Me and Juliet original cast album on CD

Well, I've missed the opportunity to have something Halloween-related today; I don't know maybe The Phantom of the Opera, or the musical version of Lestat the Vampire (has that opened yet?). Instead we have the scenery that ate the musical by Rodgers & Hammerstein. That's basically how the informative notes to this CD reissue describe Me and Juliet.

It's a show-within-a-show. Am I in a rut with those? Well, apparently this one takes place in just about every place within a theatre, including the lighting catwalk. No wonder the set took over.

The only song I had heard from this score is "No Other Love" and it's a wonderful song presented in duet. Bill Hayes has a nice tenor voice. Isabel Bigley a lightish soprano that gets a bit covered in the upper reaches. Of course, it sounds as if this cast album was not remastered before being transfered to CD, so that may be partly to blame.

A couple of the songs about the theatre milieu approach funny without really getting there. The "Intermission Talk" has some hysterical references to which I laughed out loud, but the music is all over the board and doesn't settle on any one style long enough to make an impression. "It's Me" is also funny, about how an actor is no one until she takes on a role. This song could easily be arranged for one women and would be a good cabaret addition. "The Big Black Giant" about the audience is a good idea, again with too many musical styles to really sink my ears into.

The two songs from the show-within are blah, although the singing of baritone Mark Dawson is very good. I must check him out to see if he can reappear in my Year.

ps. It turns out, Mr. Dawson has already appeared in my Year, having been in the original cast of Fiorello, although I didn't list him in my cast list or labels as he didn't have much solo work.

Me and Juliet
Music by Richard Rodgers
Book and Lyrics by Oscar Hammerstein II
Opened May 28, 1953 and ran fro 358 performances
Cast: Barbara Carroll, Isabel Bigley, Bill Hayes, Arthur Maxell, Mark Dawson, Joan McCracken, Bob Fortier

Jennie original cast album on CD

One of the best perks of checking out cast albums from the library is that you can take a chance on a failed show to see if it offers anything worthwhile. That was my thinking when I selected the Schwartz & Dietz show Jennie from the bin. I had never heard of the show and I don't really know much about the songwriting team. But it was a star vehicle for Mary Martin, and she has yet to appear in my Year, so bring on the flop.

This show ran for only 82 performances in 1963, and I can tell why thanks to the informative liner notes. The story takes place in the early 1900s, following the career of an actress as she performs both in New York and on the road. Only one of the songs is from a show-within-a-show, though; the rest of the score is sung by the actress character and her "real life" family and friends.

The music is uniformly listenable, although I found it all very similar. The many upbeat songs are upbeat but not unique. The ballads are lush, but non-specific. Despite the liner notes waxing rhapsodic about the underappreciated score, I have to say much of didn't move me. The big ballad, or "I want" song for Ms. Martin is "Before I kiss the World Goodbye" and it's a likeable enough song, but not very specific to the anything. One very nice song literally sings the praises of Seattle, and I'm surprised it hasn't been taken up by the tourist board of that city. There's a nice duet for two men called "I Believe in Takin' a Chance". There's a sort of funny (odd) religious song "The Night May Be Dark" that has the feel of some of the religious songs that Gordon MacRae recorded with Jo Stafford.

The cast were unknowns to me, except for Ms. Martin. George Wallace has a fine baritone voice. Robin Bailey is best when he sings character stuff, like the funny "Over Here" where the lyrics compare England and the US. Jack De Lon has a nice tenor ring to his voice. Ms. Martin sings admirably and I must make a point of finding a recording of her doing better stuff.

I'm curious as to why this got transfered to CD; is there such a cry for recordings of Mary Martin?

Jenny
Music by Arthur Schwartz
Lyrics by Howard Dietz
Book by Arnold Schulman
Original cast album recorded in 1963. Released on CD in 1993
Cast: Mary Martin, George Wallace, Jack De Lon, Robin Bailey, Ethel Shutta

A Producers Two-Fer

Well it's two for the price of one today with both the 2005 film of Mel Brook's The Producers and a documentary about the recording of the cast album for the stage show in 2001. Both DVDs arrived in my mailbox on the same day and it seemed logical to pair them in an entry.

The documentary taped during the recording of the cast album is mostly delightful. Perhaps I got a bit tired of Mel Brooks during it, but it's really his story to tell, so one must be forgiving. He's earned at least that much. I was struck by how intensely everyone was concentrating during the process. There was little hardy-har-haring, even from notorious Nathan Lane. I supposed the cost of producing an album and the pressure of getting it done in one day doesn't allow for much down time. We really only see the takes that are the final ones, I suspect, and that was a bit annoying, too. I wanted to see at least one big caflooey moment, assuming there was one.

The film version was made almost four years later and the first thing that I noticed was how much Nathan Lane's voice had aged, or more accurately how much his voice had worn out. Watching the process of recording the cast album made me appreciate the strain he was placing on his voice; by the time he's gotten to the film, the strain of eight shows a week for however long he performed the role shows--or rather sounds.

