Lady Di Didn’t Deserve This

With all the talk going on about the new Broadway musical Diana, especially since its unconventional Netflix premiere earlier this month, I thought now was as good a time as any to get back to my blog. The internet has not been kind to this show. In fact, it has been met with nearly universal vitriol. So much so that I had already drawn two conclusions before I began to examine it for this post: first, that I wouldn’t have anything to add to the larger conversation, and second, that I had read so much bad press on the work that I was fully prepared to listen to the cast album with low expectations.

If my life had an audible narrator, this is the part where they would say “he was not prepared.”

Diana is a new musical with music and lyrics by the team who gave us Memphis, David Bryan and Joe DiPietro. Joe DiPietro also wrote the book. If the name David Bryan rings any bells you may recognize him as the keyboardist from Bon Jovi. The show was set to open in March of 2020, but the COVID-19 pandemic has delayed it. However, it was professionally filmed at the Longacre Theatre last year and can now be streamed on Netflix. As of today, Diana has yet to officially open on Broadway.

Now, I have not seen the Netflix pro-shoot of Diana because I really try and focus only on cast albums here. And judging solely by the cast album, I can say with certainty that this show deserves every ounce of criticism that it gets. The music is ridiculous, the lyrics unbearable, and the performances seem ripped from a sketch comedy show. What’s left? The orchestrations? Ha! Don’t get me started. The whole thing had me scratching my head as I tried to make out whether Diana was intended as a work of satire. It’s a wonder it made it out of workshops, let alone to Broadway!

Here the British royal family belts out songs that would be at home on a Kidz Bop Goes Rock Opera album while the People’s Princess navigates her life around villains Charles (whom she calls “a third rate Henry VIII”) and Camilla (“Godzilla”). The only song with any real charm is Diana’s ballad “I Will.” Aside from that, this album is saturated with the worst tunes and lyrics you’ve ever heard. Yes, even worse than that. And it’s an hour and nineteen minutes long! What gives it the right? Indeed, any one of the Rusical episodes of RuPaul’s Drag Race would have put out a better cast album than this.

Diana still awaits an opening night (November 2, in case you’re a masochist). I think I’ll skip the pro-shoot after all. Heck, I may even move to London where I’ll be safe from this monstrosity. Heaven knows it will never play the West End.

Musical: Diana

Music and Lyrics: David Bryan and Joe DiPietro

Cast Album I Listened To: 2021 Original Broadway Cast

Highlight: “I Will”

Overall Impression: The real Diana was too good a person to be memorialized with this mess.

Good Grief!

If there is one piece of American pop culture that has been a constant throughout my life, it’s the Peanuts comic strip. Not only the strips themselves, but the television specials, books, and licensed memorabilia have always had a prominent spot in my home. Who doesn’t love Snoopy, Charlie Brown, and the rest of the gang? Nobody worth knowing, that’s who. So, seeing as there is a famous musical based on Peanuts, I decided to visit it for this project as an excuse to finally listen to all of its cast albums. It’s a show I’m very familiar with, and it even contains one of my all-time favorite show tunes. I’m talking about You’re a Good Man, Charlie Brown.

You’re a Good Man, Charlie Brown began as a concept album with the blessing of Charles Schulz himself. This was followed by and Off-Broadway production in 1967, which was a smash hit and ran for 1,597 performances. Its 1971 Broadway run was less successful, closing in less than a month. But that hasn’t tarnished the endearing reputation of composer Clark Gesner’s labor of love. It has since been produced many times all over the world and yielded an impressive five cast albums, though I was only able to get my hands on four of them.

The first is the concept album, which was released in 1966. The story behind this album is sweet: Clark Gesner sent Charles Schulz (the creator of Peanuts) a demo recording of songs based on the beloved Peanuts characters and Schulz liked them so he granted permission to record them professionally. The rest is history. Now, I’ll admit that I was not excited about listening to the concept album. I wanted to get it over with before I ever hit play. Imagine my surprise when I realized it was a very charming album. It features full orchestrations and a decent cast, even if they aren’t always in character. I can see why this album led to the musical’s stage inception, something that wasn’t Gesner’s original intention. A very pleasant surprise indeed.

I am absolutely positive that I’ve heard the 1967 original Off-Broadway cast album before. I must have. The problem is, I couldn’t remember anything about it. Upon my first listen for this project, I understand why that might be; it’s pretty forgettable. For starters, there are no orchestrations to speak of, just a piano, percussion, and bass. Second, they stack all the boring songs at the beginning. Things pick up by the fifth track, “Kite,” but the damage is done. I already want to listen to the concept album again. Yes, this cast album features five more songs than the concept album, but the only standout of these is “Queen Lucy,” in which the perpetually crabby character laments the obstacles to her sitting on a throne. The lyrics are quite the character study and prove that Gesner is a genuine Peanuts fan. And Reva Rose is the strongest Lucy of the four I’ll hear, too. That said, “Queen Lucy” is more a dialogue that a song in the true sense of the word. All things considered, this is not a terrible album, just kind of a snooze fest compared to its predecessor.

There is a recording of the 1973 television cast somewhere out there, but I couldn’t find it. Hopefully it will be available to stream soon, or else I’ll have to hunt down a copy on vinyl. Either way, I’ll get there eventually. As it stands, we have to move on to the 1999 Broadway revival. This version was heavily revised from the 1971 production and is credited with helping to launch the career of Kristin Chenoweth, who played the new role of Sally. The cast here is brimming with legends. We’ve got Anthony Rapp as Charlie Brown, Roger Bart as Snoopy, and BD Wong as Linus. All are on top of their game to make this the quintessential You’re a Good Man, Charlie Brown cast album. Without question, the album’s highlight is “My New Philosophy,” a new song performed by Chenoweth and one of my absolute favorites from any musical. The return of proper orchestrations doesn’t hurt, either. In fact, the only mark against this album is that “Queen Lucy” is not included. But the good news? You won’t miss it.

