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

Amazon.com

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 everyone who didn't like this recording on a first listen to continue to try it out. You won't regret it if you find it half as wonderful as I do.

Great CD
I think this is a great CD. The lyrics are so deep and thought out. The music is so catchy you'll be singing alone immediately! My son loves it too!

rebirth
Quite simply, the first evidence in years that American musical theater is not a dead, decadent, utterly backward-looking art form. Kushner's talent as a lyricist matches his extraordinary skill as a playwright, and Tesori's music is remarkable (particularly surprising after her generally colorless contributions to Thoroughly Modern Millie, speaking of decadent and backward-looking). Beautifully performed too, by the way, happily preserving a performance in its lead role that, years from now, people will rightly refer to as legendary. ... Read more

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On May 3, 1960, a chamber-sized variation on Romeo and Juliet by composer Harvey Schmidt and writer-lyricist Tom Jones opened off-off-Broadway at the Sullivan Street Playhouse. On May 3, 2000, The Fantasticks opened again at the Sullivan Street Playhouse, celebrating 40 continuous years of performances and having long since become the longest-running musical in the history of the world. And while many cast members have come and gone, it's the original cast recording that has become an indelible part of our memory, from the dual pianos dotting the overture and Jerry Orbach's rich reading of "Try to Remember" to the fathers' lament "Never Say No" and the gorgeous duet "Soon It's Gonna Rain." Even better, this anniversary edition CD benefits from remastered sound (you can now hear the harp strum in the opening bars) and a new booklet that includes a note from Jones, an introductory essay, and (drumroll, please) full lyrics. Yes, it's still true that the voices may not have the sheer beauty some modern ears might expect, and the pit band (augmented from two players to five for this recording) sounds a bit dated, but who cares? It's The Fantasticks, an essential piece of musical theater history. Long may it run. --David Horiuchi ... Read more

Reviews (14)

This is more than any metaphor will ever ever be.
From the first staccato notes of the solo piano to Jerry Orbach and company urging us to "Try to Remember" this is a classic CD. The music and lyrics, though possibly a little odd at first, is witty, whimisical, clever, smart, and beautiful. This is one of the few cast albums of a show in which there is not a single bad song. The performances do nothing but enhance the music. This simple little show, which has been running off-Broadway for over thirty years, is well represented with this CD. Thirty years of audiences can't be wrong, and they aren't. This is a wonderful recording of a wonderful show. I gureente you will not be dissapointed.

When less gives more
If a show opens in 1960 and is still running after about 16,000 performances, one can reasonably assume it is a good show in every sense of the words. Standing on the other pole (so to speak) from the current run of Broadway's visually rich/musically barren spectacles, is a charming little work designed for a basement production and so perfect that many have seen it several times, especially when friends come in from out of state. In fact, when they wanted to close it at last, the neighborhood would not let them!

So I don't have to sing the praises of this classic, which has been available for many years on the original cast LP. Now the Good News is that it has been made available in a "re-mastered, completely repackaged edition," as the press release expresses it on the Decca Broadway label (314 543 665-2). So sit back and enjoy once more the voices of Jerry Orbach, Kenneth Leson, Rita Gardner, William Larsen, Hugh Thomas, and all the others in this anti-spectacular with good dialogue, decent lyrics, and (Heaven be praised) lovely melodies. (And give the Rostand play, "The Romantiques," a read too. It is lovely.)

Try to Remember...
It was the spring of 1960. Dwight D. Eisenhower was the President, and Senator John F. Kennedy had yet to squeak by VP Richard Nixon in a to become President. Elvis Presley had recently been discharged from the U.S. Army. The average American's annual salary was around $4800, and minimum wage was $1.00 per hour. Cadillac had lowered their high tail fins. Elizabeth Taylor won an Oscar for her performance in Butterfield 8. The first manned space flight wouldn't take place for another year. The formation of the Peace Corps was a year away as well. Gary Powers was shot down in a U2 spy plane over the Soviet Union. Barbie dolls had just been introduced the year before. The Flintstones were almost five months away from their premiere. The Beatles hadn't even cut their first single record, and there were no Russian missiles in Cuba. Osama bin Laden was only three years old. The World Trade Center wasn't even on the drawing board yet.

But in early May, a small band of actors entered the Sullivan Street Playhouse, a tiny 150-seat theater in Greenwich Village, to perform a beautiful, romantic little musical about a boy, a girl and the pains of young love.

The week that The Fantasticks opened on its sparse stage, it was suggested to producer Lore Noto that he close the show. It suffered from mixed reviews, and the ticket sales could have been better. He decided to try and keep the show running for awhile, to the relief of the relatively unknown cast members. One of these was a young actor with a rich baritone voice named Jerry Orbach, who played the role of El Gallo, the narrator. He imagined that the show could well succeed if it had time to develop a following.

"I thought it could run for like five years," Mr. Orbach recently recalled.

It ran for thirty-seven years beyond that then-optimistic estimate.

The Fantasticks featured music by Harvey Schmidt and lyrics by Tom Jones, who began writing musicals together when they were students at the University of Texas. It became the longest running musical in the world and the longest running show of any kind in the history of the American theater.

But on Sunday evening, January 13th, 2002, after 17,162 performances, The Fantasticks did what few thought possible: it made its final bow.

