Reviews (8)

One of the best Broadway musicals of all time!
Simply one of the best Broadway musicals of all time. It's choc full of gallic-flavored hits. I can't wait to see the upcoming Broadway revival.

LA CAGE AUX FOLLES
ITS A MAGNIFICENT JERRY HERMAN WORK OF ART.
20TH CENTURY FOX SHOULD SELECT A TOP WINNING PRODUCER AND DIRECTOR AND MAKE THIS THE TOP HIT MUSICAL MOVIE OF ALL TIMES .
I SAY:
"PEOPLE WILL NOT LEARN IF YOU DON'T TEACH THEM"

It's a Roller-Coaster Ride That Never Stops
Whenever I listen to this album I think I'm at an amusement park and I'm going on these fun rides. The orchestrations for La Cage aux Folles are excellent and so is the sound quality. I will never stop listening to this musical until I am at old age. Everybody who is anybody should have this musical because this musical has extreme spirit that never halts until perhaps the 2 ballads here in this show. I could be riding on a motorcycle when listening to all these upbeat numbers and I'd stop at a red light during the ballads. Man, this show is even better than Hello, Dolly and/or Mame only because they don't have as extreme an excitement as La Cage aux Folles. In my opinion, this musical is like no other Jerry Herman musical, a musical with music to be played at amusement parks (especially the rollercoasters).

Meaningful Message for Us All
La Cage Aux Folles is a terrific musical with an important message of tolerance and love. It is not just for a gay audience--the broader issues of self-worth, of defining oneself rather than being defined by others, of aging and keeping love, and of the strength of love being the greatest strength of all; these are important messages for everyone. Furthermore, the songs are great, the words both amusing and deeply moving, the orchestrations terrific, and the performances for the most part superb.

The MUSICAL takes place in Saint Tropez on the French Riviera (not Miami--that is the Robin Williams movie which came later; and the previous reviewer's criticism that "We Are What We Are" doesn't sound like something that would be done in a Miami nightclub is consequentially absurd. It DOES sound like something that would be done where the musical is actually set.) Unfortunately "We Are What We Are" is cut considerably from Herman's original score--this is surely due to the fact that much of the missing music is intended to accompany dance, which of course we can't see on this CD, but I would have liked to have heard Chantal's and Phaedra's numbers which are part of the song in the Broadway production--but nonetheless is a delight to hear.

Also worthy of note are the very tender and sentimental "Look Over There" and "Song on the Sand" (not "Song OF the Sand", as that same previous reviewer would have!), beautifully sung by Gene Barry. The wittiest is probably "La Cage Aux Folles"--("all week long we're wondering who/left a green Givenchy gown in the loo"!) and "The Best of Times" leaves us with the worthwhile Candide-esque message that we must live the life we have now.

The best, most powerful song is undoubtedly "I Am What I Am", which has become an anthem for the gay and transgendered. George Hearn's rendition moves from an almost broken, plaintive cry to a grand shout of affirmation; but it is not only the performance that makes this so powerful--this is composer Jerry Herman at his best.

The only disappointment on the CD is "With Anne On My Arm/With You On My Arm"--the song is not a bad one, but only average. The clever ploy of making the same love song for both Anne and Albin doesn't raise the piece above the mediocre. A very minor flaw in the entirety, though, and certainly forgivable.

The CD notes contain a brief plot synopsis, a few hundred words by Fierstein about the creation of La Cage, and 16 small photos of the original Broadway production. Oddly, if you don't already know which one is George Hearn and which one is Gene Barry, you'll have to infer that from the back cover--the stars' photos are poorly labeled, although the other photos are clear. This is all crammed into a 6 page foldout with tiny, light type that will make your eyes water. Given that the musical is about growing older, perhaps RCA might have been a little more generous and granted us a couple of extra pages and a few larger font sizes. All in all, though, definitely a CD worth getting, for Broadway fans, for gays and transgendered folk, in fact, everyone.

A gay milestone.
A very daring show for its time -- only the early hysteria of AIDS kept it from a longer run on Broadway. This should be in every gay man's CD library -- it is a show about love, family, courage, and dignity. Not to mention being downright campy and hilarious, as it should be. The Jerry Herman score harks back to the halcyon days of the classic book musical, so lacking on today's Broadway of British megamusicals and Hollywood adaptations. ... Read more

Amazon.com

Man of La Mancha, the show that introduced "The Impossible Dream"to the world (and lounge singers everywhere), was the hit of the 1965Broadway season. Richard Kiley is magnificent in his career-definingperformance as the deluded wannabe knight Don Quixote. His leading lad JoanDiener sings the role of the kitchen wench Aldonza with just the right balanceof dignity and vulgarity. Irving Jacobson turns in a fine comicperformance as the Don's faithful squire, Sancho Panza. The score,with music by Mitch Leigh and lyrics by Joe Darion, was revolutionary in its time.The orchestra had no violins--just brass, woodwinds, percussion, and flamencoguitars. Man of La Mancha is one of Broadway's most inspiringmusicals and it well deserves its high reputation. --Michael Simmons ... Read more

Reviews (17)

"I shall impersonate...a man."
Richard Kiley shines as Don Quixote in this original 1965 Broadway cast recording of MAN OF LA MANCHA. Listening to his voice, one can "see" the legendary "knight" he portrays: a man with noble ideals and a gleam of madness in his eye. Joan Diener, though her tone occasionally grates, inhabits the character of Aldonza, the prostitute whom the Don imagines as a lady of spotless virtue, "Dulcinea." Another standout in the cast is tenor Robert Rounseville, who as the sympathetic "Padre" sings the lovely "To Each His Dulcinea," a song that should be much better known than it is. The recording includes the Don's death scene, and it is very moving, with wonderful acting from Kiley and Diener. The recorded sound itself is bright and vivid. And there is that delightful Al Hirshfeld drawing on the CD cover! No Broadway CD collection is complete without this MAN OF LA MANCHA.

AN INCOMPARABLE MUSICAL...GLORIOUS IN EVERY WAY!
This is one of the all time best musicals. The music and lyrics are yet to be rivaled by any other musical. There is not one bad track on the entire CD. The cast does an outstanding job. When one hears Richard Kiley sing, he does so with such feeling that he makes one weep. Whether it be "Man of La Mancha", "Dulcinea", or "The Impossible Dream", one cannot help but be moved. Juxtapose those songs to the despairing refrains of "It's All the Same" and "Aldonza" or to the light and whimsical "I Like Him" and "A Little Gossip", and it is no wonder to the discerning listener that the original Broadway show was a long running hit. Every song is terrific!

Having been fortunate enough to have seen "Man of La Mancha" when it was first on Broadway, I can attest to the powerful effect that the music had on the audience. This is a wonderful recording that brings back memories. The original cast was magnificent, and this CD is a memorable recording of their triumph. No music collection should be without this CD. It is positively glorious!

Brings back memories
When I was 15, I took a School Field trip to The Martin Beck Theatre in NYC to see this play on Broadway. This CD rekindled the joy and satisfaction of that day many years ago. I enjoyed it then, and I enjoy it now. One of the best. Thank you Miss Brach , wherever you are ,for taking us on that field trip.

