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Andrew Lloyd Webber and Tim Rice's Joseph and the Amazing Technicolor Dreamcoat completed the transition from cantata for schoolkids to big-budget glitzfest with Steven Pimlott's 1991 London revival.Here's the 1992 Canadian version of that show, and even if it's not an ideal recording--Janet Metz as the narrator is no match for Laurie Beechman in the original Broadway cast and there's a little too much synthesizer in the orchestrations--this CD is valuable for the performance of former teen pop idol Donny Osmond as the title character.He's in excellent voice, and was so right for the role that he was selected to preserve it for the 2000 video production.And of course the songs are still here, showcasing Rice's witty lyrics and Lloyd Webber's chameleon tendencies--dabbling in country, calypso, French cafés, and a King-like pharaoh--as well as favorites "Any Dream Will Do," "Close Every Door," and "Go, Go, Go Joseph."This production also includes the "Joseph Remix" (also known as the "Joseph Megamix"), a nine-minute medley of themes arranged with a heavy beat that was used for a kind of onstage aerobics routine as the show's postscript. --David Horiuchi ... Read more

Reviews (50)

The best recording of the show yet!
Laurie Beecham's narrator on the original broadway cast is still the best out there, but Janet Metz comes in a VERY close second. Donny Osmond is the best joseph! He makes everyone else sound "second rate". When i first heard of this musical, i expected it to be very offensive to catholics ( and others ) who know the biblical version of joseph's coat of many colors. BUT: Mr. Webber has put the show together with such care that it truly is a "family show". Even my grandparents (who are devout catholics) loved the show when they saw it. The music is great, the costumes are great, the performers are great, and above all- you can't lose with a story like this. You need only buy 1 joseph cd, this one. Enjoy!

Osmond shines in Canada's "Joseph"
I have to admit, I purchased the CD of this version of "Joseph and the Amazing Technicolor Dreamcoat" mainly out of curiosity over Donny Osmond's performance as Joseph. Well, he is superb. His voice is clear and strong, and he delivers outstanding renditions of the character's songs. The rest of the cast in this, the 1992 Canadian version of this musical play, also does a fine job.

"Joseph," with music by Andrew Lloyd Webber and lyrics by Tim Rice, is a consistently entertaining CD. The lyrics re-tell the story of the biblical patriarch Joseph (found in Genesis 37-45), and Rice sticks remarkably close to the source material. "Joseph" has many inventive and humorous touches (such as making the Pharaoh sing his part a la Elvis Presley, or having Joseph's brothers break out into a calypso song).

"Joseph" works because of its combination of a compelling story, clever lyrics, and superb music. If you have heard other CD versions but have not listened to this one, check it out.

Donny Osmond is a perfect Joseph
I must admit, my sister and I went to see "Joseph" when it was in Boston a few years ago, mainly because we had childhood crushes on Donny Osmond! I absolutely loved the show. Donny Osmond was just fantastic in this role and the songs seem to be made for his voice. Whoever thought of casting him was right on. This CD is one you will sing along to while in the car, and even my 2 year old loves the music.

It's ok
my name is Tyson. I'm 16 and have a passion for music. Donny Osmond is by far the best Joseph I have heard out of all the cast recordings. However, I don't care much for the Canadian cast, especially Janet Metz the narrator. Her voice actually starts to annoy me. I think the best narrator is from the l.a. cast. My school is doing Joseph right now, tomorrow night is the last two performances. I am the lightboard operator so I have heard it at least 16 times from our school's cast. My friend Matt definately does an incredible job as Joseph and the best high school OR college Joseph I have heard through my years of ushering and tech for the different shows.

The Best Cast Recording Overall
This is the best overall cast recording of the three revival cast recordings available. After hearing (and seeing in Toronto Canada) Donny Osmond as Joseph, you won't want to hear anyone else in that role. I have all the other recordings of this show, and this is by far the best recording. True, the orchestrations are a bit electronic sounding, but then again, this is Andrew Lloyd Webber and the orchestrations make the best of the available instrumentation. The songs are uncomplicated, the lyrics are playful and witty. Janet Metz as the narrator can be a little wearing on the ears after awhile, but I personally like her performance the best of the three revival casts. The American cast with Michael Damian in the lead is a joke. And the British revival cast recording is mixed differently so that all of the performers seem to be soft and lost within the orchestra. If you want just one cast recording of Joseph, this one is the one to get! ... Read more

Reviews (105)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reviews (32)

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

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

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

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

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

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

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

This cast album is a real delight.

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

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

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

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

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

GFT, Amazon Reviewer

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

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"Chicago's plot was cynical and satirical in 1975, but today feels like a documentary." So says Walter Bobbie, the director responsible for this revival of the Kander, Ebb, and Fosse "musical vaudeville," which began as a minimalist concert staging for New York City Center's Encore! series before moving on to Broadway, critical acclaim, and Tony Awards. Actually, it'd be hard to go wrong with any production, no matter how it's staged, because the Roaring '20s jazz-based music here is simply great. Some people actually prefer the original's Gwen Verdon and Chita Rivera as Roxie and Velma to Ann Reinking and Bebe Neuwirth, but no matter. Joel Grey is perfect as Amos Hart, James Naughton matches Jerry Orbach's original Billy Flynn, and again, the music here is wonderful. A near-flawless classic. --Bill Holdship ... Read more

Reviews (88)

a dynamic recording
For many, this was their introduction to the galvanising score of Kander and Ebb; the delightful cast-recording to the 1997 Broadway revival that would have never been possible without the now-legendary Encores! concert version in 1996.

The cast is uniformably excellent; Ann Reinking is a playful powerforce as Roxie Hart, Bebe Neuwirth's dry wit serves her well as the bitchy Velma Kelly, James Naughton is the epitome of suave as crooked lawyer Billy Flynn, Joel Grey is the perfect foil for Roxie as the henpecked Amos Hart, Marcia Lewis' powerful voice brings Matron 'Mama' Morton to life, and D. Sabella's breathtaking operatic chops are put to the test with gender-bending sob sister Mary Sunshine.

Rob Fisher's unparalled musical direction enlivens each and every recording that he conducts for, and CHICAGO is no exception. Brassy, well-paced and evocative, his direction is fantastic under the renowned Coffee Club Orchestra.

Ann Reinking's vocal style is fine; her singing is quite character-driven, and one can forgive her lack of singing finesse on the fact that she IS Roxie Hart, and danced the role for all its worth.

Numbers like "All That Jazz", "Funny Honey", "Cell Block Tango", "When You're Good to Mama", "Mister Cellophane", "Nowadays" and "Roxie" are all show-stoppers. I've said it many times; this score is simply dud-free, and in my opinion only rivals CABARET as Kander and Ebb's greatest score.

