have to Say About This Recording:  When I first started listening to the CD, I thought I'd probably skip over the Sondheim narratives (they are on separate tracks, for the most part, so you can skip them), but I have found that I don't, after all.  They are 100% engaging, his voice is soothing and he is infinitely as interesting as each song included.  In short, what made the show so terrific - Sondheim - is what really makes this recording stand out.  Without his sharp observations, you'd be left with, well, just another Sondheim revue.

Still, what worked in the theatre definitely works here, too.  In fact, I appreciate Barbara Cook's efforts much more here than live.  And not because they can fix the sound on a recording (which I doubt they did much in her case, anyway), but because I'm not seeing her read monitors or be courted off stage like she's a frail old woman (which, for the record, she is not).  But on a CD, you can really concentrate on her voice, and you can still see why her voice defined a generation.  I find her readings of the songs from Passion to be superb (her Fosca to Norm Lewis' Giorgio is simply wonderful), and her timing excellent in an otherwise iffy "You Could Drive a Person Crazy."  The problem there isn't either singer (Tom Wopat duets with her), but the too cool, over jazzy arrangement.

The weakest song in the show, "Epiphany," from Sweeney Todd, has been wisely left off the recording - there is nothing from Sweeney on the recording.  And a few of the pretty nifty mash ups of songs that were interludes between segments are gone, too.  Otherwise this is pretty complete.

Everyone in the cast gets to shine, and I find Vanessa Williams' performance on CD to be the best sung and acted.  She simply exudes finesse, class and talent.  Her duet with Ms. Cook is a superb mix of "Not a Day Goes By" and "Losing My Mind."  Euan Morton, Matthew Scott and Ms. Williams do a terrific complete scene from Merrily - "Franklin Shepard, Inc.", and the ladies, Williams, Cook, Leslie Kritzer and Erin Mackey do an excellent "Now You Know."  And Krizter, Morton and Scott do more excellent scene work with "Opening Doors".  This CD makes a great case for another stab at Merrily We Roll Along.  Assassins also comes off very well, with the company doing masterful versions of both "Something Just Broke" and "The Gun Song."

This is a superb record of a truly wonderful production.  The CD has terrific production values, both in terms of sound and in the quality packaging.  It is nice to have some great color photos and the full lyrics.  Still, as much as I love a lot of the cast recording, and I listen to it frequently, I have to admit that with some exceptions (and the inclusion of the Sondheim narration), this CD also reminds us of how great the original casts were.  And that, I guess like with many revues, is the blessing and the curse.

Grade: A-


Comments? Leave one here, email me at jkstheatrescene@yahoo.com, or Tweet me!
Jeff
2.143

CD REVIEW: Bloody Bloody Andrew Jackson

Thanks to a wonderful gift card from my family at Christmas, I am finally catching up on my cast recordings, DVDs and books.  The downside is that my thoughts on these things, which I will share, are still going to be dated.  Take today's review... Bloody Bloody Andrew Jackson has come and gone already, and I am just now getting to the CD.  Oh, well... better late than never, right?

The Original Cast Recording of Bloody Bloody Andrew Jackson is rather odd for several reasons.  A good reason is that the music is fresh and new and atypical of a show recording.  An interesting reason is that the packaging is kinda cheesy and cheap, but if it were too fancy, it wouldn't really fit the show.  (I suppose a paper CD slip would be too low brow?)  And a not so great reason it is rather odd is that it is one of those CDs I'm sure I'll play a lot for awhile, but I don't like it nearly as much as I like the show itself.

I have several CDs of shows that I adore, but don't really care too much for the show: Ragtime and Big River are but two.  And I have many CDs that made me love the show even more because the CD was so great: Passion, Grind and Once on this Island are but three.  But I have to admit...I'm trying to think through my CD collection... a case where I like the show more than the CD is a rare, if ever before experience for me.  What makes it even more strange is that I don't think I'd like it much if I hadn't seen the show!  Ah, well...