Until I did this project, I did not know that there was a 2016 cast album released by the company of the Off-Broadway revival. It is unique in that it stars young actors, making it immediately reminiscent of the television specials. It also features plenty of nods to Vince Guaraldi, who composed the soundtracks to the early specials. This album even features the famous horn sounds that substitute for adult voices. Indeed, it is a love letter to the specials and seems to honor them more than it does the original strip. Not that there’s anything wrong with that, but I like that simple charm that comes when the inspiration is the comic strip. Plus, I prefer the score to focus on Gesner’s work and leave Guaraldi’s out of it. It is a cute album nonetheless.

You’re a Good Man, Charlie Brown does not have an outstanding score, an especially large fanbase, or an ever-present legacy. What it has is a lot of love for its subject, and that’s more than most shows can say. When done right, it’s not overproduced or gimmicky. It’s simple, elegant, and entertaining, just like the strips that Charles Schulz started drawing more than 70 years ago. And that’s enough for me.

Musical: You’re a Good Man, Charlie Brown

Music and Lyrics: Clark Gesner

Opening Night Off-Broadway: March 7, 1967, at Theatre 80

Cast Albums I Listened To: 1966 Concept, 1967 Original Off-Broadway, 1999 Broadway Revival, and 2016 Off-Broadway Cast Albums.

My Favorite Cast Album: 1999 Broadway Revival Cast Album

Highlights: “My New Philosophy,” “Little Known Facts,” and “Suppertime.”

Honorable Mention: “Queen Lucy”

Overall Impression: This can be an endearing show, but Schulz’s creation is famously delicate and this medium is no exception.

A Night at the Opera

I’m tackling a biggie. My random number generator picked a show that is so daunting and so incredibly controversial that I seriously thought about choosing something different. The show in question is Porgy and Bess, which is technically an opera and not a book musical. It is also outdated and misguided at best, and outright racist at worst. These were my main concerns, forget that the cast albums can be more than three hours long! I didn’t want to ruffle feathers. And, as much as I like opera (and I really do), it’s not a territory I really wanted to venture into for this project. But, the original production of Porgy and Bess played on Broadway and the show has been revived there no less than eight times. So no sprint down Broadway would be complete without it. Any show will do, right?

Porgy and Bess features the music of George Gershwin and lyrics by DuBose Heyward and Ira Gershwin. It had its world premier on September 30, 1935, in Boston and transferred to Broadway’s Alvin Theatre (now the Neil Simon Theatre) within two weeks. While noteworthy for its all Black cast of classically trained singers, the work was criticized from the start for being insensitive to the African American experience and relying on Black stereotypes. It wasn’t until the late 1970s that Porgy and Bess began to gain respect in both the opera and Black communities, though controversy continues to surround it. Despite those controversies, today it is considered perhaps the greatest American opera and is performed all over the world. I counted eight available recordings from stage casts, though I was only able to listen to seven of them. I will explain the missing cast album later, but know that I did replace it with a studio cast album that interested me. So, with all that in mind, let’s get into the cast albums.

With a 1935 premier date, Porgy and Bess is the second oldest show I’ve written about so far, after Show Boat. The oldest cast album I could find hails from 1942 and features both the casts of the original production and the 1942 Broadway revival. It is not a complete recording of the score, having been released on a single LP, but all the highlights are here. Right away, I was humming along to the familiar melodies of “Summertime,” “I Got Plenty o’ Nuttin’,” and “It Ain’t Necessarily So.” I hummed because I found the lyrics very warbley and difficult to understand. I don’t know if it’s the age of the recording or just the style of the day, but it was a struggle for me. Then again, I had similar struggles with the older Show Boat cast albums so it may just be my ears. Either way, this was not a great start.

We next find ourselves in 1952, and what a difference ten years make! This is a touring cast recording that was recorded live in Germany of all places. While is was recorded in 1952, it wasn’t released until 2008. That’s surprising, because it’s a beautiful album. It is a nearly complete recording of the score and not only is it easier to understand the lyrics here than on the original album, it’s also easy to follow the storyline. This is both because of both the relatively crisp lyrics (for an opera) and the scuffling and rustling that goes along with a cast album recorded live on stage. To top it off, it stars the legends that are Cab Calloway and Leontyne Price. Both give outstanding performances. Overall, I really liked this one and appreciate that it restored my faith in what was to come.

And what was to come was the Hollywood film soundtrack. The movie version was released by Columbia Pictures in 1959 and starred Sidney Poitier and Dorothy Dandridge, though their voices are dubbed by Robert McFerrin and Adele Addison, respectively. While Sammy Davis, Jr. sings in the film, his voice is not heard on the soundtrack due to contact restraints and he is replaced by Cab Calloway. Similarly unjustly, the divinely talented Diahann Carroll is dubbed here as well. But there is one big musical star from the film heard on the soundtrack: Pearl Bailey in her role as Maria. I’m glad she’s here, underused though she is. This is once again a highlights album of the Porgy and Bess score, but it is one more closely resembling a book musical than an opera. For that reason, it may be worth a listen for those more inclined towards a traditional show tune. But, if you’re striving to appreciate Gershwin’s intentions, you can skip it.

