2 comments about Closer to Heaven.

1. An awesome CD. A great story, Great PSB music, and the incredble Billie Trix. A definate Must Have for any real PSB fan.



2. The PSB took a big risk with this one. Always the most theatrical and pretentious of dance groups, they collaborated with Jonathan Harvey to create a musical. The results: mostly wonderful.

   Although I miss Neil's vocals, many of the vocal performances are quite good. The songs are excellent, and very much in the PSB style we all know and love. Big dance numbers ("Call Me Old Fashioned" and "A Positive Role Model") intermix with ballads (my personal favorites are "Something Special" and "Friendly Fire," with the latter being one of their greatest songs ever). Also, there are new versions of old songs: "Shameless," which doesn't sound too different; "Closer to Heaven," which is slower and moodier; and "In Denial," which has different lyrics.

   For PSB fans, Heaven. For anyone else -- and particularly those not especially gay-friendly -- it may not go over very well. The interior booklet notes that the show received many bad reviews from older, established critics, but that younger critics tended to like it -- and it received a positive rave from Boy George.
   Well, I agree with Mr. George; a few flaws notwithstanding, "Closer to Heaven" is a triumph.

No comments about The King and I/Lady in the Dark/Nymph Errant.

1 comments about All the Things You Are: The Jerome Kern Songbook.

1. If you like Jerome Kern's work you'll love this CD...featuring classical voices such as Ella Fitzgerald and Louis Armstrong. Popular tunes such as "All the Things You Are" and "I Won't Dance..." are sure to be finger snapping songs that just gets your adrenaline going and puts a smile on your face. Deinitely a CD to have!

3 comments about Eating Raoul: The Musical (1992 Off-Off-Broadway Cast).

1. Eating Raoul proves that a show doesn't have to be on Broadway (or even Off-Broadway) to be good.
   
   Adrian Zmed gives his weakest performance to date as the handyman with stars in his eyes. I've never been a big fan of Zmed. He always seems to take roles from more talented and qualified individuals. I'm still a little bitter about his turn in Grease opposite Sutton Foster.
   
   Courtenay Collins isn't a powerhouse, but she's pretty close. Her big solo in "One Last Bop" is a memorable showstopper. Her vocal quality is reminiscent of every Narrator from production of Joseph, and... I've ever seen, but that isn't a bad thing.
   
   Eddie Korbich delivers a solid performance, as we've come to expect. If the lyrics weren't so unbelievably stupid, his solo, "Mary", would be a truly beautiful addition to the list of Songs that Make You Realize How Painful Love Can Be. His vocal purity is unmatched, and this role is definately a good example of that. He gets a lot more stage time here than in previous shows.
   
   Cindy Benson and M.W. Reid deserve nods for their solos as well.
   
   Overall, Eating Raoul may not always be witty or even intelligient, but is an enjoyable show that reminds us that occassionally, amazing talent can make up for a bad score.



2. As someone who recently played Paul Bland in a production of this musical, I must say my opinion may be a little biased. But honestly, the music in here is great fun to listen to. From the opening to the end, you see Mary and Paul Bland take such a journey in their characters. From "A Thought Occurs" to "One Last Bop", the music styles range from tango to techno. And the stars are wonderful. You might recognize Eddie Korbich as Mr. Snow in the revival of Carousel and Adrian Zmed as Adam/Noah in Children of Eden. The vocals are stellar and the music is charming. I beg you to give this musical a chance, you won't regret it.



3. This cast produces a show that is zany. The music is very catchy and has hooks that catches and keeps your attention. M.W. Reid is Ginger and steals the show with his gritty vocal style. A must have...

5 comments about The Wiz.

1. "The Wiz" made its Musical Broadway debut in 1975 (though I've been told there was another, slightly different one, in 1974.
   
   The Making-Of the Wiz Movie on both DVDs mentions how the music was completely redone for the film - and they were right! I'm more used to the movie version than the original Broadway, but I do agree that Stephanie Mills' etc version has quality and better appearance. Compared to the movie, some songs have been changed in words and tone, the songs are performed a bit quicker here than the film, but - listening again now, as a reminder for this review - is certainly great!! One other thing is Stephanie Mills' singing: she's great and certainly younger than Diana, but I can't help but feel how she sings (like 'Home'), like it's in her jaws or cheeks - but that's just because I've grown with Diana's version more than Steph's.
   