Certainly better than the movie cast!
The only other time I heard this music is when I watched the movie, and this CD is so much better than that! Everything is well done- the voices are excellent! It is thrilling to listen to this fun yet sad CD. I would recommend it to anyone who likes musicals. :-)

The only musical like
I is a great CD to listen to, most of my friends think I am nuts but I like this musical and the CD is great. ... Read more

Album Description

Unavailable on CD in the U.S., this is CBS's 1989 reissue ofMCA's top five & double platinum 1980 soundtrack to directorRobert Greenwald's 1980 musical starring Olivia Newton-John at a high point in her career and Gene Kelly at the bottom of his. The album features 10 tracks, five each from E.L.O. & Olivia Newton-John, including the #1 smash 'Magic' by Newton-John, the top 10 title cut by both her & E.L.O. and the top 20 duet 'Suddenly' by Newton-John and Cliff Richard! ... Read more

Amazon.com essential recording

Sarah Brightman's career was launched by her success in Andrew Lloyd Webber's Phantom of the Opera, so it's no surprise to hear the soprano paying homage to the composer on this disc. Really a Brightman best-of, the album includes the Phantom theme (a duet with Michael Crawford), the light-opera fare of "Chanson D'enfance" from Aspects of Love, "Don't Cry for Me, Argentina" from Evita, and numerous other Lloyd Webber classics. Throughout, Brightman's diminutive voice lends a fragility to these musical theater tunes that you'll either love or despise. On Evita's "Another Suitcase, Another Hall" and Cats' "Memory," she literally chirps through the vocal lines. No matter. The growing legion of Brightman fans wouldn't have it any other way. --Jason Verlinde ... Read more

Reviews (80)

She's still happily married to his music
Sarah Brightman and Andrew Lloyd Webber are no longer married to each other, but as I stated above, she's still happily married to his music. I was raised during the Rodgers & Hammerstein era nd it took me time to grow to apprciate Webber's influence on musical drama. Sarah Brightman's performances of Webber's music has been instrumental in my tastes maturing with the development of Broadway musical plays. No matter how often I listen to them, "Phantom of the Opera", "All I Ask of You", "Music of the Night", "Don't Cry For Me, Argentina", "Memory", all remain fresh while the less familiar works become more precious with repeat listening. Also outstanding is the theme song Webber wrote for the Barcelona games and sung by Sarah and Jose Carreras, "Amigos Por Siempre". And don't overlook the devout rendition of "Pie Jesus", a duet with Paul Miles-Kingston, from "Requiem". Other notable voices on the CD are: Michael Crawford, Cliff Richard, and Sir John Gielgud.

There are those who might not like this CD which is one of my favorites, but the only people I would advise not to buy this are those who just don't like the modern theater music as represented by Andrew Lloyd Webber.

Spotty "Collection"
Not many people have a musical written around their voice, but that's what Andrew Lloyd Webber did for ex-wife Sarah Brightman, by creating the classic "Phantom of the Opera" musical. And in "The Andrew Lloyd Webber Collection," Brightman sings various songs from Webber's works -- some mesh with her voice, and some don't.

It starts off on a strong note with the gothic "The Phantom Of The Opera," a duet with Michael Crawford. Following that is the ethereal "Unexpected Song," the rich but forgettable "Chanson D'Enfance," and the enchanting "All I Ask Of You," a duet with Cliff Richards. Following a few dud songs are the warm "Love Changes Everything," the Latin-tinged "Amigos Para Siempre (Friends For Life)" with Jose Carreras, and the entertaining duet with John Gielgud, "Gus the Theatre Cat."

Brightman starts to falter with "Don't Cry For Me Argentina," "Another Suitcase in Another Hall," and "Memory." Her voice sounds restricted and uneasy, and at times her crystalline vocals sound shrill. "Maclivity: The Mystery Cat" is perhaps the lowest point of "Collection," with Brightman sounding completely weird. But the album rises again with the gently melancholy "Tell Me on a Sunday," soaring "Wishing You Were Somehow Here Again," and finishing up with the majestic "Music of the Night."

Certain voices are best suited for certain songs, and Brightman's vocals are clearly suited for songs from "Phantom of the Opera" and "Aspects of Love." Some of the songs sound astounding and heartfelt, but some of them just sound strange coming in her rich soprano.

Brightman's voice is given a good range -- she can sing in a little high girlish voice, soar like an operatic diva, or just sound sweet. At her best, Brightman can give you goosebumps. In many of the songs, she emotes subtlely, as if she really feels the heartbreak, joy and fear behind the songs. But when her voice is poorly used, as in the "Evita" songs, she just sounds confused.

The selection itself can't be faulted -- there's stuff from "Cats," "Phantom," "Evita," and other Webber musicals. And Webber's writing is just beautiful, simple and heartfelt: "In all your fantasies/You always knew/That man and mystery/ Were both in you..."

Sarah Brightman is not in top form in the "Andrew Lloyd Webber Collection," but in several songs she is simply astounding. Flawed but definitely worth checking out.

How ALW Should be
This is a very good compilation of ALW songs. Sarah Brightman is a very good vocalist. Her voice can be shrill sometimes, but the good dominates the bad. The songs are very good choice for a CD. What ALW album would be complete without songs from "Phantom"? Some of the songs are featured on every tribute and compilation album, but there are some hard to find ones. ALW is a very good composer of Popular songs, but they dont seem to work well in his shows. This is the ultimate way to experience him at his best.

Beautifull Singing
Her rendition of Chanson D'Enfance is wonderfull.
While her version of Don't Cry for me Argentina lacks the bite necessary to listen to it in the context of the play, it is much better as a stand alone song than the original version with Elaine Paige. Sarah sings the song rather than the part.
Her delivery of Another Suitcase in Another Hall is just incredible. I can accept the reduction in the marimba part just for her delivery of the opening to each verse. That song alone is worth the money.
Otherwise it is quite good. The only song that I feel is anything but strong would be her rendition of Memory.

Dim Brightman
I don't get it and I never will. I first saw Brightman as Christine Daae in ALW's "The Phantom of the Opera," in April, 1988. Her voice was both shrill and weak back then and nothing has changed. Don't Cry for Me Argentina and Unexpected Song are the only two songs she can tackle other than Phantom obviously. Otherwise, you'll find yourself skipping through ALW's beautiful work to find something that won't blow your ear drums. Mem'ry is a disaster of epic proportions and should NEVER have been recorded.

I have followed Brightman's career since April of 1988 and fail to understand her popularity. There is nothing unique or spectucular about her voice. Case closed. ... Read more

Reviews (105)

Songs from the Funnies
I really wish I could have seen this musical. I love all things Peanuts, and I even memorized Charlie Brown's monologue from this play for my high school Drama class. But having this soundtrack is the next best thing. Here, you're treated to wonderful songs right out of your Sunday comics. The characters hold true to their comic strip personalities, and it's very easy to imagine that you've read this somewhere before.

There are quite a few highlights. "Kite" is a funny example of Charlie Brown almost succeeding at something. "The Book Report" takes each of the characters through the process of writing a report on Peter Rabbit. I especially love Schroeder's change to Robin Hood. My personal favorite is "My New Philosophy." Sally is coming up with new life philosophies as fast as she can. It's a hilarious song that gives Kristin Chenoweth a great chance to shine. Listening to this, it's easy to see why she won a Tony award for this roll.

I will agree with previous reviewers that have said Lucy's voice isn't the best. The actress just doesn't quite have the range to pull off the high notes that are required. But that only dampen two songs, and the rest of the time she sounds just like Lucy should.

All told, this CD really does belong in your collection. It's sure to cheer you up and touch your heart, just like the comic strip.

Simplistic, but Adorable!
When I first heard there was a Charlie Brown musical, I cringed. But then I heard the album and my opinion changed drastically.

The cast of this revival is absolutely stunning; they really add the "Peanuts" flair to it. Anthony Rapp (whom I loved and adored in Rent) is the perfect Charlie Brown. If you just listen to Rent you can tell what a great actor this man is- he can be a struggling would-be director one minute and a kid who's down on his luck the next. Ilana Levine, as Lucy, takes some getting used to (mainly on the high notes) but her attitude is perfect! She's so self-absorbed! *laughs* Stanley Wayne Mathis is terrific as Schroeder. He definitely embodies our favorite piano-playing Beethoven wonder boy. B.D. Wong, as Linus, is so adorable in "My Blanket and Me". He gives new meaning to the term 'security blanket'. Kristen Chenoweth is *perfect* as Sally (who, I've realized, is a mixture of Sally and Peppermint Patty), especially in her duet with Schroeder, "My New Philosophy". It's so adorable, and catchy! And last but not least, Roger Bart as Snoopy. He's great; I can really envision him as being a dog on a red doghouse. If only he had a Woodstock. *sigh*

Anyway, this album is truly worth getting. The songs are simple, but they really tell a lot about children and the joys of life. Not a waste of money at all!!

Nice little surprise. You won't regret picking it up...
To think, I had a chance to see this with the original cast but couldn't convince my friends to join me during our visit to NYC. Upon returning, I purchased this album and have been kicking myself since.

