"THE WOMAN IN WHITE"
Original London Cast
EMI Classics/Really Useful Records (7243 5 57938 2 9)

Andrew Lloyd Webber's new musical, "The Woman in White," freely adapted from the classic novel by Wilkie Collins, is quite a new direction for the writer of such popular shows as "Evita" from his soft rock inspired period, to "The Phantom of the Opera's" lushness picked up from Puccini melodies and then sprinkled with grand theatrical spectacle, to his "Sunset Boulevard" that winningly adapted a classic Hollywood film to the musical stage if the star was just right, to his recent failing attempts to set a new path in "Whistle Down the Wind" and "A Beautiful Game."

Here, the story of ill-fated and troubled woman is told with much new sounding music. He still writes one standout hit in "I Believe My Heart" that is hard to get out of your mind. Much of the new sound is atonal and far more sophisticated than earlier Lloyd Webber scores. He's experimenting with bold and innovative music and the result is a fascinating score, complete on two CDs, that holds you transfixed. This is not a musical theater score you can wander off and do other things if you except to relish the subtle beauty and David Zippel's rich and telling lyrics that vividly reveal the detailed and complex story.

The show offers other innovations aren't detailed in the accompanying booklets. Included are cast and song listings, brief statements from Lloyd Webber and producer Nigel Wright about the live, opening night recording and the editing done to capture the brilliance of the cast but eliminate the annoying applause and laughter. There is no commentary about the show including how the story was changed by book writer Charlotte Jones or even the barest of plot summaries. You're on your own with this recording.

Also, you'll read nothing about the settings that are said to involve projections and a fluidity that works perfectly for the story's cinematic telling. The booklets contain few cast or production pictures that might help listeners visualize the show's treats.

The cast is magnificent. Maria Friedman does masterful singing and interpretation as Marian Halcombe. Martin Crews sounds robust as Walter Hartright and Jill Paice's lyrical voice captivates especially in her duet with Crews of "I Believe My Heart." Michael Crawford, a performer I've never cared for, is a revelation as Count Fosco. Apparently his appearance is almost unrecognizable in a fat suit and he's disguised his very familiar singing voice remarkably in his big and hilarious solo, "You Can Get Away with Anything," a song he recorded separately for the album due to the amount of audience laughter. The opening night track, complete with those interruptions, is included as a welcome bonus track. Crawford also does well with the first act "A Gift for Living Well."

All in all "The Woman in White" makes me want to board a plane and head to London to see the show, a trip that would no doubt be ill fated since the show is sold out for months. Let's hope its impending Broadway arrival next season comes to pass complete with many of the London cast. This is a show I'm really anxious to see based on this intriguing cast recording. If the accompanying material only told us more about it.
 
Grade: A-

"SUNDOWN"
Studio Cast Recording
Original Cast Records (00002)

Another surprise greeted me when I opened an advance copy of "Sundown," a new musical about the legend of Doc Holliday. The score, with music by Peter Link and lyrics by Larry Rosler plus book by Rosler and Joe Bravaco, is lovely even though it borders on the country sound of which I've never been enamored. There are several wonderful ballads and solo tunes plus a super opening, "Arizona Morning." The show has been done at the Lyric Stage in Irvine, Texas, and Virginia's Barter Theatre after being developed in ASCAP's Musical Theatre Workshop and with a staged reading at New York's York Theatre Company. The recording is with a studio cast and they all sound fine. I would hope musical theater producers around the country pay attention to this piece and if the book is as strong as the score, it deserves productions. I'll be watching for this one here in Phoenix due to the connection with our state's history and one of its most colorful historic characters. "Sundown" looks promising.
 
Grade: A-

"BROADWAY'S GREATEST GIFTS:
CAROLS FOR A CURE VOLUME 6"
Rock-It Science Records (No Number)

This year's annual holiday tribute to the season by the companies of Broadway shows is a two CD affair. Perhaps I am too much a traditionalist when it comes to holiday music but this year's fund-raiser for Broadway Cares Equity Fights AIDS leaves me a bit cold. Lots of weird and far out selections, few traditional carols, and what recognizable tunes are used are often presented with unusual orchestrations dominate the release. Listening to this year's CD certainly didn't put me into the holiday spirit and while all the songs are well sung by the casts involved, I like some of the earlier recordings in this worthwhile series a lot more.
 
Grade: D

"FINIAN'S RAINBOW"
Irish Repertory Theatre Cast
Ghostlight (4402-2)

Burton Lane and E. Y. Harburg's 1946 musical "Finian's Rainbow" has one of Broadway's Golden Age's best scores. Every song in the show is a tuneful delight. It's been the dated book that has kept this gem from revival. Earlier this year, New York's Irish Repertory Theatre did a glorified staged concert version and it proved to be one of the best shows I saw in a New York theater junket. Now, comes the cast recording from that version as the first of three releases from the new Ghostlight label, an off shot of Sh-K-Boom Records. The recording couldn't be better. The staging was done with two on-stage pianos so the rich score doesn't have the original orchestrations but the singing is superb and this version proved that there are creative ways around some of the show's dated racism hints. Melissa Errico's glimmering voice sails through Sharon's songs with relish. If only she used a bit more of an Irish brogue she'd be perfect. Her father, Finian, who accompanies her to the United States' Rainbow Valley in the mythical state of Missitucky from their native Ireland, is essayed with gruff gusto by Jonathan Freeman. They bring a pot of gold with them and the escapades with it and the people they met make up the charming story that throws in some subtle but telling jabs at the evils of racism. As Og, a leprechaun who turns human, Malcolm Gets is fresh and vibrant. As Sharon's love interest, Woody, Max von Essen is robust and stalwart. The two piano players, musical director Mark Hartman and Mark Janas, play the score with divine perfection even without the other accompaniment. This "Finian's Rainbow" is a winner and marks the auspicious debut of the new theater-related label.
 
Grade: A

"THE NEW MOON"
City Center Encores! Cast
Ghostlight (4403-2)

Sigmund Romberg's "The New Moon" was never one of my favorites as I preferred the composer's richer "The Student Prince" but the score is still delightful and melodic. The 2003 City Center Encores! production has been preserved by Ghostlight and a better recording would be hard to find. The cast all have wonderful voices and Christiane Noll playing Marianne is one of Broadway's finest singers today. A couple of Romberg's tunes including "Stouthearted Men," "One Kiss, " and "Lover, Come Back to Me" are recognizable and wonderful. The story, like most of the operettas, is silly and unimportant serving just as a skimpy framework on which to display the gorgeous music. This version is more complete than those available previously as studio cast albums. Now, if Encores! would do an operetta each season and if they were all recorded as gloriously as "The New Moon," we would have a rich and available collection of old chestnuts. Is "The Student Prince" next? Let's hope so.
 
Grade: A-

"IN YOUR DREAMS"
CHRISTINE EBERSOLE WITH BILLY STRITICH
Cabaret Cast
Ghostlight (4401-2)

The final release in Ghostlight's initial offerings is "In Your Dreams," Christine Ebersole and Billy Stritich's cabaret revue. Ebersole's big and luscious voice coupled with Stritich's winning vocals and fine piano playing are used perfectly on a great collection of 16 songs, many of them from Broadway. The pair worked together in the current Broadway revival of "42nd Street" and they work marvelously with each other here. He plays a mean piano and his vocals are solid if unexceptional. She's got a huge, powerful, and rich voice. Highlights include "Baby, Dream Your Dream," "The Surrey with the Fringe on the Top," several "42nd Street" tunes, and a haunting "My Ship." Another winner for the new label.
 
Grade: B+

"COLE PORTER AN ALL-STAR TRIBUTE"
Bell Telephone Hour Telecast January 28, 1964
Vai Audio (VAIA 1239)

The recent DVD release of footage from the famed January 28, 1964 Bell Telephone Hour tribute to Cole Porter is now available as a CD. It has bonus tracks from Ethel Merman's appearance on the January 29, 1960 Bell Telephone Hour. The medley of Porter's hit tunes feature Peter Nero, John Raitt, Martha Wright and Gretchen Wyler, hosted by Ethel Merman. The singing is Broadway inspired because of all the Great White Way veterans and the show boasted it presented 52 of Porter's song hits. The fidelity on the CD isn't great but the singing and composition of the medleys is flawless. I enjoyed the DVD more because of the chance it affords to watch these now famed Broadway stars but the CD is a nice addition to any collection.
 
Grade: A-

"THE PHANTOM OF THE OPERA"
Original Soundtrack Cast
Sony Classical (SK 93521)

The first preview of the much awaited film version of "The Phantom of the Opera" came this week as the soundtrack recording was released in two versions. A highlights album is discussed here, and a second two disc set that includes a souvenir program will be reviewed later. The single disc has the big song hits from the show and the one new song, "Learn to Be Lonely." The recording sounds similar if not almost identical to the cast recording and the music is orchestrated similarly to the stage version. The new song sounds as if it dropped in from another show. It sounds nothing like the score we all know. The movie cast sounds fine vocally. Young Emmy Rossum's light lyric soprano glistens in Christine's lovely songs. Patrick Wilson's smooth sounding Raoul is perfect. It's hard to pick out Miranda Richardson's Madame Giry in the one ensemble number she sings, "Prima Donna," the same number for Minnie Driver's only singing and she's dubbed by Margaret Preece. Driver does solo on the new song and the film has already pitched "Learn to Be Lonely" for an Academy Award nomination for Best Song. Gerard Butler's Phantom is rougher sounding than the grandly theatrical vocal theatrics Michael Crawford used in the original and certainly not as satiny and rich as when I heard Davis Gaines, my favorite Phantom, sing the role in San Francisco and New York. The pictures in the highlights CD make it look like a faithful adaptation of the stage version and the music adds to that conclusion. The film opens throughout the country on December 22. My copy of the two disc version is on its way and will be reviewed separately later in this column.
 
Grade: A

"MANILOW SCORES - SONGS FROM 'COPACABANA' AND 'HARMONY'"
BARRY MANILOW
Concord Records (CCD-2251-2)

Barry Manilow recently secured rights to his musical "Harmony" after a messy court battle and he promises to bring the show to New York. In the interim, he's released a solo CD with highlights from that show and his earlier and more widely produced "Copacabana." The songs and his renditions all sound about the same and follow the big, booming melodies he picks for most of his live appearances. How the songs fit the stories that accompany these shows is harder to judge. Manilow early in his career had decided to write musicals. In 1978 after the success of the single "Copacabana" he created an elaborate television and later stage musical about the famous nightclub. For this theme, the songs seem to fit nicely. "Harmony" is a true story about The Comedian Harmonnists, a German singing group of the '20s and '30s. After a famous rise to stardom, the group faded and has been forgotten. Here, one wonders why a show about these legendary singers and their career would contain a new score by Manilow which sounds just like a collection of his other tunes. Although I'm not familiar with this group's music, it seems unlikely that they would have performed music that sounds like tunes from a contemporary Manilow act. The CD can be inserted into your computer where it will take you to a special web site where you can access behind-the-scenes interviews with Manilow, lyricist Bruce Sussman, and other bonus material.
 
Grade: C+

"LIFE HAS BEEN GOOD TO ME"
RANDAL KEITH
Randal Keith (8253461078)

Singer Randal Keith's lush voice has graced many musicals and his CD "Life Has Been Good To Me" is filled with songs from the shows he has sung. The 13 tracks include fine arrangements of 11 songs from shows that range from oldies like "Anything Goes" ( a stirring rendition of "All Through the Night") and a rich "Some Enchanted Evening" from "South Pacific" to newer musicals like "The Phantom of the Opera" ( a wonderful "Music of the Night"), a rousing "Into the Fire" from "The Scarlet Pimpernel," a soaring "High Flying Adored" from "Evita," to "Gethsemane" from "Jesus Christ Superstar." His biggest stage triumph has been as Jean Valjean in "Les Miserables" and he closed the long running Broadway production in that role. His "Bring Him Home" is haunting and intense. Keith has a love of and a marvelous way with a wide variety of musical theater songs and his new album does a great job of showcasing his fine singing.
 
Grade: A

"I GOT RHYTHM"
ETHEL MERMAN
MasterSong (505992)

Boy, the Ethel Merman compilation recordings have been coming fast and heavy in recent months and the latest, "I Got Rhythm," features 20 tracks including several that appear to be from her original cast recording of "Annie Get Your Gun." The recording is pristine and the youthful sound of her voice in these selections suggests the booming voice that captured Broadway's attention during her early career after her triumphant debut. The many tracks from "Annie Get Your Gun" should be credited and the CD listing of the selections tells little about the selections, when they were recorded or other source information that would make this recording far more valuable. There's no question, though, of Merman's style and her way with a song that made her the huge Broadway star she remained until her death. Her later career and her biggest New York performance, "Gypsy," aren't included here. Collections of Merman's work in such wonderfully restored versions are always a nice addition to a show music collection.
 
Grade: B

"LOOK MA, I'M DANCIN'"
Original Broadway Cast
Decca Broadway (B0003571-02)

"Look Ma, I'm Dancin'" opened on Broadway in January 1948 and today is long forgotten. Just 10 songs from the show were recorded and are now available with two bonus tracks from Decca Broadway. The show is quite melodic in the old-fashioned way Broadway scores sounded back then. Written by Robert E. Lee and Jerome Lawrence and conceived by choreographer Jerome Robbins, the show's story concerns a cross-country tour of the Russo-American Ballet Company and focuses on a brash dancer and choreographer, Eddie Winkler (played by Harold Lang). A stage-struck brewery heiress, Lily Malloy (played by Nancy Walker) wants to become a dancer and helps secure her dream by underwriting the show. The score was by Hugh Martin and it includes several delightful gems like "Gotta Dance" and "Let's Do a Ballet." The performance by Walker is especially wonderful and the songs capture some of the excitement generated by her performance. The alternate takes of two songs provide some archival material that hasn't been available before. You'll be surprised and delighted by "Look Ma, I'm Dancin'."
 
Grade: B

"SO IN LOVE WITH BROADWAY"
RON RAINES
Jay Records (CDJAY 1384)

Ron Raines is a leading musical theater singer today and his second solo CD, "So In Love With Broadway" lets him sing a collection of 14 new and old songs from musicals that showcase his strong voice winningly in flawless and exciting arrangements that beautifully display his great singing. His duet with Karen Ziemba, "My Cup Runneth Over" from "I Do! I Do!," is moving. His lusty "All I Care About" from "Chicago" is big and comic with help from The Criswell Girls, and his touching ""My Time of Day"/"I've Never Been In Love Before" from "Guys and Dolls" features composer Frank Loesser's daughter Emily. His "Stars" from "Les Miserables" is triumphant, and his "I Don't Remember You" is a reminder of the fine "The Happy Time" score. It's a relaxing, delightful recording featuring Raines' outstanding voice.
 
Grade: A

"THE BEST OF LIZA MINNELLI"
Columbia/Legacy (CK 92690)

If you are a Liza Minnelli fan, Columbia/Legacy has released a stirring collection of her greatest hits in "The Best of Liza Minnelli," a wonderful 15-track collection that includes a previously unreleased recording of "Me and My Baby" and her standards like "Cabaret" "All That Jazz," and the theme from "New York, New York." The only discordant note is her lousy "Losing My Mind" from "Follies" in a jazzed up and rock embellished orchestration that manages to lose the song's beauty and message entirely.
 
Grade: B

"NO STRINGS"
Original London Cast
Must Close Saturday Records (MCSR 3019)

Richard Rodgers first musical after Oscar Hammerstein's death was "No Strings" and Rodgers wrote both the music and lyrics. The show boasts one of his best scores and includes two of his biggest song hits, "The Sweetest Sounds" and the title tune. The Broadway cast featured Diahann Carroll and her exquisite voice is wonderful in the songs. Richard Kiley was also commanding opposite her in the bi-racial romance. The London cast featured Beverly Todd and Art Lund and the cast album is again available courtesy of Must Close Saturday Records. The score is elegant and tuneful but the London cast can't compare to their Broadway counterparts. Todd does nothing exciting with her songs. Carroll's more powerful renditions are superior. Lund sounds just like his "Most Happy Fella" character, Joey, and he hasn't the depth or richness of Kiley's better singing. The London cast is certainly fine but if you're looking for the best "No Strings" recording, it is clearly the Broadway version.
 
Grade: C

"FROM THE HEART"
BARBARA COOK
DRG Records (91485)

One of Barbara Cook's earliest solo albums, "From the Heart," features the songstress in lovely renditions of Rodgers and Hart song classics. While Cook may tell more story in her current song performances, this collection of standards is refreshing and reveals the soprano in her Broadway prime. She was doing "The Music Man" when this album was recorded. Her singing is lovely, limpid, young sounding, and very alive. She even knew then how to spin a song's story through her vocal interpretation and this CD is a cherished addition to the Cook catalog that is available currently. The 12 tracks are a feast for Cook lovers and for anyone who wants to hear these classic tunes delivered with stunning vocal sureness.
 
Grade: A

"TEXAS, L'IL DARLIN'"
Original Broadway Cast
Decca Broadway (B0003437-02)

The lively, exciting, and highly topical "Texas, L'il Darlin'" was a 1949 Broadway show by Robert Emmett Dolan with lyrics by Johnny Mercer. It's not a great score but the show was successful. The original cast recording included only eight tracks and the newly released Decca Broadway CD is a wonderful bit of show music history. The show was largely forgotten after it played Broadway. Since the cast album was so short, it has been paired on the CD with six tunes from the soundtrack from the film "You Can't Run Away From It" by Mercer and Gene De Paul. These tracks feature stars June Allyson and Jack Lemmon. Amazingly, Lemmon demonstrates a satisfactory voice. This release is definitely for the true show music collector and it preserves a bit of Broadway's past.
 
Grade: C+

"SHOW STOPPERS, TOO!"
DRG Records (94774)

In a collection of hits from seven recent Broadway hits, DRG has released a "Show Stoppers, Too!" CD that features highlights from their recent Broadway cast recordings. Included are "Taboo," "Little Shop of Horrors," "Wonderful Town," "Barbara Cook's Broadway," "Flower Drum Song," "Bea Arthur on Broadway" and ""Elaine Stritch at Liberty." If you have the complete CDs, this is an unnecessary CD purchase but if you don't have those recent cast albums, this release features the best numbers from the shows. There's a lot of Bea Arthur's show, the least interesting of the bunch, and Cook's wonderful show only gets three excerpts. It's not a bad CD to play as background music for show music lovers to see how many they can correctly identify.
 
Grade: C

"MEXICAN HAYRIDE"
Original Broadway Cast
Decca Broadway (B0003125-02)

The resurgence of Cole Porter as a result of the recent film biography has created new interest in his many lackluster Broadway musicals. One such show, "Mexican Hayride," proved popular in 1944 with a 481-performance run but the show itself is definitely lesser Porter. Decca Broadway has released a CD that has eight songs from the original cast recording. The songs, while humable and pleasant, aren't great or lasting contributions. The show's success was partially attributable to star Bobby Clark but he refused to participate in the cast recording because he thought his voice didn't sound good on records. Other stars - June Havoc, Wilbur Evans, and Corinna Mura - are featured. The story was inane but a visually eye-appealing production and the strong performances sustained the show's run. Since the cast recording was so condensed, Decca Broadway added six selections from Mary Martin singing Porter songs. This recording, made in 1940 features Martin at the beginning of her career and her singing is fresh and vibrant. The most memorable tune here is a wonderful rendition of "My Heart Belongs to Daddy" from her triumphant Broadway debut show, "Leave It to Me." She's sexy and fun in this suggestive song and it's easy to understand why she became an overnight star because of it. Grade: B-

"CALL ME MADAM"
Original Soundtrack
Hallmark Music & Entertainment (705252)

Ethel Merman's Broadway star status never translated well in Hollywood musicals and she only got the chance to recreate one of her Broadway roles on the silver screen. Irving Berlin's "Call Me Madam" was the show and watching the recent DVD release of it shows Merman at her best as the brassy Sally Adams, United States ambassador to a tiny fictional country. The soundtrack recording has shown up and it's a good recreation of the movie's song hits. Several of the Broadway tunes were included but others were dropped with new ones added. None of the additions are as good as the original tunes. Merman's co-stars, Donald O'Connor, Vera-Ellen, and George Sanders, are all well cast and do justice to their songs. Better than getting this CD is just buying the DVD and watching the songs unfold as they did in the film.
 
Grade: C

"THE BRODAWAY MUSICALS OF 1960"
Town Hall Cast
Bayview Recording Company (RNBW027)

Another Town Hall Broadway tribute has been recorded by Bayview. This time it's "The Broadway Musicals of 1960," which is filled with 20 tracks of familiar songs from the several musical hits of that season. The best Broadway talent gathered for this tribute and the fine singing of Marc Kudisch, Lisa Vroman, Eddie Korbich, Liz Larsen, Douglas Ladnier, Brent Barrett and Tovah Feldshuh is enhanced by Scott Siegel's witty and pointed comments as host. Siegel also writes and creates this popular series. The only unique track, "Vintage 60," comes from the musical of the same name. It's an interesting find especially when paired with "Bye Bye Birdie's" "Kids." Feldshuh gives her usual deadpan comic twists to both songs. "Kids," of course, comes from the older generation's point-of-view and paints a dismal picture of youngsters. "Vintage 60" features a kid's sarcastic commentary about the hypocrisy and lunacy of parents and adults. Other impressive segments include two "Camelot" solos from Barrett who has played King Arthur at the Paper Mill Playhouse, and two of Guinevere's "Camelot" solos by lush-voiced Lisa Vroman. The only "Greenwillow" entry, "Summertime Love," is not the standard tune extracted from that Frank Loesser show. Only one song from "The Unsinkable Molly Brown" makes the cut, "I Ain't Down Yet," in a disappointingly spiritless rendering by Liz Larsen, who also bombs out with "Bye Bye Birdie's" "One Boy." "Wildcat's" well-known hit, "Hey Look Me Over," gets the disc started featuring the entire company. That musical failure gets two other selections while the better scores of "Tenderloin" and "Irma La Douce" get just one each. "Do Re Mi" gets four selections including the hit "Make Someone Happy." Kudisch does a sexy reflection of "Bye Bye Birdie's" "One Last Kiss" and Ladnier makes "Christine's" title tune memorable. Since these are all shows I grew up with, this series entry brings back nostalgic memories of the original stagings I saw in touring productions as a beginning theatergoer.
 
Grade: A-

"CARMEN JONES"
Original Broadway Cast
Prism Leisure (PLATCD 995)

Oscar Hammerstein II's brilliant updating of Bizet's opera "Carmen" to World War II in "Carmen Jones" featured an African-American cast and resulted in a rich treatment. The original cast recording is back from Prism Leisure, a London record company. It includes 11 tracks from the Broadway cast recording plus three bonus tracks from the show's 1947 radio broadcast that featured the Broadway cast. The performers sound wonderful and the sharp Hammerstein lyrics fit Bizet's zesty score stylishly. Unfortunately, the sound on this import isn't great. The Broadway cast portion sounds like it's from an ancient version that hasn't been re-mastered particularly well. The radio broadcast tracks are even worse but at least this memorable cast recording is again available as part of Prism's ongoing The Broadway Musicals Series. I've never seen a future listing of upcoming entries in this series and, so far, most of them have been of previously available show recordings.
 
Grade: B+

"KISMET"
Studio Cast
Vocalion (CDLF 8104)

It's unlikely that a revival of 1953's "Kismet" will show up for several years due to the musical's setting in historic Baghdad but the score, based on Borodin classical compositions, is exotic and lush. A 1964 studio cast recording featuring Mantovani and his orchestra with vocals by Adele Leigh, Robert Merrill, Kenneth McKellar, Regina Resnik and Ian Wallace is fine if not quite as memorable as the original cast version with the great Alfred Drake in the central role of Hajj, the poet-beggar. Resnik has great comic fun with Lalume, the bombastic Wazir of Police's wife, and Robert Merrill gives an operatic sound to Hajj. The score glistens with such still lovely hits as "Stranger in Paradise," "Fate," "Night of My Nights," and "The Olive Tree." If you don't have the original "Kismet" or can't find it, this is a fine alternative recording.
 
Grade: B

"JOHN BARROWMAN SWINGS COLE PORTER"
First Night Records (CASTCD 91)

John Barrowman is one of our leading musical theater stars today. His new solo album, "John Barrowman Swings Cole Porter," comes as a result of the new interest in Porter's music because of the film about the composer's life, "De-Lovely." Barrowman swings the songs a bit but these wonderful 13 tunes are still recognizable and sound great in the singer's capable hands. There's a bonus track, "Easy to Love," from his 2003 appearance in the London revival of "Anything Goes." Barrowman claims that his musical theater career started with a production of "Anything Goes" and he's done the show twice since including the current London revival. He obviously loves the Porter music. He's playful and fun with "Miss Otis Regrets," but he nurses the other tracks with tender affection that is a delight to hear. "John Barrowman Swings Cole Porter" is one of the best of the recent plethora of albums devoted to Porter songs. The release date is Oct. 5.
 
Grade: A-

"THE FIRST ROSE OF SUMMER"
42nd Street Moon Cast
Music Box Recordings (MBR 04003)

San Francisco's 42nd Street Moon stages unusual musicals sometimes in concert versions and others are fully staged. Many of their shows have been recorded and provide a rich treasure of older shows that are otherwise not available on CDs. They recently did "The First Rose of Summer" subtitled "Rare Early Theatre Songs by Jerome Kern, 1912-1928." The collection of 24 tracks covers 15 of Kern's early shows and is a fabulous collection that provides a valuable look at these early Broadway shows. There are more offerings from 1923's "The Stepping Stones" and 1922's "The Cabaret Girl" plus one or two songs from the other shows. They are all very tuneful and all are reminiscent of Kern's greatest score for "Show Boat." The cast is wonderful and their fine vocals do justice to all the songs. For a rare glimpse into early musical theater history and wonderful collection of fine song hits, "The First Rose of Summer" is a winner.
 
Grade: A

"DIVORCE ME, DARLING!"
Original London Cast
Must Close Saturday Records (MCSR 3013)

Sandy Wilson's biggest hit was "The Boy Friend," that delicious spoof of the foibles and follies of the 1920s. His following shows never achieved the success of "The Boy Friend" until he decided to write a sequel to his hit that used the same characters ten years later. "Divorce Me, Darling!" played fast and loose with the 1930s. The concept proved better in theory than practice, though, and when the show debuted in London in 1965, it was warmly received by audiences but tepidly by critics. It closed after 87 performances and was forgotten until 1979 when various revivals began and the show was ultimately restored to what Wilson had originally written before the London director and producers changed the piece. The original cast recording is now available on CD and the score is delightful and winsome if not quite as tuneful and invigorating as "The Boy Friend's." The cast seems to get the spoofing and mockery down although one of the leads had to be replaced during the recording session because she lost her voice. "Divorce Me, Darling!" is charming Sandy Wilson. It may not be "The Boy Friend" but it would be fun to see the show revived today.
 
Grade: B

"JOHNNY GUITAR THE MUSICAL"
Original Off-Broadway Cast
Definite Maybe Productions (DMCD-0401)

I wasn't sure what to expect from "Johnny Guitar The Musical," the off-Broadway send-up of the 1954 Nicholas Ray cult film classic that starred Joan Crawford. The old west tale about a guitar toting gunman was filled with subtle slams at '50s era political issues including McCarthyism and repressed homosexuality. When I put on the newly released cast album of the show that was named Best Musical by the Outer Critics Circle, it turned out infectious and catchy. The country western twang of Martin Silvestri's music, the clever song lyrics by Joel Higgins, and the plot adapted by Nicholas Van Hoogstraten from the film are all very appealing. The superb cast, including Judy McLane, Ann Crumb, Steve Blanchard, and Robert Evan in the key roles, is top notch as is the band conducted by James Mironchik. The rough old west tale reads charming in the accompanying booklet and I hope the show, now closed in New York, starts showing up in regional productions around the country. "Johnny Guitar The Musical" is a welcome surprise.
 
Grade: A-

"SLOW"
ANN HAMPTON CALLAWAY
Shanachie Entertainment (5118)

Mellow Ann Hampton Callaway's new release "Slow" is another wonderful, rich collection of song hits delivered by the talented singer. The album includes the debut tune "Tonight You're All Mine," written by Callaway with Carole King, that is romantic and lovely. Callaway also performs a wonderful duet with sister Liz Callaway, "Moondance," and Callaway's first recording of the song she co-wrote for Barbra Streisand to sing to her new husband James Brolin on their wedding day, "I've Dreamed Of You." There are pop and jazz standards like "Never Let Me Go" and "Someone To Light Up My Life," other Callaway originals including "Lullaby in Blue" and "My Answered Prayer," plus the contemporary classics "Love Dance" and "Will You Love Me Tomorrow?" all delivered with Callaway's lush, sultry voice and her own unique style. She's backed by a great band playing her perfect arrangements. If you want a relaxing, romantic CD, you won't go wrong with "Slow." It's too bad Callaway, who did one musical, "Swing," doesn't more often share her lovely vocal talents with Broadway.
 
Grade: A

"CENTRE STAGE THE VERY BEST OF ELAINE PAIGE"
Warner Music UK (WSMCD171)

Elaine Paige is one of London's premiere musical theater stars. Her Broadway debut in "Sunset Boulevard" was eagerly awaited as was her recent return to New York to star in "Sweeney Todd" for the New York City Opera. Her new album, "Centre Stage The Very Best of Elaine Paige," includes 38 tracks on two CDs that represent her musical theater career and includes two new songs and six previously unreleased recordings. Her voice and interpretive powers are clear in her renditions of the major shows she's debuted or played in London. She also does several tracks from her solo musical, "Piaf," in which she portrayed the French singer. Several contemporary songs not from musicals and a few songs from films are also included. Her voice and stylish treatments of all her songs make this career retrospective recording a winner and remind us of how prolific a musical theater performer she is in Britain.
 
Grade: A

MARY MARTIN/ETHEL MERMAN
"THE SOUNDTRACK OF THEIR LEGENDARY APPEARANCE ON THE FORD ANNIVERSARY SHOW" on JUNE 15, 1953
VAI Audio (VAIA 1226)

Last time, I reported on the newly released DVD of the famous Mary Martin/Ethel Merman 1953 television appearance. Now, they've followed the DVD with an even shorter CD of the pair's solos and duets. It doesn't include Martin's pantomimed fashion satire since there were no vocals. I'm not sure why you'd want to purchase the CD version because it lacks the visuals of the two great musical theater stars and thus removes the vibrant personality the pair possessed and the bonding they obviously shared on the program. Stick to the DVD as a great way to relive one of the most famous and previously unavailable footage of the Martin/Merman songfest and skip the blander and short CD.
 
Grade: C

"MERMAN SINGS MERMAN" AND "ETHEL'S RIDIN' HIGH"
ETHEL MERMAN
Decca (475 6150 DM)

During Ethel Merman's reign as Broadway star, her stature carried over her over to be a pop music star as well. Two of her old solo recordings, "Merman Sings Merman" and "Ethel's Ridin' High," have been combined in a new Decca release. She is in her prime singing classic Broadway show tunes she introduced as well as other Broadway standards plus some popular period song hits. Merman never varied her singing style and all the songs on the two albums are delivered consistently but with her unique and booming style that she made famous and memorable. On some of the show tunes that were hers originally, she sounds better on older, period recordings or on original cast recordings, but this Merman collection introduces the best of the star in one compact format.
 
Grade: B

"PACIFIC OVERTURES"
English National Opera Cast
Jay Records (CDJAY 1382)

The first London production of Stephen Sondheim's ambitious "Pacific Overtures" came in 1987 from the English National Opera. That production was recorded and a complete, two-disc CD was previously available. Now comes a highlights version that has been re-mastered. The show tried to recreate the arrival of the American's in Japan and the clashing cultures that resulted when the two started trading and exchanging traditions. It is loaded with music that attempts to recreate the sound of traditional Japanese music but it also includes some rich Sondheim tunes that are delightful on their own like "Chrysanthemum Tea," "Welcome to Kanagawa," and "Pretty Lady." The music is well sung by a fine cast and this highlights version contains the show's best and most important musical moments. Perhaps not as strong as the original Broadway cast recording, this version is still pleasing and is a good way to reacquaint yourself with "Pacific Overtures" that Roundabout Theatre Company will revive on Broadway this fall at Studio 54.
 
Grade: B

"SOMETHING TO DANCE ABOUT - THE MUSIC OF IRVING BERLIN"
Kim Criswell
Jay Records (CDJAY 1381)

Kim Criswell is famous for doing Ethel Merman roles and she recently got strong notices in the Goodspeed revival of Irving Berlin's "Call Me Madam." Her new solo CD, "Something to Dance About - The Music of Irving Berlin," is a delightful testament to her fine way with Berlin tunes but it also contains five numbers featuring "Call Me Madam's" central character, Sally Adams, "the hostess with the mostess," and serves as a good indication of how smashing Criswell must have been in the show. The collection of popular Berlin songs is delivered with gusto by Criswell. Most of the song selections aren't from other Berlin musicals but are popular tunes the composer created during his long and prolific career. In addition to the wonderful renditions of the five "Call Me Madam" song hits, Criswell has lusty musical fun with "Heat Wave," "Mr. Monotony," "Blue Skies," "Always," "Down in Chattanooga," "Let Me Sing and I'm Happy," "Count Your Blessing," a wonderfully lush "White Christmas," and a rousing "God Bless America." Criswell usually appears in London theater and rarely comes to America. It's too bad because she's quite a talented musical theater star as proved by her fine new Irving Berlin album.
 
Grade: A

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"ASSASSINS"
Broadway Cast
PS Classics (PS-421)

Forget the book problems that plague stage productions of Stephen Sondheim's "Assassins," the score is interesting and intriguing and the Broadway cast that recently completed an acclaimed run at Studio 54 handles the music brilliantly. The tunes are rich Sondheim creations including the new song he wrote for the first London staging of it, "Something Just Broke." The Broadway cast was flawless and most impressive are Michael Starobin's stunning orchestration. Even Joe Mantello's staging, set in a carnival, helped the weak book better focus on the sick characters, those weirdoes who thought their fame would come from killing a United States president. The songs, many solos, give these characters a chance to express their reasons and logic for their actions. An unusual theme for a musical? Of course, but Sondheim's score is great. The Broadway cast stuns with vivid character interpretations both in the theater and on the recording. Especially brilliant are Mario Cantone's Santa Claus-clad Samuel Byck, a misplaced man who thought piloting a 747 into the White House to kill Richard Nixon was inspired. Denis O'Hare's Charles Guiteau, President James Garfield's assassin, is also strong as are Alexander Gemignani's John Hickley, Becky Ann Baker's off-center Sara Jane Moore, and Neil Patrick Harris' Lee Harvey Oswald. Marc Kudisch presides over the action as the Carnival Proprietor. Paul Gemignani's flawless orchestra provides superb musical accompaniment. While "Assassins" book may have faults, this brilliant recording of the show belongs in every Sondheim-lovers music library.
 
Grade: A

"ARCHY AND MEHITABEL"/"ECHOES OF ARCHY"/"CARNIVAL OF THE ANIMALS"
Studio Cast
DRG Records (19064)

"Archy and Mehitabel" is described as a "back-alley opera." The first recording, which later resulted in a Broadway musical called "Shinbone Alley," has become a classic. It has just been released for the first time on CD by DRG Records. The impressive three-person cast features Eddie Bracken as the cockroach Archy and Carol Channing as the cat Mehitabel, with narration by David Wayne. The fanciful story revolves around Archy, a journalist cockroach, and his love for the trampy cat Mehitabel. George Kleinsinger's score with words by Joe Darion tell a lot about these characters. The performers make their characters vivid and clever with Wayne providing vibrant narration. The release also includes David Wayne's "Echoes of Archy" (which tells us more in song about the cockroach) and Camille Saint-Saens joyously descriptive "Carnival of the Animals" with new Ogden Nash verse spoken by Noel Coward. This release includes several classic performances although not directly related to the musical stage. Kids will enjoy the fanciful tone and vivid descriptive quality of these works and adults will enjoy the superb performances of Channing, Bracken, Wayne, and Coward.
 
Grade: B-

"LA STRADA"
Demonstration Recording Cast
Bayview Recording Company (RNBW028)

Back in 1968, British theater composer Lionel Bart was a phenomenon with five London hit musicals in a row and the Academy-Award winning film version of his biggest hit, "Oliver." There was much interest in his announced musical adaptation of Fellini's film "La Strada" that was to open on Broadway in 1969. Bart's fame made it easy to do a complete cast with full orchestra demo of the completed score for "La Strada" in England prior to the show's Detroit tryout. The show met with unanimously unfavorable reviews and when it finally opened on Broadway where it lasted just one performance. The score was thought to be lost and no cast recording existed. Bayview Records unearthed the demonstration tapes and have re-mastered them for release on CD. Interestingly, the show was so plagued that just two of the 12 songs included in the demo actually remained in the show on opening night. The story is about Gelsomina (played on Broadway by Bernadette Peters) who is sold by her mother to an unscrupulous traveling carnival operator. It's a dark and foreboding story with an unpleasant resolution so was very foreign for the musical theater of that period. The demo score is interesting and sets the somber tone of the plot. This recording is of interest to musical theater aficionados who will relish the discovery of this fabled failure. It's not destined to be a popular recording for the masses but Bayview deserves praise for spending the time and money to make this interesting piece of musical theater history available.
 
Grade: C+

"HAZEL FLAGG"
Original Broadway Cast
Sepia Records (SEPIA 1035)

London English composer Jule Styne had hit Broadway with two hit shows, "High Button Shoes" and "Gentlemen Prefer Blondes," so his 1953 musical "Hazel Flagg" was much anticipated. The show was based on James Street's satire "Nothing Sacred," which had been filmed in 1937. Satires, though, don't always work as Broadway musicals and "Hazel Flagg" wasn't the greatest of shows playing just 190 performances. Styne's score contained a couple of hits, "How Do You Speak to An Angel?" and "Every Street's A Boulevard in Old New York" but Ben Hecht's book wasn't effective. The plot traces the title character. She is wrongly thought to have a fatal disease and desires to spend her last days in New York. The story is picked up by a magazine and Hazel convinces her doctor to go along with the death sentence so she can enjoy New York and the fame the magazine story brings. It ends happily with Hazel in love with the reporter. The cast included Helen Gallagher as Hazel, John Howard as the reporter, Thomas Mitchell as the Doctor, and Benay Venuta as the magazine publisher. The score is delightful if not distinguished and it's great to hear Gallagher at her prime as a new Broadway star. Sepia Records, which has been releasing lots of Broadway shows on CD, deserves praise for continuing to dig deep in the show music catalogues of other labels to find shows that would never be released as CDs. There are ten bonus tracks with many featuring Venuta and other popular period artists in show songs.
 
Grade: C+

"MAKE A WISH"
Original Broadway Cast
Sepia Records (SEPIA 1036)

"Make A Wish" debuted in 1951 and was based on a Ferenc Molnar play, "The Good Fairy." It didn't make the transition to a musical very effectively but Hugh Martin's songs are peppy and melodic and the cast was full of Broadway's future stars. The story was about a French orphan who escapes her miserable life and finds love and glamour in the chorus line of a Parisian nightclub. Nanette Fabray played the orphan, Janette. Melville Cooper was the wealthy Marius whom Janette ditches in favor of a young Law student, Paul, played by Stephen Douglas. Dancer Harold Lang played an American tourist who was interested in a local played by Helen Gallagher. The show was full of dance including "The Sale" that is included on this cast recording and "The Student's Ball" that is not. The score is pleasant and catchy, the cast is exemplary, and the cast recording gives us these well-known performers at the height of their early days on Broadway. With only the dances and elaborate scenery depicting Paris, the show didn't last long and closed after 102 performances. It's nice to have the recording available again along with seven bonus tracks including several featuring Douglas in various bits of show music.
 
Grade: C+

"PROMISES, PROMISES"
Italian Cast
Carosello Records (CARSM 064 2)

"Promises, Promises" is an excellent musical theater adaptation of the film "The Apartment" with a fine Burt Bacharach score. The central character, a bachelor, loans out his apartment to his married male friends so they have a place to cheat on their wives. The show is rarely seen today but a 2002 Italian production has released a CD cast recording that is quite good. The orchestrations are well played by a large orchestra and the cast sings the songs well and often sounding similar to the Broadway originals. Like many foreign cast recordings, there is no information about the production. Exposure to "Promises, Promises" just reminds me how good the show is and makes me wonder why it hasn't been revived.
 
Grade: B

"THE LION KING"
Netherlands Cast
(Stage Music/Universal 986 626-5)

The Netherlands cast recording of "The Lion King" sounds just like the Broadway cast CD but obviously in Dutch. Disney controls the show closely and all productions duplicate the successful Julie Taymor Broadway version. The singing and characterizations are solid and nothing new in the way of interpretations or changes in the score is apparent. The running time of this CD is almost identical to the Broadway version. One must remember that this show is spectacular to watch and is not the success it has become just because of the pleasant score.
 
Grade: A-

"CAROLINE, OR CHANGE"
Original Broadway Cast
Hollywood Records (2061-62436-2)

"Caroline, or Change" is a confused but ambitious new musical that is really a through sung opera. It takes a very perplexing first act before the show comes into focus. It's about an African-American maid, the title character, in 1963 Louisiana. She works for a well-to-do Jewish family and her frustrations and difficult life typify the plight of Blacks throughout the South. The show, with book and lyrics by Tony Kushner and music by Jeanine Tesori, isn't easily accessible. The complex score is challenging with few pleasant melodies but with telling insights into the characters and their thinking. Tonya Pinkins is stunning as Caroline and the cast around her is accomplished. The show program does not list individual songs but the CD divides the score into 53 tracks and gives titles to each selection. The two-CD cast recording captures the show's intensity and preserves the ambitious score as sung by the impressive original cast. The music tends to grow on you as you listen to the score repeatedly but on first hearing it won't impress. I'm glad I got to see this unusual show and that it has been so gloriously captured on CD. It won't be a show I play often but it moves the musical theater in new directions and anything that gives creative spark to that genre is worthy.
 
Grade: B

"SONG OF NORWAY"
Original Broadway Cast
Decca Broadway (B0002471-02)

The 1944 operetta "Song of Norway" tells a sanitized biography of composer Edvard Grieg's bland life. It's not the story that makes this musical chestnut so interesting. It's the rich score, adapted from Grieg's own compositions. Robert Wright and George Forrest made a career of adapting other composers scores into popular tunes used in sugary stories. Their biggest hit was "Kismet" that used Alexander Borodin's compositions in an exotic story. "Song of Norway" hit Broadway just after "Oklahoma," when musicals began the tradition of cast recordings. For the "Song of Norway" recording, the show's opera star Irra Petina had to be replaced by Kitty Carlisle because Petina was under exclusive contract to Columbia and could not participate in the Decca recording. Carlisle, a popular singer, had a voice well suited to Petina's role. The rest of the talented cast sings lovingly. The score is delightful and the Grieg melodies are fabulous and perfect for the tunes Wright and Forrest created. After many years, it is wonderful to again have this original cast recording available although some of the ancient recording techniques weren't or couldn't be fixed so the fidelity of the CD isn't always great.
 
Grade: B

"NO STRINGS"
Original Broadway Cast
DRG Records (19065)

"No Strings" was Richard Rodgers first show after his partner Oscar Hammerstein II's death. Rather than working with a new partner, Rodgers chose to do the music and lyrics himself to Samuel Taylor's book. The show's score, again available on a new DRG CD is wonderful. The story was ambitious for its time. It was about an interracial European romance between two Americans, fashion model, Barbara Woodruff played by Diahann Carroll, and novelist David Jordan played by Richard Kiley. The title referenced both the couple's relationship and that Rodgers score was not orchestrated for any string instruments. The staging was also unusual in that the orchestra played on stage and was incorporated into the action and actors shifted scenic pieces in full audience view. These modern staging ideas made "No Strings" quite innovative for its time. The score is light and includes some of Rodgers best melodies. The show's two hit songs, "The Sweetest Sounds" and the title tune, are outstanding and the cast is wonderful. Carroll won a Tony for her performance. Rodgers also won a Tony for his score and considering that both Jerry Herman and Frank Loesser were up that year the win is quite a tribute to the show's songs. The new CD contains no material not previously available but it's a great cast album to again have available.
 
Grade: A

"BARBARA COOK'S BROADWAY"
Live From Lincoln Center Theater
DRG Records (91484)

Barbara Cook is a Broadway icon. At 76, her lustrous voice remains a lovely instrument and she has perfected the ability of telling a beautiful and touching story with each song she sings. In her latest show, "Barbara Cook's Broadway," she recreates some of her most famous show numbers, tells interesting tidbits about her career, and sings a collection of 20 theater songs exquisitely. The songs capture what is now referred to as the "Golden Years of Broadway Musicals," a period during which Cook starred in several major Broadway shows. Her limpid soprano sails through these songs and she tells her charming backstage stories with candor and honesty about shows she did and her show business experiences. She even hints at her career disappointments including the fact that she never created a role in a Rodgers and Hammerstein show. She did several R&H shows throughout her career, though, and she provides wonderful renditions of songs from "Carousel," a show in which she played both female leads, Carrie and Julie, at different points in her career. She does a great "A Wonderful Guy" and "This Nearly Was Mine" from "South Pacific," and a lush "The Gentleman Is a Dope" from "Allegro." She talks affectionately of "The Music Man," her biggest hit, and tells a story about her co-star Robert Preston introducing her to Gary Cooper after a performance the movie star attended. She did an entire show of Stephen Sondheim songs recently but here her one tribute to him is a thoughtful "In Buddy's Eyes" from "Follies." She has fun with an Elaine Stritch story. Her four songs from her personal hit "She Loves Me" receive a lusty audience response on this live recording. She's backed by her longtime pianist Wally Harper, who knows Cook's voice perfectly and who uses impeccable accompaniment and tailored orchestrations to highlight his star. Cook reveals her most touching disappointment is that she's never had her name up in real light bulbs on Broadway. The backlit plastic signs don't cut it for her and she names the two Broadway theaters that still have marquees that would permit her dream to become a reality. Too bad her wonderful "Barbara Cook's Broadway" couldn't play one of those theaters so her wish would be granted. The show ends with a touching "The Party's Over." Cook remains luminescent.
 
Grade: A+

"GOLF THE MUSICAL"
Original Off-Broadway Cast
Eric Krebs Productions (No Number)

We've had a rash of musicals dedicated to significant events that play important parts in our lives. The latest is "Golf The Musical" and it looks with wicked and pointed humor at those fanatics who spend hours in the sun hitting little balls around lush grass knolls. Even if you aren't a golfer, though, and don't know details of this sport, the songs that accompany this clever off-Broadway show are cute and amusing. The songs themselves aren't wonderful musical compositions but the simplistic melodies are serviceable and allow Michael Roberts lyrics to make their humorous impact. The four-person cast plays the variety of expected stereotypical golfer types and the production pictures show the silly fashions that too many golfers wear. It appears that "Golf The Musical" has a lengthy career throughout the country especially in locations where golf is a year-round pastime. It's a fun listen.
 
Grade: B-

"TABOO"
Original Broadway Cast
DRG Records (94773)

A Boy George fan I am not. Yes, I saw his "Taboo" on Broadway and thought it better than the awful reviews I had read and thought the hardworking cast did more for the discombobulated show than the Boy George score or Charles Busch's contrived and thinly disguised biographical sketch of the singing idol and his unusual lifestyle. The show didn't last long on Broadway where there weren't sufficient fans to support the $100 admission tickets to see the noisy and explosive show. Producer Rosie O'Donnell was very committed to her show and even though it wasn't destined to become a hit, she arranged to have "Taboo" recorded. Now, several months after the show's closure, the cast recording has finally been released. It faithfully preserves the show and the cast's fine performances - especially Euan Morton's stunning portrait of the composer himself. Boy George also played a small role in the show unmemorably and he comes across as blandly on the CD as he did on Broadway.
 
Grade: C

"FINE AND DANDY"
World Premiere Studio Cast
PS Classics (PS-9419)

"Fine and Dandy" is a forgotten show from the 1930-31 Broadway season that marked the first musical from composer Kay Swift, with words by her husband Paul James. Swift has the distinction of being known as the first female composer of a Broadway show although research suggests otherwise. Swift was the paramour of composer George Gershwin and she carried on an affair with him that ultimately resulted in her divorce from James. Gershwin influenced Swift's music and she wrote popular tunes aside from her Broadway scores. "Fine and Dandy" wasn't memorable and revolved around a vaudevillian comedian, Joe Cook, who did his famous routines between the wonderfully upbeat songs and a silly story about star-crossed lovers. The new PS Classics studio cast recording reveals a lovely score full of melodic songs with decent enough lyrics for the time. The title tune is a real toe-tapper and the fine cast assembled by producers Tommy Krasker and Philip Chaffin couldn't be better from Carolee Carmello, Gavin Creel, Mario Cantone, and Mark Linn-Baker plus a great orchestra conducted by Aaron Gandy. After the show's 17 tracks come four bonus renditions of other Swift song hits featuring Ann Hampton Callaway in a sultry "Once You Find Your Guy" and John Pizzarelli and Jessica Molaskey in a lovely "Can't We Be Friends?" PS Classics promises more forgotten musicals in the future. If they are all as good as "Fine and Dandy" I can hardly wait.
 
Grade: A

"FIDDLER ON THE ROOF"
New Broadway Cast
PS Classics (PS-420)

The new revival cast recording of "Fiddle on the Roof" arrived just as I was beginning this update. I only got through it twice but a couple of things are immediately clear. The new cast isn't remarkable but is certainly competent. The new second act song assigned to Yente, "Topsy-Turvy," is cute but not memorable. The best thing the new recording offers is over 70 minutes of music from one of the greatest Broadway musicals, more of this show than has ever been available before. The most disappointing aspect of the new cast is star Alfred Molina's Tevye, who never seems to take command of this "Fiddler" and just blurs into the many interesting residents of the tiny Russian village of Anatevka. For a production of this musical to be completely successful, the Tevye must be outstanding and dominant, something definitely not the case with Molina in the new recording. The rest of the large cast is fine but no one outshines the original Broadway cast's interpretations that are still vibrantly alive on that recording. Because of the extra music, this "Fiddler on the Roof" belongs in true show music lovers' libraries but for those who want the best "Fiddler" they should stick with the original cast.
 
Grade: C+

"ACE OF CLUBS"
Original London Cast
Bayview Recording (CS002)

Noel Coward's 1950 London musical "Ace of Clubs" is now available on a seven-track Bayview recording that includes four bonus tracks of other Coward songs featuring the writer. The show has a catchy, pleasant score and the original cast delivers the witty Coward lyrics with appropriate comic flair. It enjoyed a modest run of 211 West End performances and it used a "Pal Joey"-like story of an improbable love story set against a background of a seedy club and gangland thieves. Many of the musical numbers grew from the heroine's cabaret appearances. The cast recording is far from complete because at the time regular London cast recordings weren't consistently being produced. It's a welcome historical gem and proves how strong Coward's many songs were but "Ace of Clubs" isn't his or the musical theater's finest show.
 
Grade: C

"MAMMA MIA!" SPECIAL EDITION
Original London Cast
Polydor (986 641-2)

Always trying to make an extra buck, Polydor has produced a special edition of the popular "Mamma Mia!" with three bonus tracks that include the mini-concert of ABBA music after the show's finale. Otherwise, this high priced CD has the identical tracks of the London cast recording that has been so big a seller in both England and the United States. A Broadway cast recording was never made. The show is a wonderful tribute to the rich ABBA music and I've said many times that I discovered these tunes through the show since I avoided pop music when ABBA was so big. The show is nothing special and the ordinary staging and physical production don't make it a distinguished show but the music rocks and is sure entertaining. The bonus mini-concert at the end sends audiences away on a soaring high but the songs have never been available before in the cast recording. This release preserves the socko ending that made the show so special and the CD will help us remember the reasons the show was so successful years from now when we listen to this full version of the score. The accompanying booklet has all the song lyrics and scenes from the many world-wide productions. It's an expensive CD but it's the only complete "Mamma Mia!"
 
Grade: A

"THRILL ME - THE LEOPOLD & LOEB STORY"
Original New York Cast
Original Cast Records (OC-7391)

A musical about the terrible child murder by Leopold and Loeb seems an odd premise for a musical and the show by Stephen Dolginoff isn't successful as a recording. The songs aren't particularly melodic but they do tell a lot of details about Leopold's 1955 plea for parole and his recollection of his friendship/sexual/crime for thrills relationship with Loeb. This new look at Leopold provides the circumstances behind the crime that ultimately allowed him to be granted parole many years after his lover, Loeb, was murdered in prison. If you are interested in the gory details of the pair's sexual relationship and their warped sense of thrills through crime, "Thrill Me" might just be your calling. I can't believe the recording will sell well or that many productions of the show will occur. "Thrill Me" is an interesting attempt to stretch the bounds of acceptable topics for musicals.
 
Grade: C

"THE BLACK & WHITE BLUES - THE NEW ORLEANS RESTAURANT MUSICAL"
Original New Orleans Cast
Trylon Music (TM-001)

Restaurant musicals in New York and around the country have become the rage recently. "The Black & White Blues" is set in New Orleans where it has become a hit. It describes the trials and tribulations of working in restaurants and the awful treatment customers give to those who serve them. It has a cute and catchy score and the lyrics are clever and insightful. It seems that the stagings that accompany these newly popular shows make the occasions special and one can envision the production that surrounds "The Black & White Blues" from the short but interesting cast album. Think I'd find the show if I planned a New Orleans trip.
 
