Mandy Patinkin--Recital disc "Oscar and Steve"

Like many musical theater fans, I first encountered Mandy Patinkin in his role in Evita, then later in Sunday in the Park with George. I've liked him in the stage work I've seen in him (although I've never seen him live). So I was curious about his recital disc Oscar and Steve from 1995 when I saw it at a used book and record sale this weekend. I thought "for three bucks, how bad could it be?"

The idea of of this album is wonderful--connecting the songs of Oscar Hammerstein and Stephen Sondheim. There are several pairings of songs that are also very interesting, although work more from a thematic standpoint than from a musical one. The pairing of "You've got to be Carefully Taught" from South Pacific and "Children will Listen" from Into the Woods is a prime example--thematically these songs fit together very well, but in the arrangement offered here it seems to play up the musical differences rather than combine their styles. The version of "An Ordinary Couple" from The Sound of Music with "When the Children are Asleep" from Carousel works better--probably because they are by the same composer.

There are some nice rarities offered here, too: a song from the 1935 film version of Show Boat; a song cut from Follies; and a couple of songs originally written for women.

Mr. Patinkin's musical mannerisms are the stuff of legend, and he doesn't leave you wanting here, I should say--every mannerism is on display in spades. As the joke goes--Mandy Patinkin sings "Somewhere Over the Rainbow" so beautifully he makes himself cry. Is the joke from a version of Forbidden Broadway? For me the only thing more tiresome than an overly precious performance is an overly broad performance.

These two types of performances are Mr. Patinkin's stock and trade.

Oscar and Steve

Music by Richard Rodgers, Stephen Sondheim, Jerome Kern, and others
Lyrics by Oscar Hammerstein and Stephen Sondheim

Performed by Mandy Patinkin

Released on Nonesuch Records in 1995

Ute Lemper--Seven Deadly Sins and Mahagonny Songspiel

I discovered Ute Lemper about the same time I discovered Kurt Weill, so I have forever linked them together--a problem which has probably followed Ms. Lemper for much of her career. I really like her singing of this material, though, and this recording of Weill's Seven Deadly Sins shows why.

Previously, I had watched a very bizarre and confusing film version of this song cycle or chant ballet as its creators called it. Without the distraction of visuals, I am reminded that the orchestra parts of these songs are great. At times powerful, driving and hypnotic, the orchestra parts are what drive this piece for me--as if the orchestra represents the world around the characters who are driven to make such difficult choices given their economic condition. It is as timely now as in 1933 when the work was written.

Ms. Lemper is a wonderful proponent of the work, with a polished (but not too polished) delivery. I love how she, at times, chews her German and spits it out. Lemper strikes the right balance for me between a Lotte Lenya type performance, with its cigarette and gravel, and a Anne-Sophie Von Otter type performance coming from the world of opera. Ms. Lemper has a strong chest voice which rises well into middle range. She seems to have a large break, however, and a smallish headvoice. Fortunately, this work doesn't require much singing in that range.

The Mahagonny Songspiel from 1927 is a collection of songs loosely strung together in a story. I've previously talked about the opera version of Mahagonny. I find the smaller version much more palatable and effective.

I realize in looking at the recordings in my own collection that I have not discussed yet, I have lots of Kurt Weill to go. I hope the singing is as good as that by Ms. Lemper and her Mahagonny cast.


The Seven Deadly Sins
Mahagonny Songspiel
Music by Kurt Weill
Lyrics by Bertold Brecht
written in 1933 and 1927, respectively
this performance released on London Decca Records in 1990
Cast: Ute Lemper, Berlin RIAS Sinfonietta, conducted by John Mauceri

Two from Deanna Durbin on DVD

I always thought of Deanna Durbin as some darling of the musical cinema in the late 30s and 40s, although I think I've only seen her as a juvenile singing the "legit" contrast to Judy Garland's swing. Well, I got a double dose of adult Deanna with It Started with Eve and Can't Help Singing, two musical films Miss Durbin made for Universal in 1941.

