5 comments about Show Boat (1993 Toronto Revival Cast).

1. "....Oh, Gay!" cooes sweet Magnolia; Paul Robeson wouldn't have raised an eyebrow, although, nowadays, (where Sondheim and the English "grand operatic musical" have reigned supreme for two decades) a romantic lead called `Gaylord Ravenal', nicknamed `Gay', might have been eschewed, let alone the "n" word (Hal Prince ruled to change it for "color'd people"), also the melodies might be considered rather "passé"....yet hardly any current tenor would be too happy (or able) to go through the notes in "You Are Love" every single night.... passé or not.... So, can anyone consider some tune from `Cats' or `Phantom' either better constructed or more "modern" than, say, Kern's "I Have the Room Above" or "Bill"? Oscar Hammerstein's composer decades later, the great Richard Rodgers, tried his hand at "sublime choral writing" for children and nuns in is arch-twee billion-dollar "Sound of Music" score, yet, in comparison, Kern tackled "Alma Redentoris Mater" with simplicity and charm, having the bass intoning Ol' Man River as a Passacaglia. OK, maybe Ellie's numbers are a bit insipid, yet they retain wit and fitness from its forerunner, the English Music-Hall. On the other extreme, a jewel like "Can't Help Lovin Dat Man of Mine", with its gorgeous blue-note-scale melody, has hardly been equaled. Gershwin's aria "What You Want wid Bess?", a comparable gem, was written nearly 10 years later.... (the scholarly L. Bernstein, in his "On The Town" -particularly in the initial baritone song- had Kern and Gershwin, inherently, in mind).
   
   This recording is beautiful, faithful to its period and the sound is transparent and perfectly well balanced. The voices are nicely styled and unmannered, the orchestra sounds just like it should: a pit band (unlike in so many revival recordings of great musicals that over-inflate the orchestrations with Wagnerian forces). Mark Jacoby is a fine light tenor, although a triffle thin at times; regretably, his "You Are Love" interval jumps are strained on top. Rebeca Luker sounds pure and perfect throughout, even when refraining "fish gotta swim" after the gorgeous bluesy rendition of Lonette McKee, maybe my favourite Julie of all times (since we couldn't ever have Lady Day in the cast....) Michel Bell is a passionate, robust-voiced Joe and Gretha Boston's Queenie is marvellous; her "Mis'ry's Comin' Round" remins both the shrewish Maria and the religious Serena Robbins from "Porgy and Bess"....(again, I recall Kern's influence on Gershwin's own folk opera).
   
   A must-have album, expertly abridged., worth every penny (and of its $10 million Livent Inc. stage production) if only for Elaine Stritch's moving, anthological performance in "Why do I Love You?".



2. This classic American musical seems to have suffered from some curse, which has successfully prevented it from recieving proper recognition and also seems to have produced very few official "original cast" recordings for us to enjoy.
   
   Obviously, I'm not serious about such curse, but in my opinion, this 1993 Canadian production highlights recording, is the latest "teaser" which only makes us Show Boat fans all the more curious.
   
   This recording is an excellent edition of the Jerome Kern legendary score. Though somewhat adapted to reflect changing ideals and delivery style, the score remains as faithful as possible to the original. The cast is absolutely perfect in all areas of performance art. I wish there was more of Robert Morse's Captain Andy, because the little snippets he recieves are only enough to want to hear more. Captain Andy has the fewest singing parts in the musical than any other character, which brings me to my next point.
   
   It's more than obvious, that Livent rushed the tempo here, in order to fit as much material possible into one single compact disc recording. Whatever the reasoning behind this, it's rather irritating upon making it's first impression. I purchased this recording many years ago at a local Tower records store and shut it off by the end of the first track, because I couldn't keep up with the incredibly fast tempo. I recall my sister and I looking at each other with our mouths wide open. Yes, it's that fast!
   
   Well, don't let this deter you from looking for a good used copy. This fast-forward-like tempo is limited to only a few tracks, mainly ensemble numbers, while the solos and duets are left unaltered. Sadly, it took me several years to finally discover the splendor of this recording upon giving it another try back in 1998. Since then, I've nearly worn it out.
   
   I had the pleasure of seeing this grand Harold Prince production back in 1996, when it's 1st national tour parked itself into the Ahmanson Theatre in Los Angeles. It remains my second favorite musical of all time and have since been waiting for an official full recording, with dialogue and original tempo intact. After Livent's misfortune, this is highly unlikely. Add this one to your collection at once! A must for any fan of great classic American musical theatre and a great teaser of a sampler for fans of this most neglected musical masterpiece.



3. Hal Prince's epic revival of SHOW BOAT was a huge success in Toronto, and it quickly transferred to Broadway, spawning a national tour as well as productions in London and Australia. This cast album features the original Toronto company, headed by Rebecca Luker as Magnolia, with Robert Morse as Capt'n Andy, Elaine Stritch as Parthy, Lonette McKee as Julie and Michel Bell as Joe. This cast is simply sensational. This recording of SHOW BOAT is one of the more satisfying out of the myriad of cast albums that exist for this score. The Jerome Kern-Oscar Hammerstein score perfectly bridges the styles of opera, operetta and musical comedy to tell the sprawling tale of a troupe of river-players over a span of nearly 30 years. Orchestrations by William David Brohn (combined with the originals by Robert Russell Bennett) perfectly define the changing era's in the story. The cast also features Gretha Boston as Queenie, Joel Blum as Frank, Dorothy Stanley as Ellie and Tammy Amerson as Kim with Mark Jacoby as Ravenal. This recording is currently out-of-print because the company which bankrolled the revival (Livent) is no longer in operation.



