Amazon.com

Based on the Clifford Odets novella and the 1957 filmof the same name, this show aims to be a savvy, sharp satire of the gossip industry. Yet more often than not, it's oddly mushy, and a couple of the songs are almost Frank Wilderhornian in their witless, elephantine scope. John Lithgow, who plays ruthless gossip columnist J.J. Hunsecker, is not much of a singer, but Broadway has a history of nontraditional vocalists pulling through thanks to chutzpah, charisma, and interpretive chops--Elaine Stritch comes to mind. Lithgow isn't quite in that league, but he does a fine job nevertheless. And while Craig Carnelia's lyrics don't make much of an impression, Marvin Hamlisch (A Chorus Line) comes to the rescue with a score that's fairly swinging, even if it lacks the dark punch of Elmer Bernstein's score for the movie. A couple of variations on sultry ballads, "Don't Know Where You Leave Off" and "Rita's Tune," are notable. --Elisabeth Vincentelli ... Read more

Reviews (22)

THE SWEET SMELL OF JAZZ!
No matter what the critics say I love this show. Granted I have not yet seen the show, nor will I ever be able to. The score is what I love. From the brilliant ballads to the great big band style numbers. John Lithgow is outstanding as Hunsecker and Brian d'Arcy James as Falco aint bad either. Sweet Smell's music by Marvin Hamlisch is much more enjoyable than THE GOODBYE GIRL, this show actually has some great flowing numbers in it. I for one say this is the best score of the new Broadway season so far. If you like Jazz you'll love this CD!

Good, but not Great
I saw the show when it opened. Needless to say, I was a bit disappointed. I'm a large fan of Brian Darcy James and I think he's truly the highlight of this show and recording. JOhn Lithgow does a decent job, but its not his singing that made him good in his role. His acting in the role was what made him stand out, so unfortunatly you don't get the better bits of him on the recording. Jack Noseworthy has a nice voice and gives a good performance, but I don't really think his song I cannot Hear the city added much to the show. Another brilliant performance was Kelli O Hara. I'm surprised that so many people disliked her. I thought her voice was spectacular. Her tone is so unique and strong. Stacey Logan does a good job on the recording, however I don't really like her voice as she ends the song with the last couple of verses. The score itself isn't that bad. Some numbers are definitly better than others though. I would say give it a listen beforehand before buying it.

Stinks!
K that is harsh,there are some good songs on it,
I like Dirt the most, the story is cool. But I can see why some people have complained about the lyrics and the song structures, they beat some of the themes to death, and some of the lyrics are dumb as a doornail.

It is worth owning though, there is lots of Jazz. The thing that made the show flopp the most though, in my opinion, was the big endings they put on each song, even after the song is over they put these jazz fizzle outs, now a jazz fizzle ending sounds good in a bar, but not in musical theater, that alone would have made it flopp.

Can you imagine a Jazz fizzle out on the ends of each of the songs in the Cabaret? That would ruin it completely, and so it nearly does with Sweet Smell, as it would with almost any musical. Its like having the boy cry wolf, after a while he is just wasting hot air.

What you hear in the sample on the internet is as good as it gets, so it will not hurt you to go without this recording, its not as wonderful as everyone is painting it up to be.

SWEET SWEET SMELL OF SUCCESS
Yes, this is a very good Broadway recording of a show that has comedy, thriller, and romance twisted into one. All of the songs are sung well, and sound crisp and energetic as the live performance onstage.The Highlights of the CD are definately Brian D'Arcy James & John Lithgow. Though John Lithgow doesn't have a very strong voice, he makes up for it in the quick-witted humor and laid-back New Yorker character that he plays. Brian D'Arcy James has a very unique and powerful singing voice that will soften your heart and almost cause you to get chill bumps at the incredible "At the Fountain" & "At the Fountain (Reprise)". Other favorite tunes of mine include the fast-paced opener "The Column", "Welcome to the Night", "For Susan", "One Track Mind", and "Break it up". Overall, a very classy and enjoyable recording. If you are a Broadway fanatic, this CD is a must.

Sweet Smeel of Success
If you are wondering how anyone could write a musical in which John Lithgow plays the leading role - buying the original cast album (SONYCLASSICAL SK89922) will not help much with the answer to that one! The answer is to write a musical around John Lithgow, who is to musicals what a black-hole is to space. Hmmm...I'll bet the producers thought they had a 'concept' show going: the leading man doesn't sing! Oh my God it has a history all the way back to Rex Harrison and MY FAIR LADY - it's brilliant! We'll bring in John Guare to give him some gutsy scenes so he can show his acting chops, and surround him with Broadway dancers doing angular angst-ridden choreography! Remember Marvin Hamlisch? Well, his big ballads can bring a tear to any eye and the audience can have the added thrill of imagining what the hit singles from the show will sound like once Barbra Streisand records them!

My impression of the score: Lot's of talented singers (minus John Lithgow) sing lots of beautifully shaped notes with un-striking lyrics by the very underrated Craig Carnelia.

Lithgow's big 11 o'clock number "Don't Look Now" stands square in the con-man number tradition, like DAMN YANKEES' "Those Were The Good Old Days", but it isn't half as funny or original as its model. And it should have come in the FIRST act to set up Lithgow's character. It needs a second-act number to top it in order for the audience to really believe that the Lithgow character is carrying the show.

Lot's of ersatz Latin numbers.

Rated: C+, buy it only if you believe that the person with the most CDs when they die - wins!

Mr. Firstnighter
... Read more

Reviews (3)

Memorable Conclusion to Finn's "Marvin" Trilogy
Written a decade after "March of the Falsettos," "Falsettoland" picks up the story of Marvin, Trina, Jason & Company as Jason prepares for his Bar Mitzvah. It's the early 1980's: yuppies reign supreme, Ronald Reagan is in the White House and a mysterious killer virus (as yet unnamed) seems to be killing predominantly young gay men. As Marvin's lesbian neighbor, Dr. Charlotte puts it, "something bad is happening," and she and other members of the medical profession are helpless to stop the virus. And so it is that the shadow of AIDS crosses the paths of our lovably dysfunctional Jewish-American family, bringing down Whizzer Brown in his prime and drawing the extended family together in support of a bereft Marvin. "Falsettoland" addresses the question of true family values and what constitutes a family. It also raises awareness in an age when AIDS is still a threat after twenty years with no cure in sight. No matter who you are, you can identify with one or more of these characters. While not as wacky as "March of the Falsettos," "Falsettoland" achieves a depth and a pathos not as evident in the two previous chapters (the first being "In Trousers"). The cast is uniformly strong, headed by Michael Rupert whose chemistry with Stephen Bogardus is unmatched. By the way, if you enjoy the "Marvin" stories, you'll also enjoy Finn's warm and wonderful "A New Brain," also on CD. Add him to your musical library if you haven't already.

What more can I say?
It was a long drive. A friend who was riding with me played the William Finn CD in my CD player. After listening to the entire CD, there is only one thing I can say: GREAT! I got the story the first time I listened to it. I need not see them perform. Their voices and the words that came out of their lips gave out the entire story. And I was hooked. The song "What more can I say?" is a very beautiful song of "surrender" to something beyond human-ness, beyond one's own limitations. The song "What would I do?" is a very soulful complaint to that something that is "beyond one's human-ness". "What more can I say?" "Nothing. All you have to do is let the love flow." "What would I do?" "Nothing. All you have to do is let it flow. And maybe, just maybe, something good will come out of this." Beautiful. Great. Wonderful. Just a thought: Will a fourth installment be detrimental to the trilogy? I don't think so. Maybe, Finn should write a fourth installment, with Marvin dealing with alone-ness and grief and a new love.

A Touching conclusion to an Excellent Story
The final chapter in the story of Marvin, Trina, Jason, Wizzer and Mendel, this show deals with the effects that AIDS had on the gay community during the early eighties. The recording is filled with both humorous (The Baseball Game, A Day in Falsettoland) and poignant (Something Bad is Happening, You Gotta Die Sometime, What Would I Do?) songs. William Flinn has put together an astounding series of songs to bring this story to a close. ... Read more

Reviews (25)

Wonderful world of Jeeves!
This recording is absolutely marvellous! Never mind the incredibly confusing plot (it is musical comedy!) , the music is absolutely enjoyable and there is no incessant repetition of music except for the Banjo Boy Rainbow Mix which makes for a very melodious medley of By Jeeves. This musical follows the strain of traditional musical comedy more closely, complete with a rather surprising small cast and small orchestra. Songs you will definitely love include "Travel Hopefully", my fave "Love's Maze", the delightful "The Hallo Song", "By Jeeves" and the lyrically-quirky "It's A Pig". This has to be the most humorous musical up to date by Andrew Lloyd Webber and its light-heartedness provide for a very enjoyable night at the theater.

"Rather splendid, once you get the hang of it!"
I first heard "By Jeeves" (the song) on a Best of Andrew Lloyd Webber tape and thought it was hilarious every time I played it (stop, rewind, play, stop, rewind, etc.). Then I got the soundtrack! At first, it is a little hard to grasp, especially for us non-Wodehousters. But if you listen to it twice you'll definitely understand it. The music is upbeat and inspires one to dance, especially the enthusiastic, banjo-less 'Banjo Boy.' Steven Pacey is extremely funny as Wooster and is supported by a very, very "British" cast. The overall humor comes through their expressive voices magnificently, overcoming the handicap of no vision other than imagination. Highlights include "Wooster Will Entertain You," "Travel Hopefully," Wooster's dialogue in "That Was Nearly Us," the gardeners in "Love's Maze," "By Jeeves," "Banjo Boy," and my personal favorite, "It's A Pig!" . . . All in all, "rather splendid!"

GREAT SHOW!
I saw this show back in 1996 with the original cast in one of London's West End theatres....It was amazing and has stayed as my favorite stage perforamce up to date...I have seen other shows since but none have topped By Jeeves...its a wonderful, funny play with AMAZING music! Buy the music!