The film does not really capture the inspired lunacy of this show. And while Uma Thurman and Will Ferrell don't embarrass themselves totally by taking on the roles of Ula and Franz Liebkind, having just watched the recording session with Cady Huffman and Brad Oscar, it's difficult not to feel slightly on their behalf.

I still kick myself for not trying to see the out-of-town tryout for The Producers, which happened in Chicago. I rarely get swept into the latest zeitgeist of shows, or movies, or whatever, so I usually miss a lot. But this was ol' fashioned musical comedy at it's most inspired.

I'm too much of an old bitty. Hence my love of John Raitt and Alfred Drake. Perhaps I should move to Little Old Lady Land.

The Producers: The Movie Musical
Recording The Producers: A Musical Romp with Mel Brooks
Music and Lyrics by Mel Brooks
Book by Mel Brooks and Thomas Meehan
Directed on the stage and on film by Susan Stroman
Cast in both film and album: Matthew Broderick, Nathan Lane, Gary Beach, Roger Bart
Additional film cast: Uma Thurman, Will Ferrell
Additional album cast: Cady Huffman, Brad Oscar

Funny Lady film on DVD

This is the film that got in the way of some good songs. It was never on stage, but as the sequel to Funny Girl, Funny Lady depicts the later life and unhappy, second marriage of Follies legend Fanny Brice. Reprising her role as vaudevillian cum chanteuse is Barbra Steisand. Reprising his role from the first film as husband no. 1 is Omar Sharif. Standing in as husband no. 2, Broadway impressario Billy Rose, is James Caan. What is it with La Babs working with men who don't (or shouldn't) sing?

Well, almost all of the music for Funny Lady is for Ms. Streisand and it is mostly pretty good stuff, if the production of the film would just get out of the way. Perhaps the soundtrack for the film gives its due to the songs of Kander and Ebb. Odd that John Kander and Fred Ebb should write the songs for the sequel to a show with songs by Jule Styne and Bob Merrill. There must be a story there somewhere. Well, I guess the story starts by saying many of the songs are by composers of the past, like Youmans and Jolson and Arlen, and only a couple of new songs by Kander and Ebb make it into the film.

I was particularly taken with the version of the gospel classic "Great Day" that Fanny sings as the big number from Rose's production of Crazy Quilt, the show-within-the-show of the first part of the film. It's a version by Vincent Youmans. "If I Love Again" is good and is by Jack Murray. "Let's Hear it for Me" is actually by Kander and Ebb.

There's a bit of chemistry between Streisand and Caan, which helps, but the story-telling of their love affair is poorly handled and we don't quite see how love blossoms. Some of the scenes between them feel forced. Particularly awkward is a scene between Fanny and Billy of the 1940s, when the pair have "aged". The Joan Crawford-inspired hair on Streisand is funny, unintensionally.

Would the third installment be Funny Woman?

Well, this was never on the Broadway stage, only the Hollywood studio, so I'd better get back to the real thing.

Funny Lady
Music by Fred Ebb, but mostly by a lot of others
Lyrics by John Kander, but mostly by a lot of others
Screenplay by Arnold Schulman and Jay Presson Allen
Film directed by Herb Ross released in 1975
Cast: Barbra Streisand, James Caan, Ben Vereen, Omar Sharif, Roddy McDowall

Turn of the Century live performance at the Goodman Theatre

The last live musical performance I saw at the Goodman Theatre was Ain't Misbehavin', which I very much liked, so I was looking forward to a new musical play from the Goodman, featuring selections from the Great American Songbook in a production directed and choreographed by Tommy Tune, starring Broadway veteran Rachel York and film good-guy Jeff Daniels. But Turn of the Century was a disappointment from beginning to end when I saw it over the weekend.

This is basically a show that gets in the way of a lot of good music. The show tells the story of a pianist and a singer who get sent back one hundred years and make a name for themselves by "writing" many of the song standards that have yet to be written. We hear many of the most recognizable songs of the last one hundred years, usually in snippets.

Rather than a love story for the ages, this is a love story that takes ages. As my theater-going companion pointed out, there is no chemistry between Mr. Daniels and Ms. York, and while the later sings admirably in the several full songs she is given, often-times the over-blown arrangements get in the way. Mr. Daniels displays little of the charm that is his trademark on film. And while he is often very animated (particularly while miming playing the piano), he seems to just be being himself most of the time, which doesn't really reach very strongly across the footlights.

Joining these two on stage is an ensemble of 16 Chicago-based actors who back-up the two leads, but are given very little time in the spotlight themselves. One of the few times an ensemble member steps front and center is when Kevin Gudahl, as Harry Van Deusen the leading songwriter of 1900, sings one of the few original songs in the score--about Mr. Daniels getting his comeuppance and being outed as a fraud. Mr. Gudahl is an accomplished Chicago actor whom I have seen in mostly classical plays at Chicago Shakespeare Theatre. He can really sell it when called for--something Mr. Daniels should learn.

