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

And the Grammy Goes to...

The Grammy Award nominations were announced a couple of days ago, and as usual the big pop music nominees grabbed the headlines (you go, Eminem!).  But my favorite category went by without so much as a notice beyond the theatre websites.  No biggie! We all know a good thing when we hear it, right?

 

The good news is (at least in my opinion) that the Best Musical Show Album category has zero filler this year and it represents the fair spectrum of musicals that have played Broadway in the last year.  But I'm not sure who votes for the winners.  Is it people that are part of that category?  Is it the entire voting population? Have the voters seen the productions, too and does that influence the voting?  And do they vote on just the recording -quality of sound, music and lyrics - or the whole package - the CD booklet, the entire production of the album?  (If you know the facts, please feel free to share with me and I'll post it!)

 

In the interest of full disclosure, I own only three of the five cast recordings nominated, and I have actually seen four of the five productions.  So the opinions I offer here are somewhat incomplete, and for that I apologize.

 

Here are the nominees, in alphabetical order, and my thoughts:

 

Green Day's American Idiot

 

The link to my CD review is HERE.

 

My thoughts:

• The album plays as well, if not better than the actual show.  Free of all the visual clutter, the CD allows you to really listen to the lyrics and the music.  Tom Kitt's orchestrations are superb and really add to the music without making any of them sound like typical show tunes.
• If it matters, the the CD itself is wonderfully produced with great pictures, and a booklet that includes liner notes and full lyrics.
• Depending on who votes, the fact that this was once a rock album (or two) could be a plus if everyone votes, or a minus if the stuffy old school theatre folk only vote.  If that is the case, the nomination is the award.
• Unless musicians who know what they are hearing vote, Kitt's masterful contribution will again go unnoticed, much like his snub at the Tonys.

 

Personally, it is my favorite of the cast recordings nominated this year.

 

Fela!

 

I do not have the CD, nor have I seen the show.  But based upon what I know...

 

My thoughts:

• The producers of the show, namely Will Smith and "Jay-Z" are popular and well-regarded in the music business, a real plus here.
• The show itself got nearly unanimous raves.
• Its political underpinnings could be a plus or a minus, again depending upon who votes.
• On the down side, the style of music, minus the staging visuals may have very limited appeal.
• And I certainly hope that when recorded, the cast sounded better than any of the live on TV performances I've seen.

 

Ultimately, the recording may lose out, due to its narrow appeal, despite its acclaim and musical producers.  Or it could win just because of those very things!

 

A Little Night Music -The New Broadway Cast Recording

 

The link to my CD review is HERE.

 

My thoughts:

• Amongst theatre goers, feelings about this production are sharply divided, which might come into play depending on who votes.
• A Sondheim score is pretty much a given in terms of quality, so that isn't an issue, especially with a known score like this one.
• What might play against it is that the score is already beloved in its original cast version with a very full orchestra.  Despite what you think of the smaller orchestration (I like it), and no matter what you thought of it as played live in the theatre, purists and musicians alike may shy away from the less is more approach.
• What it does have going for it is its completeness, including superbly acted short scenes from Angela Lansbury and company.  It makes the whole thing more understandable, especially if you haven't seen the show.

 

I love the recording.  But I don't think it is "showy" enough.

 

Promises, Promises - The New Broadway Cast Recording

 

The link to my CD review is HERE.

 

My thoughts:
I personally love this recording, but I see more "against" it than "for" it.
"For" it: 

• The performances are uniformly good, and fairly jump out of the speakers.
• The orchestrations and pit voices are crystal clear and sound great.
• Kristin Chenoweth is in terrific voice here, and Lord knows the girl is popular in any medium.  And Sean Hayes also sounds great, which might surprise people who know him only from Will and Grace.
• The production values of the CD and booklet are top rate, if that counts at all.

"Against" it:

• The original cast recording is a classic, and that production is still remembered fondly.
• This version suffers in comparison because, while it replicates (very well) the distinctive "Bacharach-David" sound, the fact that it is so crystal clear might actually work against it.
• If the voters follow theater, they might be influenced by the controversy surrounding Ms. Chenoweth's performance, though the recording by itself offers a wonderful characterization and superb readings of the songs, including "I Say a Little Prayer" and "A House is Not a Home."  Their addition to the score could be a plus or minus.

 

I have never taken this out of my CD player since I got it - that is how much I love it.  But I'm thinking its chances are 50-50.

 

Sondheim on Sondheim

 

I saw this production, but I do not have the CD yet.  I can, however, offer this:

 

My thoughts:

• As always, depending upon who votes, the styling of the songs, most of which veer far from their original interpretations, may be a plus for musicians who can appreciate the styling, the re-arrangements and out-of-context nature of the selections.  For purists who like their Sondheim shot straight, this could be a turn-off.
• If seeing the show plays into it at all, this show had the shortest run.
• The singers - particularly Vanessa Williams and Barbara Cook are well-known and loved by the music community, Broadway and otherwise, which is a definite plus.
• Not having heard it, but knowing that some of the Sondheim narration is included.  How it plays on the CD, I can't say, but if they've worked it into the CD as well as they did the show, it is a definite plus.
• And whether this should influence votes or not, Sondheim is a master, and he has been the focus of dozens of tributes, etc., to the extent that the public at large knows who he is and that he has hit an age milestone.
• Will the fact that two of the five recordings have all to do with Stephen help or hurt?  Will it split the vote and open the door for one of the other three nominees.

 

I have no idea how this will play out.  But I can say that -even without hearing two of them - the quality of the selections this year is very high.  It may be cliche, but cliches all have a grain of truth to them:  all of these choices are winners!  And think about the shows with CDs that did NOT get nominated...

 

Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.94