Lyricist Tom Jones told those who offered their sympathies, "You can't be sad for a show that has run forty-two years, " as he and composer Harvey Schmidt greeted the closing night crowd. The final performance was delayed for nearly a half hour late as the show's former cast members, many who hadn't seen each other in years, held tearful reunions in the aisles and largely disregarded the ushers' attempts to get them to stay seated. Among the attendees were the original "Girl" Rita Gardner, original "Mortimer" George Curley, Oscar-winner F. Murray Abraham, who had played one of many El Gallos throughout the run, and set/costume designer Ed Wittstein.

The timing of its closing is particularly moving, given the horrible deaths of other lasting New York City monuments in the past few months. The message of The Fantasticks proved to be dissonantly significant in the days after the September 11th terrorist attacks. The opening words of Tom Jones' lyrics could have been written that very week:

Try to remember the kind of September
when life was slow and oh, so mellow.
Try to remember the kind of September
when grass was green and grain was yellow.
Try to remember the kind of September
when you were a tender and callow fellow.
Try to remember and if you remember
then follow...

It's been noted often that there were quite a few handkerchiefs wiping tears from the eyes of the patrons in the theater when this song was performed during those performances last September and into the fall.

On Sunday night, there probably wasn't a dry eye in the house, either.

Don't miss this excellent remastering of the 1960 off-off Broadway original cast recording. Simply put, it's superb.

My wife and daugters love this musical
A classic that needs to be brought back

Fantastck!!!!
I have seen the play, i actually work in the crew, i was the stage manager and i loved this show, it's amazing! the romanticism, the moods, enough to make you cry. And it is a pleasure to hear it over and over again... Try to remember... Understand and feel the joy and sadness of those two lovers... Amazing! ... Read more

Amazon.com

There are but two kinds of people in the world: Those captivated by Baz Luhrmann's heady, postmodernist musical romp Moulin Rouge--and everybody else. Oddly, the film's initial soundtrack release may have been the project's most traditional element, marketing a slate of pop-star contributions that gave listeners a sometimes-skewed perspective on its true musical charms. This follow-up corrects much of that oversight, offering original film versions of "Sparkling Diamonds" (the lavish, Nicole Kidman-performed medley of "Diamonds Are a Girl's Best Friend" and "Material Girl"), Jim Broadbent's and Richard Roxburgh's loopy take on "Like a Virgin," as well as the lively Offenbach "Can Can" parody "The Pitch (Spectacular Spectacular)." It also pays homage to the efforts of composer Craig Armstrong, whose quietly compelling underscore often binds the film's other far-flung musical influences together, be they stately orchestral readings of Elton John's "Your Song," a dramatic arrangement for Kidman and Ewan MacGregor's original film duet of "Come What May," or his dark, melodramatic take on Queen's "The Show Must Go On." The first Moulin Rouge soundtrack collection flaunted the film's bold, cross-genre ambitions; this one chronicles its nakedly emotional heart and soul. --Jerry McCulley ... Read more

Reviews (143)

An album no Moulin Rouge fan should be without
This Moulin Rouge Volume 2 soundtrack was a necessary complement to the original soundtrack, for we fans of the movie were desperately crying out for the original film versions of the amazing songs from the movie; the first soundtrack, as great as it was, in no way satisfied us with its assembly of cover songs and alternate versions of the movie's most moving and memorable pieces. I love this album, but I admit that I am baffled and disappointed over the fact that it is an incomplete collection; all of the film versions of Moulin Rouge's fantastic songs should really be available on one album, but you will find a huge gap here with the absence of any version of the amazing El Tango de Roxanne as well as no vocal performance by Ewan McGregor of Your Song (versions of both songs are available on the first soundtrack, however). Another confusing aspect of this CD, at least to me, is the fact that the tracks fall just short of proceeding along a chronological basis; I can't help wondering why they just didn't put Meet Me in the Red Room in its proper place in the sequence of songs.

The album opens with an instrumental version of Your Song taken from the "Rehearsal Montage" scene. This is followed by what is supposed to be the original film version of Nicole Kidman's amazing Sparkling Diamonds number, a song that was rather unabashedly edited and changed on the original soundtrack. However, the voice of Jim Broadbent cannot be heard during the sequence of the song preceding Satine's wardrobe change behind the skirts of the Can Can girls, so to my mind this is not truly the film version of the song. Nicole Kidman's singing of One Day I'll Fly Away is one of the most memorable moments of the film, yet sadly the original film version is not available on either Moulin Rouge soundtrack. Whereas Volume 1 features a track stripped of Ewan McGregor's delicately overlaying Your Song lyrics; this album features a remix of the song that robs it of much of its power. While The Pitch (Spectacular Spectacular) may be hard to get out of your head, its frivolous fun is an important part of the movie, and its inclusion here is most welcome indeed. The crowning glory of this Volume 2 soundtrack, however, is the original film version of the haunting Come What May. While the snazzier version included on Volume 1 still manages to give me chills, this film version is what the hearts of Moulin Rouge fans find themselves crying for in the night.