With the star-studded cast (well at least studded with two), a brand-name director, and a book by Brickman and Elice (of Jersey Boys fame), I'm sure this was pegged to transfer to Broadway following this try-out in Chicago. Dare I say without a much better book, better musical arrangements, and perhaps even a new lead to two, I think this show will not see the light of day after is goes dark in Chicago.

Turn of the Century

Music by everyone from Irving Berlin to Barry Manilow
Lyrics by the same
Book by Marshall Brickman and Rick Elice
Directed by Tommy Tune
Presented at the Goodman Theatre in Chicago through November 2
Cast: Jeff Daniels, Rachel York, Ron Orbach, Rachel de Benedet, Kevin Gudahl, Rebecca Finnegan, Johah Rawitz

Guys & Dolls 1995 studio cast recording

The liner notes for this studio recording make a big deal that it captures all of the music from the original stage version of Guys & Dolls. I don't know how important a point that is, especially since, beyond the dance music, I had heard the whole score before. But this is a relatively good cast and I enjoyed most of the two-disc set.

The first sung track on the disc is the "Fugue for Tinhorns" and I doubt there are many much better openings for a show. Somehow this song captures the whole of Damon Runyon's New York--action and accent both.

Miss Adelaide is sung by Kim Criswell and she does well with my ears' memory of the cupie dolls voices of Vivian Blaine and Faith Prince. "Adelaide's Laments" are well-done, and the Hot Box Dancers' number are well presented, too, although I got tired listening to all the dance music that surround them.

Don Stephenson does well living up to the memory of Stubby Kaye as Nicely-Nicely, although "Sit Down, You're Rocking The Boat" feels a little slow in tempo to me.

The legit singers for this recording are Emily Loesser (the composer's daughter) as Sarah Brown and Gregg Edelman as Sky Masterson. Ms. Loesser has a pretty soprano voice, which I suspect is very similar to her mother's voice (Jo Sullivan Loesser). Sometimes in its upper-most register, her voice takes on a bit of a heavy, covered sound. But that only happens in the final notes of songs. Mr. Edelman has a light baritone voice that lacks some of the richness that I wanted to hear in Sky's songs. His lower register is particularly under-powered, but is not called for often with this score.

Four bonus tracks on this disc offer rarely or never heard songs--three written for the film version, and a duet for Sky and Nathan that was written for the original stage version, but was cut out of town. This duet "Travelling Light" is particularly delightful and I'm glad to discover it.

Guys & Dolls
Music and Lyrics by Frank Loesser
Book by Jo Swerling and Abe Burrows
Based on the stories and characters of Damon Runyon
Studio recording with the National Symphony Orchestra conducted by John Owen Edwards
Released in 1995
Cast: Don Stephenson, Emily Loesser, Tim Flavin, Gregg Edelman

Boys from Syracuse off-Broadway Cast recording on CD

I knew that Rodgers and Hart wrote clever, tuneful musicals, and it's about time I encountered one in my Year. Here at last is recorded proof that the songs of the other R & H were good, too. Boys from Syracuse is based on Shakespeare's Comedy of Errors and its story follows two sets of twins separated at birth.

A childhood crush of mine, Stuart Damon, stars as Antipholus of Syracuse. He's best known to viewers of General Hospital and the 1960s version of Rodgers & Hammerstein's Cinderella with Lesley Ann Warren. Here, Damon gives good examples of fine singing--particularly in the standard "This Can't Be Love" sung in duet with Julienne Marie, and in his one solo number, "Dear Old Syracuse" where he handles a rangy, swinging melody. Damon is the reason I plucked this recording out of the bin at the library.

I had previously heard a version of "Sing for your Supper", but the original trio version presented here is terrific and terrifically sung by Ellen Hanley, Julienne Marie and Karen Morrow. Actually harmonies!

The whole score is lively, and varied, and tuneful, even in the slightly Gilbert & Sullivan-inspired chorus numbers. I must make a point of listening to more Rodgers and Hart on CD, which seems to be the only way to find these scores in their original swinging versions.

The Boys From Syracuse
Music by Richard Rodgers
Lyrics by Lorenz Hart
Book by George Abbott
Off-Broadway Revival Cast Recording from 1963
Released on CD in 1993
Cast: Stuart Damon, Rudy Tronto, Danny Carroll, Karen Morrow, Ellen Hanley, Clifford David Julienne Marie, Cathryn Damon

Jane Eyre original cast recording

I don't quite know how to describe the school of composition that this score seems to fall into. While there are songs, there aren't melodies. It's more like--what's the more fleshed out version of recitative secco from opera? There are very short leit-motives over repeating accompanimental patterns, like a ritornella. Sometimes the leit-motives combine to give the hint of a structure, but really most of Jane Eyre feels like unsatisfying movie underscoring.