In 1977, the Houston Grand Opera released a complete recording of the score that proved to be a turning point in the reputation of Porgy and Bess. Indeed, it is through this production that it began to be taken seriously by opera companies the world over. This is also the first time that I had to listen to a cast album from my vinyl record collection for this project because I could not find a complete version available to stream. This is probably the most famous cast album of the show, and with good reason. Not only is it the first complete recording of the score, and the first staging of the complete score since 1935, but the performances of Clamma Dale, Donnie Ray Albert, and Larry Marshall are breathtaking. It is also orchestrated in such a way as to make the music accessible to show tune fans while not sacrificing any of its operatic integrity. No wonder this production transferred to Broadway and won the only Tony Award ever given to an opera. In short, we are halfway done and this is the one to beat.

1989 finds us in East Sussex, England, at the Glydebourne Opera Festival’s production of Porgy and Bess. I have to say that the highlight here is definitely Cynthia Haymon as Bess; I really enjoyed her. The orchestrations, performed by the London Philharmonic Orchestra, are also stunning and might be my favorite yet. This album is definitely worth a listen, though the story is a little harder to follow than the 1952 and 1977 albums. Plus, it is definitely directed at opera enthusiasts, not so much musical theatre fans. Still, that can’t be held against it and this remains a fantastic recording. I should also mention that this is the second complete recording of the score.

There isn’t another album from a stage cast for twenty years, but I’m stopping off in 2006 for that studio cast album I mentioned earlier. It is unique in that it features Gershwin’s original orchestrations from the 1935 production. You can feel the essence of the ’30s right away in the heavy use of piano and woodwinds on the overture. And the cast is, once again, spectacular. I’m surprised that I like it so well, since I normally turn my nose up at studio cast albums. That may very well be my ignorance showing. In any case, I highly recommend this cast album. It is definitely a contender for my favorite.

Back to the stage we go with the 2009 Austrian concert cast album. This production was conducted by Nikolaus Harnocourt, whose well known penchant for classical music is evident here, especially in the magnificent chorus. I have to be honest and say this is not my favorite interpretation of the music, but opera purists may delight in it. It also features a familiar voice, that of Gregg Baker in the role of Crown, which he also sang on the 1989 album. On the whole, this one is just alright as a cast album.

We finish with Porgy and Bess in the same place we started: on Broadway. The 2012 revival was heavily reworked to suit modern sensibilities, with a new libretto by Suzan-Lori Parks and updated music by Diedre Murray. Refreshingly, both Parks and Murray are Black women, a contrast to the opera’s original white male composers. This allows Porgy and Bess to be seen through a new lens, one that does more justice to its marginalized subjects, while retaining the beloved songs. That’s the biggest improvement here, along with an overhaul of the dialogue. This production can for sure be described as a Broadway adaptation of the opera, rather than an opera in its own right. That’s even reflected in the production’s official title: The Gershwins’ Porgy and Bess. And yes, the venerable Audra McDonald plays Bess here and she is worth the listen all by herself. She can do no wrong in my opinion.

Now, about that missing album: there is a 2019 Metropolitan Opera cast album of Porgy and Bess, but I could only find it available on CD. Unfortunately, I do not have a CD player. When it becomes available to stream, I will absolutely review it for this blog. Until then, it remains a missing piece.

I was nervous that I would walk away from this one resenting having given it my attention. It certainly has its fair share of cringeworthy moments, especially when it comes to the antiquated dialect that verges on minstrel territory. But I have to admit, for all its shortcomings, Porgy and Bess is a beautiful work of opera and for that I must say “bravo.” I may even catch it on stage someday.

Opera: Porgy and Bess

Music: George Gershwin

Lyrics: DuBose Heyward and Ira Gershwin

Opening Night on Broadway: October 10, 1935, at the Alvin Theatre

Cast Albums I Listened To: 1942 Original and Revival Broadway Casts, 1952 International Touring Cast, 1959 Film Soundtrack, 1977 Houston Grand Opera Cast, 1989 Glydebourne Opera Festival Cast, 2006 Studio Cast, 2009 Austrian Concert Cast, and 2012 Broadway Cast Albums.

My Favorite Cast Album: 1977 Houston Grand Opera Cast Album

Runner Up: 2006 Studio Cast Album

Highlights: “Summertime,” “I Got Plenty o’ Nuttin’,” “Bess, You Is My Woman Now,” and “It Ain’t Necessarily So.”

Overall Impression: This show is definitely “of its time” as they say, and that’s never a good thing. But the score is gorgeous and that’s something it will always have going for it.

Why Animals Don’t Drive

I grew up in a home with an abundance of children’s literature on hand. We had everything from The Very Hungry Caterpillar to Amelia Bedelia to Winne the Pooh, but one piece of kids’ lit that never entered my sphere of consciousness was The Wind in the Willows. Kenneth Grahame’s 1908 novel about a joy riding toad and his friends who try (and fail) to keep him out of trouble was just never on my parents’ radar. Well, my random number generator decided that my unfamiliarity ends now. Today, I’m writing about the cast album for the 2016 London stage adaptation of The Wind in the Willows.