Great fun
Ya know, it's usually the little known ones that are the better ones. This is a great cast album, full of some wonderful, underrated and underrexposed talents. The story is great, I love the originality behind it and it is damn hilarious. Half A Moment is the best song, It's A Pig makes me laugh my ass of every time. Seals Andrew Lloyd Weber's name at the top of the list for the greatest composer of the musical stage the twentieth century has ever seen or more importantly heard. Ok, maybe it's a close race with Stephen Sondheim, but Weber is phenomenal. This gets my highest recommendation.

I love By Jeeves!
I loved Jeeves, the original 1975 version of the show. The only reason the shop flopped was because it wasn't like Jesus Christ Superstar. The cast LP remains one of my favorites. Andrew Lloyd Webber has shown his versitility in musical styles, and By Jeeves is now running on Broadway, providing New York City with some much needed merriment (the same type as Urinetown and Mamma Mia!)

I am delighted with the new CDS of By Jeeves. This one features the new "Wooster Will Entertain You" and "Love's Maze." But the absolutely best song is "It's a Pig."

The older three By Jeeves CDS are now out of print. Buy them if you can, and get the latest. They are all great fun. ... Read more

Amazon.com

For many, Sweeney Todd is Stephen Sondheim's masterpiece, a Grand Guignol musical-opera with an epic sweep. The original 1979 cast recording (starring Len Cariou, Angela Lansbury, and Victor Garber) remains definitive, but this version, assembled for three performances with the New York Philharmonic in May 2000, gives it a serious run for its money. Indeed, this live recording boasts Patti LuPone, George Hearn, Davis Gaines, Audra McDonald, and Heidi Grant Murphy; has been nominated for the 2002 Best Musical Show Album Grammy; and, last but not least, features that world-class orchestra. LuPone's English accent goes in and out, especially in the spoken passages, but no matter; she sings superbly. Her comic timing is impeccable, and her tendency to go over the top actually works in her favor in a show in which humor is of the gallows kind and blood flows freely. As for the Philharmonic, it'll make you even more bitter next time you're at a Broadway show where they try to cut corners by using a pared-down ensemble: The music's power could flatten trees. --Elisabeth Vincentelli ... Read more

Reviews (15)

A Sondheim Classic Revisited
Honestly, Sweeney Todd is not my favorite Stephen Sondheim show. I have always been a fan of his smaller, more intimate scores: Passion, Pacific Overtures, and Assassins. This concert cd has reestablished, for me, the brilliance of this score. In part, the credit should be given to a wonderful cast and brilliant orchestrations. Particular credit should go to Patti LuPone, whose pitch perfect performance of Mrs. Lovett has made the character's insanity that much more enjoyable. Angela Lansbury was a fabulous Mrs. Lovett, don't get me wrong, but Ms. LuPone's voice that can belt one minute than slide to what can only be described as spine-tingling proves that she is the first-lady of the Broadway stage. George Hearn also deserves credit for improving upon the character of Sweeney Todd after many years away from the part. Last but never least how can you put Audra McDonald on a cd and have it not be wonderful? Bravo to all involved. This is a cd worth having in any Broadway collection.

Oh Patti. Patti, Patti, Patti. What did you do?
Patti Lupone being one of my all-time favorite singers and Sweeney Todd being one of my all-time favorite musicals, I thought this CD would be a sure thing. Sadly, it isn't so. There are a few things that bother me about this recording, but none more than Ms. Lupone's take on Mrs. Lovett. Ms. Lupone is a great singer but, man, she was just all over the place in this concert. I don't know what happened but it sounds like she spent the entire evening trying to find the character and just never got there. I was sorely disappointed. In a perfect world, I could take George Hearn off this recording and put it on a disc with Angela Lansbury from the original Broadway recording. Patti Lupone is a wonderful performer, but you wouldn't know it if this was the only time you heard her sing.

There's one thing that this cast has got going for it....
...and it is Neil Patrick Harris. What an amazing voice! Unfortunate that 'Not While I'm Around', which he sings superbly, is all-but-ruined by LuPone's awful English accent. Lupone is simply not able to express her character enough to make us as repulsed as we are by Angela Lovett's delightful portrayal; Lupone just doesn't fit in with the part. David Gaines sounds to mature--to old--to be a good Anthony. It reminds one of the 30-year olds who try and play Romeo in Romeo and Juliet; it just doesn't work. Definitely buy the original cast first, and if you believe that one spectacular tenor voice singing possibly the best Broadway ballad in history is enough to warrant buying a whole 2CD set, then do.

Concert "Sweeney" with vivid sonics
There is a lot to enjoy in this spectacular live recording, which captures the overflowing excitement of these performances. For those who were initially disappointed when Bryn Terfel bowed out of the title role, George Hearn stepped in and triumphed. If his voice isn't quite the powerhouse of Terfel's, Hearn is an equally commanding stage presence, and brings a lifetime of acting expertise to the fore.

As the slightly dotty Mrs. Lovett, Patti LuPone is excellent, and actually sings the difficult songs such as the dazzling "A Little Priest." As the flood of words cascades down, she catches every rhyme, shapes each phrase with expert comic timing, and further, nails all the notes. (No sleight intended, in the least, to Angela Lansbury and her by now legendary work in this show.) The other cast members are also wonderful (including the marvelous Audra McDonald), and the entire evening is conducted with extravagant sweep and polish by Andrew Litton. The New York Philharmonic also sounds terrific, and again, their accuracy reveals the subtleties and complexities of Sondheim's score. Harmonically, there is a lot packed in here, and while the original cast recording had an excellent orchestra, the Philharmonic's musicians cope with the cascading rhythms with even more confidence.

The sound is very good, recorded from live performances. Now and then a cast member will be a bit too far from the microphones, or too close, but frankly this only adds to the spontaneous, "you are there" feeling.

Although the original cast recording has power and character to spare, this new one is a must for those who love the music itself. With the adrenalin running high (including the audience fairly roaring its approval), this is a great addition to the Sondheim canon and should give even a jaded listener much pleasure.

Patti, You go girl!
I love the original CD and Video...but this Sweeney is incredible....George Hearn is powerful and scary Patti Lupone is hilarious, stunning, needy, loving,....and in a word...spectacular! What a belt...what a ballad...what an beautifully acted part. ... Read more

Amazon.com

Footloose is only one of a batch of dance-movies-turned-musicals from the late-'90s, but it's probably the best. Unlike Fame, it gives an audience the movie songs it expects to hear, and unlike Saturday Night Fever, it complements those songs with newly written, honest-to-goodness book songs that support the plot (written by Dean Pitchford and Tom Snow, who wrote songs for the original film). Like the 1984 Kevin Bacon film that inspired it, Footloose follows the story of Ren (Jeremy Kushnier), who moves with his mother (Catherine Cox) to a small town where dancing is prohibited by law. Teens will be teens, of course, so Ren ends up at odds with the town and especially the local minister, Reverend Moore (Stephen Lee Anderson). Along the way, the characters sing familiar songs from the movie ("The Girl Gets Around," "Holding Out for a Hero," "Let's Hear It for the Boy," "Almost Paradise," and of course the title tune), but the new songs are enjoyable as well.Footloose: The Musical doesn't exactly break new ground, but it's a good listen, particularly if you like the movie. The booklet includes a detailed synopsis, photos, and full lyrics.--David Horiuchi ... Read more

Reviews (69)

Incredable!
Oh my gosh! My school also put on a production of this particular musical and I have to say that even though it's much more fun to see people that you personally know playing the roles and singing this music, I really enjoyed this CD because it brought back so many incredable memories for me. Not only that, but the music just makes you want to dance!

I was just kind of surprised that so many people were talking about "Lets hear it for the boy", "I can't Stand Still", I'm Free" and "Footloose" because I especially enjoyed "The Girl Gets Around", "Somebody's Eyes" and "Holding out for a Hero". Don't get me wrong though, the other songs are incredable!!! Although I must agree that "Almost Paradise" is one of the best songs on this album, The most entertaining is a toss up between "The girl Gets Around" and the hilarious "Mama Says", by Willard. The few lower points include "Learning to be silent" and that song done by Irene at the dance? Aweful! However, I would definetly reccomend this album to anyone who is wanting to experience some culture, lift their spirits or get up and dance!!!

I Can't Stand Still after hearing this recording!
Wonderful! Absolutely wonderful! After seeing this performance done at a local high school (who did a stellar job with it, I must say) I fell in love with the songs and the dancing. I used to listen to the movie soundtrack when I was younger, so many of the songs were familiar. This version makes them more "musically" than they are on the original movie CD, and it's wonderful to hear harmonies and new lyrics. All of the voices sound splendid, and although the songs song by the adults (particularly the Reverand Shaw) are not as enjoyable, there are still the strong 80's hits that one can listen to again and again! Enjoy, and buy this at once!

I'll hit the ceieling...
This musical is so much fun! It has tons of energy and can brighten up even the worst day. I had never heard of it until I was in a production of FOOTLOOSE as Wendy Jo, and now I can't get enough. If you like the movie, this is even better!

If not ground breaking, lots of FUN!
Although the show has one of the worst scripts in recent years, Footloose's music and spirit makes up for any flaws it has. With great songs from the movie, including Holding Out For A Hero, Let's Hear It For The Boy, The Girl Gets Around and more, and a few new ones, this CD gets lots of play in my stereo. Although the new songs for the parents aren't that interesting, they're necessary to the plot and development of the characters. Standouts include Stacy Francis, whose belting sticks out like a sore thumb and I love it, and Jennifer Laura Thompson. For what it is, this Footloose CD is great for musical theatre lovers.

I highly reccomend it!
I'm going to go ahead and admit up front I am into musical theatre & I was really nervous about them making Footloose into a musical. After seeing the show and listening to the c.d. I love it!I love the arrangements and the sound all together.My favorite songs off the c.d. would have to be (in this order): Somebody's Eyes, Footloose, & Almost Paradise.I highly recommend this c.d.! ... Read more

Reviews (6)

A Very Strong Performance
This is a two disc compilation of the London show of Song and Dance. The first disc features Marti Webb in a one-woman show about an English Girl going to America, while the second is a instrumental/ballet of variations composed by Webber based (VERY loosely) on a theme by Paganini.

