5 comments about The Mystery Of Edwin Drood: The Solve-It-Yourself Broadway Musical (1985 Original Broadway Cast).

1. "The Mystery of Edwin Drood" was a gimmick musical, allowing the theater audience to vote on the murderer. Yes, it was a gimmick that worked well enough to last for 604 performances. But, for me, it did not translate well to audio recording. It was necessary to follow the libretto closely in order to keep up with the story. And, on this version, hearing all the confessions did not provide any closure. And, none of the music was memorable enough for me to hum it, or even recall it, after listening.
   Perhaps, if I had seen the show, I would feel different about it. From reading other reviews, I see this as a strong possibility. But, lacking that and seeing no possibility of that in the future, I am less than impressed.



2. I saw this musical on Broadway in 1985---mainly because I wanted to see and hear Betty Buckley LIVE. What was a narrow interest--based on an incredible performance by the entire cast I might add-- instantly began a 23 year admiration and love for this music. One small hitch, while moving in 2000, I lost my only well worn copy of this CD. NO sweat ---I thought I could just replace it with another copy. How naive was I?
   
   I searched and searched for a replacement and to no avail. Not until, I came across this sale on Amazon. So YES, to the lady who commented that the price must be a mistake, go for it. I too had sticker shock at paying $149 for the copy. But, after going to every record store in Manhattan and checking every lead on the web, almost no price was too high to get my druid back. This is one of few recordings for which they no longer reproduce. Besides. I suppose you could buy a copy, burn yourself a copy and then resell it back on Amazon.
   
   For me, I have my copy stored in the family safe deposit box.



3. Speaking as someone who performed in this show, having all of the various endings on one album is wonderful. Rupert Holmes creates a great satire on Victorian England, makes fun of the racism and abundance of hypocrisy that made it famous, all the while presenting sometimes beautiful and haunting, sometimes silly and energetic music. Patti Cohenour uses her beautiful soprano voice with Howard McGillin in "Moonfall" and "The Name Of Love/ Moonfall Reprise" to great effect, and her duet with a post-Cats Betty Buckley as Edwin Drood "Perfect Strangers." George Rose does wonderfully as the energetic and sometimes condescending Chairman, as does Cleo Laine as the "servicable" Princess Puffer



4. I am interested in buying this cd, but not for 249.99. That is an outrageous price for a cd. If the list is incorrect, please let me know.



5. Rupert Holmes (famous for his #1 hit "Escape") does an excellent job with his first theatrical score, the Tony-winner "Mystery Of Edwin Drood". The show, based on the unfinished book by Charles Dickens, is basically a whodunit, with multiple endings based on each audience's preferences. The cast, headed by Betty Buckley, George Rose, Cleo Laine and Howard McGillin, is terrific. The score is fast-moving & fun!
   
   Best tracks include:
   
   There You Are [the terrific opening number]
   A Man Could Go Quite Mad
   Two Kingsmen
   Moonfall
   The Wages Of Sin
   Both Side Of A Coin
   Don't Quit While You're Ahead
   Finale: The Writing On The Wall
   
   This score may not be filled with theatrical standards, but the songs are generally excellent & merit repeat listenings.

5 comments about The Rocky Horror Picture Show: Sing It! (The Original Motion Picture Soundtrack Minus The Lead Vocals).

1. This was advertised (tagged) as Karaoke. It is not! I was very disappointed and will be very hesitant about purchasing anything in the future.



2. The quality of the music is just as good as the movie soundtrack, because it was made by the same people! I'm very happy with my CD.



3. This CD is excellent. It has recordings of all the songs from Rocky Horror, but exactly as it says-minus the lead vocals. The music is exactly the same as on the soundtrack/ in the movie, not some cheesy cheap midi sound. The lyrics are included in the book inside the case, to help out virgins to the songs. However, some of the choruses are not repeated, etc, which may be confusing to some, but anyone with half a brain can figure it out. I'm really pleased with this product because the quality of the music (and background singers) was far better than I thought it would be. Definitely worth the money if you enjoy singing along to your RHPS soundtrack.
   
   However, some people have been lead to believe this is a karaoke CD, which it definitely is not. It will not display lyrics should you try and use it for this purpose. I'd just like to point out to all of those people that nowhere on the CD description does it say karaoke. Nowhere. However, I'm sure if you end up buying this CD, then you're probably already a fan and don't need the lyrics :D
   
   Specifically, Time Warp and Science Fiction are my favorites on this CD. But like I said, all of the song sound great, and that I cannot stress enough. It can be a little confusing knowing where to begin in some parts, but it fits the original soundtrack so closely that you only hae to listen to it a few times before figuring it out. Wonderful, fantastic, and full of absolute pleasure!