4. Like the "Music Fan" who previously commented on this recording, I am also a theatre student specializing in dramaturgy, with an interest in musical theatre. And I happen to like this CD.

   Yes, any production of SHOW BOAT should take into account historical accuracy. And yes, there are anachronisms in this recording (there are also anachronisms in the original score). But I think it's important to recall that while SHOW BOAT's plot begins in 1887, it was of course written in 1927 -- and revived by Harold Prince in 1993. This is the story of America's transition from the 19th century to the 20th, as seen through the eyes of several generations of 20th century American artists. Kern and Hammerstein did not intend their work to be a museum piece about the 1880's, nor did Prince intend his revival to be a museum piece about the 1920's. SHOW BOAT, as critic Ethan Mordden points out, is a musical that must constantly be reinterpreted and rediscovered for each successive audience, and this 1993 recording reflects that thinking. For example, the character of Julie may have been written for soprano Helen Morgan to play, but subsequent revivals have cast a belter in the role, to endow Julie with an earthiness and a contemporaneity and to contrast her with Ravenal and Magnolia's operatic grandeur.

   The glory of Prince's revival, which won universal critical acclaim and a trunkful of Tonys, is that it gives SHOW BOAT its proper due as a great, groundbreaking work of American art, but it also acknowledges the problems inherent in the original book and production and tries to solve them. The character of Parthy, for example, was supposed to be a shrewish old spoilsport: that's tradition. But this production is about rediscovery, not tradition. Thus, Prince takes the song "Why Do I Love You?", originally a love duet between Magnolia and Ravenal, and reassigns it to Parthy to croon to the infant Kim. Elaine Stritch pulls it off superbly; with this brief number, she rescues the character from the trap of stereotype and turns Parthy into a complete person, full of wonder at her new role as a grandmother. Listen to Stritch's voice break with emotion as she sings "Maybe that's because you love me" -- it's a brilliantly human moment.

   The major flaw of this recording is that it includes almost no spoken dialogue, except for brief passages in "I Have the Room Above Her" and the Act Two Finale. Much of the orchestral underscoring is included, though, and this seems to make the gap in between the verses of the songs all the more obvious. This elimination, in my opinion, damages the overall quality, since we lose the transitional dialogue that helps us understand some of the more complex songs like "Can't Help Lovin' Dat Man" and "After the Ball." The former foreshadows how Julie will be exposed as a mulatto, and eventually be abandoned by her husband; the latter shows Magnolia discovering her own strength and identity, on the eve of the 20th century, by reconnecting with her family (Hammerstein's favorite theme). But without the dialogue, "Can't Help Lovin' Dat Man" and "After the Ball" devolve from complex musical scenes into rather simple showtunes.

   What's unfortunate is that the voices in this recording -- Mark Jacoby, Rebecca Luker, Robert Morse, Gretha Boston, Lonette McKee, and of course, Stritch -- are all well-rounded musical theatre performers with solid acting backgrounds. In particular, I wish I could have heard McKee use that rich voice to tackle the Miscegenation Scene. Certainly, these singer-actors could have handled the spoken sections better than do the glamorous opera stars of John McGlinn's comprehensive, if rather pompous, three-disc set.

   One thing about this recording that takes a bit of time getting used to is the tempo at which the music is conducted. Some of the numbers sound, I swear, like they're on fast-forward. The overture, for example, clocks in at a brisk 2:47. McGlinn uses the same arrangement, with only a few additional bars of music -- but his version lasts a whole two minutes longer. The up-tempo conducting endows the score with an unusual vitality, but sometimes obscures the moments of romance and serenity.

   But on the whole, the merits of this album far outweigh the flaws. I enjoy the 1993 SHOW BOAT recording very much, and recommend it to anyone who's seriously interested in the American musical theatre. Hope they bring it back into print soon; till then, have fun finding yourself a used copy.




5. I'm sorry, I really wanted to like this CD seeing as I am a huge Show Boat fan, but I felt that it tried too hard to sound flashy and modern. The orchestra was harsh and shallow and the new arrangements were abominations on the great Robert Russell Bennett's originals. Yes, Rebecca Luker is a wonderful Magnolia, and I wish she had played the part in a better production. Mark Jacoby made me cringe so much, and Michel Bell had no oomph except for unneeded outbursts. The rest of the cast was decent enough. The only other thing that really makes me not like this recording is that I'm a theater student currently studying dramaturgy (that's where you research the period a play takes place in). Whoever was the dramaturg for this production should never be allowed to work again. The music was way too late 20's jazz in the first act, which is supposed to be in the late 1800's, and Lonnette McKee's belter Julie wouldn't have turned up for at least another decade or so. Am I too picky? Maybe. But if you want a CD with the real heart and soul of this piece, pick up the much-lauded John McGlinn studio cast. It is so much better than this one.

5 comments about Bryn Terfel - If Ever I Would Leave You (Songs from My Fair Lady, On a Clear Day, Camelot, The Little Prince, Brigadoon).

1. Many operatic artists cannot cross over to Broadway music without its sounding like an art song recital. Bryn Terfel can.
   Despite what some other reviewers have said, I found that Terfel felt the emotion of each of the songs on this recording. Being familiar with most of the numbers, either from original cast albums or from seeing the musicals, I was able to relate to what was happening in the story at the time the song was sung.
   There are beautiful soft sounds and powerful strongs. There is a musicality to "Camelot" which expresses the same feeling as Richard Burton's, but without the song-speak approach.
   I have not heard the "Something Wonderful" album; but after reading the other reviews, I certainly want to get it. And incidently, "If Ever I Would Leave You" is not a Lerner & Loewe album; it is Alan Jay Lerner and various composers.