   The "Prologue" is 20 seconds of introduction with 'Ease on Down the Road', before Aunt Em sings "the Feeling We Once Had". Too bad there aren't any photos of the "Tornado", because this scene's soundtrack is EXCITING!! When Addaperle and the (grown-up, not young) Munchkins sing "He's the Wizard", it takes a bit getting used to while Stephanie Mills' "Soon As I Get Home" being sung quickly instead of fast like Diana Ross are still both good to hear. Scarecrow's origin song "I Was Born On the Day Before Yesterday" has a real 'Hallejuiah! Thank the LORD" feel, before we are swept away by the popular "Ease on Down the Road" again and again (played only once on this CD, but can be easily repeated by us listeners and our Players), though oddly it has all 4 friends and should've been placed as track 8 or 9; Tiger Haynes Lively urges to "Slide Some Oil To Me" and Ted Ross insists that "I'm A Mean Ole Lion", before Dorothy comforts him to "Be A Lion" in a duet. TOO BAD THERE IS NO EMERALD CITY SCORE, though Andre de Shields does comment on how the friends "So You Wanted to Meet the Wizard" - chilling and excitingly heart-beating; it is HERE that Tin Man sings "What Would I do If I Could Feel?" to the Wiz asking for a Heart.
   Evillene demands that "Don't Nobody Bring Me No Bad News" (more voice and less gruff like she would in the film), before her death allows "Everybody Rejoice", that popular and ever-energetic 'Brand New Day' (as much as 'Ease on Down the Road') song. When the Wiz sings "Y'All Got It!", that's another great song with energy and fast-paced excitement. Glinda sings "If You Believe" as a comforting lullaby of sorts to Dorothy, before she finishes and ends the soundtrack with a wonderful "Home" (here was where a few words were changed for the film very obviously).
   
   Although a Broadway Soundtrack, there is no audience applause, unless you count it possibly done by the Winkies in 'Don't Nobody Bring me No Bad News'.
   
   The soundtrack runs around 45 minutes. The disk has a red and black circle with the songs listed, info details and symbols, like a Classical CD.
   
   Inside the soundtrack, there is a booklet (the cover illustration by Milton Glaser) that contains a listing of the songs, notice on this upbeat adaptation, the crew involved with the music, and the synopsis (and who plays who) over 3 pages by William F. Brown. The only picture/photo is that of Hinton Battle, Stephanie Mills, Ted Ross and Tiger Haynes as Scarecrow, Dorothy, Lion and Tin Man "walking" towards us in colour.
   
   If you've grown up, or are more aware of the movie's version and know little of the original stage production, this CD is worth getting and listening to, as this is how "the Wiz" should be heard, seen, made and experienced . . . full of Life, Colour and SOUL!!



2. I bought this CD because I was in this show twice, once as a minor bit part and once as the Wicked Witch, then I directed the show. I had always held off on buying the CD because I knew how bad the movie was... even with such notable performers, it just flat out stunk.
   
   Now it has been over 10 years since I last saw the show and I suddenly had "Ease on Down the Road" stuck on repeat in my skull. I hunted and finally found this cast recording, which I purchased immediately.
   
   First - this album is 110% better than the movie, so breathe a sigh of relief there. The vocalists are all accomplished and very good at what they do. The music is spot on and doesn't drown out the vocalists (unlike some musicals I own).
   
   I have now listened through several times since it showed up yesterday and I really only have one complaint - the lack of soul. Now I'm not talking about the music, I'm talking about the actors... they are singing but they aren't "being" the music. "I was born the day before yesterday" though pretty, should have been explosive and heartfelt, but it sounded as though most of them were singing off of the lyric sheets and going through the motions rather than truly feeling and being the character.
   
   Still that is only a minor complaint on an otherwise wonderful musical cast recording. If you ever have the opportunity to see this show, do it. I personally prefer the music in this to the music in "The Wizard of Oz" other than the Wiz's song about how he's going to "Wiz on himself" that one always grated my teeth... but the skip button is a good friend to have :)



3. The Original with Ms. Mills will never be surpassed.
   This is a must buy.



4. The recording quality is superb. Really a good buy. It is always difficult to get many CD's & DVD's here in South Africa, and Amazon has been outstanding. My stuff has always arrived safely and in perfect condition (touch wood).