In all honesty, the most memorable scene in Moulin Rouge is the highly unusual performance of Like a Virgin by Jim Broadbent and Richard Roxburgh; this completely unexpected scene does much to define the essence of director Baz Luhrmann's boldness and genius. While it can be an uncomfortable song to sit through, it absolutely belongs on this soundtrack. I am also quite happy that Amiel's Meet Me in the Red Room is included here; its short appearance in the movie, at the time Christian greets Satine up in the Giant Elephant, left quite an impression on my mind, and I was more than eager to hear the song in its entirety. The frivolity of this track is quickly subsumed by the four remaining songs included here. After a truly melancholy instrumental version of Your Song taken from the "After the Storm" scene, Nicole Kidman and Jim Broadbent present us with their meaningfully melancholy version of Queen's The Show Must Go On. This is followed by the Ascension/Nature Boy song from the "Death and Ascension" scene, and the extended Bolero track that plays during the film's closing credits.

I am pretty much obsessed with Moulin Rouge, largely because of the incredible music it gave the world. Naturally, I love both Moulin Rouge soundtracks. I also recognize their faults. This Volume 2 CD fails to be a complete collection of the most significant original songs from the movie. I prefer it to Volume 1 just because I love the movie versions of the songs, but you really have to own both volumes, if for no other reason than the fact that only Volume 1 features a non-instrumental version of Your Song, the incredible Elephant Love Medley, and the unforgettable El Tango de Roxanne. Taken together, both soundtracks meet most of my Moulin Rouge musical needs with one exception: neither contains the brilliant, unprecedented medley of songs extending from Kylie Minogue's appearance as the Green Fairy through the uniquely mesmerizing first entrance into the Moulin Rouge. Even with the gaps and my small criticisms, however, both Moulin Rouge soundtracks will forever be helping to meet my obsessive need for all Moulin Rouge all the time.

Okay addition to the first CD, but dosen't stand on its own
I am a huge fan of Moulin Rouge, and I was really anxious to get all of the songs from the movie on CD. The first CD was great, but most of the songs weren't the original film versions, or just not really important songs--- background music. Only about 5 of the songs were actually plot-related and sung by the original cast. This CD doesn't have as much unrelated music, but it does fail to deliver the essentials of a great Soundtrack. It does have the original film versions of "Come What May", "The Pitch", "Like a Virgin", "The Show Must Go On" and "Sparkling Diamonds", which are all essential plot-related songs, it also has a lot of background music that is probably played for about ten seconds in the film. These songs include "Meet Me in the Red Room", "Bolero" and a instrumental reprise of "Come What May." These songs are nice, but don't really fill up the CD with the kind of quality songs you'd expect for the price. Then there is a re-mix of "One Day I'll Fly Away", which probably most annoyed me. Why would we want a re-mix not featured in the movie when we already have the original song on the first CD? Why not offer something in the CD we actually want like "Green Fairy Absinthe/Children of the Revolution", "Sound of Music", "Goreki" or "Zidler's Rap"? I would have bought the CD even knowing it only had a few satisfying tracks because I love the film, but I am not pleased with how this soundtrack attempts to make more money off mediocre tracks from the movie. What is really needed is a complete soundtrack, like the ones made for musicals. Until that happens, these "filler" CDs are good for avid fans only and basically overpriced.

I bought this CD after reading other people's review's ...
I was very disappointed ... there doesn't seem to be a good soundtrack of this great musical... to date. I few songs sounded similar to the one's in the movie ... and yes they were Nicole Kidman and Ewan McGregor but the CD is incomplete. Half the songs are missing and others are just instumental with no singing. I don't know why the other people gave such a good rating ... I know music ... and I've bought soundtracks before and have never been so disappointed ... but such a great movie without even offering a good soundtrack? I don't get it?!

Oy vey...
Don't get me wrong, I love "Moulin Rouge", but whose idea was this piece of garbage, and what was the point of it? Just a bunch of extra tracks that can be found in the movie. Seesh...what a waste of money.

Spectacular, Spectacular!
After seeing the movie, my husband and I went to a music store to listen to the first and only soundtrack out at that time. We were severely disappointed. It was missing some of the most amazing songs from the film!

You can only imagine how exciting it was to find this one! It included some of the most memorable songs from the film from "Like A Virgin" to "Spectacular, Spectacular" to our favorite version of "Come What May". In fact this is the lesser produced sounding version of "Come What May" which my husband insisted that we dance to as our first dance at our wedding and brought tears to our eyes.

Everytime I hear this soundtrack it brings back terrific memories of the movie, which I recommend that you purchase as well! But, overall if you are debating between soundtracks, get this one, you won't regret it! ... Read more

Reviews (40)

Menken's Masterpiece
This is the one. If there was one Menken soundtrack I would recomend above all others, it would be this one. It's easily the best in both score and songs

The CD starts off with 'Prologue'. The music is here is wonderful, and while there is a storyteller on top, it's still a beautiful piece of music that I wouldn't want to live without. 'Belle' is probably one of the best songs I've ever heard. Great melody, great orestrations, great lyrics, great everything. The rest of the songs are wonderful too, from the humorous waltz of 'Gaston', to the playful Can-Can of 'Be My Guest', to the wonderful ballade 'Beauty and the Beast'. Every one of the songs has everything that makes a good song.

And what of the score? Well, it's great as well. 'West Wing' even contains more of the wonderful 'Prologue' music, and 'Transformation' is a wonderful choral version of 'Beauty and the Beast', and makes for a grand finale. As usual with Menken, the songs are all integrated nicely into the score, which makes for a highly coherent listening experiance.