2. Terfel has an outstanding voice & the talent to use it to good advantage. Being 'show buffs' we thoughly enjoyed the selection of numbers also.



3. THE FOLLOWING QUOTE DOESN'T GET MY VOTE!
   A quote from the accompanying booklet: "Some people might claim that there is no difference between classical and popular music, only between good and bad. Maybe so, but how many singers can put over and all-Schubert recital and a CD of show tunes like 'If Ever I Would Leave You' with equal authority and ease? At this point, probably none but Bryn Terfel."
   
   OH, WAIT A MINUTE!!!!!! Many classical singers have accomplished that very task with just as much skill as Terfel. Don't get me wrong here;he has a great voice, but just as I do not want to hear Frank Sinatra sing Monteverdi, I would rather hear Robert Goulet sing Lerner & Loewe. And permit me to cite at least one example of a cross-over: Ian Bostridge, classical British tenor did an album of Noel Coward Songs(Coward, the British Broadway equivalent), which is excellent, but I want to hear him singing Schubert, just as I might prefer Terfel singing Mozart.
   
   But lest you think that I don't think well of this recording, let me include here part of a review from Gramophone (London) 1998. "These settings of Lerner lyrics may not be his native song but this archetypal romantic lyricism seems to have found a place in the Welshman's heart....Those who have his earlier Rodgers and Hammerstein recording will thrill once again at hearing songs sung in a way that is seldom heard in the theatre....the sustaining of the melodic line, the word painting, the dynamic range, sensibly modified now, and an unexpected lightness of touch...." To which I wholeheartedly agree.
   
   But for me all of this expertise that he displays in his Lerner songs pales beside his ability to sing 'Don giovanni' and the like.



4. It is very hard for an opera singer to suddenly shift their singing talents in another direction (remember the Kiri Te Kanawa "South Pacific" album?), but Bryn Terfel gamely rises to the challenge with an album of songs from the musical theatre team of Alan Jay Lerner and Frederick Loewe ("My Fair Lady", "Camelot").
   
   On the whole, the album is quite enjoyable, and Terfel performs the usual standards like "If Ever I Would Leave You" and "On the Street Where You Live". Happily, the album also features two numbers from the underrated "Little Prince" score ("I Never Met a Rose" and the Title Song); as well as "There's Always One You Can't Forget" (from the big flop "Dance a Little Closer").
   
   Terfel also gets to perform some of the ladies' numbers like "Hurry! It's Lovely Up Here" (from "On a Clear Day..."). Terfel is the closest thing we have to the old-fashioned matinee idol, and the selections on this album are well-suited to his lush voice. Quite a surprise.
   
   [Deutsche Grammophon/Polygram 457 628-2]



5. I usually hate the crossover genre, because the material almost always ends up overdone and not at all true to the idiom and mood of the original. That said, Terfel on this disc is about as good as crossover can get, using his fine voice to render pretty convincing and powerful versions of a number of Broadway classics. While he occasionally goes over the top, he is pretty faithful to the songs, and on those numbers that call for a rousing rendition (They Call the Wind Maria, for example), he really is splendid. Great sound quality and fine orchestral accompaniments.

5 comments about Pacific Overtures (1976 Original Broadway Cast).

1. It's good to be a Sondheim fan - we have (sometimes multiple) video recordings or film adaptations of many of his major works - "Into the Woods", "Sunday In the Park with George", "Passion", "Company", "A Little Night Music", "Sweeney Todd", "Gypsy" and "West Side Story" (if the latter two count) come to mind.
   
   Unfortunately, however, "Pacific Overtures" is one of few Sondheim shows which undeservedly never had a video recording commercially released. And I really feel to be truly appreciated the score should be put into context. Even the 'synopsis' section of the wikipedia page is too bland to grasp more than an elementary understanding of the show. With short 1976 and 2004 Broadway runs I'm also not sure when (if ever) we'll see another revival of the show.
   
   But all is not lost. Recently a complete video recording of the show appeared on YouTube of the original broadway cast that was apparently aired on Japanese television but never released. It is a great opportunity for those to gain interest in the show.
   
   The 1976 cast album of "Pacific Overtures" captures the show in high quality. The orchestrations are much superior to the 2004 revival, and the cast is a lot stronger than both the revival and 1993 English Opera recordings. "The Advantages of Floating in the Middle of the Sea" is one of Sondheim's best opening numbers and not only shows his versatility as a composer but also features Mako's definitive performance. "There is No Other Way" is haunting and beautiful at the same time and it's amazing how powerful a singe piece of percussion can be at the end of the song. "Four Black Dragons" with its (in my opinion) cinematic but operatic feel really challenges our western perceptions of invasion; Alvin Ing's performance in "Chrysanthemum Tea" is much better than his 2004 performance, even if "Welcome to Kanagawa" is not as funny as in the revival. Every track on the album is a stand out; although put into context "Pretty Lady" is perhaps the track I find least enjoyable, even if it is the most melodic.
   
   It's not for everyone, but give it a chance and it may change your life (musically). I'd rate the show in Sondheim's top three, along with "Sunday in the park with George" and "Sweeney Todd".