5. I saw this original cast on broadway in the 70's - I was probably around 12. I had always loved the original movie and would wait for the yearly showing (when TV was free) and watch with friends or my cousins. It was a family affair. But when Stephanie Mills hit the stage in her silver slippers I forget all about Judy Garland and the gang.
   Of course I boght the LP album and listened to it over & over-knew all the words. It somehow dissapeared over the years and I forgot about Dorothy and Eveline until I was recently talking to a friend of my husbands (a little older than I am) about how much he loved music and he told me the only time he cried at a performance was when he saw Stephanie Mills on broadway. I started screeming "the wiz-I saw that too" and it all came rushing back to me. I of course ordered 2 copies of this disc-one for myself and one for my hubbys friend. I've been listening in the car. It is a little dated so I'm having trouble getting my teens to appreciate it, but the talent is there 100% and so are the memories. Miss Mills can still give you goose bumps. I wish there was some visual recording of this performance so that the Diana Ross fiasco could be erased from history.
   When my kids first heard me say The Wiz they wear groaning because they were thinking it was the Diana & Michael version.
   They gave it a chance and have now stopped complaining so I guess it stands the test of time-30? years later.
   I recomend this to anyone who survived the seventies (or wished they did) or may love a new twist on an old classic.

No comments about Best of Easy Listening.

No comments about Songs for My Father.

2 comments about Tovah Feldshuh In Tallulah Hallelujah.

1. TOVAH FELDSHUH IS TO BE CONGRATULATED FOR HER CREATION OF THE PLAY TALLULAH HALLELUJAH! TALLULAH BANKHEAD IS THE SUBJECT OF HER FIRST PLAY. THE PLAY IS ABOUT COURAGE, ABOUT THE ABILITY AT ANY TIME IN OUR LIVES, NOT JUST IN THE VIGOR OF YOUTH, "TO GET BACK ON THE HORSE," TO RIDE THE BULL, TO LIVE THE FULL LIFE UNTIL INCANDESCENT, WE BURN OURSELVES OUT. TALLULAH IS A CREATURE OF REMARKABLE INTELLIGENCE, VORACIOUS APPETITE, AND UNTRAMPLED EMOTIONAL FREEDOM. TALLULAH BANKHEAD TOOK CHANCES THAT WERE EXTREME, BUT NECESSARY TO HER. IN BANKHEAD'S CAREER, SHE APPEARED IN OVER 50 PLAY AND 20 MOVIES, TRAVELED THOUSANDS OF MILES IN ROAD COMPANIES AS WELL AS MADE HUNDREDS OF PERSONAL APPEARANCES IN NIGHTCLUBS, RADIO AND TV. YEAR AFTER YEAR SHE WORKED! MISS BANKHEAD WAS BLESSED WITH A LIFE FORCE THAT WOULD RIVAL ANY OF THE GREAT CATS OF AFRICA. AND BY TRIAL AND ERROR, INVENTED AN EXCEPTIONAL SELF, WHICH SHE FLUNG WITH A CHILD'S ABANDON STRAIGHT INTO THE FACE OF THE WORLD. TALLULAH BANKHEAD'S OBITUARY IN 1968 WARRANTED A TWO-COLUMN STORY AND PICTURE ON THE FRONT PAGE OF THE NEW YORK TIMES. IN THE WORDS OF BRENDAN GIL, "KINGS HAVE MADE DO WITH LESS," ACCORDING TO FELDSHUH, TALLULAH BANKHEAD OPENED UP A WORLD TO HER OF LIMITLESS POSSIBILITIES AND BRIGHTENED HER PREDICTABLE EXISTENCE WITH TALLULAH'S EVER-PRESENT WILLINGNESS TO BURN HER CANDLE AT BOTH ENDS. TO TALLULAH, TOVAH FELDSHUH BIDS, GOD BLESS, AND GOD SPEED TALLULAH BANKHEAD. THIS CD COMBINES THE ACTUAL HISTORICAL ELEMENTS OF BANKHEAD'S LIFE, WITHIN THE CONTEXT OF A USO BENEFIT STARRING ELLA FITZGERALD, WHO FAILS TO SHOW UP, AND MISS BANKHEAD FILLS IN FOR HER ABSENCE. THE RESULT IS ASTOUNDING! THERE IS NO PARODY HERE OF MISS BANKHEAD. RATHER, YOU FEEL YOU HAVE HAD THE CHANCE TO KNOW THE REAL HUMAN BEING BEHIND THE MASK. THE SECTION DEALING WITH HER PERFORMANCE AS BLANCHE IN "A STREETCAR NAMED DESIRE" IS ESPECIALLY POIGNANT, AS EVEN THOUGH SHE GAVE A GOOD PERFORMANCE, IT WAS RUINED BY HER GAY FOLLOWING IN THE AUDIENCE, WHO ACTED AS THE SABOTEURS SCREAMING JOKES AT ALL THE WRONG PLACES, CAUSING THE PERFORMANCE TO BECOME A JOKE. THIS IS HANDLED VERY SENSITIVELY, AND HOW TALLULAH FELT DURING THESE CIRCUMSTANCES IS QUITE TRAGIC FOR A LIFE THAT DESERVED RESPECT RATHER THAN RIDICULE BY PEOPLE THAT SHE HAD ALWAYS SUPPORTED. THE GAY CULT DID NOT SHOW EQUAL SUPPORT, BUT RATHER RIDICULE. HIGHLY RECOMMENDED.