This is a great, fun story that's worthy of a revival. The assembled cast is brilliant, with Anthony Rapp at the helm as the forgotten child, Charlie Brown. Rapp's portrayal of the lead character is amazing, with a perfect blend of innocence, insecurity, and vulneribility. BD Wong is also surprisingly good as Linus, but Chenoweth outshines the cast with her presentation of Sally.

No point in explaining it, you just have to listen to it. Pick it up, you won't be disappointed.

Little Snoopy of Horrors
I got this recording out of curiosity, having enjoyed the original album and several productions over the years. And while the cast is talented--despite the overly shrill Lucy--and some of the songs are perfectly fine, on the whole, I can't recommend this version.

Why? For one thing, the new songs don't mesh stylistically with the original songs. In and of themselves, they're fine, but both in style and orchestration, they just don't match. If you want to write a new Peanuts musical, fine, but if this one ain't broke, don't fix it. For one thing, "Beethoven Day" doesn't sound at all like a song Schroeder would sing. For another, the new songs are entirely too polished and pop; like the strips, the beauty of the original songs is in their simplicity, the fact that you believe that they're being sung by children. Even in the orchestrations in this version, they take a perfectly good performance of one of the original songs and ruin it by adding a new ending at odds with the sound and tone of the rest of the song. Why do this? To make it seem more contemporary, I suppose. "My New Philosophy" is the only new piece that even remotely sounds in character, and even that is far too polished.

Performance-wise, it's a fine production, with good voices and musicians, but some questionable acting choices. The usually excellent B. D. Wong sounds ridiculous as Linus with a lisp; he sounds frighteningly like Ed Wynn most of the time. (If you know who Ed Wynn is, you know why that's a horrible mental image for Linus.) And as I said before, Ilana Levine as Lucy is entirely too shrill, too over the top, so much so that it's unpleasant to listen to her singing voice. These are character choices, but a better director might have improved or cut them. On the other hand, Kristen Chenowith is wonderful, as is Roger Bart.

As for the sound mix on the album, it varies from too loud to too soft--though again, the orchestrations are largely to blame. Either way, the sudden shifts from a soft to a loud song kept scaring my child, which is not what this show should do. I shouldn't need to sit with my hand on the volume control the whole time.

Overblown, brassy, aggravating. And just when they've done a song right, they blow it. I was surprised at their restraint in "Happiness," and literally as I was about to say that out loud to my wife, it came roaring back with guns blazing, filling the room with a wall of sound and schmaltz. God forbid we present anything with subtlety. This production, while decked out in a beautiful set and costume design right out of Schulz' pen, misses all the simplicity and wonder of Schulz' writing in the effort to make a Big Contemporary Broadway Show. There is no magic in this version, only calculation. It's no wonder this production only ran for a few months, while the original ran for four years.

It's possible to revive and reinvent a show well. "Chicago," "Anything Goes," "Guys and Dolls" and "Cabaret" all come to mind. None were slavish imitations of the originals, but all of them kept the spirit of original source material, and all had long, healthy runs.

If you want a slick, over-produced, polished recording, then by all means, get this version. If you're only used to Broadway scores from 1980 and later and can't conceive of a simple, small scale show, get this version. If you want a recording that sounds like the Peanuts characters despite being played by grown actors, which is no mean feat, go for the original cast.

A brilliant remake with and incredible cast
Having lately joined the pantheon of actors who have played Charlie Brown in this awesome show's history, I was thrilled to have this recording as a reference. Maybe my love for this recording is what primarily turned me off to the original cast recording, but this cast truly seems to get ahold of what Charlie Brown is really about. Childlike innocence, vulnerability, even naivete, but it still says something about society, relationships and life. Anthony Rapp is surprisingly (almost) perfect for Charlie Brown, Ilana Levine is very good as the supercrab herself, Lucy. Stanley Mathis as Schroeder does a great job as well (for the most part), and while I'm not terribly fond of B.D. Wong's interpretation of Linus, this show's brightest stars are definitely Roger Bart as Snoopy (Suppertime is nothing short of fantastic) and Kristen Chenoweth as Sally (My New Philosophy remains spectacular no matter how many times you hear it).

The reworkings of the original songs are most excellent, and the new songs are remarkable. For an up-to-date, but still sincere recording, look no further than the New Broadway Cast Recording. ... Read more

Amazon.com

Inspired by Frances Hodgson Burnett's novel of the same name, The Secret Garden was set apart from the beginning by the composition of its creative team. Not many Broadway shows can boast a female composer (Lucy Simon), director (Susan H. Schulman), librettist/lyricist (Marsha Norman), and producer/set designer (Heidi Landesman)--not to mention an 11-year old (Daisy Eagan) in the lead. This story of a little girl who helps her grieving uncle and sickly cousin regain a taste for life is a delicate, lovely achievement. Steeped in moody Victoriana, it should enchant those who enjoy a more understated style of musical theater. The great cast includes Mandy Patinkin, Rebecca Luker as his dead wife Lily's ghost, and the perenially underrated Alison Fraser. --Elisabeth Vincentelli ... Read more

Reviews (64)

heartbreaking musical
THE SECRET GARDEN, based on Frances Burnett's classic children's novel, opened on Broadway in musical form in 1991 to critical and audience acclaim. Most of the praise was for the amazing, eclectic score written by Lucy Simon and Marsha Norman.

The show originally starred Daisy Eagan (Mary Lennox), Mandy Patinkin (Archibald Craven), Rebecca Luker (Lily Craven), Robert Westenberg (Dr Craven), Alison Fraser (Martha) and John Cameron Mitchell (Dickon).

The score features a lush combination of haunting love songs, sweeping waltzes, Celtic-inspired chants and rock-type anthems as well as a few Broadway-style tunes.

Standout songs include the heartbreaking "How Could I Ever Know?", the jaunty "A Fine White Horse", and "A Girl in the Valley". Other great songs are "Winter's on the Wing", "The Girl I Mean to Be", "Wick", "Come To My Garden" and "Race You To the Top of the Morning".

It is one of the greatest tragedies that this musical did not run longer on Broadway, but it was later re-conceived and significantly re-written for its West End production at the Aldwych Theatre.

Highly recommended.

Magnificent moody musical
One of the standout broadway musicals of the last part of the 20th century, The Secret Garden boasts a great source (Frances Hodgson Burnett's classic novel), a wonderful score by Lucy Simon, and a superb cast. From the opening exotic sounds of the cholera outbreak in India which leaves young Mary Lenox orphaned to the (admittedly somewhat schmaltzy) finale of "This, my lovely child, is your garden!" the score swirls and soars in a magnificent musical tapestry. Almost universally consistent accents (an extreme rarity in Broadway theater; kudos to the dialect coach) are instrumental in helping establish the "feel" of the piece, and the dark Yorkshire moor where the majority of the action is set.

The cast features the youngest Tony winner to date, 11-year-old Daisy Eagan, who plays Mary Lennox to perfection. Rebecca Luker's glorious soaring soprano makes Lily's ghost songs heartbreakingly ethereal, and even Mandy Patinkin's usual histrionics don't detract a bit from his powerful rendition of the disfigured, disturbed, and perpetually mourning Archibald. The supporting cast is equally superb: Alison Fraser performs "Hold On" and "Fine White Horse" with warm wit and tenderness, and John Cameron Mitchell (now perhaps better known for Hedwig and the Angry Inch) has an impish tone as Dickon, with the standout solos "Winter's on the Wing" and "Wick."

The recording wisely includes a substantial amount of dialogue to supplement the score, making it possible to understand the show fully, even for those who haven't seen it (or, like me, saw it almost half a lifetime ago). Complete lyrics, and a solid, concise plot synopsis further enhance the package. A solid addition to any musical theater fan's collection.

