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For one brief, shining moment, there was a place known as Camelot--and this 1961 recording is the only document available of JFK's favorite musical, the one that's been used to describe his presidential administration ever since. Truthfully, Lerner and Loewe's musical score for this retelling of the King Arthur story doesn't measure up to My Fair Lady, which was still playing when Camelot opened on December 3, 1960. That being said, the three principals here were stronger musically than their 1968 film counterparts--Julie Andrews and Robert Goulet (who became a star as Lancelot, thanks to "If Ever I Would Leave You") could sing, while the pre-Liz Richard Burton could recite those great lines with Shakespearean flair, even if he never scored a hit with "MacArthur Park." --Bill Holdship ... Read more

Reviews (39)

simply the best, by far
Now with improved sound, the original Broadway version blows away the competition. Richard Burton, a remarkably good singer considering that he had never taken a singing part before, is the definitive King Arthur, Julie Andrews is unsurpassed as Guinnevere, and Robert Goulet is wonderful as the self infatuated Sir Lancelot. After his "C'est Moi" (featuring the title line of this review), why would anyone else bother to perform it? The musical itself is of course one of the greatest of all time, with the title number, How to Handle a Woman (sounds a bit sexist, no? but it really is a beautiful love song), and What Do the Simple Folk Do? being my personal favorites. Even if you are not nostalgiac, this is great, great music.

Absolutely beautiful--a work of genius
Where to begin with this lovely work of art? Well, I suppose we must begin with the actors...

Richard Burton, as Arthur, is stunning in his powerful, lordly acting, is incredible, and he sings so well that I find it astinishing that this was his first singing role. Julie Andrews is as wonderful as Guinevere as she is anywhere else, perfectly distilling both the joy and wit of "Lusty month of May" and "You may take me to the fair", and the quiet melancholy of "Before I gaze at you again" and "I loved you once in silence". Roddy McDowall is impishly delightful as Mordred in the deliciously profane "Seven deadly virtues". But Robert Goulet's proud, passionately performance, very reminiscent of Richard Kiley's Don Quixote a decade later, has made Lancelot, potentially a boastful, insipidly sappy boor, into my favorite character from "Camelot".

Since there is little of the play's dialogue on this CD, the other aspect of its greatness is the songs. Guinevere's slow, tragic romantic ballads are a bit bland, but they have quite clever lyrics and are stunningly well-performed by Julie Andrews. Still, my favorite songs remain "Ce'st moi", Lancelot's self-praising solo, and the heart-rending finale, "Camelot (reprise)". Ironic, isn't it, that the song I like the least is the original version of the song "Camelot".

Also high on the list is the sardonic, maliciously hilarious "Fie on goodness", which is sung by Arthur's traitorous knights, and which gives a rather persuasive argument in favor of the human need for sin and guilt. Yet more favorites are the bitterly tragic "Guinevere" and the joyous "Lusty month of May", both of which are a true joy to listen to. The only songs that are lacking are "Camelot" (although, as I said, the reprise was stunning), and "The simple joys of maidenhood", whose brilliantly witty lyrics are marred slightly by a rather lackluster tune. Still, this CD comes highly recommended, as even those two songs are quite adequate efforts, and there is not a single song truly lacking in value. Get this CD; you'll almost certainly enjoy it (unless you're a cretin entirely lacking in good taste), and it is certainly the best performance of this musical available anywhere, at any place or time. Richard Burton IS Arthur! Julie Andrews IS Guinevere. And Robert Goulet is DEFINITELY Lancelot! Ce'st moi forever! Camelot forever! And for the last time--leave this review, go back to the top of the page, and GET THE CD! _NOW_!

Julie Andrews and Richard Burton in fine voice
CAMELOT, the ravishing musical re-telling of the King Arthur legend by Alan Jay Lerner and Frederick Loewe, has never sounded better than in the original 1960 Broadway cast album, now happily reissued on the Columbia Broadway Masterworks label. Richard Burton, Julie Andrews and Robert Goulet lead the cast as the troubled love-triangle of King Arthur, Queen Guenevere and Sir Lancelot. Julie Andrews, fresh from the London production of MY FAIR LADY, is in glorious voice and sings some of the score's best numbers like "The Simple Joys of Maidenhood", "The Lusty Month of May", "Then You May Take Me to the Fair" and the achingly-poignant "I Loved You Once in Silence". Richard Burton has an attractive singing voice (remember, he was a Welshman!), and has a ball with numbers like "I Wonder What the King is Doing Tonight?" and the Title Song. Robert Goulet delivers the definitive "If Ever I Would Leave You". CAMELOT enjoyed a modest run of 873 performances (modest in that the composers hoped to outdo their MY FAIR LADY success. MFL ended up running over 2, 000 performances). Out of the myriad of CAMELOT cast albums available, this is still the best of the bunch.

Spectacular voices, beautiful score, flawed, but lovely
The level of talent helped to elevate this overlong work to "classic" status. This is an unwieldy piece - it aspires to be operatic, but falls short. The book isn't wonderful, but the scope of the story is. It's one of those musicals, like Man of La Mancha, that has as many supporters as detractors. I love parts of this show, and these beautiful voices preserve it as it should be, not like the filmed musical drek that came later. I always get a little farklemt at the end....

Far from day, far from night...
I absolutely loved this recording and would reccomend it to any potential buyer. Even though i have never seen it performed, or watched the movie, Lerner and Loewe's brilliant musical has become one of my favorites, entirely on the strength of this recording. The music is sweetly pretty, and the lirics are superb, but it is the stars that make this recording such a timeless classic. Being a confirmed Julie Andrews fan means that I invariably enjoy her singing, but in my opinion she is at her personal best in this recording. The shine and the sparkle that shines through in such songs as The Simple Joys of Maidenhood and Take Me To The Fair, is unquestionably wonderful, even to those who dislike Julie Andrews. The other stars are equally talented. Richard Burton's voice is perhaps not astonishing, but his enthusiasm and energy fully makes up for this. Robert Goulet fully deserved the fame he recieved for If Ever I Would Leave You. The company songs are equally good. Guineviere, for example, is an excellent song. Indeed, I would go so far as to say that there is not a single song on this recording that is not a classic. A must have. BUY IT! ... Read more