This musical has music by George Stiles, lyrics by Anthony Drewe, and a book by Julian Fellowes. It debuted on October 8, 2016 at the Theatre Royal in Plymouth and had a limited run at the London Palladium from June through September of 2017. The Wind in the Willows follows the plot of the novel quite closely, with the anthropomorphized characters Rat and Mole doing everything in their power to keep their friend Mr. Toad from stealing automobiles and driving them at top speed; of course they can’t keep him away from the cars and Toad crashes several of them, landing himself in jail. It’s a surprisingly entertaining story given the quaint Edwardian setting and my initial impression based on the familiar artwork dominated with shades of brown and green. After familiarizing myself with the story, I was excited to listen to the album.

I have to say, it did not disappoint. The Wind in the Willows has some fun and even some beautiful music. The lyrics will give unfamiliar listeners a good idea of what’s going on in the show, a good thing with any classic adaptation, and the music even mimics Kenneth Grahame’s novel in how it alternates between the slower chorus numbers and more speedy action packed songs. The album features some great performances as well, especially Rufus Hound as Toad who sounds generally delighted to have discovered cars on “The Open Road.” I also love Denise Welch as Mrs. Otter. In fact, her “Speed is of the Essence” might be my favorite song in the show. I say “might be” because the adorable “A Friend is Still a Friend,” while dripping with saccharine, is inescapably endearing. It’s also one of my favorites.

This is a cast album I never would have listened to if I hadn’t done this project. I’m glad I did! The Wind in the Willows can best be described as a cute show, that’s for sure. But it has some really funny moments as well. For example, one lyric has Toad quip “When I anthropomorphized I did it rather well,” a tongue in cheek reference to the condition of these woodland creatures. Now, since it’s based on a children’s story, the musical is probably best suited for families and with the good amount of story on the cast album, I would recommend young families give it a spin together. That’s not to say adults can’t enjoy it on their own,it just goes to show that The Wind in Willows remains a classic story for all ages.

Musical: The Wind in the Willows

Cast Album I Listened To: 2016 Original London Cast

Music: George Stiles

Lyrics: Anthony Drewe

Opening Performance: October 8, 2016, Theatre Royal, Plymouth, UK

Highlights: “Speed is of the Essence,” “The Open Road,” and “A Friend is Still a Friend.”

Overall Impression: A surprisingly enjoyable album that makes excellent use of the show’s source material. The Wind in the Willows caught me off guard, but in a good way.

Una Verdadera Obra Maestra

Every once in a while, I am introduced to a musical and genuinely like it, but then go on to ignore it for way too long after that initial spark dies out. One such victim of this unjust habit of mine is In the Heights. So, when my trusty random number generator landed on it the other day, I was ecstatic! “Here’s my chance,” I said to me, “to renew my love for this masterpiece! And this time, I am not throwing away my sh–,” wait… wrong musical. But the reference is apt considering my attitude towards the show had cooled considerably and now is just as fresh as ever, maybe even more so!

In the Heights is probably most famous for being the first major work of theatre to feature music and lyrics by Lin-Manuel Miranda. The book, by Quiara Alegría Hudes, lays out a complicated plot concerning a small Dominican community who live on a corner in the Washington Heights neighborhood of Manhattan. The show opened on Broadway on March 9, 2008, and successfully ran until closing in January of 2011. It was nominated for an astounding 13 Tony Awards and took home four, including Best Musical and Best Original Score. There was also a hit production in the West End as well as several others around the world, but the original Broadway production is the only one with a cast album. So, let’s talk about it.

The first few notes of the In the Heights cast album speak to the heart of every show tune enthusiast the world over. That’s because they harken back to West Side Story, emulating the beginning notes of “America.” It beautifully sets the theme before a single lyric is sung. Right away, we know that we are about to observe a world full of people with a marginalized identity who are vacillating between two cultures. Honestly, it’s one of my favorite beginnings to a musical and the rest of the album does not disappoint either. The music is a wonderful mix of hip-hop, pop, and salsa, and the lyrics explore the souls of the characters so thoroughly that you may actually think you’re in Washington Heights! To get that from a cast album is pretty magical and a testament to Lin-Manuel Miranda’s talent as a songwriter.

I had a very hard time choosing my song highlights this time because there isn’t a dud in the show. Before revisiting In the Heights for this project, I had forgotten how drawn I am to the second number on the album, which is “Breathe,” performed by the incredible Mandy Gonzalez as Nina. Its poignant theme of being disappointed in oneself yet determined to turn things around is enough to make is a shoo-in for my shortlist. Mandy Gonzalez’s performance doesn’t hurt, either. I also decided to go with the salsa infused “When You’re Home” and “Carnaval Del Barrio,” both of which had me dancing with each listen. The beautiful and sweet “Sunrise” is an absolute must listen and I decided to close out my picks with another heart-tugging Mandy Gonzalez performance, “Everything I Know.” Truth be told, the album is best enjoyed as a whole, but I think those five songs give a pretty good taste of this refreshing show.

If there is a drawback to this cast album, it’s the bonus tracks. Yes, I know I complained about bonus tracks in my last post as well, but that was about lazy placement. These here are redundant “radio mixes” that don’t add anything to the work. Still, everything before them is as perfect as can be, so I’ll happily let them slide.

All that said, we are leaving Washington Heights for now. But good news! We are finally getting an In the Heights film adaptation this year. I can’t wait to not only see it, but also talk about its soundtrack here. In the meantime, I am thankful to this blog for giving me cause to rediscover a real masterpiece of American theatre. In the Heights is as great as ever, even if it is a bit overshadowed by its younger brother.