Great but mine was better
I have just been in the northern premire of " The secret garden" with Durham Musical theater company ( ENGLAND ). i played the part of Dickon and loved it. I bought the CD as a little momento and thought that the msuic was brilliant. There where a few dissapointments :-
1. Alot of the scrip has changed and songs have been cut.
2. Dickon has aged 20 years

i do still think that our performance was a better sound but that my be just me !
BUY THIS CD ! it is great music for any musical theater lover and a must buy. If you get a chance to see it then do ! i promise you will love it.
Sam Lupton ( The secet garden DMTC 2004 )

the cd tells the story beautifully
I have always liked the story of the secret garden, so when my drama teacher introduced me to the music from the show, I was captivated. I was chilled to the bone when I first heard, "I heard someone crying," so much in fact, that I asked for the CD for Christmas, never having seen the show. It has come to be one of my favorite cds and musicals of all time. The songs are hauntingly beautiful and romantic, I don't even need to see the musical because enough information is provided on the cd that the mood and setting is already playing out in my mind. I want to see the Secret Garden the musical now more than ever, but for now, I can revel in the beautiful artistry of songs like,"A bit of earth", "Come to my Garden," "Lily's eyes" and "How could I know." An added bonus, all the singers perform beautifully.

Mary, Mary, quite contrary, why does your garden STINK?
I went to see a local production of this show recently. I had some friends in the cast and naturally I wanted to show my support. A parent of one of my friends had told me beforehand that she had high expectations for it. "I think it's going to be a great show," she said. "The music is by Lucy Simon, Carly Simon's sister." Very impressive. Although I admit to not being able to identify any of Carly Simon's songs, I'm sure they're all works of complete genius, and naturally being a sister of such a genius automatically warrants Lucy a genius, too. So I bought my tickets in advance, and eagerly awaited opening night.

The show stank. I would like to give a hit on the head several times to the person who thought that The Secret Garden would make a good story for a musical.

Now I realize that this is a review of the CD, that is to say, the music, so any criticisms of the actual show would be irrelevant. But, you also have to consider that this is one of those new-age, partially-operatic, almost-sung-through musicals, so you can listen to practically the whole show on this convenient CD. I don't know why anyone would, but you can.

Actually, I haven't even listened to a single song on this CD, so I'm not able to give an in depth look at the lyrics or the music. But I will reiterate: the show sucked. The reason the show sucked is for the same reason that most new musicals suck: Broadway is dead. I love musicals just as much as anybody . . . more than anybody, in fact. But the musical comedy, like all artforms, has had its time, and I think we should let it die.

The reason we should allow the death of Broadway is because the art of the musical comedy has grown to the point where anybody thinks he can make a musical. Just to prove my point, I would like to end this review with my musical rendition of the conception process for "The Secret Garden: The Musical", starring composer Lucy Simon and librettist Marsha Norman. I call it, "The Conception of 'The Secret Garden: The Musical': The Musical".

LUCY: Hey, Marsha, I'm bored. Let's make a musical.
MARSHA: What?
LUCY: I said let's make a musical.
MARSHA: What? Lucy, we can't just make a musical like that! Who'll write the lyrics and book?
LUCY: Well, Marsh, you're pretty good with words. I see you doing crossword puzzles all the time.
MARSHA: Okay, but who'll write the music?
LUCY: I can do that. Did you know I'm related to Carly Simon?
MARSHA: Well, that's good, Luce, but I still think it's harder than that. We need an original storyline.
LUCY: How about "The Secret Garden"?
MARSHA: Have you ever read it?
LUCY: Nope.
MARSHA: Neither have I.
LUCY: Marsha, Marsha, Marsha. That doesn't make a difference. You don't need to actually read the book to make a musical out of it. Musicals and books are completely different.
MARSHA: What makes you so sure that WE can write a musical, anyway?
LUCY: (sings)
Musicals aren't hard to write

They make 'em everyday.
You just need music, script, and lyrics
And you'll be on your way.

If you're eager to cash in
On all that Broadway glory, fine!
Just find yourself and tear apart
A pre-existing storyline!

You write the lyrics
(You can plunder it)
I'll write the music to go under it.
Anyone can make a musical!

You make the actors
Move their myelin
I'll make background with the violin.
Anyone can make a musical!

We can give The Secret Garden a new engaging look.

There'll be lots of plot and characters that weren't even in the book!

You understand what I'm saying now, Marsha?
MARSHA: I think I do, Lucy.
BOTH: (singing)
We'll open on Broadway
And put out a record.

MARSHA: And we'll sell out at ev'ry Eckerd!
LUCY: Think of how little work it will take.
MARSHA: Easy as a Swedish cake!
BOTH: (singing)
Anyone
Yes, anyone,
Can make a musical! ... Read more

Amazon.com

The one thing you can say about Frank Wildhorn is that he doesn't give up. Like The Scarlet Pimpernel, Jekyll & Hyde , based on R. L. Stevenson's classic depiction of a split personality run amok, went through several rewrites and casts--each show is a work-in-neverending-progress for Wildhorn. This recording immortalizes the show's classic Broadway cast: Robert Cuccioli as Dr. Jekyll and Mr. Hyde, Linda Eder as Lucy, and Christiane Noll as Emma. Appropriately for the show, Wildhorn's score is both tempestuously romantic and unabashedly ominous. While Cuccioli handles both parts with elan, Wildhorn saved his best songs for Lucy and Emma, confirming that he really is the contemporary master of the power ballad. --Elisabeth Vincentelli ... Read more

Reviews (156)

Amazing music!
Written by Frank Wildhorn and Leslie Bricusse, "Jekyll and Hyde" tells the story of Dr. Henry Jekyll and his desire to concoct a formula that will eliminate the evil elements that exist within the human personality. Unable to secure a volunteer for his dangerous experiment, Jekyll decides to secretly inject himself with the mind-altering formula. His medical experiment backfires, however, and gives life to his evil alter ego, Edward Hyde.

Wildhorn's music is amazing, and when you listen to the album, this show is incredible. (I personally don't think the production flows very well on stage, but maybe that's just me.) Robert Cuciolli and Christine Noll are amazing (cuciolli does the best rendition of "Take Me As I Am" that I've ever heard), beut we all know that this is Linda Eder's show. Her voice is incredible, and no one who tries to sing these lyrics can even come close to touching her performance.

My favorite selections on this album are Eder and Noll's duet on "In His Eyes" and Cuciolli's duet with Eder on "Dangerous Game." I think those two songs are better on this album than on the 1994 Concept Cast album, but that version has twice as many songs as the Broadway Cast album, so you'd be wise to get both of them.

WORTH THE PRICE- BUT NOT THE BEST J&H RECORDING
I saw the show twice on it's pre-Broadway tour. I was blown away. Robert Cuccioli performed Jekyll & Hyde superbly. It's a very physically demanding role and he accomplished it wonderfully. Linda Eder was fantastic. What a voice! I have this CD and I have the "Highlights", but the 2-CD set of The Complete Works of Jekyll & Hyde is far superior, plus there are many great additional and better performed songs. If you listen to all three different versions, you'll see what I mean. Anthony Warlow is Jekyll/Hyde. The current tour is as close to the 2-CD set at you can get. The Broadway cast version is great if you've seen the show on Broadway. It takes you back to the stage by visualizing it in the music. But it is very different than the current tour. Please buy the 2-CD set and compare. You won't be sorry.

Makes me want to "Hyde" and (Je)kyll myself.
Dear Frank Wildhorn:
STOP WRITING MUSIC FOR THEATRE. If I wanted to hear your music performed, I would go see a Celine Dion show. Unfortunately for her, I wouldn't pay to see her, either. Why do you insist on writing 90's power ballads and trying to slam them into a show set in another century? I highly doubt Robert Louis Stevenson was singing power ballads while he was writing this. Hunter Foster poops out better songs than you write.

Disappointing Broadway Version!
I can understand people who do not like Jekyll and Hyde. I can also understand people who love it (like me). I think you have to know all of the music before you can find it great. however, the show has a lot of potential for the Broadway. But what's this now? Let's start with the good things on this CD: Linda Eder (great, great, great!), Christiane Noll (the best Lisa (!!!) ever), nice arrangements, ultimate (that means the best) versions of: Someone like you, A New Life, In his Eyes, Once upon a Dream, Prologue. Now the bad things: Where's the originale prologue? I remember some talking... Great Songs like for example Alive were made more short. If you shorten that song, there's no fun about it's reprise! What has happened to I need to know? Lost in the Drakness is ridicoulos against it. Great Songs were cut (Bring on the Men) or replaced by songs which may not be all bad, but which don't fit in in this show at all (Good and Evil). And the worst: Robert Cuccioli!!! Why him? Why God? Sorry Bob, you're a nice singer, but you are NOT Jekyll/Hyde!!! His Performance is terrible and he doesn't give any atmosphere. My Advice: OBC ok ok, but if you like this Musical, buy the 1994 Concept Recording. It may have some very small "Mistakes" too, but it has got Anthony Warlow!!! He is reason enough to buy this and avoid the OBC...