A WONDERFUL RECORDING!!
First of all, this is the recording that got me interested in Chicago. Velma, (my favorite character)is played by the beautiful and talented Bebe Neuwirth. She is a wonderful and witty Velma Kelly. Ann Reinking is a great Roxie. I actually prefer her raspy voice over Renee Zellweger's soft Roxie. James Naughton is SUPERB as Billy Flynn, he can make you laugh without hardly trying. Joel Grey as Amos Hart was a wonderful choice, and finally, Marcia Lewis as 'Mama' Morton and D. Sabella as Mary Sunshine were also great contributions to this album. Here is a list of the songs and their ratings.

1.Overture- Great music, 4 stars

2.All That Jazz- Love Velma's voice, great kaereoke song, 5 stars

3.Funny Honey- Lovely song about Roxie and Amos's love, 5 stars

4.Cell Block Tango- Film version of this song is better, 3 stars

5.When You're Good to Mama- Marcia's voice is perfect, 5 stars

6.All I Care About- Better version than the film by far, 5 stars

7.A Little Bit of Good- Interesting..., 3 1/2 stars

8.We Both Reached for the Gun- One word... fun, 5 stars

9.Roxie- Ann Reinking's best performance, 4 1/2 stars

10.I Can't Do It Alone- I love this song, 5 stars

11.I Can't Do It Alone (reprise)- Not really a song, 3 1/2 stars

12.My Own Best Friend- Roxie and Velma's duet, 4 stars

13.Entr'Acte- Fun to listen to, 4 stars

14.I Know A Girl- Witty song about Velma's jealousy, 4 1/2 stars

15.Me and My Baby- Cute song about Roxie's new "baby", 5 stars

16.Mister Cellophane- Amo's life story, very sad, 5 stars

17.When Velma Takes the Stand- Self explainable, 4 stars

18.Razzle Dazzle- Interesting song, 5 stars

19.Class- Powerful and funny song, 5 stars

20.Nowadays-Good song, 4 stars

21.Hot Honey Rag- Very fun music, 5 stars

22.Finale- Great ending, 4 stars

A fun album
If you love the musical CHICAGO, then you will love this album. I was introduced to the musical by the movie like many people so I didn't like it that much at first because I was prejudiced because of the stellar performances in the movie, but then I realized that the quality is no less than that of the movie, it's just different! BeBe Neuwirth is excellent as Velma- she is sexy and sassy (I like her slightly more than Ute Lemper on the London Cast because Ute Lemper can drain out the sexiness of Velma in some of her songs, such as in "I can't do it alone." But I like Catherine Zeta Jones's performance the best!) I like Ann Reinking's Roxie slightly better than Renee Zellweger's sweet rendition because Ann's voice is tougher and rougher than Renee's and is more fit for the part. AN AWESOME ALBUM WITH EXCELLENT MUSIC AND A STRONG CAST! In Order of my liking: the movie album, this album, then the London Cast.

This is one score that keeps your mind and toes engaged!
When I first saw the revival of "Chicago" (originally conceived as a star turn for Gwen Verdon by her ex-husband, who just happened to be the great Bob Fosse) I could not believe how absolutely hypnotic it was. I found myself wanting to dance in the aisles and shout the choruses like a crazed fan. I of course immediately bought the recording but, unlike most, it did not turn out to be an impulese purchase as I still play it many years later as it works just as well as a stand-alone piece as it does if you saw the revival, which had many other treats.

Some may not know that this show flopped when it was initially released in 1975, and it apparently was two decades ahead of its time as it hit a home run the second time around. The new Chicago was funny, sexy, and totally contemporary in its depiction of political greed and corruption for its late 1990s audience. This wonderful recording captures the marvelous new cast which consists of Ann Reinking, Bebe Neuwirth, Joel Grey, James Naughton, and Marcia Lewis, all at the peak of their powers matched by an astonishing score, featuring "All That Jazz," "Roxie," "Razzle Dazzle," "Class," "Nowadays," and Grey's solo, "Mister Cellophane,". All true showstoppers that seem like a best of many musicals, but are all from the very same one. It should also be noted that Fosse's magic is generally seen solely as a creator of sensual and athletic dances that are virtually impossible to perform except for a chosen few, but this score proves that the music can prosper w/out the amazing dances that are to be found throughout this entertaining musical.

I can't think of a musical that manages to be so memorable across the board. And for those who have not seen the play or movie, the score tells the story just as well. A true must have for any fans of intelligent musicals with unparalled sizzle and a tongue in cheek cynicism that is as wicked as it is funny.

Vulgar and degrading to the human soul
I found it shocking that music like this could ever become so popular. Saw the show on broadway, finding it very distasteful and wondering how low American popular culture can get in its taste and class. ... Read more

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This 1992 revival cast rewrote the standard for Guys and Dolls, with costumes and sets decked out in splashy colors, a crack pit band conducted by Edward Strauss, and a perfect cast. In the classic setting of Damon Runyon's tales of the New York underworld, Peter Gallagher and Josie de Guzman excel in their respective roles as the suave Sky Masterson and the innocent but hopeful Sarah Brown, but Nathan Lane and Faith Prince are even better as the hopeless couple Nathan Detroit and Miss Adelaide. Walter Bobbie brings the house down with the grand showstopper, "Sit Down, You're Rockin' the Boat," and the other ensemble numbers, including "The Oldest Established," are also thrilling. Frank Loesser's score, of course, is one of Broadway's greatest ever, with "Luck Be a Lady," "Fugue for Tinhorns," "I've Never Been in Love Before," "A Bushel and a Peck," "More I Cannot Wish You," and "Marry the Man Today." The list goes on, as does Guys and Dolls, in this definitive recording.--David Horiuchi ... Read more

Reviews (36)

Guys and Dolls Revival not quite up to the classic
I borrowed this CD from the library after having seen the play performed in my homewtown and having seen the movie. I've heard people say that the movie was horrible, but I loved it. Therefore, this CD was a disappointment as Peter Gallagher just didn't seem Sky Masterson-ish. Especially during his "Luck Be a Lady" (although the background is wonderful). He seems to rush through the song as if he's nervous that he's going to be boring. The song is never boring. Josie de Guzman (I'm sorry if I got the name wrong) also disappointed me. Her voice is very nice, and she has the anger at Sky in "Marry the Man Today" down very well, and hits all the notes nicely, but to me, she just doesn't have the thrilling voice of a Broadway singer. Faith Prince has a wonderful voice but squeaks a little too often for my taste. Although, I must say, her "Marry the Man Today" was just stupendous. I loved it.
Nathan Lane of course, is wonderful. He's got the act down pat. But his voice, while being very entertaining to listen to, did not sound like Nathan Detroit should sound to me.
The music in this play is superlative, the lyrics witty, the plot amazing, and I love it to death, but this is not the recording of it that I would recommend.