Amazon.com

This recording was produced more than 40 years ago, only in mono, but from the day it was released it was a deserved phenomenon. It out-grossed the mega-hit show for months, and it still holds the record for the most weeks as a Billboard Top 40 album: 292. The reasons are many. Start with the 20-year-old Julie Andrews in peak voice, singing no fewer than eight sensational Lerner and Loewe songs, soaring most memorably to high C in "I Could Have Danced All Night." Rex Harrison perfected the art of talk-singing in a clutch of equally captivating numbers written especially for his voice, of which the most indelibly delivered is "I've Grown Accustomed to Her Face." And Stanley Holloway brought the best English music-hall style to an eager American audience with "A Little Bit of Luck" and "Get Me to the Church on Time." There were no scene-changers in Frederick Loewe's best score, and Alan Jay Lerner managed to fashion his libretto and lyrics so close to the language of George Bernard Shaw (on whose play Pygmalion the musical was based) that experts couldn't tell where Shaw left off and Lerner took over. Every song created character and advanced the plot. My Fair Lady was a show you "got"--and still get--on first listening--without having seen it. The London cast album (with the same leads) can give you stereo; the movie version, a fuller orchestra, Harrison and Holloway in full sail, and Marni Nixon dubbing Audrey Hepburn. But the Broadway cast album is still the one to have, and the one absolute must in any musical collector's CD library. --Robert Windeler ... Read more

Reviews (30)

Isn't this Loverly?
I was fortunate enough to see Rex Harrison in 1981 during his revival of "My Fair Lady," and even though Rex was way past his prime, the evening was magical. This original cast album from 1956 preserves forever this wondrous musical, where every single song is superb. There isn't a clinker in the bunch and that's saying something considering the record contains 16 songs, most of them standards. Julie Andrews soars, which is to be expected and it makes you tear your hair out that she wasn't cast as Eliza in the 1964 movie version.

"The Rain in Spain" is infectious and fun, you almost want to get up and dance as its sung. Even though Rex talk-sings his way through the album, he brings a charisma and charm that was his alone. Listen to the sly irony he brings to "I'm Just an Ordinary Man," and pay close attention to his show-stopping finale, "I've Grown Accustoned to her Face." The way Harrison places a poignant stress on the word "face" will stay in your memory forever.

This is a much superior version to the movie soundtrack and it should be required to round out any serious record collection, no matter what the genre. This is the soundtrack by which all others should be judged, it's magnificent!

ESSENTIAL: THE BEST MUSICAL OF THE 20TH CENTURY
Earlier, I had written a review of the 1959 London Cast Stereo recording of "MY FAIR LADY." Many amazon.com customers seem to prefer the original Broadway Cast recording to the later London Stereo LP. I'm such a "Fair Lady" fan, I have both discs. The disc I'm reviewing here is a Gold Disc with an extra Bonus Track. Columbia Records president Goddard Lieberson conducts post-recording interviews with Rex Harrison, Julie Andrews, lyricists Alan Lerner and conducter Franz Allers. Liberson states that "FAIR LADY" is "possibly the most successful musical of this (20th) Century." He got that right! Here, you hear Rex Harrison give a full out performance, when he was still excited by the material and everything was fresh and new. Boredom set in afterwards. Harrison growls and grunts his way through Higgins' songs on the London Cast Album, and in the 1964 film version (for which he received an Academy Award), Harrison couldn't be more listless, static, and boring; giving a one-note "phoned in" performance. Much better than Harrison, in any case, is Julie Andrews; then on the brink of her brilliant career. She is best at full fire and music, exploding with fury and rage in "Just You Wait! " and "Show Me." Simply put, Julie Andrews is the best Eliza Doolittle of all time. Added to all this is a delightful dash of Stanley Holloway. For pure freshness and vitality, you can't beat this original recording of MY FAIR LADY. And the Post-Recording interviews make this an irresistable treat, not that everything else wasn't enough!

The London Recording is Better
I recently purchased the Broadway recording, then turned around and got the London cast recording (both with Rex Harrision, Julie Andrews and Stanley Holloway). Though the recording has wonderful music, the recording was nevertheless just so disappointing, and not the way I remembered it. The latter recording isn't nearly so measured. It's far more vital, witty and sarcastic. I highly recommend it.

Julie is better
If only Julie Andrews had been chosen for the movie version of My Fair Lady, this film would've swept the Oscars...not that Audrey Hepburn didn't do an amazing job, but the singing is just not the same. While Julie picked up the Best Actress Oscar, Audrey didn't even get nominated. Of course, Audrey had her voice dubbed by Marni Nixon.

But enough of my fuming, the songs:

Rex Harrison is a delight, though his singing abilities are limited, his enunciation and clear, British english makes all of his numbers absolutely delightful.

Julie is, of course, the highlight of this album. I am an avid fan and positively adore her voice. This recording was made in her younger years, therefore you can really hear the clarity and crystalline quality of her voice. My personal favorites are "I Could've Danced All Night" and "Just You Wait".

The supporting cast is also very strong. Stanley Holloway's "Get Me To The Church On Time" shows off his deep baritone. The man who plays Freddy (I forget his name) is also very good. "On the Street Where You Live" is also one of my favorites.

To those who enjoy this album, I recommend "The Music Man", "Sound of Music", "Cinderella", and "Mary Poppins".

A perfect cast album from a perfect show
MY FAIR LADY is understandably the world's most beloved musical. Based on one of Shaw's great plays, with Lerner & loewe's finest score, put on stage with the perfect cast, and opening on Broadway at just the right time: late in what had been a very disappointing season for musicals.

This original Broadway cast album, made just days after the premire, captures all the freshness and excitement of the triumphant opening. (Avoid the London cast recording which has teh same cover art but printed on a gold background. The ORIGINAL original cast album with the white cover is the one to get!)

This Cd hardly needs my endorsement. It's been a best-seller for 48 years now. ... Read more

Amazon.com essential recording

Based on James Michener's Tales of the South Pacific, Rodgers and Hammerstein's Pulitzer prize-winning South Pacific is one of the most beloved musicals ever to hit the stage. The appeal is simple: a collection of stunning compositions--immense symphonic sound orchestrated by Rodgers collaborator Robert Russell Bennett--and characters with a simple though cohesive through-line. On this original Broadway cast recording, the lovely, girlish Mary Martin (Peter Pan, Annie Get Your Gun) is the heartily feminine American nurse Nellie Bly to the dashing former Metropolitan Opera bass Ezio Pinza as French plantation owner Emile de Becque. This release takes from the original high-quality tapes cut in 1949 (rather than the acetates, which were recorded simultaneously for the vinyl release of the day). There are alternate takes of a few songs and the restored original version of the hard-hitting racial commentary number "Carefully Taught." Pinza's "Some Enchanted Evening" is tender and lovely without being cloying. Martin's confidence and warm vocal expressiveness on numbers such as "Twin Soliloquies" and the bonus track, "Loneliness of the Evening," are stellar, and the choral numbers are both solid and spunky. --Paige La Grone ... Read more

Reviews (27)

Simply Phenomenal
No recording of this score will EVER replace this original cast album. "South Pacific" deserves to be heard this way, and no other. Accept no substitutes! Mary Martin shines on "A Cockeyed Optimist," "Twin Soliloquies," "I'm Gonna Wash That Man Right Outa My Hair," "A Wonderful Guy" and "Honey Bun" and is well supported by Ezio Pinza. Although many critics find fault in his performance, Pinza is very effective on "Some Enchanted Evening" and "This Nearly Was Mine." But aside from the star performances from Martin and Pinza, the score is best-remembered from Juanita Hall's haunting "Bali Ha'i." What a number! I still remember the first time I ever saw the film. I couldn't believe they had the nerve to dub Hall with Muriel Smith. I've sinced learned that Rodgers & Hammerstein preferred Smith's singing and Hall's acting, but that seems preposterous to me. Hall's delivery of this number is dead-on and cannot be surpassed. Whether you are a fan of American musical theatre or not, you should own this album. It is THAT good!