2. Set as a USO show in the 1950s where Ella Fitzgerald doesn't show up, this show presents Tova Feldshuh as Tallulah Bankhead telling stories from her life, giving out with naughty jokes, speaking from her heart, presenting songs including Ella's "A Tisket A Tasket" like you've never heard it before. Tova has Tallulah down exactly yet she's not really imitating her. Nor is she parodying her. She has summed up this tempestuous artist's talent, strengths, failings, humor and despair memorably. One of the most unusual albums you'll ever hear.

1 comments about Wish You Were Here/Paint Your Wagon (Original London Cast) and Bonus Tracks.

1. This fabulous CD from Sepia presents 2 great (ultra-rare) London cast albums on compact disc for the very first time.
   
   WISH YOU WERE HERE had been a success on Broadway (mainly for the novelty of featuring an actual pool onstage), and a charming score by Harold Rome. It played for 282 performances at the London Casino. Most recognisible from the cast is Shani Wallis, immortalised oncreen as the tragic Nancy in OLIVER!, here playing the pert secondary female lead. Elizabeth Larner and Bruce Trent play the central couple. Standouts in the score are "Ballad of a Social Director", "They Won't Know Me", "Where Did the Night Go?" and "Could Be". Shani Wallis delights with her playful "Shopping Around". The original Broadway cast album of WISH YOU WERE HERE (on the RCA label) has been out-of-print for a while now, but the London cast is more than ample compensation.
   
   PAINT YOUR WAGON had been a sound success on Broadway for it's composer and lyricist (Frederick Loewe and Alan Jay Lerner), offering fine roles for James Barton and Olga San Juan as father-and-daughter Ben and Jennifer Rumson. The London production was very interesting because it offered the dynamic of a real father and daughter in the roles. Bobby Howes was joined by his lovely daughter Sally Ann Howes (in her first big role). She's a smashing Jennifer, though the recording (originally made to fit 4 sides of a set of 78's), denied Howes the chance to lay down her rendition of "What's Going On Here?". Nevetheless fans of Sally Ann will find this recording indispensible. Bobby Howes (in one of his last great performances) is a fantastic Ben.
   
   This CD is filled out by Sally Ann Howes' performance of "I Love Him As He Is" from the original London cast of BET YOUR LIFE (the rest of the album can be found on Sepia's `Julie Wilson in London with Friends' ). Also included are 6 numbers from GUYS AND DOLLS recorded in 1953, performed by Jerry Wayne and Lizbeth Webb (who played Skye Masterson and Sarah Brown in the original London production).

5 comments about Merrily We Roll Along (1993 Leicester 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. I've never seen the show, which has had a mixed history (initially a flop, recently much more successful), so I can only rate the music, which is just fabulous. The score features everything from sophiticated ballads -- Not A Day Goes By -- to lovely pop tunes such as Our Time. Sondheim's trademark lyrical cleverness is ever present. At one point he has the characters perform a political comedy song in 1960, so Sondheim had to write a piece using sophisticated 1960 political humor. I doubt anyone at the time did it half as well.

   Note that this is a double CD, and I think it is the only one available. In many cases this means that the recording has two versions of certain songs if they are sung twice in the show. I thought this a big plus because the songs are sung at different times in the show and given different interpretations. Indeed, because the show it told chronologically backwards, you see how Sondheim gives you what is really a reprise before the song is initially sung. On the other recordings of this show they have only one version and you miss this whole layer of Sondheim.

   The cast is great. The orchestra is great. All in all, just great Sondheim.




3. MERRILY WE ROLL ALONG was one of Sondheim's biggest flops when it first opened on Broadway in 1981. It suffered from a variety of problems, probably the biggest being that the fascinating concept of the show - relating a story in reverse chronological order - led to a host of difficulties that required more time to solve than the tryout period allowed. Over the next dozen years, Sondheim and book-writer George Furth (along with assistance from a new director, James Lapine), modified the show. The show is drastically improved by the revisions.

   While Sondheim and Furth have made a few minor revisions since the Leicester Haymarket production (mostly in shortening a few rhythms in the transitions, changing some introductory dialogue, and axing some dialogue in "It's a Hit!"), the Leicester recording is far superior to the recording of the final version of the show produced by Varese Sarabande.