Eve is a more a mad-cap comedy with a couple of songs interpolated into it. Durbin plays a young classically trained singer who through a series of misadventures and lies poses as the fiancee of a young, wealthy playboy from New York City (Robert Cummings). The four songs Durbin sings during the film are operetta standards or art songs (one in Spanish). No one else sings in the film--probably a blessing as Robert Cumming's father is played by Charles Laughton. While Durbin's singing is first rate, the material is really lacking in substance. In particular, the film could have used a big, showy finale number for its star; as it is the story just ends.

Can't Help Singing is more of a traditional film musical, although there are only four songs in it, provided from the pen of Jerome Kern and Yip Harburg. I don't know if these songs were used elsewhere. Only the title song caught my ear, although Durbin's co-star Robert Paige has a nice voice.

I very much like Deanna Durbin's voice and regret that she didn't have a bigger, glitzier film career. Her voice has much more character than Kathryn Grayson or Jeannette MacDonald.

Can't Help Singing

It Started with Eve

released by Universal Pictures in 1941 and 1944

Cast: Deanna Durbin, Robert Cummings, Robert Paige, Charles Laughton

Elaine Paige, Stages--recital disc on cassette tape

Being stuck in the 80s, I have a lot of cassette tapes, which I've only just started to explore for my Year of Musical Thinking. Fortunately, my father's car (which I borrowed for a weekend trip to Wisconsin) is also stuck in time and has a tape cassette player, so I was able to relive some of my musical past on the way north. As I got onto I-94 toward Milwaukee, I popped Elaine Paige Stages into the dashboard player.

Ms. Paige is one of those quintessential musical theater performers of the 70s and 80s, having created the roles of Eva Peron in Evita and Grisabella in Cats. She, of course, has done many things since then, but as this recording was made in 1987, songs from shows of the 70s and 80s dominate here.

That actually may be one of my criticisms of this recital disc...um, tape. The range of music is not very broad. I believe the earliest show represented, I believe is Hair (1968). The latest is Cats (1982). I would love to hear some tracks from shows of the 40s and 50s--the so-called Golden Age of Broadway. Perhaps Ms. Paige has another recording that mines that era.

It is hard to argue with any of Ms. Paige's singing, which is strong up and down her "chest" register and reaches into the middle range without getting ugly. I have always liked her voice and find it less nasal than some of her belt singer comrades.

All of the tracks here seem over-produced to me, with large orchestrations and involved arrangements that sometimes get in the way. Well, it was the 80s and it wasn't only the hair that was big. I particularly wished that songs like "Send in the Clowns" and "Losing my Mind" could have provided a change of sonority to the big, bold offerings.

Rosemary Clooney and Friends--Live performance by Chicago Cabaret Professionals

Rosemary Clooney did not personally appear in the cabaret performance. She died more than 7 years ago. I've never read her autobiography, Girl Singer, but after seeing Rosemary Clooney and Friends by the Chicago Cabaret Professionals, I want to. Rosie didn't have an easy or happy life.

Roughly once a month, the Chicago Cabaret Professionals have been producing one-night-only events at the Drury Lane Water Tower Theater. There is usually a theme or composer-focus for the music included and a different cast of singers participates each time. RC and Friends was the first one I've attended.

I was pleased by the differences in the styles and voices of the five women and one man who made up the cast of this evening. Ranging from a legit soprano voice through all variants of cabaret singer style to a "smoke and gravel" sound--each voice had its place and was suited to the music they were asked to sing.

Some of the music from Clooney's catalogue was familiar to me, but a lot was not. I could have wished for a couple additional uptempo songs, but given the show included more than 24 songs, that's a minor complaint.

Highlights for me were the Marlene Dietrich/Clooney duet between Suzanne Petri and Bob Moreen and two of Rosie's biggest hits "Mambo Italiano" and "Come-on-a My House" both performed by Heather Moran (who had fantastic shoes, too).

Rosemary Clooney and Friends

Created and performed by Chicago Cabaret Professionals

Performed Monday, July 27, 2009 at the Drury Lane Water Tower Theater

Cast: Suzanne Petri, Bob Moreen, Heather Moran, Ava Logan, Spider Saloff, Jeanne

The Making of Miss Saigon--BBC documentary

I have never seen Miss Saigon, so perhaps it's unfair of me to make any kind of assessment of the show based on this 1988 documentary The Making of Miss Saigon. But that's what I'm going to do.