The final track is the pop version of 'Beauty and the Beast'. It's done very well as far as pop songs go. And unlike the later Lion King pop songs, the lyrics are actually the same.

Overall, you can't go wrong with this. The singing is great, the instrumentations are great, wonderful melodies, and there's just a certain spark to it that makes you put a smile on your face.

A wonderful mix of romance and comedy
For many years, I have thought of "Beauty and the Beast" as the standard by which all Walt Disney animated musicals should be measured. The music by Alan Menken, the lyrics by Howard Ashman, and the performances of a superb cast combine to create one of the greatest movie song scores of all time.

The story is based on the timeless tale of a handsome prince who is changed into a monstrous beast, and who then must earn the love of a beautiful maiden. Robby Benson brings a touching mixture of pain and hope to his performance as the Beast. Paige O'Hara is a revelation as Belle ("Beauty"): she possesses a voice of great power and purity. The leads are well complemented by a superb supporting cast: Angela Lansbury, Jesse Corti, Jerry Orbach, David Ogden Stiers, and Richard White. Each performer brings something special to both the songs and the occasional bits of spoken dialogue on the CD.

The CD begins with a wonderful spoken prologue, and then moves into the excellent Menken-Ashman songs. The first song, "Belle," quickly establishes the rich, stirring "Broadway musical" tone of the CD. As a whole, the collection of songs attains an effective blend of humor, romance, and drama. The title song appears in two versions: the character version by Angela Lansbury (as Mrs. Potts), and the "pop" version, a duet between Peabo Bryson and Celine Dion. Both versions are excellent, but I'm somewhat partial to Lansbury's emotional performance.

The movie is a beloved classic, and so is the soundtrack. This CD is essential for fans of Disney music, and of film music in general.

Best of Disney!
This is a wonderful album. With all the fun lyrics, and lovely instrumentals. Whenever I hear the song "Beauty and the Beast" sung by Angela Lansbury, it makes me feel great.
The songs that are the most fun are "Be our Guest" and "Something There". The loveliest instrumental is "Transformation" and the most lively is "Battle on the tower". The only thing I don't like about this album is the pop version of "Beauty and the Beast" by Celine Dion and Peabo Bryson. It's really sappy (too many ooooo's and aaaaaa's). Buy this album and listen to all the songs except that one.

Where is the rest of the Score??????
Do not get me wrong, this is my favorite movie of all time! I can watch the movie over and over and over again! BUT!!!!!

The soundtrack is missing so much! The original version of Prologue and MOST OF THE SCORE IN THE MOVIE! We only get 25% of the score! WHERE IS THE REST? Why not put the rest on the Special Edition Soundtrack?

Overall you still get all the songs! :)

Perhaps the best Disney soundtrack ever
We all have heard the songs in "Beauty and the Beast" and not one of them is bad. They are all great. As a matter of fact, they are all flawless. The musical themes also resonate in the score, which is composed by Menken in his best work ever. The special edition contains a few extra tracks, and definitely buy it if you can, but even the cheaper version is great too and contains all of the original album. Even if you are someone who (like me) dislikes sappy Disney songs, you will still probably like Beauty and the Beast, for there are none of them in it. This soundtrack is highly recommended. ... Read more

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Peter Allen was an Australian gay man who was once married to Liza Minnelli and was still officially in the closet when he died of AIDS in 1992. It's obvious that when it comes to sheer drama, Allen's life is pretty hard to beat, and Hugh Jackman's portrayal in this bio-show terrifically brings home the music man's energy and inner contradictions. Too bad his life's intensity wasn't reflected in Allen's milquetoast songs, which are generously sprinkled throughout the show. Technically, Jackman's not the best singer (Brian Stokes Mitchell continues to rule Broadway in that regard), but his charisma is undeniable. His take on "I Go to Rio" is appropriately high octane, for instance, while "I Still Call Australia Home" (Oz's unofficial anthem) is rather poignant. As Judy and Liza, respectively, Isabel Keating and Stephanie J. Block try hard to emulate their models' vocal styles, which can be really distracting. Overall, though, this album is mostly for serious fans of either Allen and Jackman. --Elisabeth Vincentelli ... Read more

Reviews (52)

Hugh Jackman Channels the Spirit of Peter Allen
As a longtime fan of Peter Allen's music, and someone lucky to have experienced the legendary stage performer in person three times, I was ecstatic when "The Boy From Oz" came to Broadway. The show itself is a basic pain-by-numbers affair that never fully mines the pathos and brilliance of its subject, with shoddy sets and awkward designs that feel better suited to a high school production than a stage on the Great White Way. But all of the incidentals of this show are completely forgotten and take a much needed back seat to Allen's inspired music and the glorious star-making performance of Hugh Jackman in the title role. I haven't experienced anything quite like the feelings that came up for me as I watched this talented Aussie pin-up and actor literally transcend definition and BECOME Peter Allen - mind, body and spirit. Whereas supporting cast members are given fine opportunities to embody the likes of Liza Minelli (Allen's ex wife) and Judy Garland - and do so admirably despite the obvious challenges that come with playing a well known entertainer - it's Jackman who astonishes in a role that ideally suits his tenuous but forceful voice and his gentle, though complete grasp of character. Watching Jackman on stage was at times like watching the original Allen, who whipped his audiences (and myself) into a frenzy with boundless stage energy, costumes galore and a quick witted manner that was both adorable and dismissive at once. Funny, light, abrasive and ultimately sad, Jackman captures the human qualities of the late great singer-songwriter, whose "DOn't Cry Out Loud" and "I Honestly Love You" became staples for the brokenhearted. This cast recording seems blessed - if that's possible - by Allen's spirit. It's a fitting tribute to a vocalist whose singing ability was secondary to his phrasing and showmanship, and an eerie reminder that when you find huge new musical theater talent like Hugh Jackman, you RUN (do not pass GO, do not stop at the light) to get tickets. A stratling once-in-a-lifetime stage performance, reserved here for eternity. Let's all pray for an eventual DVD of the show! Jackman is TONY and GRAMMY bound!