Musical: In the Heights

Cast Album I Listened To: 2008 Original Broadway Cast

Music and Lyrics: Lin-Manuel Miranda

Opening Performance: March 9, 2008, Richard Rodgers Theatre, New York City

Highlights: “Breathe,” “When You’re Home,” “Sunrise,” “Carnaval Del Barrio,” and “Everything I Know.”

Overall Impression: As far as cast albums go, this one does a near perfect job of bringing you into the show’s world. I am excited to rediscover more shows that I have loved and grow my appreciation for them as I continue this project!

Two Nuns Walk Into a Cell…

The subtitle of this blog is “A Sprint Down Broadway,” but that’s really not accurate considering this is really a blog about cast albums, not Broadway musicals themselves. There are many cast albums from shows that haven’t run on Broadway and if I want to hear every cast album available, I can’t just stick to Broadway shows. So today I am writing about the cast album of In the Green. It’s a fairly new Off-Broadway musical, having run from June to August of 2019. The cast album was only released a few months ago and I decided to give it a listen.

Oh boy, is it a doozey.

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In the Green tells the story of Hildegard von Bingen, a twelfth century mystic and polymath who, quite honestly, is a fascinating person (I’d never heard of her before) and deserves to have her story told way more often. So, for that reason alone we owe a debt to composer, lyricist, and librettist Grace McLean. She chose a great subject and sent me down quite the Wikipedia rabbit hole.

The musical’s plot is concerned with the 30 years that Hildegard spent voluntarily locked in a monastery cell with her mentor Jutta von Sponheim. Well, it was voluntary on Jutta’s part; Hildegard was confined as a child at the behest of her family. But she stuck it out and now she’s recognized as a saint by the Catholic church, so maybe it worked out for her after all. Anyway, Jutta (pronounced Yuh-tuh) is played by McLean herself while Hildegard is played by three different actresses, each representing either her hands, her eyes, or her mouth. There is also a fifth actress on hand to play Shadow, the personification of Jutta’s darkest secrets. And that’s it. Refreshingly, this is a small cast of all women.

The music is definitely a departure from anything I’ve heard on this journey so far. The album opens with “O Virga ac Diadema,” which sound like an ancient hymn because, well, that’s exactly what it is. In fact, “O Virga ac Diadema” is one of two songs in the show whose lyrics were written by the real life Hildegard some 900 years ago. I think that’s pretty cool! I mean, hey, you’re not going to get that from Hamilton. Actually, for how modern the music is throughout the show, McLean does a pretty good job of giving it a medieval church music feel. She’s created a pop show but included plenty of chant motifs at the same time. The effect is somewhere between an ancient Mass and Hadestown, but still closer to the latter.

Especially chanty are the actresses playing Hildegard’s hands, eyes, and mouth: Rachael Duddy, Hannah Whitney, and Ashley Pérez Flanagan. These three mostly speak in unison as they are different parts of the same “broken” entity. We’re lucky for that because the actresses’ voices harmonize beautifully together. Actually, all five actresses give gorgeous vocal performances all through the cast album. The music itself is definitely unique, with the closest to a traditional show tune probably being the beautiful “Sun Song.” McLean’s score screams “THIS IS EXPERIMENTAL,” but mostly in a good way. This is not the kind of show you’ll want to listen to for fun, but it does have a lot to say about wanting to be the best version of yourself and that’s nothing to sneer at.

I do want to say that you shouldn’t let religion scare you away from this album; the Almighty is barely mentioned. While In the Green is a musical about nuns (and one of them a saint at that!) the theme has much more to do with the earthly experience of trauma than church. Think of it as being about a kind of medieval therapy. I found it surprisingly enjoyable, especially the songs “Ritual,” “Light Undercover,” and “The Ripening.”

In the Green is exactly the kind of musical I hoped to discover when I started this blog. It’s quirky with something to say to which we can all relate. I hope we hear more from Grace McLean as a composer in the future. She’s really got what it takes.

Musical: In the Green

Cast Album I Listened To: 2019 Original Off-Broadway Cast

Music and Lyrics: Grace McLean

Opening Performance: June 27, 2019, Claire Tow Theater, New York City

Highlights: “Ritual,” “Sun Song,” “Light Undercover,” and “The Ripening.”

Overall Impression: This is a gorgeous effort to bring attention to a woman who’s been unfairly ignored for nearly a millennium. While the album isn’t perfect, it does its best to showcase the tremendous talent of its cast and composer.

Showgirl Reunion From Hell

Now that we are nearly one year into the pandemic, I thought it was time to pick up this old project. And since I am reuniting with an old hobby in a way, it is only appropriate that I select a musical with a reunion theme. The first that came to mind was Follies. So, without further ado, I will resume my sprint down Broadway once again.

Follies first opened on Broadway on April 4, 1971. It was the second collaboration for composer and lyricist Stephen Sondheim and director Hal Prince, following Company. The show’s first run was a financial failure, a fact that makes its numerous revivals seem all the more miraculous. I’ll admit, I have never given Follies a fair chance. I always thought it was weird (which it is) and found the combination of faux vintage numbers with contemporary 70s style show tunes off-putting. So when I saw that there were six Follies cast albums available I second guessed my recommitment to this blog. Six is a lot! But I stuck with it and I’m thankful that I did because there are some real gems here. Let’s start in 1971.