4. If you don't already know the songs forward and backward, you may find this CD disappointing or frustrating, unless you enjoy a minor challenge. Use the RHPS soundtrack for training, and then test your chops with 'Sing It!' The original music cues are all there, and even some backing vocals, so it's also great for RHPS troupes. If you need lyrics on a screen or just want to goof off with your friends, find a nice karaoke set of standards and don't go near any strange castles at night.



5. This "Karaoke" CD does not display lyrics. I am so disappointed. The music is not enough of a guide as to when and what you should be singing. I don't think this should be listed as a karaoke CD when it isn't a CDG. This is only an audio CD minus vocals.

5 comments about Just for the Record....

1. What a grand collection this is of the legendary Barbra Streisand, full of unreleased verisons of Barbra's classics, landmark events in her career, unreleased studio and live tracks, original demo recordings, TV appearances, never-before-released show tunes, live nightclub performances, award nights and duets with Judy Garland, Ray Charles, Neil Diamond and more. This collection is approximately 4 hours long all together, it comes with a collector's book of rare photos and a song-by-song personal commentary by Barbra. "Just For The Record" covers every song that had a important impact in Barbra's career up to the point of releasing this boxset. The collection includes Barbra's first song that she recorded at 13 years old called "You'll Never Know". It also includes live songs from her first appearances on TV shows such as "The Ed Sullivan Show", "The Johnny Carson Show", "The Judy Garland Show" and many more. It also includes Barbra winning the best actress Oscar for "Funny Girl" and winning the Oscar for best song "Evergreen" which she wrote. It includes Barbra winning the 1965 Emmy for "My Name Is Barbra", Barbra singing "You Don't Bring Me Flowers" with Neil Diamond at the 1980 Grammy Awards. This collection also includes Barbra's famous songs most of them live versions like "A Sleepin' Bee", a live solo version of "Happy Days Are Here Again", a live "Cry Me A River" and many many more that Barbra is known for. Demos include "What Are Doing The Rest Of Your Life (duet with: Michel Legrand), "Evergreen", "Papa, Can You Hear Me?", "The Moon And I", "A Piece Of Sky" and even a score from "Nuts" that Barbra composed herself. This is a must, a absolutely for any Barbra fan.



2. If the Streisand fan in your circle doesn't already own this slice of heaven, what are you waiting for? With 4 discs covering 96 tracks, all the hits, non-hits, and even rehearsal demos are here, some of which have never been released. The elaborate booklet alone is like buttah. If you ever wondered why Babs was named the finest female pop vocalist of the 20th century, this audio biography of song should satisfy your curiosity.



3. Barbara Streisand is truly one of the Most Versatile Artists Ever. this Box set captures Her Career&showcases her Range in so many styles&different arrangements with different producers,Arrangers,etc.... but like all the truly great Artists Streisand has always had Her Musical stamp all over whatever she has released through Her Career.she was able to connect with her Music in so many areas&Yet maintain Her Idenity.



4. ... I came home and stayed up all night listening to every song, and loved them, and my respect and admiration for Barbra only increased all the way to the final note. This box set is absolutely magnficent! Not only does it have all the hit songs from 1961 to 1991 that we all know, it also has out-takes and never-released songs that are just as wonderful as any other she's ever sung. The 60s, the 70s, the 80s, it's all here and much, much more. No wonder Barbra Streisand is considered to be the greatest female singer of the 20th century-- no one else even comes close. Her vocal range, her variety of songs she has sung over her career-- over 40 years now! --she is simply amazing. And here it is the year 2003 and she is still as popular as ever and is on the verge of releasing what probably will be her most acclaimed work, "The Movie Album." Keep it up, Barbra! You will be the greatest female singer of the 21st century as well!



5. A four-disc collection of material that had mostly been previously unreleased, JUST FOR THE RECORD is a fascinating package indeed. Unlike most box-sets, this is not an extended "greatest hits" repackaging with a few rarities to pull in longtime fans. Sure, there are a few well-known recordings present ("People," Guilty"), but over 85% of the tracks on JUST FOR THE RECORD had never seen the light of day. This is exactly what many of Streisand's dedicated fans had been hoping for.

   The first two discs are dedicated to material recorded in the sixties, and they include many live recordings from the decade when Streisand gave the most public performances. Live performances culled from Streisand's appearances on "The Jack Paar Show," "P.M. East," The Garry Moore Show," The Tonight Show," "The Ed Sullivan Show," and "The Judy Garland Show" are all absolutely priceless. Eight tracks from Barbra's legendary "Bon Soir" performances (which were initially intended to be her first record) are included, and they present the then-twenty year old singer at her rowdy best. This is the Streisand that many of her sixties fans dearly miss.