Grade: B

"HAIR"
2003/2004 European Tour Cast
Wolfgang Bocksch Concerts (No Number)

Just what we need is another "Hair" recording. The now dated 1968 love rock musical may have been revolutionary when it debuted but today it's a quaint look back at fairly recent history that many middle aged theatergoers lived through. The show marked the Broadway acceptance of the rock music sound that was then sweeping through the pop music world. It also pushed censorship with a cast nude scene and an episodic story about different characters and their drug-influenced lifestyle during this newly permissive Age of Aquarius. Today, the familiar songs seem ancient and the new European tour (in English) doesn't do anything unique with the Gerome Ragni, James Rado, Galt MacDermont show. The over 70 minute recording includes lots more of the score than the earlier cast recordings but the extras are mostly reprises and extended versions of songs better performed by the original cast. The few attempts to update orchestral sounds and move the music to a more contemporary sound doesn't help. If you have the original cast recording, there's nothing to recommend adding this new recording. There are reasons this show is rarely seen today because it is an antiqued but recent history capsule few are interested in seeing. Perhaps to future generations farther removed from the '60s, it will merit a revival. Not today and the new recording has nothing special to recommend it.
 
Grade: C-

"IF WE ONLY HAVE LOVE"
KAREN AKERS
DRG Records (91483)

Musical theater star and cabaret singer Karen Akers has a mellow contralto voice that has deepened and become lovelier as she matures. Her new album, "If We Only Have Love," features a dozen reflective musical theater songs that look back lovingly and affectionately at the singer's life. There's no upbeat songs here but the picks are all wonderful and include both standards like "Try to Remember," Send In The Clowns" and the title tune along with less familiar works like "Baby's" "Patterns," "House of Flowers'" "A Sleepin' Bee," and "Nine's" "Be On Your Own." Don Rebic accompanies Akers with sensitive piano arrangements that do justice by the songs and flatter Akers voice. The CD is short and Akers could have included a few more songs but it is a lovely, touching and moving recording by an artist who knows how to express her deep-felt emotions through what she describes as her favorite theater songs.
 
Grade: A

"BOUNCE"
Original Cast
Nonesuch (79830-2)

"Bounce," Stephen Sondheim's first new musical since "Passion" in 1994, received mixed notices during its Chicago and Washington, D.C. tryout engagements. The reviews and lukewarm audience reaction didn't entice producers to transfer the show to Broadway, but it was recorded in Washington. The almost 75-minute recording captures a Sondheim score that is more melodic than many of his shows, but there's little new in the songs and most recall earlier Sondheim tunes.

"Bounce" is a biography of Wilson and Addison Mizner, two opportunistic brothers who, together and apart, dabbled at several careers and ruined most of their chances before moving on to something else. The brothers parted before they died convinced that they caused their own downfalls.

The music is pleasant and quite charming. "The Best Thing That Ever Has Happened" is one of Sondheim's loveliest ballads and winds its way throughout the score. The music captures the brothers' diverse careers like Alaskan gold mining and show business and the pair's rocky relationship is also caught in melodies.

Howard McGillin's effervescent Wilson is quite the sleazy playboy. His songs with his one-time romantic liaison, Nellie, played with sincere passion by Michele Pawk, are winning. As the more focused and stalwart Addison, Richard Kind makes the part his own as he strikes off on his own to revolutionize architecture in the boom days of pre-Depression era Florida. The brothers' first fling for gold in Alaska has some solid songs and Addison's gay infatuation with Hollis Bessemer is sensitively conveyed in "You." There's also a welcome appearance by Hollywood movie musical legend Jane Powell as the Mizner's ballsy mother.

You will be charmed by Sondheim's score even if the show proved garbled and confusing on stage. Like most of his less successful works, "Bounce" will no doubt go through extensive revisions over time until its problems are fixed and it finally appears in New York. In the interim, the "Bounce" cast recording is a nice addition to the Stephen Sondheim's musical theater canon.
 
Grade: B+

"PETER HOWARD'S BROADWAY"
Original Cast (OC 6075)

Peter Howard has had an extensive Broadway career as a music director and dance music arranger. He's worked on such shows as "Carnival," "The Sound of Music," "Hello, Dolly," "1776," "Annie," "Baby," "My One and Only," "Barnum," "Chicago" and "Crazy for You." In "Peter Howard's Broadway," he sings song hits from his career shows and relates some interesting stories about shows he's worked on. He's not much of a singer and some of the songs are unpleasant renditions but the wide range of shows and his tales make this CD a treasure chest of information for show music aficionados who love bits about behind-the-scenes touches of Broadway musicals.
 
Grade: C+

JANE OLIVOR "SAFE RETURN"
P S Classics (PS-417)

Back in the late '70s, pop singer Jane Olivor overwhelmed me with her mellow and lovely voice. She had a magical way with ballads and love songs. I followed the singer's career and purchased all her albums. Her success continued to rise up to her triumphant 1978 Academy Award appearance singing "The Last Time I Felt Like This." She disappeared then during her then new husband's battle with cancer and when her stage fright further separated from her fans and live audiences. Aside from a few appearances in the early '90s she's stayed away until late last year when she reemerged. Now comes a new live concert album, "Safe Return," of her return concert. The show was recorded and has been released as both a CD and DVD. The CD reveals Olivor's voice as still silken and lovely, not marred by the years but enhanced and strengthened. The 26 tracks include several wonderful arrangements of musical theater songs plus lots of pop tunes including several written by Olivor herself. It was a joy to put the CD on and relish the exquisite loveliness of Olivor's elegant singing. She's never been a screamer and she hasn't changed. It's good to have Jane Olivor back and let's hope she soon tours the country so all her fans can renew a welcome acquaintance with this great singer.
 
Grade: A

"GAY'S THE WORD"
Original London Cast
Bayview Recording Company (CS001)

"Gay's the Word" was Ivor Novello's 1951 attempt to mock the operetta style of show he had made famous in his many London hits. He teamed with Alan Melville, a revue author, on "Gay's the Word." The two wrote a musical that looked at the then musical theater battle between the old style operettas and the new style brought to fruition by Rodgers and Hammerstein. "Gay's the Word" sounds like the operetta musical style won. The show was written for longtime London star Cicely Courtneidge and the new star Lizbeth Webb from "Bless the Bride." Also in the cast was Elizabeth Seal who went on to stardom in "Irma La Douce." The resulting score is full of wonderfully melodic but very old-fashioned sounding tunes during the last stages of the development of a new musical. Courtneidge is funny and charming. The CD includes just eight songs from the original cast with five bonus tracks of show song hits sung by other contemporary singers including Frank Sinatra's take on "If Only He'd Look My Way." "Gay's the Word" is an amazing find from a bygone era and Bayview deserves show music fans praise for restoring this chestnut and making it available again.
 
Grade: B

DAN CHAMEROY "ME"
Dan Chameroy (No Number)

Footlights, the wonderful New York store that sells show music along with movie soundtracks, imports some unusual CDs with show themes. Many feature artists who have not yet become known in the United States. Dan Chameroy's first CD, "Me," is devoted to old and new show tunes and the attractive young performer has a likeable if undistinguished voice. He sings 12 tracks including such standards as "My Fair Lady's" "I've Grown Accustomed To Her Face," "I Can See It" from "The Fantasticks," "The Impossible Dream," and "Camelot's" "If Ever I Would Leave You" along with some unique songs from "Anastasia" ("Journey To The Past"), "Unusual Way" from "Nine," "Not A Day Goes By" from "Merrily We Roll Along," and "High Button Shoes" "I Still Get Jealous." The album ends with a stirring "This Is the Moment," the current male torch song. Chameroy's voice is pleasant and nice if a bit nasal and it would be interesting to see him perform in a musical.
 
Grade: B-

REBECCA LUKER "LEAVING HOME"
PS Classics (PS-415)

Rebecca Luker has starred in a number of Broadway triumphs, most recently "Nine" and "The Music Man." Her new album, "Leaving Home," abandons her show music successes in favor of a return to her roots in folk and rock compositions. She sounds relaxed and comfortable with this repertory but the songs are not as enjoyable to show music fans. Only one song of the 14 tracks return to her Broadway experiences when she does a wonderful and rich duet with her "The Secret Garden" co-star, Alison Fraser, in "Wick." The album exposes us show music people to new music by major artists but I love Luker's voice wrapped around show tunes. "Leaving Home" may be a fine CD but it disappoints me.
 
Grade: C

"THE THING ABOUT MEN"
Original Off-Broadway Cast
DRG Records (DRG 94772)

Were the creators of "I Love You, You're Perfect, Now Change" destined for another big time surprise hit? With their new show, "The Thing About Men," the answer is a big "no." The new show had a short, unsuccessful run. The songs aren't as clever and the melodies aren't as cute and innovative as the team's earlier success. The story traces a cheating husband and wife. The husband moves in with his wife's lover and everyone tries to catch each other. It's based on a German film, "Men," by Doris Dorrie. The heavy-handed adaptation is by Joe DiPietro with music from Jimmy Roberts. The most attractive asset of the Off-Broadway production is the impressive cast headed by Marc Kudisch as the two-timing husband, Leah Hocking as his wife, and Ron Bohmer as the wife's impoverished artist/lover. It makes for easy enough listening but its nothing distinguished and the humor isn't as good.
 
Grade: C

"THE BROADWAY MUSICALS OF 1953"
Original Town Hall Cast
Bayview Recording Company (RNBW026)

Scott Siegel's popular Broadway By the Year series continues with "The Broadway Musicals of 1953," and this was a strong year and a more familiar season for me since these musicals were all relatively new and popular when I started attending musicals in the late '50s and early '60s. The selection of shows is bountiful from Rodgers and Hammerstein's least popular show, "Me and Juliet," to Leonard Bernstein's "Wonderful Town" that is enjoying its own Broadway revival now, to Cole Porter's delightful "Can-Can," and the exotic musical "Kismet" based on Alexander Borodin's classical music compositions. This same prolific season also contributed the less known but still musically robust revue "John Murray Anderson's Almanac," the interesting but unsuccessful "Carnival in Flanders," and the short-lived "Hazel Flagg." "Wonderful Town," "Can-Can," and "Kismet" dominate the 21 selections used to represent the year and, as always, the cast is outstanding with the best talent of the contemporary musical theater interpreting them. Here Davis Gaines shines in several songs that use his rich voice and Debbie Gravitte is a special guest and wonderful singer. The rest of the cast (Andrea Burns, Julia Murney, Ed Staudenmayer, and Scott Coulter) are all great. Favorite selections include "Kismet's" "Stranger In Paradise" with Gaines and Burns, this pair again in the same show's "And This Is My Beloved" that includes Staudenmayer and Coulter, and Murney's "I Love Paris" from "Can-Can" plus "Wonderful Town's" humorous "One Hundred Easy Ways To Lose A Man" with Murney as well. Every show from 1953 may not have been a big hit but all the selections are familiar and melodic. One wonders how recent years will sound if this successful series continues into the future. These By the Year shows are always a welcome new edition.
 
Grade: A

"DESTRY RIDES AGAIN"
Original London Cast
JAY Records (CDJAY 1377)

Although "Destry Rides Again" was a 1959 Broadway success, the show didn't make it to London until many years later in a 1982 Donmar version that was scaled down with actors doubling as musicians. The source material, presented in three movie treatments was adapted by Leonard Gershe from Max Brand's story with music by Harold Rome. It has an attractive old West story about Frenchy, a saloon singer, and Tom Destry, the new deputy sheriff of Bottleneck. It focused on the leads and the conflict between good and evil in a violent frontier town at the conclusion of the 19th century. The score is a lusty and tuneful one and the London leads, Jill Gascoine as Frenchy and Alfred Molina (currently making his Broadway debut in the revival of "Fiddler on the Roof" as Tevye) as Destry, are both winning singers who give the parts appropriate panache and rough tough crudeness to provide the show's necessary grit. Yes, the original Broadway cast recording with Andy Griffith as Destry and Dolores Gray as Frenchy is better, but this London version is a solid and attractive alternative.
 
Grade: B

"CATS"
Original Polish Cast
Really Useful Records/Universal (981 656 6)

Andrew Lloyd Webber controls his shows very tightly so original foreign cast versions of his big hits sound almost identical to the Broadway and London cast versions that set the individual show standards. The new Polish cast "Cats" is no exception. It's well sung with nothing new to any of the characterizations or the way the familiar songs are delivered. The individual voices are strong and the same dramatic moments expected like Grizabella's plaintive "Memory" or "Mr. Mistoffelees" have the same huge buildup and the big chorus numbers, especially "The Journey to the Heaviside Layer," works just as brilliantly. For those who adore this show, the Polish cast version brings another in a long and distinguished series of foreign language versions of this most popular of shows.
 
Grade: A

"THE MUSICAL OF MUSICALS"
Original York Theatre Company Cast
Jay Records (CDJAY 1376)

Only in New York where Broadway musicals so dominate theater offerings have spoofs of the genre really succeeded. There's a large following of musical theater lovers who enjoy insider jokes. "Forbidden Broadway" has played for years in continually updated versions that delight theatergoers. In that revue, actual show tunes are used with witty lyric changes that lovingly mock the musicals. Earlier this year, York Theatre Company presented "The Musical of Musicals," a five-part spoof in which a silly story is carried through in slams at Rodgers and Hammerstein called "Corn;" Stephen Sondheim in "A Little Complex;" Jerry Herman in "Dear Abby;" Andrew Lloyd Webber in "Aspects of Junita;" and Kander and Ebb in "Speakeasy." The show is the brainchild of Eric Rockwell and Joanne Bogart who played two of the roles in the off-Broadway production with Craig Fols and Lovette George. The humor is consistently funny for people who really know their musicals, less so for those with just a passing familiarity with the last 60 years of Broadway tuners. I most enjoyed the Sondheim sequence. I missed the show during a New York trip and had awaited the cast album. It's winsome and clever to be sure, but like the "Forbidden Broadway" recordings, it's not a CD you will reach for often after you've enjoyed the humor once.
 
Grade: C+

"MISS GERTRUDE LAWRENCE IN 'THE KING & I' 'LADY IN THE DARK' 'NYMPH ERRANT'"
Original and Studio Casts
Pearl (GEM 0208)

Gertrude Lawrence was a big Broadway and London stage star. Her most famous musical role was Anna in the original "The King and I" and she died during its run. Pearl has collected three cast albums featuring Lawrence and put them on one CD. "Miss Gertrude Lawrence in 'The King & I' "Lady in the Dark' 'Nymph Errant'" begins with the long available Rodgers and Hammerstein hit at the beginning. Lawrence was ill during "The King and I" run and she often sang flat so her vocals on the cast recording are not stirring. "Lady in the Dark," an earlier show she did by Kurt Weill and Ira Gershwin, was a trendsetter involving dream sequences while the heroine undergoes psychoanalysis. It features better singing by Lawrence as does 1933's "Nymph Errant" by Cole Porter, a show that marked Lawrence's last appearance in a London musical. The last two shows are not cast recordings and the limited selections all feature Lawrence. This is a definitive collection of Gertrude Lawrence's musical theater work. If you don't already have these recordings, this compilation release is welcome.
 
Grade: B

"WISH YOU WERE HERE"/"PAINT YOUR WAGON"
Original London Casts
Sepia Records (SEPIA 1030)

Three Broadway musical hits arrived in London in 1953. Sepia Records has combined the complete London cast albums of "Wish You Were Here" and "Paint Your Wagon" with several bonus tracks by the two London stars of "Guys and Dolls" that did not come from Broadway. There was no complete London cast album made of "Guys and Dolls." "Wish You Were Here" is set a summer camp (changed to a holiday camp for Londoners who wouldn't understand a summer camp) and features a swimming pool. The musical introduced composer Harold Rome to British audiences and its score including the pop hit title tune is catchy and tuneful. The British cast sounds wonderful. Lerner and Loewe's London "Paint Your Wagon" hasn't been converted previously to the CD format and is welcome. It stars Bobby Howes and his daughter, Sally Ann Howes, playing father and daughter on stage. The rousing score backs up the simple story of gold miners. It's definitely lesser Lerner and Loewe but is still a solid show with pleasing songs. The "Guys and Dolls" tracks reflect the British Sarah Brown, Lizbeth Webb, and American Jerry Wayne playing Sky Masterson. This compilation CD is a welcome record of three key American musicals in fine London cast recordings.
 
Grade: A

"WONDERFUL TOWN"
2003 Broadway Revival Cast
DRG Records

Although the current Broadway revival cast recording of "Wonderful Town" won't hit stores until March 9, I received an advance copy and the Leonard Bernstein score sounds great in the Encore production that has garnered glowing notices for star Donna Murphy. Murphy is cast against type as Ruth Sherwood, a budding Ohio writer who hits New York in 1935 with her sister Eileen. The rollicking musical numbers are well performed by a cast that includes Jennifer Westfeldt's perky Eileen and Greg Edelman's Robert Baker, Murphy's love interest. The large orchestra under the superb musical direction of Rob Fisher gives the music the big, well-orchestrated sound it needs. Murphy works hard to be the brassy and pushy Ruth and she plays the role for all its comedic touches. She's certainly not perfect in the role but she gives a good account of Ruth. The recording includes more of the score than other earlier releases and two bonus tracks feature lyric writers Betty Comeden and Adolph Green in medleys of four popular song hits from the show. Murphy struggled when I saw the show in New York with the harmonies in the "Ohio" duet with Westfeldt but on the recording she gets them right. As she does in most of her performances, Murphy drifts off pitch with annoying regularity but overall her numbers sound good here. Perhaps Murphy doesn't equal original star Rosalind Russell but this solid recording of a great score is welcome.
 
Grade: B

"THIS IS THE ARMY"/"TEXAS, LI'L DARLIN'"/"CALL ME MISTER"
Original Broadway Casts
Sepia Records (SEPIA 1005)

"This Is the Army" and "Call Me Mister" have been released together recently by Decca Broadway and that label promises "Texas Li'l Darlin'" later this year. In the interim, London's Sepia Records has released a three-show compilation that adds 1949's "Texas Li'l Darlin" to the already available "This Is the Army" and "Call Me Mister." I've reviewed the two World War II related shows before so I'll focus on "Texas" here. The breezy score with music by Robert Emmett Dolan and lyrics by Johnny Mercer is typical of the era and the eight numbers included are well sung by the original cast. It combined the new "Oklahoma" style integrated book with and some clever political satire in a story about a race for high office between a State Senator and an ex-GI who is the love with the Senator's daughter. A happy ending sees the young man win both the political contest and the girl. It is a good example of the lightweight musicals that dominated Broadway during this period and it's a nice addition to other shows from this period already available.
 
Grade: B-

"FLAHOOLEY"
Original Broadway Cast
DRG Records (19059)

The arrival of any re-release of a Barbara Cook cast recording is always welcome. Years ago, Angel Records released the first CD transfer of "Flahooley," Cook's debut Broadway show, but that CD has long been out-of-print. Now, DRG Records in its continuing series of cast CD releases has reissued the delightful show. It is due in stores March 23.

"Flahooley" has become a legendary show since Cook's career took off but it was not successful when it premiered back in 1951 and lasted just 40 performances. It was a show ahead of its time - complete with Bil Baird marionettes. It also starred the sultry Yma Sumac, who, according to accompanying recollections from Cook, "was actually just stuck into the show" about two young lovers played by Cook and Jerome Courtland. The convoluted plot is inconsequential but the Sammy Fain/E. Y. Harburg score is rich with melodic tunes.

Cook's glistening soprano sounds fresh and alive and it's easy to understand why her debut was greeted with acclaim by the New York critics. She is featured in three of the show's best songs, "Here's to Your Illusions," "He's Only Wonderful," and "Come Back, Little Genie."

Cook claims "He's Only Wonderful" was her favorite but my favorite is the breezy "Here's to Your Illusions." The show may have failed but having the cast album with such a bright score and Cook's charming singing plus the chance to hear Sumac's unique voice makes "Flahooley" a welcome addition to any show music collection. It's nice to have it back!
 
Grade: A

"THE KING AND I"/"GOLDEN CITY"
Original London Casts
Sepia Records (SEPIA 1027)

Sepia Records has been releasing old London shows on re-mastered CDs and its latest includes the original British version of Rodgers and Hammerstein's masterpiece, "The King and I," plus the charming musical romance of the South African Gold Rush, "Golden City," by John Tore.

"The King and I" is one of my favorite musicals with its brilliant integration of the unusual romance between the despotic King of Siam and the independent English school marm, Anna Leonowens, surrounded an elaborate recreation of the Siamese culture including the grand story ballet, "The Small House of Uncle Thomas."

The original Broadway production featured Yul Brynner's classic portrayal of the King opposite Gertrude Lawrence's last stage appearance as Anna. While Lawrence was reported to be lovely in the role, her problematic singing and deteriorating health marred her appearance and the sound of the original cast recording. For London, Herbert Lom was picked to recreate Brynner's role and he sounds like a carbon. For Anna, a dancer turned singer, Valerie Hobson, has a Lawrence sound with a limited and not beautiful singing voice. One suspects she was picked to duplicate Lawrence's sound.

Later recorded and stage Annas have sung the role far better but its nice to have the London "King and I" available to trace this rich show's history.

"Golden City" is a London show that I hadn't heard previously. The score is pleasant and the cast is strong. The musical love story showed the friction between farmers and gold prospectors, and it included lots of spectacle and dance. The sound on these early 1950s shows is quite good and two shows for the price of one makes this a good deal.
 
Grade: B

"GREAT AMERICAN MUSICALS"
Royal Liverpool Philharmonic Orchestra
EMI Classics for Pleasure (7243 5 85627 2 9)

Some people enjoy symphonic arrangements of show music but the often pompous and heavy sound of a symphony playing a musical theater score has never appealed to me. The "Great American Musicals" set features the Royal Liverpool Philharmonic in lengthy arrangements of "South Pacific," "Show Boat," "The Sound of Music," "My Fair Lady," "Porgy and Bess," "Oklahoma!," "West Side Story" and "The King and I" on two CDs. The orchestra sounds grand and lush but my usual reaction that the heaviness of the orchestrations and artificial instrumentation makes the music sound like something it isn't. If you enjoy the sound of musicals played by large orchestral ensembles, you'll want "Great American Musicals" but if you like the sound intended for these shows, this is a CD to skip.
 
Grade: C-

"CRAZY FOR YOU"
2000 Polish Cast
Sony Music Entertainment Polska (5010972)

The Polish cast recording of "Crazy for You" sounds just like the original Broadway cast only in Polish. The performances are top notch with strong voices and the orchestra sounds big and brassy which fits the demands of the George Gershwin score perfectly. The orchestrations are on target and the entire production must have been a close approximation if not a duplicate of New York's. One wonders how Polish audiences took to the story set in the American southwest with the exception of the initial scenes set in New York. It appears that the original production's claim to fame - the brilliant dances - are included based on the orchestral interludes and the included production photos that show some of the elaborate numbers. It's welcome to know that a big, very American musical can translate cultures and languages as easily as this fine Polish "Crazy for You" suggests. Obviously, this cast album isn't something to pick over the Broadway version but if you love the show and/or speak Polish, this is a rewardingly faithful recreation of that sharp and entertaining staging.
 
Grade: B+

"THE SOUND OF MUSIC"
2002 Dutch Cast
Universal Music (981 075-4)

The universality of Rodgers and Hammerstein's "The Sound of Music" has seen a variety of international productions and most have been successful. The 2002 Dutch cast recording has just found its way to America but it's not the best version of the show I've heard. First, the script selected is difficult to discern. The live recording opens with the original "Preludium" prior to Maria's rendition of the title tune. It's rare to see this show staged today without shifting or dropping the somewhat dark and somber church opening. The production also uses the strangest orchestrations for several of the popular song hits. Some of the tampering changes the songs enough that they aren't immediately identifiable and, in a couple of cases, it almost turns the tunes into a classical sounding takeoff of familiar symphonic works. Odd, to say the least. The cast is also strange sounding. The Maria of Maaike Widdershovan sounds much older and more mature than Maria is usually played. Was the director attempting to duplicate the look and feel of the original staging when star Mary Martin was well beyond her character's age? Widdershovan's vocals are stronger than Martin's but certainly aren't the best ever heard in the role. On the other hand, Esther Been's Mother Abbess sounds way too young for the role and her voice lacks the depth and range to make "Climb Ev'ry Mountain" the stirring anthem of hope it should be. The best lead is Hugo Haenen's Captain. His "Edelweiss" is quite moving. The children aren't the greatest and some of the expected vocal fun the children have with "So Long, Farewell" is missing. The language's guttural sound doesn't give the lyrics much lilt. A bonus DVD is included that discusses the making of the production but I had no luck playing it on my American DVD player. It must be in the European format. The elaborate cover and booklet make the production look lush and spectacular but the score is much better sung in most other available recorded versions.
 
Grade: C-

"SHERRY!"
Studio Cast
Angel Records (7243 5 33757 0 6)

Back in 1967, a musical version of Moss Hart and George S. Kaufman's "The Man Who Came to Dinner," "Sherry!" opened and closed quickly on Broadway. Following most Broadway musical closings, the original score and orchestrations are sent to the writer's publisher. The "Sherry" shipment never arrived and it was thought the score had been lost. It was one of Broadway's biggest mysteries until producer Robert Sher found the missing materials through a colleague at the Library of Congress. In the interim years, much interest in the show had been expressed in the hope that if it was ever located that a recording could be made. After the "Sherry" discovery, James Lipton, who wrote the book and lyrics, and composer Laurence Rosenthal set about to get the recording made. Leading musical theater performers were attracted and it was made starring Nathan Lane, Carol Burnett, Bernadette Peters, Tommy Tune, Tom Wopat, Lillias White, and Phyllis Newman. It's sat on the shelf until Angel Records decided to finally release it. It doesn't come out until February 24, but review copies have been circulating. After several listens, the "Sherry" score is infectious, a melodic, charming, and clever adaptation of the popular play about Sheridan Whiteside (Sherry), who was based on critic Alexander Woollcott, a crusty bachelor with snotty arrogance. Lane plays Sherry with the appropriate egotism and superiority. Burnett is delightful as Lorraine Cutler, Peters is sincere as Maggie Cutler, the secretary who finally convinces Sherry to marry, and the rest of the stellar cast all contribute wonderful musical moments. So after 33 years, the mystery is solved, "Sherry" has been found, and what an enjoyable surprise it is. Maybe it sounds better than it played in the theater or maybe it's time to give it a second chance.
 
Grade: A

"ANYTHING GOES"
Original Soundtrack Cast
Decca Broadway (B0001933-02)

Back in the heyday of movie musicals, several Broadway shows were adapted but were tailored for their popular stars with little care given to preserving the original script, characters, or even the music. Sometimes, popular songs from other composers were added and sometimes other songs from the show's composer were tapped to fill out the scores. Such a case was the 1956 film soundtrack of Cole Porter's "Anything Goes." The Decca Broadway re-release of the movie's score has a few of the familiar songs from the popular Broadway musical but it also contains other Porter tunes plus new songs from Sammy Cahn and James Van Heusen. Even the arrangements of show's tunes are different and the story was changed to reflect the personalities of stars Bing Crosby, Donald O'Connor, Jeanmarie, Mitzi Gaynor, and Phil Harris. If you are looking for a faithful "Anything Goes," skip this one in lieu of one of the recordings of the Broadway score but this movie musical is still entertaining and the cast delivers bouncy vocals of the catchy score. I guess I wish the popular Decca Broadway series would stick to the still largely untapped catalogue of Broadway recordings that they still haven't released on restored CDs before they spend time and money on movie adaptations of Broadway musicals.
 
Grade: C+

"TOM BROWN'S SCHOOLDAYS"
Original London Cast
Must Close Saturday Records (MCSR 3010)

In 1960, Lionel Bart's "Oliver" started a trend of adapting Victorian stories into West End musicals. Just fill the stage with urchins singing and you were almost guaranteed a hit. By 1972, the trend was waning from over saturation and one of the last shows to use this concept was "Tom's Brown's Schooldays," based on a novel by Thomas Hughes. The show had a book by Joan and Jack Maitland, neither popular names in London musicals, with a score by newcomer Chris Andrews. The resulting show failed but the cast album has now been made available by Must Close Saturday Records in its continuing series of London musical releases primarily from the Decca catalog. "Tom Brown's Schooldays" is a frail piece with a bouncy, catchy score but certainly one that isn't destined to be remembered. It traces the title character's life as he leaves his sheltered home for a boarding school where he is exposed to various aspects of life. The school's head master was played by well known actor Roy Dotrice who sounds over-the-top in his two musical numbers, with the school's matron played by highly touted London musical theater star Judith Bruce who took over Nancy's role in "Oliver" from Georgia Brown. The story gets clouded late by the introduction of the legend behind the Great White Horse of Uffington ancient sculpture. The recording is an interesting piece of London musical theater history but only for true collectors and those interested in British theater minutiae. It's easy to see why this show was quickly scuttled.
 
Grade: C

"ANYTHING GOES"
Studio Cast
TER/JAY Records (CDTEH 6011)

Another recording of Cole Porter's delightful "Anything Goes" seems unnecessary unless it is by a brilliant cast that can equal or better the performances of the fine recorded versions still readily available. After all, the original cast boasted the great Ethel Merman as Reno Sweeney, the on-board entertainer of the SS American on its way to London from New York. The breezy show with its bright and effervescent score demands a robust and rollicking cast - something not the case with John Yap's studio version for his Music Theatre Hour series from the TER/JAY Records label. Here he has cast the bland Louise Gold as Reno and her vocals never send the role's big numbers - "Blow Gabriel Blow," "I Get a Kick Out of You," "You're the Top," and the title tune - soaring as they should. Billy Crocker, the dashing male lead, goes to the competent Gregg Edelman who brings nothing special to the role. The recording's best part is the wonderful National Symphony Orchestra's playing of the Porter score under the majestic baton of John Owen Edwards. With the wonderful Patti LuPone Broadway revival recording, the new London revival version, and even the old transfer recordings still available of Merman's Reno, this "Anything Goes" doesn't even place on the list of possibilities.
 
Grade: C-

Show Music Notes: Two recent original Broadway cast recordings from Decca Broadway have been selling well. Both "The Boy from Oz," with Hugh Jackman's riveting performance as Peter Allen, and "Wicked," the big new Broadway hit, have been recording sales well above those usually seen for cast albums. But the success of these two recent releases hasn't changed the bleak outlook for re-mastered releases of past show hits. With the biggest cast album archives, Decca Broadway, Victor, and Sony plan fewer old show re-releases in 2004. Those 3,000 to 4,000 avid collectors don't represent enough sales to warrant the high costs of releasing as many of the long unavailable shows.

Next week look for my review of "Sherry," the new Angel release of the musical based on Kaufman's and Hart's play, "The Man Who Came to Dinner." The all-star album is an effort of love on a show thought lost until the original trunk of music was found in 1999. The recording is due in stores February 24 but I got a copy on a recent trip to New York City to catch the latest Broadway shows. It's a two-disk recording with enhanced technology that includes some video footage at the end. I've listened to the musical but haven't yet played the video material.

"Wonderful Town" was recorded January 12 by DRG Records and will preserve the Donna Murphy starring revival that was born as part of the Encores series at City Center.

No word on a cast recording of "Never Gonna Dance" but it doesn't look like it will run much longer with the sinking box office receipts for the musical based on a Hollywood movie musical and featuring a collection of old Jerome Kern tunes.

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"OH WHAT A LOVELY WAR"
Original London Cast
Must Close Saturday Records (MCSR 3008)

Joan Littlewood's 1963 hit "Oh What A Lovely War" has become the most brilliant of anti-war musical entertainment ever and now the London cast recording is again available thanks to Must Close Saturday Records. The show uses authentic World War I songs and the cast does wonderful work with the telling statements in these songs that show war's futility. There was never a script; the story around the songs found by Charles Chilton was fashioned by Joan Littlewood and the actors she used in the entertainment. The result was a rich show that brought back the feel and time of the War but also reminded audiences of the awful impacts of war and fighting among peoples. The show played New York in 1964 and a film version was made but the original London cast is the group that created this fine musical and sound great in performing their show.
 
Grade: B

"THE BEST OF THE WEST END"
Various Artists
Jay Productions, Ltd. (CDJAY 8013)

Jay Productions releases collections of song hits from current London musicals featuring the best stars of the English theater and featuring the excellent National Symphony Orchestra under the capable baton of Martin Yates. The latest, "The Best of the West End," includes excerpts from 13 shows including the upcoming stage version of "Mary Poppins." The shows represented include "The Phantom of the Opera," "Chicago," "Bombay Dreams," "Cats," "Thoroughly Modern Millie," "Jesus Christ Superstar," "The Lion King," "Chitty Chitty Bang Bang," "We Will Rock You," "Les Miserables," "Anything Goes," and "Evita." The renditions are always faithful to the source shows and the musical backup is top notch as are the singers. If you like the best of the best, "The Best of the West End" gives the current crop of London musical hits wonderful renditions.
 
Grade: B

"THE PHANTOM OF THE OPERA"
Original Hungarian Cast
Really Useful Group Limited (No Number)

How many Hungarian cast recordings do we have of major Broadway musicals? Not many but now comes the original Hungarian "The Phantom of the Opera" in a two-disc, complete cast recording. Most foreign "Phantom's" have sounded like carbons of the Broadway and London casts but here the Phantom, played by Sasvari Sandor, gives a grittier and more demonstrative performance than I've heard on any cast recording to date. The Christine and Raoul both sound similar to the usual castings in these roles. The lush score is well played and it appears that nothing was spared in this successful production. The performance of Sandor makes this foreign cast recording of this major musical worth consideration for show aficionados.
 
Grade: A-

"LISTEN TO MY HEART: THE SONGS OF DAVID FRIEDMAN"
Original Off-Broadway Cast
Midder Music (MMCD201)

The recent Off-Broadway staging of "Listen to My Heart: The Songs of David Friedman" was praised by many who saw it but it didn't last long amidst the abundance of fall shows. A live recording has been released and what a wonderful collection of heartfelt, bittersweet songs it is. Most are about the trials, tribulations, and glories of love. Many hit a tender nerve or bring back personal memories of challenging situations. Most are sad and reflective but a few are comical and funny. The melodies are lovely and lush and after listening to the CD just one time there were several songs that I found myself humming. The songs are all well sung by the six-person cast that includes the composer plus the great Alix Korey and the outstanding Anne Runolfsson. This touching and lovely show deserved a better run but at least those who didn't get to see it have this excellent cast recording.
 
Grade: A

"RAZZLE DAZZLE - THE BROADWAY HITS OF KANDER & EBB
Boston Gay Men's Chorus
Boston Gay's Men's Chorus (BGMC06)

Broadway musicals have songs written to emphasize story points and character motivations. Some are large chorus numbers; others are small groups or solos. Most musical theater songs sound best in arrangements that keep them in the show context. Hearing Kander and Ebb tunes sung by a massive ensemble, the Boston Gay Men's Chorus, in "Razzle Dazzle - The Broadway Hits of Kander and Ebb," give the songs an odd sound that was not intended so the songs sound artificial and out of context in these large renditions. Also this CD includes Kander and Ebb songs that weren't written for Broadway shows making the title a less than accurate depiction of the material. The chorus sounds fine and the soloists are all solid if musically unexciting but "Razzle Dazzle - The Broadway Hits of Kander & Ebb" is a disappointment.
 
Grade: C

"THE SCARLET PIMPERNEL"
Original Dutch Cast
Sound of Music (SOMCD006)

Frank Wildhorn's "The Scarlet Pimpernel" went through three different Broadway versions before it closed after a long but unsuccessful run. Two cast albums resulted that tried to capture the changes between the versions and that featured the various casts. Now comes the Dutch cast recording which incorporates bits and pieces from all three versions but doesn't seem to follow any one version. It's a solid cast but certainly one that doesn't include the big personalities that graced the original Broadway production and the subsequent Broadway replacement casts. One wonders which of the three versions is being marketed to producers who want to mount the work as it is made available to theaters throughout the world. This Dutch cast recording doesn't answer the question and makes one wonder if Wildhorn continues modifications on this trouble-plagued musical as he tries to still fix this seemingly unfixable show.
 
Grade: B

"HOLIDAY IN PLAID"
Studio Cast
Fynsworth Alley (302 062 197 2)

The popular off-Broadway musical hit "Forever Plaid" has spun off a holiday edition, "Holiday in Plaid," which uses traditional Christmas and holiday favorites adapted into the doo-wop, four-part harmony of the '50s that the original show turned into such a hit. It uses "The Forever Plaids" characters - Sparky, Smudge, Jinx, and Frankie - and features 12 vocalists who rotate in the roles with guest star Faith Prince. It's a rollicking frolic and festive holiday tribute and if you enjoy the doo-wop harmonies and song stylings it could become your favorite Christmas CD. The holiday show, also known as "Plaid Tidings" is playing in cities around the country. That show was the inspiration of the Pasadena Playhouse where the show plays annually. The featured friend of The Plaids, Faith Prince, solos on "I'll Be Home for Christmas," and the large cast combines in different ways on different tracks to sing the wonderful holiday songs in these doo-wop arrangements. It would be a fun and warm show to see and the CD is delightful.
 
Grade: B+

"CINDY-ELLA OR I GOTTA SHOE"
Original London Cast
Must Close Saturday Records (MCSR 3009)

Must Close Saturday Records in London has been re-releasing for the first time on CD many London cast albums originally issued on the Decca label. The latest collection includes three rarely heard shows from the early sixties and 1972, "Oh What a Lovely War" and "Tom Brown's Schooldays" plus the very interesting "Cindy-Ella or I Gotta Shoe." "Cindy-Ella" got its start as a Christmas radio broadcast in 1957 and arrived for a holiday run in London in 1962 featuring a quartet of actors - Cleo Laine, Elisabeth Welch, Cy Grant, and George Browne - playing all the parts in this adaptation of the Cinderella story moved to the Deep South of New Orleans and told by a Mammy to her little girl in a tenement yard. It uses African-American songs of suffering plus a few original tunes interpolated for the show's various versions leading up to its London run. It's a fascinating telling of the familiar fairy tale, and the music and the unique twists and turns in the storytelling are clever and fun. And what a cast. Laine is always the consummate artist singing with the luxuriant husky tones she has made famous and Welsh is also an excellent actor/singer. In future weeks, I'll review the other two releases that are of more familiar London shows. "Cindy-Ella" is a wonderful show. It's amazing that more of our African-American theater companies haven't incorporated into their repertory as a holiday favorite.
 
Grade: B+

"WICKED"
Original Broadway Cast
Decca Broadway (B0001682-02)

The biggest Broadway musical hit this season so far has been "Wicked," the musicalization of Gregory Maguire's 1995 novel, "The Life and Times of the Wicked Witch of the West," about the evil one of the famous pair from "The Wizard of Oz." It got mixed reviews but has been a strong box office draw and it's playing at the biggest Broadway house. Now, comes the original Broadway cast recording and it is a conventional sounding score by Stephen Schwartz of "Pippin" and "Godspell" fame. But the collection of songs is filled with catchy, accessible music that is a joy to hear. Too many new Broadway shows by the up and coming composers and lyricists have sophisticated, complex scores that are interesting and fascinating but are not terribly easy to warm to. It's nice to have an old-fashioned style score. And the cast is unbelievably sharp. Kristin Chenoweth is bubbly and buoyant as Galinda, later Glinda, the good witch, and Idina Menzel in a conventional role after "Rent" is quite amazing as Elphaba, the wicked witch. The supporting cast including Carole Shelley as Madame Morrible and Norbert Leo Butz as Fiyero, the love interest, are tops. Decca Broadway's packaging and booklet are up to the usual high standards they've established for all their show music releases. Yes, "Wicked's" score won't set the musical theater ahead but what a pleasure it is.
 
Grade: A

"GYPSY"
Original Soundtrack Cast
Warner Bros. Entertainment (R2 73873)

Rosalind Russell stole Ethel Merman's greatest stage achievement, Mama Rose, from The Merm when the musical's movie was made. Russell gave an adequate performance and used Merman's domineering and overpowering take on the role. Russell found none of the new nuances of Mama Rose that other stars including Angela Lansbury, Bette Midler, and Bernadette Peters have discovered in show revivals. Russell was always sensitive about her singing in the film claiming in her biography that she sung the role. Reality, though, tells us that Lisa Kirk, a stalwart musical theater performer, did most of Russell's vocals and Kirk did a good job of making her distinctive vocal style fit Russell's. Now, after years and years, the first CD release of the soundtrack includes the previously released material that featured a few brief segments of Russell but was almost exclusively Kirk's work. It also includes six bonus tracks of Russell's attempts to sing the songs and they are laughable. She sings off key almost constantly and she runs out of steam on several of the numbers as she is unable to sustain her initial power at the song's beginning. It's a fascinating documentary of Russell's failure to handle the vocals. The rest of the soundtrack is unremarkable and doesn't warrant purchase when the finer original Broadway cast recording is still available as are most of the revival recordings.
 
Grade: C

"FAME ON 42ND STREET"
Original Off-Broadway Cast
Q Records/Atlantic (93097-2)

Inspired by the hit movie, the television series and the Broadway musical, "Fame on 42nd Street" is a new Off-Broadway musical that features new music and some retreads from the original score as it looks at a group of young student actors, dancers and musicians as they interact during their four years leading up to the 1984 closing of New York's High School of the Performing Arts. The school reopened at Lincoln Center. The characters are aware of the 1980 film "Fame" on which the show is based. Throughout the piece you meet the often-quirky characters - each with their special take on a career in the arts. The score is jazzy, upbeat and in character for the booming musical sound of the early '80s. The young cast is energetic and infectious and the show is easy to enjoy. This peppy and entertaining musical won't overwhelm you with creativity but for what it is - a takeoff on an enormously popular movie and stage musical - it's not bad.
 
Grade: C+

"PETER NERO AND THE PHILLY POPS - HOLIDAY POPS FEATURING ANN HAMPTON CALLAWAY"
DRG Records (91478)

In this year's theater-inspired holiday releases, "Peter Nero and the Philly Pops - Holiday Pops featuring Ann Hampton Callaway" is a joy. It's full of upbeat familiar tunes all excitingly executed by the Philly Pops Orchestra. Peter Nero's conducting and solo piano work is a wonderful. But the real plus here for theater lovers is Ann Hampton Callaway's solo work in five of the 11 tracks. Callaway is a sultry, smoky singer with a delicious voice that she wraps around her songs lovingly. The opening number, "Celebration of Christmas," is a clever arrangement of several familiar tunes and Callaway's solo work makes the sparkling piece shine. Callaway does a lush "Christmas Lullaby," a charming "A Christmas Song," a touching "I'll Be Home for Christmas," and a festive "Have Yourself a Merry Little Christmas." This surprise hit left me well on my way to getting in the holiday spirit after the initial listening and I have put it on several times since as it continues to delight and capture the joys of Christmas. This holiday album is a winner!
 
Grade: A

"MY LIFE WITH ALBERTINE"
Playwrights Horizon Cast
PS Classics (PS-313)

Richard Nelson (book and lyrics) and Ricky Ian Gordon's (music and lyrics) new musical "My Life With Albertine" is an ambitious show with a complex plot and sophisticated music that places this team as one of the up-and-comers in musical theater. Based on Marcel Proust's "Remembrance of Things Past," the musical is a lush and fiery portrait of love, jealousy and betrayal set in turn-of-the-century Paris. It traces a man's obsessive affair with a beautiful orphan girl. The score is complex and contains sharply defined character songs that reveal much about the individuals, lush romantic tunes with lovely melodies, and some large chorus style numbers. The sound evokes early Stephen Sondheim works and this team has the potential to rival his works. The lyrics are telling and require rapt attention because they reveal so much about the characters. The show was premiered by Playwrights Horizon and this recording uses that cast and a better one would be hard to imagine. Brent Carver is the Narrator and the young leads are played by Chad Kimball and Kelli O'Hara. When "My Life with Albertine" arrived, it sat unplayed in a large stack of cast CDs but when I first listened to it, I was drawn to it and listened intently to the score, read the booklet about the plot, and relished the lovely music. "My Life with Albertine" was a surprise and warrants the interest and attention of anyone who has hopes for new creative forces in the American musical theater.
 
Grade: A-

"MAME"
Original Soundtrack Cast
Warner Bros./Rhino (RHM2 7843)

It has never been a surprise that the soundtrack to the unfortunate film version of Jerry Herman's "Mame" was never transferred to CD. The casting of an over-the-hill Lucille Ball in the central role was a huge mistake driven by Ball's ego. Her awful performance in every way is reflected in the finally released CD transfer of the film score. She sounds dreadful crooking and talk/singing her way through Herman's humable and tuneful songs and the rest of the cast that surrounded Ball gives this soundtrack whatever limited worth it may have. From the Broadway production comes Beatrice Arthur's boozy Vera Charles, Mame's actress friend, and Jane Connell's hysterical Agnes, the prime and proper nursemaid who spreads her wings under Mame's tutelage and has an out-of-wedlock baby. Robert Preston is a dashing Beauregard. Preston isn't a singer either but he handles his songs with a relaxed style that makes Ball's awkward attempts at singing even more distressing. "Mame" is a glistening entertainment full of sparkle and razzle-dazzle with a perfect Mame but with Ball, the movie fell flat on its face and the soundtrack is worthless.
 
Grade: F

"JERRY SPRINGER THE OPERA"
Original London Cast - Live
Sony Music UK (514792 2)

There's been plenty of talk about the London production of Richard Thomas and Stewart Lee's opera "Jerry Springer" based on the life of the colorful American TV talk show host. The opera was produced by the National Theatre and a live recording of that staging that recently reopened a commercial London run reveals it to be an ambitious and fascinating look at Springer's often bizarre viewpoints about life. The work is divided into three acts - Earth, Purgatory, and Hell - and starts with his talk show and several pointed songs that look at his often wacky opinions. At the end of Act One, he's killed and then in Act Two he awakens in Purgatory prior to his third act arrival in Hell. It's quite a musical journey and the score is interesting and the songs are often gripping. The cast is superlative, especially Michael Brandon's commanding Jerry. The release contains two CDs and the live recording includes some audience reaction. Word is that the show is headed to Broadway either this season or next and the CD makes one anxious to see this bizarre musical/opera in performance.
 
Grade: B

Show Music Recording Notes - "Wicked," the only real hit musical so far of the new Broadway season, will have its cast recording released December 16 by Decca Broadway... Due to the excellent reviews received by the Broadway revival of "Wonderful Town" and a luminescent performance by star Donna Murphy, there may be recording made... So far there are no plans to record Tony Kushner's new off-Broadway musical hit "Caroline, or Change," although the Public Theatre production has been extended through January 4 and there's talk of a Broadway transfer to the Eugene O'Neill Theatre, soon to be vacated by "Nine's" closing... Finally, the reduced prices on CDs hasn't transferred to cast recordings that remain priced as they have for years in the $16.95-$18.95 range. There have been the standard sale prices in the New York City area on new releases but nowhere are show music CDs showing up for the projected $9.99 we heard would hit for pop albums. The limited audience for show music and the fact that buyers aren't price resistant is reason.

"BROADWAY'S GREATEST GIFTS"
"CAROLS FOR A CURE - VOLUME V"
Rock-It Science Records (No Number)

You know the holidays can't be far away when the annual Broadway Cares/Equity Fights AIDS fundraising CD arrives. This year's is the fifth in the series and it's the first time that it's a two-CD collection of some 21 carols and other music associated with Christmas and Hanukah. It features the casts of 20 current Broadway musicals. For the first time some shows like "Urinetown" and "Wicked" and others are represented by a solo number. But some star driven shows like "The Boy From Oz" feature few solo passages with star Hugh Jackman. As always, traditional Christmas carols are included but always in catchy and clever arrangements. There's less traditional music this year and a few are new. Some are better than others and some don't have much of a holiday sound to them. Highlights include "The Producers" "Too Fat to Fit," a charmer about Santa's excess poundage and how it restricts his annual deliveries. "Cabaret's" "O Tannenbaum" is more traditional and "Rent's" contribution, a nice arrangement of "O Holy Night" is amazingly simple. But if there is a highlight tune for show music lovers, it has to be "Avenue Q's" "Rod's Christmas." It combines Christmas carols with show tunes to hilarious effect and it's sung by the show's puppet stars. The most interesting and unique selection is "Nine's" "Los Peces En El Rio" ("The Fish in the River"), a Spanish tune featuring the show's original star Antonio Banderas.
 
Grade: A-

"WILD WOMEN BLUES"
1997 European Tour Cast
DRG Records (12997)

Linda Hopkins, Maxine Weldon and Mortonette Jenkins toured Europe in 1997 with "Wild Women Blues," a dynamic entertainment that was a collection of swinging, jiving blues songs in a classy revue format. DRG has released a recording of that tour but they have mislabeled it an "Original Broadway Cast" recording. According to the press release, Hopkins is currently touring America in some form of the show. The three artists have long and distinguished careers singing the blues and the collection of 15 tracks is a rockin' and rollin' pleasure. It's hard to pick favorite tracks but Hopkins four solos are high points and there are three that feature two of the women. If there was some plot built around the tunes, the accompanying booklet doesn't tell anything about it. But to listen to three outstanding blues singers belt some classic songs is enough to make this CD a joy to enjoy whether or not there's any show around it.
 
Grade: B

"THE BOY FROM OZ"
Original Broadway Cast
Decca Broadway (B0001578-02)

Hugh Jackman's Broadway debut in "The Boy From Oz," the bio-musical that features the life and music of Peter Allen, has been well documented. Now comes the show's cast album. It's due in stores on Tuesday and it captures Jackman's dynamic performance as Australian entertainer Allen, a modestly talented crooner who wrote mediocre pop tunes. Allen was always a bigger sensation in his home country than here before he died of AIDS. Much his fame came from his collaborations, including an early link with Judy Garland who pushed his career initially and introduced the gay performer to her daughter, Liza Minnelli, whom he married briefly. He used flashy clothes as his trademark and he was flamboyant covering his performing inadequacies with panache. The show traces his life using his story and the many people he encountered in his life and career. It's said the show isn't much without the presence of Jackman and his singing is solid and he captures the sound and feel of Allen. The supporting performers range in quality from Isabel Keating's strong take on Garland to Stephanie J. Block's weak sounding Minnelli. Of the supporting cast, Beth Fowler stands out as Allen's loving mother, Marion Woolnough. Jarrod Emick is touching as Allen's partner, Greg Connell, and he sings "I Honestly Love You" with tender sincerity. Based on the recording, it sounds like "The Boy From Oz" is worth seeing just for Jackman's performance, which transfers effectively to the CD. One wonders how much interest there is in Allen and his music, though, and I suspect that without Jackman's star turn, this show is destined to fade fast.
 
Grade: B-

DEBORAH GIBSON
"COLORED LIGHTS: THE BROADWAY ALBUM"
Fynsworth Alley (302 062 195 2)

Pop artist Deborah Gibson has several Broadway shows to her credit including Eponine in "Les Miserables," Sandy and Rizzo in "Grease," Fanny Brice in an American tour of "Funny Girl," Belle in "Beauty and the Beast," Gypsy Rose Lee in "Gypsy" and Sally Bowles in the current revival of "Cabaret" among others. Now she releases her first Broadway solo album, "Colored Lights." Her arrangements are pop sounding and aren't always faithful to the source-show orchestrations. She includes a Peter Allen tune from the new Hugh Jackman success "The Boy From Oz" plus songs from her many shows. She has a big vocal sound and her orchestrations compliment her voice well. It's an impressive debut album for a pop artist who has also done well in musical theater roles.
 
Grade: B+

"THE BROADWAY MUSICALS OF 1939"
Town Hall Cast
Bayview Recording Company (RNBW025)

The popular series Broadway By The Year continues with "The Broadway Musicals of 1939." It's not a year that had lots of musical theater hits we still see produced but several well-known teams contributed shows during that season. The Broadway series is created, written and hosted by Scott Siegel and the recording includes several of his stories about the shows and stars. His material is interesting, well written and clever. The shows included are "Du Barry Was A Lady," "Too Many Girls," "Very Warm For May," "Set To Music," "Yokel Boy," "George White's Scandals," "Stars In Your Eyes," "Streets of Paris" and first time recordings of "Sing For Your Supper" and "Hot Mikado." The cast, as always, is polished and poised and does all the shows justice. The tunes are charming, quaint and an interesting snapshot of the year. Amanda McBroom does a nice job on "I Didn't Know What Time It Was" from Rodgers and Hart's "Too Many Girls," Bryan Batt does well with the now politically incorrect "Give It Back to the Indians" from the same show. McBroom also soars with "Mad About the Boy" from Noel Coward's "Set To Music." The swinging versions of Gilbert and Sullivan's tunes from "The Hot Mikado" are highlights. "The Broadway Musicals of 1939" is another delightful and interesting collection from this continuing look back into the history of the American musical theater.
 
Grade: B+

SALLY ANN TRIPLETT
"ANYTHING GOES!!!"
JAY Records (CDJAY 1373)

Sally Ann Triplett is currently a big London hit in the National Theatre revival of Cole Porter's "Anything Goes." Her new solo album includes a few songs from that show and uses its title for this catchy and nice collection of show music songs. She does several standards including "Cats'" overworked "Memory" and "Cabaret's" "Maybe This Time" but she also introduces some wonderful finds from "Golden Boy" and rich old chestnuts from "Babes In Arms" and "Oh, Kay." There's lots of contemporary show tunes and she closes with a grand rendition of the album's title tune from her current triumph. She has a solid musical theater voice and this is an enjoyable recording.
 
