Cast Albums Blog
REVIEW: Bubble Boy - Studio Cast
Most albums that we get to review here at Castalbums.org are preservations of major Broadway productions, shows that many of us have gotten to see. It's a nice treat then to be given the recording of Bubble Boy -- a little known musical with a loopy premise -- without any sense of how it plays on stage, for a listen. Based on the 2001 film starring a young Jake Gyllenhaal, the show tells the improbable story of Jimmy Livingston, an autoimmune-deficient young man who has been forced to live his life in a plastic bubble. In more serious hands, this would be the stuff of Dear Evan Hansen teen-angst, but this wacky musical, fashioned by original screenwriters Cinco Paul and Ken Daurio, is a laugh-out-loud romp. The story, which isn't too hard to follow from the songs (and there are a whopping 23 numbers on the album including reprises), follows a fairly well-worn formula: Boy (in a bubble) meets Girl (not in a bubble), Boy (in a bubble) and Girl fall in love. Girl falls for another Boy (not in a bubble). Boy (in a bubble) goes on a journey to stop Girl from marrying Boy #2. Suffice it to say a tidy ending wraps everything up.
REVIEW: The Man in the Moon - Original Cast
As they were making final tweaks to She Loves Me prior to its initial Broadway bow in 1963, Jerry Bock and Sheldon Harnick had another show on the main stem just a couple block away. The songwriting team, who already had a Best Musical Tony and a Pulitzer Prize to their name, lent their talents to a Broadway puppet show created by Bill and Cora Baird, perhaps the best-known puppeteers of the pre-Henson age. (Even if you don’t recognize their names, their work will surely look familiar even today, if only from the “Lonely Goatherd” number in the film version of The Sound of Music.)
The Man in the Moon formed the first act of a special, limited production presented by the Bairds at the Biltmore for 22 performances. Golden Records, purveyor of children’s records, released an original cast recording featuring dialogue, narration, and songs, capturing the voice performances of the Bairds along with a cast including Frank Sullivan, Franz Fazakas, Margery Gray, Gerald Freedman, Eric Carlson, and Rose Marie Jun. Although fondly remembered by those young enough to have been in the target audience for the album’s initial release, it has otherwise largely been forgotten.
REVIEW: Charlie and the Chocolate Factory - Original Broadway Cast
I love an overture. I lament the fact that most new musicals do not have them. That is why I was so excited when I saw that the original Broadway cast recording of Charlie and the Chocolate Factory had one. I actually thought my iPhone had made a mistake when, after only 27 seconds, the next song began. I cannot stress this enough: 27 seconds does not an overture make! My indignation at this aside, the word that kept coming to mind when I listened to this album was "serviceable". This is a good show for families, especially those with young children who are fans of Roald Dahl's stories.
The music, by Marc Shaiman, with lyrics by Scott Wittman and Shaiman, is accessible and peppy, but nothing really grabs you. There are none of the catchy yet meaningful songs such as those found in Hairspray, or even my long lost love SMASH. The best songs in the show are those carried over from the 1971 film, penned by Leslie Bricusse and Anthony Newley, specifically "Pure Imagination" and "The Candy Man".
REVIEW: Bandstand - Original Broadway Cast
On the penultimate track of the new cast recording of Richard Oberacker and Robert Taylor's Bandstand, the final new Broadway musical of the 2016-2017 season, the marvellous Laura Osnes tears into a furious diatribe against the horrors seen by World War two veterans during their service and the difficulties they face in readjusting to civilian life. The song – "Welcome Home" – is genuinely electrifying, the band (which includes six of the show's actors) is red hot, and Osnes is sensational. It's one of those performances that forces you to sit up and pay attention. If everything else in the score was this good, Bandstand would have won every award going. It isn't, and it didn't, but this is still a rather more enjoyable score than you might guess from some of the show's reviews.
REVIEW: Blondel - Original London Cast
Tim Rice’s 1983 musical Blondel is a fascinating show. Not everything in it works, but throughout Rice’s career there’s been an obvious, yawning chasm between the two different sides of his personality as a lyricist: the downbeat, somewhat self-absorbed small-R romanticism of Chess and Aida, and the slightly glib, rather archly anachronistic prep-school humour that underpins Joseph and the Amazing Technicolor Dreamcoat and much of his work on The Lion King. The original London production in 1983 was a modest success, but the cast recording has long been out of print. It’s now being reissued by the invaluable Stage Door Records, and it’s well worth a listen: you may well form the impression from it that the show is an unworkable mess, and the writing badly short-changes the two leads, but it also contains some of Rice’s funniest work, and some of the late Stephen Oliver’s music is glorious.