   The two sixties discs also cover her years on Broadway (previously unreleased live performances from FUNNY GIRL), performances from her first four television specials (including three songs from the still- unreleased BELLE OF 14TH STREET soundtrack album), and a terrific live medley from her performances at the International Hotel in Las Vegas, which includes her only recorded performances of "When You Gotta Go" and "In The Wee Small Hours Of The Morning."

   The remaining two discs (one devoted to the seventies, the other to the eighties) feature less live performances, but are just as enthralling. These two disc feature several great recordings that were released, but never appeared on a Streisand album. It's great to finally have Streisand's sizzling rendition "You're The Top" from WHAT'S UP, DOC? and "Cryin' Time," her wonderful duet with Ray Charles on disc. Even better are the recordings from unfinished projects, or the ones that were scrapped from finished albums and movies. Tracks from the aborted albums THE SINGER and BETWEEN YESTERDAY AND TOMORROW (also known as LIFECYCLE OF A WOMAN) finally surface, and I'm so glad they finally found a home here. The unused UP THE SANDBOX theme "If I Close My Eyes," The alternate theme song to THE WAY WE WERE (heard here in a live rendition from 1980), Barbra's rendition of Billie Holiday's "God Bless The Child" and the medley "A Quiet Thing/There Won't Be Trumpets" (both left off of 1974's BUTTERFLY), YENTL'S sensual "The Moon And I" (which was replaced in the film with the superior "No Matter What Happens"), and the absolutely phenomenal rendition of Tim Rice's "I Know Him So Well" (which just didn't fit onto THE BROADWAY ALBUM) all make their debuts here.

   Also included are the original demos of "Evergreen" (with Barbra playing the guitar) and "Papa, Can You Hear Me," as well as the instrumental theme from NUTS (the soundtrack of which is nearly impossible to find), and the Grammy-nominated "Warm All Over" (an intended preview of BACK TO BROADWAY that ended up not making the cut). In addition to the bountiful amount of unreleased material, Barbra provides detailed liner notes (which are worth the price of admission alone) and thousands of rare photographs. It all comes packaged in a lovely, cloth-covered box, with a beautiful rose motif carried throughout the entire set.

   Extremely rare for [a] box set, this four-disc collection hit a very impressive #38 on the Hot 100 and was certified Platinum in sales (and this before the RIAA had a separate criteria for multiple-disc packages). JUST FOR THE RECORD is proof that the material of Streisand's that has sat unreleased is every bit as interesting as what was officially issued. An essential purchase for any Streisand fan.

5 comments about Flahooley (1951 Original Broadway Cast).

1. In all the years of my life, I'm sure I've never heard such an awful musical. No wonder it was a flop! The story is ridiculous, the songs are silly and the music is incredibly bad. It makes COCO, BIG or LI'L ABNER ( a trilogy of disastrous music) sound like WEST SIDE STORY. Among the ten worst Broadway musicals of all times, this one has the honor to be TOP 1!



2. I can't really say anything in this really did it for me. After reading all about Yma Sumac's incredible range, it was a little disappointing to find that what she did was a remarkable but weird version of humming. Her songs don't actually have lyrics. There are a few nice numbers here, but nothing really stands out in my mind - Here's to Your Illusions is probably the best number and it's pleasant. I'd say the main reason to buy this one is its collectors value, and Barbara Cook. It probably won't be around much in the future.



3. It's pointless comparing FLAHOOLEY with lyricist E.Y. (Yip) Harburg's masterpieces, FINIAN'S RAINBOW and THE WIZARD OF OZ. Although sometimes clever, the lyrics are just not up to the level of those shows. And, although Sammy Fain has written plenty of fine tunes ("You Brought a New Kind of Love to Me," "That Old Feeling," the score for CALAMITY JANE), the ones in this show are no match for OZ's Harold Arlen or FINIAN'S Burton Lane. Judging from a synopsis of the plot with its emphasis on social and political satire and supernatural magic, Harburg was trying to come up with another FINIAN, but just didn't pull it off.
   
   However, that doesn't mean FLAHOOLEY is not a worthy show. It would be interesting to see how it would play to modern audiences, although the idea of a U.S. corporation making a deal with Arabians might be a bit touchy. And puppets played a major role in the action, long before AVENUE Q.
   