A real help, and a great album to boot!
I bought this CD to help me memorize the songs I needed to know for my high school's production of "Guys and Dolls", as I was thrown into the show just 3 weeks before we took the stage. Well, the CD helped me do just that. After the production, I began to listen to the songs for pleasure. It was amazing. The only con I found was Nathan Lane. Don't get my wrong, he fits in perfectly with the cast, but at times, it is almost painfull hearing him hit some notes. But, since Nathan Detroit is supposed to be a comical character, he works.

Not having seen the 1992 revival, I could not see how the actors worked on stage. But, I have seen the movie. If you could combine the two casts, it would make the ultimate production, from a musical standpoint. Imagine: Peter Gallagher as Skye, Frank Sinatra as Nathan, Jean Simmons as Sarah, Faith Prince as Adelaide. Perfection!

Aside from my dream production, this is a great album, a must-have for Broadway fans. I highly suggest this title, especially if you need to memorize the songs quick! Pick this up immediately!

Best Ever!!!
To the "Music Fan" from Washington D.C. If Frank Sanatra was the greatest Nathan Detroit, you could at least give him the honor of spelling his name right.
This is THE Best recording of Guys and Dolls available.
The movie sucks!!!! They took out some of the original songs, and Stubby Kaye in the movie is the BORING and FLAT one, not Nathan Lane.
Know what you're talking about before you write a review. This is the best recording of Guys and Dolls, its colorful and livley. A perfect 10!!!

Luck be a great CD
First off, "Guys and Dolls" is an awesome musical. Secondly, this recording is incredible. All the voices are excellent, and the orchestra complemnts eveything very well. Actually, this is one of the best balances of voices and instruments I have ever heard. My Personal Favorites are "Fugue for Tinhorns", "Guys and Dolls" and "Luck Be a Lady". The People playing the characters of Nicely-Nicely pretty much steal the show with "Fugue" and "Guys" but the Nicelyl comes out and does "Sit Down You're Rockin' the Boat" which just blows everything away. He has an awesome accent and he performs the song so well that you can almost see him performing it on stage. It is also a handy reference tool. I was trying out for the show and before hand I listned to it. I think my familiarity with the music definitely helped land me a part (I got Benny). Over all this is just an awesome soundtrack and a must buy for any lover of Broadway shows.

a fine revival
Although nothing will come close to the greatness of the original Broadway cast, this 1992 Broadway revival of GUYS AND DOLLS is a worthy addition to any collection.

For a start, the recording is quite complete; it includes the entire "Havana" scene (complete with the 'Bacardi milkshake' dialogue), the Entr'acte, and the dialogue that links the "Havana" scene with "My Time of Day", "If I Were a Bell" and "I've Never Been in Love Before".

The performers are uniformably strong; Nathan Lane is the perfect smarmy Nathan Detroit; Peter Gallagher has the right amount of urbane coolness for Skye Masterson; Josie de Guzman's glowing voice and attitude is perfect for the holier-than-thou Sarah Brown; and Faith Prince puts her own stamp on Miss Adelaide.

This production was the hottest ticket in town when it opened on Broadway in 1992; the first full-scale revival of the show since a somewhat souped-up revival production in the 70's. The cast album captures a superb cast that is more than capable of portraying Damon Runyon's characters for a new generation.

Highly-recommended. ... Read more

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Following up their landmark 1993 revival of Carousel, London's Royal National Theatre delivers another pillar of the Rodgers and Hammerstein canon with their 1998 production of Oklahoma!As on the earlier CD, Oklahoma! provides a generous amount of music (74 minutes) by including integral dance music (including Laurey's dream ballet and passages of "Kansas City") and connecting dialogue, resulting in a more complete theatrical experience than most recordings provide. It also includes two songs that were cut from the film, the grammatically incorrect but vigorous chorus number "It's a Scandal, It's a Outrage" and Jud's powerful lament, "Lonely Room."Hugh Jackman excels as Curly, while Josefina Gabrielle is an effective Laurey. Filling out the strong cast are Maureen Lipman as Aunt Eller, Jimmy Johnston as Will, Vicki Simon as Ado Annie, and Shuler Hensley as Jud; and thankfully, British accents are not prevalent on this plain. The booklet includes production notes and a synopsis with photos, but no lyrics. Of course, the question in most minds might be whether you need to make room on your shelf for another recording of Oklahoma!When it's this well done, the answer is yes.--David Horiuchi ... Read more

Reviews (19)

Finally, a truly "complete" recording!
I never tire of defending "Oklahoma!" to those willing to dismiss it as merely musical comedy fluff. No show which changed the format of the Broadway musical can be dismissed so casually, and let us not forget that it contains issues of sexual harassment, territorial rights, and includes an onstage death at the end.

This particular recording is the first ever to include the "Dream Ballet," another important historical aspect of the show. That fact alone puts it at the front of current recordings of the show. In addition, spoken sections within numbers are included, giving the whole album a more theatrical feel than most. The only major musical segment not included is Ado Annie's encore verse of "I Cain't Say No," but this fact shouldn't deter listeners.

It also helps that the cast is excellent. Hugh Jackman is more a tenor than the high baritone the role calls for, but is engaging nonetheless, giving full rein to the character's machismo and tenderness. Jimmy Johnston and Vicki Simon are perfect as Will and Annie, utterly beguiling and believable in admittedly two-dimensional roles. The always delightful Maureen Lipman is great as Aunt Eller. Josefina Gabrielle as Laurey is a fine actress, but her head voice and chest voice seem to be two separate entities and a break is evident between them. Admittedly, Laurey is a tough role vocally, being a soprano in a very low tessitura. However, Gabrielle makes up for any vocal shortcomings with her truly winning performance.

The sound is fantastic, and this is one of the few British cast recordings of an American musical in which the accents are uniformly excellent. For devotees of Rodgers and Hammerstein, for lovers of classic musicals, and for anyone who may be curious, I highly recommend this new recording.

Fantastic Recording of a Broadway Legend
I was fortunate enough to see this National Theatre production after it transferred to Broadway. This album is based on the 1998 London Cast and captures the essence and more of Rodgers and Hammerstein's classic score. Their songs and melodies literally sweep you off your feet. All of our favourites are here that we have heard time and again over the years and never tire of - Oh, What a Beautiful Mornin', The Surrey with the Fringe on Top, Many a New Day, People Will Say We're in Love, Out of My Dreams, The Farmer and the Cowman and the stunning title song, Oklahoma.

Australia's own Hugh Jackman is born to play Curly: his wonderful tenor wrapping the lyrics in a warm romantic glow. Other cast highlights include - Josefina Gabrielle as Laurey and Maureen Lipman as the delightful Aunt Eller.
There are also some excellent orchestral highlights including the Ballet music following Out of My Dreams and the Overture medley.