Grade: B

"HAIR"
Original Broadway Cast and Original Off-Broadway Cast
Victor (82876-56085-2)

"Hair" marked the dawning of a new age on Broadway. Musical theater incorporated rock music for the first time and it marked the premiere of very revelatory new things like nudity. The show started off-Broadway at Joseph Papp's Public Theatre. The re-issue of both cast recordings by Victor in Broadway's Deluxe Collector's Edition form also includes three previously unreleased tracks from the premiere version plus an innocuous interview with composer Galt MacDermot. It's very interesting to listen to the two versions to understand the many changes and refinements "Hair" went through leading to its splashy and critically acclaimed Broadway debut. New songs are introduced for Broadway and deletions from the earlier production occur. Extensive book and cast changes are addressed in the informative booklet that accompanies the two-disk album. The show took a jaundiced look at American society and recorded dramatic changes in the way the country's youth approached life, including the new pressures of drugs, open sex and more freedom of thought. The Broadway version has been available on CD before but the off-Broadway recording hasn't been available before as a CD. This pristine version of "Hair" preserves in sound, commentary and historical photos this groundbreaking show.
 
Grade: A

"HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING"
Original Broadway Cast
Victor (82876-56051-2)

"How to Succeed in Business without Really Trying" won a Pulitzer Prize for Drama and a Tony as best musical. It's one of Frank Loesser's biggest hits. It made a star of Robert Morse who played the enterprising young window washer, J. Pierpont Finch, who climbs the corporate ladder at a rapid clip until it wins the big prize of running World Wide Wickets. The show slams American big business, the corporate world's superficiality and the hypocrisy of promotions. The show's winning score is perhaps not as tuneful as others by Loesser but it served the musical well. The Broadway cast was impressive and besides Morse, Rudy Vallee's corporate big shot, J. B. Biggley, was memorable as was Charles Nelson Reilly's slimy Bud Frump, the boss's nitwit nephew. The Broadway Deluxe Collector's Edition includes the previously available original cast recording, two jazz versions of the show's biggest hit songs and some scanty excerpts from the 1995 Broadway revival. Most interesting are interviews with Morse and Reilly that net insightful comments on the original production and the creation of Finch. "How to Succeed..." remains a fresh and innovative show and this cast album re-release preserves the show for new generations.
 
Grade: A

"LITTLE SHOP OF HORRORS"
New Broadway Cast
DRG Records (12998)

The new "Little Shop of Horrors" production marks the show's Broadway premiere after its tremendous 1982 Off-Broadway success. But the production has been plagued from the start. A Florida tryout was followed by a cast overhaul for the Broadway opening this fall. Lukewarm reviews greeted the production with many critics complaining that the show lost its charm and humor when expanded for Broadway. But the cast recording can stand on its own. While not as infectious as the Off-Broadway recording, the new version is much longer and includes more of the wonderful Alan Menken/Howard Ashman score. The performances sound good if not great and the big sound of the larger orchestra used for the recording give the songs their due. The silly story, based on the cult 1960 Roger Corman film, traces the quick growth of a man-eating plant cultivated by a mousy florist's assistant, Seymour. His lady love, Audrey, and most of the other characters end up in the plant's greedy tummy. Hunter Foster is captivating as Seymour. Douglas Sills is over-the-top as the sadomasochist dentist and Rob Bartlett is a greedy Mushnik, the opportunistic plant shop owner. Only Kerry Butler's lame Audrey lacks the delicious accent and grand comedy sense expected in this role. The plant's booming voice comes from a sturdy Michael-Leon Wooley. Five bonus tracks at the end include songs from various versions of the show and are performed by the writers. Perhaps this cast isn't quite as good as the original Off-Broadway troupe, but this isn't a bad "Little Shop" recording.
 
Grade: B

"LORELEI"
Original Broadway and Touring Cast
Decca Broadway (B0001407-02)

Broadway producers are always looking for ways to cash in on old hits to cover the dearth of new shows. Such was the case back in 1974 when Carol Channing starred in "Lorelei," a sequel to her "Gentlemen Prefer Blondes" triumph. The new show even used the biggest hit songs from the earlier show including "A Little Girl from Little Rock" and "Diamond's Are a Girl's Best Friend," along with several bland new songs by Jule Styne. The show started with a long road tour leading up to a lackluster Broadway run. Like many shows with tours before Broadway, "Lorelei" was recorded early and then went through extensive reworking prior to Broadway in an effort to correct lots of problems. In an unusual move, another cast recording was made of the changed Broadway version so collectors have long treasured both versions. The re-mastered Decca Broadway CD release includes all tracks from both recordings and it's interesting to trace the changes and see how they altered the show. Channing is her usual sparkling self but the supporting cast isn't anything special even though it includes Dody Goodman, Tamara Long, Peter Palmer, Lee Roy Reams and Brandon Maggart. This release is of particular interest to show music collectors because of it being a complete record of a show that was under constant revision. "Lorelei" is bright and breezy if undistinguished except for the bigger-than-life Channing.
 
Grade: B

"ONLY ONE LIFE - THE SONGS OF JIMMY WEBB" MICHAEL FEINSTEIN
Concord Records (CCD-2203-2)

Singers should always be conscious of the musical styles they can best perform. Michael Feinstein must think he can do any musical style but his new CD "Only One Life - The Songs of Jimmy Webb" proves he's not good at these most contemporary of songs. The singer should stick to the romantic ballads from composers he has milked a long and distinguished career from singing. Here, his voice struggles with a sound foreign to him. The ragged results do no justice to Jimmy Webb's solid song hits, including "Up, Up and Away." One hopes to hear Feinstein soon in new recordings of his more familiar repertory to let fans know his mellow and warm voice is still secure with his standard song hits. It's always good for artists to expand their horizons with new musical styles but the tunes have to work with the vocalist and here the results are quite unpleasant. The less said about "Only One Life" the better. Stick to Feinstein's other recordings and avoid this new one.
 
Grade: F

"ANYTHING GOES"
Featuring Members of the Original London and Broadway Casts
Prism Leisure (PLATCD 938)

Cole Porter's hit "Anything Goes" splashed on Broadway in 1934 and part of its success was Porter's brilliant score, the witty and clever book, and Ethel Merman's smashing performance as Reno Sweeney. Merman's big voice, her sparkling personality, and her larger than life acting turned the great Porter tunes she was assigned into standouts. Her dynamic performance captured in many old recordings has been the standard by which future stars playing Reno have been measured. A new release of archive recordings from "Anything Goes" has been released that begins with eight selections performed by the stars from London's premiere staging. Following are several tracks featuring Merman and even a few with Porter singing his own songs. The delicate and pristine sound of the London renditions tells how critical a big sound and winning personalities are to selling these songs. The London stars are weak and drab and do nothing for the tunes. The Merman tracks that follow are the on target ones we associate with the show and even Porter's contributions are interesting from a historical perspective. This recording is of interest to show music collectors who want to know the different sounds of a show throughout its history. If you just need an "Anything Goes" for your collection, the more complete New York revival with the strong performance by Patti LuPone or the new London revival cast recently reviewed here are preferable. And those archive versions featuring Merman are also worthy of considerations.
 
Grade: C

"VINTAGE GILBERT & SULLIVAN - 'BALLADS, SONGS & SNATCHES'"
Original Recordings 1926-1930 from D'Oyly Carte
Living Era/Sanctuary Classics (CD AJA 5503)

Gilbert and Sullivan operettas paved the way for the more socially aware musical theater of today. The old chestnuts that the pair created included some pithy but subtle social commentary for their times and the rich melodies are treasures of their own. The old recordings compiled in the new release "Vintage Gilbert & Sullivan - 'Ballads, Songs & Snatches'" come from versions supervised by Rupert D'Oyly Carte, the family that produced and kept the operettas in pristine versions similar to those approved by the creators. The sound isn't great but the versions are pure and direct. The 28 tracks are arranged by show and eight operettas are represented. New recordings give these classic tunes a richer sound but these tell us what productions in the late '20s sounded like in London. Again, this recording is more for show music collectors and purists. If you love the Gilbert and Sullivan songs, newer recordings with far superior sound are still faithful to Gilbert and Sullivan's intent.
 
Grade: C

"MISS BETTE DAVIS"
Studio Recording
DRG Records (19058)

"Miss Bette Davis" is a 1976 studio recording of the great movie actress crooning her way in a husky talk/sing style similar to that used by Broadway stars Robert Preston and Rex Harrison. Here she "sings" various tunes and does excerpts from some of her most famous movies. She's not a great singer but she gets through most of the songs fairly well and her distinctive voice is always a pleasure to hear. My favorite film of all and my favorite Davis role is in "All About Eve," that classic inside tale of the theater narrated by the most acerbic of theater critics, Addison DeWitt. In this recording, Davis recreates the dialogue from that film's car scene and she's just as delicious and insightful as she is in the film. Her version of "Hush...Hush, Sweet Charlotte," another of her classic film roles, is choice, and the other tunes, many of which she used in nightclub appearances, are well enough handled. This recording is another of those that isn't for everyone. It's certainly not something to buy for the beauty of the song renditions.
 
Grade: C

Show Music Notes: A promo recording from the upcoming Broadway musical tribute to Jerome Kern, "Never Gonna Dance," showed up in many theatergoers' mailboxes in the New York City area. It's used to encourage discounted advance ticket purchases. There are three Kern classics on the CD and although all are promised in the show, the artists aren't from the original cast and aren't identified anywhere on the jacket. It's interesting how much expense producers are willing to go to sell their shows. In recent years, this type of promotion is getting more popular but the CDs usually contain early recordings from the actual cast. If you weren't lucky enough to get one of these recordings, some New York show music stores have obtained a few copies they are selling or you can pull out a collection of Kern song hits and get the idea.

"SEVENTH HEAVEN"
Original Broadway Cast
Decca Broadway (B0001252-02)

One of the rarest and most valuable original Broadway cast recordings has been "Seventh Heaven." The 1955 musical lasted just 44 performances but has become a show music cult favorite for many reasons. The show is now available for the first time on CD courtesy of Decca Broadway in a wonderfully re-mastered version that includes two bonus tracks from Victor Young's only Broadway score. It features quite a cast that went on to fame and stardom on Broadway and marked the rare Broadway performances of Hollywood stars. "Seventh Heaven" has a simple romance for a plot. A pair of star-crossed lovers falls madly in love in the romantic environs of Paris on the eve of World War One. The lovers are played by Ricardo Montalban and Gloria De Haven and both sing a collection of pleasant songs delightfully. Others in the stellar cast included Robert Clary who went on to "Hogan's Heroes" television fame and Kurt Kasznar who became a Broadway trouper. Clary has two of the show's most charming songs, "C'est La Vie" and "Happy Little Crook" that show the wit of Stella Unger's song lyrics. But the cast's most exciting person is Chita Rivera in her first featured Broadway role. Her distinctive voice, which just graced Broadway's "Nine" revival, is clear in "Camille, Collette, Fifi," a trio musical number. The bonus tracks include "Blessings," a ballad cut during the show's out-of-town tryout, and a pop version of "Where Is That Someone for Me" featuring De Haven and Young's orchestra. Another interesting selection is the ballet, "Chico's Reverie," an instrumental track at a time when most Broadway cast recordings omitted extended dance music. It's great that this charming and forgotten show with its outstanding cast is again available.
 
Grade: A-

"ZANNA, DON'T!"
World Premiere Recording (Off-Broadway Cast)
PS Classics (PS-314)

"Zanna, Don't" is a weird off-Broadway show that attracted a cult following during its run earlier this year. It's now available on CD with the off-Broadway cast intact. The premise is creator Tim Acito's dream. The show is set at Heartsville High where being gay is the norm. The title character, Zanna, is a matchmaker who makes sure all the boys and girls are paired with same sex partners. The score Acito crafted is a pop/rock affair with no distinguished tunes but many that play like pale parodies of recent hits. The song lyrics spoof gay conventions. The most interesting aspect is Jai Rodriguez's casting as Zanna. He played this part before he became television's "Queer Eye for the Straight Guy's" culture consultant. There are funny moments in some of the songs and Rodriguez explodes all over the CD in his many numbers but "Zanna Don't" isn't destined to go down as some classic little parody show. It's mediocre and bland much of the time and seems to need the splashy production values suggested in the cast photos in the accompanying booklet.
 
Grade: C

BARBARA COOK "COUNT YOUR BLESSINGS"
DRG Records (91479)

It may be a little early for Christmas recordings, but Barbara Cook's eagerly awaited "Count Your Blessings" gets you in the mood with a relaxed CD full of familiar and a few less than traditional Christmas tunes sung warmly and affectionately by Cook with her mellow and expressive voice. There are no big, booming Christmas spectaculars in the 15-song collection. The songs all have the same feel and diversity isn't included. Cook is backed by an orchestra conducted by her longtime arranger Wally Harper and, in four selections, there's choral support from the Broadway Inspirational Voices. Cook's booklet comments suggest that the tunes she and Harper picked are all longtime favorites of the singer and bring back family holidays from her Atlanta childhood. Cook is stellar in the a cappella "I Wonder As I Wander" and does nice things with familiar carols like "Silent Night," "Away In A Manger," and "White Christmas." She adds "He's Got the Whole World in His Hands," not traditionally a Christmas tune, but one that links her with her family's holiday roots. Harper's work features Cook at her best and his contributions to her ongoing singing career are not given the credit they deserve. If you love Cook, you won't be disappointed in this CD that was recorded and promised last year but is finally here. It is remarkable that this singer's voice continues to captivate. Few singers in their 70s can wrap golden tones around tunes the way Cook does.
 
Grade: A

"THE MUSIC OF ANDREW LLOYD WEBBER - THE CHORAL ALBUM"
The Royal Philharmonic Orchestra and Crouch End Festival Chorus
Silva Screen Records (SILKD 6036)

Andrew Lloyd Webber songs have become part of the pop music genre but their context remains in the shows where they debuted. The cast albums have made the sound of each of his hits recognizable and have become the expected way we want to hear them. A choral album of Lloyd Webber's biggest hits makes the tunes sound strange and awkward so "The Music of Andrew Lloyd Webber - The Choral Album" won't do much for Lloyd Webber fans. I kept hearing the famous original cast version of songs that here are arranged pompously for the huge chorus that sings many of them. The best moments are when the four album stars - Lesley Garrett, Tito Beltran, Sharon Campbell, and Mary Carewe - get solo passages without the big choral sound behind them. Only "Requiem's" "Pie Jesu" works with the chorus. Most of the selections are not numbers that feature chorus parts in the shows so the Lloyd Webber tunes that might have worked best in this format are ignored.
 
Grade: C-

"ANYTHING GOES"
2003 London Cast
First Night Records (CASTCD90)

Cole Porter's 1934 "Anything Goes" remains a jubilant and joyous reflection of the simpler times in America. The peppy score, the snappy dances and the fanciful story make it a revival favorite but for the show to sail along entertainingly as Porter intended, it takes an extraordinary cast, a creative director and choreographer and a splashy period design. These elements were present in 1987 when New York's Lincoln Center Theater produced an acclaimed staging that featured Patti LuPone. That same revised version has finally made it to London in Trevor Nunn's National Theatre rendition that was so successful it has transferred to the West End's famous Theatre Royal Drury Lane. The show's recording, just released in England, is available in the United States at specialty show music stores or on the Internet. It's an exuberant, infectious production and if the fine cast doesn't seem quite as sharp as the Lincoln Center recording, it's still an exemplary and delightful CD. The lead role of evangelist turned nightclub singer Reno Sweeney was written for the great Ethel Merman and Patti LuPone brought Merman's gutsy, booming vocal quality to her crisp interpretation. In London Sally Ann Triplett works hard and sings with a lusty bawdiness that works but you often wish she were just a bit bigger, just a bit louder, and just a bit more over-the-top. The supporting cast is attractive with John Barrowman a wonderful Billy Crockett, Reno's initial love interest. Musical director Gareth Valentine's orchestra gives its all to the hit-after-hit Porter score. The London "Anything Goes" recording is strong but certainly not superior to the earlier New York revival.
 
Grade: B+

"BYE BYE BIRDIE"
Original Soundtrack Cast
RCA/BMG Heritage (82876 54217 2)

Like so many movie versions of Broadway musicals, "Bye Bye Birdie" was changed and not for the better. The release of the CD soundtrack reminds of how Dick Van Dyke's Broadway starring role got tamed back and Chita Rivera's smashing Rose got pulverized in Janet Leigh's bland take. Ann-Margaret was a pretty voluptuous teenager who wins a chance to kiss teen idol Conrad Birdie (an old sounding Jesse Pearson) before he goes off to the Army. The musical takeoff on the Elvis Presley craze wasn't much of a story but the Charles Strouse score was a winning one but several fine Broadway songs were deleted in the movie version and the new songs that were added weren't improvements. The movie soundtrack is pleasant enough but who would opt for this version and pass by the original Broadway cast recording? Not me. The "Bye Bye Birdie" soundtrack is good for a couple of quick listens before you quickly seek the original cast recording and really enjoy this now period musical.
 
Grade: C

"AVENUE Q"
Original Broadway Cast
Victor (82876-55923-2)

"Avenue Q" is a rare Broadway musical. It received unanimous raves from every New York critic and it has become a hit after starting life off-Broadway. The show stars puppets but this is no kiddie affair because these characters have the foulest mouths imaginable. It's an adult-themed look at contemporary life about young, just out-of-school men and women as they face the reality of day-to-day life. It's raunchy because it doesn't ignore any part of a young person's life from sex, jobs, relationships, finding housing, paying bills, dealing with discrimination, and talking about all life persuasions. These puppets get their words and music from a talented team, Robert Lopez and Jeff Marx, who hit the nail on the head on most challenges facing each of us. The cast members, who enact and operate the puppets, are superb. "Avenue Q" looks at the issues cleverly with wit, insight, and on target accuracy. Some audiences are offended by the show's blatant honesty and the new cast album, available October 7, carries a parental advisory. But the recording just whets my interest to see the show the next time I make it to Broadway. The puppet characters have distinct personalities and each has quirks and biases. The personalities interact and live near each other on the street of the show's title. By the end, the characters have come to deal with life's issues and get on with their lives. The music is catchy and interesting; the lyrics are pithy and pointed. The cast album captures the great things we've all read about the show. This one is a big winner but if hip and honest language offends you, skip it.
 
Grade: A

"SWEET CHARITY"
Original Soundtrack Cast
Decca Broadway (B0000864-02)

Decca Broadway is the leading record label releasing classic Broadway shows from its vast archive. They spend lots to re-master old tapes so they sound wonderful and they often include interesting new tracks either left off original releases or from other sources that make their cast recordings treasures. Every so often, there's a release from the label that doesn't make much sense. Such is the case with the movie soundtrack of "Sweet Charity," a recording never before available on CD. It includes only 40 minutes of the soundtrack and many of the selections aren't complete. The sound is indifferent and inconsistent. Having just bought the DVD release of the movie with every bit of the score intact the CD seems unnecessary. It has nothing extra. There's no problem with the cast. Shirley MacLaine is a loveable Charity Hope Valentine. She's energetic and full of sparkling personality and these characteristics of her film performance shine through in the CD. The rest of the large cast is loaded with talented stage performers like Chita Rivera, Paula Kelly, and John McMartin recreating his Broadway role as Charity's love interest, Oscar. There's also Sammy Davis, Jr. doing the swinging "Rhythm of Life." Missing, of course, are what made "Sweet Charity" so special, Bob Fosse's brilliant choreography that you can see in the DVD. With the many cast albums still awaiting release from Decca's vaults, why did they waste time on "Sweet Charity?" Get the DVD and skip the CD.
 
Grade: C-

"Das Barbecu"
Off-Broadway Cast
Fynsworth Alley (302 062 1922)

The off-Broadway failure "Das Barbecu" has been re-issued by Fynsworth Alley. Why? It's a parody of Richard Wagner's famous "Ring Cycle." It's been moved to Texas with Scott Warrender's repetitious and trite country twang music. The silly story does poke lightly at the dramatic Wagner operatic spectacles. There's little to recommend here except a review of the cast list reveals Sally Mayes and Carolee Carmello who have gone on to better shows and Broadway fame in spite of "Das Barbecu." If you collect every show album, you'll need "Das Barbecu" but if you are selective about your cast albums, this is one to avoid. There are so many better things in the Fynsworth Alley collection that warrant re-release but not this one.
 
Grade: D

"UP IN CENTRAL PARK" AND "ARMS AND THE GIRL"
Original Broadway Casts
Decca Broadway (B0000554-02)

Decca Broadway has joined with Internet record seller to market rare show recordings that will be available to the public during limited-time, Internet-only sales. The first release is a joyous look back at the Broadway of yesteryear, the combination of 1945's "Up In Central Park" with 1950's "Arms and the Girl." Although the musical theater took a major turn with the 1943 opening of "Oklahoma," it took time before the integrated musical became a Broadway mainstay. So the romantic operettas that dominated Broadway in the '30s continued. "Up In Central Park," by Sigmund Romberg, is loaded with melodic songs all with the silly rhyming lyrics of the period. It's a true story about Boss Tweed's attempts in the 1870s to skim profits off the building of New York City's Central Park. Like many cast recordings of the time, the album included only eight songs from the popular show featuring some of the original cast, notably Wilbur Evans, Betty Bruce and the great opera diva Eileen Farrell. Also on the recording is Celeste Holm even though she wasn't in the original cast. The songs are peppy, well sung, and quite beautiful. Romberg's era was fast waning in 1945 as his famous shows began to fall from popularity. "Up In Central Park" is a delightful example of the composer's finest work. "Arms and the Girl" was a less popular show set during the Revolutionary War but the Morton Gould score is quite pleasant and the show had quite a cast. Nanette Fabray, at the height of her career, is the romantic lead and sings gloriously. French star Georges Guetary has a delicious accent and a wonderful voice. But the most impressive performance comes from Pearl Bailey in her Broadway debut. Her two songs, "Nothin' for Nothin'" and especially "There Must Be Somethin' Better than Love" are wonderful and are delivered with Bailey's trademark gusto and socko personality. This CD is available beginning October 1 from but pre-orders are now being taken at a reduced price. The release will be available until the end of the year and you shouldn't miss this vibrant glimpse of historic Broadway.
 
Grade: A-

"LOST IN BOSTON"
Studio Recording
Fynsworth Alley (302 062 191 2)

The "Lost in Boston" series has always been a favorite of mine. It's fun to listen to songs cut in out-of-town tryout runs of well-known shows. The series featured the finest of contemporary musical theater stars. It was originally a four-CD set and now Fynsworth Alley has selected what they consider to be the best of the lot for a re-release. The 16 songs represent 13 popular shows. There's three songs cut from "110 in the Shade," two from "The Mystery of Edwin Drood" and single entries from the other shows, including "The King and I," "Fiddler on the Roof," "Chicago," "Promises, Promises" and "Annie Get Your Gun." It's fun to listen and hear parts of songs that stayed in the shows in earlier versions or to figure out the song that replaced the one dropped. The final picks are all more solid than these deleted ones but many of them are interesting looks into each show's creation. My question is why just a single compilation re-release of the four CDs? Why not reissue the whole package as there are many more delights and treasures that aren't on this "Lost in Boston." But it's sure nice to have some of the series back.
 
Grade: A

"SATINS AND SPURS" PLUS BETTY HUTTON HITS
Original Television Cast
DRG Records (19055)

Betty Hutton was a big movie musical star back in the '40s and '50s and she played lead roles in a couple of notable Broadway musical transfers to the big screen. The most notable was "Annie Get Your Gun" where she took on the lead after Judy Garland was fired. Hutton was less known on the stage although she did some live appearances. She had a big, booming voice, sort of small scale Ethel Merman bellow, and lots of her roles and hit songs were brassy, belted, and gutsy tunes. She certainly lacked Merman's dynamic personality and she's faded away. She did have the distinction of starring in the first television musical that had the look and feel of a Broadway show, "Satins and Spurs," which premiered in 1954. DRG Records has released the soundtrack of that show with the eight tunes written by Jay Livingston and Ray Evans. The story was simple: A pretty cowgirl comes to New York City to ride in the Madison Square Garden Rodeo. She's selected for a magazine feature but rebels when she's made to feel unsophisticated but the magazine reporter falls in love and wins her back. The article wins her a big Broadway role. The songs are catchy and tuneful and Hutton bulldozes her way through them. The rest of the CD contains 17 of her biggest Capitol Records hits, many written by Broadway composer Frank Loesser. Hutton isn't my favorite musical star or singer from this period but the CD lets you hear her in her glory and make your own decisions about her talent. "Satins and Spurs" isn't a major musical. Interesting CD but certainly not a must have.
 
Grade: C

EARL WRIGHTSON "A NIGHT WITH RUDOLF FRIML" AND "SHAKESPEARE'S GREATEST HITS"
Collectables Records (COL-CD-7581 A70224)

Earl Wrightson had a long musical theater career playing leads in various tours and stock productions of Broadway hits back in the '50s and '50s. He usually starred with Lois Hunt, another stalwart musical comedy player. In this latest Collectables release, two of Wrightson's albums are showcased. The first - "A Night with Rudolf Friml" - includes many of the operetta composer's biggest and most popular tunes. It's an interesting look at Friml's work and Wrightson, often paired with Hunt, sounds strong and solid in the 12 songs. Friml's work is rarely seen today because while he wrote glorious melodies, his song lyrics and shows are pretty dated and quaint today. The second Wrightson album - "Shakespeare's Greatest Hits" - is a collection of Dick Hyman tunes written from leading scenes of the Bard's plays. The songs aren't memorable or distinguished but it is fascinating to hear how significant Shakespearean passages were adapted into songs. Wrightson big voice sounds fine but a more interesting collection might have been Wrightson singing songs from Broadway musical adaptations of Shakespeare plays, if such an album was ever made. Wrightson's most famous role was "Kiss Me, Kate," which he toured in for years. If you're wondering what a well-known stage star from this era sounded like, this double CD gives you a decent overview of Earl Wrightson's career and his sound. Otherwise, this collection's appeal is rather limited.
 
Grade: C

"JOLSON & COMPANY"
Original Off-Broadway Cast
Original Cast Records (OCR 6026)

Al Jolson was reported to be a dynamic stage personality. In several attempts, musical theater has tried to capture his life but so far with little success. The recent off-Broadway show "Jolson & Company" tries to do his biography as a radio show using the music Jolson made famous. Stephen Mo Hanan wrote it with Jay Berkow and Hanan starred in the production. The cast album is very short - less than 30 minutes - and is mostly Hanan doing a passable imitation of the great entertainer in his biggest songs. There's an attempt to use the tunes to tell Jolson's life story so you have to remember that the collection has a purpose. I'm sure that Hanan was something in person but on this recording it seems silly to spend time listening to impersonations when actual recordings of Jolson doing his own numbers are available. Berkow staged the show so "Jolson & Company" is a project of love from the two creators. I guess we keep hoping that the great entertainer's life can someday be translated to a successful and dynamic stage musical. "Jolson & Company" doesn't appear to be that vehicle.
 
Grade: C

"WITH A SONG IN MY HEART" AND "PAL JOEY"
Original Soundtrack Cast/1952 Broadway Cast
DRG Records (19054)

Jane Froman's tragic life was captured in the film "With a Song in My Heart." Froman sang the song hits of her career while Susan Hayward played her in the film. DRG Records has released the first CD transfer of the film's soundtrack and added to it the 1952 Broadway revival cast recording of "Pal Joey" in which Froman starred. Froman's hits are breezy pop classics and all are familiar and pleasant in the CD's film soundtrack portion. My focus was on the "Pal Joey" recording. This show album hasn't been available for years and it's a peppy and energetic reading of the wonderful Richard Rodgers/Lorenz Hart show with book by John O'Hara who wrote The New Yorker stories on which the show was based. The cast has legendary musical theater stars including Dick Beavers as the title character, Helen Gallagher, Elaine Stritch, and Froman. Stritch delivers a dynamic "Zip" and Froman's "Bewitched, Bothered and Bewildered" is quite effective. Beavers was not the greatest of the stage Joey's but Gallagher is effective in several of the show's hit tunes. It's nice to have this "Pal Joey" available again as it played over 500 performances and marked the show's reemergence as a musical theater classic. The film songs are a nice bonus making this an album worth purchasing.
 
Grade: B+

"CYRANO"
Canadian Studio Cast
Rfox Music (rf03)

Like Jolson's life story, there have been numerous attempts to bring Edmond Rostand's play "Cyrano de Bergerac" to life as a musical. Does this lyrical play delight need such an adaptation? Probably not and the latest try, "Cyrano" by Canadians Michael and Rick Fox, isn't anything remarkable. This is a studio cast recording of a show that has yet to be produced. Brent Carver plays the title role and he is a commanding performer when given solid songs. Here, the tunes have sameness about them and none stand out as songs you'll remember after the CD is tucked away. In fact, one of the studio cast recording's biggest hits, "In This Darkness," sounds like a direct copy of "Parade's" "All the Wasted Time," a song Carver delivered in that much superior show. Some material doesn't seem destined to ever transform into a successful musical and "Cyrano de Bergerac" may be such a property. The Canadian "Cyrano" certainly isn't a success and on the basis of this studio version seems unlikely to ever be staged.
 
Grade: C-

"GYPSY"
New Broadway Cast
Angel Records (7243 5 03858 2 3)

I love Bernadette Peters in the right show. She was wonderful in such perfect shows as "Sunday in the Park with George," "Mack and Mabel," "Song and Dance," and "Into the Woods." But when I saw her in June in her new Broadway show, a revival of "Gypsy," she never convinced me she was the bitchy, star-driven, pushy mother that Mama Rose must be. She ran out of steam throughout the performance and was dying trying to sustain "Rose's Turn" near the show's final curtain. I didn't hold out much hope for the new Broadway cast recording without a definitive Rose and a less than stellar supporting cast. But a pleasant surprise greeted me when I first played the new recording. Here, with proper rest between songs and the magic of recording studio razzle-dazzle aiding her by using the best of many takes or a combined cut, she sounds better. Many of the subtle line readings she delivered in the theater that fell flat or didn't register, come across here. It's a much more interesting performance in this enhanced state. She seems much more determined and forceful. Her voice tackles the big songs with more brio, more push, and a better sound. She still runs down a bit at the end of her distinctive "Rose's Turn" but nothing like she does in person. The new recording has more of the classic Jule Styne (music), Stephen Sondheim (lyrics), and Arthur Laurents (book) show with bits and pieces of introductions added to most songs and the Entr'acte plus a couple of reprises. Peters co-stars disappoint. The Herbie of John Dossett is bland, Tammy Blanchard's Gypsy Rose Lee isn't anything special, and the very funny "You Gotta Get a Gimmick" delivered by the three strippers who help introduce Gypsy to burlesque has been sharper and more amusing in other recordings. So the dilemma is should you buy the new "Gypsy"? If you love the show, of course, buy it. But if you want a definitive, aggressive, forceful, and bigger-than-life Rose, stick with Ethel Merman's original or the London cast with Angela Lansbury. Both offer vastly superior Roses and better supporting casts. But the new recording is a better way to experience the revival than in person.
 
Grade: C+

"THIS IS THE ARMY"
"CALL ME MISTER"
"WINGED VICTORY"
Original Broadway Casts
Decca Broadway (B0000831-02)

Decca Broadway's latest release from its vast collection of show albums is the combined cast recording from three World War II musical revues, "This is the Army," "Call Me Mister" and "Winged Victory." It marks the three shows debut on CD in the United States although a London company released the first two shows recently. The sound here, though, is superior to the English release. The best of the lot is, of course, Irving Berlin's 1942 Army revue, "This Is the Army." Berlin even appeared in it and sang the signature "Oh How I Hate to Get Up in The Morning." The show's songs are typical of the Broadway sound of the era and the all-soldier cast sounds great with a big, rich, full sound throughout. The simple story relates soldiers' lives as they become soldiers. Harold Rome's 1946 revue tells a similar story backward, tracing the difficulty soldiers faced as they returned to civilian life. The songs aren't distinguished but are pleasant and charming. "Winged Victory" from 1943 is represented by just four songs and is the least appealing of the three shows. It looks at life in the military. The CD contains almost 75 minutes of music so it's a generous release that captures an important historic period through three representative shows. This release is a must for collectors of shows.
 
Grade: B+

"HANK WILLIAMS: LOST HIGHWAY"
Original Off-Broadway Cast
Fynsworth Alley (302 062 190 2)

A country music fan I will never be so the off-Broadway musical tribute to Hank Williams isn't a favorite show album. The artist's hits are all intact and the cast, especially star Jason Petty, are fine country singers. Williams composed and performed his own songs but other artists made many of his songs even bigger hits. The show deals with his tragic life and early death from a heart attack at 29. The songs are used cleverly to define and explain his fast life. If you are a show music fan, you won't enjoy adding "Hank Williams: Lost Highway" to your collection but if you like the music, buy it or tell your friends about it since so many loved his music.
 
Grade: B

"CARMEN JONES"
1962 Studio Cast
DRG Records (19057)

Decca Broadway recently released the great original cast recording of "Carmen Jones." DRG has re-mastered a 1962 studio version of the same show that starred opera star Grace Bumbry. It's not destined to overtake the original. Like so many opera stars, Bumbry's enunciation is mushy and lyrics are almost impossible to understand so the brilliant George Bizet music sounds great but Oscar Hammerstein's clever lyrics and revised story fade into the background. She sounds good, though. The rest of the cast is stronger than Bumbry and deliver performances that are comprehensible but no one delivers a definitive or distinctive performance. Is this a "Carmen Jones" to add to your collection? No, stick with the superior Decca Broadway original Broadway cast version.
 
Grade: C-

"RUNAWAYS"
Original Broadway Cast
DRG Records (19047)

Show music lovers are indebted to DRG Records for resurrecting several old Broadway cast recordings from major labels that would never be otherwise converted to CDs. DRG has a relationship with Sony Records and many of the old shows DRG releases in pristine new CDs are from that label's catalog. But there's one recent DRG selection that makes little sense. "Runaways" was a 1978 musical created by Elizabeth Swados for Joseph Papp and the New York Shakespeare Festival. It was culled from interviews Swados had with young people exploring the potentials of this age group and the hopes and fears they face as they grow older. The score composed by Swados is in keeping with the generation it explores. It's loud, atonal, hip-hop, pop-rock stuff that has little interest to true show music lovers. It's a hard listen and it's difficult to get into the show or what the kids are singing about. Perhaps live with the dynamic of the young performer's personalities it worked better but as a cast album, it's a bummer. The press materials that came with the release suggest the show remains popular with high school and community theater troupes. I've never seen the show. Like all generational uniqueness, the phase represented by "Runaways" was short-lived and the music here isn't very interesting. Wouldn't the money, time, and energy of DRG have been better spent releasing some other forgotten show treasure that would attract more interest? My vote would not have been to spend anytime preserving "Runaways."
 
Grade: D

Show music notes: The new Broadway cast recording of "Gypsy" hits stores Tuesday, and I'll have a review soon. Meanwhile, Decca Broadway had production problems with the press copies of its July 29 release of "This Is the Army" along with two other World War II shows on the same CD. I hope my copy arrives next week so I can review it soon.

In other CD news, Fynsworth Alley's releases of "Fig Leaves Are Falling" and "Hank Williams: Lost Highway" are due this month along with re-releases of "Das Barbecu" and "Lost in Boston."

"RENT"
Original Hungarian Cast
P S Management (P.S. 004)

A "Rent" lover I am not. The loud, rock-inspired musical set in down and out New York and based on the tragic "La Boheme" has never been a favorite of mine. The score has only one appealing tune, "Seasons of Love," and the rest of the songs are usually unintelligible in the many productions and cast recordings I've come across. But the Budapest cast is an exception. The score seems less rock orchestrated and the words, although I do not understand Hungarian, are fully discernable on the recently released cast album that is available through Footlight Records in New York City. Even the touching "Seasons of Love" rings true and honest in the ensemble delivery here. From the booklet, production photographs look faithful to the Broadway original but here the music gets accentuated along with the lyrics giving new insight and dimension to the now familiar score. The Hungarian cast "Rent" is perhaps the finest recording yet of Jonathan Larson's musical hit.
 
Grade: B+

"ETHEL MERMAN AMERICAN MUSIC ICON"
American Legends (ALE 100106)

Any compilation of Ethel Merman hits is always welcome as is hearing new finds of her legendary hits or even familiar versions of her standards. She was a unique musical theater personality and her singing is always distinctive and powerful. On "Ethel Merman American Music Icon," the 17 tracks include many of her early hits from her Broadway shows leading up to three "Annie Get Your Gun" classics. The earlier songs reveal a lighter voice that grew darker and huskier as she aged. She doesn't finesse the lyrics or the melody. She blares out the words clearly and distinctly and she stays on pitch as she holds the melodic line with her unique clarion style. She shows humor, has the most fun, and is most relaxed in the "Annie" selections. This CD is short - only about 50 minutes - but the tracks represent the highlights of Merman's early career and what a personality to treasure!
 
Grade: B+

"GEORGIA BROWN" AND "GEORGIA BROWN SINGS GERSHWIN"
Vocalion (CDLK 4171)

Georgia Brown made "Oliver's" Nancy famous. Her distinctive, rich voice triumphed through the plaintive "As Long As He Needs Me" and the show's other song hits assigned to that character. But Brown never had another big musical theater hit although she showed up after the original "Oliver" in other shows. In two solo albums made around the time of "Oliver," she tackles a variety of musical theater classics and tries to give them her own distinctive touch without much success. Vocalion has put the two albums together on one CD called "Georgia Brown" and "Georgia Brown Sings Gershwin." On the Gershwin portion she does six "Porgy and Bess" tunes and sings songs from male and female characters. None of her versions that put cutesy and unnecessary little embellishments on the wonderful tunes are very pleasing and you'll yearn to just pull out a good recording of that show. The other Gershwin songs from other shows are acceptable but are best when she just sings them and doesn't play around with stylistic gimmicks that detract. On the "Georgia Brown" portion, the dozen tracks include musical theater hits and other popular tunes. Not surprisingly, her best work is on a touching "As Long As He Needs Me," but even here, the more straightforward version on the original cast recording is better. It's too bad that Brown never found her niche so her wonderful voice and strong acting could have been used on other major musical roles. This new CD shows her talent but also reveals that her gifts never got focused to best advantage.
 
Grade: C

"PIECES OF EIGHT"
Original 1959 London Cast
Must Close Saturday Records (MCSR 3006)

Musical revues have always been problematic in recordings. "Pieces of Eight," a 1959 London revue, is such a case. The cast recording has been reissued on CD and listening to the show's 47 minutes reveals a very dated series of sketches and songs that are also heavy on the very dry and, to many Americans, bland British humor. The songs aren't memorable, the comic sketches bring little laughter today. Even the contribution of playwright Harold Pinter, "The Last to Go," fumbles and bumbles along without much hilarity. This recording is an interesting bit of British theater history but that's about all its worth. Revues are topical and therefore very dated so they rarely work years later except as a glimpse of theater and political history. The Must Close Saturday Records label is committed to re-releasing many of the available old British revues. I'm not waiting in line at the record store for them.
 
Grade: D

"I WANTED TO SEE THE WORLD - SONGS AND MUSIC FROM 1950s BRITISH MUISCALS"
Adrian Wright & William Rayner
Must Close Saturday Records (MCSR 3005)

Many British musicals from the '50s never made it to the United States. The discovery of several tunes from these forgotten shows is a delight in "I Wanted to See the World - Songs From 1950s British Musicals" featuring Adrian Wright's charming vocals and William Rayner's piano accompaniment. All 22 songs are interesting and tuneful. Several of the shows these songs represent have never been recorded before so there are real discoveries from "Wild Thyme," "Kookaburra," "The Dancing Heiress," "Jubilee Girl," "A Girl Called Jo," "The Quiz Kid," "Expresso Bongo" and "Romance in Candlelight." Other shows included have had earlier recordings and include "Free as Air," "Dear Miss Phoebe," "Rainbow Square," "Christmas in King Street," "Marigold," "The Crystal Heart," and "Bet Your Life." This recording is a relaxing and fun listen, a glimpse of theater music that was rich in melody if scanty in meaningful lyrics. These shows were like operettas, simple stories laced with fabulous music.
 
Grade: B

CAST RECORDING NOTES
Decca Broadway has access to one of the largest libraries of recorded Broadway cast shows. In its continuing series of releases the label is digging up treasures from the past that haven't been available for years since their original release. "This Is the Army" with "Call Me Mister" and "Winged Victory" has just hit stores. Coming releases include "Sweet Charity" (movie soundtrack), "Seventh Heaven," "Up in Central Park" with "Arms and the Girl," Lorelei." Next year will bring "Look Ma, I'm Dancin'," "Mexican Hayride," "Song of Norway" and "Texas, Li'l Darlin'." And even with all these welcome releases, the Decca catalog is still full of old shows many are waiting to hear again. They will also release the original Broadway cast recording of "Boy from Oz," starring Hugh Jackman. Let's hope this labels strong Broadway commitment continues for years.


"TRELAWNY"
Original London Cast
Must Close Saturday Records (MCSR 3007)

Julian Slade is known for many successful British musicals most notably "Salad Days." Many of his shows have not traveled across the Atlantic to our shores but they have delightful scores and old-fashioned stories that make his musicals interesting and appealing. Such is the case with his 1972 "Trelawny," which opened a limited run at the Bristol Old Vic, moved later to Sadler's Wells and finally to the West End where it enjoyed a 177 performance run. The show is about Rose Trelawny, a Sadler's Wells star who is leaving acting to marry the well-to-do Arthur Gower. She regrets leaving her profession and is back soon but misses her intended and threatens to leave again until everything turns out happily when Rose discovers Arthur, who has joined the company, is her new co-star. A romantic tale like many of the old operettas, but the score is loaded with charming melodies. The London cast recording was originally released by Decca. Now, a new London label, Must Close Saturday, has released the recording for the first time on CD. Other releases from the company are promised and should make available several long out-of-print London shows. "Trelawny" is a delight even if the story seems silly and contrived.
 
Grade: B

"70, GIRLS, 70"
Original London Cast
JAY Records (CDJAY 1372)

On my first trip to London in 1992, a revival of John Kander and Fred Ebb's "70, Girls, 70" was playing and it starred British musical comedy legend Dora Bryan. The show was not a big American hit so I hadn't seen it and since Bryan rarely played outside London, it seemed like a rich opportunity. The show was about a bunch of retired performers who live in a rundown Manhattan hotel. They discover stealing by accident and are turned on by the charge they get from successful heists. They mastermind a big robbery to save their hotel home and their ringleader, Ida, played by Bryan, stays to take the rap since she knows she's dying. It's a fun production with lots of older London performers trouping who had been out of the limelight for years. Bryan was perky and effervescent and now JAY Records has re-released the long unavailable but thoroughly charming cast album. The songs are catchy and tuneful unlike the more serious compositions Kander and Ebb usually pen for their heavier musicals. It certainly not the greatest Kander and Ebb show but it's cute, fun and upbeat.
 
Grade: C+

"SAIL AWAY"
Original London Cast
Fynsworth Alley (302 062 179 2)

The long out-of-print 1962 original London Cast recording of Noel Coward's "Sail Away" starring Elaine Stritch is finally available on CD, courtesy of Fynsworth Alley's continuing series of re-mastered releases of unavailable show music cast albums. The recording includes a song cut from the Broadway version, "Bronxville Darby and Joan," added back for the London staging. Stritch plays cruise director Mimi Paragon and the action takes place on board the luxury liner S. S. Coronia during a New York to Europe and back sailing. The lusty score sounds wonderful and Stritch sounds much younger and is without the husky, deep voice we now know and love from this unique artist. The sparkling songs are quite amazing and it's hard to understand why the show wasn't a bigger success in either its New York or London stagings. Coward's wit and stylish writing is fun and enjoyable and this performance marks an interesting piece of musical theater history even if the show isn't the most remarkable of Coward's many.
 
Grade: B

"BROWNSTONE THE MUSICAL"
Studio Cast
Original Cast (OC-6052)

"Brownstone" has been an evolving musical since it first appeared in 1979. It has shown up in various off-Broadway productions since and each new production brings revisions by songwriters Peter Larson and Josh Rubins and book adjustments to keep the show timely. The show had never been recorded but after a 2002 Berkshire Theatre Festival staging, Original Cast Records used some of that cast - Liz Callaway and Kevin Reed - who were joined in the Studio recording version by Brian D'Arcy James, Debbie Gravitte, and Rebecca Luker. The songs are wonderfully melodic and upon first hearing draw you into the story about a group of people living in a New York Brownstone whose lives overlap as they strive to find romance and their places in the world. I put the CD on one evening while preparing dinner and my meal got delayed as I stopped frequently to pay attention to the rich songs, the perceptive lyrics, and the fine performances of the cast, which represents the cream of the current crop of newer musical theater performers. Several of the songs have already had play as singles on show music related albums and on the pop charts and there isn't a dud among them. This show and recording were a surprise. To know about a show over the years and finally hear it in such a welcome recording is exciting and let's hope the show finds the right venue to become the success it has every potential of becoming. You will enjoy this recording.
 
Grade: A-

"JEKYLL & HYDE"
Original Japanese Cast
Toho (E-0301)

The web sites of the two leading show music stores - Footlight Records in New York and London's Dress Circle - have been accepting pre-orders for the Japanese recording of Frank Wildhorn's "Jekyll & Hyde" for weeks. Well, the recording is finally here and I'm not sure the fanfare and buildup were warranted. The music is well known from the long-running Broadway production but so are the strong performances from that version with the three impressive leads including Robert Cuccioli in the starring Henry Jekyll/Edward Hyde double role, Wildhorn's wife, Linda Eder as the downtrodden Lucy, and Christiane Noll as Emma, Jekyll's fiancee. The show is full of pop tune standards like "This Is the Moment." The Japanese cast, especially the two female leads, is really weak and the famous songs don't sound as big and robust as we have come to expect. The music is intact on the lengthy recording but the renditions being so weak and blase sounding that the commotion and wait for this release seems totally unsubstantiated. If you like Wildhorn's song hits, stick with the Broadway cast version and skip this expensive imported Japanese version.
 
Grade: D

"DREAM: THE LYRICS AND MUSIC OF JOHNNY MERCER"
18th Annual Live S.T.A.G.E. Benefit Concert Cast
LML Music (LML CD-203)

Although Johnny Mercer was more renowned as a film composer, he also wrote many Broadway musicals. Bottom line is that whether he composed for the stage or screen, his melodies are familiar and his songs are filled with elegance and grace that were sometimes sentimental and sometimes cleverly amusing. In the annual Los Angeles S.T.A.G.E. benefit, he was this year's honoree and a star-studded cast delivered over three dozen of his top hits deliciously. This is a memorable collection of Mercer's best sung by stage musical theater stars and stalwarts. There are no picking favorites from the endless stream of wonderful tunes. A polished orchestra under the steady and sure baton of Ron Abel backs the singers. The cast includes Kevin Chamberlain, Petula Clark, Carole Cook, Tyne Daley, Franc D'Ambrosio, Loretta Devine, Nancy Dussault, Davis Gaines, Betty Garrett, Jason Graae, Sam Harris, Dale Kristien, Lee Lessack, Rod McKuen, Anne Runolfsson, Lea Salonga, Sally Struthers, and Margaret Whiting among the cast of 34. If there's a fault to pick with this two-CD set, it's that the accompanying liner notes are wholly inadequate, providing no mention of the movies and shows the songs are from and little background on this prolific composer. But you can research other places. As a collection of Mercer tunes, this new release is something.
 
Grade: A

"THE ROYAL PHILHARMONIC ORCHESTRA PLAYS BROADWAY'S BEST MUSICALS" Volumes 1 and 2
Koch Records (KOC-CD-8635 Volume 1 and KOC-CD-8639 Volume 2)

These two new "Royal Philharmonic Orchestra Plays Broadway's Best Musicals" are mediocre collections of hit songs played with symphony orchestra stodginess and sung by singers who are adequate but bring no fresh interpretations to the familiar songs. Volume 1 is all Andrew Lloyd Webber hits from seven of his biggest stage triumphs. How many more "Memory," "Music of the Night" and "Sunset Boulevard" collections do you need? Certainly not this one. Volume 2 has no particular theme but among the 11 selections are six from Lloyd Webber's shows. At least there aren't any repeats from the 11 Lloyd Webber songs on Volume 1. I listened to these CD just once for this review. Now, they'll now go on the shelf to collect dust. I doubt they'll ever be played again. Skip these.
 
Grade: D for both volumes

"TELL ME ON A SUNDAY"
London Revival Cast
Decca Broadway (B0000407-02)

Back in 1979, Andrew Lloyd Webber wrote "Tell Me On A Sunday" as a television special. It evolved into the first part of a full length musical, "Song and Dance," that played London and New York in the mid-'80s. Now, popular London musical theater star Denise Van Outen is featured in a revival that is revamped to depict a modern British woman transplanted to New York City in 2003 where she lives and loves. The score is familiar but this new version includes five new songs that fit nicely with the original score. The music is from Lloyd Webber's early period and it has more of the rock sound of his initial shows. It doesn't have the lush melodies that have shown up in his more recent works. Van Outen is a dynamic performer who makes the show and role her own and she delivers the music winningly with a robust sound. The show has been a big London hit and one wonders if producers will bring it to New York. If you have other versions of the score, this one is unique and is worth a listen.
 
Grade: B

"PIECE OF SKY"
SEAN McDERMOTT
Jay Productions (CDJAY 1371)

Seam McDermott has starred in Broadway musicals and he has a strong, forceful voice. On his new album, "Piece of Sky," he includes mostly musical theater classics although there are a few less well-known songs that are interesting inclusions. He often seems to push too hard and some of his arrangements seem to overpower the song melodies. The title tune, from the film "Yentl," expresses McDermott's life philosophy and is dedicated to his father. Among the standard repertory, he brings big strong interpretations to "Music of the Night" ("The Phantom of the Opera"), "I Need To Know" ("Jekyll and Hyde"), "Sun and Moon" ("Miss Saigon") with Glory Crampton, "Gethsemane" ("Jesus Christ Superstar"), "Elaborate Lives" ("Aida"), and "Bring Him Home" ("Les Miserables"). The most interesting pick is "Multitudes of Amy," a song cut from "Company," "You Walk With Me" ("The Full Monty") that is sensitivity performed, "I'd Rather Be Sailing" from "A New Brain," and a peppy upbeat "New York, New York" that expresses his view of a recovering city. If some of his songs seem a bit over interpreted, McDermott has a strong and effective voice.
 
Grade: C+

"ELEGIES: A SONG CYCLE"
Original Off-Broadway Cast
Fynsworth Alley (302 062 189 2)

"Elegies: A Song Cycle," William Finn's new off-Broadway show, looked at people Finn knew and loved including friends, family and colleagues. His songs are each a complete character study and his melodies are complex and provide a feel for the character he explores. Many of "Elegies" songs are reminiscent of Finn songs from his most popular musical, "Falsettos," and other shows he's penned. The cast assembled for the Lincoln Center production performed at the Mitzi Newhouse Theatre includes five musical theater veterans - Christian Borle, Betty Buckley, Carolee Carmello, Keith Byron Kirk, and Michael Rupert - and the vocals are heartfelt and moving. Some of the songs are more touching than others and Buckley's "14 Dwight Ave., Natick, Massachusetts" is perhaps the best because it is a tribute to Finn's mother just before she died of cancer. There are laughs here and there and "Joe Papp," sung by Kirk and the male cast members, is a humorous look at Papp's theater contributions. Rupert's "Mark's All-Male Thanksgiving" is a "Falsettos" tribute. Anything from Carmello is strong and pleasing. "Elegies" is significant theater inspired music that tells a compassionate, if dark, story about Finn's relationships with others.
 
Grade: B

"MENOPAUSE THE MUSICAL"
Off-Broadway Cast
TOC Productions (No Number)

The popular off-Broadway hit "Menopause The Musical" finally hit Phoenix and with it came the chance to purchase the otherwise unavailable cast recording. The show uses parodies of popular '60s and '70s songs to tell the humorous story of women's trials and tribulations in dealing with the often-unpredictable consequences of The Change. It helps to have seen the show as the comic shenanigans are in better context than just picking up the CD. How playwright Jeanie Linders crafts the show's humor is to take a song hit like "Saturday Night Fever's" "Stayin' Alive" and turn it into a funny spoof of the that show and to laugh about a physical change. It's recycled as "Stayin' Awake"/"Night Sweatin'" and it brings raucous laughter from remembrances of the movie and what it's like to deal with sleepless nights and the inevitable sweats as a woman's body changes. It's all frivolous fun and the CD will be best for those who have seen the show and use it to bring back the show's best comic moments. The vocal prowess of the New York cast is minimal (the touring cast playing in Phoenix delivered far stronger vocal performances) but then hearing beautifully sung song parodies aren't the goal here. The CD is available through the show's web site, www.menopausethemusical.com.
 
Grade: C+

Cast Recording News:

Remember that the Broadway cast recording of Michel Legrand's charming "Amour," already reviewed here, hits stores Tuesday, July 8.

The recent release of the Broadway revival cast recording of "Nine" has resulted in lots of glowing reviews from sources that rarely cover cast albums. The fine recording deserves every bit of praise it is receiving. The Broadway run has been extended through November but cast replacements are starting to assume roles since the show was originally only scheduled through June. Glad I saw it with the entire original revival cast. It was one of those unforgettable Broadway performances.

Stories from the New York recording sessions for Bernadette Peters" "Gypsy" was plentiful on the Internet this week and observers who sat in on the two day process are suggesting that this could be the definitive recording of this classic musical score. Having seen the revival recently at Broadway's Shubert Theatre that opinion seems a stretch. Peters worked hard, very hard in fact, to convince us she was the mean, one-goal-in-life stage Mother of the awkward child performer who became stripper Gypsy Rose Lee. Peters introduced a soft sexiness to the role that presented another view of this complex character but overall she struggled with a role not suited to her little girl, wide-eyed charm. The surrounding production was cheap looking and not brilliantly cast. It will be interesting to see how this cast album sounds when Angel Records releases it on August 19. The debate about Peters' performance will rage on as long as the show plays and the recording are available. Stay tuned.