Filmed over about a year's time, I assume as a publicity-builder for the world premiere of Miss Saigon in London, this documentary offers snippets of various aspects of the timeline in creating the show. The first half deals primarily with the worldwide search for the actress to play Kim. We see bits of auditions in New York, Hollywood, Hawaii, and Manila. There is a cringe factor with some of the auditions, and it's hard for me to judge objectively, but I think when you see Lea Salonga audition, you realize she's the one. With no makeup, Ms. Salonga looks very young when we first meet her. It's interesting that another Filipina was cast as the understudy for Kim. I wished for a little more info about their relationship to one another--all we get is a label that both women were alumnae of Manila's young people's program for musical theater.

Actually, this whole documentary would have benefited from a bit more narrative. Granted when you're in the process of creating a technically complicated, theatrically challenging new meta-musical, the last thing you have time to think about is a behind-the-scenes doc, but a bit of attention could have really helped the flow and tension of this film. There is still a bit of tension created--although it has nothing to do with the casting and all to do with the technology of the show.

We see very little of the final show--some chorus numbers, a song by Jonathan Pryce interspersed with chorus quick-changes. What we do see doesn't make me want to see more. I know there are some powerful ballads and duets in the score, but you wouldn't know it from this doc.

Not a lot of information is given about Jonathan Pryce, and again a little background would have helped. Is his character supposed to be multi-racial? He just kind of looks like his eyes are swollen from bee stings. No attention (not even an identifying label) is given to the actor playing the American soldier who is Kim's husband. See, they don't even say the character's name; is this purposeful?

This could fall under the heading of a cringe-making comment, but does anyone else find Cameron Mackintosh kind of adorable?

Miss Saigon
Music by Claud-Michel Schoneberg
Lyrics by Alain Boublil and Richard Maltby Jr.
Opened in London in 1988
Cast: Lea Salonga, Jonathan Pryce, and a bunch of other unidentified people.

Jacques Brel is alive and well and Living in Paris--film version

I didn't realize there had been a film version of JBIAAWALIP until this popped up on my Netflix suggestion list. Having been involved as a crew member in a stage production was I was 16, I have an affinity for this music. I'm certain I didn't understand it 30 years ago, and I'm not certain I understand it now, but despite that I like this music.

Well, the film version of this cabaret show sometimes helps and sometimes hinders getting a hold on the meaning behind the songs. At the risk of proving my ignorance and lack of understanding, I'll attempt to say what meaning I get out of this music:

Mr. Brel seems to be an nihilist, seeing and having experienced some of the worst of human behavior before, during and after the second World War. He also seems to be the antithesis of Edith Piaf's Je ne regret rien. M. Brel regret tout. Every song is tinged with sadness, regret and loss. His signature song, which I don't recall in the stage version of this show but is sung by Mr. Brel in the film, is titled Ne me quitte pas--Don't Leave Me. Well everybody leaves everything in Brel's songs. Lovers, parents, children, old folks, war, peace, security, homelands, even virginity gets left behind.

The cast for the film is three singers, Mort Shuman and Elly Stone from the original stage version, along with Joe Masiell. All three are well fitted to the music they perform. Mr. Masiell is a particularly good singer, and doesn't look bad in bullfighter silks, either. I thought of Mr. Shuman primarily as a character singer, but he does some nice legato singing here, too, when asked.

Elly Stone, along with her husband Eric Blau, is the primary reason American audiences know anything about Jacques Brel (if they do). Her inclusion of Brel's songs in her cabaret act lead to the creation of the show that is the basis of this film. While I like Ms. Stone's singing for the most part, I would have liked another female voice to form a little contrast.

Unlike the stage show, the film includes an ensemble behind the primary singers. The ensemble is mostly there for atmosphere, but also interact with the leads, although they don't sing. It's a bit like the clowning techniques used in other shows of the 60s and 70s--like Godspell. I'm not certain how much it added to my understanding or appreciation of the material, but at least it was some different faces to look at.

There are a lot of shots of eyes, particularly Mr. Brel's and Ms. Stone's. I'm not certain what the intent was, but I wanted a stronger sense of this being the way Mr. Brel saw the world.