The CD booklet features many production stills that are also in the souvenir program. There is also a short history of the musical that makes for an interesting read.

It was a privilege to see this legendary musical that has become part of American theatrical folklore, actually performed live on Broadway at the Gershwin Theatre featuring a stellar cast supported by a huge orchestra on stage. The rousing Finale as featured on this great CD really goes off with a BANG: Seeing Oklahoma on my last night in New York following an amazing visit, was the ideal way to say farewell...until next time! This CD is a treasured memento of an incredible show, production and city!

once a hater, now a lover
I used to hate oklahoma! i am a fan of a large range of musicals but oklahoma never interested me. it has a good story line but before now it bored me to tears. then my boyfriend made me watch the new one and it was amaizing! this cast rejuvinated the story and made you feel for the characters. i like the ado annie/will turner storyline a lot better than the laura/curly storyline; however, hugh jackman was an amazing curly. the actress who played aunt eller was amaizing. this is a great album to add to your broadway colection.

A variety of talent, aspiring to a great show
My first exposure to Oklahoma! was via the 1955 film production starring Shirley Jones and Gordon MacRae, so I'm always comparing other examples of the musical to this particular rendition. The 1998 London Cast has an unquestionably more entertaining instrumental arrangement, so this allows a person to hang on with some of the weakness in the casting. Next to MacRae (or by himself, for that matter), Hugh Jackman is not such a convincing Curley. There isn't as much of the cowboy in him. It is tough for anyone to go up against Shirley Jones, so Josefina Gabrielle does all right, and I'd perhaps even give the nod to Vicky Simon over Gloria Grahame in pepping up and feminizing the role of Ado Annie. Shuler Hensley, with that powerful, operatic voice of his, really brings out the anger that is the central trait of Jud Fry, but perhaps it helps that he gets to sing "Lonely Room" where Rod Steiger did not in 1955. I enjoyed getting to hear "It's a Scandal, It's an Outrage", from a performer more authentic with the way you'd expect a "Per-si-an"'s accent to sound than Eddie Albert. The voice of Maureen Lipman is a little too gravelly for my tastes as Aunt Eller, and the character of Mr. Carnes sounded too old and crochety. Mr. Skidmore in the film had a presence that tended to go missing in this edition, but then we didn't have to listen to as much of him as that old cow-punching man of his. So I guess I have to rate this one in relative terms. I've listened to it many times while I've been driving my pickup truck in city traffic, so perhaps that's something of a testimonial. The music carries you past the singing, pretty much. One of the first entries into the era of the modern musical comedy is still giving folks something to have happen to them, in the act of listening.

This Oklahoma is worth listening to
I have always hated the musical Oklahoma ever since I was a child, to me it was like listening to nails on a blackboard and the story was not interesting. After hearing this cd at a friends house and purchasing it shortly after, I actually want to see Oklahoma with this particular cast. Maybe the reason why I liked this version was because nobody in the cast affected a really bad southern accent like in previous versions. While I still cannot say that I love Oklahoma at least I can say is that I now find it tolerable. ... Read more

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The 1998 Broadway production of Cabaret is that rarest of revivals, one that feels like an utterly new show. Despite their incredibly familiarity, the songs of Kander and Ebb sound as lively and lascivious as ever, and the revised score augments the original with several tunes written specifically for the Oscar-winning 1972 film ("Mein Herr," "Maybe This Time"). In the central roles of deluded chanteuse Sally Bowles and the MC, respectively, Natasha Richardson and Alan Cumming have big pumps to fill; they successfully do so with distinctive flair, eschewing the ham-fisted tendencies of Liza Minnelli and Joel Grey to impart this complicated yet enthralling vision of 1930s Berlin with a fiercely individual spirit. --Kurt B. Reighley ... Read more

Reviews (81)

Here life is beautiful...
This recording represents the glorious 1998 revival of Kander & Ebb's masterpiece Cabaret, which I consider at least among the top contenders for best American musical of all time. Though the show has to be seen to be believed, there is a lot to appreciate on this disc.

Alan Cumming steals the show as the Emcee, in an extended "Willkommen" showing off a lot of the patter from the stage version. Cumming's Emcee is so radically different from Joel Grey's (Grey, of course, is on the original recording and in the film) that they're not even comparable, and I think both of these wonderful renditions of the role stand on their own. Natasha Richardson as Sally Bowles - could there be a more famous character? - is not a perfect Broadway singer, but this is intentional. She infuses all of her songs with a great acting quality, though I think Jill Haworth's renditions on the OBC recording are better for casual listening. Her Cliff, John Benjamin Hickey, is barely on the CD, having lost the solo from the 1966 production. It's made up for by some songs from the movie - specifically "Maybe This Time," "Mein Herr," and "Money" - and the added "I Don't Care Much."

Mary Louise Wilson and Ron Rifkin are Fraulein Schneider and Herr Schultz, respectively. Rifkin is excellent, and Wilson is very good - but she does not measure up to Lotte Lenya on the OBC. (Those are very, very hard shoes to fill; I don't wish the burden on anyone.) The chorus is great, adding to the sleazier atmosphere of the recording. It's particularly amusing how one of the "ladies" of "Two Ladies" is blatantly a man in this version - one of the bigger comic value bits that's pulled off well on stage. Michelle Pawk as Fraulein Kost gets some unexpected, but excellent, moments - including a German version of "Married" and the initial solo in the act closer "Tomorrow Belongs To Me." Wonderful stuff.

Every version of Cabaret is different; this revival owes a lot to both the original stage production and the film, but it is entirely its own animal. I can't really pick between the various versions, but I would say that no fan of Cabaret should be without this CD. Or the OBC CD. Or the film DVD. But if you haven't encountered the beautiful music of Cabaret yet, this is a great starting point for the modern listener.

A new spin on a classic musical
The current Broadway revival of Kander and Ebb's 1966 musical CABARET is not entirely faithful to the original production. Some changes are based on Bob Fosse's 1972 film version, while others date from more recent revivals. Gone are the songs: "Meeskite", "Why Should I Wake Up?" and "The Telephone Song" and the film's "Money Money" has replaced the original show's "Money Song" - but we gain from the addition of "Mein Herr" and "Maybe This Time" from the film score, and "I Don't Care Much" cut from the original show during previews.

Natasha Richardson handles Sally's songs well - but not too well: You never lose sight of the fact that Sally is a second rate singer in a tacky Cabaret. John Benjamin Hickey isn't given a lot to do on the recording: Aside from a few lines of dialogue he shares but one duet with Ms.Richardson. Pity, as he seems to exhibit a fine singing voice.