2. It is difficult to remain neutral about Sondheim. Either you love his work, or you cannot stand it. Some of his shows, I really enjoy--"Sweeny Todd," "Assassins," the first act of "Sunday in the Park with George," and "Anyone Can Whistle" (although it flopped). There are others for which I do not care at all--"Company," "Follies," and "A Little Night Music."
   For me, "Pacific Overtures" lands somewhere in between. The show itself got mixed reviews from the professional reviewers in 1976, ran for only 193 performances, and cost Harold Prince a pocketful of his own money. Surprisingly, it did rate a revival in 2004. On the other hand, this original cast recording has been extremely successful. Sondheim's score seems to be the one saving factor.
   I do not find the music to be very musical. Many of the songs are actually more spoken than sung. There is no number that stands on its own--which may speak both to Sondheim's genius and to the show's failure. Yet, some of the songs get into your head and haunt you. I think especially of "Four Black Dragons" and "Someone in a Tree."
   Really to enjoy and appreciate "Pacific Overtures," you need to listen the first several times with the libretto open before you. Then, when the flow of the story has embedded itself in your mind, listen more leisurely.



3. Sondheim has been like a floating island with bothersome threats both from inside earthquakes and outside heavy artillery from sundry corporate --department stores-- musicals, the Lloyd Weber commodore epics (driveling frogs more than firing dragons), yet he is alive and well, if not exclusively living in Broadway.... anyway, as from the demise of the Shuberts.... what is Broadway? ... as the grand British impresario used to say: just another stop in my American tour! Our floating master remains the fine heir to composer/lyricists Cole Porter, Coward or Loesser, only this, by some considered "less accessible" (boring) 30-year-old work has no awesome aging star to deliver some "Send in the Clowns" or "I'm Still Here" 11 o'clock show-stopper; the longwinded songs are more (deceptively) minimalist, the verse and rhymes, starker, yet we still have an equivalent here: "A Bowler Hat" has no less wit and charm than, say, "Could I Leave You?"; and "Please Hello" is as effervescent and funny as any other Sondheim dish special. Maybe some find the 'raw fish' an acquired taste, I love it all. Is Niponnia here depicted from the inside or from a Western point of view? Perhaps a bit of both, as someone in a tree oversees the treaty house: the ripple, not the sea? Who cares? This show stands firm as any Mikados, Kismets or King&Is ... and as classy as any from its trademark: the crisp orchestral ostinato strains accompanying the melody lines, the delightful pastiches-within-pastiche, the balanced interplay of musical waves under sailing lyrics. And in this --as always, preferable-- original cast album, the virtuoso fast chats, sometimes forceful or soft and ethereal singing from the all-male Asian cast (Pretty Lady), the limpid Sondheim textures and rhythms, the elegant, pristine Jonathan Tunick orchestrations (subtle, effectual inclusion of Kabuki instruments) all remain perfectly evocative, somewhat hypnotic to listen to and dream of leaves changing green to pink to gold.



4. can take a style of music that i was not particulary interested in and make into a great score that i am addicted to."Please Hello", and "Someone in a tree" are great Numbers. "Next" is a number that sends the audience to the present of Japan.For anyone who loves Sondheim, This score is a must have.



5. 1976 - America was celebrating two hundred years of idependence. Tv, radio, records and movies were all things patriotic. This was the way things were when the musical PACIFIC OVERTURES arrived at Broadway's Winter Garden theatre. A musical that took a critical look at how the U.S. forced Japan into international trade in 1842... what were they thinking?

   It didn't look like a Broadway musical. It sure didn't sound like Broadway music. The critics were mixed..a few loved it, several loathed it...but most admitted they didn't quite know what to make of it. Audiences went to see A CHORUS LINE (which would win the 1976 Tony award) and CHICAGO. PACIFIC OVERTURES was gone after 193 performances. The great experiment failed.

   Or had it?

   RCA did a cast album. Sales were slow at first but it eventually became one of their biggest sellers allowing more people a chance to hear this wonderful score. Regional theatres began exploring the possibility of doing the show. An off-Broadway revival in 1984 was critically lauded. A new production is planned for New York for 2005. It may never be as big as hit as LEZ MIZ, but for those looking for something different and exciting, PACIFIC OVERTURES will do very nicely.

   I don't want to give away all the many details of the score: that would rob you of the thrill of discovering so much on your own. But a few "hints": Sondheim has long considered "Someone in a Tree" to be one of his favourite numbers; "Please Hello" is brilliant in weaving together musical styles for the U.S.; England; Holland; Russia & France as each country enters to set up trade with Japan. "Chrysanthemum Tea" has brilliant lyrics (including the lines "If the tea the Shogun drank will serve to keep the Shogun tranquil...") Notice too how the score becomes more "americanized" as it proceeds all the way to the finale "Next."

   RCA has included a libretto and detailed synopsis. It will take a few serious listens (following along with the libretto) to begin to penetrate this work. Then, once you have fallen in love with it seek out the English National Opera's complete recording on Jay/TER which has the whole show, dialogue and music. It's not as well sung and acted as this original cast disc.

5 comments about A Love Like Ours.

1. This was a replacement for my CD that got messed up. I really like this CD. I have listened to it for hours. Now I can listen to it for many more hears. This is one of my favorite Barbara Streisand CD's.



2. When first released in 1999, this album was pretty panned by many critics. Not so much because the music was bad, but because it was a blatant celebration of her then-year old marriage to actor James Brolin. Admittedly, she did go overboard with her self-celebration (similarly to Celine Dion having her baby. We're happy for you, but shut up about it!)
   