Jacques Brel is alive and well and Living in Paris
Music by Brel and others
Lyrics by Brel, English versions by Mort Shuman and Eric Blau
Stage revue created in 1968, film released in 1975

Cast: Elly Stone, Mort Shuman, Joe Masiell

Chess--Broadway Cast Album

I don't like the graphic for the Broadway incarnation of this show nearly as much as the British version with its cascading checkerboard. The British concept album of Chess is the version I have imprinted on my brain, as I owned that album in college. So how would the American version (and an actual cast album, as opposed to a conceptualized version) compare? Very well, actually.

Previously when I had talked about liking Judy Kuhn's voice in a different show, a reader suggested I listen to the Broadway Chess album to get a real sense of Ms. Kuhn's abilities. Thank you for suggestion that, this album demonstrated her to be an an amazing singer, and there is a lot of her to enjoy on this cast album. Even more than there was of Elaine Paige on the concert album. Besides "Heaven Help My Heart" and the duet "I Know Him So Well" the Broadway version has a new song "Someone Else's Story" which is a wonderful addition to the score.

From just listening to the score, it seems like the focus of the show is placed firmly on Florence, with the competition between the Russian and the American more secondary. I wonder if the production supported that focus, or if I'm misreading it?

Philip Casnoff and David Carroll both have nice voices, and I have nothing to complain about either man's singing, although they do sound a bit alike to me. The photos included in the liner booklet also make them look a bit alike too. Maybe the producers wanted Florence to have a specific "type" of man, but from this listener's audiopoint and viewpoint, I wanted some differences--at least vocally.

There is an interesting note in the liner how the lyrics of "Endgame" were changed without the consent of lyricist Tim Rice. What could be so show-altering to warrant this footnote?

Chess
Music by Benny Andersson and Bjorn Ulvaeus
Lyrics by Tim Rice
Created in 1984, the Broadway production opened in 1988
Cast: Judy Kuhn, Philip Casnoff, David Carroll

South Pacific--the new Broadway cast recording on CD

Having liked Kelli O'Hara in previous shows in which I encountered her, I was looking forward to listening to this new Broadway version of South Pacific. I was also interested to hear Paulo Szot's singing as he has made a splash for his other attributes. Nothing disappointed.

I've never seen this show on stage, but have seen the film many times, and previously discussed a concert version with Reba McIntyre. I can't discuss in depth the book of this show, but if it is half as good as the music, then it's pretty good.

One of the things I like about this show, is that R&H have continued to develop the new ideas that they've introduced in their previous shows. South Pacific has twin soliloquies, which build on the solo soliloquy in Carousel. Rather than a dream ballet, the dance moment morphs into the Thanksgiving Follies. The writers are not just routinely inserting formats that worked before, but are conforming them to the world of the story. Can you imagine the dream ballet with Billis, Stewpot and the other sailors?

Kelli O'Hara continues to impress me with her vocal talents. In the little bit of dialogue included on this disc, she has taken on a thick Southwestern drawl which annoyed me. But as Ms. O'Hara is a native of Oklahoma, I'll trust that she's gotten the Arkansas patterns right.

I was surprise that Paulo Szot's voice isn't a little darker in color, although that may be vocal the ghosts of Ezio Pinza and Brian Stokes Mitchell in my ears. Mr. Szot sings everything well and handles the high notes with easy.

I'm a little depressed to note, however, that Mr. Szot is four years younger than I am. I had hopes my ingenue days were still in full bloom.

South Pacific

Music by Richard Rodgers

Lyrics by Oscar Hammerstein II

Book by Joshua Logan

Opened originally in 1949, this production in 2008

Cast: Kelli O'Hara, Paulo Szot, Danny Burstein, Matthew Morrison, Loretta Able Sayres

Follies in Concert--DVD and cassette tapes

It's a sort of two-fer for today's entry. I had hopes that the Follies in Concert DVD would be a full-fledged taping of the concert, but as it is mostly a behind the scenes documentary with some snippets of the performance, I've had to rely on the two cassette recording I bought back in the 80s, when a Walkman was the height of technology.

I've never seen Follies on stage. It is not produced very often. Sondheim himself comments on why in the documentary. The size of the cast is daunting--given that many roles are represented by a young version and a middle aged version.

