5 comments about Mata Hari (1995 Revival Cast).

1. I've always been a fan of "lost" scores and flop (I guess I should say "unheard") musicals, so 'Mata Hari' always fascinated me after I read about its doomed pre-Broadway tryouts in Washington DC, when the scenery crashed and the unfortunate leading lady was laughed at when the audience saw her scratch her nose after she'd been gunned down by the firing squad. But if one can separate this truly beautiful score from all the negative hype that surrounded it and created its terrible reputation, I think it's an extremely musical score very worth listening to. Although there are a few operetta-type numbers such as "I'm Saving Myself for a Soldier," there are far more truly beautiful songs such as "Gone," "Everyone Has Something to Hide," "The Choice is Yours," my personal favorite "No More Than a Moment," and of course, "Maman." The music on the CD is largely the result of a synthesizer but even that doesn't detract from the beauty of the melodies and the passion of the singers. Maybe this show never worked on stage, or maybe we'll never know, although this recording is based on the somewhat recent York Theatre Revival of the late 90s. Surely, if it's revived again, I'm going to be first in line for a ticket!



2. Mata Hari, also known as Ballad for a Firind Squad, is possibly the worst musical I have ever heard. I own the recordings to over 400 shows, and this is, by far, one of the most unlistenable, boring, pallid, and generic of all of the scores I have. Not only are the tunes bad, but the lyrics seldom, if ever, seem to advance the plot and the company numbers are nothing more than the cast talking about what Mata Hari is doing. Ken Mandlebaum touted this score as one of the greatest forgotten gems of the latter 20th century, and everyone and their mother has touted "Maman" as one of the greatest, most emotional numbers ever written--I sorely disagree. How could a song that has the same 5 note phrase throughout the whole song be moving? Martin Charnin (Of Annie fame) is in rare form, as his lyrics are even worse than those for Two By Two.
   
   Most of the time, I listen to the scores of flops and think "How in God's name did this bomb?!" but, when a score like this rolls around, I thank the Lord it did--heaven forbid the world en masse be exposed to this garbage.
   
   Thank goodness Edward Thomas never wrote another score.
   
   Trash, garbage, filth, the bane of the world of Musical Theatre--pass pass pass pass on this one.



3. MATA HARI lives in legend as a fine score done in by poor direction and producer David Merrick's indifferent attitude towards it.

   This recording finally allows us to judge the music, and really, the score is pallid. MATA HARI reveals itself as one of a raft of scores that inundated Broadway in the 1960s, as the grand masters were passing away and pop and rock were pulling the composing talent away from doing musicals. The scene was set for untried and only moderately gifted writers to get shows on Broadway whereas there would have been no room for them ten years before.

   The result is weak scores like BAKER STREET, JIMMY and MAGGIE FLYNN, written by people we never heard from again, whose LPs used to pop up constantly in out-of-print shops, having obviously disenchanted their buyers. MATA HARI's music is on this level.

   There are maybe two or three DECENT little tunes, but that's it. Overall it's a paint-by-numbers effort, the composer and lyricist dutifully coming up with the usual genres of song that made 1950s classics go. But that crucial element of inspiration is missing.

   Maybe it's the sexy-ish subject matter that grabs other listeners; one does EXPECT a musical about Mata Hari to be interesting. But this is a dishwater score in terms of the material itself.

   And the recording leaves a lot to be desired. This is one of Original Cast's recordings where, to save money, the accompaniment is done on a synthesizer. This is about as artistically satisfying as it sounds. Hats off to the producers for going to the effort of recording the show at all, but when the scoring of Robert Russell Bennett, of all people, is reduced to the tinkling and keening of some gadget, one has a hard time sensing a theatrical experience.

   And the woman singing Mata Hari has to strain on the high notes; also, the balance is often a little odd -- one minute you are listening comfortably, the next minute the singers are screaming in your ear.

   This is mainly of archival, die-hard collector's value. Just because it was about Mata Hari, was produced by David Merrick, was breathlessly anticipated, and had an ignoble history does not mean it was great work. A tinkly recording of a thoroughly mediocre score.