   That being said, this is a beautifully constructed album from beginning to end of songs about being in love and finding love. It's definitely meant to create a mood, which it accomplishes well. And because there is a good mix of music meant for an exotic setting ("The Island," "It Must Be You," and "I Dreamed of You"), standards-in-the-making ("We Must Be Loving Right," "Isn't It a Pity," "The Music that Makes Me Dance"), and power ballads meant for radio ("If You Ever Leave Me," "Just One Lifetime"), the music never gets too boring or starts to sound the same.
   
   As always, Barbra sounds great, never oversinging or undersinging, and not compromising her emotion to sound good hitting a high note. While this isn't the very first Barbra Streisand CD someone should own, it is one that can be listened to over and over again without sounding dated. If you can ignore the sappy liner notes (including pictures of the two cuddling and snapshots of her in her wedding dress), or the fact that during this recording she was a little too happy for herself, this album is flawless.



3. Some of the most romantic love songs that I have ever heard are included on "A Love Like Ours". In my opinion, Barbra Streisand very movingly brings her romantic feelings into her songs, accompanied by beautiful background music. I highly recommend this CD to anyone who is in love.



4. Smooth relaxing album, a bit boring, however!, Barbra's vocals never seemed more radiant then on this album. Full of love & inspired songs that refect new found love. I love this album because when listing to it, it takes everything away except for love, hope, faith, trust, happiness & etc of wonderful feelings. Even though I love Barbra, I gave it a four out of five because its not a risk taking album that Barbra use to make in the 60s, 70s-the mid 80s.
   
   "Happiness makes you want to sing. You know all those corny things they say in every love song you've ever heard?, well, they're true!. Love is what life is all about. Love IS the answer. I hope this album inspires your own loving spirit... and may you be blessed with something as special as a love like ours". - Barbra



5. The first order never arrived. However my call to customer service was handled quickly and professionally. They quickly reorderd the CD and it was delivered the day they had promised and in an expedited manner.

5 comments about Sunday in the Park With George (2006 London Revival Cast).

1. I have always been a Sondheim fan. Any music he wrote is beautiful to me. I purchased this new London Sunday in the Park because I buy every recording of his work. However, I feel that I need to tell you about this recording. Although I have enjoyed the original Broadway cast recording and DVD for years, this new recording brings a special English take of the show. I was extremely impressed with the singing, the gentle pacing, the extraordinary musicality of the work. I would recommend that any Sondheim fan add this recording to his/her collection. You will love it.



2. Don't get me wrong: the original Broadway production of SITPWG was beautifully done, and Bernadette Peters is a gem in every show she appears in (her Witch in INTO THE WOODS has NEVER been outdone), but I personally feel that this production, originally performed in London at the Meiner Chocolate Factory, on the whole is a far stronger production than the original for many reasons, but mainly for it's superior cast.
   The show has a life and vitality and a heart that wasn't always apparent in the original. If you have seen the taped version of the show with the original Broadway cast, you know what I am saying. Whenever Bernadette wasn't onstage, I lost interest in the show - she gave it a heart and when she wasn't there it passed into tedium. Also, although Mandy Patinkin is a wonderful SCREEN actor, he leaves much to be desired when he is onstage. His mannerisms and habit of mumbling his dialogue nearly killed the original for me. Also, his singing is nothing compared to Daniel Evans on this recording. No weird vocals, just a pristine, clear, clean tenor with every word clear as a bell. Daniel Evans also gives us a George that you can believe is attractive to the women around him, whereas in the original I wondered how Patinkin's George fathered a child by Dot as he seemed so oblivious to life to the extent that I couldn't believe he even knew what sex was. Daniel also makes it painfully clear that he loves Dot deeply, which brings me to my favorite asset of this production: Jenna Russell as Dot/Marie. Jenna Russell does the impossible by Broadway standards: she takes a role originated by the great Bernadette Peters and gives it a new life and a different spin. Bernadette's Dot always seemed to me a tad selfish, vain, and a little childish (even though I love Bernadette as an actress). There were times where I understood why George wasn't fighting to keep her with him. Jenna's Dot is nothing but heart,and she brings a maternal spirit (Dot is a mother after all) to the role that was missing from Bernadette's portrayl. Neither actress is "better" than the other - their portrayls are so different, but I personally prefer Jenna in this role. On the whole she is more poignant to me than Bernadette (gasp!). She will break your heart when she sings to George of how much she loves him. Speaking of singing, where Bernadette had to strain a few times (bless her heart - Stephen could have lowered the score just a tad) to perform her demanding songs, Jenna's range is better suited to the role - you never feel like her fluid and litling voice is ever straining to be heard - her songs seem to flow right out of her soul. Her romance with Daniel's George is so believable and so elemental you can't help but be moved. Patinkin's George seemed so incapable of any kind of love, but here the romance blossoms, which makes it that much more tragic when Dot leaves.
   The ensemble is also top-notch, clear as a bell whereas in the original production you had to sometimes strain to understand what the company was saying...er...singing. Not so here. Also, in my opinion, the smaller orchestra in this production makes the story that much more close, intimate, and moving. SITPWG is such an internal story of growth for the characters that too big of a "Broadway" sound would spoil it's heart-pulling effects.
   In closing, this recording is a gem, but whether or not you will prefer it to the original 1984 recording (as I do) is a matter of taste. But, if like me you tire of Mandy Patinkin's cold, static portrayl and weird mannerisms and wish to actually understand the lyrics, this is for you. Also, Jenna Russell admirers like me should buy this ASAP - you won't be sorry!