I think the idea of this show is fantastic, with characters constantly confronting their memories and their earlier selves. I love most of the score, too, with its collection of pastiche songs and dances in the manner of the earlier era meeting a more contemporary musical idiom in songs the older cast sing.

The cast is also top-notch throughout. While many of the older cast members are significantly younger than their characters should be, everyone is superb at communicating the core of their characters, primarily through music. The young company gets a little bit of the short stick, I have to say, both in the structure of the show and in face time in the behind-the-scenes documentary.

A highlight for me is the Heidis duet "One More Kiss" sung in this concert by Licia Albanese and Erie Mills. I don't know the backgrounds of either performer well, but they seem to perfectly capture the essence of this song from a vocal standpoint. Ms. Albanese was a Met Opera performer long past her prime when this concert was given in 1984. The ghost of a voice is still there, but with many wobbles. Ms. Mills is a young coloratura soprano who handles the runs and high notes quite well.

I've always been curious about the 1971 recording of this show. Apparently it excluded many of the songs to fit onto one record. I'd love to hear Yvonne de Carlo sing "I'm Still Here". I'd also like to hear the 2001 Roundabout Theater cast, which included Kelli O'Hara, Treat Williams, Gregory Harrison, Erin Dilly, Blythe Danner and on and on. Was it recorded?

Follies in Concert
Music and Lyrics by Stephen Sondheim
Book by James Goldman

Premiered in 1971

This concert took place at Lincoln Center in 1984

Cast: Carol Burnett, Elaine Stritch, George Hearn, Barbara Cook, Mandy Patinkin, Liz Callaway, Howard McGlinn, Daisy Prince, Lee Remick,

Classical Monday--Benjamin Britten's Gloriana

I'm over-reaching my primary mission a bit for today's entry, although I've talked about English-language operas before. I actually wasn't certain what Gloriana was before I put the dvd in the player. As someone who likes Britten's music and seeks it out when I can, I had heard the name of this piece before, but thought it might be a sacred cantata. Well, its a full-fledged opera, grander than any Britten opera I've encountered before, even Billy Budd.

Written to commemorate Elizabeth II's coronation, Gloriana tells part of the story of that monarch's namesake, Elizabeth I. In particular, the plots follows the relationship between Robert Devereux, Earl of Sussex and the Queen, and how that relationship falters after he fails to secure Ireland for the crown. While this relationship was rumored to be intimate, the opera portrays nothing unseemly, nor does it refer to that aspect--I assume in deference to the second Elizabeth regina.

Apparently, the current Queen Elizabeth didn't care for the opera and it was a bit of a critical failure when premiered in 1953. I can't quite imagine that; I loved almost everything about this 1984 English National Opera production. Of course, much of what worked for me was the performance of Sarah Walker in the title role (Gloriana is a moniker given to E1 by Edmund Spenser in The Faerie Queene).

Ms. Walker (pictured above) is riveting as an actress, breathtaking as a singer, and proves herself a bit of a dancer as well. She rules any scene in which she appears (justly so) and even when in a more passive position, such as during a masque performed on stage, Ms. Walker's character is a glory to watch. The role requires a huge singing range, and Ms. Walker who is nominally a mezzo-soprano is thrilling from top to bottom.

The libretto for this opera is by William Plomer and it is one of the strongest aspects of this work; if you watch this production on dvd, include the English subtitles so you can see the text. I find the poetry wonderful, clever when needed, comic when appropriate, and rhapsodic most of the rest of the time.

The music is at times challenging, but never off-putting as I sometimes think Britten can be. There is a lot of dance music, many fanfares, and a couple of songs accompanied by lute. The large chorus has a lot to sing and at times it is unaccompanied and beautiful.

I'm not certain why this opera does not appear more often in the repertory.

Perhaps it is because Ms. Walker has retired.