Nothing to shout about. It was better on stage, right?
I think the recording I listened to was the original, unrestored version, which may affect my opinion.

There really is nothing in this recording that gives you the sense that you are listening to one of the greatest musicals in Broadway's history. The only word I can think of to describe it is vague. (Even that doesn't sound quite right.) "I'm Gonna Wash That Man Right Outta My Hair," "Cockeyed Optimist," "A Wonderful Guy," and "Honey Bun" are vaguely tuneful, and mary martin is vaguely energetic in her delivery. The same goes for the sailors' two songs, "Bloody Mary" and "There Is Nothin' Like a Dame." Ezio Pinza and Juanita Hall are vaguely mesmerizing in "Some Enchanted Evening" and "Bali Ha'i," respectively. "You've Got to Be Carefully Taught" isn't even vaguely searing in its commentary, because it only lasts about 30 seconds. (Is the the song actually longer, or is this all there is?)

Since this has been hailed for 50 years as one of the greatest of all Broadway musicals, I assume it probably is. But there's really no evidence of that in this recording. I guess the restored version must do it better justice. I'll just have to keep an eye out for that one...

Sterling-quality SOUTH PACIFIC with some minor demerits
This world-premiere recording of South Pacific is justly regarded as one of the best recordings of this classic Rodgers & Hammerstein score. Although it was recorded in 1949, way before today's digital technology, it still sounds magical, seductive and wonderful, until it allows other performances to pale in comparison. The score is wonderfully served by the original Broadway cast, still immersed in the glowing reviews that were given for the show and the score. And, the Sony recording, deapite being a constricted and rough-sounding mono recording, sounds much better than ever before thanks to a sparkling 20-bit remastering of the original source tapes.

The highlight of this recording is Mary Martin's full-throated, sassy and spunky portrayal of Nellie Forbush. Every song she sings is a delight from first note to last, and she carries with her an infectuous and winning persona. Her renditions of "A Cockeyed Optimist" and "A Wonderful Guy" are delightful and charming, and she is able to bring out the comic relief in "I'm Gonna Wash That Man Right Outa My Hair" and also a truncated version of "Honey Bun." Martin's outstanding performance is ably matched by Ezio Pinza's sonorous Emile. He dives into Emile's numbers with a full-throated operatic fervour, and gives us ravishing performances of "Some Enchanted Evening" and a somewhat edited version of "This Nearly Was Mine." He is also magical on his duet with Mary Martin, the "Twin Soliloquies." The rest of the cast is just as superb, with William Tabbert showing the romantic and prejudiced sides of his believable portrayal of Lietunant Cable, when he sings 'Younger than Springtime" and "Carefully Taught." And, Juanita Hall makes a characterful and colloquial Bloody Mary. She is superb in dhe dreamlike quality of "Bali Ha'i" and the lightly frolicsome "Happy Talk." The sailors are full-throated on their numbers, but perhaps there needs to be more comedy in their version of "There is Nothing like a Dame", something like the version in the film soundtrack.

This reissue of this recording is graced by some bonus tracks that make it feel more complete. Mary Martin's honeyed alto voice shines on her renditions of the cut songs, "Loneliness of Evening" and "My Girl Back Home". She sings them wonderfully until you wonder why these two songs were cut from the final version of South Pacific. It also makes you yearn for a professional production that restores these two cut songs. Those wto listen to these recordings will undoubtedly feel that Mary Martin's voice has never sounded lovelier on record than on these numbers. Ezio Pinza tries his vocal cords at "Bali Ha'i", even if, for an opera singer, it may not be as dreamlike as Bryn Terfel's cover version, but even then, Pinza sings it wonderfully, even if the song may not be within his range. These three bonus tracks, which had incidentally been included on the previous Sony Broadway reissue of the recording, show up here again and help to make the recording more complete. And, to round off the experience, Andre Kostalanecz leads the Philadelphia Pops Orchestra in a sumptuous and atmospheric "Symphonic Scenario for Concert Orchestra." They do it wonderfully, even if it is slightly truncated. Besides the wonderful and gorgeous remastered sound, the real icing on the cake comes in the deluxe packaging. There is a well-written and insightful essay, and synopsis, by Marc Kirkeby that runs through the booklet pages, and it is jam-packed with rarely-seen photographs from the Broadway premiere.

If I had any qualms about this recording, it would be about the cuts that were made at some points in the score. Because this recording was made for 78 rpm discs and for vinyl at the same time, some songs had to be cut to fit the 78 sides. "Honey Bun" has lost its choral refrain, and ends only after Nellie finishes her verse, just as the sailors and Luther Billis are about to join in the fun of the performance. There are also cuts in the middle section of Emile's "This Nearly Was Mine," and in the overture (which can be heard complete on the outstanding Mauceri disc of the complete Rodgers & Hammerstein overtures.) But these cuts were only minor, considering the limitations of the recording media at the time. The other qualm I have is about the comic numbers, "There is Nothing like a Dame", "Honey Bun" and "I'm Gonna Wash That Man." Because of the slow speeds, they come off as staid, stoic and stiff, lacking in an extra degree of humour. Listeners like me can find compensation in the fact that this recording's finale makes use of the "Some Enchanted Evening" ending when Nellie and Emile sing the song together after the children finish "Dites-moi." It makes me wonder why Hammerstein did not write his script for that song to have the last word, and it makes me long for this more ravishing ending to be the standard for all South Pacific productions and recordings.

Overall, though, this is a wonderful gem of a Rodgers & Hammerstein cast recording, well-deserving of the acclaim that it has heaped up through the years. This is definitely a magical, essential and (as some might add), compulsory cornerstone of any Rodgers & Hammerstein collection, and can be recommended to any beginner of R&H musicals, or to any newcomer to this glorious musical that is South Pacific.