The "Broadway Logo" Slip Cover

The Off-Broadway Logo and

CD case cover

Title: Bloody Bloody Andrew Jackson
Artist: Original Cast (Off-Broadway)
Label: Ghostlight
Number: B003Y01JO4
Format: Single CD
Case: Cardboard bi fold, with cardboard overlay cover
Booklet: Full color booklet, with an essay, complete lyrics, credits and full color production photos of the off-Broadway production at the Public Theater.

Of the Show, I Wrote: "Finally, there is a show that no one can say "they didn't carry it out as far as they could," or "they sold out and went commercial," or "it's it too bad they compromised." No, BBAJ is evidence that you can still be all out with your creativity, that you can be smart and still be fun, and that there is an audience for unlikely subjects as long as you stick to your point of view and you remember that musicals are first and foremost a form of entertainment. As such, this show is the almost perfect blend of what I love about musicals. It ignites all of my senses, it makes me think, it makes me feel and it sticks with me long after exiting the theatre."

The Cast of Bloody Bloody Andrew Jackson

(Benjamin Walker, center)

Of the Score, as it Played Out in the Theatre: "It makes sense that the self-proclaimed "emo rock musical" fires on all cylinders - an edgy rock sound, overly emotional with repetitive and bizarre lyrics, the trademark over enunciation of words - my favorite being the words "in particular" repeated ad nauseum as "ian perticulyur" - and of course, the profanity laden lyrics that express both sexuality and anger in the same chorus. (I will not debate the authenticity of the score to the genre, but it certainly sends up what I do know about emo rock and its practitioners.) Highlights of the score include the Schoolhouse Rock-on-Ritalin-liquor-and-pot influenced "Populism, Yea, Yea!", the ready for radio "Rock Star", the indie station-esque "The Saddest Song", and the most scathing and catchy number in the show, "Ten Little Indians." The latter song sums up perfectly what my senses were like during the entire 90 minute show: it was clever for my ears and interesting for my brain, the sentiment made my blood boil, and the clever delivery (by outstanding ensemble member Emily Young) made the theatre lover in me tingle. The score alone - played, mind you, by but three musicians, Justin Levine, Charlie Rosen and Kevin Garcia and supplemented on occasion by cast members - gave me more than my money's worth."


On This Recording I Am Going to Say: Even as I re-read my initial thoughts, I can't help but think about the fact that having seen the show helps one to understand the songs as presented on the CD.  But I also can't help but think yes, but it really needs the visual to make the experience totally worthwhile.  That is not to say that I don't enjoy the CD.  I do. Very much.  All 28 minutes of it.  The same songs that I loved in the theatre are the ones I love here: "Ten Little Indians," "Rock Star," and "The Saddest Song."  The number "Illness as Metaphor" is the one number best served by having seen the production.  All four of those songs would make it into my iPod, if I had one.

"Illness as Metaphor"

The quality of the recording is top notch - crystal clear sound and excellent mixes that make 100% of the lyrics understandable.  The performances (here the complete off-Broadway Cast, most of whom transferred to Broadway) are uniformly good, with fine vocal quality and attention to character.  Benjamin Walker earns/retains his "I'm a New Broadway Star!" title with this recording.  I guess what is missing, and what makes some of it flat when listening to it is that many of the jokes, while chuckle-worthy here, were gut busters of hilarity when you saw how the jokes played out in the theatre.

One last question:  when did they stop putting Parental Advisory labels on CDs with profanity?  Yikes!  I am so glad I had my headphones on at work when I put this CD in the player!

The score is bold, new and fresh.  And for those reasons alone, it is a valid and valuable addition to any cast recording collection.  But I can't promise you what kind of time you'll have with it.  Seeing the show helps, but it might not matter, either.

GRADE: B

Comments?  Leave one here, email me at jkstheatrescene@yahoo.com, or Tweet me!
Jeff
2.129

CD REVIEW: Promises, Promises (Original London Cast Recording)

At this point, I feel like I might be rubbing your noses in it when I tell you that the Original London Cast Recording of Promises, Promises is a must-have for fans of the show, the score or its stars, Tony (Anthony) Roberts and Betty Buckley.  Why is it like rubbing your noses in it?  Well, Kritzerland Records only releases 1,000 limited edition copies of each CD that it remasters, and in visiting their site today for background information, I found out it was sold out!  Of course, it wasn't due to be released until the first week of September, so there must have been a lot of pre-orders (like mine).