A couple of times I did think there was the hint of something better to come, only to be disappointed. The first duet between Jane and Rochester has potential, but when the same style and structure are presented in their second duet a couple of numbers later, it's mockingly bad. The fact that the "figure" of Mrs. Rochester appears, ghostlike, to make this duet a trio must have lead to laughter from the audience.

The pastiche operetta number for Blanche Ingram "The Finer Things" has some potential, too, but only in the wordless cadenzas, not when the lyrics are present. And speaking of lyrics, well I would need an abacus to count the cloying similes and metaphors.

I'm amazed to learn that this show actually ran for more than 200 performances. It lasted as long as that? Composer Paul Gordon has yet to have a follow-up on Broadway. Book adapter and co-lyricist John Caird also directed this show, but fortunately for him, he had struck gold earlier in his career by adapting and directing the mega-hit Les Miserables.

Jane Eyre

Music by Paul Gordon
Book by John Caird
Lyrics by Paul Gordon and John Caird
Original cast album recording in 2000
Cast: Marla Schaffel, James Barbour, Elizabeth DeGrazia

Camelot film on DVD

It's that quintessential musical of the 1960s, but the stage version and the film version of Camelot capture different aspects of the 60s for me.

The stage show captured the promise and hope of the early 1960s, the Kennedy Administration, and a peaceful future. By the time the film was released in 1967, a lot of that promise had dissolved. For me the film version is quintessentially 60s because of the casting of Franco Nero and Vanessa Regrave who both represent the freer, sexually charged aspects of the decade. Vanessa even reprises her undressed sex-kitten look in a bedroom scene with Richard Harris in the bath. Franco Nero's blue eyes are hard to resist (Ms. Redgrave didn't, they have a child together). And his chin could be used as his lance.

I've never seen this show on stage, so I can't comment on how the film differs from the stage show, but it feels very true to the original. The film blends its use of outdoor locations and indoor sets very well. The show is not without its challenges, though. It's long. It has too much exposition and manages not to introduce its villain Mordred until too late in the story-telling to create any real conflict.

I've often thought that Mordred gets short-shifted all around. His song "The Seven Deadly Sins" (not in the film version) is smart and funny. Doesn't that deserve some vocal follow-up? A duet? An "I'm defeated, but it doesn't matter" song? How about an "Oh, Mother get off my back" song? Well, Morgan le Fey doesn't appear in the film, so I guess that wouldn't work.

What was about casting other actresses to play roles originated by Julie Andrews? She owned the role of Gueneviere. It was written for her. Yet in the film, she is replaced by a woman who doesn't even sing for herself. I can understand Robert Goulet not being cast in the film. I actually like Richard Harris in the role and don't have a problem with him replacing Richard Burton. But Gueneviere? Was the vain, sexpot as portrayed by Redgrave how the role was conceived? Certainly the role is vain and a little self-absorbed. But I must believe that Andrews was more innocent and less Pirelli pin-up. Oh, well, maybe that's why Ms. Andrews bares all in the film SOB.

Camelot
Music by Frederick Loewe
Book and Lyrics by Alan Jay Lerner
Film by Warner Bros. released in 1967
Directed by Joshua Logan
Cast: Vanessa Redgrave, Richard Harris, Franco Nero, Lionel Jeffries

Evita film on DVD

Out of respect for the recent announcement concerning the future of Mr. and Mrs. Guy Ritchie, I offer what may be Mrs. Ritchie's only appearance in my Year. Of course, I mean Madonna's portrayal of that other powerful and over-reaching 20th Century icon in Evita. Oddly, this is Antonio Banderas's second appearance in my Year, previously having been discussed in the cast of the revival of Nine.

This film feels very much like an MTV music video, with much of the singing covered by visuals of other action, presented in quick-cut shots. With non-singers playing the two lead singing roles, that may not be surprising. Both leads are very visually satisfying, though, with Madonna wearing very attractive 40's era dresses on her petite frame and Mr. Banderas just being angry and hot.

Jonathan Pryce, as Juan Peron, out-acts and out-sings both of his cast mates, offering subtleties in both acting and singing, even if his is not a traditional baritone voice.

The song written for the film, "You Must Love Me" doesn't really offer anything new and isn't a pretty enough tune to warrant its inclusion.Does someone have a cabaret show of all song cuts from out-of-town tryouts, or songs added for films or revivals? An interesting idea.

One very nice addition to the film that I don't recall from the stage version (which I saw years ago) is the inclusion of dance, particularly tangos, expecially the "dream tango" that Banderas and Madonna dance during their only duet, "High Flying Adored".