SOUTH TERRIFIC!
A first-rate score by Rodgers & Hammerstein; four sensational and perfectly cast leads; and an ensemble (orchestra and chorus) that does more than just support the stars. The album always has been a joy from start to finish! In just under 46 minutes you get all the key musical moments from the score. The Cd includes 4 bonus tracks: Mary Martin's solo recordings of the cut songs "His Girl Back Home" (Originally to be sung by Cable as "My Girl Back Home") and "Loneliness of Evenng"; Ezio Pinza's solo recording of "Bali Ha'i" and a Symphonic Scenario for Concert orchestra conducted by Andre Kostelanetz. Best of all the CD re-produces the original artworked that was on the first LP issue in 1949.

That leads to my one very minor quibble: The mono sound is a little "old" sounding. The top end is just a little brittle. Still, miles ahead of Decca's OKLAHOMA and CAROUSEL or Victor's ALLEGRO. And a far better recording of SOUTH PACIFIC than any subsequent cast or sountrack album.

The original is still the greatest
Growing up in the musical wasteland of the 1980s, I often raided my parents' record collection out of sheer desperation for songs with meaningful lyrics and real instruments. Among the many wonderful discoveries I made that way was an exotically titled soundtrack album with a pretty yellow and green cover, which my grandfather had apparently bought new in 1949. Perhaps intrigued by the record's vintage, or maybe by the vague familiarity of some of the song titles, I brought it back to my room...and it hasn't left my collection since.

It's hard to pinpoint just what makes this album so majestic from start to finish, because every song is a gem in its own way. This is perhaps the only soundtrack on which the overture holds my attention just as much as the vocal numbers do (on most other soundtracks I skip through the overture), and it provides the perfect segue into the childish innocence of "Dites-Moi," still a favorite of mine years after I finally became proficient enough in French to decipher its pidgin pronunciations.

While the songs fit together flawlessly and tell the play's story, most of them also stand well on their own. Perhaps "There is Nothin' Like a Dame" and "Honey Bun" are less than politically correct (though still harmless) by today's standards, but they're still a lot of fun all the same. "You've Got To Be Carefully Taught," on the other hand, was decades ahead of its time and is still all too relevant, as Americans are once again at war with "people whose skin is a different shade." On the lighter side, "Bali Ha'i" can always be counted on to take you to Your Own Special Island - just close your eyes and see! Then there's that Broadway staple, the spine-tingling, move-you-to-tears love song. Not all musicals have given us even one of these. This one offers three, and after more than half a century, "Some Enchanted Evening," "Younger Than Springtime," and especially "This Nearly Was Mine" are just as touching as ever.

The bonus tracks, while they naturally sound somewhat out of place alongside the original songs, are surprisingly enjoyable. "My Girl Back Home" sounds rather dated (in contrast to the rest of the album), but it is a fascinating piece of circa-1950 Americana in any case. Overall, though, there's nothing "old" about this album. It's timeless! ... Read more

Amazon.com

Fiddler on the Roof is one of Broadway's great classics. Based on the tales of Sholem Aleichem, the musical tells the humorous and heartbreaking story of the milkman Tevye as he tries to maintain the simplicities of his traditional life even as his daughters grow up and Russia heads toward revolution. Many of Jerry Bock and Sheldon Harnick's songs have become touchstones of popular culture, including "Tradition," "If I Were a Rich Man," and "Sunrise, Sunset." As Tevye, Zero Mostel leads--and at times dominates--the original 1964 Broadway cast, displaying irrepressible swagger and bluster. A young Julia Migenes plays his middle daughter, Hodel, while those who only know Bert Convy as a game-show host will be surprised by his pleasant voice as her suitor. The CD includes two previously unreleased songs but no lyrics. --David Horiuchi ... Read more

Reviews (18)

Superior Original Cast Recording -- The Best!
Just as they say that the book or the play are always better than the movie, it is also almost always true that the original cast recording of a play out-shines the luster of any movie sound track - true, true, true! -- I have seen "Fiddler on the Roof" as a wonderful film, as well as a fantastic stage production. I'm also familiar with the original movie sound track. All are great entertainment. The only tangible thing to top all of it off is this CD recorded from the original Broadway stage production. Zero Mostel is THE ONLY Tevje! His rendition of "Tradition" and "If I Were A Rich Man" are priceless. The tunes "Matchmaker, Matchmaker" and "Do You Love Me?" also are done best in this recording. If you are a fan of Broadway Shows, like I am, you will appreciate this superior original that has often been copied, but never duplicated!

The most beloved Broadway musical of the 1960's
It might seem an odd choice for the honor, but "Fiddler on the Roof" is undoubtedly the most beloved Broadway musical of the Sixties. The book by Joseph Stein is based upon the stories of Sholem Aleichem, with music by Jerry Bock and lyrics by Sheldon Harnick, the songwriting team whose earlier Tony Award winning success "Fiorello!" certainly never suggested they could create something as wonderful as "Fiddler." Zero Mostel heads the cast as Tevye, the dairyman, with Maria Karnilova as Golde, his wife, who, with "Do You Love Me?" have the best love duet between two married people in musical history.

At the heart of the story are the efforts by Tevye to deal with the way God keeps presenting him with challenges, from needing to take care of a lame horse ("If I Were A Rich Man"), to getting his oldest daughter engaged to one man ("To Life") only to see her marry another ("Sunrise, Sunset"), and finally to leave the only home he has ever known to travel to America ("Anatevka"). Throughout it all Tevye tries to remain true to the traditions of his community ("Prologue--Tradition") and his faith ("Sabbath Prayer"). The cast features Beatrice Arthur as Yente the matchmaker ("The Rumor"), Austin Pendleton as Motel the tailor ("Miracle of Miracles"), Bert Convy as Perchik the student ("Now I Have Everything"), Joanna Merlin as the eldest daughter Tzeitel ("Matchmaker") and future opera star Julia Migenes as the second oldest daughter Hodel ("Far from the Home I Love").

I understand now from those who should know that Mostel butchers the pronunciation of anything not said or sung in English, but I have to admit that does not really detract from my enjoyment of this album; I do not pay attention to pronunciation when listening to opera either, so I am at least consistent. This CD version features two previously unreleased tracks, the "Wedding Dance" music (including the famous bottle dance) and "The Rumor," both of which are welcomed additions. Bottom line: If you own a dozen musicals on CD, then this is one of the ones that has to be in your collection

A Landmark Acomplishment.....by Zero Mostel
Ahhhhh...what can you say about "Fiddler on the Roof" that hasn't already been said. This landmark in American Musical Theater (and in theater in general) is forever perserved in this timeless recording. Bock and Harnick songs vividly bring the story of Tevye, the poor milkman, to life. The songs are so touching and reflect the emotions of all, while entertaining even the most avid musical-hater (shame on you).