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"Fiddler on the Roof" is one America's most enduring musicals. The original Broadway cast recording starring the great Zero Mostel is a definitive version of the show. It has been re-released by RCA Victor as part of its Broadway Deluxe Collector's Editions with impeccable re-mastering and several added tracks that include an interesting interview with lyricist Sheldon Harnick, plus some songs cut from the show before it hit Broadway. The show tells about a small Russian village, Anatevka, populated by Jews. When the Czar decides to discriminate, his soldiers ruin the village and force its longtime residents to find new homes. Many head for America, others head for places with tolerant attitudes. The musical focuses on Tevye and his wife, Golde, and his three daughters. We see the family and how they deal with their humble life. The show's beauty is its theme's universality. This village and its townspeople could be from anywhere. The Jerry Bock score is rich and is beautifully sung by the original cast. The accompanying booklet has many pictures from the New York recording session that haven't been seen previously. If you don't have "Fiddler on the Roof" in your cast album collection, this new version is a must purchase. For those with previous versions of the original cast recording, this CD is worth considering because of the extra material.
 
Grade: A

"THE BROADWAY MUSICALS OF 1925"
Town Hall Broadway by the Year Cast
Bayview Recording Company (RNBW024)

The Town Hall Broadway by the Year series continues to deliver fabulous looks at the musicals that made up various Broadway seasons. The series latest recording is "The Broadway Musicals of 1925," a year full of lush romantic scores from the silly period. 1925 was the year of "No, No, Nanette," "Sunny," "Tip Toes," "The Vagabond King," "The Coconuts," "Dearest Enemy," "Merry, Merry," and "Naughty Cinderella." The show also contains first time recordings of songs from even rarer shows including "Tell Me More," "Big Boy," "China Rose," and "The Garrick Gaieties." The fine cast includes Howard McGillin, Nancy Anderson, Justin Bohon, Walker Jones, and Stephanie J. Block who gives the 23 songs wonderful interpretations. The year includes shows from Richard Rodgers, Vincent Youmans, Irving Berlin, Jerome Kern, Rudolf Friml, and George Gershwin among others. Several songs primarily from "No, No, Nanette," "The Vagabond King," and Sunny" are familiar standards but the other songs are all listenable and because of the year have humable melodies. Picking favorites is hard so just get the CD and enjoy a picture of what must have been an exciting Broadway musical year.
 
Grade: A

"A YEAR WITH FROG AND TOAD"
Original Broadway Cast
101 Productions (No Number)

When a show is nominated for a Tony Award as Best Musical, one assumes it will have some distinguishing and lasting worth, and I was anxious to see the children's show "A Year with Frog and Toad" during a recent trip to New York. What I saw and what is reflected in the just released cast album is mediocrity. The show isn't a very creative or enduring children's musical and most of the songs are ordinary and trite with undistinguished melodies and even blander lyrics. The story is cute enough about two friends and their adventures after their annual hibernation. The cast with Jay Goede as the Frog and Mark Linn-Baker as the Toad work hard trying to add magic to the weak songs and production numbers. Among the disappointing score, a few things stand out. The first act closer, "Cookies" is a funny little tune and "Alone" has an interesting point of view about spending some time without friends around. It's easy to understand why "A Year with Frog and Toad" sputtered and closed quickly on Broadway. At inflated prices, it was an expensive excursion for a family and didn't entertain as much as many community children's shows. The recording, previously available only at the theater, is now available at select outlets including New York's Footlight Records.
 
Grade: D

"NINE"
New Broadway Cast
PS Classics (PS-312)

I just returned from a whirlwind New York trip to see seven Broadway shows and the Tony Awards. The last show on my itinerary was the revival of "Nine," in a fantastic Roundabout Theatre Company production starring Antonio Banderas and a host of Tony nominated actresses. When I arrived home, I found my advance review copy of that staging's recording, which will be in stores June 17. The production is visually exciting with a brilliant directorial concept and unbelievable performances from a fine cast. On CD, the 78-minute recording is a faithful and strongly sung version. Perhaps not as outstanding as the original Broadway cast recording recently re-released by Sony, it is still a dynamic performance that captures the wonderful score winningly. Based on the Fellini film "81/2," "Nine" is about an Italian movie director's midlife crisis as he struggles to develop a concept for his new film. As his journey goes he runs through all the women in his life from his mother to his many extra curricular affairs, and to his current wife. The Maury Yeston songs are melodically unique and fascinating. The new cast from Banderas' booming and surprisingly strong vocals to Jane Krakowski's sexy Carla, Mary Stuart Masterson's staunchly loyal Luisa, Laura Benanti's flamboyant Claudia, and most winningly to Chita Rivera's unbelievable French Liliane La Fleur, the cast is impeccable. Since the revival's brilliance comes partially from its stunning staging, the CD can't touch the production's visual surprises but the musical performance makes this a cast album to purchase.
 
Grade: A-

"BROADWAY TODAY"
Original Cast Recordings
Sony Classical (SK 87994)

Unlike most Broadway anthology recordings where a recording label selects hits from its own stock of cast albums, Sony Classical's new "Broadway Today" captures songs from all the current Broadway hits. Some are from recent Sony cast albums but several are not. The collection is a great snapshot of Broadway 2003 and even includes as a bonus track, "All That Jazz," from the movie musical hit "Chicago." For those who have all the cast albums from "Hairspray," "The Producers," "The Lion King," "Movin' Out," "Beauty and the Beast," "Mamma Mia!," "La Boheme," "Thoroughly Modern Millie," and "Aida," the new release won't be a necessary purchase but to those who just flirt with Broadway cast albums, this introduction may excite listeners into purchasing one or more of the many cast albums represented. The selections represent each show's biggest hits and there are no surprises. "Broadway Today" is certainly a fun and easy listen even if the material isn't unique.
 
Grade: B

"OLIVER"
Original Broadway Cast
RCA Victor (82876-51432-2)

In the second of RCA Victor's Deluxe Collector's Editions, "Oliver" has the artful Lionel Bart score accompanying the Charles Dickens tale of Oliver Twist's exploits in London. Clive Revill's Fagin is fun, Georgia Brown's sad Nancy perhaps the best performance ever in this role, and the rest of the large cast delivers a winsome and charming rendition of the now popular stage hit. Bonus tracks include four songs from the original London cast recording and Patti LuPone's haunting "As Long As He Needs Me" plus an interesting and newsy interview with Donald Pippin, the show's original music director. The re-mastering is marvelous, the bonus tracks add dimension from other productions, and the packaging includes many photos not previously available from the recording sessions. Certainly the most definitive recording of "Oliver," this release is a historical treasure.
 
Grade: B+

"HELLO, DOLLY!"
Original Broadway Cast
RCA Victor (82876-51431-2)

RCA Victor released three Broadway Deluxe Collector's Editions this past week - "Hello, Dolly!," "Oliver," and "Fiddler on the Roof." The shows have long been available on CD but the new series includes pristine re-masterings of the recordings and lots of bonus songs and interviews. I picked "Hello, Dolly!" first because it seemed the most interesting and what a great CD it is. The original cast recording sounds wonderful and captures Carol Channing's definitive Dolly Levi. She sounds great here and at the end of the recording a lengthy interview allows Channing to talk about the show, the actual recording of it, and how the cast captured and incorporated the stage dynamics in it. Her own remembrances of what the show meant to her career and to her life are also preserved. The bonus tracks are the treasures here, though. The Pearl Bailey recording has been transferred to CD before but included here are two tracks with Bailey's earthy Dolly strutting through "Before the Parade Passes By" and her unique take on the title tune. Also included are two tracks from the Mary Martin London cast recording in which Martin gives the role a touching warmth in her "I Put My Hand In" and "So Long Dearie." Wouldn't it be nice to have the Martin version on CD? I still get out my LP version every so often to enjoy Martin's Dolly. And last, the new CD includes two songs Jerry Herman wrote for Ethel Merman who was wooed to be the original Dolly but ended up closing the show years later. She recorded the two special songs that were restored when she joined the Broadway company and her versions of "Love, Look in My Window" and "World, Take Me Back" suggest just how great a Dolly she must have made. This new deluxe "Hello, Dolly!" is just that, a complete and definitive CD that includes much of this show's rich history.
 
Grade: A

"SIMPLY SONDHEIM"
Gay Men's Chorus of Los Angeles
Gay Men's Chorus of Los Angeles Recording (GMCLA09)

Stephen Sondheim's complex and elegant show music sounds magnificent when sung by the large Gay Men's Chorus of Los Angeles in "Simply Sondheim." Selections from "Merrily We Roll Along," "Follies," "Company," "A Little Night Music," "Sweeney Todd," "Passion," "Evening Primrose," "Sunday in the Park With George" and his film score for "Reds" are rich sounding with the lush choral sound of this fine group. If this recording has a weakness it is that billed star Joanna Gleason is used in only one number, "Pleasant Little Kingdom" from "Follies." Her vocals add luster to the choral sound and she could have been featured in other spots throughout the recorded concert. If you love Sondheim music and like sung with a huge throng of voices, "Simply Sondheim" will be a treasure.
 
Grade: B

"FADE OUT - FADE IN"
Original Broadway Cast
Decca Broadway (B0000215-02)

After years of promises, Decca Broadway has released on CD the 1964 Broadway bomb that has interested show music collectors for years, "Fade Out - Fade In." Starring Carol Burnett, the show was plagued from the get go despite Jule Styne's catchy if undistinguished score and the fun book and lyrics by Betty Comden and Adolph Green. The musical tells the story of the Golden Age of Hollywood in the 1930s. Burnett is a Broadway chorine who has aspirations of being a movie star and she almost makes it until it is discovered that she was the wrong performer in the right place. Burnett's performance was reported to be hysterical but she had qualms with the show and a car accident sidelined her early in the run. When she returned to the show, her heart wasn't in it and the show sputtered and closed after just 199 performances. While the score isn't the period's greatest, Burnett's comedic charms and dazzle shine through and the cast included the always-funny Jack Cassidy. It's nice to finally have this legendary show album available after some 30 years and the show's charm and the star's effervescent performance glimmer in spite of the show's many problems and short run. It's a show music collector's dream CD.
 
Grade: B

"BELIEVE...THE SONGS OF THE SHERMAN BROTHERS"
Fynsworth Alley (302 062 175 2)

Richard and Robert Sherman are known for their many fine movie musicals including their classic "Mary Poppins," "Winnie the Pooh," "Chitty Chitty Bang Bang" and "Bedknobs and Broomsticks." Using a group of today's leading Broadway crooners, Fynsworth Alley has created a wonderful tribute to the team - "Believe...The Songs of the Sherman Brothers." The pair's most famous songs are all here in richly sung and finely orchestrated versions. There's an interesting collection of the team's unique word creations strung together and starting with "Mary Poppins" "Supercalifragilisticexpialidocious" featuring Jason Graae's smooth vocals. But the brothers also created Broadway shows and they are represented here with "Where Did The Good Times Go?" from "Over Here" featuring Emily Skinner and two songs from "Busker Alley," a show that never made it to Broadway. Their movie "Chitty Chitty Bang Bang" is now a successful London stage musical that is scheduled for Broadway and rumors abound that a stage version of "Mary Poppins" is being planned. The singers on this album are strong, the music is charming, and it includes two songs from an obscure show providing many reasons to purchase and enjoy this CD.
 
Grade: B

"AMOUR"
Original Broadway Cast
Sh-K-Boom Records (No Number)

Before its July 8 release, Sh-K-Boom Records sent me a copy of "Amour," the cast album of the quick Broadway musical bomb that opened and closed in October. The fanciful show about a man who could walk through walls sounds charming and the excellent cast headed by Malcolm Gets and Melissa Errico, both nominated for Tony Awards, sings the Michel Legrand appealing score elegantly and beautifully. The cast recording has one bonus track featuring the composer in "An Ordinary Guy," one of the show's better songs. Gets is even better and quite touching in the cast version of the same song. Errico shines in her big solo, "Somebody." The overture is an attractive and unique introduction to the show. "Amour" may not have been a Broadway hit but it's a charmer on CD.
 
Grade: B

"THE ADVENTURES OF MARCO POLO"
Original Television Cast
DRG Records (19048)

Original television musicals rarely happen anymore but in the 1950s they showed up occasionally. In 1957, came the most famous when new Broadway star Julie Andrews starred in Rodgers and Hammerstein's "Cinderella." The year before came "The Adventures of Marco Polo" starring reigning musical theater star Alfred Drake. The musical adapted its score from a classical composer. Here it was the exotic compositions of Rimsky-Korsakov that sang the biographical story of the great adventurer Marco Polo's travels through Asia and his romantic entanglements. The show's cast recording has been unavailable for years and this is the first time it has been available on CD. Drake's bigger than life vocals and personality dominate but Doretta Morrow, his "Kismet" co-star, adds lush singing as Drake's romantic interest. It would be interesting to see if any tapes exist of the show's telecast but musically the show has a beautiful score. An interesting note is that Neil Simon worked on the show's book.
 
Grade: B-

"ULTIMATE BROADWAY 2"
RCA Victor (82876-51290-2)

Musical theater compilation recordings are big business. DRG just released highlights from its series of Encores! show recordings and Sony has one coming with lots of current Broadway hits. RCA Victor has "Ultimate Broadway 2," a 75-minute, 20-track selection of its Broadway catalog. This recording focuses on current Broadway shows and many of the tracks come from recent cast albums. It opens with the "Gypsy" overture from the London cast recording that featured Angela Lansbury. It includes current Broadway hits like "Man of La Mancha," "Urinetown," "The Phantom of the Opera," "Chicago," "Thoroughly Modern Millie," "La Boheme," "Cabaret," and "The Producers," plus recent shows including "Ragtime," "Oklahoma," "The Full Monty," and "Les Miserables." It ends with the original cast "Lullaby of Broadway" from "42nd Street." There's no real theme to the selections but for musical theater lovers it's a pleasant background recording and it's a good introduction to RCA Victor's recent Broadway catalog for others.
 
Grade: C+

"I HAD A BALL"
Original Broadway Cast
Decca Broadway (B0000204-02)

Film and TV clown Buddy Hackett appeared in just one Broadway musical, "I Had A Ball," a show that was not a big hit but one that played awhile because of Hackett's comic mugging. The show ran 184 performances during the 1964-65 season and soon after the opening Hackett started playing fast and loose with his dialogue. The show's cast album has been long out-of-print and has just been released for the first time on CD with four bonus tracks. The silly story has Hackett as Garside the Great, a Coney Island conman, who discovers that his crystal ball really does predict the future. The Jack Lawrence and Stan Freeman score is tuneful and two co-stars, Richard Kiley and Karen Morrow, sing the show's best songs in strong vocal performances. The detailed booklet has extensive notes about the show. The bonus tracks include two alternate versions of songs sung by Morrow plus two songs cut from the show prior to opening on Broadway. The recording will be of interest to show music collectors because it represents one of the many '60s shows built around a star personality.
 
Grade: C+

"ENCORES FROM CITY CENTER ENCORES! GREAT AMERICAN MUSICALS IN CONCERT"
Encores! Casts
DRG Records (94771)

Encores! is the exciting New York series that presents old and often forgotten musicals in concert. It brings back to life many wonderful shows and to celebrate the 10th anniversary season, DRG Records, has put together a richly rewarding CD of highlights from their many recordings from the series. It includes selections from seven shows. "Do Re Mi" is represented by the show's single hit, "Make Someone Happy," featuring an outstanding rendition by Brian Stokes Mitchell and Heather Headley, plus "All My Life" brought to amusing life by Nathan Lane. Jerry Bock and Sheldon Harnick's early failure "Tenderloin" is represented with three songs proving that the musical may not have been a success but the songs are solid. "Call Me Madam" featuring Tyne Daly as Sally Adams, is represented by Daly's "The Hostess with the Mostes' on the Ball" and while Daly doesn't rival original star Ethel Merman, she's appropriately brassy. "It's A Lovely Day," the show's best ballad, features elegant vocals by Melissa Errico and Lewis Cleale. Rodgers and Hart's "Babes in Arms" is full of pleasing tunes and the three included are well sung. "Pal Joey" includes Patti LuPone's lusty "Bewitched, Bothered and Bewildered" plus Bebe Neuwirth's comic "Zip" and Peter Gallagher's "I'm Talkin' To My Pal." Cole Porter's "Out of This World" standout is Marin Mazzie and Gregg Edelman's "From This Moment On." The last show, "The Boys From Syracuse," has a remarkable cast that includes Rebecca Luker, Debbie Gravitte, and Sarah Uriarte Berry in a fine "Sing For Your Supper." All these cast albums are still available and this highlights version reminds how good the Encores! versions are.
 
Grade: A

"NOW IS THE TIME FOR ALL GOOD MEN"
Original Off-Broadway Cast
DRG Records (19046)

"Now Is The Time For All Good Men" is a 1967 off-Broadway show that marked the debut of many creative people who went on to fame in the musical theater. It was also a vehicle that served as many musical theater performers first stage exposure. The show garnered strong reviews for the plot about teachers' activities both professionally and personally at an Indiana high school. The songs and plot were by Gretchen Cryer and Nancy Ford who went on to write "I'm Getting My Act Together and Taking It On The Road." Cryer also starred in the piece using the name Sally Niven, and David Cryer, her husband, was in the show. Word Baker of "The Fantasticks" fame directed. The plot is convoluted and silly but the tunes are pleasant if not memorable. This DRG release is the first time the show's cast album as been available as a CD and the recording has been unavailable for many years. If not a "must have" recording, it certainly shows the early talents of the creative team and several performers.
 
Grade: C+

"SANDY WILSON AT THE PLAYERS" AND "CALL IT LOVE"
Original London Casts
Bayview Recording Company (RNBW004)

The new Bayview CD of "Call It Love" is full of interesting material. It includes tracks from the original London cast recording of Sandy Wilson's 1960 musical "Call It Love," which came along seven years after Wilson's most famous show, "The Boy Friend." It also includes some tracks sung by Wilson of three songs from his "Divorce Me, Darling" and one tune from his "Pieces of Eight." Most interesting, though, are the first 16 tracks, "Sandy Wilson at the Players," an evening with Wilson providing commentary about his shows and renditions of songs from 10 of his musicals. Some of the stories are cute and his discussion of the Broadway version of "The Boy Friend" gives a few brief but interesting bits of insight on just how exciting Julie Andrews' Broadway debut must have been. His recollections and style are easy and natural, and some different material includes since several of his 11 shows have neither been performed nor recorded. His best work, of course, was in "The Boy Friend" and you can hear themes and melodies from this show running in his work both before and after it. This CD is for the avid musical theater fan who really wants some the chance to hear unusual Wilson songs and to hear a bit of the personality behind the composer.
 
Grade: B

"A MAN OF NO IMPORTANCE"
Original Off-Broadway Cast
Jay Productions (CDJAY 1369)

"A Man of No Importance," based on the movie with a score by the "Ragtime" team of Stephen Flaherty and Lynn Ahrens, played in the small Mitzi Newhouse Theatre at Lincoln Center late last year. It received positive reviews but the show's short run wasn't extended. Now comes the cast recording and what a gem it is. It is set in 1964 Dublin where simple people who work hard escape their dull reality through a church theater troupe. The head of the troupe, bus conductor Alfie Byrne, has selected Oscar Wilde's play, "Salome," as the next production. But the controversial play elicits a negative reaction from church leaders who ban it. But in the course of all the turmoil the people involved begin to see more of the reality of their own lives. The Irish setting demands a lusty, earthy score and that's just what Flaherty provides. The songs add to the plot eloquently and there's much of "Ragtime's" sound in many of the new show's tunes. The powerful performances come through in the singing, and Roger Rees gives a haunting portrayal of Alfie. What he discovers about himself shocks him but he decides to live it out. It's too bad this gritty and revealing show disappeared so quickly because the cast recording shows what Flaherty and Aherns with book author Terrence McNally wove in this rich musical. I wish I'd seen the production but at least the cast recording gives those of us who missed it a taste of its greatness.
 
Grade: A-

"CALL ME MADAM"
The Broadway Musicals Series
Prism Leisure (PLATCD 934)

After eight initial releases in The Broadway Musicals Series, four more have appeared. "Call Me Madam" is the most interesting. It includes the full official cast album, which included the entire original troupe minus star Ethel Merman who was under contract to a competing recording company, plus Merman's excerpts done for her label, and two songs from the London version that starred Billie Worth. Substituting for Merman on the cast album was Dinah Shore, a pop singer with a pleasant voice but a performer who lacked Merman's sparkle and brassy elan. Shore sounds smooth and note perfect on Irving Berlin's songs that paint a picture of Mrs. Sally Adams, a United States Ambassador to the imaginary Lichtenburg that was modeled on Pearl Mesta's stint in Luxemborg. After Shore breezes through the catchy tunes with no special flair, we hear Merman give her unique sound to the same tunes. It becomes a lesson on what made Merman such a great musical theater star. Merman shimmers through her tunes providing dazzling color and personality to her renditions. Finally, Worth's London interpretation lies somewhere between the bland, lackluster Shore's and the superb Merman tracks. I feel lucky to have seen The Merm in a 1967 revival of "Call Me Madam." I remember how she brought her unique and unforgettable style to the role.
 
Grade: B

"GENTLEMEN PREFER BLONDES"
The Broadway Musicals Series
Prism Leisure (PLATCD 921)

Like Merman, Carol Channing brings a special personality to her stage musical interpretations. Few will forget Channing's Dolly but her first big Broadway splash came years before in "Gentlemen Prefer Blondes" and The Broadway Musicals Series has selected this material for another release. Here the entire original Broadway cast version is recreated. The only bonus track is a nothing special Frank Sinatra pop version of "Bye Bye Baby." But it's Channing's incandescent performance that dominates this album as she delivers a sultry sexy allure in such classic songs as "A Little Girl from Little Rock," "Diamonds Are A Girls Best Friend" and the title tune. Hearing Channing makes one wonder why Hollywood went for easy glamour by casting Marilyn Monroe as Lorelei Lee instead of letting Channing preserve her performance. The official cast recording can still be found on Sony label with its extensive booklet on the show. It's a treasure that belongs in any true musical theater enthusiast's collection.
 
Grade: A

"JESUS CHRIST SUPERSTAR"
Original Broadway Cast
Decca Broadway (440 067 734-2)

The long awaited CD release of the original Broadway cast recording of "Jesus Christ Superstar" has finally landed in stores. It's been the most requested of titles in the vast Decca catalogue and, other than a pirated Japanese version that many collectors have had for years, this recording has never been available on CD. The show was Andrew Lloyd Webber's first big hit and it brought the new and contemporary rock sound to Broadway. The show is well known and the original cast brought definitive performances to the key roles of Jesus (played by Jeff Fenholt), Judas (Ben Vereen) and Mary (Yvonne Elliman). There's no new material on this CD release. It's another in a continuing series to bring back the Decca show catalog, which is a treasure trove of familiar and unfamiliar shows. Coming in May is Carol Burnett's "Fade Out, Fade In," the musical about Hollywood. "Jesus Christ Superstar" is a welcome addition because of the show's importance and Lloyd-Webber's vast contribution of hit British musicals.
 
Grade: A

"ERNEST IN LOVE"
Original Off-Broadway Cast
DRG Records (19045)

DRG Records keeps the flow of reissued Original Cast recordings coming. Several have been previously available on CD but a few are first time releases. Some are very obscure so interest is intent on hearing shows that haven't been available for many years. Such a delightful surprise is Off-Broadway's "Ernest in Love" from 1960. It's a charming, very melodic musical version of Oscar Wilde's "The Importance of Being Earnest." The book and lyrics were by Anne Croswell with music by Lee Pockriss. The team later worked on "Tovarich," Vivien Leigh's only Broadway musical vehicle. "Ernest in Love" is full of lovely songs. The show preserved most of the play's dialogue and the songs sound like Wilde created the lyrics. The cast performs the songs with the deft touch. You'll love the tunes and the accompanying booklet has the show's story and a remembrance by book writer Croswell. So many play adaptations suffer when you add the boisterous numbers that categorize the musical. Here's an exception. "Ernest in Love" is a fine reworking of a clever and witty play with the most delightful of songs to emphasize special plot moments.
 
Grade: A

"PAINT YOUR WAGON"
Original Broadway Cast
Prism Leisure Corporation (PLATCD 933)

The Prism label released eight Broadway cast recordings sometime ago and now comes another four releases in the continuing series. "Paint Your Wagon" is an early Lerner and Loewe creation about the California Gold Rush and while the show's book creaks with silliness about women-hungry miners, the score is full of hit tunes that have become staples. The only bonus track on this release is the Vaughn Monroe and His Orchestra rendition of "They Call the Wind Maria," the show's most appealing song. James Barton was the crusty Ben and Olga San Juan is his spry daughter, Jennifer, the only woman in the mining camp town until ladies of ill repute arrive. While not as spectacular a score or book as the later Lerner and Loewe hits "Brigadoon," "My Fair Lady," and "Camelot," there's much to admire in the "Paint Your Wagon's" score. The other series releases this time include "Call Me Madam" with two excerpts from the London cast recording, "Gentlemen Prefer Blondes" and "Porgy and Bess" with lots of bonus tracks from London. Again, I'm not sure what the purpose is behind these releases since all the titles in both releases continue to be available on CDs. Why doesn't Prism put its effort, backing, and know how behind less accessible and more interesting old cast recordings?
 
Grade: B

"NINE"
Original Broadway Cast
Sony Classical/Legacy (ASK 87093)

Sony will release five Broadway shows May 13 and the original cast recording of "Nine" is the best of the lot. The other pending releases have been reviewed previously but I saved the best for last. The re-release includes much from the original cast's recording session that didn't make it to the LP release or onto earlier CD versions. With the show's current Broadway revival attracting much attention and interest, having the complete Broadway cast recording allows the inevitable comparisons. Raul Julia was outstanding as filmmaker Guido Contini who travels through his many exploits and relationship with women as he searches for a new movie theme. The Maury Yeston score is complex and atmospheric with many beautiful melodies all sung impeccably by the original company that surrounded Julia. Especially vivid is Karen Akers as Luisa, Guido's wife, and Liliane Montevecchi's fabulous Liliane as she stops the show with "Folies Bergeres." This version has a lot more of "The Grand Canal" and three bonus tracks featuring the composer in demo recordings. One can't ask for more than to have an almost complete version of this wonderful show. I wonder how it will compare with the revival's recording that's due out in the next few months.
 
Grade: A

"THE MAURY YESTON SONGBOOK"
PS Classics (PS-310)

In conjunction with the Broadway revival of "Nine" PS Classics has released "The Maury Yeston Songbook," a collection of the composer's richly melodic songs from his Broadway musicals "Nine," "Grand Hotel," and "Titanic," along with songs from his version of "Phantom," his song cycle "December Songs" and his little known musical "In The Beginning." In addition the CD boasts three world premiere recordings of new Yeston songs. The vocalists include a remarkable collection of contemporary musical theater singers and there isn't a bad number on the CD. Yeston remains one of our finest living musical theater composers and this album reminds us of the wonderful scores from his three Broadway shows and the chance to hear several remarkable songs from less familiar shows plus the fine new compositions. It's hard to pick any favorites from this recording but Brent Barrett's lush "Only With You" from "Nine" is a treasure, Sutton Foster's "I Want To Go To Hollywood" from "Grand Hotel," "My True Love" sung with commanding brilliance by Philip Chaffin from "Phantom," and Betty Buckley's forceful "Be On Your Own" from "Nine" come to the top of the list for me. Yeston is quite a musical theater composer as we've all known and "The Maury Yeston Songbook" proves it.
 
Grade: A

"NOEL COWARD AT LAS VEGAS"
Recorded Live at Wilbur Clark's Desert Inn
DRG Records (19037)

"NOEL COWARD IN NEW YORK"
DRG Records (19038)

As part of DRG Records Broadway Collector Series, they have released two CDs of live Noel Coward shows from the '50s. "Noel Coward in Las Vegas" is a breezy and charming evening with the entertainer performing his own song hits. His banter between and around the tunes is clever and relaxed and this recording is a historic record of a person who contributed his share of fine songs with witty lyrics. His more formal "Noel Coward in New York" CD has also been released and it was recorded over a few days and is not from a specific live performance. Both shows have some of the same tunes but the New York show is, like the New York audience, a bit more sophisticated and urbane. Again, this never before available on CD recording gives us a welcome glimpse into a recognized entertainer and creative genius.
 
Grade: B+ "Noel Coward at Las Vegas"
Grade: B "Noel Coward in New York"

"HAIR"
Original 1992 Australian Cast
Bayview Recording Company (RNBW023)

"Hair" was a passing phenomenon that introduced new sounds and concepts to the American musical theater. The show included blatant nudity plus young people's thinking about politics, life and the drug culture. Many shrieked that "Hair" would save the American musical theater. We all know that the show's success was short-lived. There is no question that Galt MacDermot's rockin' and rollin' score had several individual song hits including the show's signature, "Aquarius." The 1992 Australian cast recording includes more of the music than any other available recording and it lets you hear more than just the songs as it includes bridging music and many reprises. The cast is energetic and sings well and unlike the stage production, the recording allows you to understand most of Gerome Ragni and James Rado's pointed anti-establishment lyrics. This recording has been available before but it's nice to have it back to be able to listen to a moment of musical theater history that hasn't lived quite as vibrantly as many predicted.
 
Grade: C+

"FIRST LADY SUITE"
The Blank Theatre Company Cast
PS Classics (PS-206)

Michael John LaChiusa has written some leading edge new musicals including "The Wild Party," Marie Christine," and "Hello Again." His shows are unusual and different. His song melodies are complex and tricky and they are often not the kind of show tunes that are easy to remember. He is one of the new voices of the musical theater.

LaChiusa's "First Lady Suite" was a 1993 hit at New York's Public Theatre and it has appeared in other cities including Los Angeles where The Blank Theatre Company mounted it to some acclaim. That production was recorded and "First Lady Suite" looks at three of the most renowned first ladies - Jackie Kennedy, Mamie Eisenhower and Eleanor Roosevelt.

Based on the song lyrics, it looks at these three women with a dissecting eye and from their perspective of what being a first lady meant to them. It's not always what the public image of these women presented. The Jackie Kennedy section, "Over Texas," looks at the popular first lady through her maid and what Jackie was feeling the day of the assassination. "Where's Mamie?" tackles the unspoken playing around Ike supposedly behind his wife's back but this lady was sharper than we've been led to believe. "Eleanor Sleeps Here" tackles the hidden side life of Eleanor and her love of the ladies.

The music isn't the kind you'll find yourself humming; it's discordant and not melodic, but the segments tell interesting stories. LaChiusa's "First Lady Suite" is a rich historical tapestry I'd love to see performed.
 
Grade: A-

"REDHEAD"
Original Broadway Cast
Fynsworth Alley (FA-2173/DRC13267)

Gwen Verdon was a luminescent Broadway musical theater performer who could make the most mediocre show shine. Her 1959 outing, "Redhead," won several Tony Awards including Verdon's fourth and while the show wasn't brilliant, her performance made the show important. It was a colorful murder mystery with a score by Albert Hague of "Plain and Fancy" fame with lyrics by Dorothy Fields, who made "Seesaw" and "Sweet Charity" talk. Richard Kiley played opposite Verdon and the show had direction and choreography by Bob Fosse, the legendary creative genius behind many classic musical theater hits. Fynsworth Alley, like DRG Records, is re-releasing a series of cast albums that have been out-of-print or haven't made it to CD before. "Redhead" is another in that continuing series. For this re-issue, three bonus tracks have been added. "It Doesn't Take A Minute" featuring Liz Callaway was cut during the show's tryout, "You Love I" performed by Jennifer Piech and "What Has She Got?" featuring Faith Prince were written for "Redhead" but were never used. The bouncing and breezy score isn't remarkable but Verdon's unique style and personality shine through in her songs and the show did win a Best Musical Tony nod. It's always nice to have one of Verdon's classic performances available.
 
Grade: B

"HOUSE OF FLOWERS"
Original Broadway Cast
Sony Classical/Legacy (ASK86857)

"House of Flowers" featured a talented cast that included Pearl Bailey, Diahann Carroll, Juanita Hall, and Ray Walston. The 1954 show by Harold Arlen and Truman Capote is about Ottilie, a young woman in a bordello who experiences love for the first time. The sensuous and rich score is a fascinating look at the cultural diversity of a population heavily influenced by religion and lore and the songs are full of wonderful melodies. The cast is superlative and there are many memorable moments in specific songs. The most outstanding song is Carroll's young and fresh voiced "I Never Has Seen Snow," which shows why Carroll's early stage career in musicals was so defining and why Carroll had great success later in her career in the Canadian production of "Sunset Boulevard." "House of Flowers" is another in the five releases planned by Sony for May 13 and the sound is fantastic and the four bonus selections include an Arlen demo of "A Sleepin' Bee" that was sent to Capote. It's a bit of musical theater history to cherish. Several of the songs from the Broadway cast are expanded versions of those previously available. "House of Flowers" is a gem from the past that we see or hear rarely, if ever, today.
 
Grade: A-

"PAL JOEY"
Studio Cast
Decca Broadway (ASK 86856)

Rodgers and Hart's 1940 musical "Pal Joey" was well ahead of its time. Based on John O'Hara short stories, the show looked at Chicago's seamy side as it explored the adventures of a fast-talking cad, Joey Evans, played by Gene Kelly, an entertainer who bedazzled women. It wasn't a sugar-coated look at this guy; it was a gritty, honest assessment. When it opened, it earned mixed notices and wasn't a big hit although Rodgers' score contains many hits. In 1950, Columbia records put together a cast that included Harold Lang as Joey and Vivienne Segal from the original Broadway cast. The recording, being re-released May 13 by Sony, was a hit and created new interest in the show that led to a successful Broadway revival. The score includes such wonderful show tunes as "I Could Write a Book," "Bewitched, Bothered and Bewildered," "Zip" and "In Our Little Den of Iniquity." This recording has a great cast as proved when the group hit Broadway in the lavish revival and received wild acclaim and a long run. The show was finally a hit. One wonders how audiences in 1940 missed the outstanding score and how a realistic story would be such a turn off. It's an outstanding musical and this recording sounds great and is the finest of many "Pal Joey" recordings now available.
 
Grade: A

"TOP BANANA"
Original Broadway Cast
DRG Records (19041)

Show music lovers can only thank DRG Records for re-releasing many classic Broadway cast recordings from labels not interested in them because of their limited commercial appeal. Many great scores have been resurrected by DRG in its new and ongoing series called The Broadway Collector Series. But some of the picks are most unusual and one would love to interview DRG executives to find out how the shows are selected for this series. The latest release, "Top Banana," is such an odd pick. The 1952 show starred Phil Silvers and it satirizes Milton Berle, the then champ of the new television industry. It looked at his reputed ego, his ambition, and his drive to turn everything into a laugh. The score isn't memorable but it was penned by Johnny Mercer, and Silvers delivers a dynamic performance that suggests the comic style and energy he was reported to display in the musical's one year Broadway run. The other interesting performance comes from Rose Marie, later a well-known performer on television's "Dick Van Dyke" show. The score is breezy and peppy but demonstrates no lasting tunes. Its selection for the DRG Broadway series is a wonder as it was previously available on CD and is not a show to remember.
 
Grade: C+

"TIMES LIKE THIS"
HEIDI GRANT MURPHY
Koch International Classics (KIC-cd-7569)

Each week, several new show-related CDs arrive in my mailbox, a combination of review copies and new releases I order. I pull out the interesting new shows and the solo albums by recognized musical theater stars. The others pile up until a light week comes with few new arrivals and a chance to get caught up. It's an always an especial pleasure when one of those CDs that didn't stand out is played and stops me in my tracks to listen intently. Such was the experience when I first played Heidi Grant Murphy's new "Times Like This." Known primarily as an opera singer, her lovely voice and style easily adapt to musical theater tunes and she doesn't sing that material with the stuffy formality used by many opera stars that do crossover recordings. The songs here were all from shows and the picks were unusual and represented many personal favorites that are rarely featured in solo albums today. It starts with a lovely "Warm All Over" from "The Most Happy Fella." Her repertory is broad-based and represents classic songs form the '50s and '60s like "I Could Have Danced All Night" from "My Fair Lady" and "If I Were A Bell" from "Guys and Dolls" up to contemporary Stephen Sondheim songs like "On The Steps of the Palace" from "Into the Woods." You'll love the picks and discover songs you might have forgotten but will relish hearing again. She sings two Barbara Cook hits from "She Loves Me," "Will He Like Me" and ""Ice Cream," and is the first singer I've heard equal the great Cook. This CD is a lovely gem and should be on your shopping list.
 
Grade: A

"CARMEN JONES"
Original Broadway Cast
Decca Broadway (440 066 780-2)

In 1943, just after Oscar Hammerstein II had opened "Oklahoma" (his first collaboration with Richard Rodgers), his adaptation of "Carmen" (Georges Bizet's 1875 opera) that he called "Carmen Jones" premiered to much acclaim.

Hammerstein moved the action from 19th century Spain to North Carolina and Chicago in the 1940s and used an all-African-American cast. The action was centered around Carmen Jones, a parachute factory worker; Corporal Joe, a factory guard; Cindy Lou, Joe's hometown girlfriend; and Miller, a prize fighter. Hammerstein's song lyrics blend effortlessly into Bizet's familiar and great melodies, and the Broadway cast brings vibrancy to the score and story.

The newly re-mastered CD includes two songs not previously available on LP versions plus a track of Kitty Carlisle singing "Beat Out That Rhythm On A Drum." The accompanying booklet provides photos of the original production and extensive show notes. This CD is a remarkable treasure from a show rarely revived (I did see an outstanding 1991 London staging). It's nice to have this recording available again.
 
Grade: A

"BROADWAY MY WAY"
LINDA EDER
Atlantic (83580-2)

Linda Eder became a major Broadway musical theater star in Frank Wildhorn's "Jekyll & Hyde." She has since married the composer and become a mother, but she hasn't starred in another Broadway musical. She's waiting for her husband to finish and produce her next show. In the interim, she's become a solo artist doing concerts around the country focused on Broadway show tunes. Her new CD, "Broadway My Way," includes 13 interesting picks from a wide cross section of popular musicals plus a preview of "Gold" from her coming new musical, "Camille Claudel," by Wildhorn. Eder has a commanding, strong voice and she brings her unique personality to her song interpretations. She tackles several songs written for men including "I Am What I Am," "On the Street Where You Live," "What Kind of Fool Am I?" and "The Impossible Dream" as well as singing tunes associated with other musical theater stars like Barbra Streisand's "Don't Rain On My Parade" from "Funny Girl" and "Some People," Ethel Merman's "Gypsy" signature song. "Broadway My Way" is a good collection and with nice renditions. Show tune lovers will want this one.
 
Grade: B

"ANYONE CAN WHISTLE"
Original Broadway Cast
Sony Classical/Legacy (ASK 86860)

Stephen Sondheim's short-lived "Anyone Can Whistle" became a quick cult favorite because the cast album preserved the unique vocal performances and fantastic songs after the nine-performance Broadway run ended.

As part of its five cast album releases on May 13, Sony has re-mastered it and added five previously unreleased demo recordings from Sondheim's archives that feature the composer's vocals and piano accompaniment.

The show marked Angela Lansbury's musical theater debut as pushy Mayor Cora Hoover Hoople. She presided over a small town faced with bankruptcy that creates a fake miracle - water flowing from a rock - to attract tourists. The show really dealt with two closely intertwined concepts, that sanity often can be an expression of lunacy and that no one is always as they seem.

Lansbury's songs have her classic song style she has used throughout her long musical theater career. Actress Lee Remick is also in the cast and while not a strong singer, she also brings her own charm and she makes the title tune a sultry winner. Arthur Laurents created the book to go with Sondheim's rich score that includes Lansbury's "Me and My Town" and Remick's "There Won't Be Trumpets." The sound on the new release is impeccable and although not yet available the accompanying booklet will feature linear notes by Laurents, which will hopefully include interesting facts on this unique show's creation.
 
Grade: B

"PARIS '90"
Original Broadway Cast
DRG Records (19034)

In 1952, the great actress Cornelia Otis Skinner starred in a solo Broadway show about the colorful characters and great pageantry of the 1890s Parisian scene called "Paris '90." Although not a singer, Skinner sang several songs in the show and a recording was released. Now available for the first time on CD, the show reveals Skinner's acting range as she plays 13 different women but the songs by Kay Swift aren't anything special. Skinner handles the melodies with a style and finesse if not vocal perfection. I'm sure the tunes added to "Paris '90" but the cast album is not a long lost treasure from the past; it's just an oddity that only the most avid show music collectors will want to add to their libraries.
 
Grade: C

"THE BROADWAY MUSICALS OF 1964"
Town Hall Broadway Cast
Bayview Recording Company (RNBW022)

The Town Hall Broadway by the Year series looks at "The Broadway Musicals of 1964" in the latest release of last June's performance. 1964 was a vivid Broadway season for musicals and among the hits represented are "Funny Girl," Hello, Dolly!," and "Fiddler on the Roof." The year also brought several other shows that were modest successes at the time but have since been forgotten. Tunes from "High Spirits," "Bajour," "Something More," "Rugantino," "Fade Out, Fade In," "What Makes Sammy Run?," "Anyone Can Whistle" and "Foxy" round out the tribute and its quite a collection. The cast is commendable except that host and creator Scott Siegel got enraptured using female impersonators to recreate Barbra Streisand's "People" from "Funny Girl" and Carol Channing's "Hello, Dolly!" hit "Before the Parade Passes By." The gimmick doesn't work since neither Steven Brinberg's Streisand nor Richard Skipper's Channing is particularly good. The rest of the cast including Tom Andersen, Liz Callaway, Barbara Fasano, Alix Korey, Sharon McNight, and Craig Rubano, all bring their own unique interpretations of classic tunes from the shows to life. Siegel's breezy and informative banter between the songs helps keep the year's shows in perspective and reminds us of interesting facts about the less familiar shows. As always, these tributes remind us of great but forgotten gems from American Musical Theater history.
 
Grade: B

Sony Classical/Legacy is preparing five Broadway cast recordings for re-release and review copies have been distributed. The shows to be released include four original Broadway cast recordings - "House of Flowers," "Nine," "Candide," and "Anyone Can Whistle" - plus the 1951 studio cast recording of "Pal Joey" that led to a major Broadway revival of the show. All have been available before on CD but this time all have bonus tracks of unreleased material from the original recording sessions or related songs from other sources. For the next five weeks, I'll review one of these recordings and then look for them in stores beginning May 13.

"CANDIDE"
Original Broadway Cast
Sony Classical/Legacy (ASK 86859)

The great score from "Candide" was dismissed during its initial 1956 Broadway premiere but it has since joined the ranks of an elite collection of musicals treasured as classics. The overture to "Candide" has become a favorite inclusion on symphony orchestras pop concerts because the huge orchestras can play the intricate and complex piece with the gusto and orchestration it deserves. It previews the wonderful Leonard Bernstein songs that accompanied this book-plagued attempt to dramatize Voltaire's satiric novel which touts life principles intended to teach men how to face adversity and cope with it. The story gets muddled and confusing and several attempts to revise the original Lillian Hellman script haven't succeeded. But forget the story and enjoy the delightful score and the wonderful Broadway cast that brought it to life so vividly. Other than the overture, the show's classic song is "Glitter and Be Gay" and no one has ever sung the tricky and demanding melody better than original cast member Barbara Cook. Her lyrical soprano sails through the song with effortless ease. It's amazing to learn that Cook was sick when the recording was made. One wonders how she must have sounded if not ill because here the song is perfection. The rest of the score is full of memorable and now classic tunes all well sung by the original cast. The sound on the remastered CD is pristine and the bonus track is a 1960 Leonard Bernstein conducted version of the overture. The booklet includes comments from Cook about some unusual experiences she had during this show's preparation and run. A better recording of this show has never been made.
 
Grade: A

"PLAIN AND FANCY"
Original Broadway Cast
DRG Records (19043)

DRG Records is re-releasing several Broadway musicals from the Capitol Records catalog that were previously released on CD by Angel Records but that were quickly dropped. The DRG series continues with "Plain and Fancy" and "By the Beautiful Sea" (reviewed below). "Plain and Fancy" was Barbara Cook's second Broadway show and it wasn't a huge hit but the pleasant score by Albert Hague with lyrics by Arnold B. Horwitt is charming. The show is about two New Yorkers who travel to the Amish community of Bird-in-Hand, PA. The differences between two sophisticated big city folks and the rural simplicity of the town residents make for a quaint little story. Barbara Cook sings in only four songs and has just one solo, "I'll Show Him," but her crystal clear soaring soprano is distinctive and warm in her songs. The score contains the hit song "Young and Foolish" and the rousing "How Do You Raise A Barn," a huge production number during which the ensemble erected a barn board-by-board. The accompanying booklet contains the show's plot and a nice remembrance from Cook about her experiences with the show. The show is rarely seen today but the cast album is a wonderful surprise from 1955 and anything with Barbara Cook is always special.
 
Grade: A-

"BY THE BEAUTIFUL SEA"
Original Broadway Cast
DRG Records (19042)

Shirley Booth was a stage and television star. She's most remembered as the feisty maid on the television sitcom "Hazel" but she created several leading roles in a variety of Broadway musicals. Her husky voice is always recognizable and her vibrant and fabled personality comes across all these years later in the cast recordings of her shows. Certainly not the greatest of her musical roles was "By the Beautiful Sea," a 1954 show that lasted 270 performances because of Booth's performance that won her a Donaldson Award. Booth played a vaudeville performer, Lottie Gibson, who returns to her home, a theatrical boarding house on Coney Island she owns with her father, after a show tour. The simple story is by Herbert and Dorothy Fields and is an excuse for big production numbers and song hits by Arthur Schwartz with lyrics by Dorothy Fields. Booth is delightful in all her songs and the peppy and melodious tunes are infectious even if the show wasn't anything special. Interestingly, the show will receive a rare revival at the Goodspeed Opera House this season.
 
Grade: B

"LES MISERABLES"
Original Korean Cast
Hanyang Records (HYCD-0063)

There are cast recordings from "Les Miserables" many productions throughout the world. The Korean cast recording was only available briefly and when producer Cameron Mackintosh found it had been released without the proper permissions, he had it removed from stores. Now, a few copies have surfaced at select stores that deal in cast recordings. It is easy to understand why Mackintosh reacted so negatively to the recording. This cast is the weakest "Les Miserables" troupe I've heard and there are no distinctive performances. Several of the show's familiar songs are not well represented. Most "Les Miserables" recordings sound like recreations of the London and Broadway originals even if the lyrics are in a foreign language but this one isn't in the same league. I wonder how this production missed the mark since Mackintosh and his production organization supervised productions around the world. For whatever reason, the Korean "Les Miserables" is a dud.
 
Grade: D

"RODGERS & HAMMERSTEIN IN LONDON"
"VOCAL GEMS FROM 'OKLAHOMA!,' 'CAROUSEL' AND 'SOUTH PACIFIC'"
Original London Casts
Sepia Records Limited (SEPIA 1010)

A new record label to me has shown up featuring original London cast recordings. The first two include six shows and the "Rodgers & Hammerstein In London" collection includes "Oklahoma," "Carousel," and "South Pacific." The cast recordings from these shows have been available before but the new series has pristine sound and nice booklets full of interesting information about the London productions of these classic shows. Howard Keel and Betty Jane Watson play Curly and Laurey in "Oklahoma." They both sound fine with Keel the better singer of the pair. The songs are in no particular order and certainly aren't close to the show. The cast sounds overall like the original Broadway cast. "Carousel" features a very young Stephen Douglas as Billy and Iva Withers as Julie. Some claim Douglas was the best Billy and his singing is strong and stirring. Withers' Julie isn't as lyrically pleasing as Jan Clayton's Broadway Julie but she is certainly acceptable. Again, the rest of the cast has a similar sound to Broadway's. London got to see Mary Martin's effervescent Nellie in "South Pacific" and she sounds just as pert and charming as she does on the Broadway recording. Wilbur Evans is a strong Emile but Muriel Smith's Bloody Mary doesn't sound as good as Juanita Hall's Broadway interpretation. Interestingly, Smith sang the role for the film dubbing Hall who played the role on screen. If you missed past releases of the London versions of these great shows, it's nice to have them available. My biggest complaint is that the songs aren't in the order that they are in the shows.
 
Grade: B

"IRVING BERLIN IN LONDON"
"VOCALS GEMS FROM 'THIS IS THE ARMY,' 'ANNIE GET YOUR GUN' AND 'CALL ME MADAM'"
Original London Casts
Sepia Records Limited (SEPIA 1011)

The second release in the Sepia series of London shows includes three Irving Berlin shows - "This Is The Army," "Annie Get Your Gun" and ""Call Me Madam." The last two have been available before but I've never heard the London "This Is The Army" before. The CD contains just two songs from Berlin's tribute to World War II including one he wrote for the London version, "My British Buddy," that Berlin sings. The show played a limited London run in 1943. "Annie Get Your Gun" was a big hit in London and Dolores Gray was a feisty Annie with the husky vocal timbre Ethel Merman used in her original interpretation. Opposite Gray was Bill Johnson who was a commanding Frank. He went on to star on Broadway but died in 1957 at a young age. "Call Me Madam," another Merman vehicle, starred Billie Worth as Sally Adams and she doesn't have the personality or sparkle of Merman and her voice sounds frail. The rest of the cast sounds fine and the recording of an actual production is more on target than the Broadway recordings which included the original cast but without Merman due to contractual issues or the Merman version done with a few of the original leads and a chorus not from the show. Again, the song order on the three shows is nothing like that of the shows.
 
Grade: B

"RENEE & BRYN UNDER THE STARS"
Renee Fleming and Bryn Terfel/Orchestra of Welsh National Opera
Decca (289 473 250-2)

Opera stars singing musical theater songs are always problematic. The way opera singers approach music is different than intended for most musicals. There are some musical theater songs that border the operatic and if these are selected for these crossover albums, the results are usually better. Renee Fleming and Bryn Terfel pick lots of such songs on their new "Under the Stars" recording. The songs that work best are a couple of "Sweeney Todd" numbers, a medley from "Passion," "Stars" from "Les Miserables," "All The Wasted Time," one of "Parade's" most stirring numbers, and "Ragtime's" "Wheels Of A Dream" that ends the set. Lighter selections from "The King and I," a Kander and Ebb pairing of "I Don't Remember You" and "Sometimes A Day Goes By," "Seventy-Six Trombones" from "The Music Man," and "So In Love" from "Kiss Me, Kate," are less successful because of the pompous sound opera stars bring to this more relaxed music. If you like the songs included and can live with the more practiced and precise operatic singing style, "Under the Stars" may be for you. If you want musical theater songs to sound like they did in the shows, this crossover album is probably best skipped.
 
Grade: C+

"ST. LOUIS WOMAN"
1998 City Center Encores!
Great Musicals In Concert Cast
Decca Broadway (314 538 148-2)

Put on the re-released Encores! Recording of "St. Louis Woman" and you will wonder why this show isn't seen all the time. The score is wonderful and full of familiar tunes. The ones you don't recognize are all peppy and melodic. The show opened in 1946 with Pearl Bailey starring but the show had lots of problems getting to Broadway including Lena Horne's decision not to star. The story wasn't popular so the score got overlooked when the original cast closed after just 113 performances. The score and all the orchestrations were lost and the partial Broadway cast recording didn't include lots of the score. The story is about a jockey enjoying a winning streak and his infatuation with Della Green, the role Horne was to play, didn't work. The show was revived in 1998 by the New York Encores! Series and the concert performance netted a fine recording that was available only for a short while. Decca Broadway has reissued it and Vanessa Williams is masterful as Della as is the entire cast. The score is great. Maybe the story didn't work but the show deserves something for its winning score and this recording does it full justice.
 
Grade: A

"LOVE SONG"
Decca Broadway (440 068 376-2)

Just in time for Valentine's Day, Decca Broadway has released a new compilation recording of Broadway song hits called "Love Song." Like so many of these releases, this one contains previously released recordings - some original Broadway cast, some studio recordings - and the entire CD runs less than 45 minutes. You'd think when record labels are using recycled material around a theme they'd fill the CD. There's certainly plenty of product around the love song theme from musicals. And while 13 of the 14 tracks are from stage related recordings, there's even "Love Look Away" from the movie version of "Flower Drum Song" included. The selections here are pretty predictable and none-too-interesting. The CD starts with "Mamma Mia's" "The Winner Takes All" from the London cast. Sarah Brightman's "Wishing You Were Somehow Here Again" from "The Phantom of the Opera" follows and then "The Fantasticks" "Try To Remember" with Jerry Orbach. Betty Buckley's powerful "Memory" from "Cats" gets recycled and then Julie Andrews sings "My Funny Valentine" from "Babes in Arms." Then comes one of the albums better picks, Donny Osmond and Vanessa Williams in "Sweeney Todd's" "Not While I'm Around." Expected songs from "Jesus Christ Superstar," "The King and I," "Pippin," and "Mack and Mabel" are interspersed with the cute "Notice Me, Horton" from "Seussical" and "People Like Us" from "The Wild Party." The selections end with "Carnival's" "Love Makes the World Go 'Round" with the charming Anna Maria Alberghetti. Nothing really interesting here but just a pleasant themed collection of musical theater classics you already have.
 
