Cast Albums Blog
REVIEW: Ride the Cyclone - World Premiere Cast Recording
When I saw Ride the Cyclone off-Broadway in 2016, I came away mostly impressed with the stylish visuals achieved through an excellent collaboration among designers and director. The musical spotlighted the teenage victims of a fatal rollercoaster accident, with a touch of mystery added by the presence of a Jane Doe victim found decapitated and unidentifiable. The show at its best was a neo-vaudevillian concept revue about the meaning of mortality, but at times it felt weighed down by the inertia built into the format where you can count the number of bodies on stage and calculate how many songs are likely left in the evening.
Five years later, revisiting the show as a purely aural experience through its World Premiere Cast Recording, the strengths of the score are more palpable, but they don't fully outshine its weaknesses either.
REVIEW: Lea Salonga: Live In Concert With The Sydney Symphony Orchestra
A long time ago – thirty-one-and-a-half years ago, to be exact – I saw the original London production of Miss Saigon at the first Saturday matinee after press night (no of course you can’t believe I’m that old). The show’s worldwide search for a star had been a significant element of the pre-opening publicity; cynical student that I was, I thought nobody could possibly live up to that level of hype - until Lea Salonga started singing I’d Give My Life For You, when the combination of her flawless voice and the astonishing intensity she brought to the song made my mouth drop open.
She’s a much bigger name now than she was then, but – whatever issues you may have with the show itself, or with other aspects of the original production’s casting – her London debut was one of the great star-making performances, and her subsequent transfer to Broadway in the role, coupled with her voice work in Disney’s Aladdin and Mulan, propelled her into a major international career – hence this concert, filmed in Sydney (as opposed to Manila, London, or New York, the cities where she made her name) in November 2019, and subsequently screened in the USA by PBS and released as a record album by Broadway Records.
REVIEW: If The Fates Allow: A Hadestown Holiday Album
“Oh, my love, we’ve had our share of tears /
Oh, my friends, we’ve had our hopes and fears /
Oh, my friends, it’s been a long hard year /
But now it’s Christmas /
Yes, it’s Christmas /
Thank God it’s Christmas”
Those are the poignant lyrics that open If The Fates Allow: A Hadestown Holiday Album, released by Broadway Records on November 20, 2020. This song, originally by Queen, here superbly arranged and orchestrated by Todd Sickafoose, is the anthem we all so sorely need this year. By the end of the track, I was tearing up, and happy that I broke my no holiday music before December 1 rule. In a tumultuous year of ups and, let’s face it, mostly downs, If The Fates Allow: A Hadestown Holiday Album is a balm for the soul.
REVIEW: Anyone Can Whistle - 2020 Studio Cast
They began recording it in 1997, and it's finally being released next week. If, like me, you've been waiting for JAY's complete studio recording of Anyone Can Whistle for over two decades, you may find it a little difficult to believe you finally have a copy of it in your hands. No need to pinch yourself – yes it's real, and yes, it's really good.
It has a lot to live up to. The show's now-legendary original Broadway cast recording, made the day after the Broadway production closed after a run of just twelve previews and nine performances, is one of those albums that makes you wonder how a show could possibly have failed to find an audience. As heard on that recording, Stephen Sondheim's songs for the show sound dazzlingly original, and they're given warmly characterful (if not always flawlessly sung) performances by the production's trio of stars – Angela Lansbury, Lee Remick, and Harry Guardino, none of whom had previously appeared in a Broadway musical.
REVIEW: Rags - Original London Cast
It’s not impossible that somebody could spin a doctoral thesis out of picking apart all the various revisions that have been made over the years to Rags, the four-performance 1986 Broadway flop with a Charles Strouse-Stephen Schwartz score. That score, which contains a great deal of Strouse’s best music, is the reason so many people have tried to fix a show that stubbornly refuses to work; the 1987 studio recording, which features most of the Broadway production’s cast with Julia Migenes standing in for original leading lady Teresa Stratas, is one of the most glorious musical theatre albums of its decade, and gives the impression of a show that very much deserved to be a hit.
That 1987 recording, though, is the reason people approaching this new London cast recording of the most recent revised version of the show might want to manage their expectations: the show has undergone many revisions over the past three decades, and there are significant differences between the version of the score heard in the now-standard version of the show and the version represented on the studio album.