However, the greatest accomplishment belongs not to Bock, Harnick, Harold Prince or Jerome Robbins (who directed). The man who personifies and carries (and downright dominates) this show is the great Zero Mostel. His acting, voice and comedic timing are greatly shown in this, his definitive role. He makes "Fiddler on the Roof".

In the interviews with Sheldon Harnick (lyricist) that are on this CD (another reason to buy it), he mentions that Zero recorded "If I Were A Rich Man" in only ONE take. Amazing. As is this CD.

Even if you are the most avid musical-hater, or a musical theater junkie like me, you will enjoy the classics like "If I Were A Rich Man", "Sunrise, Sunset" and "Tradition", while savoring songs which they cut, like the histerical "When Messiah Comes".

All-in-all, a fabulous CD! Well worth the price.

******Also, make sure you see and listen to Zero Mostel in Stephen Sondheim's "A Funny Thing Happened On The Way To The Forum." Either buy the movie or the cast recording! You'll be glad you did!

Mazeltov!
Having had some history as a performer in this production, I can't recommend this soundtrack highly enough. If you've seen the film version, the music will bring you back. And of course, Zero Mostel is the "star," and there's no question about it, and his renditions as "Teyve" actually lay the foundations for the ensemble to play to.

In this collection, we hear:

Tradition
Matchmaker, Matchmaker
If I were a Rich Man
Sabbath Prayer
To Life
Miracle of Miracles
Teyve's Dream

Sunrise, Sunset
Now I have Everything
Do You Love Me?
Far from the Home I Love
Anatevka

What more could you want? Just go out and get the film, right? Or wait for the local community theater to do a revival production of this wonderful story.

It warms the heart, it does, and I highly recommend it!!

The Best Recording of Fiddler EVER!!!!!
I listened to the other Fiddler recordings and even played a part in our community theater and still this was the best. Zero Mostel brought the whole production to life! I grew up with it and have lived by it my entire life. ... 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 essential recording

Stephen Sondheim's Company still sounds as modern as it did when it opened in 1970. Donna McKechnie, Susan Browning, and Pamela Myers spoof the Andrews Sisters with gusto in the tongue-twisting "You Could Drive a Person Crazy," while Browning and Dean Jones's "Barcelona" is filled with longing and heartbreak. And, of course, Elaine Stritch reigns supreme, proving once more that you don't have to be the best singer to steal a musical. An extra track features Larry Kert (Tony in the original West Side Story) singing "Being Alive." Kert had replaced Jones early in the run but wasn't on the original cast recording. It would have been nice to finally get the lyrics, though. --Elisabeth Vincentelli ... Read more

Reviews (36)

A Sondheim masterpiece
COMPANY is one of the greatest musicals to emerge from the 70's, which proved to be a rather thin decade for Broadway and the musicals.

COMPANY is a "concept musical" in the best sense of the word, where the songs act more as vignettes than form a scene-to-scene story. The cast, headed by Dean Jones and Elaine Stritch, has never been truly bettered.

Dean Jones, in his brief time as Bobby, displayed for the first time his rich and beautiful singer voice. After years playing the goofy leads of Disney comedies like "The Love Bug", "Monkeys Go Home" and "That Darn Cat", Jones was established as a Broadway star to be reckoned with. His renditions of "Someone is Waiting" as well as the life-affirming "Being Alive" are fantastic.

The supporting cast is headed by Elaine Stritch as Joanne, the sardonic older woman who sings the masterpiece "The Ladies who Lunch" (still yet to be equalled). Beth Howland, as kooky Amy, sings the difficult patter-sing "Getting Married Today" with gusto. Pamela Myers, in her Tony-nominated role as Marta, sings a mean rendition of "Another Hundred People". The rest of the cast; Barbara Barrie, Charles Kimbrough, Merle Louise, Charles Cunningham, Teri Ralston, George Coe, Steve Elmore, Charles Braswell, Donna McKechnie, Susan Browning, Cathy Corkill, Carol Gelfand, Marilyn Saunders and Dona D. Vaughn; all sing with gusto.

Stephen Sondheim certainly created what is considered one of his most polished and questioning scores; including "Barcelona", "Have I Got a Girl For You", "Sorry-Grateful", "Poor Baby" and the dance arrangement for "Tick-Tock", which provided a showcase for the galvanising dance talents of Donna McKechnie (who would go on to create the role of Cassie in the original cast of A CHORUS LINE).

One of the Greatest Musicals
"Company" -- along with "Follies", "A Little Night Music", and "Sweeney Todd", represents the pinnacle of Sondheim's achievement and a bastion of the greatest music Broadway has ever sponsored -- both from a musical and literary perspective. "Company" itself is by turns warm, acerbic, amusing, frantic, and is a magnificent expression of the convoluted emotional lives of modern urbanites. (Indeed, it has one of the most perceptive songs ever written about New York City--"Another Hundred People".) The ambiguity of the human spirit is a major theme running through Sondheim's ouvre of lyrics. (Which are, in my opinion, arguably the greatest body of lyrics composed for the stage, Gerschwin, Berlin, Porter, Rodgers & Hammerstein & Hart AND the rest notwithstanding.) Such brilliant songs as "Sorry-Grateful", "Someone Is Waiting", and "Being Alive" attest to that. The words reach down into the gut, and even when cynical they ring true (as in the wonderful "The Ladies Who Lunch"). Although there have been alternative casts and revivals and numerous concert performances of the score, in whole or part, this original cast recording still towers above them all: Dean Jones' magnificent performance, fraught with all the pain and bemusement and alienation (the role nearly caused him to have a nervous breakdown, it affected him so much); that national treasure, Elaine Strich, in "The Little Things You Do Together" and the incomparable "The Ladies Who Lunch"; Beth Howland's tour-de-force panic attack while "Getting Married Today"; the wonderful cast (including Charles Kimbrough of "Murphy Brown" fame and Barbara Barrie, and alumnus of "Barney Miller"). Even the ostensibly "Big" crowd-pleaser numbers, like "Side by Side by Side", for all their conscious nods to popular tastes, have an edge-- how Bobby, at the end, finds himself alone when his married friends pair off with their spouses-- beside the wonderfully witty and insightful lyrics; in "Barcelona" -- one of the most realistic "post-coitus" numbers even written -- where Bobby, after insincere and fulsome praise of his recent bedmate, at a climax calls her "June" -- and she quietly corrects him-- "April" -- there's nothing quite like it, or many of the numbers, elsewhere in Musical Theater. ALL IN ALL -- this album is a classic, probably not for people with bubblegum tastes whose preferences run to the simpy or bathetic-- but for people of intelligence and introspection. It cannot be recommended too highly.

