La Cage aux Folles Broadway revival cast album

I've gotten tired of being reminded that my former colleague was awarded the MacArthur Foundation Fellows grant (or whatever the program is called), so I thought I would comment on another cast album that has just entered my collection.

I don't get all the hoopla over Douglas Hodge (right). I'm sorry, but he is over-the-top too often for me. He seems the vocal heir to Anthony Newley--all affectation and no musicality. I'm sure there are many things that would be clearer if I saw him perform in person (or even on video) but I feel like Albin/Zsa Zsa needs some non-ridiculous moments to make the audience root for him.

On the positive side, I was glad to hear Kelsey Grammer's singing. He proves to have a real voice, with nice legato and a sizeable range. He even manages to reach into his upper register with attractive singing. His affable manner seems right for Georges the emcee of the club while being in the shadow of Albin, too.

A.J. Shively in his Broadway debut displays a nice tenor range in some lovely singing, also.

Jerry Herman again shows he is one of the few songwriters who is capable of handling both the music and lyrics. You not only can leave the theater humming, but will remember snatches of lyrics, since they are repeated so often. I only mean that as a slight slight.

This production has been open for almost nine months at this point, eclipsing a previous 2004 revival that lasted six months. The original Broadway production lasted more than four years. I recall seeing the tour in Detroit in 1985, I think it was with Keene Curtis and Peter Marshall.

La Cage aux Folles

Music and lyrics by Jerry Herman

Book by Harvey Fierstein

based on the play by Jean Poiret

Original production opened in 1983; this production opened in April 2010 and is still running.

Cast: Kelsey Grammer, Douglas Hodge, A.J. Shively.

Mame--film on DVD

There was a line in the most recent version of Forbidden Broadway that struck me as I watched this film; it was something like "the days of unique talents are past". Forbidden is talking about star replacements, such as in Chicago, but it seems appropriate in thinking about the film version of Mame.

Lucille Ball was a unique talent, there is no question in my mind. I laugh out loud to myself just thinking about the candy factory scene, or the Vita-meata-vega-min commercial. I think of Ms. Ball as a brilliant physical comedienne, and in the several scenes in Mame that require physical comedy is when a bit of her brilliance shines through. But that was her unique talent. In the rest of the film, particularly the musical numbers, she is out of her element, and unfortunately it shows.

The cast surrounding Ms. Ball is full of unique talents who are fitted to their parts. Beatrice Arthur became a star as Vera Charles on Broadway, and the film shows us why. Robert Preston is suave and charming (although I don't like the song he sings that was written for the film). Bruce Davison is cute as a button. Also reprising her Broadway role Jane Connell as Agnes Gooch is, umm, particularly unique, and imbues her role with empathy and specificity.

Maybe that's part of the problem with Ms. Ball. I don't get much specificity from her, particularly when she's in reaction shots, but also in the songs and dances. There are times in the dances, when I swear she is mouthing the steps, or plastering on a smile to keep from mouthing the steps.

That's not the inner life I want from my Mame.


Mame
Music and Lyrics by Jerry Herman
Book by Jerome Lawrence and Robert E. Lee
Opened on Broadway in 1964
Film released in 1974
Cast: Bruce Davison, Lucille Ball, Beatrice Arthur, Robert Preston, Jane Connell

Mame--OBC album

Is there a show with more infectious music that Jerry Herman's Mame? Well, if so, please suggest it, because I have always loved this musical and would love to hear what you think compares with it. I've never listened to the original Broadway cast album, but have seen the film version many times and seen it on stage at least once, when my high school performed it when I was in 8th grade. I remember being jealous of the 7th grader who played Young Patrick. The next year, he and I were in Sound of Music together.

I'm surprised by how much I like the singing on this album, even though Angela Lansbury and Bea Arthur (RIP) are hardly my usual types of singers. I think that is a component of having really infectious songs in the score--although I like this score more than others by Jerry Herman. Ms. Lansbury displays a lot of good legato singing and breath control, even if her sound is not traditionally beautiful. I'm shocked to discover that his entry is the first in my Year to feature Ms. Lansbury. I must do something to make up for that.

Its easy for me to picture the deadpan delivery and double takes of Ms. Arthur (RIP), as she is in the film version.

The women really rule the roost in this show, with the men as secondary characters--especially in the singing department. Charles Braswell as Mame's hubby Beau has little to sing except in the big Act I Finale. I was surprised by the voice of Jerry Lanning who plays the elder Patrick--it's a very nice voice, even if I found it a bit too mature-sounding for the character. I must check out more of Mr. Lanning.

Mame
Music and Lyrics by Jerry Herman
Book by Jerome Lawrence and Robert E. Lee
Opened in 1966
Cast: Angela Lansbury, Beatrice Arthur, Jane Connell, Willard Waterman, Charles Braswell, Jerry Lanning

Jerry Herman's Broadway: Live at the Hollywood Bowl on DVD

Tribute shows to performers or composers can really run the gamut from embarrassing to terrific, with a lot of smaltz in between. Fortunately, Jerry Herman's Broadway: Live at the Hollywood Bowl reaches nearer the terrific end of that spectrum.