   The show contains some lovely songs for the always-wonderful Barbara Cook in her Broadway debut, three numbers featuring the phenomenal voice of Yma Sumac, and some lively ensemble pieces. So, musically it's got quite a few things going for it. If you haven't listened to it yet, after reading the following commentary from musicalheaven.com you'll see what a daring show this was for 1951. And if you've already heard this original cast recording but were not aware of the show's history, listen again with new ears.
   
   "For almost 25 years, the original Broadway cast recording of Flahooley, released by Capitol Records shortly after the show opened in 1951, was among the most difficult to find of all show LP's. The album disappeared quickly, and collectors shops that held on to copies charged exorbitant prices for the privilege of actually owning one of the rarest of all Broadway records. A Fantasy with underlying contemporary social and politcal satire; the targets are big business and conformity, and the show's "genie hunts" and "doll burnings" were aimed directly at the witch hunts of McCarthyism.
   
   "With divided reviews and the release of the classic musicals The King and I, South Pacific and Kiss Me Kate which were all playing on the same block, it was annouced that the show was closing for the summer but would re-open in the fall. Flahooley never reopend having lost $160,000.
   
   "In August and September of 1952 a revised version under a new name called Jollyanna and was presented in San Francisco and Los Angeles Civic Light Operas. New material was created by William Friml and Burton Lane and most of the political spoofing and social significance were jettisoned."
   
   Enjoy! (Thank you, DRG.)



4. Flahooley, if you've read some of the other reviews, has got to be the most (in)famous flop, next to "Carrie". I bought this album because I am an avid collector of showtunes, but I was quite pleased with the recording. The sound quality is quite good, as the manufacturer opted (thankfully) to update the sound to stereo format.

   Barbara Cook sounds wonderful on this recording, but the award goes to Yma Sumac for having the most memorable songs. Sure she has no actual purpose in the show's plot, but the album is worth every cent just to hear her sing two notes in different octaves at the same time. A truly memorable performance from an otherwise generic 1950's show.

   Old-time Broadway fun at it's best and floppiest.




5. FLAHOOLEY remains notable for being the Broadway debut of Barbara Cook in the ingenue role of Sandy, though the musical was a showcase for the amazing four-octave voice of Yma Sumac, truly one of the most fascinating singers ever. The actual cast album of 40-performance flop FLAHOOLEY has long been a collector's item. It received a brief CD edition in the early 90s which was quickly deleted and was only issued a scant few times on LP. The score by Sammy Fain and E.Y. Harburg contains several gems including "Najla's Lament", "Najla's Song of Joy" and "Birds/Enchantment" as prime showcases for the voice of Yma Sumac.

   Barbara Cook impresses with her charming duets with Jerome Courtland, "He's Only Wonderful" and "The World is Your Balloon".

No comments about Makin' Whoopee with "Banjo Eyes".

1 comments about Paper Doll.

1. What heavenly voices, what dreamy harmonies, what sweetly innocent lyrics from a simpler time...Not to worry, nothing slow or sappy--I bought this very upbeat CD because I'd heard their WWII song "Till Then" and was looking for more of the same. What I found on this CD is even better. I believe these songs were also 40s recordings, but I can't be certain. There are only ten tracks, but every one of them just makes me melt. I'm 29, and I can't believe I've lived nearly 30 years without it. Highly recommended!!

5 comments about Merrily We Roll Along (1994 Off-Broadway Revival Cast).

1. The original 1981 production played 6 weeks of previews before opening to crushingly bad reviews. Two weeks later it closed. The day after the final performance the cast assembled at RCA's New York studios to record the cast album. In 1985 a revised production directed by James Lapine opened at the LaJolla playhouse and received encouraging reviews. More revisions lead to other productions and 1992 it was given a production at the Haymarket Theatre in Leicester and that production was given a lavish 2 CD recording by John Yap and issued on TER in England and later on JAY in the U.S. This was followed in May 1994 -just a few weeks after PASSION opened on Broadway - by an off-off-Broadway York Theatre Company revival that received generally better reviews than the original received. It was recorded by Varese-Sarabande. Both the Leicester cast and York casts use the revised version with an altered tune stack.
   
   1. OVERTURE - In 1981 the Overture was a complete piece. In the revised version it cuts off midpoint and segues into the title song.
   
   2. MERRILY WE ROLL ALONG - The original production began with Frank coming back to his former high school to mark 25 years since his graduation. His speech - a caution to the students to be prepared for compromise and frustration was challenged by the students who launched into the title song. As noted above, the revised version begins with the cast singing the song but without any context.
   