4. According to the liner notes of this CD, 1967's Mata Hari should have been the first anti-war musical of the Vietnam era to open on Broadway - predating Hair by a year. Unfortunately, this retelling of the World War I female spy story was being overproduced in true David Merrick-style. The result was a production so complex and operatic that the on-the-road opening night performance turned into fiasco of epic proportions. (Read the liner notes, they're classic stage catastrophe.)

   In true Merrick form, he predicted the show would become a Broadway classic, and then closed the show in Washington where it had opened. The next year the show (now known as Ballad For A Firing Squad) resurfaced for a seven performance off-Broadway run, and then disappeared forever.

   Well not really forever, but until 1995 when the York Theatre revived the 1968 version under the original title of Mata Hari. A cast recording of that production was made but not released for six more years. Now we finally have a chance to hear what very few people heard back in '67, '67 and `95 - a truly fantastic Broadway score!

   I can't comment on Jerome Coopersmith's book, but the music and lyrics of Edward Thomas and Martin Charnin are first rate. It's a shame they didn't get their chance to light up Broadway 30+ years ago.

   And it was worth the wait to finally hear the York production. Except for the orchestrations, which are a little weak, the recording is standout all the way with outstanding singing performances from Robin Skye as Margarethe Gertruida Zelle (a.k.a. Mata Hari) and Michael Zaslow as Captain LaFarge.

   But it was Kirk McDonald in the role of the Young Soldier who really caught my attention. The role gives him the opening and closing songs and almost as many other songs as Mata Hari has. He does them all well, but stands out with his totally emotional performance of the score's best song, MAMAN.

   In an era of tuneless non-musical musicals, this classic Broadway musical that never was stands out and I want to tell everyone how great it is!




5. Constantly searching for the "great listening" musical experience I stumbled upon Mata Hari at Medium Rare Records in San Francisco and it floored me! The songs in this CD are old fashion broadway show-stopper type numbers and a few classic style love ballads. If you enjoyed the music of The Scarlett Pimpernel and Les Miserables give Mata Hari a listening to. Two outstanding numbers are the show-stopping "I'm Saving Myself For A Soldier" and the beautiful "I Don't See Him Very Much Any More"

   Treat yourself to a great listening of theater in the mind and pick up MATA HARI.

No comments about Two on One: Golden Anniversary / Country Music's Greatest Hits.

1 comments about Singin' and Swingin'.

1. I ordered this cd set for two tracks on disc 2. They were horrible. The sound is like listening to a worn out old record. Faded sound and lots of hiss and pops. If you are ordering this set for disc 1 or 3 it's ok. Not too bad. But disc two is really, really bad.

2 comments about The Manson Family: An Opera.

1. This is an opera way before its time. Composer John Moran utilizes minimalist piano, strings, sound effects (such as chirping birds, wailing sirens, zooming cars, etc.) and tape loops to evoke the thoughts and actions of Charlie Manson, the Family and the justice system in regard to the Tate/LaBianca murders and their aftermath. Among the gifted vocalists on this disc is Iggy Pop using his unique baritone to depict the prosecutor. There are two brilliant homages/satires of the Beatles that incorporate horns and tablas to reflect Mr. Manson's obsession with them. I highly recommend this wonderfully weird record to anyone with an interest in Charlie Manson and/or to enthusiasts of avant garde music.



2. This compositional piece is very modern. It also has very good studio engineering. If you are into surrealist, atmospheric music with a interesting plot on Charlie Manson. BUY THIS! Iggy Pop plays the prosecutor & the Executive producer is Philip Glass. Recommended before it goes out of print!

4 comments about Prodigal (2002 Original Off-Broadway Cast).

1. bought this CD on a whim. Love every moment of it. Strongest score I have heard in the last five years. Alison Fraiser is still at the top of her game and her "Love them and leave them alone" brings tears to my eyes every time. That track alone is worth the price of the CD.
   The father's lullabye is also an incredibly touching song. Over all I would buy this CD again and again.



