A trio of album reviews cover the (relatively) recently released cast recordings of Company, Follies and Mythic
“One more souvenir of bliss”
I adored Marianne Elliott’s reinterpretation of Stephen Sondheim and George Furth’s Companyon my many visits and so the news of a cast recording was of course ecstatically received. And perhaps inevitably it doesn’t quite live up to the thrill of seeing it live but maybe that’s because the production is still so fresh in my mind. I mean we’re only talking a 4 instead of a 4.5…
I swear Patti LuPone’s ‘Ladies Who Lunch’ was different every time I saw it but this version here is as good as any, with the glorious fullness of her voice pointedly sharpening its wit. Her contributions to ‘The Little Things We Do Together’ are inspired, Jonny Bailey’s ‘Not Getting Married’ is breathlessly affecting and the warmth of Rosalie Craig’s character and voice infuse the whole experience with real quality. Continue reading “Album Reviews: Company / Follies / Mythic”
Webborn and Finn’s cracking new musical The Clockmaker’s Daughter receives a delectable Cast Recording treatment that features the likes of Ramin Karimloo, Hannah Waddingham, Christine Allado and Fra Fee
“Come gather round! Come gather young and old Tall and small… Come gather all!”
And with those stalwart supporters of new musical theatre Auburn Jam at the helm (Joe Davison producing) and David Ball Productions executive producing, the album sounds like an absolute dream. The show describes itself as “a musical faerytale” and the richness of the score reflects the considerable folk heritage of the British Isles, utilising Celtic influences as it is set in the fictional Irish village of Spindlewood but widening out its focus to produce something joyously universal. Continue reading “Album Review: The Clockmaker’s Daughter (2019 Studio Cast Recording)”
I thoroughly enjoy getting to revisit the dark delights of new British musical The Grinning Man
“Laughter is the best medicine”
I loved The Grinning Manin both its incarnations – from Bristol’s Old Vic to the West End – and so I was most pleased to hear that it would be immortalised in vinyl, or whatever the digital equivalent is… A new British musical (book by Carl Grose, music by Tim Phillips and Marc Teitler, lyrics by all three plus Tom Morris) is always a thing to cherish, even when it is a queerly dark a thing as this.
It’s a live recording which has its pros and cons. Personally, I like hearing the response of a live audience, particularly in response to the devilishly dark humour of Julian Bleach’s Barkilphedro. And the raw passion you hear in the voices of Louis Maskell and Sanne den Besten as tragic lovers Grinpayne and Dea feels all the more urgent for not having that studio polish to rub off some of the more emotional edges. Continue reading “Album Review: The Grinning Man (2018 London Cast Live Recording)”
I succumb to the charms of My Fair Lady once again with this 2018 Broadway Cast Recording
“I’ll be off a second later and go straight to the theatre”
I wasn’t expecting to like this 2018 Broadway Cast Recording of My Fair Ladyhalf as much as I did. Rumblings of discontent about Lauren Ambrose’s casting as Eliza stuck in my mind, as did the unlikeliness of Harry Hadden-Paton being her Henry Higgins, and who wants American versions of English accents? (I’m sure they feel the same!)
But there’s something rather delicious about this recording that makes it really shine. It helps of course to have a score and lyrics as gloriously evergreen as Lerner and Loewe’s, MD Ted Sperling’s treatment of the original orchestrations making them feel as fresh as a cockney sparrer, and his orchestra sound like a dream. – you really could listen to them all night. Continue reading “Album Review: My Fair Lady (2018 Broadway Cast Recording)”
Is there a market for cast recordings from uninspired jukebox musicals. On Summer – The Donna Summer Musical’s evidence, I find it hard to think so.
“Enough is enough is enough is enough”
Yeesh. Summer – The Donna Summer Musical may have wasted no time in releasing a cast album but it really does point up some of the problems with the market’s increasingly reliance on jukebox musicals. As good as the performances by the likes of LaChanze and Ariana DeBose are and make no mistake, they are two sensational singers who fully deserve their Tony nominations, who is a record like this really aimed at?