   3. THAT FRANK/RICH AND HAPPY - The party scene. In the original Frank's new movie was terrible though none of the guests would tell him to his face. In the revised version the movie is a success. In THAT FRANK the party guests, Mary excepted, sing of Frank's seemingly endless talents. RICH AND HAPPY drew the conclusion that since Frank was rich and successful he must therefore be happy as well. Both songs use the same accompaniment.
   
   4. OLD FRIENDS/LIKE IT WAS - originally in a separate scene in 1975 at a restaurant where Mary hopes to encourage reconciliation between Charley and Frank. In the revised version this number was placed as a lead in to the 3rd scene, tightening the narrative.
   
   5. FRANKLIN SHEPARD, INC. - this song remains virtually unchanged. In the original Frank walked off the stage of the TV talk show at the end of the song ending his and Charley's partnership. In the revised version, borrowing some dialogue from the deleted restaurant scene, Frank makes it very clear that he is furious with Charley and that their friendship is finished.
   
   6. OLD FRIENDS - though the dialogue scene leading into this song was changed for the revised version, the song remains the same.
   
   7. GROWING UP - added to the revised version. The OLD FRIENDS scene continues after everyone leaves Frank alone in his new apartment and he muses on his friendship with Mary and Charley. Later Gussie arrives having left her husband - Frank and Charley's producer - and intent on moving in with Frank.
   
   8. NOT A DAY GOES BY - this song changed hands a lot. Originally - in previews - Frank's soon-to-be ex-wife Beth sang it on the steps outside the courthouse. The actress playing Beth could not sing it so they re-assigned the song to Frank with a modified lyric. In the revised version it was restored to Beth and the original lyric is used.
   
   9. NOW YOU KNOW - some lyric changes but essentially the same song. The original Broadway production incorporated a dance section that recapped the first act score (in forward sequence) using NOW YOU KNOW, OLD FRIENDS, FRANKLIN SHEPARD INC and RICH AND HAPPY. The dance segment was not recorded and was dropped from the revised version.
   
   10. ENTR'ACTE/ACT TWO OPENING - in the revised version Act Two opens with Gussie onstage performing GOOD THING GOING. The original began Act Two with the scene outside the theatre as the friends listened to the audience reaction.
   
   11. IT'S A HIT! - Essentially the same but loses a clever short section about selling out (Charley: Even if (the show) is a smash, doesn't that mean we sell out? Producer: Well, I hope we sell out! Charley: What I mean is sell out. Well you know...")
   
   12. THE BLOB/GOOD THING GOING - THE BLOB was cut in previews and not included on the OCR. It was restored for the revised version. Note the main melody is the same tune used for GROWING UP. GOOD THING GOING is essentially the same.
   
   13. BOBBY AND JACKIE AND JACK - the revised version slightly trims the number.
   
   14. NOT A DAY GOES BY - Originally a trio for Mary, Frank and Beth at the wedding of the latter two. When Beth lost the song in Act One she was cut out of the Act Two version as well. Frank sang it to Beth as his wedding vow while Mary quietly, sadly duetted from the sidelines. The trio version is restored to the revised version.
   
   15. OPENING DOORS
   
   16. OUR TIME
   
   These two remain essentially the same.
   
   17. THE HILLS OF TOMORROW - The revised version ends with OUR TIME. The original version had a short final scene in 1955 as Frank finishes his valedictory speech to the class. They then sing a song he and his friend Charley have written. The classmates smile, there is a flash as their class picture is taken and the curtain slowly falls on these smiling faces. It was a fine ending to the show and I wish this (and the opening graduation scene) would be restored. Otherwise the revised script is in every way superior.
   
   Sound-wise the newer recordings have a crisp, clean sound though the orchestra is roughly half the size of the original. The first cast is pretty hard to beat. If you are doing the show only the revised script is available, so you will want one of the new recordings. Jay's 2 CD set is most complete and includes some of the dialogue. V/S has the wonderful Malcolm Gets as Franklin.



2. The book for the latest revival of "Merrily" has been so thoroughly rewritten that it brings so many new angles to the show. I must admit, the cutting of the graduation opening took me by surprise, but it makes the opening number flow much better. The one drawback in cuts is the cutting of "Rich and Happy" for the newer written "That Frank" however, it still has the same orchestrations as "Rich and Happy" just different lyrics and a different vocal tune.
   Back to the great points, the character of Beth is brought out so much more. It thrilled me so much that, after hearing women perform "Not a Day Goes By" for years, this song is finally sung both times by Beth instead of once by Frank and once by both. Also, Michelle Pawk, one of my favorite actresses, adds so much to the bitchiness of Gussy. And when she sings the jazzy Act II opening of "Good Thing Going," watch out, it will knock your socks off! I wouldn't say that this revival is better than the original, after all, they are almost two different plays, but it is at least as good. A MUST HAVE for Sondheim fans, Merrily fans, or really, any fan of great musicals



3. This recording of the 1994 Off-Broadway revival of one of Sondheim's most well-loved flops is by far the definitive recorded version of this fantastic score. Yes, the 1981 Original Broadway Cast recording does have more bite and the original orchestrations with real brass and full orchestra, but that's all it has.