The original Broadway cast recording of Follies was somewhat ill-fated from the moment Capitol Records determined that Sondheim’s score should be condensed to fit one LP record. The result is a bit of a hack job. But it serves its purpose of introducing us to Sondheim’s wonderful show about a reunion of the fictional Weismann’s Follies. My first impression was that Michael Bartlett’s Roscoe sounds right out of 1920s vaudeville, which is to say he’s perfect. In fact, most performances on the OBCR are perfect, notably Dorothy Collins as Sally, John McMartin as Ben, and Yvonne de Carlo as Carlotta, whose “I’m Still Here” is the indisputable showstopper among such great songs as “Who’s That Woman?,” “Too Many Mornings,” and “Could I Leave You?” That said, there isn’t a whole lot of story after the prologue, and for a show like this that does make for a somewhat disjointed album. Still, the score is stunning and that combined with the stellar performances makes it an enjoyable listen anyway.

If the OBCR is enjoyable, the 1985 concert cast recording is a real treat! First of all, it features some real icons like Barbara Cook, Mandy Patinkin, Elaine Stritch, and Carol Burnett as Carlotta. Second, it’s recorded live so you get a sense of how the audience is responding to these no doubt brilliant performances. Elaine Stritch in particular gets a laugh every time she opens her mouth, and that alone had me wanting nothing more than to teleport myself to that night at Lincoln Center so I could watch her for myself. But even just with the audio, it’s easy to see why she was so great. Stritch plays old, tired, and fabulous in a way that more than works: it makes magic. And although I would choose Stritch as the standout performance from this cast, I need to mention that Carol Burnett also blew me away with her performance of “I’m Still Here.” It’s safe to say that after this album, the bar has been set. And it’s been set high.

It’s important to note that the second half of the concert cast album is not Follies. Well, not exactly. It is a New York Philharmonic recording of the film soundtrack to Stravinsky, which was also composed by Sondheim. At first glance, I thought it was an odd choice to pair the two together on the same release (and I’m still not sure why they made that choice), but there are two tracks from Stravinsky that were first cut from Follies. These are “Old House,” performed in the original London production of Follies as “Country House,” and “Auto Show,” which appears as the bonus track “Bring On the Girls” on the 1998 Paper Mill Playhouse Follies cast album. I didn’t enjoy the Stravinsky half of the album nearly as much as the first half, but I appreciate these two songs being included given that context. It’s also around this point that I learned that this show was originally produced in one act. The very idea exhausts me. This is a very long score with a complicated plot. Not giving the audience an intermission is a huge gamble and I think we can at least partially blame the original Broadway production’s disappointing box office on that decision.

Anyway, moving on.

The third Follies cast album takes us across the pond. The original London production opened in 1987 and the cast album bills itself as the first complete recording of the score. Whether that’s accurate is debatable, as some of the songs from the original Broadway production have been replaced with new tunes. But what the London cast album does with its “complete score” works really well! This is another fantastic album with an out-of-this-world cast. It stars Julia McKenzie, Daniel Massey, David Healy, and the recently departed Diana Rigg. McKenzie in particular gives a dazzling performance of “Losing My Mind.” In addition to the new “Country House,” which by the way is a cute argument done in song, we have an updated version of “Loveland” that’s superior to the original. And “The Story of Lucy and Jessie” has been replaced with “Ah, But Underneath,” which I also like better. However, “Make the Most of Your Music” takes the place of “Live, Laugh, Love” here and I would have to question whoever made that decision. Regardless, this cast album is at least as good as its predecessor, if not even better. And the best part? No Stravinsky.

Back to the states we go, but not to New York. Instead, we’re headed to New Jersey! The Paper Mill Playhouse released a cast album for its 1998 production of Follies and it’s easy to see why. With legends like Ann Miller and Kaye Ballard in the cast, it would have been a crime not to record it. It’s becoming clear that choosing a favorite cast album is going to be difficult this time around. Heck, even choosing which songs to highlight as favorites would be difficult as each album offers new standout performances. This time, Laurence Guittard catches my attention first with his rendition of “The Road You Didn’t Take.” Like the original London cast album, this version also features “Ah, But Underneath,” performed by Dee Hoty. And this cast album may actually have a better claim to the “first complete recording” title than the London cast; it features eight bonus tracks of cut songs, including “The Story of Lucy and Jessie.” Each of these bonus tracks is a delight and their inclusion here helps give a sense of Sondheim’s creative process.

Next up, we’re back on Broadway for the 2011 revival cast album. I have to say, this one was not my favorite. That’s a shame, because it stars Bernadette Peters who happens to be one of my favorite living Broadway legends. My biggest gripe is with the amount of dialogue included on the album. I know I complained somewhat about the lack of coherent story in the original Broadway cast recording, but there is entirely too much story here for my taste. That said, the musical performances are incredible and it is interesting to hear how the background music was used to underscore the dialogue. Plus, Carlotta is sung by Elaine Paige. Elaine Paige! I don’t need to tell you that her performance of “I’m Still Here” is spectacular. Throw in Jan Maxwell as Phyllis and its clear that this production is all about legendary divas. If this were the only Follies cast album available, it would be remarkable. As it stands, it’s just alright.

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We’ve finally arrived at album number six: the 2018 London revival cast album. This production stars Imelda Staunton as Sally, and what a Sally she is! Actually, this whole cast is once again amazing. Philip Quast’s performance of “Live, Laugh. Love” was the first version of this song to break my heart (in a good way). Janie Dee, Peter Forbes, Tracie Bennett… they’re all here and they’re all great. I also quite enjoyed the overture on this album. The score here is much closer to the original Broadway production than the original London. But overall, it was the most satisfyingly coherent. In fact, it rivals the original London and Paper Mill Playhouse cast albums for my favorite of the six.