3. I won't do too much comparisons to the original cast, because it's been done and done. This recording stands alone and strong, the performances are wonderful; intense and filled with life. I adore the voices and, technically speaking, the voices here are much stronger than the original cast. (with a few exceptions of course, and this is all subject to opinion.)
   
   The orchestral reductions are just fine and allow the voices to truly move to the forefront. Everything is so clear and precise and having the extra dialogue illuminates the whole even more. Stunning.
   
   What really strikes me is just how amazing this show sounds in this reduced format. It allows the show to shine and expand in unexpected ways, much like the brilliant new recording/production of Company. The same cannot be said for the new recording of Sweeney Todd, which feels almost castrated as a result. It's about as lifeless as one of Sweeney's victims, depite the amazing cast. It is unfair for them to be so stifled.
   
   Thankfully, the actors here on Sunday are given more sonic space to expand and get their messages across.
   
   The only thing that would make this new version better would be for it to get a live video release, which is par for the course with Sondheim.



4. There is really not much to say here, except that Daniel Evans is a wonderful George and Jenna Russell is a terrific Dot. The chemistry between them is impressive, and the orchestrations are excellent.
   
   The process of combing chaos and control while creating art comes through loud and clear. This is an enjoyable listening of an intelligent revival.



5. I just read the NYTimes review by Ben Brantley and he loved the production. I love this recording for many reasons, but mostly because it does not have Manic Manny Patikin on it.

5 comments about Evita (Highlights from the 1978 Original Broadway Cast).

1. The legendary Mandy Patinkin plus the incredible Patti LuPone. Its only a shame that we've been deprived of the complete recording.



2. Evita is easily one of my Favorite musicals. Madonna was a better Evita then I thought she would be, but Patti Lupone was amazing as Evita. Her vioce is great!!



3. This might be a good CD to buy if you are not sure you even like the genre of music, but otherwise go with the complete 2-disk set. They left out some very good songs in 'Highlights'. The extra 10 or 20 dollars spent WILL be worth it,



4. This is an excellent recording if you don't want to spend the money on the full set. However, the full set IS worth the money, and is highly recommended. As far as the recorded songs go the selections on this album are superb, and if for whatever reason you decide to go with the highlights album, Patti LuPone will not displease.
   
   The previous poster, however, is absolutely incorrect about the London Cast CD. Elaine Paige is by far the best Evita ever recorded, and that album is worth every penny. It's a shame they never put the full musical from the London cast, because that would be the definitive recording to own. But it doesn't exist, and the London Cast highlights album is the only one available with Ms. Paige. This recording only gets 4 stars because the Ms LuPone simply is not as absolutely stunning as Ms Paige, and hers is the definitive Evita.
   
   And don't even mention the pop singer's name in the company of those two superstars.



5. I WAS LOOKING FOR THIS CD AT BORDERS YESTERDAY AND I COULDN'T FIND IT. I REMEMBERD IT BEING LIKE 22 DOLLORS OR SOMETHING. SO I BOUGHT THE 35 DOLLOR COMPLETE 2 DISK RECORDING. I AM SOOOOOOO GLAD I DID. THERE WERE SO MANY GOOD SONGS THAT WERE ON THE COMPLETE CD THAT THEY TOOK OUT FOR THE HIGHLIGHTS. IF YOU REALLY LIKE EVITA AND WOULD LIKE TO HEAR A GOOD RECORDING, GET THE COMPLETE ORIGINAL BROADWAY OR THE CONCEPT RECORDING. I WOULDN'T BUY THIS OR EVEN THE ORIGINAL LONDON CD. THEY'RE JUST TOO SHORT.

5 comments about Sing America.

1. I have to admit that I only bought the DVD for two of "The Kids," Greg Raposo (www.gregraposo.com) and Chris Trousdale, both veterans of the once-famous boyband, Dream Street. However, the Broadway Kids never disappoint me. Broadway's best (and a little of what you might call "oldies") always seems to show up on their albums and the voices (of the kids) are so well matched with the parts. I especially enjoy the re-makes of, "America," "California Girls/Surfin' USA," and "The Boy From New York City". The album is perfect for children, but won't be annoying to adults, as they probably already know a lot of the songs.



2. Jonathan Bleicher, who is on this Broadway Kids album, is one of the most amazing singers/performers/entertainers that i have ever seen. I saw him during his carreer as a Broadway star and i think he is the best thing to come out of the Broadway Kids in a really long time. His presense on this Cd, in particular, is just outstanding...and he out sings every single one of the other kids on the album. If anything, buy this CD just becuase of Jonathan Bleicher. He is truely amazing.



3. Although I never heard of Broadway Kids before today as
   I surfed for christmas gifts..I love the songs!!! I love
   "Country Roads"-the ultimate tribute to John Denver!!!
   Very upbeat and rich voices make this one CD-heck I'll ask
   for all the Broadway kids CD for Christmas!! I also love
   Bob McGrath too!!! Gonna have one heck of a christmas list!!



4. I just got this cd a week ago, and i love it!
   The broadway kids all have amazing vocal skills, and they sound very mature. They sing the mamma's and the pappa's, and much more famous artists! My opinion: Buy it!



5. My seven year old loves singing Patriotic songs and the Broadway Kids; so of course I purchased this when I first saw it. The songs weren't what I expected, and my daughter wasn't very taken with it "at first." But songs like "I've Been Everywhere" and "Good Morning America" are now her favorites, and she likes the familiarity of the other American standards. The CD is full of geography and the song about all the presidents sneaks some history in too. Can't go wrong with a CD kids like and they learn from too.