"Company"-The zenith of Sondheim wit and knowing?
Marked for over 40 years as the single most observant, wittiest, most revealing composer/lyricist of the Broadway stage, Stephen Sondheim distills every iota of his remarkable talent in this multi-faceted piece of commentary of the human condition and the human willingness to commit that pulls off the extraordinary trick of being refreshingly- and painfully- honest at the same time.

"Company," the 1970 Tony winner for Best Musical, still stands as a marvelous example of music, cast, and production blending together to create something modern and uncommonly great. The plotless story dealing with the concern of five Manhattan couples for their mutual friend Bobby (Dean Jones) and his romantic life (or lack thereof) is as relevant today as it was to 1970's audiences. As the friends discuss their concerns, we learn that not only has the domestic life they picture for their friend not worked out well for them, but what would they do without Bobby to support them? Bobby himself is ambivalent about committing to a serious relationship, while trying to supplant his friends' concerns for him and themselves.

Just about any married couple will recognize themselves in one of the show's intricately sketched couples, and the uncertain bachelors out there will certainly identify with the angst-driven Bobby. As Bobby, Dean Jones creates a wholly likable character, and a realistic one that can be sympathized with and understood. There are other standouts in the cast: Pamela Myers, Donna McKechnie, and Susan Browning as Bobby's frustrated girlfriends. There are also wonderful performances to be enjoyed from Elaine Stritch, Beth Howland, and Charles Kimbrough.

Each of Sondheim's songs gives us a wry, telling look into the lives and thoughts of the characters. From the bombastic opening of "Company" on, the score never fails to capture interest. The ambivalent "Sorry-Grateful" sung by Bobby's married male friends, is a perfectly integrated mix of the regrets and consolations of the married man. "You Could Drive a Person Crazy," an amusing triplet sung by Bobby's girlfriends, sprinkles laughs throughout its breathless pace. Bobby's plaintive "Someone Is Waiting," in which he dreams of his ideal woman (which can not be lived up to) is still a beautiful dream. Myers' commentary on the connectionless, empty existence of New Yorkers is straightforwardly expressed in "Another Hundred People." Bobby's friend Amy (Howland) suddenly finds herself in a hilarious (and understandable) panic at the prospect of "Getting Married Today." "Barcelona," Bobby's duet with one of his girlfriends, April (Browning) ranks among the most heartbreaking, poignant soliloquies ever composed for the Broadway stage. And as Bobby's elderly married friend Joanne, Elaine Stritch creates a show of her own with the arsenic-filled "The Ladies Who Lunch," a tour-de-force from simmering start to bombastic finish. And there is the wonderful, wonderful eleven o'clock number, "Being Alive" which Jones sings with every ounce he has to give, bringing the emotional heart of "Company" full circle.

These vivid characters and resonating attitudes make "Company" a stark, uncompromsing vehicle in the Broadway canon. But it is a brilliant show at the nth degree of brilliance. It is a show to think about, to be moved by, and to contemplate in everyday life. Because it still is life.

Just Go Buy It Already
Company from the very first chords of its opening, is very much a product of it's time, but that in no way condems it to being anything but brilliant. It's amazing how you can go to the happy, and comical Side By Side, and then go to the melancholy, and slightly haunting Another Hundred People, but this is Sondheim, so could you really expect anything less? Every song is worthwile, which is surprising, because on all of my cd's there's atleast one song that I don't like. My only problem with it, if I had to have one, is that Dean Jones's voice really bugs me, not much mind you, just enough to sometimes make me cringe a little bit, especially on Being Alive, his voice is wavy and seems to be all over the place. Also, the same song being sung by Larry Kurt, the original Tony from West Side Story and Jones's understudy, who actually took over the role on Broadway since Jones left after doing the premier and this cast recording. Kurt has a smooth voice and is a welcome change to Jones's, but you gotta give the guy credit, he was going through a mental breakdown. When I bought this cd, I wasn't quite sure what I had gotten myself into, I listened to the title song, thought it was ok, and just let it sit on my shelf for a few months. I decided to take it on trip to Europe, and on a train listenening to it, it finally clicked and I kept listenening it over and over again. If I haven't convinced you to buy it, then either you've already made up your mind, or dumb, BUY THIS NOW.

I Love a Stephen Sondheim
I can see why everyone proclaims COMPANY the ignition of modern musical theatre. It's a great score that could stand on its own if (magically) it didn't need a cast of names. Sondheim and Jonathan Tunick, the orchestrator, are probably the only remaining artists who know how to use an orchestra the way it wants to be used (although, said skill is only demonstrated occasionally on this recording, such as the pulsating "Have I Got a Girl for You").

I could ooze more and more compliments for Sondheim's score, but I'm going to focus on my critique of the performances. I saw PUTTING IT TOGETHER and was captured by Jim Barrowman's interpretation of some of Robert's songs (he later portrayed the entire role at the Kennedy Center): he's young and attractive with a pure, no-nonsense voice. Dean Jones and Larry Kurt do not have that intensity. Jones sounds too old, too cautious for the desperate Robert; Kurt, in his one song on the CD, sounds like he's not thinking too much, which goes against the character. To me, yes, Robert is careful, but he wants to and tries to be spontaneous and exciting, and on this CD, he just isn't given that specific flavor.

The colorful cast around him is also problematic in my view. Is it just me, or does everyone sound too old? They all have that geriatric quiver in their voices: they all sound like they know too much about marriage when they should just be spouting off what they think they know. Amy should be more of a belter and Beth Howland isn't. Teri Ralston's soprano (especially on "Poor Baby") is delightful--she's probably the best sung in the cast. Pity the important songs go to Elaine Stritch.

What did I just say? Am I criticizing Elaine Stritch? Sadly, Elaine Stritch is probably the least appealing to me on the recording. Yes, I know, everyone knows she can't sing, but why give her such pivotal songs as "Little Things..." and "Ladies Who Lunch" if she can't bring out the music that completes them? I much prefer Carol Burnett's "Ladies...": even when she can't hit the high notes, she carries and uses the melody to the devastating suicidal effect that Stritch doesn't find beneath the music.