The first disc (originally entitled Tell Me on a Sunday) is a tour-de-force in and of itself. Although Bernadette Peters won a Tony in the main role on Broadway, I actually prefer Webb's performance here. She brings a touching innocence to the role that makes it all the more believable. Some of the songs (especially Tell Me On a Sunday) are among the most beautiful Webber has written (Unexpected Song, which is in the broadway version, is not featured here. It does appear in the second disc with different lyrics as "When you want to fall in love").

The second disc is a bit more unusual in its contents. Webber combines Jazz, Classical, Tap, and Rock into a very Eclectic mixture that might not be to the tastes of some. I found it to work very well, however.

You should be forewarned that this is a live recording(opening night!), with all the dangers and rewards inherent therein. The audience can be quite noticable (especially on the second disc), and the show is not perfectly polished yet. On the other hand, I found the energy injected into the performance by the audience to be of a quite positive nature.

Another Andrew LLoyd Webber masterpiece
I originally bought this CD because I thought that Sarah Brightman was singing on it. I had seen a 'Song & Dance' TV performance that had Sarah in the title role. Although, I was initially disappointed that Sarah Brightman wasn't singing, I have since come to appreciate Marti Webb. I love the music and also the ironic humour in the lyrics. When I listen to the 'Dance' disc I always remember the wonder of Wayne Sleep's dancing in the TV performance. No one could top Wayne Sleep back then. I can (and do) listen to 'Song & Dance' over and over again

a my god!!!!!!!!!!!!!!!!!!!!!!!!!
well this musical its wanderfull i listen this two cd's and fall in love this is wanderful the most beutiful and creative is the track variations 1-4 is the #1 of this cd

An Unexpected Song
Having heard "Tell me on a Sunday" and "Take That Look off Your Face" from Andrew Lloyd Webber's "The Premier Collection" I have always wanted to hear the complete recording by Marti Webb. Now it is a dream come true: Ms. Webb's subtle, emotional, and believable performance in "Tell me on a Sunday", is flawless. The music is terrific, the lyrics by turns pensive and comical (though some British references may be hard to catch); Disc 2, "Variations", retains the electricity of the live recording, and the finale "When you Want to Fall in Love", is a special treat: it was re-written as "An Unexpected Song" for the Broadway Cast Recording starring Bernadette Peters (another wonderful album).

Time Capsule...
Vastly under rated Andrew Lloyd Webber show, albiet with inane lyrics by hack Don Black. Once in a while they work, but the performance by Marti Webb is a lot more real than Bernadette Peters Broadway performance. The show makes a bit more sense in this version, too. Now if only we could get the Sarah Brightman version on CD. ... Read more

Amazon.com's Best of 2001

In November 2000, legendary director Hal Prince hosted 3hree, an evening of three one-act musicals, at his namesake theater in Philadelphia. It says a lot about Prince's clout that a cast album was released a few months later; it says even more about his unflagging taste that the pieces are so good. Laurence O'Keefe and Neil Dunbar Benjamin's "The Mice" is a darkly comic romp about a couple and its mice problems, while Robert Lindsey Nassif's "The Flight of the Lawnchair Man" is whimsical but never cloying. "Lavender Girl" is set in 1927, thus allowingJohn Bucchino (whose songs have been championed by Patti LuPone) to let loose with a great Charleston ("We've Got Time"). He also shines with the passionate ballads that are quickly becoming his calling card (though "Real Enough to Change My Mind" admittedly teeters on the brink of Disney territory). Overall, the CD is remarkably strong and will be a great pick for those who crave new musical-theater voices but cringe atMichael John LaChiusa andAdam Guettel's lack of melodies. --Elisabeth Vincentelli ... Read more

Reviews (14)

Worth Buying For The Last Show Alone ...
... even though I enjoyed the entire recording. The last piece, "Flight of The Lawnchair Man," is an exceptionally smart blend of whacky theatrics (a production number with Charles Lindbergh and a chorus of high-kicking airplanes, anyone?) and simple beauty (the recurring theme of following your dreams regardless of what others think). It's the brightest, most-inventive work for theater I've heard since Adam Guettel's "Myths & Hymns" song cycle several years ago.

Here is the future of American musical theater in one CD jewel case. The dark humor of "The Mice," where an exterminator and his girlfriend fill a Minnesota town with vermin in order to make room for their illicit affair. The bittersweet longing of "Lavendar Girl," where a girl's desire to be accepted lives long past her physical body. And "Lawnchair Man" with its goofy sense of humor and touching heart of gold.

It's one of those great times when the right material is brought to life by the right creative minds and put in the hands of the right cast of characters (many of whom do double and triple duty to show of their versatility). It's a must-have for musical theater lovers.

Semi-addictive, but not a must-have.
Have you bought every other musical theater CD there is to possibly get? If you have, this is a good one to get. There are some great songs that you can't stop playing over and over....and then there are songs that you can't stand. I liked "We've Got Time" a lot...and all of the songs from "Lavender Girl", and a lot of the "The Flight of the Lawnchair Man" to be good...but I thought "The Mice" really was lacking. I like that O'Keefe guy's other CD, "Bat Boy," and if you like the "The Mice" portion of this CD, i suggest you get the "Bat Boy" CD. Get this CD and try it out...It's worth listening to, but it's not one of those ones that gets stuck in your CD-player...

Also, just a little tidbit...The store I bought this CD at was right next door to where this show premiered in Philadelphia...Just in case you wanted to know.

Buy it for the Lawnchair Man!
Stumbling upon the incredible BATBOY, I discovered this other gem with the only other Laurence O'Keefe musical on disc. Expecting to fall in love with O'Keefe's "The Mice", I found that the brilliance of composer Robert Lindsey Nassif about the story of a man who flies in a lawnchair. With catchy tunes by famous pilots - Amelia Aerhart, Charles Lindbergh - this show is jampacked with gorgeous ballads, funny and catchy upbeat sontgs and that extra bit of love to touch the heart.

It's worth it. Get it.

You cant beat it.
All 3 show segments of this cd are equally fabulous. Beautiful melodies and clever lyrics and stories make this cd a joy to listen to. The cast is wonderful in their character interpretations and all have beautiful voices. I would have loved to see this live. Besides, what other show has a singing Amelia Earhart in it?

The Catchiest Showtune Melodies I've Heard in a long time
I bought this CD off of amazon.com because I too am a showtunes buff. There are some incredibly melodies in these showtunes that I have listened to over and over again. "We've Got Time" from Lavender Girl and "Leavin' Town" are both awesome. I thought that of the three one-act musicals in 3HREE, The Lawnmower Man lacked the most, but I did love "Never Finish Before you are finished." Now with the Mice, there were some awesome melodies. The only weird thing is that the lyrics are all about mice. But, the melodies are seriously good. Mice, That's All I Need, and If You'd Be Mine are so awesome with the melodies.

If you're a lover of showtunes and are looking for a CD to add to your collection with some rare tunes that no one you know will have heard of (unless they're a real showtunes buff) then pick up this CD, the songs I mentioned above are alone worth it. ... Read more

Reviews (11)

A moving look at love and lust
This is arguably Michael John LaChiusa's finest musical, and the recording more than does the show justice. Characters come vividly to life in each song, and as the lyrics sharply point out what they think they want, the music subtley evokes their hidden desires. The opening sweet-yet-weary siren song of a prostitute grows into a hot and bothered jazz seduction by a jaded soldier, which in turn becomes the stacatto domination of a young college boy... And so on, until the circle is complete, and everyone says "Hello, again."

There is not a weak link in the wonderful ensemble cast, and the album has the unexpected bonus of featuring many stars before they were well-known. It would be almost impossible to get Donna Murphy, Carolee Carmello, Malcolm Gets, John Cameron Mitchell, Michele Pawk, John Dossett and Judy Blazer to do a show like this today, so it is doubly delightful to hear them together on this recording.

Even in 1994, Michael John LaChiusa was proving himself to be a rising star among theatrical composers. His music for this show aptly displays why he has amassed such a devoted following among theatre enthusiasts.

A terrific album from a promising composer.
This recording of Hello Again shows the promise of a new generation of musical theater composers. LaChiusa, along with the likes of Adam Guettel, are taking over from the stale forms of Lloyd Webber and even, yikes, Sondheim. Hello Again is a great recording of some very interesting material. "Tom" and "The Bed Was Not My Own" are the two standouts on this album, yet the whole show takes a while to grow on you. You will really appreciate this album after a few listens, and it's worth it. Every song is intelligent and clever, and the caliber of the cast assembled is incredible: Donna Murphy, Malcolm Gets, John Cameron Mitchell, Michelle Pawk. Unfortunately this show is not often performed. Luckily, we will be seeing more from this gifted composer very soon.

What Goes Around...
Being the fan of "new musicals" that I am, I picked this CD up on a whim, and now I can't stop playing it. For those who love rousing opening numbers, humable songs, or lots of tap dancing in their musicals, this is not the one for you. This is a "chamber piece" that examines sexual encounters through the decades. The score is nothing short of brilliant, and I can't understand why no one ever does this show. It's a great recording, a great score, and a great little puzzle (read the stage directions in the libretto). This is one "new musical" you want to own.

We may never be saying... Hello Again.
It's not your typical broadway musical. There's no kicklines. There's no helicopters, barricades or giant chandeliers (thank God!) But there is honest human emotion. There are believable characters. There are hummable songs, and intriguing lyrics. Hello Again is based on "La Ronde" and while you may not think that that would be a great source for a musical... You'd be surprised!!! The musical takes you on a journey from the first notes to the last "Hello, Again" and it's wonderful.

The performances on the cd are very entertaining as well. Carolee Carmello, Michelle Pawk, Donna Murphy are all three women who are now major players in Broadway musical. (Donna Murphy won a tony, Carolee was nominated, and Michelle is a Drama Desk Nominee.) It also features Malcolm Gets from "Caroline in the City Fame" and John Cameron Mitchell (Hedwig and the Angry Inch creator). It's a must-have and I reccomend it to everyone.