   The 1981 version is muted and the sound quality is so poor it sounds like you are listening through a tin can down a really dark and hollow tunnel.

   Fortunately, this version is clear as a bell and all the changes made to the much edited score and script are all for the better here. "The Hills of Tomorrow" framework was totally unecessary and I don't miss it or the song for a second. Michele Pawk as Gussie and Malcolm Gets as Frank are stand-outs vocally and while Adam Heller and Anne Bobby may not be the strongest singers, their acting ability comes through in their vocals, something that I think adds a great depth to Charlie and Beth, my favorite characters in the show anyway.

   The best tracks on this one are "Good Thing Going" and "Our Time". They have a sense of purpose and longing that are perfectly in tune with Sondheim's creative flair. They make me wish I had actually seen this production live.

   I've had the 1981 OCR for many years now and have always liked the score, but now with this version I feel I am listening to the score anew, and liking it even more! This recording adds something hard to describe, perhaps a sense of time, a smoothness, a unity that wasn't present in the OCR.

   Totally worth every cent!




4. I recently performed in a community theatre production of Merrily, and as such, fell in love with it's magnificent score...however, most performances of the show(if not all)follow the revival version, and not the clunky, confusing original. It troubles me to read that most people actually prefer the original to this wonderful version, regardless of the original's inexperienced, much too young cast(with the exception of a very young and excellent Jason Alexander) and clunky music that starts and stops at an annoying pace, not to mention the tempos for some songs that seem to drag on forever...someone complained that the revival's tempos were too slow, but there must be some mistake, because the original has songs that simply do not end. In addition, the characters of Gussie and Beth are completely sidelined, with barely a song to their names, but this is fortunately remedied in the revival with new songs such as "Growing Up", and Beth's renditions of "Not A Day Goes By" and it's reprise. And while "The Hills Of Tommorow" is a nice enough track, the whole idea of the show being one big "flashback" seems a bit hokey...another reason why the revival is superior, because it's opening and final scenes are extrmely more effective, opting instead to leave out a "framing scene" that has to tie everything together in such a gimmicky way. I will agree that the original does have a brassier orchresta(although the recording is so poor that it sounds as though they're playing from another room), and some of the voices are much more pleasent(the Mary of the 1994 version is extremely annoying at times, while some of the ensemble members must have slept with someone in order to have been cast), but one can see why it failed...from what I've heard the book was cleaned up from the original, which apparently had a very weak book, and if the pictures indicate anything(the original's costumes and sets look like some ...avant-garde production of Godspell) it's clear that the visuals weren't much better. Buy this version first...if you really like it, THEN buy the original...it's still worth your time, but this one deserves a bit more of your time. I've heard that the Roundabout theatre has recently planned a staged reading of the production...hopefully it will return to New York as a full-fledged Brodway production that is similar to this version.



5. Okay, just a few little notes on this one. If you don't have the original cast recording from 1981 or whenever, this one will do because it's a great, great score...but the earlier album is much more brassy and energetic, i.e., FUN! This is such an exciting show to listen to...it just zips right along, like musical popcorn exploding around luscious ballads. (I always get choked up during "Our Time".) "Opening Doors" is my favorite; it's like a whole Judy Garland/Mickey Rooney Lets-Put-On-a-Show musical crammed into ten minutes. (Cast members have said that this number, which condenses two years at breakneck pace, is a true nightmare to rehearse. Someone always comes in late, right up till dress rehearsal!) Speaking of pace, in this version it seems like the tempos in many of the songs are a shade too slow. This is noticeable on the album's very first song, ("Yeeesteeerdaaaay is dooooone"), and really bothers me in "Bobby and Jackie and Jack", a rollicking number that takes on a sort of dirge-like quality here. Here's the reason the first recording is superior, though: Without pointing fingers or naming names, the voices on display there are just better suited to the roles. On the plus side, a good thing about this version is a reprise of the tender "Good Thing Going" that's orchestrated to sound really torchy and sleazy. This is done to show how the character of Frank has commercialized his music, but I was surprised by how catchy it sounded that way! Also, there's a funny bit in "That Frank" where Mary brings a gossipy party to a screeching halt by getting drunk, and Frank makes her some coffee. After a shocked silence, the chorus whispers, "Poor Frank / He handled that well..." (Maybe you have to hear it, but it made me laugh.) Also, there's a new number called "It's a Hit" that has a weird, discordant section that sounds exactly like "Sweeney Todd"! Aside from these interesting little bits, though, I like the earlier version best...