For once, I didn't wait too long to get something I really wanted for my collection.  Promises, Promises with Betty Buckley has long been on my list, and I'm so glad I ordered it the day it was announced.  If you have it, too, please write and share your thoughts on it!  If you missed out, be sure to add Kritzerland's website to your "favorites".  They have an excellent catalogue with new titles coming out frequently.

Who knows?  Maybe they'll release more copies?  Go to http://www.kritzerland.com/ for more information on this and dozens of other collectible CDs they have.  And in case you find a copy someplace, here's my 10 cents worth on the recording:

Title: Promises, Promises
Artist: The Original London Cast Recording
Label: Kritzerland
Number: KR 20016-3
Format: Single CD
Case: Single Jewel Case
Booklet: Black and white production photos; liner notes by Bruce Kimmel, so up to date that it includes the fact that the current revival opened and includes extra Bacharach/David tunes.

Anthony Roberts and Kelly Britt:

"A Fact Can Be a Beautiful Thing"

Noteworthy About This CD:

• It restores the score in its original order as seen on stage, which the OBCR did not, but the NBCR does.
• It is re-mastered from the original two-track album masters.
• The orchestrations and background vocals are, in some songs, significantly different from any other version.
• There is only 1 verse of "Upstairs" on the recording, with Roberts ending after the "Kirkeby" verse.
• It contains a bonus track: the complete - including the entire dance break - "A Fact Can Be a Beautiful Thing".  In Italian!  No joke...

"The Falling Girl" Logo

(Here on the Broadway Windowcard)

The Artwork/Booklet:

• The cover features the London logo, which is the Broadway logo - the girls lounging on the apartment key, but with a blue background.
• The CD itself (and the background page behind the CD) features the "falling girl" (I'm being polite here) logo that was later used in both the Broadway and London advertisements, as well as the London Playbill.

The London Playbill

• The booklet includes the same billing as the London Playbill, as well as a complete cast list.  However, it does not include Donna McKechnie, who is billed on the cover, and did, in fact, recreate her dance solo in "Turkey Lurkey Time."  There is a picture of her doing just that, but there is no explanation to be found as to why.

Donna McKechnie and the London Cast in

"Turkey Lurkey Time"

• It is especially fun to see stills of the stars, Anthony Roberts and Betty Buckley, both of who were at the start of two long and illustrious stage and film careers.  Mr. Roberts went on to decades of Broadway success, with different generations knowing him for different things: a host of Neil Simon plays, Arsenic and Old Lace, Victor/Victoria  and most recently, Xanadu and The Royal Family.  His film success has largely been found in several films by Woody Allen.  Ms. Buckley has enjoyed a similarly long, successful career on Broadway from 1776, Cats, The Mystery of Edwin Drood, Song and Dance, Carrie, to Triumph of Love.  She is also a staple on the cabaret scene and the charity concert circuit.  Movie audiences may  know her from Carrie, Frantic, Tender Mercies, TV audiences may know her work in Eight is Enough, OZ, and in the upcoming HBO miniseries The Pacific.

The Pros and Cons to the London Cast Recording
Based, of course, on only what I can hear:

Pros:

+ Having the recording to begin with!

+ Betty and Tony at the start of their careers!

+ Jonthan Tunick's orchestrations are similar but mostly pretty different here than in either of the other versions, which he also orchestrated.  Like Buckley and Roberts, Promises, Promises is at the start of his long career.

+ Jack Kruschen plays Dr. Dreyfuss, the same role he played in the film The Apartment.  He was nominated for an Academy Award for that performance.

+ The arrangement (both orchestral and vocal) of "Christmas Day" are the best here than either of the versions.

+ The Italian "A Fact Can Be a Beautiful Thing" proves that quality works in any language!

+ Tony Roberts:

• Sounds genuinely thrilled and in love in "She Likes Basketball!"  His enthusiasm really comes through.
• He belts the hell out of the end of both "Half as Big as Life" and "Promises, Promises".
• As on the revival recording, "A Young Pretty Girl Like You" (aka "Happy"), here sung by Roberts and Kruschen stands out for its joy and character.
• He sounds great with Betty Buckley on "I'll Never Fall In Love Again".