Grade: B

DARREN WILLIAMS
"POPERATIC LIVE"
No Label (No Number)

Australian musical theater performer Darren Williams has apparently put out two albums on his own since no record label is indicated. There are some obnoxious pictures of the youthful looking Williams with his shirt unbuttoned down to his navel in the cheaply designed printed material that accompanies the CD. His singing is passable and he has a wide range that allows him to sing a dreadful falsetto that is very affected. His ego drives his selections and he even performs a duet with himself in "Phantom of the Opera" when he sings both the Phantom and Christine in a quite appalling rendition. He trills high on "Bring Him Home" and even does a bit of unconvincing opera with "La Donne e Mobile" and he throws in a pop standard with "Granada." Williams is all over the place and does nothing particularly well. I wouldn't think it urgent to rush Down Under to catch him in a musical. His other album is reviewed below.
 
Grade: D+

DARREN WILLIAMS
"SHOWTIME"
No Label (No Number)

Darren Williams sounds a bit better on "Showtime" than on "Poperatic Love." Here he sticks to standard repertory and sings it acceptably without any obnoxious interpolations like performing a duet with himself. None of the selections are unique or interesting and his orchestrations are pretty standard and bland. Williams apparently thinks he's quite a musical theater performer. I wouldn't bet on it!
 
Grade: C-

"THE MUSIC MAN"
Original Television Cast
Walt Disney Records

Matthew Broderick is a talented musical theater star. He was cute and charming in the Broadway revival of "How to Succeed in Business Without Really Trying" and he was a great foil for Nathan Lane's Max when he played Leo in "The Producers." But he's neither a big personality nor a larger than life character so when he was announced as the star of the television version of Meredith Willson's "The Music Man" there were lots of questions about the casting. An advance copy of the CD soundtrack was made available and the CD will send shivers up and down the spines of lovers of this charming turn-of-the-century musical set in rural Iowa. Broderick sounds like a bland pussycat as Harold Hill, the fast-talking traveling salesman who invades a small town to sell boys band instruments but gets caught by the town's librarian, Marian Paroo, and falls in love with the spinster who runs the town's library. Broderick's "Ya Got Trouble" is feeble and it would seem unlikely that anyone who shell out money to this salesman. His "Seventy Six Trombones" doesn't knock your socks off like Robert Preston did in the original cast and movie and even as Craig Bierko did in the recent Broadway revival. Kristin Chenoweth's Marian is sweetly sung and sounds feistier and less feminine than usual. Based on the CD, it seems clear who will run the household when Harold and Marian tie the knot. Why this version of the popular musical? With the movie version capturing Preston's definitive performance being so easily obtained, it seems like this version was only necessary if there was going to be a really different interpretation of the lead role. It sounds like Broderick does that but - based on the CD - it doesn't work. The CD will be available February 11 and the television version airs February 16. I can hardly wait! I'll stick with Preston and either the ethereal Barbara Cook on the Broadway cast recording or the lovely Shirley Jones on the movie version.
 
Grade: D

"LES MISERABLES" HIGHLIGHTS
Original Broadway Cast
Decca Broadway (440 016 998-2)

The great musical "Les Miserables" will soon end its 16-year run on Broadway. To date, only complete recordings of the score have been available. The London and Broadway casts are complete on two CDs and the concert version includes every note and word. Now, to coincide with the end of the Broadway run, Decca Broadway has truncated the fine Broadway cast version into a single CD highlights recording that has the show's biggest songs and excludes the other music. Listening to the release reminds one of the great music and the moving way the Victor Hugo tale of the French Revolution is told and how fine the Alan Boublil/Claude Michel Schonberg score is. While the entire score moves me, this highlights version captures the musical's best moments and makes the show a bit more accessible for people not familiar with it. The Broadway cast included the stirring Jean Valjean of Colm Wilkinson, the evil Javert of Terrence Mann, and the lovely Fantine of Randy Graff, and the lyrical Cosette of Judy Kuhn. If you don't have a recording of this fine show and want just the big musical moments, this new Decca Broadway release will be in stores Tuesday (1/28). If you want the entire score, the complete version is also still available.
 
Grade: A-

"THE ETHEL MERMAN DISCO ALBUM"
Fynsworth Alley (302 062 170 2/088113126-2)

Ethel Merman was one of Broadway's biggest and most successful stars. She always sang musical theater and she never made a smooth or successful transition to film. Merman was always a Broadway musical star. At the end of the disco era, she released "The Ethel Merman Disco Album" in an attempt to keep up with the times. It was always a collector's item even though the album itself wasn't that great. Merman sang her Broadway standards with a disco beat added and neither the songs nor Merman lend themselves to the disco treatment. Fynsworth Alley has re-mastered the long out-of-print LP for a CD release available Tuesday (1/28). They've even added a bonus track of "They Say It's Wonderful" that wasn't previously available. It's a weird sounding CD as Merman swings and jives her way through "There's No Business Like Show Business," "Everything's Coming Up Roses," "I Get A Kick Out Of You," "Something For The Boys," "Some People," "Alexander's Ragtime Band," "I Got Rhythm," and the new "They Say It's Wonderful." You certainly would only buy this CD for the campy twist it takes with Merman and her music.
 
Grade: C

"CHICAGO"
Original Motion Picture Cast
Epic Records

Yes, I love the film version of "Chicago." In fact, I've already seen it twice. "Chicago" is a surprise because on paper the cast didn't look that promising and without Bob Fosse's distinctive Broadway choreography, it seemed like whatever movie director/choreographer Rob Marshall did with the dances would be less than spectacular. But the film is a marvel, the best transformation of a Broadway musical in many a year. And this from a show that seemed destined only to play in the live theater. Now, the soundtrack recording from the movie is available and it's a wonderful listen that brings back pleasant memories of a great film or will entice you to see it. Oh, the movie cast isn't quite equal to the original stars, Gwen Verdon, Chita Rivera, or Jerry Orbach, but Renee Zellweger (Roxie) and Richard Gere (Billy) are amazing and Catherine Zeta-Jones (Velma) will blow you away with her sultry sexiness, lithe dancing, and fine singing voice. The CD captures her husky voice singing several great tunes. The John Kander/Fred Ebb book has been adapted sensitively and the team's songs sound great, something the recording preserves. The CD also includes a major number cut from the film, "Class," that Zeta-Jones and Queen Latifah do outstandingly. Too bad the final cut eliminated this pivotal song. Zellweger isn't as good a singer as Zeta-Jones but her stylized sound works just fine for her pixy approach to Roxie. Gere sounds like a passable musical comedy star and his oily demeanor as Billy can be heard in his vocals. There's even a new song penned for the film by Kander and Ebb called "I Move On." It is a nice tune and it fits perfectly with the already familiar songs. The CD opens with "And All That Jazz" right after the overture and Zeta-Jones and Zellweger really sizzle here and the spark doesn't wane until the final credits roll. "Chicago" is quite a film and the excellent work makes the purchase of the CD for any Broadway lover a necessity. Some people are skipping the CD and are waiting until they can have it all when the DVD is released. I couldn't wait for that. I need this great musical transformation now to enjoy and savor. And yes, I plan to see the film again soon. By the way, watch the film closely and you'll spot Chita Rivera, the original Velma, in a cameo performance. For the one brief moment she's on camera, the film is especially vibrant.
 
Grade: A

"FLOWER DRUM SONG"
New Broadway Cast
DRG Records (12996)

Rodgers and Hammerstein's tuneful "Flower Drum Song" score got lost in a story that didn't pay tribute to the culture it portrayed. Now, with a much re-worked plot by David Henry Hwang, the show makes sense and the energetic production and fine cast does wonders with the now vibrant sounding score. It's a wonderful transformation captured in the new Broadway cast recording. Lea Salonga plays Mei-Lei, a Chinese immigrant to San Francisco's Chinatown. She falls for Ta and his established family in the Chinatown culture. The score has been augmented with a Rodgers and Hammerstein song from another show. The show has only had recordings of the original Broadway cast and London cast so this new version sounds great and is a welcome fresh look at a wonderful score.
 
Grade: A

"MAN OF LA MANCHA"
New Broadway Cast
RCA Victor (09026-640007-2)

The new Broadway revival of "Man of La Mancha" has collected pretty shabby reviews from the New York press. Many ask why another revival of this popular musical. Without seeing the production, the new cast recording sounds fine. The cast from Brian Stokes Mitchell's Cervantes/Don Quixote to Mary Elizabeth Mastrantonio's Aldonza, and Ernie Sabella's Sancho everyone sings with pristine clarity but that's not exactly what "Man of La Mancha" demands. It's a lusty, bawdy tale told by the prisoners who egg Cervantes on to his storytelling about his knight errant. The cast sounds so clean and note perfect that you get none of the prison squalor or the robust characters that the salty prisoners play in Cervantes weird tale of might and right. Mitchell's eloquent singing doesn't have the sharp pangs of poverty that Richard Kiley brought to his original interpretation. Mitchell spends his time here doing dramatic musical runs in "The Impossible Dream," which has been modulated to a higher key late in the song so Mitchell can show off with final soaring notes. There isn't much character in Mitchell's singing. Mastrantonio never becomes the slut Aldonza because she is so busy sounding pure and sweet. Her frustration with Don Quixote's ramshackle life is never present in her singing of Mitch Leigh's show tunes. The rough edge comes through a bit more successfully in some of the smaller roles but these performances aren't enough to justify this album. You will be better off with the original cast recording still available. The new version doesn't add anything to other "La Mancha" recordings. Pure singing lyricism isn't what these hardened characters should sound like.
 
Grade: C

"THE KING AND I"
Original Israel Cast
NMC Gold (20522-2)

The Rodgers and Hammerstein musical classic "The King and I" explores one of the most unusual of romances in American musicals. Anna, the prim and proper English school marm arrives in exotic Siam in the 1860s to teach the King's many children and those wives in favor. The musical's story - a fascinating push-pull between a despot trying to adapt Western ways and a strong-willed and determined woman - grows from initial skepticism into one of unspoken admiration and perhaps love. The music is rich and contains some of Rodgers most poignant melodies and one of the greatest "11 o'clock" numbers in any musical in the joyous "Shall We Dance" when the fire and spark between Anna and the King almost ignites. Even in Hebrew with the original Israel cast, this brilliant show works splendidly. The voices in this recording are commanding - Anna is strong and sure, the King stubborn and petulant and this is gathered just from the singing. Perhaps the Lun Tha and Tuptim could be stronger and Lady Thiang's "Something Wonderful" doesn't grip the soul as intended but this foreign cast recording captures this show's sweeping magnificence.
 
Grade: B+

"BRAVO BROADWAY II"
JAY Records (CDJAY 8010)

JAY Records is forever taking excerpts from its vast library of studio cast albums of musical hits and packaging them in "Best ofŠ" compilations that seem to have little purpose other than as marketing ploys for the complete recordings or as teasers for yet to be released but already recorded future albums. There is no apparent theme or rhyme or reason for "Bravo Broadway II." It's a potpourri of show tunes from old classics like "Oklahoma" and "Babes in Arms" to contemporary pop musical favorites like "Les Miserables" and "The Phantom of the Opera." Like most JAY recordings, the renditions feature young musical theater stars from London and New York who sound good but rarely sound great and never offer definitive new versions of popular classic songs. About all these albums do is encourage you to dig out the still available and vastly superior original cast recordings where the truly great versions of these songs are found. "Bravo Broadway II" is just another of these pleasant but undistinguished releases. Not a must for any collection.
 
Grade: C

Next week look for a review of the new Broadway cast recording of "Flower Drum Song," which arrived as I was writing this week's reviews. Only listened to it once but it captures the new refreshing sound the reworked and revitalized show had in production when I saw it in Los Angeles before it headed east to Broadway.

"LA BOHEME ON BROADWAY"
Original Cast
Dreamworks (0044-50408-2)

There are dozens of "La Boheme" recordings and many are distinguished with the best operatic singers of today or yesterday. The new Broadway version of the Puccini opera has been acclaimed as a revolutionary production with unique staging, an eye-filling design and a new 1957 setting. Buz Luhrmann's staging thrust the opera into one where acting and characterization were as important as the music. So how does the recording convey this revolutionary production concept? Well it can't, of course, so what you have is a nicely sung performance but certainly not a complete one and certainly not one that can rival any of the really outstanding operatic versions. The show is cast with three sets of singers playing Rudolfo and Mimi and two pairs of singers essaying Marcello and Musetta. The cast album handles this situation interestingly. All the singers are heard with the opera divided up by acts among the pairings. All the casts sound good if not distinguished and without reading the booklet it's hard to tell who is singing. The smallish theater orchestra is augmented with double the musicians and this change gives the score a full and rich sound. I can hardly wait to see the production when I hit Broadway in January but the recording doesn't give me a clue of the production I will see. And if musical superiority is critical to your "La Boheme" recordings, this cast recording may not be a must have.
 
Grade: B

"THIS CHRISTMAS"
ANN HAMPTON CALLAWAY
N-Coded Music/Warlock Records (NC-4235-2)

Ann Hampton Callaway's sultry, bluesy voice is a treasure. She works magic with her unique arrangements of classic show tunes and old pop standards. Upon opening her new holiday album, "This Christmas," I thought her style might not work with traditional carols and festive tunes. By the second listen, though, I was convinced Callaway can sing anything. I enjoyed the laid-back approach Callaway takes and her interesting arrangements make this a non-traditional but wonderful holiday collection. She tackles the traditional holiday tunes - "Silent Night," "Jingle Bells," "White Christmas" and "Have Yourself a Merry Little Christmas" along with some more unusual holiday offerings like "Baby, It's Cold Outside," "Manhattan in December" and a rich "God Bless My Family." You'll love Callaway's lustrous sound and she packs a ton of emotion into each song. It may not be traditional but "This Christmas" belongs in any show biz lover's collection of holiday albums. It's refreshing and original.
 
Grade: A

"THE ALAN JAY LERNER ALBUM"
BRENT BARRETT
Fynsworth Alley (302 062 161 2)

Brent Barrett's easy and pleasant voice has been heard in many Broadway musical productions. He's played a variety of parts and does them all well. His newest CD, "The Alan Jay Lerner Album," is a great one. The selections include many standards from Lerner shows like "My Fair Lady," "Paint Your Wagon," and "On A Clear Day You Can See Forever" along with many attractive and rarely heard gems from "Lolita, My Love," "Love Life," the film "Royal Wedding," "Dance A Little Closer" and ""What's Up." There's not one selection that stands out above the rest because Barrett sails through all the tunes with poise and elegant beauty. A couple of interesting duets include the pairing of "You Haven't Changed" from "The Day Before Spring" with "I Remember It Well" from "Gigi" with Barrett singing with a husky voiced Lauren Bacall. Tami Tappan and Barrett do a wonderful "Too Late Now" from "Royal Wedding." If you love Lerner tunes this collection has lots of interesting, rarely heard finds coupled with Barrett's fine vocals. This CD is a good gift for any theater music lover.
 
Grade: A

"TAP YOUR TROUBLES AWAY! THE WORDS & MUSIC OF JERRY HERMAN"
Historic All-Star Tribute/Actors' Fund of America
LML Music (LML CD-302)

Jerry Herman's upbeat Broadway musicals are given a glowing tribute by a host of contemporary musical theater stars in "Tap You Troubles Away! The Words & Music of Jerry Herman." The show was staged in Los Angeles in November 2001 as a tribute for the Actors' Fund of America. There are some exciting renditions on the two-CD set with the 29 selections touching every one of Herman's musicals. Karen Morrow gets things started with a fiery "It's Today" from "Mame." Other first CD treasures include "Look Over There" from Rod McKuen, Wilson Cruz's "A Little More Mascara," and Leslie Uggamns big "If He Walked Into My Life." The second CD has even more music and even better selections. "Love Look In My Window," a song added to "Hello, Dolly!" for Ethel Merman, is sung with searing beauty by Dale Kristien, and Carole Cook delivers a sultry "Before The Parade Passes By." The finale includes Herman singing with a talented ensemble in "The Best of Times" followed by a Herman solo in "I'll Be Here Tomorrow." But the recording's highlight is a fabulous pairing of Angela Lansbury and Carol Channing switching their two most famous roles. Lansbury has great fun with "Hello, Dolly," while Channing crooks her way through a still charming "Mame." If you love Herman's tuneful songs and melodies, "Tap Your Troubles Away" is a must have and even if his tunes are too formula razzle dazzle for you, the Lansbury/Channing pairing is worth owning the album.
 
Grade: A

"BROADWAY'S GREATEST GIFTS: CAROLS FOR A CURE - VOLUME IV"
Broadway Cares - Equity Fights AIDS
Rock-It Science Records (No Number)

This year's Carols for a Cure" benefit Christmas CD uses the usual formula. Several different Broadway casts from the major musicals each pick a Christmas song and give it a unique interpretation. This year's album has its share of duds, most notably "Rent's" "The Chipmunk Song," that is best skipped. Other selections are more traditional but none of this year's are truly unique or that memorable. The proceeds from the series go to Broadway Cares Equity Fights AIDS, the noblest of fundraising organizations, so purchasing the CD supports a worthy endeavor even if the selections aren't that outstanding.
 
Grade: B-

"THE DOORWAY"
BETTY BUCKLEY
Fynsworth Alley (302 062 1622)

Betty Buckley's big, strong, and commanding voice has been heard in many a musical during her long and distinguished career. She has played star roles with musical perfection and her most recent triumph, Norma Desmond in "Sunset Boulevard," brought the best vocals of any of that show's stars to the aria-like songs written by Andrew Lloyd Webber. For her current solo album, "The Doorway," she tries different repertory. She relies less on contemporary show music and tackles old Rodgers and Hart plus Cole Porter tunes along with contemporary pop/rock songs. The selections have a more subdued, reflective sound and the album is full of the artist's unique and interesting interpretations. The title tune is a Buckley composition with a nice easy melody. She introduces a lovely new Ricky Ian Gordon song, "Sycamore Trees," delivers her now famous take on Paul Simon's "Bridge Over Troubled Water," and a new Peter Eldridge song, "An Interesting Person." Buckley's interpretations are perfect and her backup band is artful. The CD is based on her concerts at the Lincoln Center American Songbook Series. It nice to hear new and different things from Buckley and if the album lacks the big powerful work she's known best for, you can't beat her moving "America the Beautiful"/"Bridge Over Troubled Water."
 
Grade: A-

"BROADWAY"
8 Original Broadway cast Recordings
Prism Leisure (PLATBX 827)

A British record company, Prism Leisure, has released eight original cast recordings that have been available before in a new series that includes extra selections on each CD. In many cases, the extra selections are from the London cast recording, while on others, pop artists of the show's original period give their own interpretations of the songs. The eight CD are combined into a handsomely packed boxed set at a savings or they can be purchased individually. "Annie Get Your Gun" features the familiar Ethel Merman and the original Broadway cast selections along with bonus tracks from the London cast that featured Delores Gray in Merman's role. "Oklahoma," "Kiss Me, Kate," "Show Boat," and "Carousel" also add London cast excerpts to the Broadway tracks. "South Pacific," "Guys and Dolls," and "The King and I" include pop versions by leading singers of those shows biggest hits. The sound on these CDs is adequate if not the most pristine available and the accompanying booklets aren't anything more than plot summaries with a few pictures of the original cast and art work. If you have these shows from American releases, these aren't a necessary purchase but as an inexpensive way to get eight major Broadway shows and their original cast recordings with some interesting extras, these releases are a bargain. No word on whether more of these releases are planned. One does wonder how they obtained rights to these shows when the owners of the original recordings have kept these important shows in their own catalogues for years.
 
Grade: B on each

"HARLEM SONG"
Original Apollo Theater Cast
Columbia Records (CK 86886)

"Harlem Song" recreates the glorious history and culture of 20th century Harlem and does it with style and panache. The George C. Wolfe creation - he directed and wrote the show - incorporates period music and an exciting cast of exuberant performers who bring the era's performance history to vivid life. You've probably heard much of the music before as the selections are all pop classics. The script traces the history from the Jazz Age right up to the area's contemporary rebirth. The soulful music is delivered by superb actor/singers and the show is supposed to be filled with representative period choreography. The pictures in the accompanying booklet show a lavish production. The production is staged at the Apollo Theater, which is having its own renovation to become a viable area performing arts facility. It sounds like a quite a show and if this swinging, soulful music is to your liking, "Harlem Song" does it well.
 
Grade: A-

"THE PHANTOM OF THE OPERA"
Original Canadian Cast
Decca Broadway (422 847 689-2)

"The Phantom of the Opera" has had many stellar casts throughout its history in England and America. In Canada, the show's premiere came at the Pantages Theatre in Toronto where the musical played for years. The Canadian cast made a recording and their first Phantom was Colm Wilkinson, who starred on Broadway in "Les Miserables." His big rich voice works well with the Phantom's lush Andrew Lloyd Webber song hits even if he uses a "pop" style rather than Michael Crawford's more theatrical approach. The Canadian Christine, Rebecca Caine, has the same lovely sweet lyric soprano that has become the role's trademark and her songs all register with elegance and purity of sound. The supporting cast is fine and it's hard to tell the difference between this cast and others since these big musical hits always recreating the sound of the original personalities who created the roles. The score for "Phantom" is rich with melody and the songs have always had a melodic appeal. I'm not sure that you need the Canadian cast if you have the more complete and definitive original London cast recording that has been available here since the show opened on Broadway with an almost identical cast. The Canadian cast recording has been in my library for years but previously it was available in the United States only as an import and it has been difficult to get. This Decca Broadway release makes the recording easily accessible.
 
Grade: A-

In addition to the Canadian "Phantom," Decca Broadway also released the original London cast recording of Andrew Lloyd Webber's "The Beautiful Game" (Decca Broadway 440 065 463-2) that had only been available here as an import. This show brings a new sound from the prolific English musical theater composer in a story set in the conflict of the late '60s in Belfast. The show ran for over 11 months in London but has yet to play the United States. I previously reviewed this recording and that analysis is available in the CD Reviews archives elsewhere on the web site. The score is worth a listen because it shows the new sound Lloyd Webber is exploring in his most recent work.

"LIZA'S BACK"
LIZA MINNELLI
Original Beacon Theatre Live Performance
J Records (80813-20045-2)

Bernadette Peters doesn't have to worry about her friend Liza Minnelli tackling "Gypsy's" Mama Rose. Peters heads a major revival of the musical due in March on Broadway. Minnelli seems to be begging some producer to feature her in the same show when she sings two of Rose's signature songs on her new CD, "Liza's Back," a live recording of her Beacon Theatre concerts in New York earlier this year. Minnelli is terrible, a travesty of what the singing star and dynamic stage performer she once was but is no more. Based on her dreadful renditions of 18 songs she screeches through on the CD, she's not back in her prime as she and her new husband contended before the tour that stopped at the Beacon. With her adorning fans cheering her on by wildly applauding her awful work, it sends a mixed message to the performer. She still has a lot of work to do. Her voice has a bit more power and on target clarity than in her even worse "Minnelli On Minnelli" recording of her last Broadway outing but she's still far from ready to hit the stage. She sounds a bit better in three "Cabaret" songs but if you watch the movie or listen to the soundtrack, you can hear just how far down Minnelli has gone. Her tribute to the importance to crying is belabored in several awkward songs and, even in her longtime signature number, "New York, New York," she lacks the luster, power, and explosive personality that she had for so many years. Perhaps I was just lucky to see Minnelli in her prime - a dynamic solo concert at the Kennedy Center in 1973, live performances in "The Act" and "The Rink" that I will never forget - but Minnelli as heard on the new CD is not that same great performer. Perhaps she needs to be more humble and tell us she's working hard to get back to her former luster. "Liza's Back" makes me wish she wasn't.
 
Grade: D+

"WEST SIDE STORY"
Nashville Symphony Orchestra
Naxos (8.559126)

Another "West Side Story?" I'm not sure why we need one and in this case it's a symphonic version from the Nashville Symphony. The orchestra sounds good; the leads aren't distinguished and "West Side Story" is all about the singers creating the roles in Leonard Bernstein's musical theater classic. There was a symphonic version of the show conducted by Bernstein that is still available and it was also plagued by operatic singing of musical theater roles. Kenneth Schermerhorn conducts and the CD booklet makes it clear that he worked with the composer years ago in his youth. The CD also makes the claim that the score as presented was "as Bernstein originally conceived it, prior to its film and Broadway renditions." I'm not sure what that claim means since the show as developed for Broadway went through changes like any new musical and the final Broadway version is always considered the definitive version. Yes, changes were made in the score for the movie adaptation, a common occurrence with any musical. Does this claim mean that Bernstein did not consider the Broadway version definitive but some hybrid? If so, this information has never come out before from Bernstein himself or from any researchers. The Nashville Symphony "West Side Story" sounds fine orchestrally, sounds less pristine vocally and certainly doesn't displace earlier Broadway cast recordings or even Bernstein's own symphonic version.
 
Grade: C+

"THIS IS THE ARMY"/"CALL ME MISTER"
Original Broadway Casts
Jasmine Records (JASCD 115)

"This Is The Army" and "Call Me Mister" are two Broadway revues about life as a soldier. "This Is The Army" was popular during the war and the original cast featured composer Irving Berlin singing his "Oh, How I Hate To Get Up in the Morning." "Call Me Mister" appeared after the war in 1946 and was about soldiers returning to civilian life. The two shows have been paired by Jasmine Records on one CD and both are available for the first time on CD. The Berlin score for "This Is The Army" is a delight and is performed by the all-soldier cast and they bring gusto and enthusiasm to the wonderful songs. Three songs from other sources than the original cast version have been added. The original cast of "Call Me Mister" featured such great Broadway performers as Jules Munshin and Betty Garrett and this score by Harold Rome is also full of catchy tunes. Interestingly, Decca Broadway has announced this same pairing in its series of reissues for next year so there could be two versions of these long out-of-print shows again available. Both are nice to have back.
 
Grade: B

"SPEAKING OF LOVE"/"WITH LOVE FROM HOLLYWOOD"
SHIRLEY JONES/JACK CASSIDY
DRG Records (91476)

Shirley Jones and Jack Cassidy were married and did some Broadway shows together and separately throughout their careers. Jones was a big Hollywood musical star for many years. Both stars had wonderful voices. Cassidy had a tinge of irony in all his songs and Jones had an exquisite loveliness that will always be cherished. They did two albums together in 1957 and 1959 that have been combined and re-mastered by DRG on one CD. "Speaking of Love" is mostly Broadway music from operettas but they are delightful and melodic songs. The only recognizable one, "You Are Love," is from "Show Boat" and is this album's highlight. The pair voices blend beautifully in the lush sound required for these tuneful old chestnuts. "With Love From Hollywood" has more familiar tunes from the big and popular Hollywood musicals from the '30s and '40s and by such composers as Rodgers and Hammerstein, Rodgers and Hart, Cole Porter, Irving Berlin, and Jerome Kern. Again, Jones and Cassidy sound fabulous in these wonderful song hits. This CD is a surprise treasure from the past and will prove enjoyable to those fans of the artists and the familiar and wonderful songs.
 
Grade: B

"THE BROADWAY MUSICALS OF 1951"
The Town Hall Broadway By The Year Cast
Bayview Recording Company (RNBW021)

There were several classic and famous Broadway musicals in 1951 and in the continuing Town Hall Broadway by the Year series, "The Broadway Musicals of 1951" is full of wonderful tunes from nine shows that premiered that year, "The King and I," "Paint Your Wagon," "Flahooley," "Courtin' Time," "A Tree Grows In Brooklyn," "Seventeen," "Top Banana," "Make A Wish," and "Bagels and Yox." Some of the songs have never been recorded before, while others are familiar. The cast - Davis Gaines, Alison Fraser, Chip Zien, Rebecca Eichenberger, and Leslie Kritzer - hits just the right sound in each classic song. These tributes are created, written, and hosted by Scott Siegel and he adds interesting facts about the shows and their original stars that provide a rich context for the song collection. This latest CD reminds musical theater lovers of the many treasures from the shows like "He Had Refinement" from "A Tree Grows in Brooklyn" that Shirley Booth did so enchantingly in the original and is done with the same infectious delight here by Fraser. The one oddity, "Chi-Ri-Bin, Chi-Ri-Bin," is from the quick failure that year, "Bagels and Yox." There are the sturdy songs from Lerner and Loewe's "Paint Your Wagon" and the classic Rodgers and Hammerstein songs from "The King and I" among the hit tunes included. "The Broadway Musicals of 1951" is another stellar addition to this wonderful series from a year rich with memorable Broadway songs.
 
Grade: A

"COMEDY TONIGHT - STEPHEN SONDHEIM'S FUNNIEST SONGS"
Cast Recordings
RCA Victor (09026 67301 2)

RCA Victor has used its treasure trove of cast and studio recordings of Stephen Sondheim shows to create two new and very welcome anthologies. The first, "Comedy Tonight - Stephen Sondheim's Funniest Songs," is devoted to the composer's lighter compositions. Not all the recording selections are from original cast recordings but even when not the original they are from major revivals or important studio cast versions. The 16 selections start with the predictable "Comedy Tonight" from "A Funny Thing Happened on the Way to the Forum" from the "Jerome Robbins on Broadway" recording. It includes such expected delights as Angela Lansbury's "The Worst Pies in London," several tunes from "Company," "Gypsy's" "You Gotta Have a Gimmick," and even a tune from the movie "Seven Percent Solution." There is even "Agony" from the original "Into the Woods" and its reprise later on the recording. There isn't a dud here nor are there any less than delightful interpretations. For show music collectors, you will have all these tunes on the appropriate cast albums but novice Sondheim people will enjoy the collection and experienced show music aficionados will find this a good disc to pop into the car CD player while driving because it gives such a nice cross section of Sondheim classics.
 
Grade: A

"SEND IN THE CLOWNS - THE BALLADS OF STEPHEN SONDHEIM"
Cast Recordings
RCA Victor (09026 673300 2)

The more serious Stephen Sondheim tunes get attention in the second of the two new RCA anthologies of the composer's tunes, "Send in the Clowns - The Ballads of Stephen Sondheim." Again, the 18 selections are from top flight sources, either original cast recordings or major revival or studio versions. There's not a misstep in the selections or the renditions. If there are three outstanding selections, it has to be Barbara Cook's work from "Follies," "Losing My Mind," "In Buddy's Eyes," and "Too Many Mornings" that she delivers with great emotion and insight. Cleo Laine does touching work on "Send in the Clowns," "No One Is Alone," and "Anyone Can Whistle." There are welcome songs from "Sweeney Todd," "Merrily We Roll Along," and "Into the Woods" among the 11 shows represented. There's even Julie Andrews' "Like It Was" from "Merrily We Roll Along." Again, show music collectors will have all these selections but for the new Sondheim lover, they give a wonderful introduction and they should be great car music for Sondheim lovers.
 
Grade: A

"OH! CALCUTTA!"
Original Off-Broadway Cast
DRG Records (19035)

DRG Records is doing a wonderful service for show music collectors by releasing a large number of old cast recordings that have never been available on CD or were released on CD but disappeared from catalogs. These recordings are not popular and would never be done by the labels that own them. The series has included Broadway duds that have interesting scores or performances and range from studio cast recordings of operettas to significant Broadway musicals. Why the label wasted time and money on releasing the original cast recording of "Oh! Calcutta!" remains a mystery. This popular show capitalized on the then revolutionary notion of nudity in the theater is not known for its score. The CD is a bore full of nonsensical music designed to showcase bodies but not songwriting art. Unlike the other entries in The Broadway Collector Series, this is a CD to skip. There's nothing about "Oh! Calcutta!" or its score that will have any interest to show music collectors.
 
Grade: F

"SWEETHEARTS"
Ohio Light Opera Cast
Albany Records (TROY 546/547)

Victor Herbert's operettas were full of gorgeous music but silly stories and lyrics. "Sweethearts" from 1913 is no exception. The complete recording on two discs of the Ohio Light Opera's production brings the show to CD for the first time. The music is lovely and is all well sung. The book sequences included in this recording add little and emphasize just how bad the scripts of this old chestnut really were. The Ohio Light Opera does commission new editions but Steven Daigle and Quade Winter's revisions don't help much. But forget the story about a royal child stolen in infancy, which is supposedly based on an episode of 15th century history, and just listen to the beautiful songs and the never ending flow of melodious compositions with lush orchestrations. The show was revived on Broadway in 1947 with some success due to the comic performances of the cast but the work isn't destined for production anymore because of today's story-oriented theatergoers. It's the Herbert score that saves "Sweethearts."
 
Grade: B

"IT'S ABOUT TIME"
JAMES NAUGHTON
DRG Records (91473)

James Naughton is a well-known musical theater performer. His first solo CD recording, "It's About Time," is an interesting and well sung collection of old, new, jazz-flavored tunes, and unexpected standards. He's currently directing the upcoming Broadway revival of "Our Town" starring Paul Newman. The CD is based on his successful Cafe Carlyle cabaret show. The songs are nicely orchestrated and Naughton's stalwart and husky voice does justice to all the selections. Musical theater fans might be disappointed that the repertory doesn't include any of his Broadway hits but many earlier musical theater classics are included like Rodgers and Hart's "You Are Beautiful," "Makin' Whoopee," and Cole Porter's "I Concentrate on You." Of the more contemporary songs, I liked Leiber and Stoller's "Loving You." This recording presents the diversity of repertory that Naughton can handle effectively and it will please lovers of Naughton's mellow but distinctive voice.
 
Grade: B

"MANDY PATINKIN SINGS SONDHEIM"
MANDY PATINKIN
Nonesuch Records (79690)

Mandy Patinkin knows his way around musical theater songs having appeared on Broadway in numerous shows. He has recently dedicated his solo performances to the artistry of Stephen Sondheim, the source for his latest CD. Patinkin starred in Sondheim's "Sunday in the Park with George" on Broadway and he brings his well-known intensity to the two CD set "Mandy Patinkin Sings Sondheim." In it he sings 34 songs, some familiar, some unusual, and some eliminated from Sondheim shows. Patinkin is an acquired taste. He brings intense emotionalism to all his songs on this album, recorded live during a February 2002 concert at the Prince Music Theatre in Philadelphia. He also uses a strange new false deep voice that is unusual and provides nothing special to the interpretations he employs it in. The collection is not necessarily comprehensive of the Sondheim library but is songs that Patinkin describes as "a figurative journey of how Sondheim's lyrics and music speak to me." The shows with the most selections include "Sunday in the Park with George," "Sweeney Todd," and "Follies" but 12 shows are represented. I have grown tired of Patinkin overly intense emotionalism and affectations that seem to get in the way of his musicianship but he does give each Sondheim song his own unique interpretation and the songs themselves are so good that they are always a joy to hear. Taming Patinkin down seems improbable but at least his intensity works on most of these songs.
 
Grade: B

"MOVIN' OUT"
Original Broadway Cast
Sony Classical (SK 87877)

I'm neither a Billy Joel aficionado nor do I know a lot about his music but, like ABBA music in "Mamma Mia," Joel's most famous tunes provide the score for "Movin' Out," choreographer Twyla Tharp's new dance musical. The story, told through Joel's songs and Tharp's creative dances, is about young people, their lives, loves, and how the Vietnam War impacted them. As you listen to Joel's lyrics you begin to discern the story and see how his collection of songs progress the story through different phases in the characters lives. Of course, Tharp's choreography no doubt helps make the story even clearer. The pictures included in the accompanying booklet give an idea of how the show looks. Above the stage where the dancers perform is the very good rock orchestra that plays the hell out of Joel's beat heavy songs. The presence of lead singer Michael Cavanaugh doing a Joel impression gives the music the soul and gut throbbing feel this music needs. I'm not sure I like this new music as well as ABBA tunes, which I had also avoided until they were turned up in "Mamma Mia," but "Movin' Out" swings and pulses with an excitement that introduces us show music freaks to other popular music.
 
Grade: B+

"PARADE"
Original Off-Broadway Cast
Decca Broadway (440 064 738-2)

Jerry Herman's 1960 off-Broadway musical revue "Parade" has been one of the most expensive and sought after original cast recordings for years. It was only available for about a year. Now the show has been transferred to CD for the first time. The songs are delightful and tuneful, both trademarks of Herman's many popular Broadway musical successes that came after this premiere work. There's even a song that Herman reused later. Here, it is called "Show Tune" but in "Mame" it became "It's Today." "Parade" was kind of an early day Forbidden Broadway as many of the songs lampoon popular Broadway musicals and plays and also those that flopped. Read the accompanying booklet to get all the in jokes about long forgotten shows. There some political satire, too. The cast included some funny comedians including Dody Goodman, Charles Nelson Reilly and Richard Tone. Herman staged the revue along with choreographic assistance from Tone. Herman also plays lead piano and conducts the small band. "Parade" is a wonderfully peppy show full of Herman's characteristic catchy melodies. It's a must for any collector and people who love Herman's tuneful musicals.
 
Grade: A

"CHITTY CHITTY BANG BANG"
Original London Cast
Chitty UK Ltd. (MRBB001)

There's been a strong movement fostered primarily by Disney's theatrical arm toward family shows like "The Lion King" and "Beauty and the Beast" that entertain young theatergoers while not boring their adult chaperons. The trend seems to be catching on in London where a stage adaptation of the popular movie musical "Chitty Chitty Bang Bang" recently opened starring British musical theater star Michael Ball. The show's real star, though, is not Ball but a flying car that travels around theatergoers. The cast album reveals the catchy movie score but the Richard M. and Robert B. Sherman score isn't as memorable as their "Mary Poppins." Ball never stands out on the recording but the entire cast sounds competent in the relatively uninteresting roles and with the non-challenging music. Again, it's not the cast but the car that is the production's focus and that's missing on the album other then the many mentions of it in the booklet and the accompanying pictures. "Chitty Chitty Bang Bang" is an easy listen, pleasant and innocuous, but without the flying car, it isn't anything special.
 
Grade: C

"I GET A KICK OUT OF YOU"
ETHEL MERMAN
Archival Recordings
Pegasus (PGN CD 823)

Archival recordings are showing up regularly and they provide fascinating glimpses into past performances of fabled musical theater personalities long before cast recordings were made. There have been lots of Ethel Merman recordings released and the latest, "I Get A Kick Out of You," has a feast of Merman's signature songs many from her musical theater triumphs along with pop hits she sang early in her career. This recording is devoted to her earlier work. This collection isn't the best sonically even with the standard re-mastering but The Merm's voice is sharp, young sounding, fresh, and alive, all qualities that made her a musical theater legend. There are hits from "Girl Crazy" and "Anything Goes" and since original cast recordings of these shows with Merman don't exist, these may be the closest you can ever come to experiencing the dynamics of her original performances. Other pop standards show that Merman could deal with other musical styles tailoring them to her distinctive sound.
 
Grade: B+

"SIMPLE SONG"
MATT BOGART
JAY Records (CDJAY 1364)

Matt Bogart's new CD, "Simple Song," is all musical theater selections that he sings with gusto and his nice style. Two numbers from "Aida," a show he has done in New York, are included as are standards like "Being Alive" and "Why God, Why?" plus "Carousel's "Soliloquy" but there are also lots of surprises including a delightful "Her Face" from "Carnival," "Proud Lady" from "Baker's Wife," and "Simple Song" from Bernstein's "Mass." The accompanying booklet seems a bit ego oriented, though, complete with pictures of Bogart modeling Broadway Jock underwear and personality photos including several less than interesting photos made during the CD's recording sessions. His voice is certainly solid and good if not great or distinguished and his musical theater career will no doubt expand. A bit of Humble Pie might help him and would certainly make this solid CD look less ego driven.
 
Grade: C+

"HELLO, DOLLY!"
Italian Cast
Triangle Production (TLCD 9903)

American musicals don't always transfer well into foreign language productions. "Hello, Dolly!" is a high-energy show that requires a star personality in the central role. American productions values, even on recordings, also enhance productions. The original and subsequent revivals of "Hello, Dolly!" burst forth on recordings from the overture's booming downbeat to Carol Channings' unique but effervescent portrait of Dolly Levi. The upbeat and tuneful Jerry Herman score demands nothing less. A recent Italian cast recording of "Dolly" demonstrates how even on a CD, a less than fully energized production falls flat. A thin sounding orchestra brings little sparkle to the radiant overture and orchestration changes here and there take away from the score's robust sound. Even more distressing is the rather understated Dolly of star Loretta Goggi. She doesn't radiate much personality vocally. The supporting cast is better but nothing special and even some of the show's best musical numbers seem bland and lifeless. The Italian "Dolly" cast needs an infusion of energy and vibrant personality. This isn't a "Hello, Dolly!" to treasure.
 
Grade: D

"LOVE IS GOOD"
CHRISTINE ANDREAS
Fynsworth Alley 9302 062 1382)

Christine Andreas' early "Love Is Good" has been re-released by Fynsworth Alley and it's a delightful album that demonstrates the charm of Andreas' strong voice. The selections aren't all from musicals although she does wonders with "On A Clear Day..." and a delightful pairing of "Some Enchanted Evening" and "Younger Than Springtime." The title tune is pleasant and the diversity of the tunes shows off her voice well. It's good to have this popular and pleasant album back in circulation.
 
Grade: B

"FLOWER DRUM SONG"
Original Soundtrack Cast
Decca Broadway (440 064 531-2)

The new Broadway revival of Rodgers and Hammerstein's "Flower Drum Song" prompted Decca Broadway to re-master the film version's score for its first CD release. Since the transition of this show to the big screen was so faithful to the original script and since many of the original Broadway cast was used in the film, this is a fine version of the show. Juanita Hall's funny "Chop Suey," Jack Soo's sleazy nightclub owner, and Miyoshi Umeki's delicate Mei Li are all top performances and the addition of Hollywood star James Shigeta as Ta and Nancy Kwan as nightclub chanteuse Linda Low add. The score is charming and the story about the clash of the younger and older generation in San Francisco's Chinatown is a glossy picture of ethnic life. The Broadway revival makes the story more realistic while retaining the lovely score. The only question is why the Decca Broadway label is now releasing movie soundtracks as if they were Broadway cast recordings? The booklet includes a new look at the show and story by David Henry Hwang who penned the libretto for the soon-to-open Broadway revival.
 
Grade: B+

"HERE'S TO THE LADIES..."
CHRISTINE ANDREAS
ps classics (ps-208)

Of the new musical theater stars, Christine Andreas consistently impresses in her stage appearances. Her new CD, "Here's To The Ladies...," due in stores October 15, is a glowing tribute to the greatest ladies of the musical theater. The album includes signature tunes introduced by Ethel Merman, Mary Martin, Julie Andrews, Barbra Streisand, Angela Lansbury, Helen Morgan, Barbara Cook and Gertrude Lawrence. It's a collection of the best show tunes and Andreas, while never rivaling her tributed artists, gives her own unique twists and turns in her interpretations of the 14 classic songs. It's a melodic walk down memory lane for show music lovers and Andreas is backed by a full orchestra so there are rich orchestrations for all the songs. This CD establishes Andreas' place as a leading contemporary musical theater star while reminding us of the most wonderful performances of the musical theater's past.
 
Grade: A

"ANDREW LLOYD WEBBER MASTERPIECE"
Live From the Great Hall of the People, Beijing, China
Eagle Records (WK23628)

China is one of the few places in the world that has had little exposure to the lush melodies of mega-hit musical composer Andrew Lloyd Webber. An all-star cast went to Beijing and introduced his classic tunes from his many musicals to an enthusiastic audience. The renditions are wonderful including Elaine Paige's stunning "Don't Cry for Me, Argentina" and "As If We Never Said Goodbye" from two Lloyd Webber shows she appeared in. A few interesting things on the recording: If the infamous "Memory" was part of the concert, it was not included on the CD and the only "Phantom of the Opera" number on the CD is "Masquerade," a chorus number. None of the big show numbers for the Phantom or Christine are included. Accompanying the one CD concert recording is a DVD with a solo "Phantom" number, "The Music of the Night," sung by Kris Phillips and "I Don't Know How to Love Him." The audience cheers and shouts throughout at the dramatic climaxes of these familiar numbers and they seem to now be part of the worldwide Andrew Lloyd Webber fan club.
 
Grade: B

"IT'S BETTER WITH A BAND"
BARBARA COOK
Recorded Live at Carnegie Hall
DRG Records (91475)

DRG welcomes back Barbara Cook's legendary second Carnegie Hall concert, 1980's "It's Better with a Band," with the re-release of the long unavailable recording. Cook's lovely vocal instrument, always strong, clear, and clarion, turns the songs she and her arranger/conductor Wally Harper select into picturesque stories full of rich meaning. Cook has several fun songs here including Harper's original composition, "The Ingénue," in which Cook sings of her frustration of being a Broadway ingénue star who was bypassed when her musicals made their transitions to film. She gets down and dirty with a delicious "Sweet Georgia Brown" and swings her way through "Them There Eyes." Where this album soars, though, is in a stirring Leonard Bernstein Medley, a lovely "Marianne" from "The Grand Tour," and in the title tune. But the concert's high point came when Cook started her signature "Sing A Song With Me" in French and, as the sold-out and cheering crowd realizes what she is singing they went ballistic prompting Cook to sing gloriously as she sells this signature song for all it's worth. Cook is a unique and fabulous cabaret and musical theater singer who just had a huge Broadway hit with her "Mostly Sondheim" concert at Lincoln Center. She's a singing treasure and it's great to have this album back in such pristine style.
 
Grade: A+

"THE HAPPIEST GIRL IN THE WORLD"
Original Broadway Cast
DRG Records (19032)

"The Happiest Girl in the World" used Jacques Offenbach operatic arias and melodies in a quick failing 1961 Broadway musical adaptation of the famous Aristophanes play "Lysistrata." The Greek story tells of a group of Athenian women who withhold sex from their husbands until the men stop making wars. The idea to turn this story into a musical was E. Y. Harburg's and he contributed some witty lyrics for the familiar music. The show was a bawdy burlesque that starred Cyril Ritchard in an over-the-top take on Pluto and seven other roles used to disguise the character. The humable score is, of course, great and the cast album has long been out-of-print. The title tune alone is a charmer and the cast sings gallantly even if the misconceived show died after just 97 performances. This is a less interesting score though than in the other recent DRG releases of old Broadway shows and this is probably the least important show album to purchase.
 
Grade: C

"THE MERRY WIDOW"
1952 Studio Cast
DRG Records (19033)

Franz Lehar's delightful "The Merry Widow" has received many recordings over the years and the recent re-releases of old studio cast recordings has already dredged up other versions of this familiar operetta score. The DRG interpretation is from the 1952 Studio Cast recording that featured Dorothy Kirsten's lush tones in the lead role supported by a strong chorus with the male lead in the secure vocal hands of Robert Rounseville. This recording, at over 60 minutes, is one of the longer versions of this score and it is charming and well sung. Kirsten's delectable "Vilia" stops the show and if you must have one of the many studio cast recordings of this tired and true operetta, this is the recommended pick.
 
Grade: B+

"OH CAPTAIN!"
Original Broadway Cast
DRG Records (19030)

Tony Randall starred in the ill-fated 1958 musical "Oh Captain!" based on a film about a philandering ship captain who shuttles between his London home and Paris. While at home, he is the model husband, but when in the wilder environs of the French capital he has his own romance with a floozy. The script wasn't strong. The plot got given away early on in a song but the score is peppy and fun. The large cast is full of solid performances. Co-star Abbe Lane, who played Randall's Paris love interest, wasn't released from her RCA record contract to sing on the Columbia cast album so her role was taken by Eileen Rodgers. One of the better supporting players is the talented Susan Johnson who plays the club owner where Randall's French mistress, Bobo, performs. Her career was cut short but she always enlivened the shows she was in. No exception with "Oh Captain!" DRG Records deserves high praise for releasing so many fine old cast albums owned by other labels that would never have been re-mastered into these new pristine CDs. DRG has more such treats in the pipeline and let's hope these interesting, long unavailable recordings sell enough copies to warrant continuing the series.
 
Grade: B

"BRAVO GIOVANNI"
Original Broadway Cast
DRG Records (19031)

There are many Broadway musical failures that when recorded sound quite acceptable. The tunes are cute and catchy, the performances sound solid, and the silly books, bad staging, or other incompetence that propelled them into the record books as costly failures don't get in the way. Such is the case with "Bravo Giovanni," a 1963 dud about a small, independent Rome restaurant that goes up against a new next-door competitor. The plot goes from absurd to ridiculous as a tunnel is dug to the new restaurant so the little place can steal the food. That any of this could happen is silly. Even the romance between the two leads, the restaurant owner, Giovanni, and Miranda, is artificially strained for ridiculous reasons. The score by Milton Schafer and Ronny Graham has charm, though, and is Italian accented. The overture and opening song, "Rome," starts the recording on a high note. The cast sounds great. Opera star Cesare Siepi may not have the charisma of Ezio Pinza in "South Pacific" or the soaring notes of Robert Weede in "The Most Happy Fella" but he brings fascination and a rich sound to his songs. As his romantic interest, a young Michele Lee brings her characteristic brassy allure to her songs. Supporting cast members Maria Karnilova, in a marvelously ridiculous dance called the "Kangaroo," George S, Irving, and the very funny Lu Leonard, all add to the musical charms of this big loser.
 
Grade: B

"THE GRAND TOUR"
Original Broadway Cast
Fynsworth Alley (FA-2139/A 53955)

"The Grand Tour" in 1979 was Jerry Herman's third Broadway failure but, like all Herman shows, this one had his characteristic score full of wonderful melodies including several big production numbers. He actually penned a couple of standout hits including "Marianne" and "I Belong Here." The show was based on the play "Jacobowsky and the Colonel." Jacobowsky, a refugee and survivor, links up with a Polish colonel and together with the Colonel's girlfriend, Marianne, they head to England via France always just ahead of the invading Nazis. Jacobowsky saves the Colonel several times on their journey and becomes infatuated with Marianne. At the final curtain, Jacobowsky leaves his friends to head off on his own grand tour. The show is about survival and when I saw it during its San Francisco tryout, it had potential but needed work. It didn't get enough fixes by the time it opened to very mixed reviews on Broadway and it closed after a short run. The score is delightful and charming but the cast is problematic. Joel Grey doesn't possess the waif-like charm Jacobowsky should have and Ron Holgate sounds stuffy and stilted as the Colonel. His rendition of "Marianne" doesn't do the lovely song justice. Only Florence Lacey's Marianne sounds perfectly cast. It's great having another tuneful Jerry Herman score available and, although the show wasn't a big success, the score is worthy.
 
Grade: B

"FIRST IMPRESSIONS"
Original Broadway Cast
DRG Records (19036)

In 1959, the musical "First Impressions" had an impressive list of creators and an enviable source in Jane Austen's 19th century English story, "Pride and Prejudice," but the musical wasn't well received. It retained the story about an aristocratic family and the show's failure was less attributable to the attractive score by Robert Goldman, who had written "Mr. Wonderful," and newcomers Glenn Paxton and George Weiss, than to infighting among the cast and to problems with Abe Burrows adaptation of the novel. The long forgotten show is now available for the first time on CD and the score is full of rich melodies. Two songs are noteworthy - "This Really Isn't Me" and "Wasn't It a Lovely Wedding" - both peppy and tuneful delights. Polly Bergen starred and she sounds solid in her musical renditions even if her performance was not admired. She was joined by film star Farley Granger and comedienne Hermione Gingold. Gingold uses her songs to great comic benefit and Granger was obviously a Hollywood pretty boy rather than a true musical theater star. He talk/sings his songs without much brio. This long unavailable show recording is a wonderful addition to any collection and it allows us to hear a score from a show that was not a big hit but still had pleasant music.
 
Grade: B

"THE MERRY WIDOW"
"THE STUDENT PRINCE"
Studio Casts
Decca Broadway Operettas (440 018 732-2)

There's no question that the old operetta scores are melodic and charming. Everyone recognizes tunes from the greatest of these shows. What doesn't make sense is reissuing studio cast versions of these scores made in the '40s and '50s when recording techniques didn't net the sonic splendors of contemporary show music albums. The Decca Broadway Operetta series has issued two more double show albums and, while the casts feature many period musical theater stars, the music isn't flawlessly presented. Many songs are truncated or are re-orchestrated to cater to the stars voices but the treatments aren't always musically faithful. "The Merry Widow," a Franz Lehar turn of the century show about a wealthy widow who plays fast and loose with eligible bachelors, has a lovely score personified in the regal "Merry Widow Waltz" and the musically opulent "Vilia." Kitty Carlisle, at the height of her singing career in this 1943 recording, sounds appropriately haughty, regal, and arrogant as Widow Sonia but the recording doesn't flatter her voice, which sounds far off and distant. Wilbur Evans' performance as the Widow's main suitor is also plagued by the old recording. Sigmund Romberg's lusty "The Student Prince" sounds a bit better and the famous "Golden Days" and the "Drinking Song" sound passable. Opera star Lauritz Melchior stars with Jane Wilson. Isn't it time for new recordings of these old classic scores with contemporary singers? Until that occurs, though, these Decca Broadway Operetta CDs are our only connection to these great scores.
 
Grades: C "The Merry Widow"
C+ "The Student Prince"

"ROBERTA"
"THE VAGABOND KING"
Studio Casts
Decca Broadway Operettas (440 018 731-2)

"Roberta," Jerome Kern's 1933 show, focuses on the Paris fashion industry but the more plausible and complex story makes it more early musical comedy than operetta. The classic "Smoke Gets in Your Eyes" and "Lovely to Look At" are score highlights. Stars include Kitty Carlisle and Alfred Drake. This version was recorded just after Drake's "Oklahoma" success. The singing is solid; the score receives its due even if the recording doesn't enhance these artists' vocals. "The Vagabond King," a Rudolf Friml operetta, tells of a 15th century rogue poet, Francois Villon, who heads a motley group of lawbreakers, and his love for prostitute Huguette. Again, Drake stars and is supported by a very young sounding Mimi Benzell. "Only A Rose" and "Song of the Vagabonds" are musical highlights of this delightful score. Delightful scores that need contemporary recordings.
 