Nonetheless, COMPANY is a five star score that would be a five star CD with a younger, more vocally powerful cast. Maybe the 1995 revival is worth investigating. This CD is still worth having: the original has the power of the full orchestra and Sondheim's direct influence on the production, and therefore is priceless to musical theatre. ... Read more

Amazon.com

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

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

Reviews (20)

A remastered CD of a Broadway masterpiece with some bonuses
Not all that many musicals can brag that more than half the songs have become standards. And in these days of the "one tune show" (if that many), it is the revivals of the Oldie Greats that represent the American Musical at its best. And high up there stands . I will grant that the recording of the last revival is quite good and certainly more complete than the original cast recording from 1951. But the soloists (if we forget the relatively lackluster role of Sarah) cannot replace the Damon Runyonesque cast of the original: Robert Alda, Vivian Blaine, Sam Levene, Pat Rooney, Sr., and Stubby Kaye. Therefore any collection of Broadway history must include this older release.

So just in case you do not yet own a copy, know you by this presence that Decca has reissued it on CD (012 159 112-2) with four bonus tracks from the film for those who think Marlon Brando renditions are worth hearing. Add to which, the booklet has some excellent photos from the 1950 production. 'Nuff said. Run out and grabbit.

Desert Island Bradway Recording Must
Was there ever a time Guys & Dolls was out of the record catalogues? Like "I Love Lucy" does a day go by without some group performing this picture perfect Runyonesque hommage that is amongst the top five greatest musicals of all time (including Showboat and Oaklahoma)? MCA's CD re-issue, complete with the original liner notes and additional notes that serves as a neccessary "antidote" to the original notes, is a must for anyone who loves good music. Now, don't misunderstand me. There's nothing wrong with the original notes. Just that, like the rest of New York, critic Louis Untermeyer was intoxicated with the brilliance of the lyrics, score and the casting (why did they cast Marlon Brando in the film instead of Robert Alda? What a big mistake!). As Max O. Preeo, the writer of the "antidote" notes states, "Untermeyer greatly oversimplified Guys and Dolls' success". This was done with good intentions, of course. Nevertheless, the entire CD package is the best issue yet of Guys & Dolls. The two programme notes, original artwork from the first DECCA issue, photos from the production itself; what a wealth of treasure to accompany the wonderful music. Loesser is a master composer whose style can range from Jazz to Beethoven-type harmonies, with a lyrical singing line that singers would expect from Mozart Arias. Incredible music that easily places one in the world of "petty-gamblers", Salvation Army members and show girls. All this from the same composer of the score for Danny Kaye's film "Hans Christian Andersen"!!

Classic Decca original cast album sounding better than ever!
Winner of the 1951 Tony Award for Best Musical, GUYS AND DOLLS is considered by many to be a near perfect musical comedy. The book is genuinely funny and yet we really do care about the characters.

Decca's original cast album was taped just a few weeks after the show had opened to rave reviews. The voices are full of character: Robert Alda and Isabel Bigley make an ideal Sky and Sarah. Vivian Blaine forever owns the role of Adelaide (and she got to preserve her performance in the 1955 film.) Sam Levene is NOT a singer (the cast even asked him NOT to sing in the chorus numbers) and his appearances on the recording are limited. Still, GUYS AND DOLLS would not work with opera singers. The flat Decca sound does not exactly make the vocals sound warmer, but in remastering the original tapes, we can at least hear everything clearly and especially some of the orchestral textures lost in the previous releases. And no one can beat Stubby Kaye's "Sit Down You're Rockin' the Boat" Like Blaine, he got to repeat his role in the film but neither of them appear on the soundtrack album.

No complete soudntrack album was made of the 1955 film because of Frank Sinatra's contract with Capitol Records. Decca put out a 4-song EP with Marlon Brando and Jean Simmons singing their numbers from the film and that mini-album is included here as bonus tracks.

The 1992 Broadway revival was a spirited production with a great cast (Peter Gallagher, Nathan Lane and Faith Prince) and a recording that captures all the fun. It's more complete, and has better sound. What it lacks are Stubby Kare and Vivian Blaine.

Wasted my money
DON'T BUY THIS VERSION OF GUYS AND DOLLS. I regret buying this one hundred percent. The actors' singing voices are JUST unpleasant and does not make you want to sing a long, while the orchestra is faintly heard in the background. So there's an uneven balance between the amazing instrumentals musicals usually have and the singing.

The singing made me cringe.
There is also NO ENERGY in this recording.

The only part I sort of enjoyed were the four Bonus Tracks in the end, which are sung by Marlon Brando and Jean Simmons, who are NOT the singers for the majority of this CD.

I CAN'T BELIEVE THIS CD!!!
My high school did this for a school production. I bought this CD to see how it sounded. The budding actors and actresses of my school literally blew these singers away like atomic particles!! MY school sounded VASTLY SUPERIOR to this.
I gave this CD one star because that was my ONLY choice. This actually deserves a rating in the deep negetives. No other words could explain what a horrific song experience this was for myself. ... Read more

Amazon.com

Considered by many to be the last great musical comedy, Gypsy tells the backstage tale of vaudeville entertainer turned stripper Gypsy Rose Lee and her overbearing mother, Rose. Stephen Sondheim's lyrics--composed in advance of Jule Styne's infectious music--provide a tight structure and natural language to the 1959 score, which produced more than its share of Broadway standards, including "Everything's Coming Up Roses," "Small World," "Some People," "If Momma Was Married," "Together Wherever We Go," and the climactic "Rose's Turn." Although the role of Rose has seen subsequent memorable interpretations by Angela Lansbury, Tyne Daly, and Bette Midler, the show was written for Ethel Merman, and she remains the definitive stage mother.

For this 1999 release, the recording has been remastered with numerous short passages restored and four tracks added. Merman sings alternate lyrics to "Some People" and a medley of "Mr. Goldstone" and "Little Lamb," all with piano accompaniment. Two other tracks are songs cut in tryouts: "Momma's Talking Soft" (gently swung here by Laura Leslie) was a duet for June and Louise that provides some context to the later line "Momma's talking loud," while "Nice She Ain't" is crooned by Bernie Knee, who is infinitely more suave than Jack Klugman ever would have been. Expanded to 63 minutes, this essential cast recording is now even more essential. --David Horiuchi ... Read more

Reviews (26)

The Perfect Musical
"Gypsy" is know thought out the theatre world as really the perfect musical, and that is what this is. It has a truly brilliant score, music by Jule Styne and amazing lyrics by Stephen Sondheim. Ethel Merman also showers her talent off in this wonderful CD. Her major song, "Some People" is sung magnificently and really is one of the best songs in musical theatre and "Rose's Turn" is just a hunting song that really displays such power and emotions, only Sondheim could have worked on it-just amazing.

Yet then there are also the amazing classics to this CD. "Let Me Entertain You" sung by Sandra Chuch is such a good song and she sings it with such beauty and grace, it will melt your heart.

I would have to say that if you are looking for witch cast of "Gypsy" you should bye, this CD is great due to Ms. Merman, yet the Angel Lansbury CD is also quite good. Yet overall, I find that this is really the best recording of "Gypsy." There is also four bonus tracks witch are very nice.