Evita
Music by Andrew Lloyd Webber
Book and Lyrics by Tim Rice
Film released in 1996
Directed by Alan Parker
Cast: Madonna, Antonio Banderas, Jonathan Pryce

Ghost Light Monday--Edie Adams

It was announced this week that Broadway and television veteran, and Tony Award-winning actress Edie Adams died at the age of 87 (some sources say she was 85). Ms. Adams appeared once in my Year, in the role of the Fairy Godmother in Cinderella, where she was also featured in one of the DVD extras. Ms. Adams originated two important musical roles on Broadway--Eileen in Wonderful Town (to Rosalind Russell as sister Ruth), and Daisy Mae in Li'l Abner, for which Ms. Adams received a Tony Award.

While those two shows were Ms. Adams's only Broadway credits, she had an active film and television career and was famously married to comedian Ernie Kovacs. She also had a recording career that played up her sex kitten image (as the album cover in this entry shows).

I was surprised to read in one of the obituaries for her, that Ms. Adams trained as an opera singer at the Juilliard School. Not that she didn't have a pleasant singing voice, but it didn't strike me at all as operatic. But then this was the day when all singers got training, no matter what style of music they ended up performing.

Would that all Broadway singers had to go through some real singing training.

Annie Get Your Gun film on DVD

Perhaps this film suffers a bit from my having very recently seen Calamity Jane, but I didn't like the film version of Annie Get Your Gun as I had hoped. Both films feature strong women from the backwoods who have to subjugate themselves to win the man of their dreams--in both cases, that man is played by Howard Keel. I subjugate myself over and over thinking of the virile baritone.

Betty Hutton was a last minute replacement for Judy Garland as Annie, and it's hard for me to imagine Garland in the role, especially in the broad manner that Hutton presents. The DVD extras include the two musical numbers that Garland filmed before Hutton replaced her. They are wildly different than what is in the finished film.

I've done Annie on stage and loved it. One of my favorite songs from the score that didn't make it to the screen version is "Moonshine Lullaby." I also miss the quodlibet song "Old Fashioned Wedding" that was written for the revival of Annie in the 1966.

Annie Get Your Gun
Music and Lyrics by Irving Berlin
Book by Herbert Fields and Dorothy Fields
MGM film released in 1950
Cast: Bety Hutton, Howard Keel, Keenan Wynn, Louis Calhern

Applause original cast album on CD

Fasten your seat belt, it's going to be a bumpy night--it's All About Eve on the musical stage with screen siren Lauren Bacall, singing and dancing as Margot Channing and being shoved aside by upstart Eve. I had only heard the title song from Applause as sung by Bonnie Franklin (her only Broadway credit), and didn't even know what the context of the song or what the story of the musical was. Well, this is another score that is a delightful find for me.

There are lots of funny theater inside jokes in this score--starting from the opening chorus "Backstage Babble" with it's blah, blah, blah of compliments. Also there are lots of funny references to stars of the time of the show (1970) and the early career of Ms. Bacall. While the musical score is definitely of its time and sounds straight out of the 60s, its doesn't sound dated to me--maybe because the songs are all new to me.

Len Cariou made his musical Broadway debut in this show, previously having been in straight plays on the Great White Way. He would go on to be closely associated with the shows of Stephen Sondheim (A Little Night Music, Sweeney Todd), but is very good in this score.

Ms. Bacall is delightful on this cast album. She won the Tony for this role (over Katharine Hepburn also sprech-stimme'ing her way through the musical Coco). Bacall is surprisingly musical. Possessing a raspy voice with more legato then I expected, she delivers on all her numbers and clearly has a sense of humor about herself. "Something Greater" that comes near the end of the show is a wonderful song.

The only musical disappointment is the group number "Fasten Your Seat Belts." That title comes straight out of the script for All About Eve, but the line is given to chorus characters rather than to Margot Channing. The CD reissue features some bonus tracks of song cut from the show sung and played by composer Charles Strouse. "The Loneliest Man in Town" is a good song, but I can understand why it didn't make it to the stage--this is a musical about two women. "Smashing New York Times" is a funny, bittersweet song about working so hard for a few nice words in reviews.

Applause
Music by Charles Stouse
Lyrics by Lee Adams
Book by Betty Comden and Adolph Green
Cast album recorded in 1970, released on CD by Decca Broadway in 2000
Cast: Lauren Bacall, Len Cariou, Robert Mandan, Ann Williams, Brandon Maggart, Bonnie Franklin, Lee Roy Reams, Penny Fuller

Grey Gardens original Broadway cast album on CD

This story, the musical telling it, the documentary film the musical is based on, and the Tony Award-winning performance of Christine Ebersole all drove me to pick this cast album out of the bin at the library. While I knew some of the story and had heard one song (which Ms. Ebersole had performed on the Tonys), I was unprepared to be so taken with Grey Gardens. The story, score, and lyrics are all compelling and very well written. Ms. Ebersole's singing ability is tremendous, and I'm only sorry that I didn't see her performance; I suspect her acting was as good as her singing.