5 comments about The Music of Johnny Mathis - A Personal Collection (Repackaged).

1. I recently purchased a CD collection of Johnny Mathis' greatest hits containing both his newer and older music standards. I love this man. He sings and everything that ever occurred during this time in my life is like it's happening again. His voice is so soothing and beautiful. I have always loved Johnny Mathis and will continue to do so forever. If you are a Johnny Mathis fan, don't hesitate to buy this collection. It's worth more than I paid for it!!!



2. I,have listened to these 4 C.d.'s over and over again and I, had difficulty giving any of these C.D's less than 10 of 10.Finally I,had to rate them 10 and 10 plus. IF there was ever a desert island disc, this is it. Solo's, duets they are all there. By the way I,love "Feelings and I, am thrilled that he included it.
   .



3. If you enjoy Johhny Mathis you will I am sure find this collection of Johnny's personal selction a treat to your ears.
   I was a teenager in high school during the late 50's when Johnny made what I believe to be some of his very best songs.
   This collection is so masterfully reproduced that the quality is phenomenal. So much better on CD's than the LP vinyls that we had back then. And of course the stereo systems that we have now further enhance the listening experience. Unfortunately Johnny's voice is now no longer anywhere near what it was back then so I am so pleased that we have these great songs archived on this new media.
   I just can't get enough of this great and wonderful voice. I'm just worried that I might wear out my stereo from playing these albums over and over again.



4. Although the products I ordered in December were just fine, the DHL delivery via llama was unbelievably slow and subsequently not received at all in time for Christmas. Amazon did reship, taking their own time about it, but at least used another carrier. Compared to everything else I ordered online at the same time, all free shipping by the way, this was absolutely the worst!



5. Excellent! A LOT of good tracks. Well worth the price.

5 comments about 42nd Street (2001 Revival Broadway Cast).

1. I originally bought this simply because it featured the then down-and-out and now (after "Grey Gardens") legendary Christine Ebersole as faded diva Dorothy Brock. Better casting I could not imagine - and she proves it in her every appearance on this recording. Sadly that's not often.
   This cast recording belongs to its ensemble, a brilliant crew of performers who shine in every number. Though this is a cast heavy show with a long line-up of leads and featured players, no one performer dominates this cast recording. You will be astonished at how many numbers credit the participation of the "ensemble" or the "full company". But it has to be said the result is a long line up of soaring numbers that more than live up to the potential of these famous songs.
   Kate Levering is a powerhouse as young soon-to-be-star Peggy Sawyer while Michael Cumptsy gives a (deliberately?) hammy but very enjoyable performance as director Julian Marsh.
   Highlights are "Go Into Your Dance" the hilarious "Act One Finals" and "Sunny Side to Every Situation" not to mention the soaring renditions of the title song "42nd Street".
   The finest feature of this cast recording is the fact that it gives a far more complete rendition of this show and its excellent line-up of songs. Dialogue is included in places to make the transition between tracks more seemless and it is far easier to understand the plot of the show simply by listening to this cast recording.
   This recording preserves a fine piece of theatre and easily knocks dead the original Broadway cast recording in terms of production values, content and performance.



2. Call me an old curmudgeon, but I never understood why everyone thought 42nd St was so wonderful. I saw the original cast and except for the two big songs, Lullaby of Broadway and 42nd St.( which, okay, were pretty spectacular ensemble dance numbers), the rest was kind of ho-hum, cornball nonsense set to a bunch of standards. Nothing original or ground breaking. Mindless fluff and very often done better. Had director/choreographer, the great Gower Champion not died on opening night (and which David Merrick shamelessly, grossly and tastelessly exploited), the show would have had a mild run and been gone and forgotten. But it became something of a theatrical legend and an incredibly, long running hit. Oh well, that's show biz! This recording is no better or worse than the original, pleasant if forgettable.



3. there are some very good songs in this show, but overall the content and many songs did not impress me at all. let me quote one for you-
   what's cute about a little cutie?
   it's her beauty, not brains
   old father time will never harm you
   if your charm still remains...
   
   keep young and beautiful
   it's your duty to be beautiful
   keep young and beautiful
   if you want to be loved
   
   does anyone feel a little bit uncomfortable with these lyrics? i know it was written awhile ago, but not so long ago that these kind of messages were readily accepted... i hope. i personally can't say i loved the show when i went to see it two years ago. the plot was unconnvincing and the themes personally bothered me. i'll admit that there are some winning songs in the album. some of my favorites being 'you're getting to be a habit with me' 'i only have eyes for you' and the title song, but my disliking for the actual show makes me regard the soundtrack in a negative light. if you will buy a cd for a handful of good songs amid many other, well, not so good, then buy it. first read up on the plot though. compared with the good, moving broadway plays, this one just doesn't measure up. it's all fluff. if you enjoy fluff, by all means get the cd.



4. Out of the many soundtracks I own, I can't say 42nd street is my favourite. However, it gets a listen every now and then. The length of it isn't so much a problem [I can listen to the 2001 The Producers and restrain from growing tired], there are a few songs I don't care for. Not to mention, some I blatantly skip over. However, "You're Getting To Be a Habit with Me", "Only Have Eyes For You", "Lullaby of Broadway", "A Quarter to Nine", and "42nd Street" are all excellent, and worh the 20 bucks. The beginning of the sdtk isn't the most enthralling show tunes I've heard, but the latter half makes up for it. If you're aim is to work towards completing your broadway collection, by all means, get this album! But if you're not much of a fan of musicals, there are better. 3.5 stars.