The real star of the disc is Tony winner Alan Cumming as the Emcee: Comic and terrifying all at once. While Joel Grey presented a leering Emcee, Cumming is much darker: more decadent - Listen to him relish the word "beautiful" not once but three times in a row during the opening number..

Lotte Lenya brought such depth to the characterization of Frau Schneider, that others have paled in her wake, but Mary Louise Wilson gives the character a quiet dignity and resists any temptation to mimic her celebrated predecessor.

RCA Victor has again done an outstanding cast recording capturing the look and sound of one of Broadway's biggest hits. The accompanying booklet offers several color shots of the production and all the lyrics - but, unfortunately, no synopsis to provide the uninitiated with any kind of story link. It's the only flaw in an otherwise first rate package.

Columbia's classic original cast album (recently reissued on CD by Sony in their Columbia Broadway series) remains definitive - but this new darker more abr! asive production has yielder a very fine CD that crackles with theatrical excitement.

A Classic! Go see it for yourself!!
"Cabaret" is one of my all time fav musicals. The music is fun, sad, catchy, meaningful and the choreography and vocals are also amazing! I'm so glad they decided to tape this recording DURING the show. You can hear the audience getting excited and having fun at the show. It makes it a lot more fun if you havent had the privlege of seeing this anazing show on stage. I saw the tour with Leah Thompson ("Caroline In The City") and she was phenominal, as is Natasha Richardson in this recording. I'm glad they added "Maybe This Time" which wasn't on the original score. If you love the movie Cabaret check out the Broadway revival version. I really hope they make another recording soon! All of my "Cabaret" Cd's (original, movie, this one) are being played out!!

best cast recording of cabaret yet!
I have three of the cast recordings of cabaret and this is by far the best one!

wretched
This album is a TRAVESTY.

The small amounts of spoken dialogue indicate a poorly acted, melodramatic debacle. The singing is weak, passionless and uninspired. The accents are horribly done. Compared to the remarkable Lotte Lenya, whoever plays the Fraulein's part is not the strong, interesting person of the original production. Instead, we have a fraulein that is just plain old and drab. The revision of the master of ceremonies is decidedly unwelcome - harsh and unforgiving. Sally Bowles has a completely unattractive voice. Everyone sings amateurishly, and it's obvious that they were trying to go for a harsh/realistic tone. The problem is that the way they do it it just plain sucks. This new Sally Bowles can't even hit some of the notes that I heard on the original broadway album. Combined with, again, HORRIBLE accent work that should be used as a textbook example for every actor on what NOT to do.

The point of Cabaret was great beauty and fun existing in the midst of tremendously tumultuous times. The 1998 reimagining of Cabaret as a production MIRRORING tumultuous and hard times is boring, ugly, in short a complete and utter failure. A 1/10. When I consider that it is an INSULT to the original broadway production, I lower that rating to 0/10. Then I reconsider - how can I give anything that incorporates such wonderful (written) music a 0/10? So I raise it back up to a 1/10. However, you'd never know that it was wonderful listening to this debacle. It's like listening to Tchaikovsky sung by a thirteen year old with no vocal training in the throes of puberty. Just plain awful. ... Read more

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This 1999 revival of Irving Berlin's timeless 1946 musical fantasy depictingthe love affair between Wild West sharpshooting stars Annie Oakley and Frank Butlerhas been somewhat updated for modern times. Not only has Peter Stone made revisions to Herbert and Dorothy Fields's original book (the story is now a show within a show, namely Buffalo Bill's Wild West Show), but there have been revisions to Berlin's original score as well. Some of it relates directly to late-'90s political correctness--"I'm an Indian, Too" joins "Colonel Buffalo Bill" and "I'm a Bad Bad Man" among the exclusions. But the tunes that made the cut remain some of the greatest moments of American musical theater, which is especially ironic when one considers that Berlin had to be coaxed into writing the show after original composer Jerome Kern suddenly died. Many of these songs--"They Say It's Wonderful," "Doin' What Comes Natur'lly," "I Got the Sun in theMorning," "The Girl That I Marry," "Anything You Can Do"--have become standards on their own, and the revival thankfully retains the wonderful "An Old Fashioned Wedding," which Berlin wrote for the 1966 Lincoln Center revival of the show, with original Annie Ethel Merman reprising the role. Years after the fact, Merman remains a tough image to follow. But while she lacks Merman's brass and crassness, Bernadette Peters stands as the prettiest and sexiest Annie to date, even in the shadows of Mary Martin and Betty Hutton (the latter in the 1950 film version), not to mention probably the greatest singer of the bunch--her "You Can't Get a Man with a Gun" is an instant Broadway classic. They overdo "There's No Business Like Show Business" just a tad in this new version; it's seemingly reprised endlessly early in the CD. But, hey, if you're going to overdo it, what a song to overdo it with. --Bill Holdship ... Read more

Reviews (84)

Bernadette Peters in a sparkling performance
Bernadette Peters makes the role of sharpshooter Annie Oakley her own in the cast album to the 1999 Broadway revival of ANNIE GET YOUR GUN. Peters is in fine voice here. She was praised to the rafters for her performance in this exceptional revival, which ended up for playing nearly 3 years at the Marquis Theatre as well as spawning a successful national tour. Tom Wopat sheds his 'Dukes of Hazzard' image with his masterful performance as Frank Butler, Annie's mentor and love interest. Wopat has a strong and rich voice, evoking memories of Alfred Drake and John Raitt, and the other 'matinee idols' of Broadway. Valerie Wright is a spunky Dolly Tate, with Ruth Nicole Snelson and Andrew Palermo in the roles of Winnie and Tommy. Annie's rambunctious younger siblings are played by Cassidy Ladden, Mia Waker and Trevor McQueen Eaton. Ron Holgate is a wonderful Buffalo Bill, with Peter Marx as Charlie Davenport and Gregory Zaragoza as Chief Sitting-Bull. Bernadette Peters is at her best with Irving Berlin's gorgeous ballad "I Got Lost in His Arms", though also impresses with Annie's introductory "Doin' What Comes Natur'lly". This entire album is flawless.

Highly-recommended.

"They Say It's Wonderful"...and It Is!
Saw this show in NYC a couple of weeks ago, and was thorougly enchanted. The sets were unique, the costumes were great, and the cast was fabulous. Bernadette Peters is the definition of spunk and charm, and who knew Tom Wopat had such a great set of pipes? The excitement of the show translates well to this CD; I didn't love the Tommy and Winnie subplot all that much, but the songs they sing are great. All in all, I truly enjoyed this CD. If you've seen the show, it brings it all back -- especially the could-have-heard-a-pin-drop moment at the end of "Moonshine Lullaby" before the audience burst into applause -- but even if you haven't, it's still great fun and very much worth buying.