The story surrounds Edith Bouvier Beale and her daughter "Little" Edie, of the socially prominent Bouvier family--as in Jacqueline Bouvier Kennedy Onasis, who was Edie's younger cousin. Most of Act One takes place in 1941, as Edie is set to marry Joseph Kennedy, Jr. before he is sent off to battle in WWII. Edie is desperate to escape from her attention-demanding and extrovert mother, Edith (played by Ebersole). The marriage does not happen and Edie becomes trapped in the Hampton's home she and her mother share, called Grey Gardens.

Act Two takes place in 1973 as Edith and Edie are in jeopardy of being homeless as Grey Gardens has become very run-down and overrun by cats, and is about to be condemned. Mother Edith is still attention-demanding and now bed-ridden. Edie, now in her 50s, has spent her life in isolation at Grey Gardens, tending to (and always in the shadow of) her mother. Act Two Edie is played by Ebersole.

The music for this show is particularly wonderful, offering pastiche big band and Gershwin-like songs (appropriate to the 40s era) along with character songs that have a slightly Sondheim-esque feel to them. My favorite song of the score has to be "Another Winter in a Summer Town" which Edie sings near the end of the show. If there is another song which so completely captures longing, disappointment, and resignation I can't think of it now. The music, lyrics, and primarily Ms. Ebersole's singing of it, combine to make a very poignant and touching close to the show.

The credits on the Internet Broadway Database differ from the credits on the cast album for the role of the Act One younger "Little" Edie. The album lists Sara Gettelfinger, while the database lists Erin Davie. Inquiring minds want to know why.

This was composer Scott Frankel's first musical to be mounted on Broadway. I'm certain it won't be his last. I don't know if there are plans for Grey Gardens to tour. It closed on Broadway after only 308 performances. Whether it tours or is allowed to be mounted by a Chicago-based company, I look forward to having the opportunity to see this show.

Grey Gardens
Music by Scott Frankel
Lyrics by Michael Korie
Book by Doug Wright
Cast: Christine Ebersole, Mary Louise Wilson, Matt Cavanaugh, John McMartin, Sara Gettelfinger

Ghost Light Monday -- Apparition of the Eternal Church documentary film

I'm definitely stepping outside the world of musical theater with this one, oddly while still being in the worlds of both music and theater.

Last week I went to a showing of a documentary film. Apparition of the Eternal Church was being shown as part of a festival of the music of Olivier Messiaen and related programs. The title of the film is taken from an organ work of Messiaen, L'apparition de l'eglise eternale. Film-maker Paul Festa has 31 people listen to a recording of the 1931 organ work through headphones and comment on what there are hearing. The film audience doesn't hear the organ piece until afterward. In the case of the showing I attended, the work was played live by Bruce Barber, organist and music director of St. James Episcopal Cathedral, where the screening took place.

The range of reactions and emotions the film depicts is surprising. Even as someone who knows a little about Messiaen's organ music, I was taken aback by how deeply some of the film's subjects were affected by the music, and by how they found their personal experiences reflected in the piece.

Film-maker Paul Festa is a Juilliard-trained violinist who suffered a hand injury due to over-use (I assume playing the violin) and has had to look for musical inspiration outside of performing. Following the screening and music performance, Mr. Festa read from a book he has written about the project and answered questions. Probably in his middle 30s, Mr. Festa is a charming, charismatic personality, whose enthusiasm is infectious. Alright, I'll say it: he's freakin' adorable. Dressed in a golden Aladdin-like tunic and pants with curly-toed slippers, Mr. Festa bounded about St. James Cathedral taking questions as if riding on a magic carpet.

Even apart from my personally being taken with Mr. Festa, however, the film is worth seeking out, and a good reminder of the power that music can have. Currently it is only being show as part of film and music festivals, though, I believe.

Apparition of the Eternal Church

A film by Paul Festa
Cast: 31 people, only two of whom had been known to me before-hand--Harold Bloom, and Marga Gomez

Calamity Jane film on DVD

I mistakenly thought this was a film version of what had been a stage musical, but it turns out it was pure Hollywood. Still, Calamity Jane has a lot of the same vim and vigor as you would expect from a stage musical, and it has baritone favorite Howard Keel who makes his first appearance in my Year. Plus it has a drag number and log-cabin lesbians!

And how could I turn my back on Doris Day, who gives an energetic and athletic performance as Calam? It also brought the world the song "Once I had a Secret Love" which remains a staple of the Doris Day songbook. While the rest of the music is enjoyable, it's not nearly as memorable as that one.

Calamity Jane
Music by Sammy Fain
Lyrics by Paul Francis Webster
Screenplay by James O'Hanlon
Released by Warner Bros. in 1953
Cast: Doris Day, Howard Keel, Allyn McLerie, Philip Carey

Sunday in the Park with George stage version on DVD

Do you think Georges Seurat was OCD? What about Stephen Sondheim? How about Mandy Patinkin? I say meds are needed all around.