Deserved a longer run
"Jekyll and Hyde" is one of the best musicals I've ever experienced. I never got the opportunity to see it on Broadway, unless you count the DVD with David Hasselhoff, but I did see it twice on tour. Like the popular musicals that emerged in the late '80s, most of the show is sung through. The plot, adapted from the original novel, takes a few liberties with the source material, but ultimately leaves its theme intact (brilliantly illustrated through the big production number "Facade" and its numerous reprises). It introduces not one but two love interests into the good doctor's life: Emma, the upper-class, aristocratic daughter of Sir Danvers Carew, and Lucy, the young prostitute who desperately wants to turn her life around. All of the performers in the leading roles are excellent, the songs are memorable, and will leave you wondering why it didn't stay on Broadway longer. ... Read more

Album Description

Original Los Angeles Cast Recording of long-running, New York-bound, award-winning musical smash by Kevin Murphy & Dan Studney. Winner of 5 Ovation Awards, including best Musical; Winner of 7 Garland Awards, including Best Production and Best Musical Score; Winner of 7 Los Angeles Drama Critics Circle Awards, including Best Production and Best Musical Score; Placed on the LA Times list of Top Ten Theatrical Productions of 1999; Awarded a 'Stony Award' for Best Theatrical production by the editors of High Times Magazine.CD is a studio recording with original cast and full 6 piece band.Includes 28 page full-color booklet, lots of photos, all the lyrics, authors' notes and two bonus tracks (including a preview of Murphy & Studney's next musical "Valley of Kings"). ... Read more

Reviews (15)

Cooky, fun, but there's something missing........
Reefer Madness has the potential for being one of the greatest cult musicals ever... so why isn't it?

Well it's just too bad it opened in the same year of other "cult" musicals: Rocky Horror Show, Bat Boy, and Urinetown. Reefer Madness just wasn't a stand-out! All had crazy titles, fun themes, unusual and fun music, and wonderful casts!

But Reefer Madness lacks something. It doesn't have Rocky's sex appeal or an already exhisting cult following. It doesn't have Bat Boy's incredible inventiveness, or Urinetown's musical complexity.

But it nevertheless is fun and worth buying for anyone who's a fan of musicals like Urinetown, and Bat Boy.

Reefer Madness Rocks
I absolutely love this album. The music is totally upbeat and fun. The lyrics are a riot. Both the music and lyrics are something that will remain with you for a long time. I never get tired of listening to it and especially like the swing dance number "At the Old Five and Dime" which, I defy you to listen to and remain seated. Another favorite is "Listen to Jesus,Jimmy" which is totally over the top. This is an album to sit and enjoy when you are alone and can appreciate its humor and strong message. It is also an album to share with friends, when you are ready to have some fun. I saw this show in LA and now can't wait for its opening Off-Broadway in NYC. The show is a take off on the 1930s government scare flick of the same name but has gone quite a few steps further in its own unique and creative approach. This is something that has just begun to take off and you will be hearing a lot about it before long. I predict another Rocky Horror Picture Show, but with a greater edge.

I'm Addicted!
I am powerless over this hysterically funny, tuneful CD! I am just sorry I missed both the original LA and subsequent NY productions - but at least there is this CD to compensate! The only things I'd like to add to everybody else's rave reviews are to note that the singing is actually first-rate - being able to sing in character voice is extremely difficult, and the entire cast pull it off with great professionalism. And - the booklet accompanying the CD has some terrific shots of the show that gives an additional idea of just how wacked out the production must have been. The cut number is which everyone takes a whack at Jimmy's bare [bottom] also must be a milestone in musical comedy weirdness! It's just a shame that this didn't become the huge hit it surely deserved to be...

Priceless!!!!!
This is "musical theater gone wrong" at it's best!!!! I saw the show in NY on my birthday, and I can't recall ever having so much fun at the theater (and I'm an actor myself!). I consistently laugh out loud listening to the cd. I wish there was a NY cast recording--I was told one was in the works. The music is actually good, and the lyrics kill every time!!!! If you enjoy shows like Little Shop of Horrors, this will be the perfect addition to your collection! BUY IT!!!!!!!!!!

Tuneful and clever
I put this CD in the same category as Bat Boy and Urinetown: edgy, clever, off-beat efforts with interesting scores and attitude to spare. I find Bat Boy more enjoyable overall, and Urinetown more melodically complex, but Reefer Madness holds up quite well in the comparison. Apart from the atrocious cover art, this is a definite keeper. I can't wait to see it with Michelle Pawk and Greg Edelman in New York. ... Read more

Amazon.com

Does this score kick butt or what? While the staging of the 2003 Little Shop of Horrors revival is entertaining enough, the recording is even more rewarding. Since you're not distracted by the sight of a huge plant devouring one cast member after another, you can focus on Howard Ashman and Alan Menken's ace songs. No wonder the show is a high-school and summer-stock fave, packed as it is with appealing characters and catchy 1960s-flavored tunes. As Audrey, Kerry Butler won't make anybody forget Ellen Greene, but she certainly is lovely. Hunter Foster's Seymour strikes a perfect balance of sweetness and klutzy desperation as he delivers perfect interpretations of all his songs. Even better, this cast album is a complete rendition of the show, unlike the recording of the 1982 Off-Broadway production ("Call Back in the Morning" is now included for instance), and comes with a glossy booklet. Cherry on top: Five previously unreleased songs are included in demo versions performed by the show's authors. --Elisabeth Vincentelli ... Read more

Reviews (45)

The Little Shop That Can!
After Listening to both the Broadway cast CD, and The Off-Broadway cast CD I have come to the conciliation that this is the better of the two. The changes to the Score are both Fresh and entertaining giving the show a new flavor to thrill advances.
The cast is outstanding Hunter Foster is a delightful Dork as the meek and mild Seymour. Kerry Butler Shines with her amazing vocal talents as Adurey the ditzy subject of Seymour's seemingly unrequited love. Rob Bartlett and Douglas Sills are both stunning as Mushnik and Orin both bring wonderful talent to there roles. Then Last But not Least The Urchies Played by Dequina Moore, Trish Jeffrey, and Carla J. Hargrove have a show stopping quality rounding the cast out very nicely.
The CD is definitely a must have for any Broadway collection. The show and the CD deserve way more praise then it seems to be getting! The show and CD are Both excellent and I highly recommend both!

Finally, the Complete Score! (and then some....)
Little Shop of Horrors has a disappointing album history. The Original Off-Off Broadway Cast recording was incomplete, and the film version, while it did update and improve on Alan Menkin's amazing score, left much to be desired as far as performances go, and that includes Ms. Ellen Greene.
Then along comes this nearly perfect recording. One of the obvious highlights is that this recording includes the complete score, and massive amounts of dialogue not included on any other Little Shop CD. The five bonus tracks are fun to listen to, but only two are any good. "The Worse He Treats Me" is a fun little ditty sung by Audrey about her abusive boyfriend, but it appears to poke fun at the situation, which is, I assume, the reason it was cut, despite the character development it adds to Audrey. The treasure of the bonus tracks is the amazing ballad "We'll Have Tomorrow," sung by Audrey and Seymour. More serious than any existing song, this darkly foreshadows the terrible events to come. It's serious nature surely is what led to it's removal from the show, yet it would have added more to the relationship of Seymour and Audrey. (NOTE: the demos are sung by Alan Menkin, Howard Ashman, and Ron Taylor)
I find it a shame that Kerry Butler has been criticized for her performance. While I agree that her dialogue during the "Somewhere That's Green" reprise is overly comical, I applaud her for straying from the Ellen Greene Audrey. While Greene's portrayal was a wonderful one, it is GREENE'S portrayal, and it should remain thus. Butler takes Audrey to a more realistic, and human, place. She has been greatly criticized for her accent, which is surely better live, especially now that she has had time to discover Audrey. You have to remember: these albums are recorded long before the first curtain goes up.
Hunter Foster is fine as Seymour, though he takes the geekiness a bit too far. As Orin Scrivello, Michael-Leon Wooley leaves much to be desired. The Greek Chorus' improvisations seem too planned, though not to a fault.
Overall, this is the Little Shop of Horrors album to buy, and not just for it's completeness. Kerry Butler alone makes it a more appealing show, removing the shrill tone usually heard from the character. This is a wonderful album, with clear vocals, a more lively orchestra, and the best cast yet.