Gloriana

Music by Benjamin Britten

Libretto by William Plomer

based on the book Elizabeth and Essex by Lytton Strachey

premiered in 1953

this production filmed in 1984

Cast: Sarah Walker, Anthony-Rolfe Johnson

Conducted by Mark Elder

Lullaby of Broadway--Hollywood fluff on DVD

I've never really considered the musicals of Warner Bros. MGM seems such a dominate force in the movie musical machine, it is easy to forget that other studios had musical stars and created vehicles for them. Well, Lullaby of Broadway is one of the vehicles created for Doris Day, and it is Ms. Day's charm that keeps the vehicle from completely running off the road.

As most films of the day had, Lullaby has a hodge-podge score including songs from a number of composers' pens. Many are by Cole Porter, but also represented are Harry Warren and Al Dubin, and James Hanly's "Zing Went the Strings of my Heart".

The leading man here is Gene Nelson. I had never heard of him before seeing this film. He is a likable enough performer, with a slightly "slick" side to him. He has a crooner's voice that matches well with Ms. Day. Several numbers in the film prove that he is a very athletic tap dancer. There is one clever dance number for Day and Nelson that involves clear glass swinging doors.

All the of the songs are presented in some kind of show setting, either on board the ship that is bringing Melinda Howard (Day) from England to America, at a party scene, or in preparation of a Broadway show. That gives the score its mostly upbeat tempo, although there are a couple of comic numbers by other characters.

One of the extras to this DVD is a collection of the movie trailers to Doris Day's Warner Bros. musicals. The thing that struck me, is that she had a different leading man for each of the seven musical films represented. Its so easy to think of Rock Hudson as Ms. Day's leading man as they were in so many films together later in her career, but apparently she went through just about the full stock of leading musical men before that.

Lullaby of Broadway
Music and lyrics by several people
Film released in 1951 by Warner Bros.
Cast: Doris Day, Gene Nelson, S.Z. Sakall, Billy De Wolfe, Anne Triola, Gladys George

Shrek the Musical--OBC album

I am not the target market for this show. I'm not a kid. I don't have a kid. I don't want to be around kids. And I've never seen the movie that is the basis for this show. That said I was actually looking forward to listening to the cast album of Shrek the Musical. I've liked the previous Jeanine Tesori scores I've encountered. I've like the singing voices of both Brian D'Arcy James and Sutton Foster. So how about the latest endeavour from all of them? Uninspiring.

There were many times when I thought "Alright, this song/premise/title seems promising" and an initial musical introduction would perk up my ears, but in every case the song would fizzle for me before it ended. In many cases I felt the lyrics were rather too casual and not poetic enough to inspire a character to sing. Isn't that why a character sings? Because the emotions and message they have to convey is too strong to just put into words? Some songs had poetic titles--like "When Words Fail" or "Who I'd Be" but in each song even the refrain would lack any more poetry than the title.

The performances all seem hampered by something--a heavy costume, having to be on your knees the whole time, a thick speaking accent, actually being off stage while your character is represented by some kind of puppet on stage. I was particularly disappointed in Brian D'Arcy James; granted he has to perform through a put-on accent and a heavy costume, but nothing on this disc led me to feel any compassion for the leading man, um, ogre. Princess Fiona seems rather passive--at least as represented by her songs.

The music is very piece-meal. If you don't like a particular style of music, wait three minutes, it'll change. There will be a couple styles at least in one song alone. I think that is part of the reason the show didn't work for me. The structure of the songs doesn't allow for a build toward a climax. Several songs do involve clever quod-libet sections (where two melodies--or even three--are sung on top of one another), but the initial melodies seem uninspired, so you end up with layers of uninspired.

Never having seen the animated film, I was struck by the similarity in Shrek's plot to The Island of Misfit Toys from the Rankin and Bass television Rudolph special from my youth. I'm all for letting your freak flag wave, but you'd better have something really special to share. None of these freaks did.

Shrek the Musical
Music by Jeanine Tesori
Lyrics and book by David Lindsay-Abaire
Opened December 2008
Cast: Brian D'Arcy James, Sutton Foster, Christopher Sieber, Daniel Breaker

Cabaret--New Broadway Cast album

Days after her tragic death, I found the cast album of the 1998 Broadway (and Roundabout Theater) incarnation of Cabaret with Natasha Richardson. It has taken me until now to listen to it, and I'm not certain why.