Fortunately, everyone is at the height of their powers in the creation and performance of Sunday in the Park with George, filmed from the stage musical in 1985. Sondheim, Patinkin, Peters, Lapine and even Seurat combine in some kind of alchemy to produce one of the greatest musicals of all time--beloved by many.

Movement and stillness are important components of this production, and I assume director and book writer James Lapine is due the thanks for so carefully choreographing this aspect of the show. Light also plays an important part of the show, and the physical aspects of the production are exceptionally good and really help build the drama (not to mention the painting) in the first act.

I was surprised by my reaction to Act Two. I have never seen this show on stage, but had heard the cast album many times. I was prepared to think less highly of the second act than I did of the first act. Judging just by the music, it feels, at times, a little preachy on issues that have been dealt with more subtly in the first act. On the contrary, I found the second act very emotionally moving. I had a good cry during it, actually. Perhaps it was because of the family connection that Marie dotes on, or the love of a grandparent exhibited by second act George, but it was very moving. I was moved. Now I have to move on.

Sunday in the Park with George
Music and lyrics by Stephen Sondheim
Book and stage direction by James Lapine
Original broadway cast filmed on stage in 1986
Cast: Bernadette Peters, Mandy Patinkin, Charles Kimbrough, Brent Spiner, Barbara Bryne

Jekyll & Hyde The Musical stage version on DVD

My Year is invaded by The Hoff! Yes, David Hasselhoff appears as both Jekyll and Hyde in this filmed version of the stage musical Jekyll & Hyde The Musical.

Frank Wildhorn's erratic and rambling tunes do no favors to his performers. While being very listenable, they seem to lack a structure that allows a performer to build songs into a climax. The Hoff suffers the most under this limitation, as Jekyll and Hyde are of course given the most power ballads. A lot of the exposition and plot-moving is accomplished in the equivalent of musical theater recitatives, which have even less structure than the songs.

My first response to listening to this was that Mr. Wildhorn suffered under his own, pedestrian lyrics. But in looking this show up on the Broadway database, I see that Mr. Wildhorn did not write the lyrics or book. They are credited to Leslie Bricusse, famous for a long partnership with Anthony Newly that led to such shows as The Smell of the Greasepaint, the Roar of the Crowd. Fortunately, there is enough blame to go around.

As for Mr. Hasselhoff, I doff my hat to him. He gives a very committed performance that requires a huge range of emotions, and a large vocal range. If his baritone at times seems a bit unsupported, then at least the short phrases of the libretto allow for frequent breaths.

Mr. Wildhorn's wife, Linda Eder in her Broadway debut, originated the role of Lucy, the club singer. Here that role is played by Coleen Sexton. Barrie Ingham appeared both in the Broadway original and this cast. Of course this show ran for more than 1500 performances, proving that no one ever went broke underestimating the tastes of the public.

Jekyll & Hyde The Musical

Music by Frank Wildhorn

Lyrics and book by Leslie Bricusse

Based on a story by Robert Louis Stevenson

Cast: David Hasselhoff, Coleen Sexton, Andrea Rivette, Barry Ingham, George Merritt

Canterbury Tales original Broadway cast album on CD

I had never heard of this show, any of its creators, or any of its cast (with the exceptions of Sandy Duncan, and Geoffrey Chaucer), so I was very interested to listen to this album when I came across it in the library soundtrack collection. Canterbury Tales seems to have all the ingredients of a good show. It ran for more than 2,000 performances in London, but only 121 on Broadway.

After listening to the cast album, I have a sense why it wasn't better received on this side of the pond. The music seems to stride several styles, while not really having a point of view. Is it medieval? No. Is it of 1969? No. It's kind of both and neither at the same time. Also, each song (at least as presented on the album) is so short, it's hard to get anything from them. They never develop either to tell something about the character which is singing it, or develop musically.

With song titles like "I have a Noble Cock", "Darling Let me Teach you to Kiss", and "Hymen, Hymen" there must have been some bawdiness in this show, but it doesn't come out all that strongly in the music. I'm grateful that someone thought that the cast album had enough worth to be transferred onto CD in 1994, but I'm certain it didn't fly out of the sales bin at Tower Records.

Canterbury Tales
Music by Richard Hill and John Hawkins
Lyrics by Nevill Coghill
Book by Martin Starkie and Nevill Coghill
based on the translation of Chaucer by Mr. Coghill
Cast: George Rose, Hermione Baddeley, Martin Green, Sandy Duncan, Ed Evanko, Ann Gardner

Patience, or Bunthorne's Bride television production on DVD

What, ho! Another Gilbert and Sullivan production? I thought he had given up on them as out-dated, over-played, and uninspired? Well, sort of. While this production has a lot more to speak for it than the previous one of the series I encountered, The Mikado, I continue to look for a production of Gilbert & Sullivan that justifies my love of the genre.