LaChiusa at his most affecting
Michael John LaChiusa is my personal favorite of the "new generation" of theatre composers; he blends a modern and experimental approach with traditional theatricality in a very exciting way. This 1994 effort lacks a bit of the edge of the recent "Marie Christine" and "The Wild Party" -- in its place is a strange kind of warmth and optimism. Even as the characters of "Hello Again" try and fail to find emotional fulfillment through ... liaisons, there's never a doubt that most of them have the capacity to find it in some other way.

And as is typical for LaChiusa, the score is highly melodic and accessible, if not something that can be easily broken down into individual songs. Insofar as it can, "Tom" is the principal standout. The lyrics are clever and appealing, and the performances first-rate without exception. ... Read more

Amazon.com

Give credit (and thanks) to Goddard Lieberson and Columbia Records for preserving the original cast recording of Anyone Can Whistle despite a blink-and-you-missed-it run of nine performances in 1964. That's often blamed on the challenging and confusing book, which features a Mayoress (Angela Lansbury) whose town is economically depressed until the fortuitous arrival of an apparent miracle.Unfortunately, the resulting influx of tourists clashes with 49 patients (known as "cookies") from a local mental hospital led by nurse Fay Apple (Lee Remick) when a traveling physician named Hapgood (Harry Guardino) arrives to sort things out.The score is fascinating early Stephen Sondheim and includes numerous songs that have become staples of Sondheim song collections: "There Won't Be Trumpets," the gentle title tune, "A Parade in Town," "Everybody Says Don't," and "With So Little to Be Sure Of."Almost exactly 31 years later, Anyone Can Whistle was recorded as a gala benefit concert, with 20 additional minutes of music and dialogue, an all-star cast including Lansbury and Bernadette Peters, and the excitement of a live performance.For heart, though, it still doesn't measure up to the original cast recording.--David Horiuchi ... Read more

Reviews (11)

Stephen Sondheim's cult-flop masterpiece
ANYONE CAN WHISTLE is still regarded as Stephen Sondheim's worst critical and commercial diasaster. It shuttered on Broadway after a dismal 9 performances, though it's score is quite exceptional and the cast featured both Lee Remick and Angela Lansbury in their Broadway debuts.

The story concerns corrupt mayoress Cora Hoover-Hooper (Angela Lansbury) who decides to enliven her dreary town by creating a 'fake miracle'. The lovely Fay Apple (Lee Remick) unwittingly gets caught up in the plot, as well as J. Bowen Hapgood (Harry Guardino), and the citizens of the town.

The score features the immortal Title Song, as well as "There Won't Be Trumpets", "Me and My Town", "Everybody Says Don't", "See What It Gets You" and "With So Little to Be Sure Of".

This new reissue on the Coumbia Broadway Masterworks label includes 5 never-before-released demo recordings, including several cut numbers. [SONY SK 86860]

Fantastic!
What a recipe for disaster - a young, relatively untested composer, a writer/director with more than enough satirical targets for five shows, three stars who had never before appeared in a musical, Brechtian and Pirandellian techniques - and what a disaster it was. This show ran only a handful of performances on Broadway. And really, it didnt deserve any more - it was way too far reaching, not nearly funny enough. But luckily, here is the score, and what a score it is! It is abundantly clear that, at this early date, Sondheim was going to be one of Broadway's most vital composers. Every song is brimming with invention, melody, emotion, wit, what have you. From the hilarious opening and Miracle Song, through the charming second act duets, to the heartbreaking conclusion, this score is fantastic. It even includes a recording of There Wont Be Trumpets, surely one of the best songs ever to be cut from a show, and nearly all of the third act Cookie Ballet. Although the ballet - and the first act closer - arent as effective without seeing the dazzling staging, they still work on their own terms. Lansbury, Remick, and Guardino all do excellent work as well, although it is quite obvious that they werent too experienced. But this fact, along with some rather poor orchestrations, should not be too much of a distraction from one of the most clever, inventive scores of the 60s.

The Best Flop!
Yes, the book is very confusing, and turned audiences off in the '60s, but the score is a true treasure. I bought this CD for the "Miracle Song", hoping i would warm up to the rest of the Score. And I Did, many times over. "The Cookie Chase" is Sheer brilliance, and i could listen to it for hours. Dont be afraid to get this CD, you will thank yourself later!!!!

Gone but never forgotten
Goddard Lieberson was a genius! He knew how to translate this complex score to records and still make a listenable package! In fact when it came to recording flops it seems he took even greater care.

It's easy to see why WHISTLE failed in 1964. It was totally out-of-step with the other hit musicals: HELLO DOLLY!, FUNNY GIRL, etc. Not that it was in any way inferior to these shows...quite the opposite. It was, if anything, too intelligent, and the score too complicated. That is why the recording stands up to repeated listenings. Still you can imagine your average middle-aged, middle class theatre going going out for intermission after the amazing song/scene "Simple" totally baffled! If they came back for Act Two (doubtful) they certainly did not hang around for Act Three. Yet they would have missed one of Sondheim's most beautiful songs: "With So Little To Be Sure Of."

There's more gold in ths score: The title song is well know, but Lansbury's three solo's are wonderful especially "A Parade in Town." And the comic "Come Play Wiz Me" is great fun...though it sounds similar to the old Peter Sellers-Sophia Loren single "Goodness Gracious Me." Did Sondheim take his inspiration from that old comedy song or was it the other way around? No matter..both are fun!

Then there are the extended musical scenes: "Simple", "The Miracle Song" and the ballet "The Cookie Chase."

One person has wondered why "There's Always a Woman" was not recorded. The answer is simple: the song was dropped from the show long before opening night (although it was restored for the 1995 concert.) Lee Remick's "There Won't Be Trumpets" was also cut just before opening night. That it was recorded at all is a miracle. (The track did not make the original LP release, but is included on this CD.)

As always, Sony has done a wonerdful remastering job. Sondheim's many fans will want to hear the composer's demo recordings of some of the dropped songs, but the key reason to get this Cd is the still wonderful original cast performances. True, none of the leads have truly outstanding singing voices, but they are so loaded with character that it hardly matters.

Ther has always been talk of revising and reviving ANYONE CAN WHISTLE and when you listen to this cast album you'll understand why.

The soundtrack of my life!
This is to me probably the best cast album ever. Its only flaw is that it is too short. They could have included "There's Always A Woman" to make the pleasure complete.

Each single one of the tracks on this recording is an amazing gem. I recon everybody is familiar with the history and the plot of this legendary flop musical, so I just want to ensure you that there's no possible reason not to buy this record. ¨

Angela Lansbury is particulary outstanding as Cora, and the reast of the cast is wonderful too, though I can't deny I prefer Bernadette Peters as Fay. But then again, who can compete with Bernadette?

As opposed to the concert recording (which is more complete than this) the OBC recording benefits from a cleaner sound and not so messed up scenes. (I am also unable to get used to Madeline Kahn's voice on the concert recording...)

The bonus tracks with the semi god Sondheim himself singing some demo tracks (including the extremely outstanding title song) and some cut stuff makes this a musical album something everybody should be obliged to own.

I absolutely adore Anyone Can Whistle, and it it totally beyond my inagination why this was not an immediate success when it premiered. ... Read more

Album Details

Single Disc Collection of the Best Songs from the Original London Cast of the Hit Andrew Lloyd Webber Musical Based on the Book "Old Possum's Book of Practical Cats" by T.s. Eliot. ... Read more

Reviews (4)

Better than the broadway version
This London version of CATS "blows away" the broadway version. Anyone who has listened to both will surely agree!! If you think the broadway one is better, then you don't "know" music or musical talent when you hear it. There is so much passion in the London cast. They are not "going through the motions". A must have for fans of musicals and the theater.

Okay - good for the London Cast hankerers
I am happy to see an abridged version of the Original London Cast recording of CATS available in the market, especially to the US market. I don't really consider this to be the finest cast recording, but I am willing to let the beginning purchaser and those who own the Broadway soundtrack try this out. I am a little bit more enthusiastic about the abridged London soundtrack because you needn't tire your ears and feel unhappy from listening to too much of its underpowerdness. Of course, we have Elaine Paige and Brian Blessed singing very well as Grizabella and Old Deuteronomy, and we have complete versions of "Gumbie Cat" and "Ad-Dressing." However, I would advise you to be aware of Paul Nicholas and Wayne Sleep, who sing with no feeling for the music. Overall, I would recommend this a little bit more than the 2-CD set, and for the general collector, the Broadway soundtrack, be it in complete and abridged versions, would be the first choice.

Cats
I like it but I have not reseved it yet and maybe i can get it in time for my brithday on the 24 of january. my daughter has a lot on her mind so if you cold send it to her it wold make her the happiest gril i know.

Fantastic! The best iv'e heard!
You should get this beautiful recording!It's the best!I might not have the Hightlights cd but I do have the compleate recording!Of course Ms. Paige gives a better interpretation of Grizabella.And Mr. Blessed is Old Dueteronemy!This is the''Dream Cast''!This recording also features the missing ''Billy McCaw''!And the original music to ''Mongojerrie and Rumpulteazer''.It also includes the original ''Addressing of Cats''!In all this is a must buy!But don't take my word for it buy it yourself and you'll see that this import is the best of the best! ... Read more

Reviews (12)

Magical musical-shame about the vocalists!!
OK - Miss Saigon is probably my favourite musical of all time, but this recording really does not do it justice. If you want to experience the real magic of this show, you should purchase the ORIGINAL London Cast Recording which features the amazing vocal talents of Lea Salonga, as well as Jonathan Pryce and Peter Polycarpou. The only good vocalist on this recording is Ruthie Henshall. Joanna Ampil is also good, but no-one can sing the role of Kim like Lea can.

Saigon Highlights good example of Musical Theater recording
This CD has some excellent examples of good vocalizations and beautiful music. I was suprized to find the detailed synopsis included in the liner notes. (Not typical of most highlight albums.)
As far as singing goes, the producers assembled a great group of performers for the recording IE Ruthie Henshall!! I bought this CD in lue of the more expensive London Cast version, and as I listened to the music, I couldn't help but say to myself "Wow! What a great group of singers!" Not that this recording doesn't have its shortcomings. I think that trying to assemble a "studio cast" do sing music intended for Broadway actors can in some cases defeat the purpose of listening to theatrical music, but "Saigon Highlights" combines a great deal of theatrics in the recording such as helecopter sound effects. I would have liked to have seen Lea Salonga in the role of Kim and perhaps another actor in the role of Chris. Not that Peter Cousens doesn't do a stellar job, but compared to the others he is outsinged. RUTHIE HENSHALL FANS, GET THIS ALBUM. After hearing Ms. Henshall sing "Now That I've Seen Her" and the duet "I Still Believe" I couldn't get her voice out of my head. I loved her as Fantine in Les Mis, and I love her as Ellen here. Musical fans: This is an excellent investment!!