WOW!!!!
Fabulous! After being disappointed in so many Broadway recordings of late, this is the real deal. I had a show me attitude toward this one, but I loved it from the very first listen. A high octane, high energy show full of great tunes and numbers. I was never a big Peter Allen fan during his heyday, but I was only exposed to a few of his songs. I was surprised at the breadth and depth of his work on here. (Granted, he often worked with other lyricists). Havent seen the show, but if its as good as this recording, it has to be specactular. Isabel Keating sounds so much like Judy Garland its a little creepy. The whole cast, led by Hugh Jackman, is great. If you've only known Jackman from his movie roles, prepare to be bowled over. His version of Once Before I Go, alone is worth the price of the CD. Dont Miss This!! Tony, here we come!

Simply Amazing
Hugh Jackman has truly outdone himself with the hit Broadway show, 'The Boy From Oz'. This CD is proof of that.

It includes the 26 broadway songs, all of them sung wonderfully. Those songs include--The Lives of Me--My Name in Lights--Love Crazy--All I Wanted was a Dream--Older Woman--The Best That You Can Do--Don't Wish too Hard--Come Save Me--Continental American--I Love to Hear the Music--Quiet Please, There's a Lady on Stage--I'd Rather Leave While I'm in Love--Not the Boy Next Door--Bi-Costal--If You Were Wondering--Everything Old is New Again--Love Don't Need a Reason--I Honestly Love You-- You and Me--I Still Call Australia Home--Don't Cry Out Loud--Once Before I Go--Rio--Tenterfield Saddler.

Hugh Jackman is refreshingly different from his previous roles [X-Men (Wolverine) and Van Helsing], and puts his heart and soul into every note he sings. I recently saw the Broadway Show, and his performance was truly hilarious. He would interact wth the crowd and get everyone riled up for the next scene. Every motion he did was part of his character, and truly made it a worthwhile experiance. I highly reccomend seeing the show and buying this CD.

Wish I hadn't bought it
I was raised on show music, normally can't get enough. This one is too loud, tuneless, with pretentious pronunciation and annoying vocalists. Yuck.

Peter Allen (the Boy) is NEW Again
I have seen the "The Boy From Oz" twice on Broadway and believe it is definitely the most fabulous Broadway show in years. Hugh Jackman's performance in the role of the late Peter Allen (songwriter, cabaret singer and recording artist) is clearly one of the most outstanding in Broadway history. Part of that performance is captured on this CD (ie, the vocal part). So, I bought the CD. While the CD brings back great memories of the show, I have learned to value the CD for its own merits. Firstly, the music of Peter Allen is incredible (the most amazing feat of this show is that the late Peter Allen's music is used to tell the story of his life). Each song on this CD is either moving, rhythmic, melodic and/or plain fun to listen to. Secondly, Hugh Jackman and the other cast members all give competent performances of the many classics contained on the CD. Thirdly, the arrangers outdid themselves refreshing and modifying some of the old arrangements (some are totally reinvented). As the song goes, everything old is new again. ... Read more

Reviews (23)

A Classic Musical and an Essential Recording
Meredith Wilson's THE MUSIC MAN is one of the most beloved of all Broadway musicals. The story is charming and endearing, while the score is tuneful and very inventive. There are rhythm numbers ("Rock Island" and "Ya Got Trouble"), ballads ("Goodnight My Someone" and "Till There Was You"), barbershop numbers ("Sincere," "It's You," "Lida Rose"), quirky comedy songs ("The Sadder but Wiser Girl," "Marian the Librarian," "Shipoopi") a march ("Seventy-Six Trombones"), and even an aria ("My White Knight"), as well as other wonderful songs for the ensemble ("Iowa Stubborn," "The Wells Fargo Wagon"). The original Broadway cast recording, starring Robert Preston as the fast-talking con man Harold Hill and Barbara Cook as the skeptical young librarian and music teacher, Marian Paroo, is the finest recording of THE MUSIC MAN. Preston's charisma seems to leap right out of the speakers; his patter in "Ya Got Trouble" is a marvel, absolutely clear and precise. Cook's pure, golden soprano and heartfelt phrasing are a joy to hear. Add the famous barbershop quartet The Buffalo Bills and the rousing orchestrations of the legendary Don Walker, and you have a truly fabulous show album. This original Broadway cast recording of THE MUSIC MAN is a must-have for anyone who loves musicals.

Brava, Barbara Cook!
Robert Preston IS Harold Hill. Pert Kelton, Eddie Hodges, the Buffalo Bills, the women's chorus, and Don Walker's orchestrations are all perfect. But it is the singing of Barbara Cook as Marian that makes this MUSIC MAN a great recording. Cook's golden renditions of "Goodnight, My Someone," "My White Knight," "Will I Ever Tell You?," and "Till There Was You" make it clear that she is one of the best female singers in the history of Broadway.