Bernadette too old? HA!!!!
...Bernadette may have been 51 when this was recorded, but it is still an amazing soundtrack to say the least!! Bernadette brings a flare to Annie that no other woman who has played the part could! Her enjoyable performances such as Doin What Comes Natur'lly, and You Can't Get A Man With A Gun are blended in with beautiful ballads such as Moonshine Lullaby and I Got Lost In His Arms. This CD is very nice and with it we have discovered that Tom Wopat can acctually sing on-key!!!! Its very enjoyable, but don't let me or anyone else influence you.....decide for yourself! May I also add that Ethal Merman(the first to portray Miss Oakley in 1946) was 38 in the first ever production of Annie Get Your Gun and was welcomed with rave reviews. 20 years later in 1966 she again portrayed Annie to, again, rave reviews from fans and critics. She was 58 years old. So it seems many of you are outmatched by many critics and Annie fans.

THANK GOD FOR BERNADETTE PETERS!!!!
Lord knows i am a huge fan of Annie Get Your Gun!! i have the movie and three of the soudtracks, the '99 revival cast, the original cast, and the movie soundtrack, but this is by far the best one i have heard!!! many people i know think that Betty Hutton was the best, and she is very good, but i feel that Bernadette Peters is by far the best! Her best performances on this CD include the both funny and entertaining "Doin What Comes Natur'lly" and "You Can't Get A Man With A Gun", but my personal favorites are the beautiful "Moonshine Lullaby" and the hilariously entertaining "Anything You Can Do." If you are looking for a funny and entertaining CD this is for you!!! ENJOY!!!!!!!

THIS IS ONE GREAT SHOW!
I take private voice lessons now and one of the songs my voice teacher had me sing was "You can't get a man with a gun" from this awesome musical. I was a little skeptical at first, but then I started to actually pay closer attention to the lyrics and they are very funny. The tune didn't seem so great at first, but now its clever and intertaining.
I never thought of "Annie, get your gun" as Irving Berlin's best musical. But I have always loved it. Everyone knows the ever-popular "There's no business like show-business." Yep, that's from this CD. And so is "Doin' what comes naturaly," and my favorites, "I got the sun in the mornin'," and "Anything you can do." Uh-huh, this is a good musical.
I'm not too familiar with the script of it, though. Since I only saw the older version of this movie on video. It was good, but the ending was disapointing. My brother and I made up some different endings to the show, all of them silly. Yet I liked them better than the one that is actually on there.
But anyways, it is great. A truly fine record and musical though at one point the movie goes downhill, where Annie is in love and they're singing a million really slow songs.
Bernadette Peters and Top Wopat do a fasinating "Anything you can do" and it really pays off. They are obviously talented and that is by-far my favorite song on this tape.
So yes, I would definitly reccomend this CD to anyone who had not already heard of "Annie, get your gun" (though the title is very misleading).
P.S. I wish I could see it on broadway like the person below did! You are so lucky! ... Read more

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A Funny Thing Happened on the Way to the Forum, the first Broadway show for which Stephen Sondheim wrote both music and lyrics, has proven to be one of the master's most enduring creations, appearing in community theaters and, in 1996, in this full-scale Broadway revival. In the role of the scheming slave Pseudolous, Tony-winner Nathan Lane isn't the maelstorm that was Zero Mostel in the 1962 original Broadway cast, giving a subtler, neurotic performance. While one might miss the sheer force of Mostel's personality driving these madcap antics (based on the Roman comedies of Plautus), Lane's approach allows the show to become more of an ensemble vehicle. In a gender- and race-neutral move, Lane was subsequently replaced on Broadway by Whoopi Goldberg. --David Horiuchi ... Read more

Reviews (11)

Tonight, I am pleased to announce a revival of a comedy...
"A Funny Thing Happened on the Way to the Forum" has the distinction of being Stephen Sondheim's first musical for which he wrote the music as well as the lyrics, after having reasonable success writing only the words for "West Side Story" and "Gypsy." Burt Shevelove and Larry Gelbart wrote the book in a blatant attempt to create a musical that would embody the spirit of Titus Maccius Platus, the noted third century (B.C.) Roman playwright. Actually, a lot of the show's comedic premises (e.g., siblings separated at birth) are lifted from the plays by Platus. The show had the distinction of making Zero Mostel a Broadway star, and in this 1996 revival it does the same thing for Nathan Lane. "Forum" is an unusual musical in that it is such a strong comedy that it would work even if you took out most of the songs. The exception, of course, is the opening number "Comedy Tonight," which perfectly sets the tone for the low comedy that follows. The only other memorable tune would be "Lovely," which of course gets parodied big time when reprised in the second act. But overall it is Sondheim's word play that stands out when listening to this album (e.g., "Bring Me My Bride" or "That Dirty Old Man"). Beyond that it is probably unnecessary to add that listening to either the original or the revival cast album is vastly superior to ever having to sit through the dreadful film version of this musical. However, "Forum" is one of those musicals that really needs to be enjoyed in live performance since often the stage action is what drives home a lot of the jokes in these songs. You cannot really appreciate this one unless you have actually seen the show.

Music in Good 'Forum'
The number one reason to buy this remake is this: They took all of us musical theatre people's advice and speed it up! The tempo of this rendidtion is quick, smart, well timed musically and comically, and wonderfully orchestrated.

Saks and his team have turned in a fun album of a show that sometimes needs to be seen (Coutesans, Marcus Lycus) to be appreciated. Great attention was paid to sound effects which helps the listening audience understand the action that more than likely was happening on the stage at a particular momnet. And that, my friends, is the mark of a good musical theatre recording.

Much has been said about the individual performances, all of which are clear, well sung, and spoken. However, to say they are good performers is to take away from the real genius here. To make this musical work (and I've done it a couple of times) one has to find a complete cast of talented character actors. Romeo, Maria, Hamlet, and Barbara please sit down and make way for the circus fare. Saks has found his faux with the likes of Lane, Sabella, and Linn-Baker.

At times the orchestrations drag on and the quality of the actual recording could be better if you have an audiophile ear. But for the most part this is a must have for the musical theatre person.

Sweet melody
1) Show is hysterical. The music, the tempo, the acting, it all worked so well, and there was such cohesion it was superb
2) I played Hysterium in my high school play (Greenwich, CT: Brunswick - '01), and I had so much fun, and the CD helped immensley, as I heard several versions of the songs, and this one just rocked
3) N. Lane's voice is very strong, but can sound whiney at times. I don't know...I'm not getting money for this, so what do I know?!
4) Any chance I can get on stage?

Woot! The best recording of Forum
My high school is doing Forum for there musical this year (I play Erronius by the way..), and this play is hysterical.Although, the movie conversion was totally crappy. The stage version is funnier. Nathan Lane was superb as Psudolus, and i reaaly didnt like him being replaced by Whoopi Goldberg...o well...