+ Betty Buckley:

• Her amazing belt, in its infancy here, shines through magnificently on "Knowing When to Leave," which is, I think, the best of the three cast recorded versions.
• Her quirky enunciation (and extremely hard "ing", for example) and prolonged, sometimes odd vowel sounds may put some off, but they really work here when you consider the quirky, odd character she's playing.
• She displays character the best and most consistently of any of the others on the recording.  Her "Whoever You Are" is heart-breaking, and her plain, no frills "I'll Never Fall In Love Again" is just as thrilling for its naturalness.
• I found myself wishing she had had the same opportunity as Ms. Chenoweth to sing "A House is Not a Home" and "Say a Little Prayer," regardless of whether they add to the show or not.  (I think they do...)

The London Principals:

Anthony Roberts, Betty Buckley

James Congdon, Jack Kruschen

Cons:

- The lack of full use of the "orchestra voices" which add so much to the "Bacharach/David sound".

- James Congdon is the worst of the three recorded Sheldrakes.

- "Upstairs" is incomplete.  Only one verse?  Really?  It's not like it doesn't set up a major plot point or anything...

- "Where Can You Take a Girl?" sounds especially smarmy and ready for a sexual harassment video.  I know that's the point, but eewww...

Of the three, this is probably my third favorite, but considering I love them all and all for different reasons, it's still a winner in my book!

Grade: A-

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Jeff

CD Review: A Little Night Music

With the re-opening of A Little Night Music featuring Bernadette Peters and Elaine Stritch, I thought it most apropos that we take on last look back at the controversial revival's original cast and their performance on the New Broadway Cast Recording.  Sondheim fans, like myself, must of course have this in their collection, and it is important, not only for capturing the Broadway debut of  Tony winner Catherine Zeta-Jones and the possibly final Broadway role of the legendary Angela Lansbury, but also because, at two discs in length, it offers a more complete record of the score and much of Hugh Wheeler's witty, smart and sharp dialogue.

Title: A Little Night Music

Artist: The New Broadway Cast Recording
Label: Nonesuch Records/PS Classics
Number: 523488-2
Format: Double CD
Case: Single Jewel Case, with a 2-sided insert.  CDs and booklet packaged in full-color box
Booklet: Black and white production photos; complete lyrics and included dialogue

Of the Show, I Wrote:  "The Tony-winning musical A Little Night Music is being given a sublime, beautifully rendered and amazingly clear revival at the Walter Kerr Theatre. Boasting the lead talents of no less the five time Tony winner Angela Lansbury, Oscar winner Catherine Zeta-Jones and London transplant, Alexander Hanson, not to mention a supporting cast of many of today's up and coming main stem talents and a multiple award-winning director, Trevor Nunn, this revival is nearly perfect in every way.  Given the austerity of the production - minimal scenery, minimal props, and a scaled back orchestra and the deliberate focusing of the play with a Chekhovian slant, it really calls to notice that much of the first act is a careful, deliberate, and, unfortunately, slow series of expository scenes. That is, plainly, an awful lot of set up, character introduction and plot points."

"It might be the Chekhovian-minimalist approach Trevor Nunn has taken with the piece. That the characters are broad types has never really been in question, but this approach crystallizes those types and brings them to the forefront. Brilliantly, however, this only serves as a bright counterpoint to the darker undertones, nuances and complications of these characters. In short, Nunn has heightened the simplicity to reveal in astonishing clarity the complexity of both the characters and their stories. This may just be the first Broadway musical in High Definition."




Of the Performances, I Wrote:  "From the late in the first act mini-play, also known as Angela Lansbury's definitive rendition of "Liaisons," through and including the classy curtain call, this A Little Night Music is everything a musical should be.  When she takes the stage, you are riveted, hanging on her every word, and more importantly, on her every glance. While her one solo number doesn't afford her the opportunity to do any sort of belting, she wrings every possible drop of emotion out of the song, easily vacillating between the troubling here and now and the glories and disappointments of her past. One look, one drop of her heavily lashed eyelids, conveys as much, if not more of Madame Armfeldt's story. In one song, she is teaching a master class in acting, musical theatre and grace."