5. Even though the original performace only closed in 1989, after a nine year run(one of the longest-running shows in Broadway history), its really no suprise to see 42nd Street back in action. With catchy, classic songs such as the perky, slighty corny "We're in the Money", the comedic "Keep Young and Beautiful", the classic "You're Getting to Be a Habit with Me", the wonderful title song, and of course the big one, the turning point, the always great "Lullaby of Broadway", the show is larger than life. Christine Ebersole is truly a star, with an amazing vocal range. If you listen to all of her songs, you will hardly believe you are hearing the same person. David Elder has a perfect tenor voice, Michael Cumpsty, although everyone says he is no Jerry Orbach, has excellent acting skills, Mary Testa and Jonathan Freeman are the perfect pair, and Kate Levering is a talented Peggy Sawyer. The addition of some new songs, such as "Keep Young and Beautiful", "I Only Have Eyes for You", "With Plenty of Money and You" and the new verse to "42nd Street", make the show even greater. The "grandaddy of all backstage musicals" will never die: 42nd Street, that big parade, really will go on for years.

5 comments about Oklahoma! Broadway (1979 Broadway Revival Cast).

1. My grandparents once took me to see this musical in central Oklahoma at an outdoor production. I was a fan from that moment on. The music here accentuates the greatness that is the American musical in ways that will make you feel happier for having listened to it. I dare you to listen to the main theme of this song and still feel down about your day. Chances are you will start singing along when you've heard it a few times, or, if you're like me, throw your arms up in the air as your driving around town as you sing the lines, "OoooooooKLAhoma where the wind comes swinging down the plain!"
   
   And yes, people in other vehicles look at me as if I just lost my mind. I suppose that my actions are a testament of the greatness of this music, and that is a very good thing indeed.



2. This is generally a decent recording of Oklahoma. My favorite characters, Ado Annie and Will Parker, are delightful on this recording in "I Cain't Say No" and "All er' Nuthin'". Ado Annie does use a character voice that, to someone unfamiliar with the show, might be deemed annoying. However, if you're a fan of the show and the character, this Ado Annie will please. The other characters also provide decent musical performances. All listeners will be satisfied by Curly's melodic voice. Laurie is the same for the most part, however, whether it be her voice or the recording, the vocals in "Out of My Dreams" seem to grate on your ears. The only other compaint I have is that "Kansas City" is cut down to a two minute song since the dance break is stripped away completely. All in all, I am very pleased with this recording and would recommend this product to fans of Oklahoma!



3. This is a terrific recording of the Rodgers and Hammerstein classic. Christine Andreas is a FANTASTIC Laurey, bringing real independent spirit and a vivacious energy to "Many a New Day", while soaring with a her lovely soprano over her big ballads, "Out of My Dreams", and "People Will Say We're in Love", a duet with Laurence Guittard, who sings all of his songs with warmth, heart, and beautiful voice.
   
   Harry Groener is the ideal Will Parker, and Christine Ebersole is the best Ado Annie on record, bringing tons of humor and a healthy, strong belt to "I Cain't Say No".
   
   Martin Vidnovic's Jud is in very good voice, and although her doesn't bring the emotional turmoil to "Lonely Room" that Shuler Hensley does on the 1998 London Recording, he comes in a very close second.
   
   The rest of the cast is in fine shape, the orchestra plays at ideal tempos, the sound is crystal clear, and the orchestrations are vibrant and fantastic.
   
   Not including the dream ballet is a disapointment, but other than that, this is the best recording of Oklahoma!, due to the sparkling cast and terrific orchestrations.



4. This cast album to the acclaimed 1979 Broadway revival of OKLAHOMA! is a perfect testament to its amazing cast and the everlasting legacy to the genius of Rodgers and Hammerstein.

   Laurence Guittard (A LITTLE NIGHT MUSIC) and Christine Andreas (MY FAIR LADY, ON YOUR TOES) headlined the revival as the starcrossed lovers Curly and Laurey, respectively, with the delightful Mary Wickes in her element as Aunt Eller.

   Making their Broadway debuts as the secondary couple Ado Annie Carnes and Will Parker were, respectively, Christine Ebersole (42ND STREET) and Harry Groener (CRAZY FOR YOU). Martin Vidnovic (THE KING AND I) played the menacing farmhand Jud.

   Laurence Guittard has a warm and resonant voice, which is well-suited to the role of easygoing Curly, and he sings a gorgeous version of "Oh, What a Beautiful Mornin'". Dulcet-toned Christine Andreas is a perfect Laurey, singing a thrilling and yes, dreamy, version of "Out of My Dreams", whilst her rendition of "Many a New Day" turns into a jaunty anthem of defiance. Utterly delightful.

   Christine Ebersole, who won a Tony for the 2001 revival of 42ND STREET, is a perfect fit for the comical soubrette role of Ado Annie Carnes. Her "I Cain't Say No" drips with humour, while her duet with Harry Groener in "All 'Er Nuthin'" is perfectly-performed.

   Given the huge abundance of OKLAHOMA! cast albums available, this one may not seem essential; but the perfect cast and top-drawer performers of Laurence Guittard, Christine Andreas and Christine Ebersole make it one of the best.




5. I saw this production twice when it came to Oklahoma City on it's way to Broadway. It is the best yet, and this CD captures the energy of that show very well. All of the performers are first rate and the memory of the cast singing "OKLAHOMA!" up to the footlights still sends chills down my spine. Since the recording was made when LP's still reigned, there are some cuts, but all in all, a very satisfying recording. It's too bad this production wasn't preserved on video.