Magnificent!
Any lover of American theater should own the original cast recording of THE MUSIC MAN. For me, the high point of this recording is Preston's intoxicating performance of the speak-song number, "Trouble". His performance here is cool and rhythmically precise, unlike his "white hot", vitriolic performance in the 1962 movie. But the whole CD is a lot of fun. Enjoy!

The recording that all others are measured by!!
What a great recording! This is aimed more toward for families, but anyone with taste in music can enjoy it. The sound is crystal clear. The voices are the best. Barbra Cook is Excellent as Marian Paroo, and should have playd her in the film, although Shirley Jones does a good job. Robert Preston IS the Music Man. I perfer this version to the other versions because of the little dialouge. These songs are meant to be heard un-adulterated, and pure. The soundtrack has too much talking, and Buddy Hacketts not so great vocals.
You may have noticed that I enjoy Sondheim. But sometimes I need to take a break from the complex scores and return to Broadways roots. Without shows like these, there may NOT have been a broadway today. These are the tunes that I grew up with, and they will never die, thanks to great recordngs like this. This is a must for anyone who enjoys musical theater!!!!!!

Never Gets Old
The Music Man has always been one of my very favorite musicals. This cd is well worth owning. Barbara Cook is the perfect Marian Paroo. Way better than Shirley Jones and Kristen Chenoweth put together. There's even a song on the cd "My White Knight," which doesn't appear in the movie. Just in stage versions. In the film they sing "Being in Love." But some of the lyrics in the two songs are the same. Both songs have the following verse somewhere in them.

ALL I WANT IS A PLAIN MAN, ALL I WANT IS A MODEST MAN
A QUIET MAN, A GENTLE MAN, A STRAIGHT FORWARD AND HONEST MAN
TO SIT WITH ME IN A COTTAGE SOMEWHERE IN THE STATE OF IOWA
AND I WOULD LIKE HIM TO BE MORE INTERESTED IN ME THAN HE IS IN HIMSELF AN MORE INTERESTED IN US THAN IN ME. AND IF OCCASIONALLY HE'D PONDER, WHAT MAKES SHAKESPEARE AND BEETHOVEN GREAT. HIM I COULD LOVE TILL I DIE, HIM I COULD LOVE TILL I DIE.

Another interesting fact is that after Barbara Cook retired from acting, she became a singer. She's still singing as far as I know. I also reccomend her "All I ask of You," album. ... Read more

Amazon.com

Although it's based on the 1967 movie of the same name, Thoroughly Modern Millie is almost thoroughly new. Composer Jeanine Tesori (Violet) and lyricist Dick Scanlan wrote a whole batch of songs, while retaining a couple from the movie--including the Jimmy van Heusen-Sammy Cahn title tune--and recycling even older material (look for Victor Herbert's "I'm Falling in Love with Someone" and the inventively arranged "Nuttycracker Suite"). Miraculously, the show, set during the jazz age, doesn't feel stitched together, and Tesori does a great job cranking out swinging melodies. Sutton Foster is appropriately brassy as Millie, but she can also tone it down, as in the beginning of "Gimme Gimme" (of course, she then proceeds to project up to the last rafters as the song builds to its climax). Harriet Harris, as nasty Mrs. Meers, steals the show with "They Don't Know." Close your eyes, listen to her, and you'll be back in Broadway's golden age. --Elisabeth Vincentelli ... Read more

Reviews (90)

Perfection!
This CD is about as perfect as you can get without Sutton Foster belting 'Gimmie, Gimmie' two feet from your face!

This is Broadway at it's best-they know they're not working with something life-altering and profound and they accept it and have a BLAST. Sometimes you want to see a play that makes you think, and sometimes you want to see what made the Great White Way so GREAT! There's something (And I hate saying this) universal about this musical-no matter how jaded and 'mature' you feel, listening to Sutton Foster's Millie Dillmount will take you back to a point where you were so excited about life. It's funny, it's charming and it's sweet, and it's also brimming to the top with talent. It's the type of CD that makes you smile on a crowded subway, and sing out loud in the shower and hum in mandarin on the elevator!