"Alexander Hanson is the lone transfer from the London production, and it is immediately apparent the moment he takes the stage. He gives a commanding, fully realized performance. Each of his numbers are beautifully sung and wonderfully acted. He, like his co-stars, takes every opportunity given to him and runs with it.  I expected that Catherine Zeta-Jones would be good, though I wondered how an actress long from the stage would be able to sustain a character and sing and dance for a solid three hours, rather than the little snippets of moments captured on camera over however many takes and cuts. Having seen this remarkable performance, I feel almost ashamed of myself for thinking so. She is a tour de force as an actress, a stunningly beautiful woman, and she makes Desiree a dazzling, never dull, always complex, always thrilling person to watch. And I will go out on a limb here to say that she may just be giving the definitive performance of 'Send in the Clowns.'"

"Finally, I must mention the ensemble of actor/singers, who provide gorgeous vocals for the overture, not a little scenery changing, and wry, well-acted commentary to each and every scene. They are Stephen R. Buntrock, Marissa McGowan, Jayne Paterson and Kevin David Thomas. They provide the glue and flow of this production, never slowing it down."

Of This Recording, I Say:  Minus the lengthy books scenes in Act One, this CD moves at a brisk pace - it is almost a surprise when the first disc is over.  As one might expect, the entire cast is giving all out performances on the recording, pros that they are.  The three leads are exemplary, particularly Mr. Hanson and Ms. Zeta-Jones, both of who act their songs as well as they sing them, adding much needed depth and nuance to the lyrics.  It is Ms. Lansbury, though, who benefits the most.  After all, she has the least to sing (her superlative "Liaisons" remains as superb on recording a it did in performance), but here is given the opportunity to recreate her razor-sharp, glib and blustery performance as much of her dialogue is included to help mold the recording for listeners not as familiar with the piece.  It should be noted, too, that her young scene partners Katherine Leigh Doherty and Keaton Whittaker as Fredrika offers just as lovely a performance with this legend.

As on stage, the ensemble offers some truly lovely, sometimes stunning performances here, particularly in the "Overture/Night Waltz" and "The Sun Won't Set/Night Waltz II" which open each act and here, each disc.  Similarly, the spectacularly cast supporting players are terrific here.  And I have to say, minus the visual of her fussy, sometimes too much so, performance, Ramona Mallory makes an even better Anne.  Aaron Lazar and Erin Davie, with much of their scene work included here and in isolation, also do very well by their roles.  And Leigh Ann Larkin's "The Miller's Son" is as robust and fulfilling.  Finally, Hunter Ryan Herdlicka offers a fine, if wonderfully torment performance as Henrik.

The packaging of this recording is lovely and befitting such a recording.  The booklet, at some 96 pages is a complete print recording, and offers several black and whit production photos which capture the essence of the physical production.

Finally, I must address the other aspect of controversy that seems to hound this production: the paring down of the orchestra.  Naturally, there are benefits and problems with this.  But when you consider that the composer himself went on record to say that this is closer to his original vision than the first production, how can one really quibble?  Jason Carr's orchestrations make the 12 piece group used here sound full and lush without being overbearing.  When coupled with the vocal arrangements of the ensemble, the more lush interludes come out just fine.  And the lack of too much instrumentation really serves to bring forward the wit and wisdom of the lyrics as they never have been before, much like the recent revivals of Sweeney Todd and Company.  Still, there are times when a little more music would have been nice.  And while ultimately, I prefer the performances of this version, I can see the need for having both renderings in one's collection.

What remains to be seen, of course, is how the show will change under the leadership of its new leading ladies, both equally talented and as legendary as their predecessors.  One has to admit Bernadette Peters and Elaine Stritch are completely different.  I'm betting they will be terrific.  But how they effect the delicate balance of this underrated revival remains to be seen.  Let the vultures descend tomorrow.

Grade: A+


Comments: Leave on here or email me at jkstheatrescene@yahoo.com.
Jeff