Fun Fun Fun
I love this musical...but then again I should, I spent 3 months working on it my sophomore year in high school. I played a semi-lead role, but it wasn't an original character I played Mrs. Mushnik a crazy yeddish wife, with my not-so-crazy Husband-- which was so much fun to do. My directors just changed the script a bit so I'd get to sing Mushnik 'n Son, Closed for Renovation...and a few others. The Broadway CD really helped our whole cast really get to know the words to the music because we used the same script with minor changes. Its great and I loved it. I will always remember the success we had with this musical.

Broadway is alive!
What's so amazing to me is that I actually just saw this on Broadway with a few other shows on my recent trip to New York. I feel like I was part of Broadway history. This is a story to be told again and again. It will survive many decades like our operas have. After the show I bought singing lesson CDs at The Colony on Broadway called Voice Lessons To Go by Vaccarino(available on Amazon too)- they are great, and the piano vocal scores to quite a few shows. If only Baz Lurman could here me now! That store was so amazing. So fun to be in the smack middle of Broadway with dancers, actors, singers and tons of tourists everyway- buying my "singing supplies" like I was really a part of it. OK, so we all have secret fantasies! So happy that Broadway is becoming revitalized again.

Fantastic!
This is a great recording of LITTLE SHOP. It includes a lot of material that is not on the first cast recording. ... Read more

Amazon.com essential recording

The epic sweep of Ragtime is captured in its opening prologue, a nine-minute kaleidoscope of fictional characters mingling with historical figures from the early 20th century as originally captured in E.L. Doctorow's sprawling novel. As the story continues, we meet pianist Coalhouse Walker Jr. (Brian Stokes Mitchell) and his child's mother, Sarah (Audra McDonald), who has been taken in by a respectable family (including Marin Mazzie as Mother). Parallel story lines of the Latvian immigrant Tateh (Peter Friedman), the entertainer Evelyn Nesbit (Lynnette Perry), and even Harry Houdini (Jim Corti) and Emma Goldman (Judy Kaye) eventually mingle and merge. Stephen Flaherty and Lynn Ahrens (Once on This Island) mix marches, cakewalks, and of course ragtime to create a rich, compelling score, including Sarah's song to her baby, "Your Daddy's Son," her soaring duet with Coalhouse, "Wheels of a Dream," Mother's self-revealing "Back to Before," and numerous set pieces, all performed by a perfect cast. Ragtime was nominated for 12 Tony Awards in 1998, with wins for McDonald, original score, book, and orchestration.The CD also includes an eight-minute symphonic suite conducted by Paul Gemignani and a booklet with photos, full lyrics, and a history of how the score was written. Tragic, touching, and ultimately triumphant, Ragtime is an American classic. --David Horiuchi ... Read more

Reviews (140)

Ragtime shows muiscal theater has a future!
In a time when Sondheim is unfortunatly writing fewer musicals and Lloyd Webber tends to be dominating with his somewhat gratuitous "blockbusters," Ragtime is the glimmer of light through the hopes of the stages resonance. In this musical you have a show with a excellent melodius score and wonderfully resounding lyrics. This proves that the "classic" musical will still be around as longs as Stephen Flaherty is around to composer more music. This is a two cd set with full libretto and a top-notch original cast.

Brian Stokes Mitchell, as Coalhouse Walker, gives a stunning versitile and energetic performance. Marin Mazzie, who is usually superb, soars higher then she ever has as Mother (Although with the revival of Kiss Me Katie now out, that might be a challenged comment). Audra McDonald sings and acts her way to a much deserved Tony. She takes her supporting role and makes it shine, while not distracting from Mr. Mitchell. Peter Friedman is superb in the role of the immigrant, Tateh. He brings such charm and inncocense to the role the listener falls into his grasp. These characters along with wonderful supporting characters help make this show one of the best to come along in nearly a decade.

If you feel like the classic American musical is gone forever buy this cd and Im sure you will feel differently after the first listen. Every song is beautifully resonant of every culture and time period depicted in the show. Ragtime is, indeed, a dream come true.

"Ragtime" Rules!!
WOW! Is no wonder that the songwriting team of Stephen Flaherty and Lynn Ahrens won the Tony Award for Best Original Score! Always engaging, this soundtrack is a Broadway musical triumph with incedible and moving performances from Brian Stokes Mitchell, Marin Mazzie, and three time Tony winner Audra McDonald. From humerous tracks like "The Crime of the Century", "What a Game!", and "The Show Biz" to emotional tracks like "Your Daddy's Son", "Wheels of a Dream", and "Back to Before", I recommend this CD to any Broadway fan! "Ragtime" rules!!

An Incredible Show
I think this show is amazing. Absolutely point blank amazing. I am in the show right now and I play the role of Sarah and I can't get enough of Audra McDonald. Amazing. What else can I say? And I am also writing in protest, because there is this extremely stupid person who writes negative reviews about every musical ever. I am very frustrated after hearing their opinion about Ragtime, Wicked, Le Miz, Little Shop, The Scarlett Pimpernel, Phantom of the Opera, Urinetown, Once on this Island, and a ton of others. Are you some kind of idiot? Wow you are rediculously dumb. Because honestly, you hate every show in existance. And really, why do you bother to review any of them? We know you hate everything ever written. What's the point. And really its amazing because I have never in my whole life met someone who hates as many of the greatest shows ever as you do. Next you're going to decide to hate Miss Saigon, The Sound of Music, Chicago, Cabaret, Parade, Songs for a New World, oh and wait, everything else EVER. I am very angry right now. VERY. You are the dumbest person that has ever existed and I would just like you to know that. As for everyone else reading this, ignore this person's reviews. Their opinion means absolutely nothing to almost everyone. I think 4 people found any of this person's 12 reviews helpful. REDICULOUS. And who are you exactly to be discussing anyone else's performance, since I doubt you have any talent and I really doubt you have been on broadway. And since you haven't...

I love this CD and this show
This CD was like the best thing I've heard in a while. IF you haven't heard it, go find it because you are missing out on something good. I've heard Audra McDonald sing "Daddy's Son" a billion times and I still get teary. That should tell you something about her performance. Some of Mother's work also makes me teary. I'm serious: GET THIS CD!!

Good also from experience...
I was recently involved in a production of "Ragtime" at my community theater. It is not only one of the best shows we have ever done, it is also an amazing show within itself. I purchased this cd shortly after to get the chance to listen to every song with this cast. I am so amazed by the pure talent shown in every single song. Mind you, it's not one of the usual musicals. This one has more emotion and raw feelings involved, and doesn't have a happy show stopper ever 5 minutes. it does, on the other hand, have mind blowing songs that show the true talent of these performers. My personal favorites are "Wheels of a Dream", "Your Daddy's Son", "Til We Reach That Day", and "He Wanted to Say". I hope you buy this cd and go see the show, it's one of the best shows I have ever seen. ... Read more

Amazon.com essential recording

Andrew LloydWebber'sadaptation of T.S. Eliot's poems may not have become Broadway's longest-runningmusical without the original cast to begin the raves. Which is why every aficionado ofthis theatrical classic will tell you that this is the one you have to own (although they'llprobably tell you that you need the import Original London Cast album as well,the show having originated on London's West End and all). But this is the one with BettyBuckley singing "Memory"--the song that turned her into a star--and the two discs areappropriate for the musical that helped set off Broadway's "operatic" phase. The show isnow also available--in its entirety--as a home video, but the music still stands on its own,though some cynics have wondered why so much music only produced one hit standard.--Bill Holdship ... Read more

Reviews (87)

THE BEST MUSICAL EVER WRITTEN!!!
CATS is an awesome musical; a lot better than most people realize! It's very upbeat and fun. My favorite songs are The Overture, Prologue: Jellicle Songs for Jellicle Cats, The Invitation to the Jellicle Ball, The Rum Tum Tugger, Bustopher Jones, Mungojerrie and Rumplteazer, Old Deuteronomy, Skimbleshanks: The Railway Cat, Macavity: The Mystery Cat, Mr. Mistoffelees, Memory, and The Journey to the Heaviside Layer.

