CastAlbums.org: REVIEW: New solo discs from Cheyenne Jackson and Jose Llana

Originally published on CastAlbums.org.

This summer, two of Broadway’s leading men released new recital discs capturing studio versions of recent concert set lists: Jose Llana‘s Altitude, based on his Lincoln Center American Songbook concert of last year, and Cheyenne Jackson‘sRenaissance, adapted from the “Music of the Mad Men Era” pops concert he’s performed with a number of different orchestras.

Llana’s album is largely a career retrospective, featuring songs from On the Town,Saturn Returns (aka Myths and Hymns), The King and I, The 25th Annual Putnam County Spelling Bee, and Here Lies Love, with a few additional songs from both Broadway and the world of pop. The songs from On the Town (“Lonely Town“) and Saturn Returns (“Icarus,” “Hero and Leander,” and the title number) are particularly welcome, as neither production resulted in original cast albums and the material highlights what Llana does best: sensitive singing right at the border of art song and pop. Continue reading

Advertisements

CastAlbums.org: REVIEW: Paint Your Wagon – Encores! Cast Recording

Originally published on CastAlbums.org.

Paint Your WagonPaint Your Wagon is exactly the kind of show Encores does best. It was an early effort by one of Broadway’s most successful songwriting teams (Lerner & Loewe), working in an explicitly American idiom (gold-rush Americana). The show was a moderate success, but the cast album was severely truncated. The film bore little resemblance to the show, nor was it very good. So despite a couple of hit songs (“I Talk to the Trees” and “They Call the Wind Maria“), the show more or less faded into obscurity.

When the curtain rose at City Center in March, 2015 to a gloriously large orchestra (44 musicians!) playing a pulsing overture that immediately evoked the American west, audiences knew they were in for a treat. With a trio of perfectly cast leads — Keith Carradine as old miner Ben Rumson, Alexandra Socha as his daughter Jennifer, and Justin Guarini as the love interest Julio — songs familiar and surprising sprang to life.  Continue reading

CastAlbums.org: REVIEW: Three Alfred Drake Reissues

KismetOriginally published on CastAlbums.org.

Alfred Drake is having a moment. Sure, he died nearly a quarter-century ago, but with three of his albums newly available, it’s a great time to be an Alfred Drake fan – or to become one.

Once Broadway’s leading baritone, Drake famously originated roles in Babes in Arms, Oklahoma!, Kismet, and Kiss Me, Kate, recording the latter two twice, with later stereo discs complementing the original monaural versions.

That stereo version of Kismet, a recording of the 1965 Music Theater of Lincoln Center revival, is the first of the Drake reissues, out now from Masterworks Broadway. Drake reprises the role he originated, Hajj, joined this time around by Anne Jeffreys as Lalume, Lee Venora as Marsineh, Richard Banke as the Caliph, and Henry Calvin as the Wazir.  Continue reading

CastAlbums.org: REVIEW: Merman’s Apprentice – Original Cast Recording

Originally published on CastAlbums.org.

054871If you’ve ever uttered the phrase “they don’t make ’em like they used to anymore,” I would kindly direct your attention to Merman’s Apprentice, the new musical byStephen Cole (book & lyrics) and David Evans (music), which tells “a musical fable” about La Merm mentoring a teenage star to take over the role in David Merrick‘s all-children version of Hello, Dolly!

Wait, what? No, Merrick never pulled off that stunt, though one can easily imagine him hearing about this show from the afterlife and ruefully thinking, “Why didn’t I think of that?” This is fable, not documentary. But like the best fables, it has plenty of heart and you might learn a little something from it too.  Continue reading

CastAlbums.org: REVIEW: The Hunchback of Notre Dame – Studio Cast

Originally published on CastAlbums.org

300_hunchbackIf you only know The Hunchback of Notre Dame from the 1996 Disney animated film, you’re in for a surprise the first time you listen to the newly released Studio Cast Recording of Disney Theatrical’s stage adaptation. Taking a more “adult” approach to the material by hewing closer to the Victor Hugo source, composer Alan Menken, lyricist Stephen Schwartz, and librettist Peter Parnell have given us a Hunchback that bleeds, lusts, and ultimately soars.  Continue reading

The Sondheim Review: No guarantee of happiness

The destructive potential of the American Dream

Originally published in The Sondheim Review.

Mark Linehan (center) played John Wilkes Booth in New Repertory Theatre's October 2014 production of Assassins in Watertown, MA. Photo by photos by Andrew Brilliant / Brilliant Pictures.

Mark Linehan (center) played John Wilkes Booth in New Repertory Theatre’s October 2014 production of Assassins in Watertown, MA. Photo by photos by Andrew Brilliant / Brilliant Pictures.

Stephen Sondheim has distanced himself from the practice of reusing discarded songs from old shows when writing new pieces. He has only ever acknowledged dipping into his trunk twice, both for Wise Guys: “Addison’s Trip,” present from the first reading in 1998, and “It’s In Your Hands Now” from the 1999 workshop. What distinguishes these from one another is that while “Addison’s Trip” reused material from an unknown song from a dead project (“Lunch” from Singing Out Loud), “It’s In Your Hands Now” came from Assassins.

It makes sense that if two shows were to share music, it would be the two written with John Weidman about the destructive potential of the American Dream. Even to the untrained ear, “It’s In Your Hands Now” sounds like Americana, with a melody based on the tones of a bugle call and a lyric about the “land of opportunity.” According to Look, I Made a Hat, “It’s In Your Hands Now” is based on “Flag Song,” an abandoned opening number for Assassins that focused on regular Americans before introducing the titular killers. But if you’re reading The Sondheim Review, chances are the first time you heard “It’s In Your Hands Now,” your subconscious started singing along with a different set of lyrics: “I just heard / On the news / Where the mailman won the lottery.” Continue reading

The Sondheim Review: A lotta Sondheim songs

Cabaret offerings prove the strength of the material

 

image4

KT Sullivan and Jeff Harnar perform Another Hundred People at the Laurie Beechman Theatre. Photo by Russ Weatherford.

Originally published in The Sondheim Review.

 

On any given night in New York City there is likely to be at least one cabaret offering some kind of Sondheim program. That leaves intrepid fans to wonder if artists can still show something new at such a performance. Recently, KT Sullivan and Jeff Harnar and Broadway leading lady Alice Ripley took up the challenge.

Harnar and Sullivan’s Another Hundred People at the Laurie Beechman Theatre is billed as “Act Two” of their Sondheim program Our Time, from 2014, but it’s fully satisfying on its own, and in many ways superior to its predecessor. Based on the idea that Sondheim’s lyrics can do the heavy lifting, the performers eschew banter for a song-stuffed program of 18 numbers — 40 songs in all, from Sondheim projects.

Their program is most exciting when numbers take on fresh ideas through new contexts and dialogue with other songs, ably shaped by musical director Jon Weber and director Sondra Lee. Harner’s smarmy take on “I Know Things Now” from Into the Woods in medley with “More” from Dick Tracy turned the song about a young woman reaching maturity into a celebration of a gay man’s discovery of sexual abundance. The duo’s medley of songs about partnership (including the opening number from Wise Guys, the title song from Bounce, plus “It Takes Two” and “Side by Side by Side”) became a mini-musical in itself.  Continue reading