9 to 5 Original Broadway Cast album

I remember the musical version of 9 to 5 making the talk-show splash when it opened a year or so ago. Between having music and lyrics by Dolly Parton and starring unlikely musical theater performer Allison Janney, bits of the show made rounds on The View, Regis and Kelly, etc. I must have heard a song or two from one of those appearances, but I don't recall which.

In listening to the cast album, I was struck that the accompaniments for many of the songs are guitar-based, not piano-based. I supposed that's fitting given the composer is a country singer/songwriter. I don't bring that up as a dis, just an observation--a score sounds different when composed on a guitar rather than a keyboard. I had the same observation with Spring Awakening, which is also by a singer/songwriter/guitarist--Duncan Sheik. That may be the only thing Duncan Sheik and Dolly Parton, and these two shows have in common.

The capabilities of the cast seems to be the primary strength of this album. The songs feel uneven to me at times, and several don't have a strong-enough sense of what they want to be to create a positive impression.

The two songs I was drawn to the most are both sung by Stephanie J. Block as Judy. I have seen Ms. Block perform live and know that she is a powerhouse singer, and fortunately is given two good songs to showcase her abilities. Unfortunately for Ms. Block this show and the previous show where she originated a lead role (Pirate Queen--I saw it, don't ask) have closed within a couple of months. I'm certain she is well-respected in the musical theater world, but Ms. Block need a good vehicle to find herself well-known among audiences.

Allison Janney as singer doesn't completely embarrass herself. She's fine when she's not in her head voice and has enough legato and hutzspa (sp?) to sell her songs. Megan Hilty as Dolly doppelganger Doralee has a nice, versatile voice (I was surprised to learn she was a replacement Glinda in Wicked--very different styles of music) although I didn't care for the music she is given. Marc Kudish as devil-boss again impresses me with his voice, but his one front-and-center number didn't reach me.

9 to 5
Music and lyrics by Dolly Parton
Book by Patricia Resnick
opened in 2009
Cast: Allison Janney, Stephanie J. Block, Marc Kudish, Megan Hilty

Jacques Brel is Alive and Well and Living in Paris--Live performance

Thanks to a friend of mine, I was able to attend the opening night of Jacques Brel... at the Theatre Conservatory of the Chicago College of Performing Arts at Roosevelt University. I've long had a fascination with this show and the songs of Brel, so a chance to see it live was greatly appreciated. I've previously discussed listening to the original cast album and seeing the film version.

The musical theater program at Roosevelt is strong, and as evinced by the cast of 21 in this review, deep. There are also clearly capable, creative faculty and staff leading the young casts and creating the productions. Brel is the perfect show to expand into a large cast from its roots as a review for 4 singers. That expansion here has been ably handled by stage director and music director--both on the faculty at the school. The arrangements of several songs in the show to incorporate a chorus were particularly impressive--I wonder if these versions are available for other productions?

The inclusion of a bit of narration about Brel and the world he came from (along with quotes by him and about him) was kept to a minimum and provided good transitions between songs, allowing the cast (all of whom were on-stage for the entire show) to re-set their positions.

I was particularly impressed by the strength of the singing voices in the show--these were kids who clearly have vocal training and are learning the mechanics of their voices. While several upper registers were not yet fully developed, no one had vast breaks between registers, and most singers handled the transition between registers very well. A particular treat was hearing unamplified voices, which could be accomplished in the relatively small confines of Roosevelt's O'Malley Theatre. As I have done in the past, I do not wish to mention any student performers by name--it would be unfair to criticize performances in a non-professional setting--but several in the cast are worthy of mention and deserving of professional careers in the near future.

Jacques Brel is Alive and Well and Living in Paris

Music and lyrics by Jacques Brel (this is what the program said, but I question this; I thought Brel wrote the lyrics and had several composers he worked with)

English lyrics by Eric Blau and Mort Shuman

A lively and accomplished cast of 21 undergraduate students

Live performance at Roosevelt University's Theatre Conservatory

This production only plays one weekend through Sunday, November 22, 2009.

So hurry.

A Tribute to Johnny Mercer--live performance of the Chicago Humanities Festival

Full disclosure, I used to work for the Chicago Humanities Festival. That said their programs can be stodgy, overly academic, and humorless. Those problems were on display in the festival's cabaret presentation last night--A Tribute to Johnny Mercer.

I didn't know much about Johnny Mercer, and the only song title I could name before walking in the door to this performance was Autumn Leaves. I still don't know much about the man, although I do realize that he had a hand in many more songs that I knew--Come Rain or Come Shine, Fools Rush In, Jeepers Creepers, Hooray for Hollywood, Satin Doll.

All of these songs and thirty others were presented in whole or part by five performers--singers Klea Blackhurst and Stephanie Morse, and pianist/singers Billy Stritch, Steve Ross and Charles Cochran. The song selections and connective narration were done by Barry Day--co-author of The Complete Lyrics of Johnny Mercer. Mr. Day was the host of the evening as well.

Okay, 36 songs sounds like a lot--and it was--but not from a length standpoint. The songs were short enough and narration between brief enough that the one-act performance didn't feel too long. However, hearing Mercer's songs back-to-back-to-back-to--you get the point--you realize that his compositional style didn't vary a whole lot. Most of the songs sounded exactly alike; Mr. Mercer wrote songs for crooners, and I would have loved some more up-tempo selections or arrangements to break up the monotony.

There were other issues I had with the performance, but let's just leave it at that.

A Tribute to Johnny Mercer
Created and directed (?) by Barry Day
With performers Klea Blackhurst, Steve Ross, Billy Stritch, Charles Cochran, Stephanie Morse
This one a one-night only event.