Cast Albums Blog

REVIEW: Salad Days - Original London Cast


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The latest in Sony’s Masterworks Broadway series of re-releases, the original cast recording of Salad Days is a very welcome addition to the catalogue. A huge hit in London in the 1950s – at one point it was the longest-running musical in British theatre history, and it’s the show that inspired Cameron Mackintosh, after seeing it as a child, to seek a career in theatre – it is now seldom revived; there are, perhaps, good reasons why, but the score is absolutely delightful, and it deserves to find a new audience.


REVIEW: Sweet Charity & The Importance


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Sweet Charity was one of the biggest hits of the 1960s. The Importance, one of several musical adaptations of Oscar Wilde’s classic comedy The Importance of Being Earnest, was briefly produced twice in the 1980s, and has since more or less disappeared without trace. They don’t, on the face of it, appear to have a great deal to do with each other – but the (terrific) London cast recording of Sweet Charity has just been reissued by Masterworks Broadway, and Stage Door Records recently released a 20-years-in-the-making studio recording of The Importance. Listening to them reveals that each recording, albeit for different reasons, is probably best approached as a variation on a theme.

align=leftThat, actually, is possibly selling the London cast recording of Sweet Charity a little short. It’s a fine, sharp, snappy rendition of Cy Coleman’s score, and in many respects it’s more or less the equal of the original (and definitive) Broadway cast album. Juliet Prowse has a rather bigger voice than Gwen Verdon, though she’s perhaps less distinctive; this is as well-sung an account of the role as you’ll hear on any English-language recording of this score, and she can belt notes Verdon could only dream of. It’s a very strong performance, made all the better by the fact that she isn’t simply forced to provide an imitation of her predecessor. Her ‘I’m a Brass Band’, in particular, is a joy to listen to.


REVIEW: Mrs. Henderson Presents & Bend It Like Beckham - Original London Cast recordings


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Amid the ongoing onslaught of musicals based on recent-ish films, Bend It Like Beckham stands out, if only because you could be forgiven for wondering how well any film about football could be adapted for the musical stage. Mrs. Henderson Presents, on the other hand, would seem like a sure bet as a stage musical: it mostly takes place in a theatre, it’s full of chorus girls, and there are two larger-than-life, somewhat eccentric star roles at the centre of the plot. The musical version of Bend It Like Beckham just closed in the West End, while Mrs. Henderson Presents just opened, and listening to their respective cast recordings back-to-back is an interesting experience. In the theatre, even the surest bets aren’t always as surefire as they seem.


REVIEW: A New Brain - 2015 Encores! Concert Cast


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William Finn and James Lapine’s 1998 off-Broadway tuner A New Brain has always been one of my favorite musicals. It’s a show that is bursting with life even as its central character, Gordon Schwinn, who is suffering from a brain malady, stares death right in the face. I fell in love with the show’s gorgeously rich and tuneful score when I first heard it at Lincoln Center almost twenty years ago, and the original cast album featuring the likes of Malcolm Gets, Norm Lewis, Mary Testa, and even a very young Kristin Chenoweth, has remained on my playlist ever since.

Many fans of the show were of course overjoyed when Encores! announced that they would be including Finn’s autobiographical musical in last summer’s Off-Center series at City Center. The production, directed by the show’s librettist James Lapine, featured Broadway wunderkind Jonathan Groff in the lead role of Gordon Schwinn, who offered one of the most moving, funny, and heartbreaking performances of the season.

What a treat then that PS Classics not only recorded this short concert event for posterity, but gave us a two-disc version of the virtually sung-thru musical in the process. While the original cast recording does remain a “must-have,” this more complete recording features some lyric changes and song revisions for the 2015 production (There have also been some cuts to the score in this version, none of which were really missed).

While Falsettos will probably always be Finn’s signature work, A New Brain, for many listeners, runs a close second, offering up a catalog of dazzlingly stunning songs (many of which Finn wrote while suffering from his neurological malady) that are filled with joy, light, and unabashed heart-on-your-sleeve emotion. The show’s standouts include great ensemble numbers including “Heart and Music” (now smartly orchestrated to include the sound of a heart monitor), “And They’re Off,” in which we learn of Gordon’s father’s gambling problems, and “I Feel So Much Spring,” which beautifully closes the show. Finn’s inimitable frantic musical pacing is ever present, but so too are multiple moving ballads whose lyrics are honest, open, and wholly unforced.

A New Brain has a plethora of outstanding ensemble numbers, but there are of course many solo opportunities allowing both the leads and strong supporting cast to shine. As Gordon’s take-charge mother, Ana Gasteyer (most well-known from Saturday Night Live) continues to prove that she is one of theater’s most talented actresses, belting out “Mother’s Gonna Make Things Fine” and “Throw It Out” with aplomb, while equally at home with the ballad “The Music Still Plays On.” Rema Webb does well as the Homeless Lady with “Change” (although Mary Testa cannot be bested in that role). Christian Borle covers for the concert’s Dan Fogler who was unavailable for the recording, and offers a passable, though hardly defining take on the role of Mr. Bungee. Aaron Lazar plays Gordon’s lover, Roger, and while he is a pleasant singer, comes off as a bit dull on this recording. I’d be remiss to leave out Jenni Barber (Nancy D, the thin nurse) and Josh Lamon (Richard, the nice nurse), who are both hysterical in supporting roles. Lamon, in particular, with his high tenor voice, offers a hilariously funny take on a bit part and is a delight to listen to.

Ultimately, though, this is Groff’s show and his supple, effortless voice makes this recording a real pleasure. Gordon is not always the most likable character and for Groff to play him so winningly is a testament to his acting and musical chops. There are only seven musicians in the band, but the show features the tight, original vocal arrangements by Jason Robert Brown (yes, that Jason Robert Brown) and sharp orchestrations by Broadway vet Michael Starobin.

Per PS Classics’ usual spare-no-expense packaging, this double-disc album features complete lyrics, essays, and production photos, including what may be a first to my knowledge, staged production photos of vocal replacement Christian Borle (in Mr. Bungee’s frog costume!) to complete the experience. For anyone who missed this short-lived concert, the album captures the experience well, and for those who got to see it, we can relive the magic again. Lucky us.


REVIEW: Gypsy - 2015 London Revival


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Unless you’ve been hiding under a rock, or perhaps abducted by aliens, you could hardly have missed the roars of acclaim for Imelda Staunton’s performance in last year’s revival of Gypsy. That level of hype isn’t always justified, but it was in this case: her Rose is as phenomenal a performance as I’ve ever seen in a theatre, musical or not, and it was also fascinating to watch UK audiences and critics rediscover a show that gets revived every ten minutes on Broadway but hadn’t been seen in the West End for over four decades.