One thing I like about Jerry Herman's music is that it has a strong structure; there is an introduction, an A section, a repeat of the A section, a short B section, and than a triumphant return to the A section often one step up in key. AABA--no, it's not that group that sang Mama Mia, it's a classic musical structure, and it works. Herman writes tunes you can hum, and anthems you can belt.

The cast of this tribute show is generally very good, and while several are "well-seasoned" shall we say, most remained near the top of their game at the time this show was taped in 1994. These singers know how to sell a song, when to raise the arms, how to tilt the head back, how long to hold the final note. If I have one objection to the show it is that too many of the songs are in that vein. I wished for a couple of downbeat songs that ended quietly--but that's not Mr. Herman, so he can't be held accountable.

There are the requisite taped interviews congratulating the honoree, most of which seem unnecessary. Jerry, I'll give you Angela Lansbury, but Linda and Paul McCartney?

Most of the songs included are the typical show-stopper types familiar from his shows. But if you only know Mame and Hello, Dolly, you'll hear wonderful songs from Mack and Mabel, La Cage aux Folles, and Dear World (which I had never heard of). I was particularly taken with the singing by Leslie Uggams, who I will need to check out more of during my Year.

Jerry Herman's Broadway: Live at the Hollywood Bowl
Music and Lyrics by Jerry Herman
Filmed in 1994
Cast: Leslie Uggams, Rita Moreno, George Hearn, Beatrice Authur, Davis Gaines, Carol Channing, Florence Lacey, Lorna Luft, Lee Roy Reams

Hello, Dolly! film on DVD

There is a bit of lore in my family. Before my parents were parents, they would occassionally go to downtown Detroit to see a Broadway touring show. In late 1963 they went down to the Fisher Theatre to see a new show before it opened on Broadway. They left the theater after the performance liking the show very much but thinking the woman who played the lead was very odd and would never have any kind of career. That woman was Carol Channing and that show was Hello, Dolly! So, I come from a line of opinionated people who are often wrong.

That said, I really dislike the film version of this very likable show. While I am usually the last person to blame an actor, I really do think this film is mostly badly cast. The men in particular are not much fun to listen to when they are singing. Yes, even Michael Crawford who will go on to have a much lauded career. I think the songs don't suit his singing voice. And Walter Matthau. Don't get me started.

But, this is a great show for the chorus, with many lively group numbers. And with Gene Kelly as the director of this film, you know that dance will play an important part. That's good to see. And the outdoor locations are spectacular--clearly no expense was sparred in recreating 19th Century New York and Yonkers.

Hello, Dolly!
Music and Lyrics by Jerry Herman
Book by Michael Stewart
1969 film directed by Gene Kelly
Cast: Barbra Streisand, Walter Matthau, Michael Crawford, Tommy Tune, Marianne McAndrew, Joyce Ames, Danny Lockin, Louis Armstrong, EJ Peaker

Mack & Mabel Original Cast Album

It's hard not to like Jerry Herman musicals, the music is generally so sunny with enough soaring ballads to keep the fluff from being too much. With that mindset, I put the original Broadway cast album of Mack & Mabel into the machine. I've never seen this show on stage. The liner notes to the CD reissue give a long explanation as to why it's rarely (never?) staged. Do musicals about movie-making ever work? I can only think of one other at the moment--Sunset Boulevard.

That said, there's a lot to like on this cast album. Robert Preston is so good at making that sprechstimme style work--finding a balance between singing tones and speaking tones. It's so easy to think of him in this type of role (along with The Music Man and Victor/Victoria), I find it incredible that his credits also include originating the role of King Henry in The Lion in Winter on Broadway. I will forever associate that role with Peter O'Toole in the film. Nathan Lane seems to me a modern version of Preston, not a great singer, but a great singing performer.

It's nice to remember that Bernadette Peters was a Broadway star long before her association with Sondheim and Sunday in the Park with George. She, too, has a distinctive style all her own that works for her--a kind of cupie doll voice to go with the cupie doll face and curls. And "Time Heals Everything" is a great song, well sung.

The third singing member of the cast is Lisa Kirk, who was the original Bianca in Kiss Me Kate, more than 25 years before Mack & Mabel. She sings a couple of upbeat, lighter hearted songs--some of which seem to have actual dance breaks--rather old-fashioned for a musical from the 70s. Perhaps one of the reasons the show didn't work was that it was out of its time.

Mack & Mabel Original Cast Album
Music and Lyrics by Jerry Herman
Originally released on ABC Records
MCA Classics reissue on CD
Recorded October, 1974; CD reissued in 1992
Cast: Robert Preston, Bernadette Peters, Lisa Kirk, Stanley Simmonds