Overture - Not too bad, gets your pulse racing but you can skip over it after a few times though.
Not for the Life of Me - A wonderful song about that moment in life where you stop and realize "This is it-I'm on my own!" and you love it!
Thoroughly Modern Millie - Cute, from the movie, a crash course in 1920's high society
Not for the Life of Me - see above
How the Other Half Lives - Priceless! It could only be better had they included the text from the performance "I'm not poor, I'm broke, there's a difference. Poor sounds permanent but broke can be fixed!"
Not for the Life of Me (reprise) - Best song sung in mandarin to hit Broadway! ; )
The Speed Test - Disgustingly infectious and catchy, you'll find yourself tap dancing at the gym!
They Don't Know - How amazing is H. Harris? This is without a doubt, ahhhh-I'm speechless!
The Nuttycracker Suite - Mehhhh
What Do I Need with Love? - An amazing song, but I have to be honest, the show belongs to the ladies-
Only in New York - Like Sheryl Lee Ralph, who gives it her all a song you can hear Lady Ella sing.
Jimmy - Awwwww, a good old fashioned love song! You can feel your heartstrings being tugged and you'll love it!
Back at Work / Forget About the Boy - Catchy, this was performed @ the Tony's and is another song which makes you regret not taking tap dancing lessons.
Ah! Sweet Mystery of Life/I'm Falling in Love with Someone - Music swelling, lips quivering, a very period melodramatic piece that comes across like a great piece of lyrical comedy!
I Turned the Corner/I'm Falling in Love with Someone quartet/reprise) - A sentimental song, but by this point, you're ready to leap on stage and join in! A great 4 part harmony.
Muqin - LOL. This is what comedy is all about!
Long as I'm Here with You - Another jazzy toe-tapper by SLR! This woman has a set of pipes on her that you wish they'd showcase more often.
Gimme Gimme - You know how some singers have songs that'll follow them around? Yeah, this is Sutton Foster's-This song explains why this woman deserved every award thrown at her feet and should still recieve MORE! This is the definition of SHOWSTOPPER! BUY THE CD FOR THIS SONG! This is why Sutton Foster has been praised by even those who hated the show. She's AMAZING!
Finale - Cute
Final Bows - A nice full circle to come to, and eases you off your emotional rollercoaster!

THE BEST BROADWAY I'VE EVER HEARD
As a longtime fan of the 1967 Julie Andrews/ Mary Tyler Moore film "Thoroughly Modern Millie," when I heard it had become a Broadway show, I was both excited and skeptical. The inevitable question arose: "can it live up to the film?" The answer is YES, and then some! Of course many changes were made to create the transition from screen to stage, and the ending result is a Broadway show that is brilliantly done in its own right. The cast is exceptional, especially Sutton Foster; what a talent! I have listened to this CD a thousand times already and I am still blown-away by her energy and unique talent. Every song is infectious, comical, exciting, and fun. This whole CD, from beginning to end, is a "Thoroughly" enjoyable experience. You won't have to skip through tracks on this CD, but you will want to put it on "repeat"! My only warning is that as soon as you hear this, you will want to see the actual show, which is unfortunately impossible for those of us who live on the other side of the country! Luckily, I still have the original 1967 movie (also heartily recommended) and this delightful Broadway soundtrack to enjoy!

A Great Cast Album
This CD is a great purchase! Sutton Foster's vocals are powerful and emotional while maintaining a very fresh and spontaneous attitude. Jeanine Tesori's orchestrations create a beautful atmosphere to the jolly tunes that flatter, but never overuse, their 1920's inspiration. A great recording with memorable songs that will keep you humming.

Better than movie
The Broadway version was better than the movie due to the fact the songs were much improved and better. I still think this show lacks something in the music though. it is just not up there with the likes of "The Sound of Music", "The Lion King", "The Phantom of the Opera" and "Singin' in the Rain". The songs are to repetitive and don't touch you like some others in other musicals. The theme song is wonderful, but it is not a musical where every song can get stuck in your head.

On a whim...
I had the privilege of making a quicky trip to NYC last weekend JUST to catch Gypsy before it closed on the 30th... and I saw it twice! Ha! But that's another story...

During the stay we decided to check out Thoroughly Modern Millie as well. I have loved the 1967 movie since I was a tiny tot, and when I found out Broadway had finally gotten their hands on it, I bought the recording. Now, I bought the CD a few months ago. Plenty of time to get into it and have every song stuck in my head for weeks to come, eh? No cost. I never fully got into this recording. Maybe it was all the new material I wasn't familiar with? Maybe I was bitter that this Broadway musical seemed like an entirely different show all together? Something wasn't clicking right.

I just needed a little help of VISUAL AID, I guess!

I enjoyed the show "thoroughly" and ended up having quite a few numbers stuck in my head the following days we were in the city. It was bothering me that I left the recording at home and had no access to it for the time being.

I caught an entirely different cast than what is heard on the recording. I got the UNDERSTUDY of Susan Egan as Millie, Emily Rozek (who was absolutely FANTASTIC. I don't see how Egan could top this girl.) Leslie Uggams as Muzzy, a truly inspiring comedienne Dixie Carter as Mrs. Meers, yet another understudy Richard Roland as Jimmy, Kevin Early as Mr. Graydon, and possibly the only original left, a fabulous Angela Christian as Ms. Dororthy.

A particular stand out for me is "Forget About the Boy", along with "What Do I Need With Love", "How the Other Half Lives", "Not For the Life of Me", and of course the showstoping "Gimme Gimme". The overture and title song are equally exciting.

I wish I could have seen the much raved about Sutton Foster as the leading lady, though I am undoubtedly very happy with the cast I got.

Very cute, very fun, and very hopeful. 3 words that came to my mind as the house was cheering with standing ovations. With a few disappointments here and there about numbers that didn't get carried from the film to the stage, I had a great time.