   CHANGES FROM THE ORIGINAL BROADWAY PRODUCTION:
   Some neat concepts from the original production have been left by the wayside to improve the overall structure. Gone is the opening scene at the 1980 Lake Forest Academy graduation ceremony and the accompanying "The Hills of Tomorrow." The title song is now presented as a prologue so that the audience can concentrate on the lyrics' message. The music of the 1979 (now 1976) scene has been heavily revised (including a new melody called "That Frank") to integrate more plot into the lyrics. The 1975 scene has been eliminated, although Mary's music survives intact as the first part of an expanded 1973 scene. A great new song, "Growing Up," Frank's rationalizations for changing his goals and values, has been added to the 1968 scene. Beth now sings "Not a Day Goes By" in the 1966 (now 1967) scene instead of Frank. Lyrics have been revised in "Now You Know" to be about encouraging Frank to take a vacation, not to go back to work.

   Act II has required less modifications. Gussie opens the act by singing a brassy rendition of the beginning of "Good Thing Going" as her eleven-o'clock number in Frank and Charley's 1964 show. "It's a Hit!" has been shortened a bit, but Beth is now included in the backstage celebration. The 1962 scene includes a song about the New York elite, "The Blob," which had been cut from the original production, plus a reprise of "Growing Up." The scenes from 1960-1957 remain relatively unchanged, although Beth sings lead in the reprise of "Not a Day Goes By." The show now ends with "Our Time," since the 1955 graduation scene has been eliminated.

   THE RECORDING:
   Of the three recordings I know of this show, this is by far the best. Michael Cantwell (who I truly thought I would hate after hearing him in STARTING HERE, STARTING NOW) is a great Frank, both as a successful Hollywood executive and as an idealistic music student. Maria Friedman is almost perfect as Mary, with gravelly singing as an alcoholic in Act I and a youthful exuberance in the "Our Time" dialogue. Evan Pappas has the dramatic range to play Charley, and his enunciation in the difficult "Franklin Shepard, Inc." is admirable. Louise Gold brings the proper degrees of brassiness and insincerity to Gussie, one of musical theater's greatest "dragon lady" roles. (Jason Alexander in the original 1981 cast recording is the best Joe, and Anne Bobby in the 1994 Varese Sarabande recording is the best Beth.) The actors are young enough to convey the youthful ideals of the second act (and hit the high notes) but old enough to convincingly portray 30- and 40-somethings in the first act. The inclusion of key dialogue helps the listener put the songs into their proper context.




4. Having listened extensively to all recordings of "Merrily We Roll Along," I say with confidence that this is by far the best, most complete recording.

   The performances are all wonderful. I enjoy Maria Friedman's work on here most of all. I can clearly hear her transformation from a depressed drunkard back to a hopeful youth through the recording. Her expressive voice and striking acting choices always make her a joy to even listen to.

   This CD has the best orchestrations I have heard. The underscore to "Franklin Shepherd Inc" has finally been cleaned up to the point where it sounds like an actual song, and the overall feel of the show has a real edge.

   The tempos are up and the performers sound like they don't have guns being held to their heads in the recording studio. The performances a lucid and dynamic. The overall feel of the show, for the first time, has a smooth and consistent feel just from listening to the recording.

   This may not be my favorite piece of Sondheim, but it is his brassiest score. This quality, lost in the off-broadway recording, is really restored here.

   This CD is personal treasure and a must for Sondheim fanatics. However, this recording is by far the most accesible recording of this most difficult show.




5. This recording only helps to prove that Maria Friedman is the no. 1 British interpreter (if not the no. 1 international interpreter of all-time) of the music of Stephen Sondheim. Her comic timing is immpeccible, and she is larger than life in her singing (especially in "Now You Know"). Louise Gold has an Ethel Merman-y quality to her voice, and this is a great new reading of the character of Guessie (she is, after all, a Broadway head-liner), as opposed to the purring sex-kitten of all of the other Guessies out there. And her rage in the dialgoue excerpt on the first disc is clear. This woman is one heavy-duty actress. We see that Guessie isn't really the only one out of the main characters to become bitter and disilliusioned, as many people make the mistake of believing. Jacqueline Dankworth does not just sing the heart-wrenching "Not a Day Goes By," she acts it. And she acts and sings the hell out of it. She has definately inherited her mother's talent (but is decidedly different in her performance style). As you can see, all of the women on this recording are effervescent, and the men rise up to the challenge (particularly the Joe Josephson of Gareth Snook and the Charlie of Evan Pappas). And there is Frank, menacing as always. This CD is the best out there, with a large amount of dialogue, and all of the score. Here is the definitive, no-questions-asked, no-holds-barred version of MERILLY WE ROLL ALONG on CD. Buy it today!