Timeless and Classic
I personally am not a fan of classic musical theatre (although the time it was written may not be classic, but I do consider the music to be), but I love this album! The lyrics are witty and clever, and the wonderful music is all that I'd expect from Sondheim. This is a sure bet for anyone who's looking for a light-hearted musical where everything turns out okay in the end. ... Read more

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This terrific new recording of Cole Porter's greatest show grabs you from the beginning: shimmering strings lead straight into "Another Op'nin', Another Show" before the orchestra takes over. Then it's on to many of Porter's best-loved melodies and wittiest lyrics, including "Wunderbar," "So in Love," "Always True to You (In My Fashion)," and "Why Can't You Behave?" Art imitates life in this story of a troupe's performance of Shakespeare's The Taming of the Shrew, as the stars quarrel as much offstage as they do onstage, and Porter's score reflects this with both contemporary '40s songs ("Too Darn Hot") and Bard-inspired stage songs ("I've Come to Wive It Wealthily in Padua"). Similarly, Don Sebesky's marvelous new orchestrations alternate a jazzy band with Elizabethan-period drums and recorders. Brian Stokes Mitchell and Marin Mazzie (both alums of Ragtime) are in glorious voice as the feuding stars, while Amy Spanger and Michael Berresse shine as the secondary couple. Surprisingly, when this production debuted on Broadway in the fall of 1999, it was the show's first-ever major revival. The original 1948 cast recording is still great listening, but this is a Kiss Me, Kate for the new century. --David Horiuchi ... Read more

Reviews (66)

A Wonderful Revival of a Great Show!
Before this CD, I must confess, I have not seen or heard much or any of the music from Kiss Me, Kate; and the only other Cole Poter show that I had seen was Anything Goes! My friend saw the show and loved it, and that was when I decided to get this recording!

It is a very worthwhile recording and the music is top notch! Cole Porter's original score along with Don Sebesky's new orchestrations make a perfect match and are wonderful! There are many 'feels' for the music...such as Elizabethan and swing, and others!

Marin Mazzie is great as Lili/Kate, but I must say that even though Brian Stokes Mitchell was good in this show, he had much more depth and energy in Ragtime, which I also recommend strongly!

Overall, though, this recording of Porter's Kiss Me, Kate is very worthwhile and just a great Broadway CD to listen to! Enjoy!

Worthy successor to the original
While it's pretty difficult to top the classic original cast recording of Cole Porter's classic musical "Kiss Me Kate," with the great original orchestrations by Robert Russell Bennett and wonderful performances of Alfred Drake, Patricia Morison, Lisa Kirk, Harold Lang and company, this recording of the 1999 Broadway revival is a highly entertaining and worthy companion to it. It's great to hear a more complete version of Porter's wonderful score, with extra verses and songs and dance sequences that were deleted from the original album given their full due here. As for the new orcestrations and tempoes, I wouldn't say they're BAD, certainly not as bad as some people seem to think. Truly, they work best when the original arrangements are left alone, but the new arrangements generally are just fine and succeed at giving the score a fresh sound. (I agree with the other reviewer that the progressive change in tempo of "We Open In Venice," while it may belabor the joke of the song, is still great to hear) As for the cast, they may not quite live up to the originals, but they succeed in putting their own stamps on the roles and give highly entertaining performances. Brian Stokes Mitchell is, unfortuantely, at less than his best vocally (Maybe he had an off-day when they recorded this), but even if he isn't as good as Alfred Drake (Or himself in "Ragtime") he is still very funny and effective. Not sure he deserved the Tony, but he's good. The standout is Marin Mazzie, who shows off her range delivering a truly haunting and beautiful "So In Love" in a beautiful mezzo-soprano and a vibrant, truly angry "I Hate Men" with a gutsy belt voice that is a great contrast to Patricia Morison's witty but too sweetly sung original version of the song. Amy Spanger and Michael Berresse are fine as the supporting pair of lovers. And certain moments provided by the supporting cast and ensemble like "Too Darn Hot" and "Brush Up Your Shakespeare" are too good to miss. The original cast recording of "Kiss Me Kate" is a classic that no music collection should be without, but if you want a new, different interpretation that is almost as entertaining, you should be very happy with this recording. Better yet, get both!

New orchestrations are revival cast album's undoing
The 1999 Tony award winning revival of KISS ME KATE managed to show there was still life in this 50-year old show. Brian Stokes Mitchell and Marin Mazzie are ideal as a modern day Fred and Lilli. Amy Spangler has the proper saucy style for Lois. There was some (needless, though minor) tinkering with the book and the show's famous Overture was dropped. (That Overture must be jinxed: on both the Columbia and Capitol cast albums it was replaced by the Entr'acte. The 1987 London cast uses a new Overture.) The "updated" arrangements by Don Sebesky are no improvement on the originals, although the use of Elizabethan styled music for the Shrew sections is appropriate. The new recording includes more dialogue than previous releases. The production moved to London after its Broadway run and that edition was taped and has been released on DVD and is well worth checking out.

Excellent, but...
I thought this was great, I love this musical, however, the only flaw I noticed was in "Another openin'" seemed to be a little high in range for atleast one of female cast members in parts. But it doesn't detract from the performance too badly.

a great musical show!
I really like this cd. The tunes are catchy and beautiful. It's well worth getting, and a wonderful revival done, for the musical, "Kiss Me Kate." ... Read more

Reviews (20)

It's ok...
I LOVE the musical Once Upon a Mattress, having played Princess Winnifred myself, but Sarah Jessica Parker just doesn't cut it for me. Of course, being a much more recent performance, the sound quality is much higher on this CD than on the original Broadway soundtrack, and some of the orchestrations are better too, but if you want to hear a REAL Princess Fred, buy Carol Burnett's recording. Parker's voice is too sweet and girly to be Fred. Burnett had the part down--wild, belting, exuberant, and bordering on obnoxious. Parker just seems to want to sing pretty--and while she does have a beautiful voice, having a beautiful voice isn't necessarily the top requirement for a Fred. I also don't really like some of the changes in the new Broadway version. Some of the songs really were better before they were "fixed;" they should have been left alone. Anyway, overall, this CD was at least worth my money, and I enjoy listening to it occasionally, but I prefer the original Broadway soundtrack, bad sound quality and all. So, go ahead and buy this CD, but make sure to buy the original too.

Excellent
With gorgeous orchestrations, lovely voices, and Sarah Jessica Parker at her very best, this recording far outshines the original. The entire score is featured here, all done tastefully. It is also worth mentioning that some of the lyrics and orchestrations were updated and sound more contemporary giving the show a greater Broadway feel. Don't waste any more time and BUY this CD. You won't be sorry.

a fine recording; Sarah Jessica Parker tries her best
This cast album to the 1997 Broadway revival of ONCE UPON A MATTRESS is quite enjoyable, though the production itself met with mostly-negative reviews and it quickly shuttered.