A lot of the people who don't like this musical is because they don't understand it (they're looking for a non-existent plot). But the thing is is that to understand CATS you have to let go of all reality for two hours and just enjoy the music and the show. The musical is actually about the naming of Jellicle cats and the choosing of what cat will journey to the Heaviside layer (heaven) and will cone back to a new Jellicle life. I definately recommend this CD!! Enjoy!

It was okay, but I wasn't awed by it!
I bought this CD before I saw the musical, well I still haven't seen the play live but I saw it on tape and I didn't really enjoy it and the cast recording just didn't do any thing for me I had bought it because since I loved the Phantom of the Opera I figured (Wrongly) that I would also love Cats. Cats is Ok but it just didn't thrill me as much as Andrew Lloyd Webber's wonderful The Phanom of The Opera did or as much as the non webber musicals Les Miserables and Miss Saigon did and since I didn't enjoy the Cats cast recording I recently gave it away to a relative who loved Cats and will get better use of the CD's. I'm not saying that people shouldn't go see Cats or listen to the cast recording and that they shouldn't like it I'm just saying that I personally didn't care for it.

Not NEARLY as Good as the London Recording
I am Sorry if you like the Broadway Version, but it sucks. I was raised on the London version, may be that is why I prefer it. The Broadway version doesn't even compare. I heard it and I was like, "This is Broadway?" Community Theater is better than that, and more believeable. They just try too hard, and it just sounds stupid. I guess my main problem with this recording is Growltiger's Last Stand. That is my favorite number, and I just HATE it when the Broadway cast sings it. They just make it REALLY stupid. I mean, they start to SING OPERA for crying out loud, OPERA??? What the heck is up with that? I just can't stomach it. If you are looking to buy CATS, and I sincerely hope that you do, buy the London Cast Recording from 1981. It is much better in every which way.

CATS, N&F
This is the first recording (Not counting the video) of CATS I received (And I owe a 57% on a math test to it:-P), and I love it. I must admit I'm prejudiced to other recordings because of it, although there are a few faults about it (What recording is without?) For one, the music seems . . . lame and unenthusiastic. The voices of the singers drown it all out. Which, being that they are wonderful voices, isn't bad, but it sounds weird being almost-a cappella. So the prologue sounds a bit empty and oldie. But it's not bad.
Timothy Scott is on this recording as Mistoffelees/Quaxo, and does a remarkable job at it. His voice may not be the best, but it's just right for the conjuring cat. Oh, for Mungojerrie and Rumpleteazer fans, Misto sings all the lyrics.
Terrence Mann as the Rum Tum Tugger wasn't the absolute best choice, but he really does a good job. He really sounds like he's having a good time, and, if you get the book, you can see just how well he got into his part. Don't be fooled, he's a really great actor.
Betty Buckley as Grizabella really isn't thrilling. Her voice just doesn't hold the sadness and despair and hope and hatred that her character is supposed to have. It's too strong. Period.
Ken Page is here as Old Deuteronomy, and, as far as it goes, he is the best Deuteronomy. His voice is deep and kind and stern and old and perfect for this role.
OoH, let me just say something about the Jellicle Ball. In the middle, when the music goes from a soft chime to the CATS theme music . . . it's the best . . . no weak music there!
Let me say that Growltiger's Last Stand is terrific. Bonnie Simmons is the best Jellylorum I have heard, her voice is beautiful. Growltiger (the actor's name escapes me) seems to me a great actor, although he hasn't the greatest voice.
And Macavity . . . Demeter (Wendy Edmead) just didn't seem right, don't ask me why. Bombalurina (the actress's name escapes me) seemed to be too tame to play the fiery, spirited queen.
In this review I have mentioned the aspects that I figured stood out most. If you want the best recording, this wouldn't be my top choice. The original Australian cast is good . . .
Don't let my review make you think that this recording isn't good . . . it *is*, just not the best. (Hey, it's still my favorite). Believe me, if you buy it, you won't regret it.
~~purzz, Mysta =^_^=

CATS IS AWSOME!!!
I ALWAYS HATED CATS. BUT THIS CD WAS HARD NOT TO LIKE. I GUESS THAT THE MUSIC IN CATS IS OK. BUT THE STORY IS AWFUL!I SAY YOU SHOULD LISTEN TO THIS CD AND NOT SEE THE PLAY. THE PLAY IS STUIPED. IT'S ALL ABOUT FREAKS IN COSTUMES TRYING TO BE CATS.
SURE,IT'S A GOOD LAUGH,BUT WEIRD. ... Read more

Amazon.com

In the late '90s, Burt Bacharach--thanks to a boxed set, new collaborations, and numerous reissues--just keeps popping up. And for good reason: his music is nostalgic, filled with great melodies, and instantly recognizable. For many, he's the essence of pop. Promises, Promises, the composer's 1968 Broadway collaboration with lyricist Hal David, is based on the 1960 Billy Wilder film, The Apartment, written by Neil Simon. Jerry Orbach's performance as Chuck Baxter is powerful (it also won him a Tony Award), and though some of the music in Promises, Promises is dated, it's simply infectious. As Fran Kubelik, Jill O'Hara (Hair) performs reflective numbers such as "Whoever You Are" and "I'll Never Fall in Love Again." Bacharach's title theme (a hit for Dionne Warwick) sounds better than ever here--both performed instrumentally and sung by Orbach. At 45 minutes, it's a short listen, but for fans of Bacharach or Broadway, it's highly recommended. --Jason Verlinde ... Read more

Reviews (24)

TheUnsungHeroofPromisesPromises
I'llneverforgettheLondonproductionIsawoftheshowin1969.Itisatransitionmusicalinit'sMichaelBennettdirection(theGrapesofRothchoreographywasfantastic andscenetransitionshadsecretariesbouncingthroughrevolvingdoors)andBurtBacharachhiptunes.ThetransitionwouldleadtoCompanyandA ChorusLine(seeACHORUSLINEANDTHEMUSICALSOFMICHAELBENNETTbyKen Mandelbaum).

TheunsungherooftheshowwasJonathanTunick.Istilltreasurethememoryofseveralofusat show's endgoingdowntotheorchestrapittomarvelathisorchestrationsfortheexitmusic(justtheovertureagain.)Therewassuchanelectricpulsingsensationtothemusic.Anda3girlchoruswhichwasnew.TheJillO'HaraleadwastakenupbyBettyBuckley (whosoundedbetterthan MissO'HaradoesontheCD).TonyRobertswastheleadandhemarriedDonnaMcKechnie duringtheLondonrun.

Therewasaninterestinglightingtrickintheoverture.They dimmedwhenthemedleygottothetitletune.Thatwasveryeffective.

POP! Goes Broadway
The pop/mod sound of the 1960s perfected by the songwriting duo of Bacharach and David made it's way to the Broadway stage in 1968 with "Promises, Promises", a musical adaptation of Billy Wilder's 1961 Oscar winning film "The Apartment".

The plot is simple: It revolves around Chuck Baxter who lends out his apartment to various executives at Consolidated Life hoping for some kind of an advancement in return, the twist comes when Fran, the charming cafeteria hostess he's smitten with turns out to be the mistress of "THE BIG BOSS".

The Overture is one of the best composed for the stage, right up there with the overture from "Gypsy" in that it captures the mood and spirit of the entire show.

Jerry Orbach shines as "Chuck" and he tackles the signature Bacharach meter changes head on with his renditions of "Half as Big as Life", "She Likes Basketball" and "Promises, Promises". Orbach was awarded the Tony for Best Actor for his performance.