5 comments about Candide: The New Broadway Cast Recording (1997 Revival).

1. Though Harolyn Blackwell has a gorgeos soprano voice, her "Glitter" falls short for me as do "Garden" and "Happy We", and her dialogue seems overdone and very cheesey, as does most of the the dialogue on this recording. Jim Dale is good as Pangloss/Narrator. Andrea Martin, as the Old Lady sports a hilarious accent (as usual) she lack energy in her big number (I am easily assimilated).



2. I think Candide by Leonard Bernstein is the perfect I-Tunes score. If it is downloadable, download the last track (24), Make Our Garden Grow. It's totally gorgeous. One or two other tracks have some redeeming value and the rest is quite forgettable. Not a good use of money to buy it, and I love Leonard Bernstein and musicals. I don't think it's just this specific recording, I think it's the show itself. No one bats 1000.



3. I currently own two recordings of Candide, this one and the 1956 original. It is hard to say which one is better; however it is easy to say that the 1956 recording is more important. That is the original. Many have come after it (including a revised version by Bernstein himself) but that is the basis for them all. Each revision is different in some way, so you really should own that one to know the true Candide. Candide leans heavily into the stylings of operetta so some West Side Story fans may be surprised with what they hear, but it is still beautiful music. This revival recording has almost the full orchestrations and they sound glorious. Some reworking of libretto and plot may not be, but hearing the magnificent composition of Bernstein is well worth the investment. Bottom line: If you can only get one, get the 1956 Original, but if you've got the cash get this is one too. Favorite song: "It Must Be So"



4. While it's great to have a new, more comprehensive recording of Bernstein's classic, this sadly, and blatantly misses the mark on one count, the role of Cunegonde will now and forever belong to Barbara Cook. While Harolyn Blackwell possess a gorgeous voice, she can't compare to Cook in the original. The same could be said for Erie Mills in the NYC Opera company version in the late 80's. That being said, the rest of the cast led by Jason Danielly are wonderful...if only someone of Cook's calibre could have filled the void, this would be perfection!



5. It simply tries too hard to be hip and smart and funny, and as a result it's none of them. Musically, it manages to make the score sound flat and almost dull.
   
   Avoid this one. There are far better ones available. This one simply misses the mark.

5 comments about Happy Hunting (1956 Original Broadway Cast).

1. In 1956, after a five-year absence from the Broadway scene, Ethel Merman returned in HAPPY HUNTING, which turned out be be one of her worst career missteps. Written by newcomers Matt Dubey and Harold Carr, the show was riddled with problems; most stemming from Merman's uneasy on-stage relationship with her male costar Fernando Lamas. The show played for 412 performances, mainly due to Merman's star wattage.
   
   A fish-out-of-water story not too dissimilar from Merman's last Broadway hurrah "Call Me Madam", HAPPY HUNTING featured a score from the relatively new songwriting team of Matt Dubey and Harold Carr (the show's book was provided by "Call Me Madam" veterans Howard Lindsay and Russel Crouse). Inevitably the best numbers go to Merman, and she dazzles with "Gee, But It's Good to Be Here", "Mr Livingstone", "This Is What I Call Love", "The Game of Love", "I'm a Funny Dame", and the Title Song, and gives the score much more fanfare than it deserves. Merman also gets a couple of fun duets with Virginia Gibson, who played her daughter in the show ("Mutual Admiration Society" and "A New-Fangled Tango").
   
   Long out-of-print (probably for very good reason), HAPPY HUNTING will be a delightful surprise for those who missed the last CD edition. Well worth getting for hardcore Broadway collectors or fans of The Merm. [DRG-19108]



2. I saw this show at the very end of it's running and I thought it was absolutely wonderful. Since my family and I new Ethel Merman personally from 1945-1984 I had no trouble liking a show, even if there were some problems. I was just happy I got to see Ethel Merman on stage. In Gypsy I saw it opening night to closing night. Back to Happy Hunting. My favorite song is personally New Fangled Tango, it is bawdy for that time and I am surprised it got past any kind of censoring they did for the show but it is a killer diller in my opinion. I recommend this cd to a lot of my friends.