"Here she is, boys! Here she is, world! Here's Rose!"
The great Ethel Merman dominates this classic original Broadway cast recording of GYPSY. Along with FUNNY GIRL, this musical has Jule Styne's most brilliant score - and that score is enriched by Stephen Sondheim's equally brilliant lyrics. Merman's voice, in 1959, remained strong, powerful, and trumpet-like in its clarity, showing its age only on certain sustained notes, where it wobbled slightly. Her way with a song, however, was just as winning and unmistakable as ever. Playing Herbie to Merman's Rose, Jack Klugman (of whom I am a fan) may seem an odd choice for a musical, but he gives excellent support -- if that is the word I want -- to Merman in "You'll Never Get Away from Me" and "Together Wherever We Go." As "Gypsy" herself, Sandra Church, with her warm middle voice, sounds lovely in the touching "Little Lamb" and like a fully mature star in her solo version of "Let Me Entertain You." Both the orchestrations and Goddard Leiberson's engineering are superb. This GYPSY fully deserves its fame as one of the finest cast recordings ever produced.

The quintessential backstage musical
Called by many the best musical in Broadway history, GYPSY was Ethel Merman's shining moment on Broadway. True, ANNIE GET YOUR GUN ran longer, but Big Merm saved her best for Momma Rose, a role she surprising lost the Tony Award for Best Actress in a Musical to Mary Martin for THE SOUND OF MUSIC. Jule Styne's score is electrifying, and the overture alone would merit a five-star rating. Stephen Sondheim's lyrics showed the promise that he would be a force on Broadway for a long time to come. An absolute MUST for any musical-theatre fan.

Momma's Best Turn
For those of us who were born too late to see the original GYPSY with Ethel Merman, the excellent revivals are indispensible. Who would want to have missed Lansbury's intelligence, Tyne Daly's power, or most recently Bernadette Peters lovely layered performance, mixing determination with vulnerability and warmth?

But make no mistake, Ethel Merman is Momma Rose. At her very best, which she was here, Merman was an irresistable performer. Her generous involvement in the character and the music is felt here in every note. Merman isn't just loud, she uses her mammoth voice with a laser beam focus and a rhythmic vitality that impels the listener to feel every ache and yearning of Rose's experience.

Buy em all! (Tammy Blanchard is a wonderful Louise in the new Peters revival.) But don't miss Ethel's Rose. This one is for the ages.

10 STARS
Many of the other versions are just fantastic (Bette in particular) but let's face it, Merman rules. This is the ultimate broadway-feeling original cast album. I tend to prefer original cast albums, because of their authenticity.
Nice tidbit: did you know that it's Sondheim himself who says "you ain't gettin'88 cents from me, Rose" ? the actor who spoke that didn't show up the day they recorded this, so he stepped in. ... Read more

Amazon.com

With her beguiling presence, Angela Lansbury belts out the playful lyrics of Jerry Herman's 1966 musical, Mame, based on the hilarious and outrageous Patrick Dennis novel Auntie Mame. Lansbury plays the ribald flapper Mame, bucking her age and station to live her life as she pleases, with her young nephew Patrick in bewildered tow. Lansbury's mature yet chipper singing voice is perfectly complemented by the vocals of Bea Arthur as Mame's best friend, Vera. Arthur's hearty, irascible voice adds a classic edge to the lighthearted musical fare, while Frankie Michaels as Patrick provides a youthful purity, conveying an awe and admiration for the aunt he follows through life. The relentlessly carefree theme of this musical diminishes as Mame ages and Patrick grows up, but they are singing zestfully to the end. The 1999 remastered version includes five demo recordings by Herman and Alice Borden, with Herman at the piano. --Bryony Angell ... Read more

Reviews (21)

Get it today!
From the first bars of the Overture,to the Finale,this is a delightful CD to listen to again and again.

You really get an idea of the musical miracle that occured in 1966 at the Winter Garden Theatre.

Angela Lansbury is a triumph as Mame Dennis,the madcap for whom 'life is a banquet',and tells all to 'live,live,live!'.

Jane Connell is hilarious as Agnes Gooch,with Frankie Michaels in his Tony-winning performance as Young Patrick.Their version of 'St Bridget' is marvellous.

Bea Arthur as Vera Charles is magic.Her Tony-winning performance is captured forever with her 'Man in the Moon',and her duet with Mame,'Bosom Buddies'.

Jerry Lanning as Older Patrick,Sab Shimono as Ito,Charles Braswell as Beauregard and Angela Lansbury all shine,in her Tony-winning triumph.

The show ran for almost five years on Broadway,and while Angela toured the country in the road version,Janis Paige,Ann Miller and Celeste Holme followed each other on Broadway as Mame.

The London production starred Ginger Rogers as Mame,and the Broadway Anniversary revival reunited Angela as Mame,Sab Shimono as Ito and Jane Connell as Agnes at the Gershwin Theatre in the early eighties.

Sadly,Bea could not do the show,as she was doing the 'Golden Girls' TV show,and her marriage to MAME's director,Gene Saks,had since dissolved.

Put this disc in the player,and experience the magic of MAME!

Uplifting and Energetic
Fans of musical theatre won't want to miss this one... You'll Laugh, You'll Cry and You'll Listen to this CD over and over again. The album stars Angela Lansbury who truly captures the wild, exploratory, youthful yet sincere spirit of Mame. It's hard to say whether this album is so wonderful because of the score, the level of energy or the chemestry that shines through even on this cast recording. Also in the cast are: Bea Arthur as Vera Charles, Jane Connel as Gooch, Frankie Michaels as Young Patrick and Jerry Lanning as Older Patrick. - Included with this CD are 5 bonus tracks of Jerry Herman (the writer of the music and lyrics) at the piano singing his heart away.

A scintillating album from start to finish!
MAME contains Jerry Herman's best score. The songs are perfectly suited to the characters and situations. Angela Lansbury is larger than life as the irrepressible Mame, belting out the songs with a confident air. No wonder she won the Tony award for this performance and listening to this cast album you regret even more that she was not cast in the film version. Bea Arthur is a wonderfully acidic Vera (at least she DID get to do the movie) and the rest of the cast provide spirited support.

As always, Sony has done a first rate remastering and provided excellent notes and reprinted the detailed synopsis from the original Lp cover.

All in all a scintillating package.

Two of my favourite women
A very good musical cd, songs performed by the thrilling lady called Angela Lansbury! She simply does a fabolous job potraying the sassy women known as Mame.
Angela's vocal is strong and clear, very mature singing voice, she cuts through with the peak of emotions.

Vera Charles,