Jill O'Hara who made a splash as "Sheila" in the Original Off Broadway production of "Hair" the previous year hit the big time (and scored a Tony nomination) for her turn as "Fran Kubelik". Her voice is perfectly suited for the vulnerability and fragility of her character, especially in the show stopping number "Knowing When To Leave". "Whoever You Are, I Love You" and her duet with Orbach on "I'll Never Fall In Love Again" are also standouts.

"Turkey Lurkey Time" may be weak as far as lyrics go but no one can beat that infectious Bacharach beat that frames the entire song. It became one of the best remembered show stoppers of it's time thanks to the brilliant choreography of the late-great Michael Bennett. The number brought the house down EVERY TIME.

The show has yet to receive a full scale Broadway revival but in 1999 it was given 2 concert stagings: City Center's ENCORES! series did a staging which starred Martin Short and L.A.'s Reprise staged it starring Jason Alexander. There were hopes of transferring the ENCORES! version to Broadway but the plans were scrapped. All we have to remember this great show is this recording. A MUST HAVE FOR ALL THEATRE LOVERS!

Forgotten sixties hit.
This was one of the biggest hits of its time - coming at the very height of the great vogue for Burt Bacharach melodies. Really a must for Broadway collectors, or anyone seriously interested in sixties music - and quite entertaining in its own right, especially for those of us old enough to remember the period.

BUT the only individual song that is up to Bacharach's best standard is "What do you get when you fall in love", possibly the catchiest thing he ever wrote. In the last analysis one is more surprised that the show ran so long, than the fact that is has been more or less forgotten ever since.

There is no plot synopsis in the liner notes - while I was able to rustle one up in my library this is a strange deficiency for a re-release.

Happy to secure my copy at last - but I want to forget what I paid for it as quickly as I can!

Contrary to another review
Promises, Promises is a fantastic score and (contrary to what another review says) there were concert revivals on both coasts in the late 90s (with Martin Short for Encores and Jason Alexander for Reprise). In fact, Bacharach and David wrote a new song for the Encore version. Also, Jill Haworth NEVER appeared in Promises.

It is amazing that Promises was so popular but remains unique and unimitated. Even if it was revived again and recorded again, the OBC would remain important since it establishes the sound of this piece in its time. Today someone would be imitating that 60s-70s sound. This is the actual idiomatic thing.

This so far is the only Broadway production!
It is a complete mystery to me why this musical has never been revived on Broadway or Off-Broadway, and not even in a concert version.I mean, other "dated" musicals have been successfully revived in recent years ("How To Succeed" and "Dreamgirls" spring to mind immediately), but even with the recent resurgence of interest in Bacharach's music, no one has seen fit to re-do "Promises, Promises."This is a great pity, as anyone who saw the energetic teen performance of "Turkey Lurkey Time" in the indie film "Camp" can attest.The score is great; the book, not so much (terribly sexist and mysoginistic, but then, so was "How To Succeed") -- still, this musical cries out for someone to re-invent it.

At any rate, it's lovely to hear the late Jerry Orbach's performance on this CD, which is great, and even the folky Jill Haworth does a good job on songs later elevated to pop perfection by Dionne Warwicke. This musical is an undiscovered gem. ... Read more

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Remember 1958, when milquetoast The Music Man won the Tony for Best Musical over brashly innovative West Side Story? It's likely that one day we'll remember 2004 as the year wholesome Avenue Q won over brilliantly daring Caroline, or Change. The Tony Kushner-Jeanine Tesori collaboration proves that a show can be smart, inspirational, provocative, touching, and simply beautiful all at the same time. And lest you think Caroline is the kind of musical that's good for you in a spinach kind of way, this two-CD set demonstrates that the show's also terrifically fun. Because the plot is set in 1963 Louisiana, Tesori's ultra-melodic score, delivered by a superb cast, expertly weaves together R&B, gospel, doo-wop, soul and girl-group pop (check out the lovely "Salty Teardrops"). And of course there's a bona fide showstopper for Caroline (Tonya Pinkins) in the heartwrenching "Lot's Wife," which had New York audiences in tears during the show's run. Truly extraordinary. --Elisabeth Vincentelli ... Read more

Reviews (18)

The most thrilling cast album in years
"Caroline, or Change" is one of the more unusual musicals I've ever seen; it's virtually sung-through, yet it feels much more like a musical than an opera. It pushes the boundaries of contemporary musical theatre in its form, its style (yes, there is a singing washing machine, radio, dryer, and bus), and its content: there aren't easy answers here, nor is there anything resembling a traditional happy ending. Instead, the show's conclusion is true to life - a combination of deep sadness and hope.

Jeanine Tesori, Tony Kushner, and director George C. Wolfe have achieved something monumental here, and if listening to the show is an altogether different experience from seeing it (I've been four times and counting), it is no less moving on disc. Indeed, to call this recording incredible would be an understatement. The more I hear this show, the more I think of it as this generation's "Sunday in the Park with George." It's as seminal a work as that is, and it's equally moving in its own way. Where "Sunday" is about (among other things) the ability of one human being to connect to the rest of the world, "Caroline" is about (among other things) the pain of being confined to one's inner world, unable or unwilling to share it with anyone, not even God. It's about the different ways people react to change and to life itself; it's about waiting for a bus that won't come. Caroline Thibodeaux ranks among the greatest roles written for a woman in musical theatre, alongside Mama Rose, Mrs. Lovett, Dot, and Norma Desmond, and Tonya Pinkins gives the performance of a lifetime both on stage and on this recording. Please buy it, and please see "Caroline, or Change," which has become one of my all-time favorite musicals.

Caroline, Or Change - Changing Musical Theatre as we know it
I had the extreme priveledge of experiencing Kushner and Tesori's Operatic Masterpeice, Caroline, or Change live in NYC. The driving rythms, the passion, the heartbreak, the longing, the uprising, the earth shattering performaces. Tanya Pinkins as Caroline, was a revelation, especially in her monumental aria, "Lot's Wife". This song rivals "Rose's Turn". So sincere and believable in her performance she led us through her day to day life as a house maid for a middle class Jewish family, and we followed closely.

I saw this production in early June and was so eager for the Cast recording. Luckily Hollywood Records took on the task of producing this cd, in it's COMPLETE entirty, with full libretto, for all to enjoy. While I was watching the production I was thinking to myself, "will they release this as a single or double cd? Which songs will they choose, and which will they omit?" I am so glad they were able to archive every word, every hum, every breath.

This cd is a crisp, clear interpretation of the production. I heard the opening scene and immediatley wanted to see the show again. The voices are strong, clear, powerful and effective. Most musical theatre lovers won't know how to react while listening to this cd. Think on the lines of groundbreaking storytelling like "Songs for a New World," "Myths and Hyms," "Parade," and anything Sondheim. The songs are complex, intricate and constantly changing with each person's mood. The overall musical theme is the 60's Louisana rhythm & blues/rock and roll/gospel opera. You've rarely heard anything like it, with the few exceptions I have mentioned (or if you've encountered Tesori's Cult favorite, "Violet.")

The cast is simply superb. Chuck Cooper (Tony Ward Winner of The Life) as the bass-voiced Dryer and the amazing solo as the Bus. Anika Noni Rose in her Tony Award winning role as Caroline's activist daughter. Broadway Veteran Veanne Cox as comedic, yet suffering Rose Gellman, Caroline's new Boss. The entire cast is extremely talented, with exstacy inducing voices. This cd packs a punch to the senses.

I recommend this cd to any musical theatre lover, and to anyone who appreciates beautifully inspiring music. This musical, I felt, (alongside (Sondheim & Robert Brown) will help to redefine the mainstream musical theatre creating a new and exciting Musical experience.

A Fantastic Recording
I bought Caroline or Change about two weeks ago, and found it good but unimpressive at first. Then I started to listen more and more, and became slowly obsessed with it. The melodies go from jazzy to fun, and the lyrics are almost always touching. Tonya Pinkins, Veanne Cox, Anika Noni Rose, and all the female leads are tremendous. I implore e