Just one problem...
If you can get over the fact that this recording doesn't feature Lea Salonga (who is, of course, *the* Kim) then this CD is for you. The orchestral arrangement is wonderful, and the vocals are -for the most part- phenomenal. My one gripe with this CD is Peter Cousens. After hearing the original London recording with Simon Bowman, I just cannot accept Cousens in the role of Chris. His voice is incredibly whiny, unlike Bowman's full, rich tenor. His performance seemed, to me, to ebb a little on the melodramatic side, and at times fell completely flat. In that way, I was disappointed. Joanna Ampill, however, more than compensates for Cousens' less-than-golden performance with her energy and emotionally-charged voice. Lea Salonga is not an easy act to follow, but Ampill blew me away. She is a brilliant, heartbreaking Kim. Her "Please" with Hinton Battle still brings tears to my eyes. Buy this recording! Buy it! Buy it! Buy it!

Good!
It's just too bad that the actors here -- who are excellent --are inevitably compared with the ones in the Original London Cast (who are WAY better). This album is good, but if you could get only one, get the Original London Cast Recording. If you can get two, get the Original London and the 1995 (Complete) Studio Cast Recording. Bottom line: this should be your fourth choice among all four official English-language recordings.

Great album!
But get the Original London Cast Recording - that's THE best recording of this excellent musical! ... Read more

Reviews (15)

MINOR LEAGUE LLOYD WEBBER!
A lot of things were missing from this original cast recording of Lloyd Webber's latest musical.

First of all there was the plot. I knew the musical was about the Irish (because I could only understand half the words they were singing), football (because it is called THE BEAUTIFUL GAME and all the guys in the pictures are wearing shorts, Catholic/Protestants disputes (because there is a priest in one of the photograph) and I think someone dies or is killed (because there is a funeral in the middle of the music). The overall enjoyment of this recording would have been enhanced if a brief description of the action had been included with the printed lyrics of the songs.

Then there is the music, which really isn't even fourth rate Lloyd Webber. Where are the lush flowing melodies that all his critics always accuse him of stealing from Puccini? I can hear themes borrowed from earlier works, but there's nothing new and exciting here.

I don't know how successful this show was in London, but I didn't hear much about it until I saw this CD pop up in my Amazon Thing I Might List. Hopefully, Andrew is hard a work on something new and exciting. (Like the long promised movie version of THE PHANTOM OF THE OPERA!)

The Brilliant Game
We are coming upon the closing date for the first run of this amazing show. Due to the tourism slow down of the UK, theatres were hit hard including the Cambridge Theatre which presented the first production of The Beautiful Game. I had the priviledge of going to both a preview of this show and a later performance last autumn. Sir Andrew Lloyd Webber returns with the power he once mastered with shows like Jesus Christ Superstar and Phantom of the Opera. The score embodies both struggle and grace pulling you through football matches and carrying you along a funeral march. "Our Kind of Love," which was performed at the Inaugural Ball for President George W. Bush, delivers during the show and has also proven to be somewhat of an enjoyable pop song. The cast is powered by many recognizable voices and the orchestra is brilliant. While you may not be able to see this show in the near future, this recording will take to Belfast and into these young peoples' lives for an amazing journey that will leave you crying in the end. BUY THIS CD. Actors and singers, purchase the music, there are some excellent audition pieces.

Well, as a musical theater fan I must say.....
I got this CD as a gift from my sister. She came to London and knew she had to bring me something. She saw this new Lloyd-Webber piece and remembered me telling her I heard the single "Our Kind of Love" and quite loved it, so she ran off and baight it. After the first time I listened to it, the intire CD, I said that this is, without a single shadow of a doubt, one of the worst musicals I have ever heard! I was so disuppointed. I have loved each and every piece written by ALW. My first musicals were Joseph, Phantom and Evita.... I really don't understand what were they thinking.... A musical about sports??? didn't you hear that Damn Yankees was a fluke?? I can say there are a few likable tunes.... but it is NOT what I expect while listening o ALW. I don't ant likable....I want devine! Anyway, I think that having this CD is worth your time, and for 2 reasons. A. It might be a grow-on-you kinda CD or B. It will remind you each time that even the greatest fall at times....oh and C. It's always important to know [stuff]...

Dumbest show ever
I have seen a lot of musicals, some I adored others I didn't care that much about, but still enjoyed seeing them. But Beautiful Game is the one show I regret spending money on - all the more so as I left after the first act! It was all just so dumb, simply unbearable! To be quite honest, I'd have left even earlier, only I was sat in the middle of a row!
I'm sorry, I couldn't see anything special, just a group of extremely stupid boys - none of them convincing in whatever they pretended to be or to do!
Shame for the money and time wasted!

Beautiful Game, Sad Future
I'll be concise - Beautiful Game offers three of Lloyd Webber's most glorious melodies - Our Kind of Love (can we say WOW!), God's Own Country, and All the Love I Have. The voices are superb, and the story is a worthwhile retelling of Romeo and Juliet/West Side story. It is quite disappointing to think that this seemingly moving and poignant musical will never be seen on Broadway...but then again, By Jeeves just opened on Broadway 25 years after it first premiered in the West End...so I suppose anything is possible. This would make an excellent addition to the collection of any fan of Lloyd Webber or musicals...period! ... Read more

Amazon.com

This recording captures the 1985 London cast that transformed an obscure French musical based on Victor Hugo's gargantuan novel of pre-Revolutionary France into a worldwide phenomenon throughout the late-'80s and '90s and became one of the best examples of the era's trend of blockbuster musical spectacles. Yes, Alain Boublil and Claude-Michel Schoenberg's score tends to recycle its themes, but the beautiful melodies and stirring anthems rarely fail to captivate and touch its audience. Colm Wilkinson is the heroic Valjean, Patti LuPone is the tragic Fantine, Michael Ball is the love-struck Marius, and Frances Ruffelle is the despondent Eponine, with Roger Allam (Javert), Alun Armstrong and Sue Jane Tanner (the Thénardiers), Rebecca Caine (older Cosette), and David Burt (Enjolras) filling out the excellent cast. Fans will want to take note that this recording includes some material that was revised when the show crossed the pond to Broadway--"Little People" was lost altogether, while the "Love Montage" was significantly rewritten. Les Misérables sounds especially vivid in its 1998 remastering, and a synopsis and full lyrics are included. --David Horiuchi ... Read more

Reviews (89)

My thoughts
The Original London Cast and Original Broadway Cast recordings were the first English recordings of Les Misérables. Each has it's strengths and weaknesses. For instance:

The Conducting) LONDON is best. The conducting is slower in the London version. Some listeners think that this sacrifices dramatic tension, but the slower speed brings out a hundred details that you never hear on other recordings.

Sound Quality) BROADWAY is best. The London recording has very good sound, but Broadway's sound is more sharp and focused.

Jean Valjean) TIE. Colm Wilkinson sings the role of Valjean on both recordings. His voice is a bit unsteady, but his acting is perfect. And he is IMMEASURABLY better on these two recordings than he was at the Tenth Anniversary Concert.

Javert) LONDON. Roger Allam has a strong, clear voice, and uses it well in Javert's solos. Terrance Mann has more trouble with his solos, but manages to pull through in the rest of the Broadway recording. Both of them are decent actors, but neither of them can touch Philip Quast, who will always be THE Javert.

Fantine) LONDON. Patti LuPone is one of the few Fantine's who sings the role instead of wailing it. And she does more than just sing it. If LuPone's "I Dreamed a Dream" doesn't bring you close to tears, you have a stone heart. Randy Graff on the Broadway recording leaves a lot to be desired, but isn't nearly as bad as Ruthie Henshall in the Tenth Anniversary Concert.

Marius) LONDON! Michael Ball was the first and the definitive Marius. His singing and acting are great, and he makes a potentially sentimental character believable and even likeable. Nowhere does David Bryant on the Broadway recording come close to matching him. Bryant isn't as bad as some people say, but he does little more than sing the notes.

Enjolras) BROADWAY! David Burt on the London recording does a very good job. His voice is light but pleasant, and he is able to sound sufficiently heroic. But Michael Maguire on the Broadway recording is in a different league all together. His entrance in "One Day More" is spine-tingling, as is his opening in "Do You Hear the People Sing?" Neither of these singers come even close to matching Anthony Warlow's Enjolras on the Complete Symphonic Recording, though.

Thenardier) LONDON. There is nothing wrong with Leo Burmester on the Broadway recording. Alun Armstrong, however, does better at conveying the sinister aspect of the rogue innkeeper. And his excellent Cockney accent doesn't hurt either.

Eponine) BROADWAY. Frances Ruffelle sings Eponine on both recordings. Her voice is more refined on the London recording, but she sounds more urgent and exciting on the Broadway. She is excellent on both of them, though.

Cosette) LONDON. There isn't much difference between the way London's Rebecca Caine and Broadway's Judy Kuhn sing Cosette. In fact, Judy Kuhn might be a hair better. What set's the London version in front of the Broadway version is that Cosette gets her own song on the London. Her solo, "I saw him once", makes Cosette's character just a little less shallow.