3. DRG is a CD company obviously devoted to completists. With their current release of Happy Hunting, you can now have a complete collection of Ethel Merman's Broadway shows. Merman herself referred to the show as a jeep among limos--- the trip was bumpy, but it got you there. Based loosely on the Grace Kelly Monaco marriage, it's quite similar to the Merm's previous Broadway outing, Call Me Madam, except that Hunting is not very good. Merman was lucky and smart enough to surround herself, usually, with talented creators, but the score is awful. Composed by Harold Karr, the man parodied as the composer-cum-dentist in Bells Are Ringing, there is neither a hit nor a memorable song in the show. The male lead, Fernando Lamas, is wooden and unmusical, and caused endless trouble for Merman on and offstage. History reminds us that this was Lamas' only Broadway show, but his antics such as wiping his mouth after an on stage kiss, and then telling a TV talk show host that kissing Merman was like kissing a cross between your uncle and a Sherman tank could not have endeared him to his female lead. Only a solo and a duet with the Merm have been embarrassingly immortalized here. All in all, this is the ultimate CD to play at the end of the night when you want all of your guests to go home. Few if any would survive the first few cuts, and fewer would find an unkinder cut anywhere.



4. Happy Hunting was one of those middling shows from the 50s' that even the great Ethel Merman couldn't save. The show did eke out a respectable run of 412 performances but that was due to Miss Mermans die-hard fans.
   
   The songs range from fairly good to fair to mediocre. But the score did manage a few gems such as "Mutual Admiration Society" "Mr Livingstone" and the naughty for its' time "New-Fangled Tango".
   
   And to add to the shows misery, Fernando Lamas was Miss Mermans co-star and they hated each other. That's show-biz.



5. Broadway's best diva, the ever original Ethel Merman sings in a show that she had a bit of a tough time with. She didn't like the composer, who apparently didn't like her either, and it shows. But it's a nice musical, with some hummable melodies, that harken back to the time when if you had an idea for a musical, and you could get a big star to do it, you'd get the backing in no time flat.

5 comments about The Story Hour.

1. I am so glad that I had the opportunity to sit in the small room at the Bradstan just a few feet from Sally Mayes performing to an enraptured audience discovering how exceptional & talented she is. I had to get her album & let others hear her in fact I'm playing it now as I'm writing this enjoying it all over again. Do yourself a favor & get the album. I hope I get another opportunity to see her in person again.



2. Sally Mayes doing what she does best LIVE. She's mischevous and entertaining; she's funny and vivacious and pulls out all the stops. Most of the songs are not well known, but she puts them over in her own style and makes the whole thing work. I really love "He ain't Mr Right, but he's Mr Right now". This cabaret recording is an assortment of witty, ridiculous and touching story songs - and not background music.

   Singing Weasel




3. Sally Mayes is one of those irrepressible talents who explodes onstage (as in SHE LOVES ME.) Often these types are hard to capture on CD. Perhaps because this is a live recording, or perhaps because of the excellent material, this album really works for me both as a "Story Hour" - a CD full of charming bedtime stories for adults - and also an intimate look at a cabaret artist doing what she does best - singing and emoting.

   Two songs here are utter gems - Christine Lavin's wonderful "Shopping Cart of Love," and the brilliant, Sonheimesque "Painting My Kitchen" by the deliciously talented John Buccino. These two songs alone make this disc a great find!




4. I first became familiar with Sally Mayes when I stage managed a production of "Closer Than Ever" and bought the recording to listen to the songs before rehearsals began. When I saw "The Story Hour" on Amazon, I rushed to get it shipped to me immediately. Not only is this CD a feast for the ears, but Sally Mayes performance on every track is simply a delight. She is one of the best story tellers I have ever heard--and as a professional stage manager, I get to see quite a range of them. Each time I listen to the CD, I notice another nuance which uncovers itself freshly, as if the story is being told in the moment. Her choice of material is superbly suited to her voice, which in itself is amazing. The vocal range she exhibits in her performance on this recording is utterly charming and bewitching. I've made all of my friends listen to "Hamlet" and "Southbound Train" which are two of the best recordings I think I have in my collection. I have a personal connection with a couple of the other tracks, but we don't talk about that in public. I've had the CD for almost a year now, and if I keep playing it as much as I do, I'll need to get a replacement soon. Sally, if you read these reviews, thank you for this performance.



5. I am a 16 year old girl and I am a HUGE Broadway fan. This is the first cababret album I've heard (I dont even know what cabaret is exactly) but I heard it not knowing what to expect and I was cracking up at every song! Especially "The Babysitters Here" It was so true! I'm running right out to get it! Its one of those albums that just put you in a good mood and put a smile on your face.