Grades: C+ "Roberta"
C+ "The Vagabond King"

"OVER MY SHOULDER"
Original London Cast
TER Limited Records (CDTER 1265)

The British show "Over My Shoulder" (subtitled "The Jessie Matthews Story") tells about the British and American musical theater and movie star. It features songs from the star's stage hits like "Evergreen" and her movie triumphs like "The Good Companions." Matthews had a difficult life with several marriages and a miscarriage. Her career bobbed and weaved from the heights to the lows. The story is interesting and the music is all characteristic of the times from the '20s to the '70s. She even revived her career on radio after her stage and screen triumphs ended. The production is especially appealing because Anne Rogers, long remembered in this country as the first Eliza in the touring "My Fair Lady," plays Matthews. Rogers played in musicals for years but has been out of the spotlight for sometime. She sounds good and since the story is told as a flashback with the older Matthews reflecting on her career, she's well cast. And the show pictures in the accompanying booklet show a still glamorous looking Rogers. If you've heard of Jessie Matthews you will find especial interest in this recording but even with little knowledge of the legendary star, the show paints a fascinating portrait through her songs.
 
Grade: B

"THE SOUND OF MUSIC"
Israeli Cast
Jaffa Productions Ltd. (4101-2)

Several Israeli cast albums arrived in recent weeks. The Broadway musical must be popular in Israel now and of the three cast recordings, "The Sound of Music" sounds the best. The version used is the now popular stage account which abandons the original script in favor of one influenced by the film. The cast sounds vocally bright and lovely and the children are quite pleasing but the orchestra sounds like it is composed almost exclusively of synthesizers. Other recent Israeli cast recordings include a feisty and raucous "Irma La Douce" and an upbeat "Annie."
 
Grade: B-

ELTON JOHN & TIM RICE'S "AIDA"
Dutch Cast - Single
Polydor/Stage Music (570 479-2)

Elton John and Tim Rice's "Aida" has become a world-wide phenomenon and the latest foreign cast recording to hit America is a single from the Dutch cast featuring "Elaborate Lives" and the song's second act reprise. Aida is played by Chaira Borderslee and Bastiaan Ragas is Radames. Ragas' voice has power and is equal to Adam Pascal's Broadway singing but Borderslee's Aida lacks the potent power of Heather Headley's stunning Broadway singing. Both Dutch singers have been tutored to sound as close to their Broadway namesakes as possible and the songs have the same emphasis on every translated word. Another "Aida" single of Ammeris' "My Strongest Suit" and "I Know the Truth" featuring Antje Monteiro is also available but it doesn't best Sherie Rene Scott's original version.
 
Grade: C+

"THE PHANTOM OF THE OPERA"
Highlights
Korean Cast
Universal/Really Useful Company (DD 5970)

It's amazing the power of theatrical producers today. From the time "The Phantom of the Opera" first opened in London many years ago, the production has played successfully around the world in a variety of languages. But the productions sanctioned by the original producers, including Cameron Mackintosh and show composer Andrew Lloyd Webber, each sound just like the original. Replacement casts are selected to mimic the original leads. Even the accompanying booklets to the CD recordings of all these productions show scenes that use original designs. "Phantom" clones are everywhere. Now comes the latest foreign cast recording of the popular show. This CD features the original Korean cast but other than the language the music is delivered identically and each voice sounds like predecessors in the same roles. This CD is highlights only so it has just 14 tracks featuring the show's biggest hit songs. If Korean is your language, this "Phantom" recording may prove interesting. If you hope to hear new interpretations of the familiar score or unique interpretations of the parts including the evil Phantom who lives in the bowels of the haunted Paris Opera House, don't look to this version.
 
Grade: B

"ROADSIDE"
York Theatre Cast
JAY Records (CDJAY 1366)

Tom Jones and Harvey Schmidt wrote one of the all-time classic musicals, "The Fantasticks." The team's Broadway musicals were less successful but "110 in the Shade" and "I Do! I Do!" both had popular runs. Later works failed. One of the team's earliest works, "Roadside," was based on Lynn Riggs' play but because the show's rights weren't available, the work got shelved until recently when it was finished and debuted in New York in a York Theatre production. That staging was recorded and is now available. The musical is set in the Oklahoma territory like Riggs' other big success, "Green Grow the Lilacs" (that transitioned to the popular "Oklahoma"). "Roadside" deals with tall tale tellers who didn't adapt to the new civilization and hoped to hold onto the wilder past. The music isn't remarkable but is pleasant. The title tune has been heard before on the "Lost in Boston" series. The work will never become as popular as the team's most famous shows but the cast is strong and the accompanying booklet provides the work with an attractive package.
 
Grade: C+

"HAIRSPRAY"
Original Broadway Cast
Sony Music (SK 87708)

Put on the cast recording of the soon-to-be new Broadway hit, "Hairspray" and you'll be rockin' and rollin' around. The tunes sound just like the period, the '60s, and although they sound a lot like familiar tunes from "The Rocky Horror Show," "Grease," and "Little Shop of Horrors," they are peppy, fun, catchy, and infectious. The opening song, "Good Morning Baltimore," starts things off exuberantly and the songs that follow are just as clever right up to the big splashy finale, "You Can't Stop the Beat." The cast is full of new faces and they all sound perfect for the roles they play. The show's star, Harvey Fierstein, who plays the lead character's overbearing mother, is a hoot with his croaky, choky voice that has amusing appeal rather than any real musical sense. Fierstein isn't on that much of the album but is always distinctive. The story is simple and contrived - a fat teenager wants to be a celebrity - and peer pressure and bossy parents influence every moment of the kid's life. The show is escapist relaxation and is a marvelous way to leave the day's trouble behind as you go off to an imaginary place where the crises are small and surreal. Based on the winning cast album, I can understand why the show, which opens to the press August 15 on Broadway, is destined for hit status. I can hardly wait to see it. This CD is a must buy.
 
Grade: A

"THE DESERT SONG"/"THE NEW MOON"
Studio Casts
Decca Broadway Operettas (440 016 730-2)

The old operettas have silly stories and inane song lyrics but the melodies are beautiful and entrancing. Decca Broadway has released the first of a new off-shoot series of studio cast recordings of the tuneful old operettas. Since these recordings were short, they have packaged two shows on each CD. "The Desert Song" is combined "The New Moon," both with music by Sigmund Romberg. The casts on both are fine and the re-mastering makes the old recordings sound good. Kitty Carlisle, Wilbur Evans, and Felix Knight star in "The Desert Song" and all are up to the lush vocal demands. Less familiar names grace "The New Moon" but Thomas Hayward, Jane Wilson, and Lee Sweetland all sound fine. Listening to these old scores again and reading about the shows and their production histories in the well-edited and thorough accompanying booklet brings back the beauty of these old scores. Ignore the lyrics, forget about the plot, and just sit back and marvel at the melodies.
 
Grade: B

"BABES IN TOYLAND"/"THE RED MILL"
Studio Casts
Decca Broadway Operettas (440 016 729-2)

The second Decca Broadway Operetta release pairs two Victor Herbert creations, "Babes in Toyland" and "The Red Mill." Again, the melodies are wonderful, rich and inviting. The lyrics are silly but who cares. The cast of "Babes In Toyland" includes Kenny Baker and Karen Kemple, both unfamiliar names to me, but the casting on "The Red Mill" includes Wilbur Evans and Eileen Farrell, who went on to fame as an opera singer. The singing throughout is impressive. It's amazing how much of the "Babes in Toyland" score has become part of the Christmas tradition and "The Red Mill" features two outstanding song hits, "Every Day Is Ladies Day With Me" and "The Streets of New York." Again, two delightful and charming scores are available.
 
Grade: B

"THE BAKER'S WIFE"
Original London Cast
Music Theatre Hour Series
TER Records (CDTEH 6010)

As one of the few who saw the ill-fated "The Baker's Wife" when it premiered on the West Coast back in 1976, I will always remember the show as Patti LuPone's musical theater debut when she starred as Genevieve. Original star Paul Sorvino was replaced when the show left California but "The Baker's Wife" never made it to Broadway. It closed on the road at the request of the Stephen Schwartz, who wrote the music and lyrics, and Joseph Stein, who wrote the book based on the film "La Femme du Boulanger." The show's score changed a bit and the story became more Parisian when it finally opened in London in 1989, where it also failed. That cast's recording has been re-released. It's always hard for me to get beyond the opening song, the delightfully melodic "Chanson." The melody is infectious, and, as sung here by Jill Martin, it is a song that prompts me to hit the repeat key on the CD player often. The show's other big song hit, "Meadowlark," is delivered by star Sharon Lee Hill in a richly sung version that brings out the song's elegance and beauty vividly. The rest of the score is less memorable, part of the reason the show never made it. But "Chanson" and "Meadowlark" are pretty special and the London version does both songs proud and makes this cast recording worthy.
 
Grade: B-

"THE ULTIMATE SERIES RODGERS & HART - VOLUME 3"
Original Cast Recordings
Pearl (GEM 0118)

Rodgers and Hart penned lots of wonderful shows with great scores. Pearl Records searched its vaults for original cast versions of several songs from the team's musicals. The latest in this ongoing series, "The Ultimate Rodgers & Hart - Volume 3," is full of both familiar songs and also lots of pleasant discoveries. This album includes songs from "Too Many Girls" (1939), the film of "The Boys From Syracuse" (1940), "Higher and Higher" (1940), "Pal Joey" (1940), "Up and Doing" (1940), the film "They Met in Argentina" (1941), "A Connecticut Yankee" (1943 production), "By Jupiter" (1942), the film "Words and Music" (1948), and the film "Young Man With a Horn" (1950). What a collection of song hits. The familiar songs from the hit shows are recognizable but the others are all interesting. If you love Rodgers and Hart tunes, this collection is a must.
 
Grade: A

ADVANCE COMMENTS ON "HAIRSPRAY," THE ORIGINAL CAST RECORDING

There are advantages of being a show music critic. I recently got two promo copies of the upcoming "Hairspray" original cast recording from Sony Records. The CD will be released August 13, two days before the show, now in Broadway previews, opens. While my full review of this new CD must wait until the weekend before the release (Broadway's Biggest Hits features selections from the CD), let me tell you that I've listened to it several times and I have been walking around the office humming various tunes from the show being touted as Broadway's biggest hit since "The Producers." My secretary asked me the other day about that '60s sounding music I was humming. Since I'm not known around the office as a hummer, she was intrigued. I told her it was from the new musical "Hairspray," based on the now cult classic film by John Waters. She said she hadn't seen me this excited by any show music album in some time and she said she remembered the movie and thought it would make a wonderful musical. When I told her Harvey Fierstein stars as Mother, she was ready to head for Broadway. And she's not a regular theatergoer like me. The music is infectious. Look for details the weekend of August 10 in this space. I can hardly wait to share my enthusiasm for this fun new show!

OLD SHOWS COME OUT SOON

Fynsworth Alley will release "The Grand Tour," the Jerry Herman's musical that starred Joel Grey, on August 13. Future old cast albums from that label include Gwen Verdon in "Redhead" and Lena Horne's "Jamaica." DRG Records will release "Bravo Giovanni" soon with "Oh! Captain!" and "The Happiest Girl in the World" to follow. Both labels are in continuing negotiations for other cast albums that haven't been available for sometime, many new to the CD format. There's still a treasure trove of old cast albums that haven't been heard in years. Let's hope that both labels get sufficient sales from their initial releases during the past few months to justify continuing this welcome practice.
 
"KEAN"
Original Broadway Cast
DRG Records (19029)

Alfred Drake was a big musical theater star in the '50s and '60s. He played bigger than life characters with style and panache and his robust voice was always a forceful delight. When he was selected in 1961 to play the English actor Edmund Kean in a musical biography with book by Peter Stone and music and lyrics by Robert Wright and George Forrest of "Kismet" and "Song of Norway" fame, the show, called "Kean," seemed destined for fame and fortune. The resulting pastiche turned out to be an old-fashioned and badly outdated operetta with a melodramatic story. The show closed quickly after a royal drubbing by New York critics and audiences. The long out-of-print cast album has been reissued by DRG and the songs have little to recommend them other than Drake's lush singing and a supporting cast that included strong singers Lee Venora and Joan Weldon. Weldon played Kean's lover and Venora played an attractive heiress. Some of the songs touch on the inner workings of being a stage actor but none is memorable. Even with Drake's presence it is easy to see why "Kean" failed. The recording should be of interest to show music purists and musical theater lovers who relish having this bit of history but otherwise this is a show to forget.
 
Grade: C-

"MUSIC FROM THE RICHARD RODGERS BROADWAY HIT 'NO STRINGS'"
Ralph Burns and His Orchestra
DRG Records (19028)

Richard Rodgers' first show after Oscar Hammerstein's death was "No Strings," a musical about a biracial romance between an American writer and an American fashion model both living in the opulence and decadence of Paris. The romance doesn't work out but the score is a strong and winning one. Rodgers had his musicians on stage as part of the action and, like the title, the show was orchestrated without string instruments. Ralph Burns, a top Broadway orchestrator and arranger, liked Rodgers music and decided he wanted people to hear the "No Strings" score with strings. His orchestral version, "Music from the Richard Rodgers Broadway Hit 'No Strings' with Strings," has been out-of-print for years and is now part of DRG's rapidly expanding Broadway show music collection. Quite frankly, I like the songs the way Rodgers wrote them, without strings, but this album is a nice alternate version of the score. The "No Strings" score is always worth a listen.
 
Grade: B-

"THE BOYS FROM SYRACUSE"
1963 London Cast
Decca Broadway (422 882 281-2)

Rodgers and Hart shows were well ahead of their time. The stories were clever, the song lyrics were witty and the melodies were wonderful. No exception was the team's 1938 musical retelling of Shakespeare's "Comedy of Errors," "The Boys from Syracuse." Decca Broadway has just released the 1963 London cast, featuring Bob Monkhouse, Maggie Fitzgibbon, and Denis Quilley, on a re-mastered CD complete with a well-illustrated booklet. The score is a delight. Several songs from this show became hits in their own right. This version is not the best of several available recordings but it's still good. At the end are six additional tracks of show songs sung by Rudy Vallee and Frances Langford, two popular entertainers when the show premiered. These tracks haven't been available for years and remind us that musical theater songs often became pop hits of their time unlike today's musicals that rarely contribute hit songs.
 
Grade: B

"THE BROADWAY MUSICALS OF 1940"
Town Hall Broadway Cast
Bayview Recording Company (RNBW019)

"The Broadway Musicals of 1940" is another in the popular Town Hall series devoted to songs from musicals of the designated year. These recordings are always full of fascinating song discoveries often from unfamiliar shows. It's an exciting treasure hunt when you first hear these recordings. The casts on these live recordings are always strong so the songs are well represented and the orchestral backup, this time with The Ross Patterson Little Big Band, is also winning. The shows are conceived and narrated by the excellent Scott Siegel who mentions lots of interesting facts surrounding the shows and songs. Along with the big 1940 hits like "Pal Joey" (which actually became a hit in later revivals), "Louisiana Purchase," and "Panama Hattie," this collection includes several songs from "Meet the People," "Hold On To Your Hats," and "Walk With Music" among others and they are all pleasant and winning tunes. The artists here include Natalie Douglas, Rob Evan, John Dossett, Bryan Batt, and Julie Reyburn. For those interested in musical theater history, these albums give great insight into specific years on Broadway and what the musicals of that time sounded like.
 
Grade: A

LEA SALONGA
"THE BROADWAY CONCERT"
BMG Records Pilipinas (MRCD 198)

Lea Salonga is about ready to open in the Broadway revival of "Flower Drum Song" but between that production's Los Angeles tryout and the New York premiere, the star returned to her Manila home and did a Broadway concert with her brother, Gerard Salonga, as musical director of a symphony orchestra. Salonga does a variety of songs including many that you wouldn't associate with the kinds of roles she has played and she sings them all well and with great emotion. She's amazing on two "Flower Drum Song" hits, "I Enjoy Being A Girl" and "Love Look Away," but she is also dramatic and opulent on "Evita's" "Don't Cry For Me Argentina," "Sunset Boulevard's" "As If We Never Said Goodbye," and "Jesus Christ Superstar's" "I Don't Know How To Love Him." The repertory she sings is diverse and musical theater lovers will enjoy the lengthy CD. If the album has a problem, it is that Salonga's small talk between songs seems strained, awkward, and none-too-original. Perhaps less talk and more songs would have been a better choice. Salonga's still an impressive musical theater song stylist.
 
Grade: B+

ETHEL MERMAN
"MERMAN IN VEGAS"
World Premiere Night Club Engagement Flamingo Hotel
Collectables (COL-CD-6193)

Ethel Merman was always known as a Broadway star. Her Hollywood movies were not big successes and she rarely played live outside New York. After touring the country in her greatest stage success, "Gypsy," late in her career she decided to play Las Vegas for the first time. Trouper that she was, she stuck to what she knew best, Broadway, and most of the selections on the new CD release of that engagement are show tunes. She belts out familiar songs with her characteristic over-the-top gusto and she admits that small talk isn't forte so most of the chatter is awkward until she starts belting out the next tune. She's backed by a big band that does her and her songs justice. "Merman In Vegas" is the Merm at her greatest singing show tunes and it's a fun recording to add to her other show and solo discs.
 
Grade: A

"WALL TO WALL RICHARD RODGERS"
Symphony Space Live Concert Cast
Fynsworth Alley (302 062 129 2)

New York's Symphony Space does annual tributes to major composers. Sometimes these are devoted to classical music giants like Bach but the show has also been a tribute to Broadway's finest composers. In honor of the Richard Rodgers Centennial, this year's 12-hour marathon was devoted to his work and many leading Broadway performers along with many cabaret performers turned up for the show. The just released recording "Wall to Wall Richard Rodgers" selects 15 songs and the collection is wonderful. If there's a highlight, it would have to be Ivy Austin's sexy take on "Pal Joey's" "Bewitched, Bothered and Bewildered." But there's lots more plums here. Melissa Errico contributes two songs, "People Will Say We're In Love," with Patrick Quinn, and a lush "There's a Small Hotel" with Lanny Meyers backing her on the piano. There's a full sounding "There Is Nothing Like A Dame" and several hits from Rodgers work with Lorenz Hart. Even the clichéd "Climb Ev'ry Mountain" gets an interesting arrangement with "You'll Never Walk Alone," the same style song from the much earlier "Carousel." There's been a windfall of Richard Rodgers tribute recordings this year along with re-releases of his show albums. "Wall to Wall Richard Rodgers" is a nice addition to the expanding collection.
 
Grade: B

"A CABARET COCKTAIL"
Fynsworth Alley (302 062 137 2)

Fynsworth Alley has a host of cabaret artists who record for the label and they recently acquired another label that focused on these artists. The new compilation, "A Cabaret Cocktail," includes fine versions of great songs by the best of today's cabaret stars. Many of the selections are from the musical theater and many of the artists also do shows as well as cabaret performances so this recording should have an interest to show music lovers. Ann Hampton Callaway sounds lush and plush on Duke Ellington's "Do Nothing 'Til You Hear," while her sister, Liz Callaway, does a nice job with Frank Loesser's "I Wish I Didn't Love You So." Faith Prince does a sultry "The Boy From...," while Christine Andreas wraps her rich voice around "Storybook." Other standouts include Frankie Laine's "Wheels of a Dream" from "Ragtime," Susan Egan's rendition of Stephen Sondheim's "Little Dream," and Sally Mayes' "Heaven Can Wait."
 
Grade: B

"I REMEMBER MAMA"
Studio Cast
JAY Records (CDJAY 1360)

Richard Rodgers' last musical, "I Remember Mama," wasn't a big hit because it lacked the charm of the John Van Druten play it was based on but Rodgers could still pen lilting songs and the score is certainly enjoyable. The original cast didn't get to make a recording but JAY Records did a studio version that preserved the score with a good cast headed by Sally Ann Howes as Mama, George Hearn as Papa, and the great British star Patricia Routledge in the supporting role of Aunt Jenny. "I Remember Mama" is certainly not the distinguished hit of earlier Richard Rodgers collaborations but the score still has his distinctive sound and belongs in any musical theater collection since it was Rodgers last work.
 
Grade: C+

"INTO THE WOODS"
Broadway 2002 Revival Cast
Nonesuch (79686-2)

The revival of Stephen Sondheim's "Into the Woods" has a respectable cast but based on seeing this production in Los Angeles before its Broadway premiere and on the just released cast recording, the new version doesn't supplant the brilliance of the original Broadway cast recording. The show uses children's fairytales to suggest what life is all about and reminds us of the consequences of our actions. The book has always had problems using this difficult formatting. The new cast sounds fine and delivers the Sondheim score, perhaps one of his most pleasing and melodic, with conviction and style. Vanessa Williams doesn't nail the Witch with Bernadette Peters' distinction and Williams doesn't do anything memorable with her songs. The rest of the cast is better especially Laura Benanti's richly sung Cinderella. The new recording has some snippets of music missing from the original cast recording although both are about the same length so no major material is featured on the new recording. The attractive booklet tells the plot, has several colorful production photos, and the entire libretto as heard. "Into the Woods" will be a treasure for Sondheim lovers and the revival cast recording does a solid job of capturing the score's joys.
 
Grade: B

"BOMBAY DREAMS"
Original London Cast
Really Useful Records/Citrus (508435 2)

There's been much talk about the new Andrew Lloyd Webber produced "Bombay Dreams." The show is a tribute to the Indian film industry written by A R Rahman. Reviews have been mixed in London, where the show premiered recently, but the show is a hit and looks to arrive on Broadway in 2003. The cast album is just arriving in the United States after a late June release in England. I was expecting a lot and the show disappoints a bit in that none of the songs are memorable but all evoke a nice flavor of the Indian culture even when the tunes are more standard sounding show tunes. The cast sounds solid and the few show scenes in the accompanying booklet suggest an elaborate production. The booklet, though, doesn't tell you anything about the show and even drawing out the show's theme is difficult. The one tune that stands out is "Closer Than Ever," a love song between the romantic leads. Yes, based on the recording, I would want to see "Bombay Dreams" if I was in London.
 
Grade: B

"ON YOUR TOES"
Broadway 1983 Revival Cast
JAY Records (CDJAY 1361)

Rodgers and Hart's "On Your Toes" was one of the earliest American musicals to use dance in an integrated way within the show. The 1983 revival was well cast and the brilliant "Slaughter on Tenth Avenue" ballet is included in the cast recording recently reissued by JAY Records. In addition to the ballet, the score contains several melodic Richard Rodgers melodies put to the sharp lyrics of Lorenz Hart. The title tune is memorable as is the now standard cabaret number "There's A Small Hotel." The cast sings the songs with fervor and the John Mauceri-conducted orchestra plays the music brilliantly. This "On Your Toes" is a wonderful version of a distinguished Rodgers and Hart show.
 
Grade: B+

"HAIRSPRAY"
Demo cast


For those who can't wait for the release of the cast album of what appears to be Broadway's first hit of the new season, "Hairspray," you can tap into the show's web site and listen to three demo recordings of the show's songs. The tunes are bright, upbeat, and sound like the pop/rock music popular during the show's '60s time period. It's based on the offbeat cult classic film starring Devine, a role Harvey Fierstein plays in the musical. It's about an overweight teenage girl who blossoms when given the chance to dance. Fierstein, in outrageous drag, is the girl's mother. "Good Morning Baltimore" is the best of the three available songs and the web site describes the show, has pictures, and copies of the brilliant Seattle reviews from "Hairspray's" out-of-town tryout engagement. The full cast recording has been made by Sony for release two days before the August 15 Broadway opening. Whoever thought we'd be able to preview new musicals via the Internet? This technology is amazing and the three songs certainly make me want to see the show.
 
Grade: A-

"THOU SHALT NOT"
Original Broadway Cast
Swing Music, Inc./Papa's-June Music, Inc.

I have listened to the cast recording of "Thou Shalt Not" several times and the one firm conclusion is that it is easy to draw is why this show failed. The brainchild of director/choreographer genius Susan Stroman and pop entertainer/composer Harry Connick, Jr., the musical is set in New Orleans during 1946-47. It's a weird story about misplaced romance set against the jazz milieu that grew out of that city. The score is a strange one. The CD is long - it runs over 75 minutes - and it has a wide range of styles from bluesy jazz, to pop hit tunes, to the expository songs of "serious" musicals. But the show has no unique sound of its own. It sounds like a mishmash of song styles that were thrown into a grab bag and pulled out randomly and without much thought. The cast sounds acceptable but no one shines lending credibility to the New York reviews that claimed casting problems contributed to the show's failure. This CD marks an interesting but failed musical attempt and it is in limited release primarily through Amazon.com and specialty show music stores like Footlight Records. For the casual musical theater lovers, pursuing a copy isn't worthwhile. For us diehard fans, it will be an important purchase to hear why this show failed.
 
Grade: D+

"THE MUSICALITY OF RODGERS AND HAMMERSTEIN"
JAY Records (CDJAZ 9008)

This compilation from the JAY catalog includes 11 tracks, one each from every Rodgers and Hammerstein musical. The selections are pretty standard hits from each show but all are nicely delivered by contemporary musical theater stars. There are more definitive arrangements and interpretations of each song other places but this is a CD full of wonderful music delivered well if not brilliantly. Perhaps the most interesting track is "South Pacific's" "Bali Hai" delivered by original "Flower Drum Song" star Pat Suzuki in a throaty, sultry style. The selections from the three more obscure Rodgers and Hammerstein shows, "Allegro" ("The Gentleman Is A Dope"), "Me and Juliet" ("No Other Love"), and "Pipe Dream" (Ev'rybody's Got A Home But Me") remind that these shows, while not big hits, still have lovely scores.
 
Grade: C+

"LEGENDARY PERFORMERS - SUSAN JOHNSON"
Previously Unreleased Live Performances
Harbinger Records (HCD-2002)

Susan Johnson was a powerful Broadway talent who ended up in several dud musicals and after a stellar performance in "The Most Happy Fella" faded due to injuries in an accident that curtailed her promising career. The Legendary Performers series has released a CD of 26 tracks from live performances and all are from musical theater classics or movie musicals. She has a wonderful way with the songs and the collection includes two tracks from "The Most Happy Fella." The Irving Berlin medley includes a zesty "I Got the Sun in the Morning" from "Annie Get Your Gun." The Frank Loesser medley includes a great "I Believe in You" from "How to Succeed in Business Without Really Trying." Other medleys, all well selected and sung, include Cole Porter, Johnny Burke, and Richard Rodgers. This CD reminds us of a wonderful but almost forgotten musical theater performer who should have been a big star but was robbed of that distinction by personal events in her life. It's a shame.
 
Grade: A

"LEAVE IT TO ME"
42nd Street Moon Cast
Music Box Recordings (MBR42002)

The new recording of "Leave It to Me," a Cole Porter gem from 1938, is a surprise hit from San Francisco's 42nd Street Moon Company. The show has never been recorded in its entirety and this recording is from a staged concert. This was the first show Porter penned after his horse-riding accident that left him in constant pain for the rest of his life. Considering the composer's pain, the songs have the sharp, clever lyrics Porter is so famous for and the song melodies, while reminiscent of other Porter tunes, are pleasant if not as distinguished as the composer's finest work. The show's most well-known tune is "My Heart Belongs to Daddy." It made Mary Martin a Broadway star in this show's original production. Here it is sung with the same sexy inflection by Murphy Hart. There are other recognizable hits, though, including "Most Gentlemen Don't Like Love" and "From Now On." The show's story is full of intricate details and matters little more than as a framework for the rich collection of songs. The 42nd Street Moon cast sounds great and the production shots show lavish costuming suggesting that the staged reading plays much like New York City's famous Encore! Series. The selected shows for both companies are unfamiliar or lesser known musicals that deserve renewed interest. "Leave It to Me" is a delightful surprise. I'm glad to hear it.
 
Grade: A-

"THE MUSICALITY OF KERN"
JAY Records (CDJAZ 9005)

Jerome Kern is receiving recorded tributes right and left. The latest, "The Musicality of Kern," comes from JAY Records and is a compilation of songs from various recordings in the label's stock. The singing is solid but not always brilliant and the artists range in quality. The range of songs represents a good cross-section of Kern's many musicals including several from unusual and rarely heard shows like "Can't Help Singing," "The Girl From Utah," "High, Wide and Handsome," and "You Were Never Lovely" along with more familiar and recognizable tunes from "Oh, Boy!," "Roberta," "Sunny," "Show Boat," and "Sally." As with any Kern collection, the composer's melodies are lovely and enjoyable.
 
Grade: B

"MISS SPECTACULAR"
The Concept Album
DRG Records (12995)

Jerry Herman hasn't been heard from much since "La Cage Aux Folles" back in 1983. The television musical "Mrs. Santa Claus" is the only new work from the popular Broadway composer. He wrote "Miss Spectacular" for a possible Las Vegas production that never happened. Now, "Miss Spectacular" has been recorded by DRG with a stellar cast of contemporary musical theater artists in a concept album. The show sounds like typical Jerry Herman - big, brassy and melodic. Although it may be lesser Herman rather than his best work, it proves that the composer hasn't lost the knack of creating tuneful Broadway fluff. This show is about a young Kansas woman who heads for the bright Las Vegas lights to make her fortune and fame as an entertainer. She wins a contest but decides to marry her Kansas beau in time for a gala wedding celebration finale. Another big production is called "Ziegfeld Girl." The tunes sound similar to other Herman hits and the title tune is another big production number. The 11 songs are sung by musical theater veterans, including Christine Baranski, Michael Feinstein (who does the "Ziegfeld Girl" number), Davis Gaines, Debbie Gravitte, Steve Lawrence, Karen Morrow (whose voice is still rich and wonderful) and Faith Prince. The album starts with an overture and ends with exit music to add minutes to what appears to be a sparse score. A Broadway production has been discussed so this recording is a preview. It might be fun to have a big, bright, and brassy Jerry Herman show on Broadway again and "Miss Spectacular" would fit the bill.
 
Grade: A-

"CINDERELLA"
Original London Cast
Bayview Recording Company (RNBW018)

Rodgers and Hammerstein's "Cinderella" started as a 1957 television musical with Julie Andrews. After the show's success, producer Harold Fielding obtained the stage rights for a London production that premiered in 1958. Bruce Trent played the Prince opposite the Cinderella of Yana. Tommy Steele had a large role created for this production as Cinderella's father's servant, Buttons. To give the British entertainer some songs, other Rodgers and Hammerstein tunes were added to the "Cinderella" score. The cast isn't anything special. Yana sounds way too old and mature for the charming Cinderella. Steele is delightful in his role singing catchy songs that don't fit this musical. This newly released CD includes a couple of bonus tracks with Steele singing the popular "A Lovely Night" and "Marriage Type Love." You can't go wrong with the original recording of the Julie Andrews television version so this CD is a nice bit of history but not a must-have version.
 
Grade: C

"BROADWAY INSPIRATIONS"
Fynsworth Alley (302 062 128 2)

Fynsworth Alley keeps releasing compilation albums full of vaguely related songs from musicals sung for different recordings in the company's catalog. The latest is "Broadway Inspirations," a collection of 14 tracks of familiar songs sung with an inspiring sort of religious bravado. While there are lots of names from contemporary musical theater singing, none of the arrangements are particularly effective and the theme makes most of the songs sound like something other than their intended purpose. The resulting CD is not that interesting and unless show tunes with a religious bent are your thing, "Broadway Inspirations" shouldn't be on your show music shopping list.
 
Grade: C-

"THOROUGHLY MODERN MILLIE"
Original Broadway Cast
RCA Victor (09026-63959-2)

"Thoroughly Modern Millie" won this year's Tony Award as Best Musical and judging by the cast recording, it's easy to hear how entertaining and delightful this new show is. The score is a combination of eleven new songs written exclusively for the Broadway version by Jeanine Tesori and Dick Scanlan, three songs from the 1967 movie that starred Julie Andrews, and four standards from the '20s. There are no great songs but all are evocative of the '20s jazz era, the show's setting. The show is about a young woman who comes to the big city to face life. It's easy to hear why Sutton Foster's Millie won the Best Performance of a Leading Actress in a Musical Tony. She's in 11 of the 21 CD tracks and is always bubbly and effervescent. Foster makes a charming Millie on the recording and must be winsome in person. There is a wonderful parody of Gilbert and Sullivan patter songs in "Millie" called "The Speed Test" and it's quite a spoof. The rest of the large cast all sound great on the recording but at less than 60 minutes one wonders if more music couldn't have been included. The title tune, borrowed from the film, is a joy and sets the relaxed atmosphere of this delightful new Broadway hit.
 
Grade: A

"I'M GETTING MY ACT TOGETHER AND TAKING IT ON THE ROAD"
Original Broadway Cast
Fynsworth Alley (FA-2133/A 59734)

"I'm Getting My Act Together and Taking It on the Road" was one of the first musicals to look at female point of view and it does it with some clever and cute songs. The cast recording, long out-of-print, has finally been transferred to CD by Fynsworth Alley and listening to the show as performed by book and lyrics writer Gretchen Cryer and a talented cast brings back pleasant memories of the show's original production. The show is about a nightclub performance by Heather who decides to politicize her act with comments on women's rights and issues. The CD is short, only about 30 minutes long, suggesting that perhaps other tracks may have been available that could have been added to fill out the CD. The songs are tuneful and several have pointed lyrics that represent women's thinking at the time the show debuted in 1978.
 
Grade: B

"BARNUM"
Original Broadway Cast
Columbia Broadway Masterworks (SK 89999)

"Barnum" is a peppy delight full of catchy Cy Coleman tunes and the stellar performances of Jim Dale in the title role and Glenn Close as his loyal and loving wife, Chairy. The show traces the greatest showman's rise to fame and fortune in the circus world and the show includes several of the unique talents Barnum introduced through his shows like Jenny Lind and Tom Thumb. All are assigned their own songs. While the big entertaining numbers are best known and are the most fun to listen to, the show's highlights are the quieter, more reflective songs like "The Colors of My Life" and the wonderful duet between Dale and Close, "I Like Your Style." The bonus tracks include the composer and lyricist Michael Stewart in songs used and tried but eliminated from the show. "Barnum" is a delightful show and it's too bad it is so rarely seen today. The re-released CD reminds of the show's charm.
 
Grade: B+

"LI'L ABNER"
Original Broadway Cast
Columbia Broadway Masterworks (SK 87700)

"Li'l Abner" based on the Al Capp comic strip takes us through a day in the life of Dogpatch, U.S.A. with some wonderful Gene de Paul/Johnny Mercer tunes. All the wacky characters get a shot at fame in individual songs and the outstanding cast includes Peter Palmer's title character and Edith Adams who later became Edie Adams as Daisy Mae with Stubby Kaye as Marryin' Sam. The show was released many years ago on CD but it was available for just a short time. The new release includes three songs by pop artists of show song hits and a chorus number, "There's Room Enough For Us," and a different take on the overture. The complete "Sadie Hawkins Day Ballet" is included. The score is a charmer and captures the crazy characters and the weird life of this out-of-the-way place. After so many years, it's nice to have "Li'l Abner" available again and with so much previously unreleased material.
 
Grade: B+

"JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS"
Original Off-Broadway Cast
Columbia Broadway Masterworks (SK 89998)

The dark but insightful and telling songs of Jacques Brel turned the off-Broadway musical revue "Jacques Brel Is Alive and Well and Living in Paris" into a big hit. Brel's most famous songs are included and the four-person cast that includes Elly Stone, Brel's wife, is perfect for the messages conveyed through the songs. His songs deal with a variety of themes including love, cities, streets, smells, drugs, war, loss, death, and broken dreams and they tell the story with raw human emotion. The music is unique and always interesting. The new CD is not only complete of all previously released material but it includes the previously unreleased "Middle Class." The cast understands the technique and style necessary to deliver these often tricky songs. "Jacques Brel..." may be a bit of a downer but the music is creative and worth a listen.
 
Grade: A-

"OKLAHOMA"
1964 Studio Cast
Columbia Broadway Masterworks (SK 61876)

Studio cast recordings usually leave me cold. The cast recordings are usually much more vibrant and much better at conveying the show's intended sound. There are exceptions and this 1964 studio version of the classic "Oklahoma" isn't bad. John Raitt is a dominant Curly and Florence Henderson makes a delightful Laurey, while Phyllis Newman's feisty Ado Annie is filled with good humor and charm. The Franz Allers conducted orchestra and chorus sound perfect and this is strong version of the popular show. Like all older show albums, the score is less complete because of the scarce number of minutes available on LPs. This is still a perky, fun, and welcome version of Richard Rodgers and Oscar Hammerstein's first show.
 
Grade: A

"MY FAIR LADY"
Original Broadway Cast
Columbia Broadway Masterworks (SK 89997)

The brilliant "My Fair Lady" is back in a pristine new re-mastered version featuring the Broadway original cast. This version was recorded before stereo sound but the performances here are so much fresher than the later London cast recording with the same leads recorded in stereo. Listening to this true first cast captures the show's excitement that must have come to those who saw the show early in the run. Julie Andrews sounds fresh and energized as Eliza and the transition she makes from flower girl to lady is a stunning transformation that is picked up in the songs. Rex Harrison's talk/sing technique for getting through the songs is clear here; in the later London cast recording, Harrison was singing more in his songs. This album's bonus tracks include winning discussions taped right after the recording session by the cast and another track with the composer/lyricist chatting about the show. It's a wonderful show and with the bonus tracks presents a definitive record of an outstanding American musical.
 
Grade: A

"TOVARICH"
Original Broadway Cast
DRG Records (19025)

The acclaimed film star Vivien Leigh made her Broadway musical debut in 1963 in an ill-fated show called "Tovarich." While she sounds better than might be expected and her personality comes through even in the cast album just released anew on CD, the show is a dud. The story was based on a popular play about Russian nobility reduced to servant positions. What doomed the musical was Lee Pockriss' mediocre score and the inexperience of Leigh and her co-star, Jean Pierre Aumont. Leigh won a Tony for her performance but within six months she took sick and no replacement could help save the box office. There's a reason "Tovarich" disappeared and you can hear it on the cast album that is again available. It's just dull and uninteresting.
 
Grade: D

"THE BROADWAY MUSICALS OF 1933"
The Town Hall Broadway by the Year Series Cast
Bayview Recording Company (RNBW017)

This popular series brings representative music from a certain year in Broadway history and the concerts continue to be recorded. The just released "The Broadway Musicals of 1933" is full of delightful music and much of it is new or rarely heard. Shows represented include "Roberta," "Melody," "As Thousands Cheer," "Pardon My English," "Let 'Em Eat Cake," "Hold You Horses," "Blackbirds of 1934," "Murder at the Vanities," "Strike Me Pink," "The 3-Penny Opera," and "Champagne Sec." Most of these show titles are unfamiliar and all have melodic and interesting songs. The excellent cast performs the songs with aplomb and expertise. The interesting commentary provided by Scott Siegel is fascinating and clever. This series just presented "The Broadway Musicals of 1951" and I can hardly wait for the recording to be released.
 
Grade: A

"ANDREW LLOYD WEBBER GOLD"
Decca Broadway/Really Useful Records/UTVRecords (314 589 577-2)

A little while ago, Decca Broadway in conjunction with Really Useful Records released a multi-volume collection of Andrew Lloyd Webber hits, "Now and Forever," sung by a variety of artists some from original cast recordings, others from pop performers. Now comes a hits of the hits single, "Andrew Lloyd Webber Gold," with 18 tracks heard on the earlier set and already available from a variety of sources. If you like Lloyd Webber but not enough to by the bigger set, this condensed version should fit the bill. For those of us who already have all the original cast recordings of Lloyd Webber's shows, this CD isn't worth consideration.
 
Grade: C

"JEROME KERN: LIFE UPON THE WICKED STAGE"
The 17th Annual Live S.T.A.G.E. Benefit Concert
LML Music (LML CD-202)

Jerome Kern wrote lovely melodies and the latest S.T.A.G.E. tribute honors the great and prolific composer in a wonderful two CD set that is joy from beginning to end. The cast is impeccable, the singing exquisite, the arrangements great, and the sequencing brilliant. The familiar and popular tunes from "Show Boat" are here along side many less familiar but still wonderful songs. From the moment I first put this CD on, I sat riveted to it and I can't listen to it enough. We don't have composers like Kern anymore and the melodies we are left with will live forever as they do on this outstanding tribute. This CD is a must buy for any serious lovers of the musical theater and its scores.
 
Grade: A+

"TWO GENTLEMEN OF VERONA"
Original Broadway Cast
Decca Broadway (440 017 565-2)

Back in 1971, "Two Gentlemen of Verona" was a hit rock musical treatment of William Shakespeare's comedy about mistaken identities. It had a talented cast and won the Tony Award that year as Best Musical. I remember seeing the show and enjoying what was a refreshing departure for musicals of that period. Show music collectors have waited a long time for the two-record cast recording to be transferred and re-mastered as a CD. Decca Broadway has just accomplished that task but now the show seems dated and bland. The weird rhythms used by "Hair" composer Galt MacDermot now seem tame and uninteresting. We hear calypso beats in Broadway shows and rock scores are no longer unique in musicals. The lengthy recording has lots of extraneous music and John Guare's lyrics don't seem fitting to exist side-by-side with the portions of the original script used in the non-musical sections. The cast does have lots of energy and enjoys the merriment the show delivered. Those observations are obvious from the recording. Do you need this show in your collection? It certainly isn't a musical that has aged well, so probably not. As a glimpse of shows from that year, it's interesting historically.
 
Grade: C

"OF THEE I SING"
1952 Broadway Cast
DRG Records (19024)

George and Ira Gershwin created a brilliant political musical back in the '30s when "Of Thee I Sing" debuted and was the first stage musical to win a Pulitzer Prize. In 1952 a stellar cast remounted the show under the direction of original book writer George S. Kaufman. The score is wonderful and each tune is a marvel of wonderful melody and clever lyrics. The political digs in the script and songs are still pointed today. The 1952 cast recording has been re-mastered and released as a CD for the second time and it's always great to have this score available with a near perfect cast that headlined Jack Carson and Paul Hartman. This version is a winner and it's nice to have it available again in such pristine condition.
 
Grade: B+

"INSIDE THE MUSIC"
Original Off-Broadway Cast
Fynsworth Alley (302 062 124 2)

Donna McKechnie has turned her musical theater career into an interesting nightclub show. Called "Inside the Music," the show has been recorded. It includes song hits from her many shows including her most famous, "A Chorus Line," as well as "Promises, Promises" and "Follies," among others. She also picks musical theater songs that characterize bits of her career so she has a chance to include Stephen Sondheim material. She still sounds good generally although some numbers seem rougher than others. The show concludes with her most famous solo, "The Music and the Mirror" from "A Chorus Line" and the orchestration suggests that she dances the number in the show. She really belts this number. Right before is the original number, "Inside the Music," that was replaced. A good choice was made to jettison the first song for the second. This is an interesting solo show although it doesn't have the fascination of Elaine Stritch's current triumph or Barbara Cook's "Mostly Sondheim." Like McKechnie's career, she isn't in the stratosphere of stars and her new show is good but not great.
 
Grade: B

"THE LAST 5 YEARS"
Original Off-Broadway Cast
Sh-K-Boom Records (4001-2)

Composer Jason Robert Brown is one of the most impressive of the new voices in the musical theater. His brilliant "Parade" will always remain with me from the one memorable time I saw it in New York. His work is interesting and unique and he has developed a distinctive sound in the scores he's done for the musical theater. His new, acclaimed off-Broadway show, "The Last 5 Years," got strong reviews but didn't appeal to audiences and now it's available as a cast recording. The two-person show traces the ups and downs of a marriage that collapses. The story is told from the man perspective as a forward moving tale ending as the marriage breaks up. The woman looks at the same story from the present working its way back to the start. The two stories cross at the couple's marriage in the middle of both tales. The songs are all character songs and all tell us about these two people and their reaction to the partnership. It certainly isn't conventional musical theater storytelling. Norbert Leo Butz and Sherie Rene Scott are both outstanding in the roles and the score has some lovely melodies and lots of solid scoring. "The Last 5 Years" sounds like the winner critics awarded it. Too bad the show wasn't better received by audiences.
 
Grade: A-

"SKYSCRAPER"
Original Broadway Cast
DRG Records (19026)

There are reasons why the 1965 musical "Skyscraper" bombed. A re-mastered release of the original cast recording reveals an undistinguished score and even the luminescent Julie Harris, in her only musical performance, can't make the show a success - at least on the recording. The story is based on Elmer Rice's "Dream Girl" and concerns Georgina Allerton's (Harris) fight against progress. She lives in an old but beloved Brownstone where she has an antique shop on the street level and her home above. A construction company wants the house so it can build a skyscraper on the rest of the block they own. The show's co-star, Peter Marshall, is an architect with sensitivity for preservation. No surprise that Harris and Marshall go off into the sunset together. The story goes, though, nowhere and there isn't a good tune in the Sammy Cahn - James Van Heusen score. While Harris has a passable voice, her usual personality doesn't come through in her songs. This show is no classic and passing on this show album means you won't miss much.
 
Grade: D+

"SHIRLEY MacLAINE LIVE AT THE PALACE"
Original Broadway Cast
DRG Records (91470)

We've all heard a lot about Shirley MacLaine's 1976 "Live at the Palace" show and now it is available on a re-mastered CD as part of the DRG collection of out-of-print show albums. There's lots of musical theater in the 13 selections and MacLaine, hot off her movie triumph in "Sweet Charity," does several numbers from that show and from her other movie musicals including "Irma La Douce." But a lot of this album is about how great Shirley thinks she is and how outstanding she thinks her career has been. There's a lot of "me" throughout this recording and her singing isn't that great. MacLaine has never been known for a superlative voice. I didn't find the recording very listenable and I grew tired quickly of all the comments on how great her career was and how she was discovered in the chorus of "The Pajama Game" when star Carol Haney was sidelined by a broken bone. I guess I expected a dynamic performance full of sparkle and personality but I got little more than self-glorification.
 
Grade: D

"THE MUSICALITY OF BERLIN"
JAY Records (CDJAZ 9007)

The 12 selections on "The Musicality of Berlin" reveal the diversity of Irving Berlin's work. The renditions, done for other JAY Record recordings, are all by recognized musical theater talents and are all well delivered. Some are from his Broadway shows, others are from his many movie musicals, while others are hit tunes he created. This is a delightful listen.
 
Grade: B+

"PINAFORE"
Original Los Angeles Cast
Belva Records (BVR002)

A twisted but very funny gay version of Gilbert and Sullivan's "H.M.S. Pinafore" called "Pinafore" recently ran successfully in Los Angeles. A cast recording of it has just been released. Adapted and directed by Mark Savage, the show uses the original score faithfully but the non-traditional, gender-bending casting and the contemporary interpolation of gay plot twists about man-loving sailors and their lust filled exploits with charming drag maidens is quite clever. In this version, the Pinafore is the flagship of the new gay Navy and is docked in Palm Springs. When the Commander arrives with drag queens as new crew members, the ship goes topsy-turvy with shenanigans. The carryings on of these gay sailors and their relationships with the transvestites is spiked with merriment. The cast is talented and obviously has fun with the source material and enjoys the cavorting allowed by the tongue-in-cheek humor. Musically, the cast sounds good in the tricky music.
 
Grade: A-

"MY FAVORITE THINGS" - A RICHARD RODGERS CELEBRATION
Boston Pops Orchestra - Keith Lockhart, Conductor
RCA Victor (09026-63835-2)

Everyone is turning out tributes to Richard Rodgers this year since it marks the centennial of his birth. No exception is the Boston Pops Orchestra, which just released "My Favorite Things." The selections include a mix of scores Rodgers wrote with Lorenz Hart and with Oscar Hammerstein II. Of the 13 tracks, three contain vocals, the rest are orchestral tracks. The Pops orchestra always sounds lush on the richly orchestrated versions of the familiar music but there's nothing that makes this recording special and there's nothing so unique that sets this CD apart from all the Richard Rodgers tributes currently available. The selections are delightful but there are much better versions of the all the songs.
 
Grade: C

"ANYTHING GOES" AND "THE BANDWAGON"
Studio Cast
DRG Records (19022)

When Columbia Records began recording Broadway cast albums, other labels had already beat them to the punch. In order to expand their small catalogue of shows quickly, producer Goddard Lieberson started doing studio cast recordings of past hits. Broadway legend Mary Martin was signed to star in some. Two of the earliest releases of this series were Cole Porter's "Anything Goes" and Howard Dietz and Arthur Schwartz's "The Bandwagon." In its new series of CD transfers of old show albums, DRG Records has put these two recordings together on one CD. While Martin was an amazing Broadway musical theater star for years, she wasn't right for every show and she lacks the brassy belt necessary for "Anything Goes'" Reno Sweeney. This portion of the new release sounds tame and uninteresting and the bland renditions will make you yearn for those with original star Ethel Merman or even the Lincoln Center revival with big-voiced Patti LuPone in the pivotal role. "The Bandwagon" is a show more suited to Martin's style and ability and this portion of the CD is a reminder of the wonderful score from the 1931 show. This recording didn't use original orchestrations but modernized them to a sound consistent with the early '50s when this recording was made.
 
Grade: C+

"FOXY"
Musicals Tonight Cast
Original Cast Records (OC-6026)

Among the many musicals in 1964, a show called "Foxy" slipped into town with a big star - Bert Lahr. It only lasted 72 performances and there was no official original cast recording made of this show. Lahr went on to win a Tony Award for his performance but the show has been largely forgotten other than by the fleeting interest created through a pirated recording made during the short run that still circulates among collectors. Now comes a cast recording from a recent Musicals Tonight staging. The show had music by Robert Emmett Dolan with lyrics by Johnny Mercer. The story is set in the Yukon during the gold strikes. The new version reveals a pleasant if undistinguished score. The 18 tracks include a Prologue and Finale plus three songs - "Respectability," "The Letter of the Law," and "The Honeymoon Is Over" - originally written for the show but dropped before its Broadway debut. There are no stars on the this version but Rudy Roberson makes a solid Foxy and Rob Lorey plays the other major role, Doc, well. This recording is only of interest to true show music aficionados.
 
Grade: C

SARAH BRIGHTMAN "ENCORE"
Decca Broadway (314 589 050-2)

Sarah Brightman has made a career in musical theater from her triumph in Andrew Lloyd Webber's "The Phantom of the Opera." It didn't hurt that she was married to the composer for a time and he still takes an interest in her career. On April 30, Decca Broadway releases "Encore," a collection of 15 previously recorded hit songs sung by Brightman. Many of the songs are familiar but even those are often presented with twists. There are foreign language versions of popular hits from "Cats" and "Sunset Boulevard." There are also some unusual songs from less popular musicals like "Rex," "Carmelina," "The Crooked Mile," "Saturday Night," and "In the Mandarin's Orchid Garden," from a George and Ira Gershwin show, "East Is West," that was never produced. The CD closes with a "La Rondine" aria. Brightman's vocals are limpid and lovely and the songs are all well suited to the soprano and her musical style. For those who love Brightman, this is a must buy and for those who enjoy beautifully sung versions of a rich collection of musical theater songs, this is also a winner.
 
Grade: A

"SWEET SMELL OF SUCCESS"
Original Broadway Cast
Sony Classical (SK89922)

The new musical version of the fabled movie "Sweet Smell of Success" got mixed reviews when it opened earlier this season. Critics were especially tart about the score by Marvin Hamlisch with lyrics by Craig Carnelia but the recording, scheduled for release Tuesday, is quite listenable. The show traces the exploits of a New York columnist J.J. Hunsecker played by John Lithgow in a striking performance. A feisty press representative, Sidney, successfully gets into Hunsecker's life and his clients into the column. Sidney is played well by Brian D'Arcy James in a performance that rivals Lithgow's. The tunes capture the feel and sound of the early '50s, the story's setting. The lyrics seem sharp and clever and Hamlisch has crafted several serviceable melodies and a few very catchy tunes. It's hard to understand how the recording of this show can be so enjoyable and yet the show has been received with so little enthusiasm. What's happening on stage must not compliment the score.
 
Grade: B

"CHRISTINE"
Original Broadway Cast
DRG Records (19021)

DRG Records continues to release old cast albums reminding us of several long forgotten shows that had merits and interest. Such a show is "Christine," a 1960 musical notable as movie star's Maureen O'Hara's only Broadway appearance. Ms. O'Hara is not known as a singer but on the newly re-mastered Broadway cast album, she does a lovely job with several solid Sammy Fain/Paul Francis Webster tunes. The story is set in India where O'Hara's title character goes to find her daughter who has married an Indian doctor. By the time Christine arrives, her daughter has died in childbirth. Christine ends up carrying on a romance with her daughter's widowed husband, Rashil Singh, played by Metropolitan Opera star Morley Meredith. She ultimately realizes their worlds are too different. The show and its interracial theme were unusual in a Broadway musical of the period and the score is quite wonderful.
 
Grade: A-

"BEN FRANKLIN IN PARIS'
Original Broadway Cast
DRG Records (19023)

I still remember a 1964 Ed Sullivan television show when the new Broadway musical "Ben Franklin in Paris" had a memorable song as part of the show. Robert Preston was an earthy Franklin and European musical theater star Ulla Sallert, in her Broadway debut, played Franklin's Paris love, Comtesse Diane de Vobrillac, as they descended upward in a balloon to fly over Paris while Franklin wooed Diane in the lovely "To Be Alone With You." It turns out this is just one of a melodic and lyrical score created Mark D. Sandrich, Jr. and Sidney Michaels. The show didn't last long but the enchanting score is again available thanks to DRG Records which has made the original Capitol cast album sound fresh and alive. This chestnut is a treasure.
 