Well, there you have it. Both recordings are very good, and IMHO the Original London Cast is a shade better. Ultimately, you'll have to chose for yourself.

if you've only got the money for one...
i first hear the broadway cast album of les miz and that became the definitive version for me. after listening to the london cast recording, i still prefer the broadway version, mainly because of the stronger javert on broadway; his london counterpart suffers by comparison and that almost ruins the london version for me, notwithstanding all of its other good qualities.

the london javert had a weak voice and can barely get through some lines without swallowing air; javert's solos demand a strong baritone voice to bring out his menacing nature and ultimate anguish; the broadway javert fills your room while the london javert has to go into lower registers, at lower volume to complete some lyrics.

colm wilkinson is pretty much the same jean valjean on both recordings although i think he was a tad stronger on broadway; i did not notice any talking or sliding by; he gives you his all; his "bring him home" in london is very good, although on the ten year anniversary album it is sublimely perfect.

fantine, eponine, cosette and marius all seem about the same, to me, anyway, on both stages and i found nothing weak about either version's performances of those roles. i wish lea salonga were on every album and michael ball is so good you take him for granted.

enjolras was much stronger on broadway and his songs are rousing, so a booming baritone is a necessity, a la javert.

i found the broadway thenardier preferable because his voice is gruffer and deeper; the london thenardier, a cockney, grew on me, though. the broadway madame thenardier's final exhortation to "drinking vessel rectal insertion action" is more entertaining.

the london show contains more material, including gavroche's solo on "little people" that was cut from broadway. there are also some orchestral lead-ins that are changed; for completeness's sake, the london version might be preferable.

again, one's preference of a particular verison of les miz will probably correspond to which version one heard first. i prefer the broadway version in part because i found the cockney accents on the london stage disconcerting, although the cockney accent corresponds to lower class paris dialect, i suppose.

in my review of the broadway and london versions of my fair lady, i panned the london version, in part because of the way the british generally approach the musical stage; they turn musicals into something somewhere between gilbert and sullivan and a busker music hall show. they screw up the orchestrations and decrease the level of musicality.

that is not the case in les miz; the brits were not working from an americal version, as in MFL, which they could screw up, but had developed the cutting edge show extrapolated from the french concept album.

if i only had the money to buy one, it would be the broadway cast version. but that's just my two cents/pence/francs...

Disappointing!
My first exposure to Les Mis the musical was through the Complete Symphonic Recording. Then I attended the 10th Anniversary celebration and got that recording, so upon listening to this particular album, the most I got was disappointment. The arrangement is very slow and most of the cast, while good by general standards, are mediocre compared to the talents I saw during the anniversary. Listening to Lea Salonga then to Frances Ruffelle for instance, is like going from smelling the sweet scent of a beautiful rose to getting wounded by its thorns. The difference in experience between the two recordings is so big that once you've listened to the 10th Anniversary Recording, everything else pales in comparison.

Worst Les Mis recording, but okay
The real deal is the 10th Anniversary Concert Recording with the best cast and the most dynamic performances. Get THAT and the Complete Symphonic Recording and you have all the Les Mis that you need.

Good recording, but definitely not great
Maybe it's the fact that I've been spoiled with such wonderful recordings as the Tenth Anniversary Recording, the Complete Symphonic Recording and even the Broadway Cast, but this recording of Les Miserables is at the bottom of my list in favorite recordings. It is missing something. I bought it after I had the other three recordings and also two others in Spanish, one in German, the Original French Concept Album, and two Japanese recordings. All of the others (maybe excluding the French Concept one) have better music and sound quality. What I mean by better music is that it does not sound like there is much of an orchestra playing on this CD. On some songs you can only hear a guitar and a piano playing! I just like the full orchestra sound that can be heard on the other albums. Also, this is the first recording besides the French Concept Album, so obviously they have improved the musical since this first recording; Broadway is slightly better, the Complete Recording is even better than Broadway, and the Tenth Anniversary recording is magnificent! This album just seems to be weak!

The company is okay, but not great. One thing that bothers me about the company is in the song "At the End of the Day." If you have good speakers, the woman singing the descant (the higher notes over the chorus) in such parts as "like the waves crash on the sand, like the storm that'll break any second...", there is this woman with a very shrill voice that ruins the beauty of the song that you can hear in other recordings.

The parts in this musical are written differently. For instance, the students sing different parts on this album than on other albums. Also, there is a song sung by Cosette called "I saw him once" that was cut out of Broadway, and "Little People" was also cut out and made only a few lines when Gavroche confronts Javert and reveals his identity ("Good evening Dear Inspector, lovely evening my dear!").

One comment on the music: It is different. The musical starts not with the powerful overture but with music that sounds like the introduction to "At the End of the Day." The music is much slower. This helps songs like "I dreamed a dream" but ruins songs like "Confrontation," making it laughable. Stars is awful.

OK, so now it is my turn to tell you what I think of the actors and actresses. I get to be the critic! :)

VALJEAN: Colm Wilkinson is great as Valjean, but I prefer him on the other recordings. His voice isn't as strong on this recording as it is in others and he sounds more inexperienced.

JAVERT: Roger Allam is good and strong, but not as good as Phillip Quast. Terrence Mann and Roger Allam both seem to be unconvincing, but it's not the faults of the men that they were miscast.

FANTINE: Patti LuPone has a gorgeous voice, but she seems to be lacking emotion. Randy Graff has more emotion, but Graff can also be harsh on the ears at some parts ("and tell Cosette I love her and I'll see here when I wAAAAAke!!"

THENARDIERS: I must prefer Armstrong's appearance on the 10th Anniversary Recording, and I hate the Madame.

GAVROCHE/YOUNG COSETTE: Y.C. is so innocent and has a beautiful voice! Gavie is adorable and has much better rythm than Braden Danner, but I think Danner had a cuter voice.

MARIUS: Ball is great as Marius.

ENJOLRAS: I don't like the Enjolras on this recording because he is very weak. I think he was miscast. Micheal Maguire is definitely better because he has a strong voice and performance. This Enjolras doesn't cut it at all.

I think you should spend money on the other recordings. I just copied this CD on my computer and resold it. ... Read more

Amazon.com

It's a shame that Merrily We Roll Along was such a devastating flop on Broadway, for it contains some of Stephen Sondheim's best, brightest, and brassiest music. The reasons have been well documented: a youthful, inexperienced cast; cheesy sets and costumes; and, most of all, a confusing plot structure that starts in 1980 with bitter, cynical characters and winds its way backward to 1955, when a high school graduating class is dreaming of making its mark on the world. The main focus is on three friends (Jim Walton, Ann Morrison, and Lonny Price) who share musical ambitions but are gradually driven apart by the turbulence and fragmentation of their lives and the America around them. (You'll also hear a pre-Seinfeld Jason Alexander, and even a young chorus girl named Liz Callaway.) Sondheim almost imperceptibly reworks his themes as his characters develop, and the score includes the infectious "Old Friends," the driving title tune, the ballad "Not a Day Goes By," and "Our Time," an uplifting anthem of hope when performed out of the show's context, but emotionally devastating within it. And if the backward structure--inherited from George S. Kaufman and Moss Hart's 1934 version of the show--really bothers you, you can run it almost completely chronologically by reprogramming the CD.--David Horiuchi ... Read more

Reviews (17)

One of Sondheim's most brilliant scores.
Merrily We Roll Along is kind of an enigma. It opened in 1981 to mostly bad reviews, and closed only a few weeks later, despite the fact that the majority of audience members that actually SAW it really enjoyed it. Everyone blamed something -- the backwards plot was too confusing for the general public, the strange costumes didn't make any sense, or the book was weak. Nobody, however, blamed Stephen Sondheim's music. The score is passionate, melodic, jazzy at times, and very accessible. The show has gone through some major revisions, which can be heard on the other two recordings (1993 Leicester and 1994 Off-Broadway), but it is my opinion that the Original Broadway Cast is by far the best. The passion and exuberance of the youthful performers (and a stellar orchestra) gives this show the energy and LIFE it needs (something that is sorely lacking in the 94 recording), especially in songs like "Opening Doors". Also the song "Hills of Tomorrow", which was cut in the revisions, provides a brilliant framing device, one that makes the show complete, and makes this recording the best, narrowly beating out the Leicester.

WHO'S LIKE HIM? DAMN FEW !
I had the distinct pleasure of finally seeing a full scale production of MERRILY WE ROLL ALONG at the recent Sondheim Celebration in Washington, DC. If this is not Stephen Sondheim's best score (and who really cares what his BEST score is?)it is certainly his most joyous. And it certainly is his most traditional Broadway score.

From the first moments of the overture through to the final notes of "The Hills of Tomorrow" which is a hymn to promises unfulfilled, this is about as good as Broadway is ever going to get.

I have no idea why the original production failed; I never saw it. The book is, at best, weak. But song after song after song is truly memorable. "Not A Day Goes By" could arguably be Sondheim's most emotional love song; "Franklin Shepard, Inc." is not only clever (as only Sondheim's lyrics can be) it is also truly, theatrically funny. Everyone of the actors on this original cast recording is commendable. This is a Sondheim musical, not just for his fans, but for the people who think they hate Sondheim shows.

So, to paraphrase one of Sondheim's lyrics in his song "Old Friends:"
"Here's to him!
Who's like him?
Damn few !"
HIGHLY RECOMMENDED

Another Golden Score from A Sondheim Flop!
This should have lasted much longer than it did. Thank God they recorded this show. The show is fun, energetic, and the score matches. To start off with we get this very jazzy overture. Then comes "The Hills of Tomorrow". Then you say"I hope the rest of the score is not like this". Then comes "Merrily we roll Along". Then you will wear the CD out. Every song is a gem in it's own right. A few songs are sentimental, but you wont find any dull songs here. Use this Cd if anyone says Sondheim does not write beatiful melodies. A great recording.

A detailed comparison of the two versions of this CD
Here, I will give a detailed comparison between the two version of this musical available, character by character, song by song. To begin...

Frank Shepard: Jim Walton (OBC) has undeniable potential, and does especially well in "Old friends", the original Frank version of "Not a day goes by". Still, his performance has serious flaws, and his "Our Time" in particular is painful to listen to. By contrast, Malcolm Gets (NBC) was quieter and subtler in the role, but "Our Time" is the character's most important moment, and he handles it terrifically. His spectacular vocals and soaring idealism contrast sharply with Walton's shrill, shallow delivery.