ONCE UPON A MATTRESS and the lead role of Princess Winnifred are still largely identified with the legendary Carol Burnett. In this revival, Sarah Jessica Parker gamely attempts to crawl out from under Burnett's shadow, though she doesn't really succeed. Burnett had a seemingly-effortless belty singing voice, wheras Sarah Jessica Parker's light soprano is pretty but not substantial enough for the songs of the boistrous, bombastic Winnifred.

Parker especially struggles with the long, sustained phrases in "Shy" and "Happily Ever After", though her "Swamps of Home" is quite charming. Mary Lou Rosato is perfect for the role of Queen Aggravain, and David Aaron Baker is a fantastic Prince Dauntless.

Jane Krakowski (GRAND HOTEL, NINE) is a breathtaking Lady Larken, ably-partnered by Lewis Cleale as Sir Harry. Their duet of "Yesterday I Loved You" is sublime. The cast also features Heath Lamberts (BEAUTY AND THE BEAST), Lawrence Clayton, Tom Alan Robbins and David Hibbard.

A fine recording but it pales beside the peerless original Broadway cast album with Carol Burnett, Jane White and Joe Bova.

A Great Musical Score for All
Although some may think that Sarah Jessica Parker and her voice is annoying in this musical I don't think anyone else could have done it better. She has that quality that keeps you listening because it is humorous and her voice adds charm to her character. "Shy", "Normandy", and "Happily Ever After", "Spanish Panic" are among my favorites. The entire company has done a marvelous job in this recording of Once Upon a Mattress. I only wish this musical version was out on video. This is a great musical and would be enjoyed by all!!

Sarah Jessica Parker CANNOT sing!
I'm sorry to rate this so low but SJP is horrible. I cringe every time I hear her bark her way through "Shy." Please take my advice and get the old recording with Carol Burnett. She far surpasses SJP in talent, both musically and artistically. ... Read more

Reviews (30)

MIXED BLESSING
As much as I LOVED the sparkling, expertly updated production that this recording represents, the Cd itself is a mixed bag for GODSPELL fans. It features perhaps the best assembly of voices I have yet heard performing these songs; however, the hip, techno-pop arrangements do not translate with the same electricity they had in person; it does not have the same you-could-play-it-forever-and-ever listenability as the original cast recording and the film soundtrack. It has a harder edge, and the arrangements of Light of the World and the Finale in particular are heavy-handed. Stephen Schwartz' revisited lyrics for the song Beautiful City, which was written for the film, scan oddly in this version, a ballad now placed as a set-up for the last supper. And Tower Of Babel, while wonderful to have on the recording, again places new lyrics (to represent updated philosophers) into the already-written-for-other-lyrics music -- it feels like a misfit. However, for younger audiences just getting into the infinite pleasures of this pop classic theatre piece, you could do much worse than this CD.

Wow!
I own 4 recordings of GODSPELL. I have seen 3 productions of it. Without a doubt, this is my favorite of the recordings. I bought it at the same time that I bought the recent touring recording of the show. Let's go...song by song and compare which cast did which better -Opening: Only the touring cast included this song. -Prologue: Definitly the off-Broadway. So heartfelt and not so messy... -Prepare Ye: off-Broadway. LOVE the dialogue. -Save the People: Touring cast. I enjoy the orchestration. -Day by Day: The touring cast's cheesy up-with-people version did not win me over. -Learn Your Lessons Well: off-Broadway! What a fun rendition! The funnest since the original! -Bless the Lord: I don't really care for either rendition...sorry. -All for the Best: Touring cast. More tongue-in-cheek and fun. -All Good Gifts: Touring cast. The cello orchestration is gorgeous (Though the off-Broadway gets brownie points for the dialogue) -Light of the World: Touring cast. The off-broadway's arrangement is horrendous. -Beautiful City: Touring cast. While the off-Broadway's is done well, it cuts out a verse making the song too short to matter. -Turn Back, O Man: off-Broadway. The new arrangment for the tour sucks the fun and humor out of it. -Alas for You: Ooh...this is a toughie. I like the arrangement in the tour, but I like the emotional interpretation in the off-Broadway. You decide which is more important. -By My Side: Off-Broadway. Much more moving. -We Beseech Thee: Ooh, another hard one. Both are just so much fun! Tie on this one. -Day by Day (reprise): Only the tour has this song. -On the Willows: Off-Broadway. Very heart-felt and as usual I'm won over by the dialogue. -Finale: DEFINITLY the Off-Broadway. It is my favorite recording of the finale I have found yet. The tour's feels rushed and doesn't move me half as much. All in all, this is the recording I like the most out of the recordings I've heard. "Long live God"

Incredible Recording
I saw this cast during the off Broadway run. The approach to the show was fresh and the cast was solid from top to bottom. This is near the top of all the theater experience I have ever had. It was hilarious, sad, inspirational, and I'm not even Christian.

Listen to the energy of Prepare Ye into God Save the People of this recording and try to sit still - you can't.

If you have listened to the original cast album for 20 years or love the movie I can understand that the new take could be difficult to adjust to. Give it some time and you'll probably come to agree that this is the definitive recording.

Very nice version
This version added some freshness to the early seventies pop sound of the original Godspell, yet pays homage to it in some areas. In some ways I wish they had payed less homage to the 70s, but that's probably a matter of taste. Of all of the available Godspell recordings, this version has the nicest voices and also gives us some of the dialogue to go along with the songs.

There are two areas where I feel this CD falls short. First, when they had the opportunity to really modernize the sound they often didn't--particularly as compared with the 2001 version. The attempts at 70s nostalgia with "retro" versions of some songs are interesting but fall a little short (The "Shaft" style version of "Light of the World" gets old quickly).

All in all, it's a good CD, and still somewhat faithful to the original. If you're looking for a slightly more upbeat version of Godspell with some nice voices, you should like this. If you really want to hear a "modernized" version, try the 2001 CD.

Worth owning!
I read all the worst reviews about this CD before buying it and I must disagree with them. I have been in Godspell and am currently directing it and this CD is exactly what I was looking for. I wanted a recording that wasn't 20-30 years old but still kept the show accessible to the masses and this version is it. I also own the 2001 Touring as well as the original Broadway and Movie Soundtrack. This recording is actually quite good. The things that I like best is the band and the arrangements of the songs. They are fresh and new but still use an orchestration that can be reproduced by a community theatre. The 2001 was so far out there and "techno" that it is next to impossible to duplicate that in a smaller theatre without major sequencing. This CD feels new and updated without destroying the music that Schwartz wrote. I like it a lot. It is perfect for a director trying to get a feel for the music and wanting someonething new at the same time. ... Read more