I've only ever seen the film version of Cabaret which I talked about months ago. As the film severely streamlines the story (and cuts out all of the romance between the older couple) a lot of this music was new to me. I liked it all--from pastische Viennese waltzes, to ersatz Nazi propaganda songs, to raunchy cabaret acts, to show-stopper belt ballads--I liked it all.

Ms. Richardson made a splash in the role primarily for her acting, I believe. It is hard to make that case in a recording. I found her singing somewhat wanting. I realize that some have criticized Liza Minnelli for being too good--"How would she ever be stuck in this third-rate Berlin nightclub?" But there are times when I want my underdog characters to over reach their abilities. Perhaps Ms. Richardson's performance did that, but her voice was merely adequate and didn't push even an emotional extreme until the very end of the title song at the end of Act II. She underplays the Act I "Maybe This Time" and I felt this was a mistake.

It is difficult to judge Alan Cumming's performance just from the audio recording. He sings everything well and seems to have a strong sense of how to approach each number.

One interesting aspect to this recording--there are audience reactions (applause, laughs, etc.) to the tracks which take place in the cabaret setting. I assume these reactions are electronically added, rather than being from a live studio audience. It helps make the case for which scenes are show-scenes and which are within the storyline.

The very good liner notes outlining the history of the Cabaret from Isherwood stories to re-incarnated Broadway show provide a lot of interest information. I was particularly interested to know that Jane Horracks played Sally Bowles in the 1992 London Donmar Warehouse production that formed the basis for this Broadway version. Jane Horracks is mostly known as "Bubble" the ditsy assistant on "Absolutely Fabulous." I've heard she has a tremendous singing voice, though.

I wonder if that version was recorded?

Cabaret
Music John Kander
Lyrics by Fred Ebb
Book by Joe Masteroff
Originally produced in 1966
This production played in London in 1992 and then came to New York in 1998
Directed by Sam Mendes
Cast: Natasha Richardson, Alan Cumming, Mary Louise Wilson, Ron Rifkin, John Benjamin Hickey, Denis O'Hare

Broadway Melody of 1940--film on DVD

It's another Hollywood invention today. Broadway Melody of 1940 is the last of the three Broadway Melody films, and perhaps the most successful. It is primarily a dance film, although there are a couple of sung songs in the score, all of which is by Cole Porter, although they get short shrift compared to the wonderful dance offered up by the Queen of Tap, Eleanor Powell, and always-watchable Fred Astaire.

As Hollywood fluff goes, this is good stuff. There is nothing that is either heart-wrenching or remotely downbeat in the production. And the tap dancing is at times spectacular.

George Murphy displays a likable singing voice. The final production number is worth the wait. Filmed on a mirrored floor, it really shows off the crisp black-and-white photography. And of course everything ends happily for our hero and heroine.

Broadway Melody of 1940

Music and lyrics by Cole Porter

Released by MGM 1940

Cast: Eleanor Powell, Fred Astaire, George Murphy

It's Always Fair Weather--film on DVD

It's pure Hollywood invention on film for today--no Broadway antecedent, unless you count On The Town which is sort of a pre-quel to It's Always Fair Weather.

The stories for both Town and Weather come from the pens of Comden and Green, who between their stage and screens credits are leading the race for the most mentions in my Year's entries. The two stories also each feature three WWII GIs; In Town it is sailors on 24-hour leave in Manhattan. In Weather, we have three soldiers who reunite 10 years after they are discharged.

I have only heard of Michael Kidd as a choreographer; I didn't know about his cinematic past. I had never heard of Dan Dailey at all, although his bio says he was a former vaudevillian who was also in the original cast of Babes in Arms on Broadway. Both have a likable screen and musical presence, although they pale a bit in comparison to Gene Kelly's wattage. I'm sure that was part of the point of their being cast.

The story of this film is very down, and the behind-the-scenes extras on the DVD rightly credits that aspect with the film's initial failure. There are some wonderful dance and musical moments, but they didn't add up to enough to draw me into this film.

One bright spot in the show is Dolores Gray who does an hysterical turn as a television talk show host and musical performer--imagine Dinah Shore meets Rachael Ray. No Rachael is too folksy, but I can't think of another female talk show host I find as cloying as Ms. Ray. Anyway, Ms. Gray is a versatile musical performer who portrayed Lalume in in the film version of Kismet, had starred as Annie Oakley in the London production of Annie Get Your Gun, and was nominated for a Tony award for Destry Rides Again on Broadway (directed and choreographed by Michael Kidd).