Grade: A

"SOUTH PACIFIC"
Royal National Theatre Cast
First Night Records (CASTCD 84)

The Royal National Theatre revival of Rodgers and Hammerstein's "South Pacific" was received with much reservation this season in London. Like the recent television version of the 1949 Pulitzer Prize winning musical, many changes were made in the original book that moved many songs around. The changes make the show much grittier and more focused on World War II than the romance between Nurse Nellie Forbush and French planter Emile de Becque. But the recording, just released in Britain and soon to be available throughout the United States, is quite nice. Philip Quast gives a robust reading of Emile and Lauren Kennedy's bouncy Nellie is fun. Some of the character roles seem to be played more for the dramatic effect than the musical one so Shelia Francisco's Bloody Mary isn't beautifully sung. The score remains one of Rodgers and Hammerstein's finest and the changes in the book probably make the show more relevant to our times. Don't overlook this recording because of the production's weak reviews.
 
Grade: B

"ELAINE STRITCH AT LIBERTY"
Original Broadway Cast - Live
DRG Records (12994)

If you can't get to Broadway to see "Elaine Stritch At Liberty" in person, the new cast recording is the next best thing. Stritch gives an honest, candid, and fascinating portrait of her lengthy show business career. Her remarks are insightful, cleverly scripted by John Lahr and reconstructed by Stritch herself. The show is full of music including many of the hit musical theater songs Stritch introduced over the years in scores of shows. She talks about her demons, her drinking, her often-bad choices of men, and of the many fascinating experiences she has had in and because of her career. The stories she shares are not ones I've heard before and they were refreshing. Her tale of Ethel Merman and her handling of a lippy audience member during "Call Me Madam" is a classic. The show moves briskly, Stritch's famous baritone/bass voice sings the hell out of "The Ladies Who Lunch" from "Company" as well as her other great songs. "At Liberty" is everything that Bea Arthur's show wasn't. Stritch makes her career fascinating; her comments are candid and eye-opening, and her song treatments unique. No wonder this show is so acclaimed and will no doubt earn the deserving Stritch her first Tony Award. She will finally get to use the acceptance speech she has had ready for 45 years. It makes a trip to New York just to see "At Liberty" imperative.
 
Grade: A

"EVITA"
Original Broadway Cast - Highlights
Decca Broadway (440 016 999-2)

The original Broadway cast recording of "Evita" has always been complete on two discs. For the first time, Decca Broadway, excerpts the now classic cast recording for a winning highlights album. They have cleaned up the master tape so the songs selected sound exquisite, and the wonders of the great Patti LuPone's defining portrayal of Eva Peron sound fresh and alive. Few memorable moments from the score are deleted in the almost 68 minutes of music. In addition to LuPone, Mandy Patinkin gives his finest performance as Che and Bob Gunton is wonderful as the cuckolded Peron. The Andrew Lloyd Webber score sounds magnificent and it captures the life of the poor country girl who used her feminine wiles to take a place in history. It's nice to have "Evita" back in such pristine shape.
 
Grade: A

"OLIVER!"
Original London Cast
Decca Broadway (422 820 590-2)

Americans all think of the original Broadway cast recording of "Oliver!" as the definitive version of this now classic musical. The original London cast with Ron Moody as Fagin was the show's first recording. This re-mastered version of that recording by Decca Broadway make the fresh nuances of this great show available again. The CD includes previously unreleased tracks, most notably "That's Your Funeral," which features the Mr. Sowerberry of Barry Humphries who went on to play Fagin after Moody but is more famous for today's feisty Dame Edna. Moody gives a richly etched Fagin and Georgia Brown, who came with the show to America, is a wonderful Nancy. The Lionel Bart score is a great one and the treatment of the Charles Dickens story created a place in musical theater history for the show. The London cast recording of "Oliver!" has been available before but never in this fine a package.
 
Grade: A

"THE BROADWAY MUSICALS OF 1943"
The Town Hall Broadway by the Year Cast
Bayview Recording Company (RNBW015)

If you wondered what Broadway was like in 1943, "The Broadway Musicals of 1943" will answer your questions. We all know that "Oklahoma" was that year's big hit but what about the wonderful songs from Lerner and Loewe's "What's Up" or "Ziegfeld Follies of 1943?" This recording, from a concert, is packed with 21 tracks, some familiar and many little known but delightful discoveries. The cast includes Sally Mayes, Heather MacRae, and Jason Graae, all top musical theater artists so the numbers are delightfully presented. You'll be amazed at all the great songs from that year and you will better understand why musical theater scores were so much more significant years ago than they are today. Contemporary music of 1943 was influenced by the shows that played Broadway be they huge hits or just short time shows.
 
Grade: B+

"COME BACK LITTLE SHEBA"
White Barn Theatre Cast
Original Cast Records (OC 6025)

There are shows that adapt well to the musical stage and there are those that don't. William Inge's drama "Come Back Little Sheba" is one that doesn't as proved by the recently released recording by the White Barn Theatre cast. Even with a dynamic star like Donna McKechnie as the pitiful Lola, the depressing story doesn't sing easily and the characters seem awkward and uncomfortable singing about their lives. The script is by Lee Goldsmith with music by Clint Ballard, Jr. It premiered in 1974 with Kaye Ballard essaying Lola in Chicago. The CD booklet briefly describes the show's creation but it doesn't explain much about the thoughts behind it except to say that the authors like the play. There's nothing to explain what happened to it since its premiere almost 30 years ago. Perhaps the creative team tried to fix what had not been well received but it probably was never meant to be a musical. The plot follows the play closely. It does add four dream suitors for Lola. Their purpose is to remind Lola of her youthful prettiness. It seems an awkward contrivance. Doc, Lola's chiropractor husband, is an alcoholic and his boozing kept him from becoming a medical doctor. Lola threatens to leave what is a less than great marriage but she ends up sticking by the newly sobered Doc. The songs aren't bad and some have pleasant melodies but none seem to fit the plot's dramatic theme or action. McKechnie sounds great but even a talent as bountiful as she possesses can't make this musical version of the play succeed. It's easy to see why the show disappeared after its premiere. Its recent incarnation isn't destined to bring it back to much life.
 
Grade: D

"THE GIRL IN PINK TIGHTS"
Original Broadway Cast
DRG Records (19019)

Sigmund Romberg's last Broadway musical was 1954's "The Girl in Pink Tights." Romberg had already died when the show opened but he had worked on the show before his passing and left several complete songs and fragments of others that an associate was able to develop into a finished score. The show was not a big hit but it is finally available on CD as part of DRG's new series of old cast albums from other labels. The score is actually very pleasant in an old fashioned, operetta style. The show's story was loosely based on the incident that created the first American musical back in the 1860s, "The Black Crook." A Paris ballet company arrives in the United States to perform, the theater burns and a silly melodrama playing nearby incorporates the ballet into its show. "The Girl in Pink Tights" starred Jeanmarie, a French star, and she delivers a marvelous performance as does the entire cast. The booklet outlines the show's history but has few pictures. It's nice to have this tuneful score available again even if the show was not a huge hit and harkens back to earlier operettas.
 
Grade: B

"THE WIZARD OF OZ"
Live Australian Cast
BMG Records (74321911342)

The new "Wizard of Oz" from Australia boasts a strong cast and all the familiar music from the movie. Unfortunately, it is a live recording and after all the well-sung production numbers, we hear the audience applause which breaks the show's continuity. Nikki Webster is an outstanding Dorothy and she delivers a stirring "Over the Rainbow." She doesn't sound like a Judy Garland clone and makes the role her own in her many musical numbers. The rest of the large cast sounds great and the lavishly illustrated booklet shows an elaborate physical production. If you love this score, this version is certainly a strong one; it's just a shame it is ruined by audience applause after almost every number.
 
Grade: B+

SUSAN EGAN
"SO FAR"
JAY Records (CDJAY 1359)

Susan Egan has a light and lovely voice and she selects 15 musical theater selections for her new solo album, "So Far." Many of the selections are standards and all are nicely delivered in orchestrations that adhere to the original source material. There are a few unusual picks that make the album more interesting than it might otherwise be. "Tom" from "Hello Again" made me go back and listen to the cast recording. "I Know Him Well" from "Chess" is a welcome entry and Stephen Sondheim's "Sooner or Later" from the movie "Dick Tracy" and the stage revue "Putting It Together" is also welcome. I especially enjoyed the "Baby" song "The Story Goes On" that opens the album. "So Far" is a pleasant and delightful listen from lovers of musical theater standards plus a few interesting bonuses.
 
Grade: B

THE ULTIMATE SERIES:
IRVING BERLIN (Vol. 1)
ORIGINAL CAST RECORDINGS
Pearl (GEM 0116)

The Ultimate Series draws from old, scratchy sounding recordings made of early musical theater shows. The latest in the series is early Irving Berlin works. These recordings are interesting because shows with no other recordings are delightful finds even in these less than pristine song recordings. This volume focuses on early Berlin works and includes "The Jolly Bachelors" (1910), "Ziegfeld Follies of 1911," Everybody's Doing It" (1912), "Hullo Ragtime" (1912), "Watch Your Step" (1914), and "Stop! Look! Listen!" (1916). The disc includes over 78 minutes of material and gives a fascinating insight into early Berlin songs.
 
Grade: B

ANN HAMPTON CALLAWAY
"SIGNATURE"
N-Coded Music/Warlock/After 9 Records (NC-4227-2)

Ann Hampton Callaway's latest CD, "Signature," is a fabulous tribute to the greats of the music world that Ann has used as an inspiration for her own musical career.

Callaway doesn't attempt impersonations; she selects songs that represent her idols and then gives them her own unique styling, and she covers a variety of artists and several styles in her selections. The album opens with Sarah Vaughan's "Tenderly" and includes Nat King Cole's "Route 66," Tony Bennett's "The Best Is Yet To Come," a stunning rendition of Ella Fitzgerald's "Mr. Paganini," a sensitive and touching "In The Wee Small Hours of the Morning" from Frank Sinatra's repertory, and ends with Mel Torme's upbeat "Pick Yourself Up" among the 12 beautifully sung selections.

But if you think the album is fabulous, and it is, the best experience was seeing Callaway in person at a recent stop in Tucson, Arizona where she did an unforgettable two and a half hour set that included all but two selections from the new CD in the first half and had ten of her standards in the second part including her self-accompanied "My Funny Valentine," a couple of her other song hits including a patriotic song written after the September 11 tragedy and adding an improvised song about Tucson based on audience shouted phrases that represented the city. She was stunningly gowned and jeweled with different outfits in each half. The local sponsor, Invisible Theatre, dressed the stage elegantly, and her combo was superb.

Two selections came from her only Broadway musical, "Swing," and her comments about the artists she selected in her first act "Signature" selections was insightful and interesting. She had a relaxed and comfortable banter with the audience, which was eating out her hand from her first moment on stage. It was a great performance by a distinguished and underrated artist who possesses a brilliant voice. Her tour touting the new CD continues. Watch for her in your town and don't miss the performance. She's quite a talent!
 
Grade: A for the "Signature" CD
A+ for the Tucson performance

"DREAMGIRLS IN CONCERT"
Benefit Actors' Fund Performance September 24, 2001
Nonesuch (79656-2)

The promises were something. A full-length "Dreamgirls" based on the fabled September 2001 New York benefit performance. We waited months for the release and it's finally here and what a disappointment. The original production of "Dreamgirls" had a once in a lifetime cast headed by the great Jennifer Holliday as Effie. She was marvelous and stopped the show and the recording with her moving "And I Am Telling You I'm Not Going." In the star-studded New York concert performance there are no outstanding performances, there are no show stopping renditions. Most inadequate is Lillias White's Effie. She screams and splatters through the show's big torch song but the effect is bland, listless, and never moving. Her performance isn't mesmerizing. It's not a bigger than life woman disappointed in love but with a set of vocal cords that brings her fame. The rest of the trio, the Dreamettes, is filled out with Heather Headley as Lorrell and Audra McDonald as Deena. This top casting of current musical theater stars should be perfect but it never creates a single spellbinding moment in this long, two-CD version that includes lots of weakly delivered dialogue and presents no great singing. This "Dreamgirls in Concert" is one of the biggest letdowns in recent memory. After a couple of disappointing listens, I got out my copy of the original cast and really enjoyed "Dreamgirls" as it was intended. Find the original, forget this new version.
 
Grade: D

"THE STUDENT PRINCE"
1952 Studio Cast
DRG Records (19018)

This studio cast "The Student Prince" features opera stars in the lead roles and sounds throughout like a stuffy, but musically perfect rendition that would be flat if produced on stage. Dorothy Kirsten and Robert Rounseville head the cast. The orchestra, under the direction of all-time great musical theater conductor Lehman Engel, backs the singers ably. The Sigmund Romberg operetta score is lovely, the melodies are lush and lovely but the singing is forced and no one seems to having much fun with the creaky storied tale. This release is the first in DRG's series of old cast albums, most long out-of-print, some never before on CD. DRG deserves musical theater lovers' praise for reviving these treasures of the past, but "The Student Prince" is far from that show's best recording.
 
Grade: C+

"THE NERVOUS SET" Original Broadway Cast DRG Records (19020)

"The Nervous Set," a 1959 Broadway show, is a show music collector's rare gem and it's never before been available on CD. The show is most notable for the appearance of Larry Hagman, Mary Martin's son and later television star. The show spoofed the beat generation of the late '50s and was unusual in that it didn't use an orchestra but a jazz quartet seated on stage for the contemporary themed score. Although the show's characters loved themselves more than anyone else, it has a love affair in its witty and satiric story. The music is interesting and the show sounds like nothing else of its generation. "The Nervous Set" is a treasure from the past that is most interesting today. It's nice to have this show available again in this pristine re-mastered CD.
 
Grade: A

"BEGINNERS PLEASE! A COLLECTION OF OVERTURES FROM THE MUSICALS"
First Night Records (OCRCD 6058)

First Night Records compiles the overtures from 19 of its cast albums for "Beginners Please! A Collection of Overtures from the Musicals." Since many of the cast albums are not definitive versions of musical theater classics or are from less successful shows, the CD isn't anything special. There are even awkward inclusions like the London revival of "She Loves Me" where the overtures just trails off as dialogue is about to start. All of the overtures represented are from still available First Night cast albums and most collectors will already most if not all of them anyway. The final overture, "Overture for Hal Prince," is the most interesting and comes from a concert tribute to the great musical theater director. One wonders what the intent of this release was other than to make a bit extra on overtures already in the can. Seems a bit exploitive to me.
 
Grade: C-

"BEA ARTHUR ON BROADWAY: JUST BETWEEN FRIENDS"
Recorded Live West Palm Beach, Florida
DRG Records (12993)

Bea Arthur's new Broadway remembrance show that had a lengthy tryout throughout the country was not welcomed by New York critics. The big criticism, the same one I registered when the show played Phoenix earlier this year, was that Arthur didn't really tell us anything very interesting about her lengthy career. Tired jokes have been resurrected, old songs she sang years ago much better are given awkward and often unpleasant readings.

Now, everyone can hear just how awful her show is with the release of "Bea Arthur on Broadway: Just Between Friends." The recording was taped in Florida in December but the show apparently changed little, if at all, by the time it reached Broadway. The show starts with a lengthy lamb recipe, something that's supposed to be funny but isn't and it goes down hill after that.

About the only thing the show proves is Bea's impeccable comedic timing in delivering punch lines with just the right twist at just the right moment. Her stories about famous personalities she's worked with are already well known. There's just nothing here that is very revealing or very interesting. Listening to the recording is a good recommendation to skip the show.
 
Grade: D

LINDA EDER "GOLD"
Atlantic Records (83523-2)

Linda Eder has a big, wonderful pop sound that works well on husband Frank Wildhorn's musical theater and pop ballads. In her latest album, "Gold," Eder introduces in the title tune the final number of Wildhorn's new musical, "Camille Claudel," and Eder's album notes say this song sums up "the story of this remarkable woman." The melody is a typical Wildhorn torch song that builds to a big and predictable crescendo with a lush orchestration. But it isn't as stellar as earlier Wildhorn songs written for Eder especially her now famous "Jekyll & Hyde" solos. The album's 14 tracks include many Wildhorn songs, many new, but all sound like past tunes. The most exciting tracks on "Gold" are the selections written by other composers especially George Harrison's "Here Comes the Sun" and a jazzy "Son of a Preacher Man." For those who can't wait for the inevitable studio recording of Wildhorn's new musical, "Gold" offers a glimpse of the show's biggest solo. For those who love big Eder pop vocals, the CD won't disappoint.
 
Grade: B

"BERNADETTE PETERS LOVES RODGERS & HAMMERSTEIN"
Angel Records (7243 5 34969 2 OV)

When Angel announced that Bernadette Peters was recording an album of Rodgers and Hammerstein hits, I wondered what the twist would be. Peters hasn't done a Rodgers and Hammerstein show and her voice doesn't have the pleasant appeal necessary for many of Rodgers melodic tunes. But "Bernadette Peters Loves Rodgers & Hammerstein" is a charming album. It arrives in stores March 12. Peters selects lots of familiar songs from the team's most famous shows. There's representative selections from "Oklahoma," "Carousel," "South Pacific," "The King and I," and "South Pacific." There's a song from the movie version of "The Sound of Music" and a few unusual songs including "Allegro's" "The Gentlemen is A Dope," and two hits from the movie musical "State Fair." Missing are tunes from "Flower Drum Song," the team's television musical "Cinderella," "Pipe Dream," and "Me and Juliet," but there is a real surprise. "I Haven't Got a Worry in the World" was penned specially for the Anita Loos play "Happy Birthday." It's a wonderful find. Peters isn't always perfect and she does a weird thing with the closing note of "A Gentleman is A Dope," but the Jonathan Tunick orchestrations give the songs a fresh sound but one that preserves their original melodies. There's also surprise in Peters interesting treatment of "There's Nothin' Like a Dame." If you love Rodgers and Hammerstein tunes you won't be disappointed by what Peters does with some of their biggest hits and some lesser known but still beautiful tunes.
 
Grade: A

"HIGHLIGHTS FROM DISNEY ON BROADWAY"
Original Broadway Casts
Walt Disney Records (60752-7)

Disney folks are always angling for an extra buck and that's what "Highlights from Disney on Broadway," a collection of hit songs from the three Disney Broadway musicals - "Beauty and the Beast," "The Lion King," and "Aida" - looks like. The shows have all been popular both in New York where all three shows continue running and on the road where tours of "Beauty" are winding down after several years, "The Lion King" is just starting, and "Aida" has played all big markets at least once. Somehow I see this CD being marketed by all three shows. If you already have the cast albums from the three shows, these highlights provide nothing you will need but if you don't have them and want just the best in a generous sample, this one hits the mark. Each show is represented by four tracks and the accompanying booklet isn't anything too special with show credit information but nothing else including how the selected songs fit into the shows.
 
Grade: C

--

SEVERAL OLD SHOW ALBUMS TO BE RE-RELEASED

Although many major record labels have abandoned re-release of Broadway show albums from their archives, DRG, Fynsworth Alley, and Decca Broadway plan release of 18 old shows in the CD format in the next few months.

Decca Broadway is releasing shows from its archives with an "Evita" highlights album from the Broadway cast and the London cast of "Oliver" planned in April. May brings "Jerry Herman's Parade," one of the rarest out-of-print show albums and a collector treasure, and "Two Gentlemen of Verona." The final announced release is June's reissue of the London "The Boys from Syracuse." These CDs will include bonus tracks of previously unavailable material plus extensive booklets about the shows. There's still no word from Decca Broadway on release of the long promised "Fade Out, Fade In," starring Carol Burnett.

The most ambitious program is from DRG Records, which has purchased rights to 10 shows from various labels. Included in this collection are "The Nervous Set" and "The Student Prince" with Dorothy Kirsten scheduled February 26, "The Girl in Pink Tights" on March 12, "Anything Goes"/"The Band Wagon" with Mary Martin, "Christine" with Maureen O'Hara, a 1960 Sammy Fain/Paul Francis Webster musical, and "Ben Franklin in Paris" with Robert Preston set for March 26. April 9 brings "Of Thee I Sing," the 1952 Broadway cast recording, and "Tovarich," a 1963 failure that starred Vivien Leigh and Jean-Pierre Aumont. The announced DRG releases end April 23 with "Shirley MacLaine Live at the Palace" and "Skyscraper." Four are first time on CD while the other six have been released previously as CDs but are no longer available.

Fynsworth Alley plans "Juno" with Shirley Booth in February, the original Broadway cast of "I'm Getting Myself Together and Taking It on the Road" in March, and "The Grand Tour" in April. Others have been promised. None of these have been available on CD before.

RCA Victor continues to re-release old shows from their vaults from time to time. None have been announced for this year.

Let's hope this reissue trend continues and it's nice that labels not planning to release old show album are at least willing to consider licensing them to labels who will take the chance. Old show albums may be treasured by collectors but rarely sell more than a few thousand copies. It's always good to have old shows available especially with new material and in the pristine re-mastered format that makes the old tapes sound glorious.

--

"MORE BROADWAY'S GREATEST LOVE SONGS"
Various Cast Recordings
Decca Broadway (440 016 698-2)

Decca has been getting into Broadway seriously the last few years and has released several fine cast recordings. There are treasures from the past in its archives and they have also been active with re-mastered releases of old shows with beautifully annotated booklets. When it comes to compilations they have lots of material from which they can choose. A big hit from Decca was "Broadway's Greatest Love Songs." Just in time for Valentine's Day, the label released a second volume of this series and the new one, "More Broadway's Greatest Love Songs," is a breezy collection of familiar material by the finest of musical theater stars. The selections range from old standards like "Babes in Arms" "My Funny Valentine" with Julie Andrews to very contemporary "Our Last Summer" from the new Broadway hit, "Mamma Mia!" Many of these selections are from cast albums or studio cast recordings. Those that aren't from cast albums are all faithful to the original song orchestrations and the 16 tracks moves swiftly and enjoyably.
 
Grade: B

"A BROADWAY VALENTINE - LOVE SONGS FROM THE HEART OF BROADWAY"
Various Artists
Fynsworth Alley (302 062 1212)

"A Broadway Valentine" has a unique distinction. The 15-track collection, all from Bruce Kimmel produced musical theater anthologies, has incomplete credits. None of the shows that produced the songs are indicated. This collection is more unusual than the selections on Decca's "More Broadway's Greatest Love Songs," so it becomes a bit of a challenge to try and figure out all the song sources. I did pretty well but wonder if the ones I didn't get are from musicals at all. Unlike the Decca collection, this CD includes three love-themed Sondheim songs so it is far more sophisticated and interesting a listen. The artists Kimmel used are all top-notch musical theater artists and the tracks are well produced. If you're looking for a unique collection of love songs and if you enjoy guessing what shows the songs are from, this album is a delight. It gets downgraded, though, for leaving the source shows out.
 
Grade: B+

"BUDDY - DIE BUDDY-HOLLY-STORY"
Hamburg Cast
Columbia (478093 2)

This "Buddy - Die Buddy-Holly-Story" is a strange cast recording. It's from the Hamburg cast so you would think it would be in German but it is all in English. Perhaps the Germans don't think Buddy Holly tunes translate well or should be preserved in their native language. Whatever the reason, this is a very good recording. The cast does a good job of bringing Holly and his cronies to life and they all sound like the characters they portray. The program notes are in German but the songs are listed with English titles. If you like Buddy Holly songs, this is a solid cast recording that ranks with any others I have heard of this show.
 
Grade: A-

"KURT WEILL: THE CENTENNIAL
Various Artists
LML Music (LML CD-301)

On November 4, 2000, there was a concert at California State University, Los Angeles of Kurt Weill songs celebrating his centennial. Weill's music was sophisticated. The melodies are complex and to fully enjoy and appreciate his songs, you must focus on the music. The concert's cast is loaded with just the right singers to handle Weill's unique music. Charlotte Rae opens the two-disk CD with a haunting "Pirate Jenny." Nancy Dussault stops the show with "That's Him," and Sally Kellerman shows a different side of her abilities with "Speak Low." In the second act, Carole Cook is stunning in "The Saga of Jenny," Tim Curry does an impeccable "Surabaya Johnny," Shirley Jones floats through "My Ship," Loretta Devine does a remarkable "Mack the Knife," and Brock Peters closes the set with "Lost in the Stars," making one hope that trend setting musical gets revived soon. This celebration is quite a toast to the great composer.
 
Grade: A

"DORIS & ME"
Original Australian Cast
La Brava Music (LB0038)

If you are a Doris Day fan, Australian Janet Seidel sounds just like her in "Doris & Me," a welcome tribute to the movie star. There are 24 of Day's biggest hits and the album is a breezy reflection on Day's career. Several songs are from musicals but strangely, there are no selections from Day's movie star turn in "The Pajama Game," the most famous Broadway musical Day did on screen. In the accompanying pictures of Seidel's show, she even takes on Day's look. If this show with Seidel ever comes to America, where Day was a huge screen personality and star, the show would prove a welcome tribute.
 
Grade: B+

"TED KEEGAN SINGS"
LML Music (TKS001CD)

Ted Keegan has a nice voice and many of the selections on his debut album are from musicals. He tells a story with each song treatment and the songs are varied and show different sides of Keegan's voice. "The Music of the Night" from "The Phantom of the Opera," which he has performed on tour, is overbearing and Keegan is better in the more unusual selections like "Sara Lee" that he has fun with, a strong "Being Alive," and an interesting arrangement of "Sit Down You're Rockin' the Boat." Keegan is a singer to watch. Based on this album, I'd like to see him in a musical.
 
Grade: B

"AN EVENING WITH BEATRICE LILLIE"
Carmel, California Cast
Layne Littlepage Productions (LLP101)

Boy does Layne Littlepage sound like the late and great Beatrice Lillie in "An Evening with Beatrice Lillie," a show recorded from a Carmel, California engagement. The many selections represent various phases of Lillie's career. The final selection, "Swell Party Medley," has a nice collection of show tunes including one, "Home Sweet Heaven," from Lillie's last Broadway musical, "High Spirits," as well as other tunes Lillie either introduced or sang in musicals. An affectionate and fitting tribute to a great theater artist.
 
Grade: B

"CY COLEMAN - "IT STARTED WITH A DREAM"
Sony Classical (SK 89138)

"It Started With A Dream" is a fascinating and insightful view of Cy Coleman's many musical compositions by the composer. He gives unique interpretations to many of his most popular song hits and does duets with Tony Bennett on "Barnum's" "The Colors of My Life" and the album's title tune with Lillas White. Several of the selections aren't from his shows but are other popular hits he composed. The album notes are by Coleman and he explains why he picked the songs and how they fit in his career. So often composers don't do justice to their songs when they try to sing them but here Coleman does a great job with his compositions. There are many examples. But here, Coleman creates a wonderful CD and one all people who love his shows will treasure.
 
Grade: A

"THE FULL MONTY"
Original Spanish Cast
Mondicor (20172)

The first foreign cast recording of the big Broadway hit, "The Full Monty," is from Spain and it sounds just like the Broadway cast in Spanish. The musical arrangements are identical to Broadway and the casting has been done so this cast duplicates the sound and feel of the original troupe. The booklet doesn't include any pictures of the production but the same logo is used on the cover suggesting that this is a duplicate production. A strong version of a fun show with an interesting score.
 
Grade: B+

"BEAUTY AND THE BEAST"
Original Spanish Cast
Walt Disney Records (74321 74383 2)

Another foreign cast recording of a Broadway show that tries to sound the same as the original cast but in the Spanish "Beauty and the Beast," the Belle is a weak singer and brings little sparkle to the role and the Beast doesn't sound as strong and dominant as the part must be played initially so that the transition to the softer and gentler beast can be made after he falls in love with Belle. The pictures in the booklet suggest that the original designs were used so the show must look good. The casting seems to be the problem with this Spanish "Beauty and the Beast."
 
Grade: C

"BROADWAY ON BROADWAY"
"LIVE FROM TIMES SQUARE - SEPTEMBER 9, 2001"

For several years, there's been an annual preview of the coming Broadway theater season. These events, staged in Times Square, include songs from most of the current Broadway musicals and previews of some upcoming shows. This event has never been recorded but big crowds enjoy it annually. Last year it was decided to record it and release a CD. The significance is that the event occurred September 9, just two days before the horrific World Trade Center tragedy. The concert included many Broadway stars and the selections showed the diversity of the current crop of Broadway musicals. Three of the shows have since closed - "Kiss Me, Kate," "Blast!" and "The Rocky Horror Show." Only two new shows are represented - "Urinetown," a show that was almost ready to go that day, and an overture from the coming "Oklahoma." The others have been popular hits and include "Chicago," "Rent," "The Full Monty," "The Producers" and "42nd Street." The 34 minutes of the show reveals a high energy level and Mayor Rudy Giuliani suggesting that after everyone sees this preview that they go right to the box offices of the shows they like best and buy tickets since "Broadway is New York's biggest attraction." This album is worth purchasing and proceeds go to the Broadway Cares/Equity Fights AIDS campaign.
 
Grade: A

"CHESS"
Danish 2001/2002 Tour Complete In English
Scanbox Entertainment (81851)

This Danish touring cast recording of "Chess" is the first cast version of this show to be produced on two CDs. There's more of the score here than ever before and the cast sounds great. The music is magnificent and having most of it finally is a nice bonus that will make this one of the more important foreign cast recordings this year. This CD is in limited release in the United States but it's worth the hunt to find it if you like this fascinating score and show.
 
Grade: A

"THE BEST OF BROADWAY"
Angel (7243 5 36336 2 2)

If you can figure out what Angel had in mind with "The Best of Broadway," share it with the rest of us. This potpourri suggests that the 18 tracks would all be from Broadway cast recordings. Instead there are several tracks from the movie versions of Broadway shows including every song from "Oklahoma!," "Carousel," "The King and I," and "West Side Story." Many of the Broadway tracks are not from original cast versions but are from later revivals. Then there are those three Thomas Hampton solos that come from his CD and aren't in any way connected to a show recording. The tracks that are included give an overview of the last 50 plus years of the American musical but neither the very best nor the most representative collection of musicals are represented. It would better if Angel would again start releasing some of the many cast albums it has in its archives, instead of a release such as this. Their holdings include many popular shows long unavailable but also several unusual older shows, some of which have never been issued in the CD format. Having any of these show albums remastered with new liner notes and additional tracks if available would be far more valuable than "The Best of Broadway."
 
Grade: D

"THE SONGS OF MALTBY AND SHIRE"
Jermyn Street Theatre, London Cast
Dress Circle (RMDS-1)

A London production of "The Songs of Maltby and Shire" proves a breezy, well-performed collection of Broadway composers Richard Richard Maltby, Jr. and David Shire shows. The four-person cast glistens in songs from the team's important shows - "Starting Here, Staring Now," "Baby," "Closer Than Ever" and "Big." This show isn't the first revue featuring works from these talents but this cast album is a delight and the show is a pleasant addition to any collection and establishes the diversity of the team's creations.
 
Grade: B+

"THE SONGS OF JEROME KERN"
Original Mono Recordings 1925-1947
ASV, Ltd. (CD AJA 5377)

Jerome Kern was a prolific composer of shows both for Broadway and for films in the first half of this century. His "Show Boat" collaboration with Oscar Hammerstein, II, was the high point of his Broadway creations. Many of his melodic songs became pop hits at the time of their premieres and this album compiles some of the most famous pop versions. I prefer to hear these richly melodic songs using orchestrations and interpretations consistent and within the context of the shows the songs came from. These vocal selections, therefore, aren't good reflections of Kern's Broadway or Hollywood work but it does provide a historic feel for how musical theater songs were used as pop standards by well-known entertainers in those times. This album isn't recommended for show music lovers.
 
Grade: C-

"A RICHARD RODGERS CENTENNIAL CELEBRATION WITH THE SOUND OF HIS MUSIC"
DRG Records (5254)

I'm not sure just what DRG was hoping to do with "A Richard Rodgers Centennial Celebration with the Sound of His Music." I expected a compilation album of show tune arrangements of his greatest hits featuring past and current Broadway stars. Rodgers, after all, was a Broadway composer who worked with many of the great lyricists of the American Musical Theatre and created and crafted a rich legacy of shows, some of which thrust musical theater to new and expanded levels of artistic creativity. What DRG has gathered is 21 songs written by Rodgers but most of the artists and arrangements might be kindly described as pop versions of musical theater classics. Many of the songs feature musical theater artists but come from solo recordings where the singer tries to put new and different twists on show tune standards. The selections have been available before and this is certainly not a good tribute to Rodgers compositions as they were designed as parts of great Broadway shows.
 
Grade: D

"THE MUSICALITY OF LLOYD WEBBER"
JAY Records (CDJAZ 9003)

"LOVING YOU - LOVE SONGS TO YOU FROM BROADWAY & HOLLYWOOD"
JAY Records (CDJAZ 9002)

"THE MUSCALITY OF LERNER AND LOEWE"
JAY Records (CDJAZ 9004)

JAY Records has released three Broadway-related compilation albums and none are distinguished or special. All are skimpy - one CD is just 42 minutes long - and the selections on each are from the many JAY solo, themed, and studio cast musical theater recordings. Especially on the Lloyd Webber album, the vocal selections are ordinary where striking and unique interpretations are demanded. Kim Criswell plods through "Sunset Boulevard's" "As If We Never Said Goodbye" with bland insincerity. The electrifying ballads and show-stopping songs sound listless and flat. The Lerner and Loewe CD has just one interesting selection among the 12 included. Melissa Errico, who received much acclaim as Eliza to Richard Chamberlain's Henry in the "My Fair Lady" revival several seasons ago, sings "Wouldn't It Be Loverly?" here. Since no cast album preserved this production or Errico's Eliza, this selection is fascinating and she glistens but it has been available before on an earlier JAY release. The Love Songs compilation has standard picks from popular hit musicals except a track from "Passion" and "I Love You" from "Song of Norway." Since there is little unique on these three CDs these shouldn't be high on your "to buy" list of show music albums.
 
Grades: D - Lloyd Webber
D - Love Songs
C - Lerner and Loewe

"JESUS CHRIST SUPERSTAR"
("JESUCRISTO SUPERESTRELLA")
Mexican Cast
Universal/Polydor (589 429-2(29)

Andrew Lloyd Webber's first big hit, "Jesus Christ Superstar," has been revived on Broadway and in London recently. Those productions have prompted other worldwide revivals. One of them is the powerful Mexican production with commanding singing and the recording is now available. There's much feeling in the singing and each performer brings out character traits in their song interpretations. This "Jesus Christ Superstar" is a worthy one for a show with a myriad of mediocre cast recordings.
 
Grade: A-

"SUNSET BOULEVARD"
The 2001-2002 UK Tour Cast
Really Useful Records (RUGSUN 1)

This CD from the current British tour of "Sunset Boulevard" contains just three of the show's songs and only one of the big Norma Desmond arias, "As If We Never Said Goodbye" but not "With One Look." Norma is played by Faith Brown and the title tune is sung by co-star Earl Carpenter. Neither singer offers a unique or definitive interpretation of these now standard show tunes. This recording is probably only of interest to those who saw the production. If you like the "Sunset Boulevard" score get either the London or American cast version depending on your preference for Patti LuPone or Glenn Close as the off-center, has-been movie star.
 
Grade: C-

"AIDA"
Original Dutch Cast
Polydor (589 453-2)

The Dutch cast recording of "Aida" sounds just like the original Broadway cast only in a different language. Producers today try to duplicate the sound and look of the original cast as successful shows tour, receive foreign productions, and as original cast members are replaced. The accompanying booklet to this version suggests that the original production look has been duplicated as has the cast's sound. The Elton John /Tim Rice score has a pop-rock sound but isn't great. "Aida" is more about the spectacle than the quality of the music and there's nothing unique about this cast.
 
Grade: B-

"WHAT MAKES SAMMY RUN?"
Original Broadway Cast
GL Music Co. (GL 115)

Steve Lawrence and Eydie Gorme's private record label, GL Music, recently released the husband/wife team's Broadway musical, "Golden Rainbow," for the first time on CD. Now from the same label comes the release of Lawrence's more famous show, "What Makes Sammy Run?," based on the Budd Schulberg novel about the movie industry in the 1930s. Lawrence played Sammy Glick, an "all-time, first class American heel," according to the liner notes. The musical co-starred Sally Ann Howes, Robert Alda, and Bernice Massi. Like "Golden Rainbow," this first time CD release is not a distinguished show but the difficult-to-find LP has been treasured for years by show music collectors. The show's one big standout hit, "A Room Without Windows," is sung agreeably by Lawrence and Howes. The rest of the Ervin Drake score is pleasant if undistinguished. "What Makes Sammy Run?" is for collectors, not the casual show music lover.
 
Grade: C+

"THE RED MILL"
Ohio Light Opera Cast
Albany Records (TROY 492/493)

Victor Herbert penned corny operettas with the silliest of stories but scores full of beautiful melodies. This generalization applies to one of Herbert's bigger successes, "The Red Mill," a 1906 show set in Holland that follows the mishaps of two Americans in a ridiculous boy meets girl, boy gets girl plot. The only reason for a new recording of this ancient show is to focus on the songs. Unfortunately, that's not what the two-CD Ohio Light Opera recording does. There's a lot of trite dialogue that does nothing to help clarify the wonderful song the patter introduces. The singing is competent and the score is delightful but listening to two disks full of annoying dialogue make it a chore to get at the songs. The best song is the famous "In Old New York." One hopes that those preserving old operetta scores focus on the songs and not silly dialogue.
 
Grade: C

"PETE 'n' KEELY"
Off-Broadway Cast
Fynsworth Alley (302 062 122 2)

"Pete and Keely" took off-Broadway by storm and now the cast album lets those of us who missed it see what all the excitement was about. Set in 1968, a television show attempts to reunite an estranged husband/wife team who parody Steve Lawrence and Eydie Gorme or Louis Prima and Keely Smith. The team hasn't been successful since they broke up and the show is a songfest of golden oldies and new songs by the show's musical director Patrick Brady and director Mark Waldrop. The delightful show features two great contemporary musical theater stars, Sally Mayes and George Dvorsky. The appealing and familiar tunes include "Black Coffee," "Lover," "This Could Be the Start of Something Big," and a stirring "Battle Hymn of the Republic." The story, by James Hindman, spoofs '50s and '60s entertainers and early television. "Pete 'n' Keely" will charm and delight and will no doubt become a regular in community theaters. Let's hope that such productions feature talents like Mayes and Dvorsky.
 
Grade: A

"HONK!"
Music Theatre of Wichita Cast
Music Theatre of Wichita (MTW-0707-CD1)

"Honk!" comes from British writers George Stiles (music) and Anthony Drewe (book and lyrics) and it is based on Hans Christian Andersen's "The Ugly Duckling." Although a London cast recording was released, this version by Music Theatre of Wichita is as good as or better than the earlier version. It's set in a duckyard and is about Drake and Ida, a pair of ducks who await birth of their new brood. One of the eggs is unusually large and when it hatches, a duck unlike any other is born and he makes an unexpected honking sound instead of the typical quack. The story is cute and the score is fun and energetic. Look for "Honk!" to show up around the country. It might be popular with children's troupes as well as with community theaters.
 
Grade: B

"VANITY FAIR"
Original 2001 London Cast
Bayview Recording Company (RNBW013)

The 1962 musical "Vanity Fair" was the first for the partnership of Julian Slade (music) and Robin Miller (book and lyrics) and grew out of both men's desire to adapt the W. M. Thackery novel as a musical. It's set in 1812 London where the city is a hotbed of romantic intrigue. The music captures the period well and the score is solid if not memorable. This cast recording comes from a 2001 London revival at the Theatre Museum where it was part of the Covent Garden Festival. For the revival, the authors revised the show reflecting both book changes and new music. It's the first time the show has been recorded.
 
Grade: B

"ANDREW LLOYD WEBBER NOW & FOREVER"
Various Sources
The Really Useful Group/Polydor (314 589 393 2)

Andrew Lloyd Webber's phenomenal musical theater career has created many of the most successful musicals of recent time. "Now & Forever" is a 5-CD tribute to his career. The first three discs have highlights from all his musicals from familiar original cast recordings that are probably already in musical theater lovers' libraries. Selections from "Jesus Christ Superstar," "Evita," "Cats," "Song and Dance," "Starlight Express," "Requiem," "The Phantom of the Opera," "Aspects of Love," "Joseph and the Amazing Technicolor Dreamcoat," "By Jeeves," "Sunset Boulevard," "Whistle Down the Wind" and "The Beautiful Game" feature the biggest hits from each show. Only the last two shows, with limited United States exposure, will be new to most collectors. The artists singing represent most of the famous interpreters of Lloyd Webber's biggest roles. It is the fourth and fifth discs that have more interesting material for show music collectors. The fourth disc contains pop versions of the composer's big hits. Most will not be familiar to show music lovers and most twist the original arrangements just enough to make them sound different than the cast albums. The last disc is by far the most fascinating. It is a collection of Lloyd Webber's songs that were either cut from his shows or are early versions of songs that were later changed dramatically. The collection of 22 numbers on this disc includes the composer's first tune, "Make Believe Love," a 1963 song sung by Wes Sands from a Lloyd Webber variety show written when he was a teen. It's worth the expensive price of this set to get the last two discs. The accompanying booklet is full of familiar material presented well graphically about the shows.
 
Grade: B+

HOWARD McGILLIN
"WHERE TIME STANDS STILL"
No Company (HFM5497)

Howard McGillin, the current star of Broadway's "The Phantom of the Opera," releases his first solo album, "Where Time Stands Still," and it's a nice, easy to enjoy collection of show tunes and pop songs. McGillin themes the selections to "the power that love holds over us, and how time itself can seem suspended in the moments when love takes possession of the senses." The album contains one song from his current show, "Music of the Night" that he pairs with Andrew Lloyd Webber's "Unexpected Song." The arrangements are all pleasant. The musical backup is fine and it's good that McGillin believed in this project enough to handle the album's producing.
 
Grade: B

"DO I HEAR A WALTZ?"
Pasadena Playhouse Cast
Fynsworth Alley (302 062 126 2)

Stephen Sondheim and Richard Rodgers may have fought while writing "Do I Hear A Waltz?" but the show's score is a delightful and melodious one. In the well sung and brilliantly recorded new recording of the Pasadena Playhouse revival from last summer the score charms from the Overture, through the wonderful title tune, to the poignant "Thank You So Much," and the Finale. The cast is superlative. Alyson Reed is perfect as Leona Samish, the middle-aged wallflower who hopes to find romance in Venice. Carol Lawrence is charming as Fioria, the lady Leona stays with. As Leona's Italian love interest, Renato, Anthony Crivello has a rich accent and just the right amount of romantic vigor. After one listen, it has been hard to stop replaying this recording. It's a must buy cast recording.
 
Grade: A

"WEST END: THE NEW GENERATION"
Jay Productions (CDJAY 8009)

The interesting new Jay Records compilation, "West End: The New Generation," features songs from London hit musicals sung by contemporary musical theater performers largely known from their London show appearances. There's nothing unique on the album that includes tunes from "The Lion King," "Cats," "Whistle Down the Wind," "The Phantom of the Opera," "Miss Saigon," "Oliver," "Beauty and the Beast," "Chess," "My Fair Lady," "Les Miserables," and "The Beautiful Game." The 16 selections are all well sung and the recording is an easy and pleasant listen.
 
Grade: B

"TITANIC"
Original Dutch Cast
Universal Music/Polydor (589 452-2)

"Titanic" is an interesting musical about the great ship's sinking that got lost when the motion picture arrived almost the same time as the musical's Broadway opening. The original cast recording is stirring and it's nice to have another version even though this one features the Dutch cast. The cast sounds as strong as the original cast and the music is richly preserved in this fine foreign cast album.
 
Grade: B+

"SATURDAY NIGHT FEVER"
Original Dutch Cast
Universal Music/Polydor (547 902-2)

"Saturday Night Fever" was never a big hit as a stage musical and it never duplicated the now famous movie's success. The show's London cast recorded the cast album but the Broadway cast never had that chance. Now, comes another version of the show, this one featuring the Dutch cast. It's fine but doesn't present anything not already better recorded on the London cast version and both versions are less spectacular than the movie.
 
Grade: C+

"ZIEGFELD FOLLIES OF 1936"
Encores! Cast
Decca Broadway (440 016 056-2)

What a delight to have a wonderful recording of the Encores! version of the "Ziegfeld Follies of 1936" from Decca Broadway. The score with music by Vernon Duke and lyrics by Ira Gershwin glistens, and the cast, with such current musical theater stars as Christine Ebersole, Ruthie Henshall, Howard McGillin, Stephanie Pope, and Mary Testa, is great. The Ziegfeld Follies were such an important part of Broadway musical theater history so this is an interesting part of theater history. While recordings of other "Follies" exist, this one provides the excitement and sparkle that these revues are reputed to have had originally. The 1936 Follies version was noteworthy because Bob Hope was in the cast along with Fannie Brice and Eve Arden. Many of the numbers were written for the stars set to perform them but the cast here is effervescent and bright so that the show has an energy and drive that is infectious. Testa's lusty in the Fannie Brice songs. Ebersole handles the Arden parts breezily and Pope handles the Josephine Baker parts with vigor. The Coffee Club Orchestra under Rob Fisher's peppy baton makes the music sparkle. The show was reconstructed for the Encores! production so this version is the first time since the initial Broadway run that the show has been heard in its entirety. It's a wonderful entertainment carried by the personality and style of the perfect cast.
 
Grade: A

LOUISE PITRE "ALL OF MY LIFE HAS LED TO THIS"
LML Music (LML CD-30)

Louise Pitre has become a Broadway star in "Mamma Mia!" and "All of My Life Has Led to This" is her first solo CD. She sounds wonderful in several "Mamma Mia!" selections (and this may be her only recording of that show since the Broadway cast probably won't be recorded) as well as other show tunes and easy listening music. The album is pleasant and a nice listen and it showcases Pitre's fine voice. A good debut recording for this new Broadway star.
 
Grade: A

"RODGERS AND HAMMERSTEIN OVERTURES"
Hollywood Bowl Orchestra
Decca Broadway (289 434 932-2)

Rodgers and Hammerstein musical scores are great at conveying the locale of the show's setting through music. Richard Rodgers was a genius at that often difficult challenge. In this re-released Hollywood Bowl Orchestra version of all 11 Rodgers and Hammerstein overtures, the music's full rich sound is captivating and this is a wonderful CD to play as background music. Each overture is unique and, in the one show without a formal overture, "The Sound of Music," the album includes the Entr'acte that easily serves as that show's overture. The orchestra under John Mauceri's sparkling direction is full sounding and this CD is a joy.
 
Grade: A

"GUYS AND DOLLS"
50th Anniversary Cast
DRG Records (19017)

One wonders the reason behind this current "Guys and Dolls" tour and even more why it needed a cast album. The results sound dreadful. The cast is uninteresting, the brilliant changes made in the recent Broadway revival are no where to be found here, the orchestra sounds thin, and the orchestrations don't have the lush sound and nuances of the recent revival. With the original Broadway cast recording still available and the revival recording also available, this new version seems to have a limited market other than unsuspecting audiences attending the show on its current nationwide tour. The production stars Maurice Hines as Nathan Detroit and Alexandra Foucard as Miss Adelaide. Neither do anything special with these most comic of roles and "Adelaide's Lament" isn't the hysterical delight it should be. Here, you are almost glad Foucard has a cold and you hope Nathan does nothing like proposing to end it. As the Salvation Army lass, Sarah Brown, and her gambler lover Sky Masterson, Diane Sutherland and her husband Brian lack any vocal chemistry. The singing is bland and this was a one listen CD that quickly went on the shelf with the other and much better "Guys and Dolls" recordings.
 
Grade: D-

"KISS ME, KATE"
Studio Cast
TER Limited (CDTEH 6008)

JAY Records has released several strong if not outstanding complete recordings of major Broadway musicals. In a new series called Music Theatre Hour, they issue highlights versions of these shows at modest prices. Two recently made it to stores and "Kiss Me, Kate," based on the 1993 complete recording, is a well-sung version without the sparkle or verve of the new Broadway cast revival. Thomas Allen and Diana Montague are the feuding ex-husband/wife pair playing in a second-rate touring version of Shakespeare's "The Taming of the Shrew." The off-stage antics play into the recording, as they should, production and both singers' possess strong voices. Graham Bickley as Bill and Diane Langton as Lois are the best of this version's leads. The full orchestra under John Owen Edwards' direction sounds great, as do the show's original orchestrations. If you are looking for a respectable but undistinguished "Kiss Me, Kate," this one fills the bill.
 
Grade: B-

"SOUTH PACIFIC"
Studio Cast
TER Limited (CDTEH 6009)

Another of the Music Theatre Hour series, this highlights "South Pacific" is taken from the 1996 complete recording. On this one, the casting isn't as good. Justino Diaz sounds too operatic as Emile and Paige O'Hara sounds too immature and girlish to be wallflower Nellie who is about to enter a cross-cultural romantic relationship. O'Hara is better in the comedy numbers like "Honey Bun" than she is in the more serious romantic moments with Emile. Shezwae Powell's "Bloody Mary" isn't memorable although the orchestra under John Owen Edwards sounds fine. This "South Pacific" is far from the best available.
 
Grade: C

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No envelopes get opened and no statues get handed out, but winners are declared. The year 2001 was a good year for CD releases and after reviewing the nominees - every Broadway-related CD released since January 1 - here are my thoughts as to the best CDs of 2001:

Best of the Year - (Tie) "Jane Eyre" and "Barbara Cook Sings Mostly Sondheim."

"Jane Eyre" has an outstanding show score and is a brilliantly sung production, while "Barbara Cook Sings Mostly Sondheim" is a magnificent live recording of the great Cook's latest Carnegie Hall concert tribute to Stephen Sondheim. Her selections include Sondheim songs and those songs the composer wished he'd written. Cook's voice remains sensitive and limpid and, as always, she has an amazing way of telling a story with each song. These two musical theater CDs will remain an important part of any show music collection for years and for more casual listeners, both are rich recordings.

Best Cast Recordings

1. "The Producers" - It's a fun and fast paced recording of the most successful new musical in years. Mel Brooks' clever adaptation of his hit movie features the brilliant performances of Nathan Lane and Matthew Broderick.

2. "Seussical" - This CD was a bright surprise with its peppy score and animated cast performances. The score has a childlike innocence and ebullient charm.

3. "Through the Years" - This release marked a wonderful rebirth for Vincent Youmans' 1932 musical with a weepy operetta plot where the heroine is murdered on her wedding day, but it's full of lovely songs sung by the best contemporary musical theater talent.

4. "tick, tick, BOOM" - This was Jonathan Larson's first musical. It's autobiographical story about a 30-year-old's first musical and Larson's music reflects Stephen Sondheim's influence on him and you hear things that later showed up in Larson's "Rent."

5. "Urinetown" - This CD offers a weird tongue-in-cheek story of a Gotham-like city on the verge of an ecological disaster that prompts a government ban on private toilets and peeing has a great Kurt Weill-sounding score.

Best Reissues

1. "Bloomer Girl" - The 1944 Harold Arlen/E.Y. Harburg show set in the Civil War is full of recognizable tunes and Celeste Holm's performance in the focal role.

2. "Lost in the Stars" - This was an ambitious musical with a book based on "Cry the Beloved Country" and a haunting Kurt Weill score.

3. "Call Me Madam" - This musical had the great Ethel Merman as the hostess with the mostest and a wonderful Irving Berlin score.

4. "Bells Are Ringing" - Judy Holliday made the original "Bells Are Ringing" a hit and the re-mastered release was a wonderful reminder of her definitive performance.

5. "Two on the Aisle" - Bert Lahr and Dolores Gray satirize of early television.

Best Studio Recordings

Leading the standouts in this category is "The Frogs/Evening Primrose," two Stephen Sondheim shows that tell us a lot about his later shows. "Breakfast at Tiffany's," one of Broadway's most fabled bombs, is now preserved. Cole Porter's charming "You'll Never Know" was a find. "Mata Hari," another bomb that never made it to Broadway, told an interesting story of the exotic dancer.

Best Solo Recordings

This category covers recordings by musical theater personalities and is topped by Kristin Chenowith's "Let Yourself Go," which has many older musical theater standards. Donny Osmond's "This Is the Moment" is full of very contemporary arrangements of pop musical theater hits. Also a winner is Philip Chaffin's "Where Do I Go from You," an easy and relaxed CD of familiar show songs in excellent arrangements.

Best International Recordings

Two London shows get the nod - Andrew Lloyd Webber's very political "The Beautiful Game" and "The Secret Garden," a dark musical based on the children's story with a great score that sounds very different in this recording than in the original Broadway cast version.

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"BROADWAY CARES - HOME FOR THE HOLIDAYS"
Centaur Entertainment (CEN 30047-2)

Broadway Cares/ Equity Fights AIDS sells Broadway-related merchandise as part of its of fund-raising efforts. For several years, they've gathered Broadway theater stars to create an annual Christmas CD. This year, two holiday CDs were released. "Home for the Holidays" includes fairly standard Christmas tunes well sung with some interesting and non-traditional arrangements. The album opens with Liza Minnelli and Alan Cumming in "Baby It's Cold Outside." Other highlights include Jane Krakowski in "Santa Baby," Patrick Wilson in "We Need A Little Christmas," and Audra McDonald in a lyricless "White Christmas." There are 16 tracks and if not every song is wonderful, the album's proceeds go to support a great cause.
 