One of the best things about G & S operettas are their ridiculously inspired Act One Finales, which seem to go on forever, involving every character and presenting twist after twist--both musically and in the storyline. Patience has one of the best Act One Finales, I think, and it's well presented here in a production that improves upon the staticness of the earlier production of the series I saw.

Part of the problem with this production may be the age of the cast. It's hard to believe Bunthorne or Grosvner as the apple of anyone's eye, when both performers are on the far side of 50. Even Sandra Dugdale, who enbodies the wide-eyed innocence and ample bosum of the title character, is a little long in the tooth to portray the role. But her singing is the musical standout of the cast, so I'll forgive. Kudos to Anne Collins as Lady Jane for accompanying herself on the cello during her Act Two aria, although Ms. Collins' voice lacks a bit of the contralto heft that I wanted to hear.

Patience or Bunthorne's Bride
Music by Arthur Sullivan
Libretto by William Gilbert
Based on a production by the English National Opera directed by John Cox
Cast: Derek Hammond-Stroud, Sandra Dugdale, Anne Collins, John Fryatt

Mayor: The Musical original cast album broadcast on Sirius Radio

So occasionally I have access to a car that has Sirius Radio service, and I've enjoyed listening to much of what is broadcast on "Broadway's Best Channel 77." Today I happened to be in my friend's car while they broadcast the complete cast album of Mayor: The Musical. So it's another vehicle (pun intended) for expanding my Year.

It's the high-flying 80s and Mayor Ed Koch is shaking up the establishment in New York City. According to the Broadway database, this show only ran for 70 performances, which surprises me, because the lyrics are hysterical and the premise funny. And I'm not even a New Yorker.

Maybe it cut a little too close to home, since Koch was still Mayor when this show opened in 1985. Some of the humor is lost on me because it involves local issues or New York personalities of the time. The best songs are those that poke fun at attributes of the City or it inhabitants. Maybe that's what cut a little too close?

Lenny Wolpe is a good singer but isn't given the best stuff to sing here. The funniest stuff is for the chorus: "You Can Be A New Yorker, Too!" and "March of the Yuppies", the latter which lampoons Koch's clean-up of the City.

Mayor: The Musical
Music lyrics by Charles Strouse (he redeems himself for imflicting Annie on us!)
Book by Warren Leight
Cast: Lenny Wolpe, Nancy Giles (who you may know as a commentator for CBS Sunday Morning), Ilene Kristen

The Act original Broadway cast recording on CD

Liza with a z won a Tony for her portrayal in this musical, and Kander and Ebb were nominated for the Tony in the Best Score category, but I had never heard one song from The Act. Well, I'm ready to make up for lost time.

There is a lot to like from this 1977 musical, which was the follow-up to Cabaret for the team of Kander and Ebb. It was clearly written as a star vehicle for Ms. Minnelli, and she delivers on this album. There is little for anyone else to do (at least as far as the score is concerned). As the liner notes for this CD are non-existence, I can't comment on the story or any of the non-singing roles.

Some of the music seems very much like a modern "revival" meeting, including the opening "Shine it On" and the almost humorous version of the Shaker tune "Tis a Gift to Be Simple." "Arthur in the Afternoon" is a very funny song, and I hope is included in someone's cabaret act.

Martin Scorsese directed this show! His only Broadway credit, I believe.

The Act

Music by John Kander

Lyrics by Fred Ebb

Book by George Furth

Cast: Liza Minnelli, and a couple of other people that don't really matter as far as this album is concerned.

The Apple Tree original Broadway cast recording

I've conquered the library system and checked this cast album out from the Evanston Public Library. I had never heard of The Apple Tree, and chose it because it featured Alan Alda and Barbara Harris. Neither are wonderful singers, but are clearly charming performers. The singing of Alda the younger reminds me of the singing of his father, Robert Alda, who was in the original cast of Guys and Dolls--each has a likable voice with enough legato to let the music survive. Ms. Harris has a light soubrettish voice.

This is really three musicals, each one act telling different stories that are really only connected by having the same cast, and loosely the theme of temptation. Much of the music is very witty, particularly "It's A Fish", from the Adam and Eve act of the show.

The second act is set in Roman times and the world of fighting in the lion's den. Harris really sells it in the funny, vampy "I've Got What You Want" although I don't quite understand how it fits into the story.

The third story is a Cinderella variation with Passionella (Harris) dreaming of being a movie star. Harris is the real treat of all three acts. She had her roots in comedy in Chicago 's Second City, and this show made her a star. But perhaps from the short-form of the storytelling, I don't feel any real connection to the characters. This is musical comedy at it's fluffiest.

The Apple Tree

Music by Jerry Bock

Lyrics by Sheldon Harnick

Book by Harnick and Bock

Based on stories by Mark Twain, Frank R. Stockton, and Jules Feiffer

Directed by Mike Nichols

Cast: Alan Alda, Barbara Harris, Larry Blyden, Robert Klein, Marc Jordan