2. One of the most un-memorable musicals I have heard. Simply cheap & awful. You will not remember one single melody, nor a good lyric.



3. Nice performances of derivative music (too many piano notes...could study some Bill Finn), trivial story, not empathetic characters. Terribly disappointing. Save your bucks. Alison Fraser, as always, is tremendous, even with a lousy score.



4. Prodigal is the first show to be performed by an Australian Cast to come to Off-Broadway in March 2002 after a run at the Western Australian Academy of Performing Arts in 1999 and a production at the Chapel off Chapel in Melbourne in 2000.

   This CD I bought because there was no track list or review listed to see what it was all about. Let me tell you, it's great! The story is an update of the biblical story of the prodigal son, updated to modern-day Australia, and the son being eschewed for being gay. It is a touch trite, but still, the lyrics and the simple orchestrations make this a great show to hear and see if it ever gets revived.

   The highlights of the musical to me are Picture Postcard Place, Run With the Tide, Brand New Eyes, When I Was a Kid, and Out of Myself.

   Overall, my final say is that it's a touching musical about the families that we all have, and the little quirks that drive us apart and forever bind us together. Get it. You'll like it.

No comments about Best of Broadway: Anything Goes.

2 comments about The Sound of Music.

1. Of course beautiful music, but I would slurge for the newer version since this sounds like you are listening of a record player!



2. What can I say? The Sound of Music is a wonderful and lovely CD. You watch the movie and you seee the songs. You listen this CD and you see the movie. It is an all time classic. Buy it; it is really a Best Buy.

5 comments about Defying Gravity.

1. I really like the idea of this album. I've never seen Debbie Gravitte live, so maybe I'm missing something. But on this recording she overembellishes every song with vocal tics and catches that make the songs unlistenable. I feel as if she's beating me over the head and saying, "I'm a great singer, and you'd better like me." No thanks.



2. My husband bought this album based on the Amazon reviews. I couldn't disagree more with them. She has a nice voice and parts of every song sound good but not one song on the album was good all the way through. This is a great collection of songs but some really bad arrangements. I suspect the arrangements may be attempts to adjust the songs to accomodate a singer who's vocal range is too limited for these great numbers. I expected some great belting based on the song list but got mostly shouting instead. Her diction is very good, but she seems to hold on to consonants too long which sounds harsh. Some parts of the album (especially the trio she sings with herself) were actually painful to listen to. I would give a 1 star rating to less than 1% of the CDs we own; this is one of them.



3. OK, I admit it. I'm a fan, always and forever. That being said, I would still love this recording a WHOLE lot! The song selection is just right. The songs showcase her pipes, yet leave a little room for emotional interpretation. This is real talent, folks, not the bottled, packaged, over produced gunk that gets played on most broadcast stations. For any sophisticated lover of trained, legit singers, and especially the "Broadway voice", you must get this CD, now. I insist!



4. I heard Debbie sing with piano accompaniment in Delray Beach Florida last spring. The concert was lovely and I bought her CD there just to support her. Then I started listening to it and got hooked. The songs, orchestra, orchestrations, and Debbie's performances are first rate. This is a delightful and impressive display of great music and talent.



5. What can I say about Debbie Gravitte that hasn't alreay been said? Ms. Gravitte is one of the leaders of Broadway Show music interpretation. I have the distinct pleasure of seeing Ms. Gravitte on the stage. I remember years ago - seeing Debbie in Denver in Zorba. I remember her sensational rendition of the song "Life Is". I performance I have remembered many years later. Several years ago I witnessed Ms. Gravitte thrilling a audience in Arvada, CO with the premiere performance of Defying Gravity . I knew from that moment on the the music from Wicked was going to be truly special. Thank you Debbie Gravitte. Please, please don't loose your humor and I'm looking forward to seeing you on the Great White Way again.

No comments about Celebrate Broadway, Vol. 10: The Best Musicals.

No comments about Sirens of Swing: Great Songs of the '30's & 40's.