Grade: B

"WHEN THE SUN COMES OUT"
KAREN MASON
Jerome Records/Zevely Records (No Number)

Karen Mason's new CD, "When the Sun Comes Out," will be in stores November 27. It's a strong collection of show tunes, torch songs, American standards, and pop classics. Mason has been one of Broadway's most famous understudies having covered for Glenn Close and others in "Sunset Boulevard" and now she's co-starring in Broadway's newest hit, "Mamma Mia!" The arrangements here are good and Mason's big voice sounds strong in all 14 tracks. She starts with a jazzy "Downtown"/"I Know A Place" and ends with "I Have A Dream" from "Mamma Mia!" Along the way are Kander and Ebb's "Maybe This Time," Harold Arlen's "Stormy Weather" played against the album's title tune, and Vernon Duke's "Taking A Chance On Love" among others. The CD showcases Mason's voice brilliantly and the diversity of the selections is a testament to her ability to sing varied types of music.
 
Grade: A

"TIP-TOES"/"TELL ME MORE"
Carnegie Hall Concert Cast and Studio Cast
New World Records (80598-2)

These two early George and Ira Gershwin musicals are both delightful finds. Especially good is "Tip-Toes," a 1925 show that marked a major transition in Gershwin scores to a more mature and sophisticated sound. The story and some of the lyrics are still pretty silly. The excellent cast features Emily Loesser, Lewis J. Stadlen, Andy Taylor, Lee Wilkof, Mark Baker, Cynthia Sophiea, Rachel Coloff, and Alet Oury. The score has been restored and is conducted by Rob Fisher and the orchestra flies fleetingly through familiar and charming songs. The show's set in Palm Beach just before the Depression. The less interesting "Tell Me More" sounds more like typical shows of the period even though this one also debuted in 1925. The story is really petty and the music isn't as innovative or captivating as "Tip-Toes." But the fact that the two CD set packages the two shows together should not stop you from buying it. To discover "Tip-Toes" is reason enough to get it and enjoy the wonderful music.
 
Grade: A

"BY JEEVES"
American Premier Cast
Decca Broadway/Really Useful Group (314 589 309-2)

If you really hate Andrew Lloyd Webber's spectacle musicals with their pompous ballads, you might just love "By Jeeves," a problemed show Lloyd Webber wrote with Alan Ayckbourn several years ago that has been revised and revived successfully and is now playing on Broadway. This recording is by the American Premier Cast that did the show in Pittsburgh and later filmed it for television in Canada. With only one exception, the cast is the same on Broadway. The show is based on the Jeeves stories of P. G. Wodehouse and traces the exploits of Bertie Wooster and his servant Jeeves. It's a tongue firmly in cheek plot. The score is delightful. It's light and catchy and one song, "It's A Pig," is really funny. The lyrics' bite comes from British playwright Ayckbourn, known as the British Neil Simon. While far from an elaborate musical, "By Jeeves" is a charmer, the cast is fine, and you will enjoy the recording.
 
Grade: A

"SUBWAYS ARE FOR SLEEPING"
Original Broadway Cast
Fynsworth Alley (FA-001-LE)

The 1961 musical "Subways Are For Sleeping" is notorious among musical failures. It was not well received by the critics and producer David Merrick did atypical publicity to try to sell the show. When the major critics panned it and stars Sydney Chaplin and Carol Lawrence, he found people with the same names as the reviewers and gave them tickets in exchange for their reactions to the musical. Surprise, they all loved the show and Merrick used those quotes. The show really wasn't very good but the cast recording has been a fabled part of show music collections. It's been out of print for years. It was owned by Sony and the label had no intention of releasing the score on CD. They sold the rights to Fynsworth Alley and the long-awaited CD is now available in a limited edition and very expensive version that includes several previously unreleased bonus tracks. The musical is based on Edmund G. Love ten unconnected stories about New York City subway riders. Betty Comden and Adolph Green fashioned a book from the stories and Jule Styne contributed an undistinguished score. Listening to the show will make it clear why the show bombed. Even the performances of the two stars - Lawrence and Chaplin - are bland but Phyllis Newman did win a Tony for her comic relief role. Some of the melodies are familiar but most of the score is uninteresting. It's still nice to have a well-mastered CD version of this infamous show. Let's hope Fynsworth Alley releases other long unavailable shows.
 
Grade: C

"DRG 25TH ANNIVERSARY SHOW STOPPING PERFORMANCES"
Original Cast Recordings
DRG Records (12628)

Let's face it, DRG's show music cast albums aren't the best so the two CD release, "DRG 25th Anniversary Show Stopping Performances" doesn't have lots of memorable musical theater classic songs but the album is full of interesting gems from forgotten shows and some classic performances from revival cast performances. Most of the songs are from still available cast show albums. Shows represented include "A Day in Hollywood, A Night in the Ukraine," several recordings of Encores! revivals, "Meet Me in St. Louis," "I Love My Wife," "High Society," "State Fair," "Seesaw," and "March of the Falsettos" among the 40 tracks. It's a nice collection of less than hit tunes and it preserves several less successful Broadway musicals.
 
Grade: B

"BACK TO BEFORE - A LIFE IN SONG"
JUDI CONNELLI
Australian Broadcasting Corporation (ABC 461 883-2)

Australian musical theater performer Judi Connelli has been a big star and has played many roles in popular shows over her career. "Back To Before - A Life In Song" is a solo album that reflects famous roles from her career as well as songs from shows she would like to perform. Quite frankly, the album is a bummer. The singing is not very pleasant and many of the songs seem well outside her current vocal range. She may have been a big star but this album doesn't show us why. The arrangements aren't very interesting and many change familiar show tune orchestrations to accommodate Connelli's faltering voice. It's a nice show tunes collection but Connelli doesn't do most of them justice. This is a CD to skip.
 
Grade: D

"THE FROGS" AND "EVENING PRIMROSE"
Studio Cast
Nonesuch (79638-2)

Of all of Stephen Sondheim's shows, only his 1974 musical "The Frogs" hasn't been available on a recording. The long wait is over because Nonesuch has released an impeccable studio cast version of the show along with "Evening Primrose" selections, a television production that Sondheim contributed songs. "The Frogs" premiered at the Yale Repertory Theatre in a production mounted in the school's swimming pool. It was adapted from an Aristophanes comedy by Burt Shevelove. He set the play in the present but "the place is ancient Greece." He substituted a dialogue between Shakespeare and Shaw in lieu of the one between Aeschylus and Euripides in the source play. And like Sondheim's earlier farce. "A Funny Thing Happened on the Way to the Forum," "The Frogs" includes liberties with classic Roman comedies of Plautus. Several songs sound like "Forum" and Nathan Lane as Dionysos, the narrator of sorts, Brian Stokes Mitchell as Xanthias and Pluto, and Davis Gaines as Shakespeare head a superlative cast. The four "Evening Primrose" songs, from 1966, have been included in some of the Sondheim revues so the tunes are familiar, especially "Take Me to the World." These songs are performed well by Neil Patrick Harris and Ella Harkins. These two shows fill in the gaps in the recordings of Sondheim's work and, like all his musicals, are interesting and complex songs with innovative lyrics. This CD is a nice addition to any show music collection.
 
Grade: A

"SAMMY CAHN ALL THE WAY"
JEFF HARNAR
Jerome Records (no number)

The great and familiar lyricist Sammy Cahn gets a wonderful airing on Jeff Harnar's new CD, "Sammy Cahn All The Way." It's scheduled for release on November 6. Harnar has an easy way with a song and his pleasant voice is a perfect match for such Cahn song hits as "All The Way," "Love Is A Bore," "Call Me Irresponsible," and "Time After Time." There's 14 tracks including a World War II medley of "Saturday Night," "I'll Walk Alone," "Bei Mir Bist Du Schon," and "It's Been A Long, Long Time." Alex Rybeck arranged and conducted the excellent 10-piece band whom ably back up Harnar's vocals. This CD is a winner if you love Cahn songs.
 
Grade: B

"BIG"
Original Broadway Cast
Decca Broadway (012 153 009-2)

The 1996 musical "Big," based on the movie about a boy who becomes a man only to regret it, was not a hit. A revised version toured and it also failed to achieve success. Decca Broadway has re-released the original Broadway cast recording and although the show may have failed, the score by David Shire with lyrics by Richard Maltby Jr. is pleasant. The re-mastered CD has great sound and although there are no new tracks, the booklet has several pictures of the Broadway production and good background material. The cast included Daniel Jenkins as the boy turned man and his performance is infectious. Less successful is Crista Moore as his confused mother. It's nice to have "Big" available again even if it will never make the list of important American '90s musicals.
 
Grade: B

"THROUGH THE YEARS"
Studio Cast
ps classics (no number)

The new recording of Vincent Youman's 1932 musical "Through the Years" is a pleasant find. This CD marks the show's premiere recording and it's full of old fashioned but charming music. The show's plot was bizarre and is described in the CD brochure as "a weepy operetta in which the heroine is murdered on her wedding day." Audiences weren't quite ready for such a show when it debuted but the score was widely praised. It's full of lovely songs and they are sung by the best of contemporary musical theater talent. Stars include Heidi Grant Murphy, Brent Barrett, Hunter Foster, Jennifer Cody, and Philip Chaffin - and they are all outstanding. The backup orchestra, under the direction of Aaron Gandy, is superb and Gandy also restored the score. The silly plot may have doomed the show in performance but the music makes this new cast recording a must for musical theater lovers.
 
Grade: A

"THE KING AND I"
Studio Cast
Flare Records (ROYCD 227)

In the 1950s, musical theater songs ended up on the pop charts. Many big musicals from the period were recorded in a variety of studio cast recordings. Often these studio versions used period pop stars who adapted the songs to their vocal styles without any regard to the show they were from. In the case of this 1951 studio cast version of the popular "The King and I," the results are dreadful. Long unavailable, a London record company, Flare Records, re-mastered these old tunes sung by Dinah Shore (Anna), Patrice Munsel (Tuptim and Lady Thiang), Tony Martin (Lun Tha), and Robert Merrill (King). Shore shows no personality in her tracks and she provides no interpretation of the words or the stories told by Anna's songs. She just sings in her standard and bland vocal style. Munsel's voice isn't ideally suited for either of the characters she sings although she attempts some song interpretation. Opera star Robert Merrill demonstrates no musical theater sense in his pompous renditions, and Tony Martin sings pops arrangements of his songs. If you love these singers, this recording may belong in your collection, but if you love "The King and I" stay away from this CD and stick to recordings from actual productions.
 
Grade: D

"WONDERFUL TOWN"
Original Broadway Cast
Decca Broadway (440 014 602-2)

Leonard Bernstein's 1953 "Wonderful Town" is based on "My Sister Eileen" and is the tale of two sisters who discover how impersonal but exciting life in New York City can be. The show starred the vivacious Rosalind Russell. As her sister, the musical introduced Edith Adams (later known as Edie Adams) to New York. The score is a charmer and is much more melodic and accessible than Bernstein's later works. The show captures the dynamic that makes New York City the culturally diverse place it is. As the story moves through the City, we meet various people and the songs capture these differences. The re-mastered cast album on Decca Broadway captures the score brilliantly and gives it fresh sound. To round out the CD, Decca added six selections from Bernstein's "On The Town," a 1945 show that traces a day of leave for three sailors in New York City. Like "Wonderful Town," it looks at the rich diversity of America's largest city. This CD is a great one representing two shows that aren't done often today.
 
Grade: B

"SONGS FOR MY FATHER"
HEATHER Mac RAE
Recorded Live at Eighty Eight's
Harbinger Records (HCD 1902)

Gordon Mac Rae was a stage and screen star who did many of Hollywood and Broadway's biggest musicals. In "Songs for My Father - Heather Mac Rae," his daughter pays tribute to the music Gordon made famous. Heather has done musicals in New York and around the country but her vocal ability is something less than her father and the album, while a nice idea, is executed without any real flair and Heather's vocals often aren't stellar. The selections are very representative of Gordon's career and include lots from "Oklahoma" and "Carousel," his most famous musical films. There's an incorrect entry on the song list. Selection 4 is "Tea for Two" and it is indicated as coming from a show or movie called "Tea for Two" when it is from "No, No Nanette." Maybe this tribute played better in person than it does on this recording.
 
Grade: C

"TWO ON THE AISLE"
Original Broadway Cast
Decca Broadway (440 014 583-2)

One of the rarest and most sought after original cast recordings has been "Two on the Aisle," a 1951 musical revue that starred Bert Lahr and Dolores Gray. The show was a satire of early television and it boasts a pleasant score by Jule Styne with lyrics and sketches by Betty Comden and Adolph Green. Decca Broadway has re-mastered this show and released it on a sparkling CD. The show isn't great but the performances of Lahr, funny and typical of the comedian, makes the CD worth purchasing. No less outstanding is Gray who is a fine vocalist and sings several melodic and affable songs, each with a bit of pointed satire. The well-documented and thorough accompanying booklet explains the show and is rich with production pictures. After all the years, it's nice to have this unique show available again. The recording has no new material but the pristine re-mastering is wonderful. "Two on the Aisle" is a gem of musical theater history and belongs in any collection of show albums.
 
Grade: B+

"BYE BYE BIRDIE"
Original London Cast
Decca Broadway (314 586 432-2)

"Bye Bye Birdie" was the first musical to deal with the rock-n-roll craze back in 1960 when this clever take-off of Elvis Presley fans arrived on Broadway. The original cast featured Dick Van Dyke as Albert Peterson, rock-n-roll star Conrad Birdie's manager, and Chita Rivera as Rose Grant, his secretary and girlfriend. The two were ideal in their roles and "Bye Bye Birdie" made Rivera a Broadway star. When the show arrived in London a year later, Van Dyke was gone but Rivera recreated her role opposite Peter Marshall, a far less charismatic Albert. Rivera sounds great on the newly remastered Decca Broadway release and she seems even sharper than on the Broadway cast recording. She seems more playful and you can sense the fun she was having with the role as you listen to her upbeat song renditions. The rest of the cast suffers in comparison with the Broadway troupe. Marshall seems stiff and his voice is undistinguished. Sylvia Tysick's Kim, the lucky girl in Sweet Apple, Ohio who gets to give Conrad his last kiss before he departs for the Army, isn't anything special and Robert Nichols can't compare with Paul Lynde's masterfully funny take on Kim's uptight father. The ensemble singing isn't too good but having this long out-of-print cast recording for Rivera's incandescent performance is enough to compensate for the weaknesses. Remember that the Broadway cast recording is still available from Sony Records.
 
Grade: B-

MANDY PATINKIN "KIDULTS"
Nonesuch Records (79534-2)

Mandy Patinkin's intensity is well known and turns off many musical theater fans. Be prepared for a surprise with Patinkin's new CD, "Kidults." It's full of well sung musical theater songs dealing with kids and there's an easy natural sound to his voice so the new CD is a pleasant listen. What a change from his several past solo CDs that have gotten more and more affected. Paul Ford's musical arrangements are nice and seem to keep Patinkin tamed. Kristin Chenoweth does several duets with Patinkin that are all delightful. Especially pleasant is their duet of "Soon It's Gonna Rain" from "The Fantasticks" and Patinkin does a really lovely "Not While I'm Around" from "Sweeney Todd." But there's not a track here that isn't charming and what a welcome change it to have a less intense Patinkin. He dedicates this CD to his grandchildren and they should be honored.
 
Grade: A

"WATCH YOUR STEP"
Musicals Tonight Cast
Original Cast Records (OC-6009)

"Watch Your Step" was a 1914 Irving Berlin hit and one of his earliest triumphs. The show's catchy score hasn't been available before this CD, which is sung by the cast of a recent Musicals Tonight production. While the music is a good indication of Berlin's career potential as a musical theater composer, the lyrics are like most shows of this era, silly, as is the story. The cast sounds great but although not specifically credited, the musical accompaniment consists just of piano and percussion and not a full orchestra that could give the score a richer reading than it gets here. "Watch Your Step" is a treasure from the past that is fun to discover on this new recording.
 
Grade: B

"STARS AND THE MOON - BETTY BUCKLEY LIVE AT THE DONMAR"
Concord Records (CCD-4949-2)

A new Betty Buckley recording is always a welcome listen and her latest, "Stars and the Moon - Betty Buckley Live at the Donmar," is no exception. The recording captures selections from her London appearance last year. Her wistful way with a song in simple orchestrations makes each song lovely and lyrical. "Not A Day Goes By" starts things off well and the title tune is quite moving. "Poet's Medley" is reflective and then two musical theater selections include her familiar "Old Friends" followed by a very different "Send In The Clowns." Her final song is a sensitive "Amazing Grace."  Like Barbara Cook, Buckley tells a story with her treatment of the lyrics of each song she selects. Another great recording from one of our finest musical theater artists.
 
Grade: A

"THE ULTIMATE SERIES - GEORGE GERSHWIN"
"VOLUME 1 - ORIGINAL CAST RECORDINGS"
Pearl Records (GEM 0113)

This new CD captures several old recordings of song hits from George Gershwin's Broadway musicals. Until the '40s, few musicals were preserved in original cast recordings but many musical theater stars went into the recording studio to capture hits from popular shows.  This CD gathers those now rare recordings and joins them in one place. The songs are Gershwin's biggest hits. No matter how much electronic repair and remastering occurs, though, these recordings sound tinny and don't always capture the power and personality of the stars who made many of Gershwin's songs big hits. They do give us a faint glimpse of what these stars did bring to these shows originally and we have later recordings that present the music well even if modern performers can't bring quite the same feeling to some of these classic songs. Music included comes from "Sinbad," "George White's Scandals of 1920, 1922, 1923, and 1924," "Mayfair and Montmartre," "Little Miss Bluebeard," and Primrose." An interesting recording of historic significance.
 
Grade: C+

"THE VERY WORST OF VARLA JEAN MERMAN"
Varla Jean Merman
Magna Puella Productions (no number)

This short 35-minute CD captures the shenanigans of this well-known female impersonator and the night club act that resulted in "The Very Worst of Varla Jean Merman." Some of the song parodies are better than others and some of the CD is quite amusing while some of the songs stretch rather thin material to the point of tedium. The character is a take-off of a ballsy musical theater performer patterned after Ethel Merman, perhaps one of the musical theater's biggest over-the-top stars. Particularly funny is "If I Only Had A.," the CD's last bonus track and it is an hysterical look at what would happen if Varla Jean had a "snatch."
 
Grade: C+

"THE DISNEY ALBUM"
MICHAEL CRAWFORD
Walt Disney Records

Michael Crawford's new album has few musical theater selections on it and it's a pretty low-key album. The selections are from Disney cartoon musicals. There's pleasant singing of popular and less popular Disney song hits but only a nice medley of "The Lion King" hints at Disney's big Broadway successes. In fact, "The Lion King" medley is the most exciting selection on this album. Crawford's voice sounds about the same and has it's usual distinctive sound. If you are expecting the grandeur of his familiar "The Phantom of the Opera" singing, you won't find it here. So, we have a pleasant but undistinguished album that has little to recommend it as an addition to your library.
 
Grade: C

"THE ME NOBODY KNOWS"
Original Cast Recording
150 Music (150MUSIC02)

It's interesting how time can change an impression of a musical. Such a situation is "The Me Nobody Knows," a 1969 Off-Broadway show that later moved to Broadway. It is based on the poems and writings of young ghetto children. At the time, the musical was well received and the cast's youthful enthusiasm and their look at the times were infectious. The cast album has long been unavailable and has now been issued as a CD. The show's music is simplistic and was designed not to overwhelm or overpower the words and thoughts of the young. While the sentiments of the kids are still appealing, the music now sounds old fashioned and simple; it's nothing special. Many of the songs seem repetitious and several recent shows have captured the thinking of this generation more successfully. The album is short - just over 35 minutes - but there has been talk of a revival of the show. "The Me Nobody Knows" now seems like a historic look back at a recent period but as a show, it isn't the throbbing, penetrating piece it was when it premiered.
 
Grade: C+

"tick, tick... BOOM!"
Original Cast Recording
RCA Victor (09026-63862-2)

Jonathan Larson's "Rent" has been a big hit. Unfortunately, Larson never saw his show's success and the trends his musical established since he died just before "Rent's" premiere. Now, Larson's first show, "tick, tick... BOOM!," has reopened off-Broadway and that cast has recorded the show. The musical was originally a solo vehicle Larson performed. It has grown to a three-character piece but it is still about Larson turning 30 and about to premiere his first musical. The score is fascinating and predicts much of what we hear in "Rent." There are also snippets of familiar music from Stephen Sondheim shows since he was Larson's mentor.  "tick, tick ... BOOM!" is quite an interesting show and is another suggestion of what Larson could have become for the musical theater had he lived.
 
Grade: A

"FERMAT'S LAST TANGO"
The York Theatre Company Cast
Original Cast Records (OC-6010)

"Fermat's Last Tango" is a most unusual musical. It is based on an ancient mathematical theorem by French mathematician Pierre de Fermat that hadn't been proved until a Princeton professor attempted a proof that was later disputed and then clarified by the professor and proved. It's an odd theme for a musical and it shifts back and forth between the past and the present as we focus on the professor's life. But according to book author Joanne Sydney Lessner, it's sort of like "The Fantasticks" only here it's "boy gets proof, boy loses proof, boy gets proof." It's a through-sung piece and the Joshua Rosenblum score has many classical sounds almost operatic but the authors claim it's a musical. The recording allows you to hear the arguments back and forth as the professor tries to prove the theorem and as he drifts in and out of the reality of his life. The music is engaging and dynamic. Hearing the recording will make you want to see the show. The recording is of  the York Theatre Company cast and the voices and performances are all tops.
 
Grade: B+

BECKY TAYLOR
"A DREAM COME TRUE"
EMI Records (7243 5 57142 2 0)

Becky Taylor is a 12-year-old trouper who has already starred in several London musicals including "Les Miserables" and "The Secret Garden." She has received several awards for singing and dancing. "A Dream Come True" is her first solo CD and many of the selections are from famous musicals and movies. Her voice is strong and clear but has no particular excitement or uniqueness. The album is pleasant but undistinguished. It doesn't demonstrate any of the colossal reviews she has received for her in-person appearances. Her voice and the arrangements of the songs are ordinary. There may be something to Becky that only becomes apparent when you see her live.

Grade: C

"LOST IN BOSTON - THE ULTIMATE COLLECTION"
Studio Cast
Fynsworth Alley (302 062 1102)

The "Lost in Boston" series included four volumes, all still available on Varese Sarabande, but this new compilation includes the best of the full series. These are fascinating selections from successful and popular musicals that were cut during out-of-town tryouts. There's a bit of the history behind each selection and how it came to be eliminated. The songs are performed by leading contemporary musical theater artists and the performances of each are all top-notch. The tunes are all quite interesting and many songs are quite good. If you just listen and don't cheat and look at the song list, the songs sound like the scores they represent. There is much attention focused on track 17, listed as "Take It In Your Stride" from "Annie Get Your Gun."  Apparently the difficult "jump" tempo put off star Ethel Merman who refused to sing the tune. Well, that's all interesting background but the song isn't included on the disc, the result apparently of a production problem. You must go back to the original source to hear it. That deletion aside, this recording is a welcome addition to any show music collection.

Grade: A

"UNSUNG MUSICALS - THE ULTIMATE COLLECTION"
Studio Cast
Fynsworth Alley (302 062 1112)

"Unsung Musicals" was another collection on Varese Sarabande and this new release includes highlights from the three volume original release. These selections are from musicals that flopped, some in New York, some out-of-town. All the shows represented went unrecorded so these tracks, sung well by contemporary musical theater artists, are the only records of songs from the shows. Even though these shows bombed and aren't remembered much today, the songs are all interesting and many are quite pleasant. The two songs from "Smile" are particularly good and are my favorites of the 18 tracks. This CD is like "Lost In Boston" a welcome addition to any show music collection.

Grade: A

"SHADES OF HARLEM"
Original Cast
Songbirds Unlimited Productions (No Number)

"Shades of Harlem" is a musical tribute to Harlem in the '20s and '30s when red-hot mamas, jazz babies, and classy style wooed audiences to 125th Street to see the hot entertainment of the day. This show tries to recapture those days with the period music in performances that attempt to recreate the great African-American artists that first sang these songs. The recording seems to lack the spark and jazzy, bluesy style made famous by Harlem. The recording is flat and few performances create much real interest in the music. With many of the artists of this period still available on various recordings you might be better off with some of the versions from the original artists rather than this pale attempt to make the era alive and vibrant.

Grade: C-

"RENT"
2001 Korean Cast - Live
(No Label or Number)

No, I don't understand Korean but I do know how "Rent" should sound if the production represents Jonathan Larson's intent. This live Korean cast recording from a production this year captures the show's vibrancy and the music sounds great. Especially touching is a wonderful interpretation of the show's big hit single, "Seasons of Love." This recording is nicely edited so that the applause that often mars live recordings isn't allowed to ruin the fine  performances.

Grade: B+

"BROADWAY FIRST TAKE VOL. 2"
Demonstration Recording Casts
Slider Stage (SMS 703)

"Broadway First Take Vol. 2" (Slider Stage SMS 703) is the second in the Slider Stage series of releases of demonstration songs from major Broadway musicals used to sell the shows to backers. These studio versions of songs from the shows reveal some familiar hit songs that have been part of a show from the beginning while some songs were dropped before the Broadway opening. This recording includes demo songs from "Promises, Promises," "Flower Drum Song, " and "La Cage aux Folles."  From "Promises, Promises" are ten songs, three of which were dropped from the show. From "Flower Drum Song" eight songs are included; one of which was dropped and in "Sunday" composer Richard Rodgers plays a piano solo. The four songs from "La Cage aux Folles" all ended in the final show including the big torch song, "I Am What I Am."  These demo recordings are fascinating for musical theater buffs that enjoy the history behind the shows.

Grade: A

"TOO MARVELOUS FOR WORDS - THE SONGS OF JOHNNY MERCER"
Lee Lessack
LML Music (LML CD-124)

Lee Lessack's relaxed style and note perfect renditions of Johnny Mercer hits make his "Too Marvelous For Words - The Songs of Johnny Mercer" (LML Music LML CD-124) a real delight. Recorded live at his performance at Hollywood's Cinegrill, 28 familiar Mercer song hits are linked cleverly. Several movie tunes, including "Days of Wine and Roses," "Charade," and "Moon River," get wonderful treatment as does "Come Rain or Come Shine," a song Barbara Cook has also used extensively in her nightclub act. This recording is a pleasant addition to any collection that is incomplete without representation of Johnny Mercer's wonderful songs.

Grade: A

"TAKING MY TURN"
Original Off-Broadway Cast
DRG Records (19012)

"Taking My Turn" was a 1983 off-Broadway musical that looked at oldsters and how they survived. It was written by Gary William Friedman and Will Holt and featured a cast of interesting older performers like Margaret Whiting, Marni Nixon, and Shelia Smith. The songs are pleasant, the lyrics wise. The show won several awards and is rarely seen today because assembling a cast of notable older performers who have retained their talent is hard. It's not a great show but it's nice to have it again on CD.

Grade: B

"HAIR"
Original Japanese Cast
RCA Victor (BVCK 38043)

"Hair" is badly outdated today even though it marked a revolution in the musical theater when it opened. This Japanese cast recording is a pretty straightforward treatment of the familiar score and there's nothing particularly telling about this version. English lyrics are even used in some parts of some songs. Stick with the original Broadway cast recording.

Grade: C+

"THE WITCHES OF EASTWICK"
Original London Cast

Well, it finally arrived. The original London cast recording of Cameron Mackintosh's new musical based on the movie, "The Witches of Eastwick" (First Night Records CAST CD79), and it sounds like an old fashioned Broadway musical from years ago. The music is an easy listen and the female leads - Lucie Arnaz, Maria Friedman, and Joanna Riding - all have solid musical theater experience and sound feisty and inviting. The plot, based on the John Update novel and the Warner Brothers movie, is set in a small town where the Devil, in the disguise of Darryl Van Horne, a new town resident from New York City, arrives to entice three frustrated local women. By the end, the three rid themselves of the Devil after the town has turned somersaults over the trio's antics. The music is by Dana P. Rowe with lyrics by John Dempsey, both musical theater newcomers, and their debut show is impressive, as are the performances of the three women. Less successful is Ian McShane's Darryl. The show has received mixed notices as staged in the huge Theatre Royal Drury Lane and it moves to a smaller venue in January where changes may be implemented to strengthen it. On CD, it's a delightful listen. The recording will be hard to find in the U.S. but stores featuring foreign cast albums, like New York's Footlight Records, have it.

Grade: A

"BILLION DOLLAR BABY"
York Theatre 1998 Cast
Original Cast Records

Betty Comden and Adolph Green's "Billion Dollar Baby" (OC-4304) was not a big success when it opened many years ago but a recent York Theatre revival with a stellar cast netted the first cast album of the show's delightful tunes written by Morton Gould. The show is set in the '20s and ends with the Stock Market crash after Maribelle Jones (played by Kristin Chenoweth) has had her dream of fame and fortune come true by marrying rich M. M. Montague (Richard B. Shull) who has just lost his fortune. The good Debbie Gravitte and the stalwart Marc Kudisch play supporting roles impressively. The songs are fun and light in keeping with the show's period. Chenoweth and Gravitte both have some wonderful musical moments and it's a shame this delightful little show is rarely seen today.

Grade: B+

"THE KING AND I"
2000 London Cast
Warner Music UK Ltd. (8573843892)

London musical theater star Elaine Paige is tackling a new style role with her current performance as Anna in the Christopher Renshaw revival of Rodgers and Hammerstein's "The King and I."  Paige has made a career of doing Andrew Lloyd Webber and other booming musical theater roles. But here in a more traditional show, her voice sounds rich in the familiar score and she is especially lovely in the show's beautiful ballads including "Hello, Young Lovers."  Her "Shall We Dance" is spirited and big. She's fun in "Getting To Know You" and her King, Jason Scott Lee, creates a commanding personality. The rest of the cast sounds fine but this recording is distinguished because it includes the complete ballet, "The Small House of Uncle Thomas," a wonderful bonus excluded from other "The King and I" recordings. For "The King and I" lovers, this is a must get version.

Grade: A

"CAROUSEL" AND "SOUTH PACIFIC"
Original Broadway Casts
ASV Ltd. (CD AJA 5344)

This London recording pairs the original Broadway cast recordings of two Rodgers and Hammerstein classics, "Carousel" and "South Pacific."  The recordings haven't been spruced up like the recent Decca Broadway releases of these same cast recordings so there's no reason to purchase this budget version. ASV, the company responsible for this release, lists two other pairings of Broadway cast recordings, "Oklahoma" and "Show Boat" plus "Annie Get Your Gun" and "Kiss Me, Kate" as being available and just how they get the rights to these shows remains unexplained. These recordings aren't available in the United States and the copy I got was imported from London. There's no reason for collectors to want these weakly recreated original cast recordings.

Grade: C-

"SWEENEY TODD"
Live In Concert at the New York Philharmonic
New York Philharmonic Special Editions (NYP 2001/2002)

"Sweeney Todd" is Stephen Sondheim's operatic musical about an evil barber who kills his customers and then recycles them into Mrs. Lovett's meat pies. It is a musically complex and a sweeping work of grandeur and greatness. The complete original cast recording has been a staple of all musical theater recording collections and it features the brilliant original Broadway cast starring Angela Lansbury and Len Cariou. Now comes a new recording from the recent New York Philharmonic concert version and it is outstanding. Casting is impeccable, everyone sounds wonderful, as does the magnificent Sondheim score. Playing Mrs. Lovett, Patti LuPone gives a richly comic, impeccably sung rendition. Opposite her as Todd is George Hearn who replaced Cariou in the tour with Lansbury. Hearn still has the perfect voice for the role and he shades his performance with a menacing sound that makes his Todd evil. The supporting cast includes Davis Gaines's masterful take on Anthony Hope, Heidi Grant Murphy's beautiful Johanna, and Audra McDonald's fine Beggar Woman. The New York Choral Artists do the chorus work wonderfully and the orchestra plays the score with panache not possible from the much smaller ensemble used for the Broadway version. The two-CD set includes even more of the show than the original Broadway cast version and this recording deserves a prominent place in all collections along side the earlier recording.

Grade: A

"YOU'RE A GOOD MAN, CHARLIE BROWN"
Original Cast
Decca Broadway (012 159 851-2)

Decca Broadway continues its releases of out-of-print cast albums with the off-Broadway recording of "You're A Good Man, Charlie Brown," a cute but undistinguished little show that has become a staple of schools and community theaters. The recording is interesting because of the charming performance by Gary Burghoff in the title role. He later went on to television acclaim as Radar in "M*A*S*H."  Like the other releases in this Decca series, the CD has been remastered impeccably. It includes four never-before-released tracks, here different versions of popular songs hits from the score sung by composer Clark Gessner and Barbara Minkus with Gessner at the piano. There's nothing historically fascinating about these additions.

Grade: B

"APPLAUSE"
Original Broadway Cast
Decca Broadway (012 159 404-2)

The envelope arrived one recent Monday. It had the right return address - the press department of Universal Records - home of the Decca Broadway label. I fumbled with the package, excited and hopeful. It seemed bulky. I was expecting my review copy of the recently released "Pippin" but what else was inside? All the other Decca releases were scheduled weeks away. The envelope ripped and out fell three CDs and yes, one was the CD that I had been waiting for several years, the original cast recording of "Applause." I unwrapped it, ran to the CD player, turned it on, and hit play. That wonderful overture started. The sound was extraordinary. The musical theater legend, Lauren Bacall playing Margo Channing in the musical version of the Hollywood show business cult film, "All About Eve," was singing. For years, the only way to hear this show was to dig out the old LP with the less than stellar sound quality of a vinyl disk. But on CD, the show sounded great due to fine remastering of the original tapes. Bacall captured the show's center as she talked/sang her way through some very pleasant Charles Strouse music with her booming, distinctive voice. The big production number, the title tune, played with the great Bonnie Franklin, Bacall captured the inside of Broadway in "Welcome to the Theatre," and the rest of the show exploded on CD. Like most Decca releases of old shows, there were several bonus tracks of things connected to the show but that had often not been available previously. Here, we got the title tune sung by the composer plus his renditions of three songs cut from the show. It was great to have this favorite available in such a pristine format. As always, the accompanying booklet provided much valuable show information. Bravo to Decca Broadway. "Applause" will be in stores October 17. I played it seven times in six hours.

Grade: A-

"PIPPIN"
Original Broadway Cast
Decca Broadway (012 159 613-2)

Along with "Applause" came the remastered "Pippin," the musical that told the tale of Charlemagne's first born son, Pippin, to Broadway in Bob Fosse's brilliantly conceived staging. The show starred Ben Vereen as a narrator of sorts with John Rubinstein playing the lead. The cast also included the great movie actress, Jill Clayburgh as Rubinstein's love interest, and marked Irene Ryan's last stage appearance as Pippin's feisty grandmother. Ryan stopped the show with "No Time At All." The show's score, by Stephen Schwartz, was catchy and pleasant. It was nice to have the show available again. The bonus tracks were Motown versions of three of the show's biggest hits, "I Guess I'll Miss The Man," "Corner of the Sky," and "Morning Glow," with pop artists. The booklet was a fact-filled delight. Here's another winner for Decca Broadway. "Pippin" is available now.

Grade: A

"FROM BROOKLYN TO BROADWAY"
Lillias White - Live at Arci's
Lily White Records (LW-0721)

The popular star of "The Life" and the "How to Succeed in Business Without Really Trying" revival gets a solo album, "From Brooklyn To Broadway," recorded live at a recent nightclub appearance at Manhattan's Arci's. The album is filled with nice if unusual arrangements of popular showtunes and some other tunes. White sounds fabulous in two "Dreamgirls" numbers suggesting that a revival of that show has a potential star. She also sings her most popular contributions to both "How to Succeed..." and "The Life." Not a bad album.

Grade: B

"ENCORE!"
Darren Williams
No Label/No Number

Australia's Darren Williams is a new name to me and his first two albums, "Encore!" and "Something's Coming," both arrived in this country together. He has an easy sound and his renditions of a variety of popular musical theater favorites are rich. He sails through old classics like "Ol' Man River," " Oh What A Beautiful Mornin'," "Luck Be A Lady," "The Impossible Dream," and "Some Enchanted Evening" along with more contemporary standards like "Beauty and the Beast," "Stars," and "Send In The Clowns" with equal ease and style. He throws in two hits from "The Boy From Oz," an Australian musical. It's a delightful album.

Grade: A

"SOMETHING'S COMING"
Darren Williams
No Label/No Number

Another delightful Williams collection, "Something's Coming," also has older hits side-by-side with newer ones. This album is filled with big splashy numbers including "This Is The Moment," "Music of the Night," "Anthem" from "Chess," and "Lily's Eyes" along with "This Nearly Was Mine," "Carousel's" "Soliloquy," and "Honey Bun."  Williams' isn't afraid to do male standards or rearrangements of songs usually done by women. This is another promising and easy to listen to album.

Grade: A

"THE STEPHEN SONDHEIM ALBUM"
Studio Cast
Fynsworth Alley Records (FA-2101-SE)

Bruce Kimmel, long a popular musical theater record producer for Varese Sarabande, left that label when they decided to stop doing musical theater recordings because they didn't gross enough. Undaunted, Kimmel started his own label, Fynsworth Alley Records, and the debut album, "The Stephen Sondheim Album," has just been released but is available only from the label's web site (www.fynsworthalley.com) for several months before it shows up in record stores. Kimmel did many Sondheim albums with contemporary musical theater artists for Varese so this album was a surprise. What more could he do?  Well, just wait until you hear this dynamite recording. The 18 songs plus a surprise, hidden extra, the result of a Kimmel dream, long after the last listed song is a fine collection with one notable exception. All the tracks are sung brilliantly by well-known musical theater stars but most have not previously recorded or sung these particular Sondheim songs. Let's get the bad apple out of the way first. Track 10 lists "Follies" touching "Losing My Mind" but instead of a wonderful rendition, the song is attacked by Dame Edna in what was supposed to be a comic take that isn't funny and sounds totally out of place on this otherwise great recording. Skip it, program it out, but the rest of the album makes this dud excusable. Brent Barrett starts things off sharply with "Make The Most of Your Music," a song added to the London "Follies."  Alice Ripley shines in the tongue-twisting "Another Hundred People" from "Company," Lea Delaria is magnificent in "Follies'" "Broadway Baby," Brian D'Arcy James is touching in "Giants In The Sky," as is Ruthie Henshall in "Children Will Listen" both from "Into the Woods." Dorothy Loudon delivers a grand "I'm Still Here" but after the final listed selection, "I Must Be Dreaming" by Emily Skinner, let the CD play and you'll discover the surprise, a McGuire Sisters approach to "Company's"  "Getting Married Today" that is a duet I think by Skinner and Ripley. It's a treasure and Kimmel even introduces his dream that results in the selection. It's great to have Kimmel back and let's hope that in addition to his fine compilation recordings like this one that he will preserve some shows that otherwise would go unrecorded.

Grade: A

"THE VERY BEST OF MICHAEL BALL"
In Concert at the Royal Albert Hall
Universal Music/Hip-O Records (012 153 824-2)

If you like Michael Ball, the English musical theater phenomenon, his latest release, "The Very Best of Michael Ball," is taken from his Royal Albert Hall concert. If you like Ball's voice primarily in musical theater selections, though, this album may disappoint. There are a few show tunes among the 16 tracks but not enough. There's a showy duet from "Godspell" and Andrew Lloyd Webber's "Jesus Christ Superstar" anthem, "Gethsemane," "Empty Chairs, Empty Tables" from "Les Miserables," and Ball's big hit from "Aspects of Love," "Love Changes Everything."  The rest are pop tunes or movie songs. With a microphone right in front of his face, there's little subtly here, just booming renditions. Ball's done better albums.

Grade: C+

"LOOK TO THE RAINBOW"
Bill Daugherty
Thoroughbred Music (TBR 102)

Bill Daugherty has an easy, relaxing vocal style and his album "Look To The Rainbow" is filled with familiar musical theater hits and some lesser known tunes that all blend together for a pleasant, easy-to-listen album. Daugherty does wonderful versions of "Minnie's Boys" touching "Mama, A Rainbow," and the finale, "Look To The Rainbow," from "Finian's Rainbow," is magnificent. There are a couple of interesting entries from the Broadway musical bomb, "The Yearling," and a lovely "Dear Friend" from "She Loves Me."  Margaret Whiting does a duet with Daugherty on "Swing Time's" "A Fine Romance."

Grade: B

"THE 3 DIVAS"
Judi Connelli, Suzanne Johnston, and Jennifer McGregor
cdp 2000 (DIVA003-1)

In "The 3 Divas," these opera/musical theater stars from Australia deliver a nice crossover album filled with opera hits and familiar Broadway musical selections. The three stars all have great voices even if some of the musical theater selections sound a bit too operatic. The best number is a stunning "Glitter and Be Gay" from "Candide" sung by McGregor, although the finale, "West Side Story's" "Somewhere," is also quite nice. If opera stars could just sound more relaxed and comfortable with the less formal music of Broadway, crossover albums would be more successful.

Grade: C+

"THE THREEPENNY OPERA"
Original Off-Broadway Cast
Decca Broadway (012 159 463-2)

The first and best English language version of Kurt Weill's "The Threepenny Opera" (Decca Broadway 012 159 463-2) was the 1954 off-Broadway cast that has become the standard by which other productions of this dark musical were measured. The cast was spectacular. The composer's wife, Lotte Lenya, essayed Jenny, Scott Merrill was Mack the Knife, Jo Sullivan (who later married Frank Loesser and starred in the original "The Most Happy Fella") was Polly, and, in a small role, Beatrice Arthur made much of Lucy. The show was done with a small, eight-person orchestra, but the score sounds like a bigger band was playing the complex and interesting Weill tunes. The text was by Bert Brecht and the English translation was the work of composer Marc Blitzstein. Set in 1837, the show takes place in London's Soho, a slum, and deals with the exploits of Macheath who heads a notorious gang. The singing is superlative and Decca Broadway has remastered it brilliantly. The recording has been long out-of-print and it's great to have it back with a nice booklet about the show. There's a bonus track of Lotte Lenya's recording of "The Ballad of Mack The Knife" accompanied by Blitzstein and it's a gem. This album is a must have for any show music collector and for those who appreciate the show's music.

Grade:A

"LOOK, MA, I'M DANCIN'!"
Musicals Tonight Cast
Original Cast Records (OC6803)

What a delightful find "Look, Ma, I'm Dancin'!" is. The 1948 Hugh Martin/Jerome Lawrence and Robert E. Lee musical was not a huge hit when it premiered but Musicals Tonight, an off-Broadway version of New York's Encores! Series, revives old shows in concert style stagings. This chestnut was part of the past season's offerings and it has been captured for posterity. The score is charming and there isn't a dud among the 13 songs on the CD. The simple show business story isn't important; it's the score that captivates. The cast includes several familiar New York musical performers and they all do wonderful jobs with the sunny characters.

Grade: A-

"CAROL BURNETT: LET ME ENTERTAIN YOU"
Carol Burnett
Decca Broadway (012 159 402-2)

Decca Broadway is re-releasing a bunch of its cast albums and they are all welcome but the label is also remastering solo albums by Broadway stars with pop arrangements of musical theater standards. Two of the rarest from Carol Burnett -- "How They Stopped the Show" and "Let Me Entertain You" -- have been out on one CD. There's nothing subtle about Burnett's renditions of musical theater favorites but these recordings, from 1961 and 1963 respectively, offer a younger Burnett. Her big sound on "How They Stopped The Show" sails through many Broadway tunes like "Johnny One Note," "Adelaide's Lament," and "Blow Gabriel Blow," along with movie tunes like "Meet Me in St. Louis's" "The Trolley Song."  The "Let Me Entertain You" album is dedicated to Jule Styne songs and includes several "Gypsy" tunes along with unusual tunes from lesser known Styne Broadway shows. This album is an interesting if not spectacular collection.

Grade: B-

"THE BEST OF GILBERT AND SULLIVAN"
D'Oyly Carte Opera Company
Sony Classical (SMK 89248)

"The Best of Gilbert and Sullivan" is a nice collection of hits from seven Gilbert and Sullivan operettas - "H.M.S. Pinafore," "The Yeoman of the Guard," "Iolanthe," "The Pirates of Penzance," "The Mikado," "Patience," and "The Gondoliers" - from various D'Oyly Carte Opera Company recordings that are all definitive interpretations of familiar classics from the English team. If you are looking for the best of the team, this is a good collection, all well sung. But these tidbits make one yearn for complete recordings of the shows. This is a good introduction to Gilbert and Sullivan shows.

Grade: B

BETTY BUCKLEY
Fifteen Year Anniversary Re-Release
KO Productions (0002-2)

Any Betty Buckley album is welcome and this long out of print classic is nice to have back with some added tracks never before released. Buckley was younger and sounds different here than she has in recent appearances and on recent recordings. Many of the song selections are by Buckley and her famous version of "The Baker's Wife's" "Meadowlark" is included. Her voice is rich and commanding and the album is a gem worth adding to any collection of musical theater star recordings.

Grade: A

"ADLER BOCK COLEMAN"
1999 S.T.A.G.E. Concert
LML Music (LML CD-201)

The Los Angeles S.T.A.G.E series is well known for it's star-studded concerts of musical theater themed entertainments that benefit AIDS charities. This 15th annual production features unforgettable renditions of musical theater classics from composers Richard Adler (known for "The Pajama Game," "Kwamina," and "Damn Yankees"), Jerry Bock ("Fiorello!," "She Loves Me," and "Fiddler on the Roof"), and Cy Coleman ("Sweet Charity," "Little Me," and "City of Angels"). All these shows and many others from these composers get catchy renditions from such musical theater stars as Gregory Harrison ("Artificial Flowers" from "Tenderloin"), Alan Campbell ("Too Close for Comfort" from "Mr. Wonderful"), Betty Garrett ("No Soap Blues"), Tyne Daly ("If I Were A Rich Man" from "Fiddler on the Roof"), Luci Arnaz ("The Best Is Yet To Come"), Joely Fisher ("Welcome to Holiday Inn" from "Seesaw"), Nancy Dussault ("Tonight At Eight" from "She Loves Me"), Dale Kristin ("When Did I Fall In Love?" from "Fiorello"/"Dear Friend" from "She Loves Me"), Hal Linden ("In My Own Lifetime" from "The Rothschilds"), Michelle Lee ("I'm Way Ahead" from "Seesaw"), and Davis Gaines ("Where Am I Going?" from "Sweet Charity") among some 39 song hits. This album is a wonderful listen and it is easy to hear why these benefits are well received. A great concert and tribute to some outstanding American musical theater contributors.

Grade: A

"THE MOST HAPPY FELLA"
Studio Cast
Jay Records (CDJAY3 1306)

The long awaited Jay Records complete recording of Frank Loesser's "The Most Happy Fella" is finally here and the wait was worth it.

Recorded in 1997/1998, it features the late Louis Quilico as Tony, the Napa Valley farmer who spots an attractive waitress, Amy, in a San Francisco restaurant. He leaves her a love note, calling her Rosabella, and asks her to be his wife. To further woo her, he sends her a picture of his farm hand, Joey, since he's a middle-aged man.

She arrives just after Tony has been in an accident and through pity she marries him.

The complicated plot has Rosabella attracted to Joey but she gradually falls in love with Tony. When she finds herself pregnant by Joey, she tells an angry Tony that she will leave. After his initial hatred cools, Tony convinces Rosabella to stay and agrees to raise the child. Joey leaves and the musical ends happily.

Loesser's magnificent and complicated score includes diverse musical styles including operatic arias like the stirring second act closer, "Mamma, Mamma," pop hit tunes including "Standing On The Corner" and "Big D," the haunting "Joey, Joey, Joey," and the melodically charming "Happy To Make Your Acquaintance" among three acts of beautiful music.

The original Broadway cast recording, featured a brilliant cast including Robert Weede as Tony, Art Lund as Joey, and Jo Sullivan Loesser as Rosabella. The recording was almost complete on three long-playing records and this definitive version has been transferred to compact disc and is still available.

The new version includes music not on the original recording and several bonus tracks of music dropped from the show before its Broadway opening. The casting is quite respectable. Besides Quilico, Emily Loesser (Frank and Jo's daughter) plays Rosabella, Richard Muenz appears as Joey, and Don Stephenson (Emily's husband) is Herman.

Quilico's big, booming voice is deeper than Weede's and while he navigates the difficult music successfully his Tony is less moving than Weede's. Especially disappointing are his concluding notes of "Mamma, Mamma" which lack Weede's spine-tingling high notes but no one has ever topped Weede in this role. Emily Loesser sounds lovely and lyrical but never surpasses her mother's emotionalism. Jo Sullivan Loesser appears in a small role and sings gloriously in a bonus track, "Wanting To Be Wanted," that was replaced by "Somebody, Somewhere" in the show. What a treat to have her included in this recording. Muenz is a fine Joey but is no Lund, while Stephenson is the strongest cast      member as Herman. John Owen Edwards conducts the large National Symphony Orchestra sweepingly and the score has the lush sound necessary to enjoy the original orchestrations.

This "The Most Happy Fella" is a lovely and highly recommended recording of a great show. Unfortunately, it's impossible to ever think of a better performance than that delivered by the original Broadway cast so this new one compliments that one.

Grade: B+

"GUYS AND DOLLS"
Original Broadway Cast
Decca Broadway (012 159 112-2)

Decca Broadway continues remastering and re-releasing several famous cast albums. More are scheduled in the coming months. Most contain bonus tracks. For "Guys and Dolls," the brilliant original cast goes through 16 riotous Frank Loesser song hits from this hysterical adaptation of Damon Runyon stories and crazy characters. Robert Alda was a great Sky Masterson, Vivian Blaine was a definitive Adelaide, and Sam Levene was great as Blaine's love interest. But then the entire cast is one of the finest and most memorable original Broadway cast. The songs sound great and at the end, Decca adds four songs from the movie version. All feature Marlon Brando as Sky and two songs have Brando in duets with Jean Simmons as Sarah. Since the film score is not available because of co-star Frank Sinatra's exclusive Capitol Records contract, these four bonus songs are a treasure even if they are not as memorable as the Broadway versions. Another great re-release from the new and very welcome Decca Broadway label.

Grade: A

"SATURDAY NIGHT"
Original New York Cast
Nonesuch Records (79609-2)

Stephen Sondheim's first musical, 1956's "Saturday Night," finally made it to New York this past season when it played off-Broadway. This new recording of that production reveals a richly melodic score, something recent and more famous Sondheim shows lack with their complex musical construction. The album is an easy listen and Sondheim demonstrates his lyric writing ability with clever song words throughout. This recording boasts a superlative cast, especially David Campbell's Gene. The story is a traditional boy-meets-girl love story. An interesting thing happened with this album's release. The first shipment contained composer Sondheim's first name misspelled as Steven on the CD label. Just a few copies with the mistake were sold before they were recalled and reprinted. Thanks to a friend at New York City's Footlight Records, I have a copy of that initial release as well as the corrected version. "Saturday Night" is definitely worth a listen and if you have the rare copy with a mistake, your collection has a special treasure.

Grade: A

"SATURDAY NIGHT FEVER"
Original German Cast
Intershow Records (ISCD 1005)

"Saturday Night Fever," the stage musical version of the popular John Travolta film, hasn't been a hit with critics but it garners audiences where ever it plays. London and New York have seen the show and now comes this German cast recording done in English. The sound is similar to the original London cast recording and it appears producers are cloning that cast for each new production. The Broadway cast recording hasn't even been made. This version isn't any better than the London cast and since much of the written material accompanying this recording is in German, the London version is preferable. The music isn't anything special.

Grade: C+

"THE KING AND I"
Music Theatre Hour Studio Cast
TER (CDTEH 6006)

This new "The King and I" is a shortened version of the complete recording of the show released a few years ago on the JAY label. It features the show's big hit songs and the cast sounds fine with Valerie Masterson a note-perfect but rather operatic Anna and Christopher Lee a dominant King. The rest of the cast is fine. There are no remarkable performances or musical interpretations but this is a competent version of the brilliant Rodgers and Hammerstein score. This new series is being released on the TER label only in England and I guess its purpose is to attract buyers who are unwilling to spring for the complete recording but will buy trimmed, hits-of-hits versions. The original Broadway cast recording, recently re-released by Decca Broadway after a major restoration and the recent Broadway revival with Donna Murphy and Lou Diamond Phillips are both better versions of this impeccable show.

Grade: B-

"JERRY ORBACH: OFF BROADWAY"
Decca Broadway (012 159 254-2)

It's good to see that Decca Broadway plans to release more than just cast recordings and that they are also interested in preserving show music collections by musical theater stars. The 1963 "Jerry Orbach: Off Broadway" recording features Broadway and off-Broadway songs sung early in his career after he had hit the big time in "The Fantasticks" but before his biggest musical hits, "Promises, Promises" and "42nd Street."  Several of the selections sound fine and hit Orbach's singing range perfectly. Some of the tunes seem uncomfortable for Orbach's range and the entire album is a scant 30 minutes, short for a single CD release. One wonders why Decca Broadway didn't package the Orbach songs with another musical theater star songs to provide a full-length release. This CD is interesting for Orbach lovers who want to hear him early in his career but for the casual listener, the tunes aren't unique and his treatment of them is not that special.

Grade: C

"KT SULLIVAN SINGS THE SWEETEST SOUNDS OF RICHARD RODGERS"
DRG Records (91462)

KT Sullivan selects a nice collection of Richard Rodgers show tune hits, "KT Sullivan Sings The Sweetest Sounds of Richard Rodgers" including several unusual songs rarely heard on recordings of this type including "The Gentleman Is A Dope," "When You're Dancing A Waltz," "Away From You," and ""No Strings" "The Sweetest Sounds." Her voice is placed low and works better on the numbers usually assigned to a contralto rather than the songs usually sung by sopranos. Th