It’s no great leap to suggest that fans of Donna Summer will always turn to her albums. For there’s nothing here in the vocal arrangements or the instrumentation that actually elevates it above and beyond a conventional covers album. There’s no narrative through-thread that can be gleaned from the sequencing, no startling insight that makes you reconsider the music anew, it all feels – sadly – rather pointless. Continue reading “Album Review: Summer – The Donna Summer Musical (2018 Broadway Cast Recording)”
Released by SimG Records, the cast recording for the National Youth Music Theatre’s Imaginary is just a lovely thing indeed
“You have to grow older…but you don’t have to grow up”
Commissioned, produced and performed by the National Youth Music Theatre, new musical Imaginaryhad a short run at The Other Palace last summer, during which this live recording was made. Proceeds from this record release will be ploughed back into NYMT as they are a charity with no core funding, despite the exceptional work they do with so many.
With book & lyrics by Timothy Knapman and music & lyrics by Stuart Matthew Price, Imaginary’s concept is a beautifully simple one and hidden in plain sight, as Sam struggles to deal with starting secondary school and what that means for his only real friend Milo and the truth about their connection. And in the fashion of all the best kids’ shows, there’s much for the grown-up kids as well (and I’d wager they’ll be the ones wiping more tears away). Continue reading “Album Review: Imaginary”
Thwarted in my attempts to see Six the Musical this week, the release of the brilliant cast recording couldn’t be better timed
“Too many years lost in his story”
We only got about 15 minutes of Six the Musical on Thursday night before a technical problem halted the performance, which was eventually then cancelled. So the release of the cast recording of the show couldn’t have been better timed until I work out how when I can fit in a rescheduled visit to the Arts Theatre.
Toby Marlow and Lucy Moss’ raucous reclamation of history…sorry, herstory, had a hugely successful run in Edinburgh after its initial showcase at the Arts at the beginning of the year. And it has maintained that buzz in fine style in capturing the attentions of a devoted audience, a portion of whom made the atmosphere for that initial quarter of an hour totally electric. Continue reading “Album Review: Six the Musical cast recording”
Two new music releases – Renée Fleming tackles Broadway classics in style, and The Quentin Dentin Show releases its cast recording
“Life is what you want it to be”
No matter what you think of Renée Fleming, you can’t accuse her of resting on her laurels. At this point in her career, she could well be taking the easy route but this decade alone has seen her tackle Broadway (most recently receiving a Tony nomination for Carousel) for the first time and release an album that featured interpretations of three Björk songs. Her newest release cleaves closer to musical theatre though, and Broadwayis available now from Decca Classics. Continue reading “Album Reviews: Renée Fleming – Broadway & The Quentin Dentin Show”
Written by Nadim Naaman and Dana Al Fardan, the concept album of new musical Broken Wings marks an ambitious debut and an impressive arrival
“I remember the beauty of home”
Would you be able to name the third best-selling poet of all time? Behind Shakespeare and Laozi, it is actually the Lebanese writer Kahlil Gibran. So adapting his work for the stage is perhaps something of a natural step, and an under-explored one given the Anglo-Saxon bias of the Western canon. And it feels only right that it should fall to a Lebanese man and a Qatari woman to compose a musical based on one of his most famous works.
The result is Broken Wings. A new musical which has not only released a concept album, but will play the Theatre Royal Haymarket for four nights in early August, marking the first Arabic-inspired musical to grace the West End. But is it any good? I have to say I have fallen hard for its charms, as it reveals itself to be a supremely confident piece of writing, and one which balances the melting pot of its influences with an almost classic approach. Continue reading “Album Review: Broken Wings”
I turn my attention to the latest set of Broadway cast recordings with Frozen, Prince of Broadway and Mean Girls
My cynicism about the quick turnaround of megahit film Frozeninto a would-be megahit musical lasted for about 10 seconds as I popped on their cast recording. I mean, I loved the film and its songs by Robert Lopez and Kristen Anderson-Lopez and so who was I kidding?!
And it fulfils all of my Disney princess dreams. Caissie Levy (Elsa) and Patti Murin (Anna) lead the cast in fine full-voiced form, new songs from the Lopezes fit in well to the score though it does take a hot minute to get used to them. And the orchestral arrangement lends a note of excitement to the songs you know so well already.
Levy’s ‘Let It Go’ naturally takes the spotlight as the Act 1 closer (reprised to close the show as well) but Murin’s rendition of ‘Love Is An Open Door’ with John Riddle’s Hans gets my vote for its sheer warmth and joie de vivre. Of the new songs, Elsa’s ‘Dangerous to Dream’ probably ranks as my favourite. Definitely keen to see this once it hits the West End. Continue reading “Album reviews: Frozen / Prince of Broadway / Mean Girls”