Of my three finalists, I have to give it to the 2018 London cast album. First, it’s the shortest of the three. And second, Staunton’s Sally is truly breathtaking. This was a close one. It’s easy to see why this is arguably Sondheim’s best work. Each production was cast perfectly and that’s reflected in each album. Overall, I say Follies has more than earned its reputation as an iconic piece of musical theater.

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Musical: Follies

Music and Lyrics: Stephen Sondheim

Opening Performance: April 4, 1971, Winter Garden Theatre, New York City

Cast Albums I Listened To: 1971 Original Broadway Cast, 1985 Lincoln Center concert cast, 1987 original London cast, 1998 Paper Mill Playhouse cast, 2011 Broadway cast, and 2018 London cast.

Highlights: “The Road You Didn’t Take,” “Who’s That Woman?,” “I’m Still Here,” “Could I Leave You?,” and “Losing My Mind.”

Favorite Cast Album: 2018 London Cast Album

Overall Impression: Follies is still a weird show, but it’s a weird show with a gorgeous score and a knack for great casting. Those last two points make the perfect recipe for excellent cast albums, of which Follies is blessed with six.

Introducing Barbra Streisand…

There is an endless list of entertainers that it’s difficult to imagine the world without: Elvis Presley, Judy Garland, Charlie Chaplin, Michael Jackson, Audrey Hepburn, Tom Hanks, to name just a few. Heck, I even have a hard time remembering life before Lady Gaga. One of the shiniest names on that list has to be Barbra Streisand. The multi-talented, EGOT-holding force of nature is one of the best-selling female artists of all time and the only artist to have achieved a number-one-selling album in each of the last six decades. In short, she’s the very definition of a legend. But even legends have to start somewhere.

Streisand got her start on Broadway as a teenager in a supporting role in the little known musical I Can Get It for You Wholesale, a comedy about the rise and fall of a  ruthless young businessman in the New York City garment industry during the Great Depression. The musical opened on March 22, 1962 at the Schubert Theatre. It later transferred to the Broadway Theatre where it closed after 300 performances. The music and lyrics were both by Harold Rome and in addition to young Streisand, the original cast included Elliott Gould, Lillian Roth, and Marilyn Cooper. There has yet to be a revival or a production in the West End, making the 1962 cast recording the only cast album for this show.

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Streisand’s is the first voice we hear on the album. Keeping in mind her age (she was 19 when the show opened) and the fact that this is her professional recording debut, it is a remarkable first impression. Her voice sounds well beyond its years and her natural comedic timing is just as perfect as ever. It’s difficult to ignore the lack of her signature belting and the limited range the music allows to show off her vocals. But this album isn’t about her, despite the star power she has today.

The music for I Can Get It for You Wholesale uses traditional Jewish melodies to enjoyable effect. “Momma, Momma, Momma” and “The Family Way” particularly evoke folk song sentiments, while “A Gift Today” has the somber melody of an ancient hymn. Rome’s songs can be gorgeous and his lyrics poignant, but the two do not always mix in a way that is memorable. A notable exception is “Miss Marmelstein,” performed by Streisand, which has been stuck in my head since I first heard it. It is no coincidence that it is the best known song from the musical. I also found “What’s in It for Me?” to be a fun show tune discovery and “Have I Told You Lately?” as sweet as any Broadway love song from the era.

Unfortunately, the rest of the songs are largely forgettable. As much as I liked the melodies, they just don’t work as the kind of show tunes you’ll want to sing in the shower, which is what they are trying to be. Still, the album’s significance to entertainment history is enough for me to recommend it.

For all the cast album’s shortcomings, I Can Get It for You Wholesale sure worked out for Streisand. She married its leading man Elliott Gould in 1963 and released her debut album the same year, launching a career that has been one of the most successful and lauded in history. Indeed, this small musical has made a massive impact on American entertainment, you just wouldn’t notice.

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Musical: I Can Get It for You Wholesale

Cast Album I Listened To: 1962 Original Broadway Cast

Music and Lyrics: Harold Rome

Opening Performance: March 22, 1962, Shubert Theatre, New York City

Song You Might Know: “Miss Marmelstein”

Highlights: “Have I Told You Lately?,” “Miss Marmelstein,” “What’s in It for Me?”

Overall Impression: This one is really all about two things: the music’s Jewish influence and Barbra Streisand. It’s a decent album, but I’m not sure I’d need a copy in my collection if not for it being Streisand’s debut.

The Wrong Kind of Haunting

Going into this project, I knew that I would encounter unbearable cast albums from sub-par musicals. I thought I had adequately prepared myself for the boredom that was sure to ensue with any given selection. “I can handle anything for an hour or so,” I’d told myself. Oh, how wrong I was.

Nothing, nothing prepared me for the dull sludge that is the original cast recording of Ghost the Musical. I’m sure I’ve seen selections from it on Broadway themed playlists, and I’m even more sure that I skipped every song I encountered. In fact, it is so painful that it took me three days to get through its only cast album! THREE DAYS! I kept finding excuses to turn it off and come back later and in the end I had to force myself to finish. In a word: dreadful.

Ghost the Musical follows the plot of the 1990 film on which it is based, in which a young woman’s boyfriend is killed resulting in his soul being trapped between this world and the afterlife. He soon discovers that she is in danger and enlists a seemingly fraudulent psychic to warn her. The music and lyrics are by Dave Stewart and Glen Ballard with additional lyrics by Bruce Joel Rubin. It premiered in the West End at Piccadilly Theatre on July 19, 2011, closing October 6, 2012. A Broadway production opened in April of 2012 and closed that same August.  Only the original London cast has released a cast album.