Go see it before it closes on June 20th!! ... Read more

Amazon.com

One of the leaders in the trend of big splashy revivals in the late 1980s and early '90s, Lincoln Center's 1987 production of Anything Goes was the perfect evocation of the 1930s, from the period pit band to James McMullan's striking poster art to the large photograph of Cole Porter that smiled over the stage like an approving spirit. While the score earns its share of authenticity by resurrecting numerous songs from the original score, it also tosses in a few ringers such as "Friendship" and "It's De-Lovely." (Porter himself did not mind when people staging his shows borrowed songs from his other shows.) Then-rising star Howard McGillin sings sweet ballads and the ensemble numbers are excellent, but the show belongs to Patti LuPone, who in the role of Reno Sweeney grabs the baton from Ethel Merman and never lets go. Her "I Get a Kick Out of You" is one of the great performances of her generation, and the title tune and "Blow, Gabriel, Blow" make almost every other song sound like filler. LuPone was upset in the Tony race by Joanna Gleason, but the show did win for Best Revival. The booklet includes full lyrics, synopsis, production notes, and photos.--David Horiuchi ... Read more

Reviews (32)

"Anything Goes" for a new generation!
The 1987 Broadway revival of ANYTHING GOES was a fabulous success, starring the incomparable Patti LuPone as well as an excellent supporting cast.

Howard McGillin (THE PHANTOM OF THE OPERA's longest-serving Broadway 'Phantom') lends his resonant voice and boyish good-looks to the character of Billy Crocker, with a supporting cast led by Linda Hart (GYPSY, HAIRSPRAY) as the flirty Erma.

Patti LuPone (LES MISERABLES, SUNSET BOULEVARD) is ideally cast as the singing chaunteuse-turned evangelist Reno Sweeney, belting out the Cole Porter standards "Anything Goes", "I Kick a Kick Out of You" and "Blow, Gabriel, Blow" in her own formidable style.

The musical later re-opened in London's West End starring Elaine Paige as Reno Sweeney and Howard McGillin reprising his role of Billy Crocker. I highly recommend both of these cast albums.

divine Patti LuPone sings Cole Porter
ANYTHING GOES came back to Broadway in 1987 via a revival from the Lincoln Center Theatre. Patti LuPone (EVITA, LES MISERABLES) let her hair down to play Reno Sweeney, with charming Howard McGillin as Billy Crocker. This revival featured a new book co-authored by Timothy Crouse and John Weidman, and interpolated songs from other Cole Porter shows into the score.

The story recounts Reno as she boards the ship SS American, bound for England. She manages to convince old pal Billy to stow away and join her. Billy discovers his old flame Hope Harcourt (Kathleen Mahony-Bennett) is also on board and is travelling with her fiancee, Lord Evelyn Oakleigh (Anthony Heald) whom she will marry on arrival. Also on board is Billy's employer Elisha Whitney (Rex Everhart), as well as 'Public Enemy 13' Moonface Martin (Bill McCutcheon) and sexy gun-moll Erma (Linda Hart). Also adding complications is Hope's battle-axe mother Evangeline (Anne Francine). It's up to Reno and Moonface to stir up the mix, do a little meddling and match up lovers...

Patti LuPone and the entire cast are superb. The production was a huge success, running 800 performances and later moving to London in 1989.

This cast album is a real delight.

really wonderful cast album
"Anything Goes," is a great musical and this version is updated and really in tune. I'd reocmmend it to any musical theatre fan. Howard McGillan has a great voice really, strong and perfect for broadway. The rest of the cast is good too.
It feature some great Cole Porter songs, and really a vibrent and beautiful score.

A Knock-Out In Every Possible Way
Although the 1987 revival of Cole Porter's legendary ANYTHING GOES plays fast and loose with both the original score and book, it's hard to be anything but enchanted with the show or the this cast recording--particularly when it includes the talents of Patti LuPone, Bill McCutcheon, Anne Francine, and many other Broadway notables.

The story of romantic follies aboard a transatlantic liner, the show opens with a scratchy recording of Cole Porter himself singing the title tune before the soundtrack segues into a dazzling overture by an excellent orchestra--and then proceeds to bounce out one great Porter tune after another: "I Get A Kick Out of You," "You're The Top," "Easy to Love," "Friendship," "It's De-Lovely," the title cut, "Blow Gabriel Blow," and "All Through the Night," to name but the most obvious titles.

While the entire cast is nothing short of brilliant, the show clearly belongs to Patti LuPone in the role of Reno Sweeney, an evangelist who does a little nightclub act on the side. LuPone hasn't been in better form since she dazzled New York audiences in EVITA, and her knock-you-flat vocal style is perfectly suited to both the role and the complex Porter tunes originally written for Broadway powerhouse Ethel Merman... and indeed, even Merman's memorable renditions seem to pale a bit in comparison.

Purists may complain about fiddling with the score, and it is true that this revival drops as many Porter classics from the original score as it adds from other sources; "Let's Misbehave" is particularly missed. But it's hard to argue with the addition of "De-Lovely" and "Easy to Love" (the latter of which Porter originally gave to Jimmy Stewart, of all people, to perform in the memorable 1936 film BORN TO DANCE.) And when Patti LuPone launches into "Anything Goes," you'll know it really does. Recommended as a knock-out in every possible way!

GFT, Amazon Reviewer

The '87 Revival Cast Is Great!
A few years ago, I saw this revival version in my hometown and was amazed at how good it was. I have never been a huge Cole Porter Fan, but this show really changed my mind. I have heard (and own)all of the CDs of the different revival versions, but this is easily my favorite. The sound quality is very good and Patti LuPone is actually very good in this difficult role as Reno Sweeney. It is a very fun disk to listen to if you like Cole Porter or if you just like "Anything Goes!" ... Read more