The late Cyd Charisse is the leading lady opposite Mr. Kelly, and while I find the dancing Ms. Charisse performs in the film to be wonderful, her character and performance left me dry. The music as provided by Andre Previn and the legendary Arthur Freed Unit--ditto.

It's Always Fair Weather
Music by Andre Previn
Book and lyrics by Betty Comden and Adolph Green
Released by MGM in 1955
Cast: Gene Kelly, Michael Kidd, Dan Dailey, Cyd Charisse, Dolores Grey,
Directed by Kelly and Stanley Donen

Young Frankenstein--OBC album

Spoofs are a difficult balance, I would suppose, particularly when a spoof from one medium is adapted into another--as is the case with Young Frankenstein. Fortunately, with the practiced hands of Mel Brooks and Susan Stroman (who previously shepherded The Producers to the stage) that balance is handled deftly in most cases with their new show.

Mel Brooks is the composer and lyricist for these shows--as well as being the screenwriter of the original films that are the source materials for the shows--and I wonder how much of a composer he is. I don't mean that as a slight to the music of Young Frankenstein. Clearly Mr. Brooks has very specific tunes in his head that he hears for each character and situation. Not surprisingly, many of the tunes have a slight Yiddish, Borscht-belt sound to them (as did tunes in The Producers). I'm certain Brooks doesn't orchestrate the songs, but does he harmonize them? Or just write down (or record) the tunes?

I used to joke that Roger Bart stole my career. A poor joke as Mr. Bart has obvious talents that I can only play-act at. I question Mr. Bart in this leading role, though. His light tenor voice is a little thin for my tastes. I could wish for a more robust sound from my leading man. The same for my leading lady. Megan Mullally is deft at delivering the single-entendres of her songs, but the timbre of her voice is a little modern and nasal for me. And I think I need to see the full show to understand why she has such a weird accent in the dialogue on this disk.

Sutton Foster and Schuler Hensley are two performers I have liked very much in past shows. Mr. Hensley isn't well-represented on this cast album, so it's hard to determine his performance. I continue to find Ms. Foster delightful. Yes, she also has a modern, slightly nasal singing voice, but somehow it doesn't strike me as much as Ms. Mullally's. Or perhaps it's the 2nd fiddle syndrome, where I want my leading lady to be a legit singer, while the comic duo can be different.

I have the cast album of Shrek with Ms. Foster waiting for my Thinking; perhaps we'll see how I like her in a leading lady position.

The New Mel Brooks Musical Young Frankenstein
Music and lyrics by Mel Brooks
Book by Mel Brooks and Thomas Meehan
Opened November 8, 2007
Cast: Roger Bart, Shuler Hensley, Sutton Foster, Megan Mullally, Andrea Martin, Fred Applegate

Ghost Light Monday--Another personal loss

Another musical mentor of mine slipped away in the last week. No I don't mean Michael Jackson.

Norman Pellegrini was the long-time (43 years) program director for the radio station which broadcasts the weekly classical concerts I produce. I only met Norman after his retirement from the station while he was serving as President of the Board of Directors for the non-profit which oversees the concert series. He also served as the ears that listened to auditions by young performers seeking an invitation to perform on the series. Even into his late 70s, Norman could be driven, determined, and without compromise when it came to issues musical.

The radio station ran a full day of programming related to Mr. Pellegrini last Thursday, including selections from many of his favorite pieces, but more importantly, excerpts from what must be thousands of hours of programming he created. Mr. Pellegrini helped invent the world of syndicated radio programs when he started The Midnight Special. Because of his programming and drive, WFMT radio is one of the premier classical stations in the country, syndicating much of its programming across the globe. Norman served as host for many live broadcasts, including concerts of the Chicago Symphony Orchestra and performances at Lyric Opera of Chicago.

Many more articulate voices than mine have uttered their remembrances of Mr. Pellegrini this week, but I will just say that my personal and professional lives have been improved by having Norman in them over the last five years.