Charley Kringas: Lonny Price (OBC) is spectacular as Charley. Since Charley remains an uncorrupted idealist at the play's "end", casting a teenager in the role was actually a wise move, and despite his lack of experience, Price turns out one of the most skillful performances in all of Broadway history. I tell you, the kid's a prodigy! Adam Heller (NBC) was adequate in the revival (personally, I'd love to see him do Buddy in "Follies"), but most of Charley's personality is expressed in subtext, and without the tragic complexity Price gave him, he seemed rather boring.

Mary Flynn: Ann Morrison (OBC) is quite talented, and did an excellent portrayal of an angsty teen late in the play, particularly in the second half of "Our Time". Still, she simply sounded too upbeat to be convincing as a cynical middle-aged drunk. Amy Ryder (NBC), on the other hand, is perfectly suited to the role; she has a wonderfully expressive voice and does an excellent job of subtly altering her personality over time.

Beth Spencer: This role requires a measure of overacting, but Sally Klein (OBC) goes so over the top it's not even funny. Anne Bobby (NBC), on the other hand, kept her control and gave a charmingly flamboyant and very human performance.

Gussie Carnigie: Michelle Pawk (NBC) sounds like a real Broadway headliner, and she is just delicious as the show's evil seductress. Terry Finn (OBC) had only a brief dialogue bit on the CD, and she couldn't even handle that without making a fool of herself.

Joe Josephson: Famed comedian Jason Alexander (OBC) made this character funny and charming. Paul Harmon (NBC) was intensely annoying.

As for the individual songs...

Merrily we Roll Along: The song has excellent lyrics, deep and introspective, but in the OBC you can't hear them because the obnoxious Geoffrey Horne is shouting something pointless over them.

Like it was

Amy Ryder sounded far more authentic here than Ann Morrison, although I will say Lonny Price handled his dialogue bits extremely well.

Franklin Shepard INC.

Adam Heller's diction was better in this wordy monologue-song, but I prefer Price's more passionate version.

Old Friends

The OBC has better peformances by everyone except Ann Morrison, as well as two very interesting extra verses tacked on the end.

Not a day goes by

This song was blessed with two great performances, and I honestly can't decide on a favorite between Jim Walton's gorgeous vocals and Anne Bobby's intense acting.

Now you know

The OBC did a great job of setting the mood for this number, and Walton and Morrison are at their best. Still, Amy Ryder did a decent job of salvaging the watered-down, badly edited NBC version.

It's a hit

The OBC cast were much more interesting in this number, and some key material was cut in the NBC anyway.

Good thing going

Heller was by no means bad in this number, but Price blew him out of the water.

Bobby and Jackie and Jack

The NBC is far better; Sally Klein was at her worst here, and Lonny Price, for all his many talents, is no comedian.

Not a day goes by (reprise)

Due to an asinine recording job, you can barely hear Amy Ryder in this number. Thankfully, Ann Morrison does a fabulous performance here.

Opening Doors

Jason Alexander sings beautifully and projects a loveably pushy personality in this montage. Let me say delicately that Harmon does neither of these things. The rest of the cast is excellent in either versioon, except for Jim Walton, who foreshadows the problems with his next song in an unsubtle, extremely annoying performance.

Our Time

If not for Jim Walton, the OBC would have this one in the bag; they close it with a haunting ensemble chorus led by Ann Morrison that gives the song a beautifully profound feel. However, Walton was horrendous in the first half of the song, and because he was so utterly outclassed by Malcolm Gets' exquisite performance, the song overall is far more effective in the NBC.

Finally, as for the songs that were in both versions...

The Hills of Tomorrow (OBC)

A lovely song and an excellent opening. I appreciate its importance to the plot as the first song Frank ever wrote, but I think reprising it to close the show was not as effective as simply closing with "Our Time".

That Frank (NBC)

Weak as a plot climax. I understand that in the show, it was merely intended to "set up" a dramatic confrontation in the book scenes, but on the CD it was a noticeable letdown. Still, Amy Ryder's antics as Mary were fun and powerful.

Rich and Happy (OBC)

A powerful and disturbing climax and an excellent alternative to the shallow "That Frank", even if Walton could have performed it better.

Growing up (NBC)

A complex and thought-provoking song with a beautiful melody, performed extremely well by Malcolm Gets and Michele Pawk. I personally think it serves a necessary role in the play, and I'm very glad they added it to fill that void. It gives us a chance to see into Frank's mind, something none of the other songs do. Gussie's later reprise of this song, however, is watered down and, despite its beauty, completely unnecessary.

The Blob (NBC)

A satirically funny and mildly disturbing song. Part of it appears in the OBC, but Gussie's cynically witty second verse really brings it to life.

In general, I actually recommend you get both version if you get either. Each one contains wonderful moments the other one screws up. If you must get only one, though, get the NBC. It may not be as good is some places, but it has fewer flaws.

It's okay, but...
You're better off with the 1994 York Theater Off-Brodway version with Malcom Gets...while this one is pleasent at best, it's much too clunky and all over the place to really, really enjoy...the songs that were cut from this version like "Rich and Happy" are genuienly solid, but there are far too few of them to make up for the lack of fluidness that accompanies this version. Many people complain that the new version is "too artifical" with it's use of (minimum) synthesizers, and that the cast isn't adequate enough to handle the score, but I disagree...the cast for this version is simply much too young and inexperienced to really get a grasp on what it's like to play middle aged cynics. On the other hand, the '94 cast is well-equipped to handle the their roles both emotionaly and mentally. That's not to say that this version is completely devoid of any redeeming qualities...it's just far too overrated to earn the place as the definitive recording of Merrily...start with the '94 version, and if you like that one, move on to this one...the former is much more solid and fluid. There is talk of a staged reading this fall, which will hopefully lead to a full-fledged return of this extremely underrated masterpiece...a return more akin to it's latter day revival, and not the original's choppy performance. ... Read more

Reviews (6)

Make this YOURS!
How can people argue that musicals now are becoming tuneless? There can be no argument with the Witches of Eastwick: The musical score must be, without a doubt, the best musical score of the 21st century. The such beautiful harmonies written for the leading ladies - Lucie Arnaz, Maria Friedman and Joanna Riding - are just so wonderful; beyond words. This CD captures the feeling of being there live as much as any CD can do. Ian McShane does not always sing ( a mixture of singing and wonderful acting)does that matter? No, I don't think so - Every single part of the Witches of Eastwick is performed at the best quality possible and the score, suitable for both modern and contemporary style listeners, surely, is the best model for new, some may say less tuneful shows of this era.

You'll Wanna Dance With The Devil!!!
I have already posted a review of this smart, vibrant musical, that displays that all the power we ever need, is within ourselves. As our three lovely, lady leads belt out, in perfect harmony (Along with many other songs in the musical), in the final number "Look At Me." I went to London in the spring of 2000, hoping that I would go to the theatre at Drury Lane to see Miss Saigon. But sadly, it closed, and I was sad. But when I saw that Cameron Mackintosh, the greatest musical thatre producer of our time, was making a musical version of a literary and cinematic classic, and he was reteaming with John Dempsey and Dana P. Rowe. The duo who wrote the aggressively witty political satire musical "The Fix," (Also produced by Mackintosh) I was filled with even more anticipation. For all of you who had the smarts to heed my review of "The Fix," when I hailed it as a underrated musical masterpiece, the you'll know that with "The Witches of Eastwick," you will recieve music and lyrics that "Snap, crackle, pop" with life and energy. Starting with a rollicking overture all the way to a touching finale. Along with many brilliant musical numbers in between. "Make Him Mine," "I Wish I may," and the before mentioned "Look At Me" Are sung beautifully by Riding, Arnaz, and Friedman. Their voice combined perfectly displays unity between our three heroines. And Ian Mcshane is divinely devillish in his portrayal of Darryl Van Horne, the man of our three ladies' dreams. You know he's the devil but you just can't help enjoying his wild antics in his songs "I Love a Little Town," "Dance With The Devil," and "Who's The Man." With these songs. McShane managed to give something to the role that Jack Nicholson could never supply in his portrayal of "Ol' Scratch" I'm hoping and praying that this play eventually comes to Broadway, very soon. This will be the first musical where I will see the three lovely ladies fly all over my head and watch a church explode. I don't see what's stopping them. The show seems to be taking London by storm. It will only be a matter of time before the Witches Cast their spell upon us all. Amongst many of the great, new musicals that we've been graced with this past year. "Witches of Eastwick" is a major standout that has life of it's own, that will definitely pave the way for Dempsey and Rowe's potentially, illustrious careers. This musical is like a drug. You'll want to keep listening to it over and over, until each song is trapped in your head, and you'll never want to let them go. I don't think I'm making an overstatement by saying that this is one of th best new musicals to start the new millenium. So Make this CD yours!!!

Spotty but entertaining
I've heard mixed things about the show "The Witches of Eastwick" -- some good, most terrible. I probably won't be able to comment on the show as a whole until the show is brought to Broadway, if it ever is, but I can comment on the score right now.

And "mixed" is still the adjective I reach for, though my feelings about the score on the whole skew more towards the positive. I'm not bewitched by Ian McShane's portrayal of Darryl Van Horn or by the songs he's given, though maybe you just had to be there. And while Rosemary Ashe dazzles as Felicia, I find her songs to be even sillier and less functional than Darryl's.

But all of this is forgotten whenever the leading ladies are heard. Composers Dana Rowe and John Dempsey had their work cut out for them in writing for the Devil, and succumbed a bit too much to caricature when writing for the townspeople... but they came through in spades for the more complex lead characters Alexandra, Jane and Sukie. Their seduction numbers are all brilliant, as are their second-act solos and several trios. Lucie Arnaz, Joanna Riding and Maria Friedman sing beautifully and create memorable characters.

The import price is a little steep for half a good score, but theatre buffs will consider it a must.

UNBELIEVABLE!
Unbelievable! I saw the show two weeks after it opened it London's West End. This soundtrack brought back so many awesome memories from the show. It's as true to the show as any soundtrack possibly could be. I was very impressed. The music is as memorable as "Phantom" or "Les Mis". This is well worth the wait!

The Witches of Eastwick - Original London Cast CD
I recently saw this show in London and was very pleasantly surprised! The CD contains all of the songs from the show with the exception of a few reprises.