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The album is full of gab; every few seconds the singers are interrupted by speech, whether their own or someone else’s. At first I thought this was a misguided attempt to lay out the complex plot, but as it went on I realized that it was actually a misguided attempt to cover up the fact that the music has very little substance. Most of these songs could not fill a track on their own, let alone an album. To make matters worse, the music itself is piano-driven rock of the worst kind. There are a few exceptions, especially where Cassie Levy is concerned. Levy is the sole standout in her role as Molly and shines brightest on “With You” and “Nothing Stops Another Day,” though both songs are unavoidably saturated with sap. There is an attempt at comic relief in Sharon D. Clarke’s performance as Oda Mae Brown, though it falls flat and Oda Mae comes off as a caricature.

Part of the reason I am so bitter about my Ghost experience is that despite what I had heard about it, I had high hopes. Both of its composers have created some very enjoyable music, Stewart being one half of pop group Eurythmics and Ballard having been involved in a litany of pop and rock projects. Alas, they were not able to make magic happen here. Lesson learned.

Maybe we can blame all of this on my chosen medium (no pun intended). Ghost the Musical is remembered for its lavish special effects and its basis on the film. Listening to and then ripping apart the cast album may be a disservice to what little legacy it has because the music was never the point. In any case, skip it.

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Musical: Ghost the Musical

Music: Dave Stewart and Glen Ballard

Lyrics: Dave Stewart, Glen Ballard, Bruce Joel Rubin

Opening Performance: July 19, 2011, Piccadilly Theatre, London

Cast Album I Listened To: 2011 Original London Cast

Highlights: “With You,” “Nothing Stops Another Day”

Overall Impression: It’s a terribly boring album with a lot of needless talking and underwhelming music.

Big, Bold, Broadway!

I tend to like my entertainment exaggerated. If you’ve seen a big, over-the-top production with enough confetti to fill the Grand Canyon, chances are I would enjoy that show. I would talk about it for weeks. The same goes for music: loud, lots of instruments, very pop, fun. With that criteria in mind, the original cast album for George M! should be right up my alley.

It is not.

That’s not to say it’s not good fun, it just loses me somewhere. Maybe it’s the ubiquitous songs or the criminal underuse of Bernadette Peters. Perhaps it’s sheer exhaustion from listening to all the energy-hemorrhaging songs on the recording. Or the amount of medleys. Or any number of things. Let’s unpack this.

First thing’s first: George M! is based on the career of showbiz legend George M. Cohan, a.k.a. “The Man Who Owned Broadway.” All of the songs used in the show are Cohan’s own hits, making this a jukebox musical (although some of the lyrics for the show were rewritten by his daughter, Mary Cohan). The Broadway musical opened at the Palace Theatre on April 10, 1968. It ran for a full year and originally starred Joel Grey as Cohan. The stage show has never been revived, though NBC did air a television production in 1970. The original cast recording is the only cast album that has been released.

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My first impression based on the overture can be summed up in two words: patriotic fantasia. I was immediately struck with visions of American flags and fire crackers. The familiar tunes of “Yankee Doodle Dandy” and “You’re a Grand Old Flag,” both apparently show tunes in their own right, served as fuel for the tacky, glittery salute to the USA I had prematurely choreographed in my mind.

The tracks themselves are largely reminiscent of vaudeville. Or at least my understanding of vaudeville, which comes almost exclusively from old Hollywood movies. A lot of the songs would fit nicely in classic Looney Tunes sketches. That’s great for entertainment value, but it’s not quite what I want in a full-length album. Still, these songs are steeped in entertainment history and that is enough to keep my interest.

The original cast of George M! is also quite captivating. Grey is charming as ever here and shines especially bright on “My Town” and the classic “Give My Regards to Broadway.” My favorite performance on the album has to be “Billie,” sung by Jill O’Hara. Her vocals soar beautifully and it is the rare track that emits any emotion outside of excitement. It is worth mentioning that this was the first successful Broadway starring role for Bernadette Peters, but don’t listen too hard for her on the cast album. Aside from her solo on the second track, she is mostly relegated to the chorus. It’s an understandable shame given how new a star she was at the time.

I listened to this album on headphones and the technique used to record it gave the lovely auditory illusion that the performances were happening all around me. I don’t know whether this was intentional, but it’s an effective technique nonetheless.

I have to critique the amount of medleys included here, especially since so many of the songs could easily have been divided into their own tracks. It leaves the album with the same cluttered feel that soured the original Broadway cast recording of Into the Woods.

All things considered, this is a fun cast album that contains a lot of songs that would be at home in an elementary school play. The energy is consistent and the performances stellar. Unfortunately, it does rely heavily on nostalgia and for that reason I don’t think a revival is necessary. I also see no need to recommend George M! to a friend, but at the same time I want to host a viewing party for the NBC production. In the end, this one has left me torn.

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Musical: George M!

Music: George M. Cohan

Lyrics: George M. Cohan and Mary Cohan

Opening Performance: April 10, 1968, Palace Theatre, New York City

Cast Album I Listened To: 1968 Original Broadway Cast

Songs You Might Know: “Give My Regards to Broadway,” “Yankee Doodle Dandy,” “You’re a Grand Old Flag”

Highlights: “My Town,” “Billie,” “Give My Regards to Broadway”

Overall Impression: It plays heavily on nostalgia for vaudeville. While the album is not to my taste, I envision the show as an over-the-top spectacle that I would probably enjoy.