All of Dana P. Rowe's melodies are "hummable" after only a few listenings and John Dempsey's clever lyrics range from warm and tender ("Something") to pompously Neanderthal ("Who's the Man?"). You won't hear anything new or different in the music (like Sondheim, Brown or Guettel might create). All of the musical structures are familiar to musical theatergoers. There's a rousing march in the opening number ("Eastwick Knows"), a tango duet ("Eye of the Beholder"), a bluesy vamp at the opening of Act II and a moving, sentimental ballad toward the end. Neither the score nor the CD is boring, however.

What this CD IS, is a lot of fun with some very strong performances. "Dirty Laundry" is a recreation of the townsfolk of River City gone bad with gossip. Rosemary Ashe's beautiful coloratura (she was the original Carlotta in "The Phantom of the Opera") sails high above the chorus at the end of the number a la Jonesy in "How to Succeed..." - transforming the ensemble number into "The Brotherhood of 'Mean'". Ms. Ashe is truly a highlight on this CD as Felicia Gabriel. Resentment and cynicism ooze from her voice as she spits up coins, candles and cherry pits during my favorite cut, "Evil". It's hard to believe this is the same woman who produced that lovely high passage in "Dirty Laundry"!

Ian McShane (known in the US from the "Lovejoy" series on PBS) rips into the character of Darryl van Horne via some very strong vocal acting on his part and the hilariously vulgar lyrics of "I Love a Little Town". As Alexandra, Lucie Arnaz' hard, jazzy belt is perfectly jaded in the very vampy, "Another Night at Darryl's" (again, some very cleverly written lyrics from Mr. Dempsey). Maria Friedman (Sukie) performs the very warmly written ballad, "Loose Ends" with touching sensitivity.

The three leading ladies (including Joanna Riding as Jane) have similar vocal qualities. Their three-part harmonies are well executed in "Make Him Mine" and are particularly lovely in the finale of Act I, "I Wish I May". I am delighted to find this number in its entirety on the CD and it doesn't take much imagination to hear the ladies fly through the theater as they actually did in the London production (even down to their ad-libs).

My only criticism of this recording is a matter of personal taste and involves the quality of the cast's voices. Not all would be considered strong singers. Ian McShane uses his acting ability to carry him through most of his songs. Maria Friedman, a very well accomplished musical theater actress in the UK (US folks may recognize her as the Narrator in the video release of "Joseph..."), sounds hoarse throughout most of the CD and noticeably "cracks" at times.

All of the leads (with the exception of Rosemary Ashe) have a "nervous vibrato" - the extremely rapid, fluttery vibrato that makes the pitch of every note sung seem almost sharp. A whole CD of this kind of singing is a little hard on the ears, but strong performances and an extremely likable score make this CD well worth hearing. ... Read more

Reviews (155)

Well worth a listen
This cd deffinetaly deserves 5 stars, in my opinion. However, the stars of this cd are not members of the cast, but members of the 75-piece symphony. Not to mention the fact that this triple disc set includes every note of les miserables as it is heard in the theatrical production. Gary Morris (who portrays Jean Valjean) is no Colm Wilkonson, but he possesses a good voice and he grows on you by the second listen-through. Philip Quast (Javert) is impressive, he sings well and with great feeling. Debbie Byrne (Fantine) is also no Patti LuPone, but she sings well and will also grow on you. Other members of the cast (Kaho Simada as Eponine and Anthony Warlow as Enjolras are fantastic). The Thenardiers are funny and sing horrible(which suits their comiedic roles well). Tracy Shayne is just plain annoying as Cosette, but she can be overlooked. Though this cd does not have the best cast, buy it for the symphony and length (well over 2 1/2 hours of music!). Do not let this be your first les miz cd, buy the london or broadway cast first, then buy this one as part of your collection as i did. I have seen Les Miserables 3 times and this recording best represents the theatrical production. Enjoy!

Worth your money!!!
If you are a Les Miz enthusiast, then this 3CD set is definitely for you. This set contains all songs being played in current English productions around the world, including all the musical interludes. The cast is made up of performers from the various Les Miz production, including Kaho Shimada, the girl who played 'Eponine' in the Japanese production. Note that she only sung the role in Japanese before recording for the CD set was done.

I've read that Gary Morris is a famous country singer in the US and I thought that his rendition of Valjean might not be as good as Colm Wilkinson (which at that time was the only 'Jean Valjean' for me). But when I heard him, I thought that he was really good. Of course, Michael Ball, as Marius, was great, 'though I would have wanted somebody other than him to play Marius in this recording since he already appeared in the Les Miz London cast recording.

Other notable performances are that of Philip Quast and Anthony Warlowe. The rest of cast was equally good, complementing each other with their superb performances.

Overall, the 3CD set is technically superior. The instrumentation was very rich considering that there more than 50 instrumentalists in this recording. I can just imagine the difficulty of the musical director in splicing all the vocals together as though they were all singing in front of each other.

Beautiful
This is the best production of Les Miz there is. Maybe I'm jaded because I've grown up with this particular recording, but it is absolutely gorgeous. The chemistry of this cast is so incredibly evident...it gets me every time. Michael Ball is a perfect Marius, and Debbie Byrne's interpretation of Fantine is unsurpassable. However, the highlight of this production is Kaho Shimada as Eponine. She is exquisite. Her voice is so powerful and Eponine's spirit comes through so magnificently. Eponine is my hero, and Kaho Shimada plays her perfectly in my own, extremely critical opinion. The CD is wonderful. I'd give it 10 stars if the scale went that high.

Complete, as it says, and very good
There is little I can say here that hasn't already been said, other than giving objective opinion. This is the only recording in English that doesn't cut numbers to reduce running time, and that alone is enough to make it essential for an obsessive like me. There are songs here that are beautiful and, occasionally, quite important to understanding the whole plot that aren't featured on any other recordings (particularly "The Runaway Cart" and "Another Brawl"). There is also a lot of dialogue and filler that is not completely neccessary, but is nice nonetheless if you have the patience for it. The cast itself is wonderful, though not without its flaws. As has been mentioned, Gary Morris provides a long-awaited second interpretation of Jean Valjean (Colm Wilkinson is wonderful, but I don't always agree with his characterization choices). Morris is a wonderful performer, and I'm not sure who I prefer between him in this recording and Wilkinson in his first outing in London, but I believe Wilkison's performances on Broadway and in the Tenth Anniversery Concert are superior to Morris's. Michael Ball is great, as always, and I like that his portrayal of Marius changes with each recording. I don't personally think this was the best performance he gave, but there are parts of it that I certainly like better than in the London recording, and David Bryant, while talented, was miscast on Broadway. This was the first recording with Phillip Quast, and while I love Javert's character and am therefore very open to different interpretations of him, directors had to be smacking themselves and saying "Why didn't we find this guy earlier?" I like some things very much about Terrance Mann, and some things...not so much. I felt the same, only more strongly, about Roger Allam. Quast's performance, however, is hypnotic. I honestly can't say whether I like him better in this recording or in the TAC recording (although I prefer his TAC version of "Stars"). Anthony Warlow is powerful and passionate (side note--if you like Warlow and you like Quast, buy, bootleg, borrow, or steal a copy of "Lily's Eyes" from the Australian recording of "The Secret Garden.) I am thankful for his presence on this complete recording because of the amount of barricade material that features him and the students. He makes it a pleasure to listen to instead of a chore. My ONLY complaint is that I don't think he sounds quite as cool as Michale Maguire in the TAC recording in "One Day More," which isn't even Warlow's fault (I happen to prefer the live sound on chorus numbers. Otherwise, Warlow's performance was superior.) Barry James makes a Thenardier that seems to fit the classic understanding that most foreign actors appear to have. I really like his "Master of the House" because of the combination of implied sleaze he brings through whispering and false pleasentness he shows his customers with his forward British braying. I like that he tends to play with the way the music is written, bending it out of the overly ordinary and predictable interpretation Armstrong gave in the London recording. However, I have to say I prefer Armstrong's TAC performance to James's. Their differing performances of "Master of the House" are just about on par, but other than that, I get annoyed with James's spread vowels and simply ugly sound. I understand that Thenardier is supposed to sound ugly, but Armstrong's accent sounds more natural, and while he tends to lean more toward fasely sounding jovial and happy, the audience knows from his words and actions that he's nasty, and his style brings a brighter tone and active vibrato that makes him more fun to listen to. Gay Soper as Mme. Thenardier is less whiny than Sue Jane Tanner, but still sounds like she's frequently abused and is planning to murder her husband. Jenny Galloway blows them both away. I am always amazed at Kaho Shimada, English being her second (if that) language for this show. I like her exchanges with Marius better than Ruffelle's, but I still prefer Salonga's embittered "On My Own." Tracey Shanyne is good, and I would like to hear her do another role besides Cosette, who no one really seems to like. No, Shayne is certainly good, but Cosette needs better than good to make anyone pay attention to her. Kuhn comes closer, simply because she has a better upper register, but I don't think her acting had anything up on Shayne's.
As for the ensemble, which can save a bad show from being horrible or condemn a good show to never be great, they certainly don't kill the show, and in fact do quite well when compared with some I've heard, live and recorded. But when compared with the TAC's ensemble...it's kind of a mute point, because nothing compares. The ensemble is good, but doesn't give me goosebumps like the TAC cast's.
The recording is very enjoyable overall, and the only reason I wouldn't recommend it to new listeners is the length. Someone new could conceivably get very bored very quickly listening to the entire show without seeing the very moving performances.

WARLOW!!!!
Ok, i wrote a review for this soundtrack already, but I left out one very important person -- Anthony Warlow as Enjolras. I meant to put him under the highlights list. He has a powerful voice which is what I love about him in this recording. I had first thought that no one could ever compare with Michael Maguire on the TAC, but, as the notes seem a bit too high for him, he can make one cringe from time to time. Maguire has the power, fire, and spunk, Warlow has the voice and strength.
Ok, now that that's out of me . . . if you haven't already, buy this album. If you're a newbie to the Miz, go with the Tenth anniversary concert. If you're hungry for more, buy this one next. It *is* worth it, I assure you. ... Read more