I tackle a trio of Broadway cast recordings in the shape of Cole Porter’s The New Yorkers, Kiss Me, Kate! and Beetlejuice
“Most gentlemen can’t be profound”
As it only played a handful of performances, the release of Cole Porter’s The New Yorkers (2017 Encores! Cast Recording) is a welcome chance to revisit this rarely seen musical. The recording is certainly aided by the presence of such musical theatre stalwarts as Scarlett Strallen and Tam Mutu (scintillating together on ‘Where Have You Been?’), the revelation for me is jazz singer Cyrille Aimée, who delivers a slinkily devastating rendition of ‘Love for Sale’ that makes it feel like the song was written for her.
Aside from the songs written by Jimmy Durante (his comic stylings at their best on Act 1 closer ‘Wood’ delivered with panache by Kevin Chamberlin), the prevailing aesthetic is one of classic Cole Porter elegance, Rob Berman’s musical direction finding just the right level of sparkling verve to blow off any lingering cobwebs and infuse real life into the material. Ruth Williamson’s witty ‘The Physician’, Mylinda Hull’s just-as-funny ‘The Great Indoors’, Strallen leading the ecstatic finale ‘I Happen to Like New York’…the pleasures here abound.
Sticking with the glorious Cole Porter, and who wouldn’t!, this year has also seen the release of Kiss Me, Kate! (2019 Broadway Cast Recording). It’s a show that I have a little difficulty with, never having seen a production that managed to sufficiently square its period gender dynamics with (my) contemporary sensibilities. But there’s no denying a songbook that contains the likes of ‘Too Darn Hot’, ‘So In Love and ‘Always True To You In My Fashion’.
And when you have the likes of Kelli O’Hara and Will Chase singing them, you’re in the territory of dreamily good. Whether together on the oom-pah-pah of ‘Wunderbar’ or separately on their respective renditions of ‘So in Love’, they’re both exceptionally good and utterly listenable. Also great value for money are ‘B’ couple Stephanie Styles and Corbin Bleu, pulling focus brilliantly wherever they pop up.
And last but not least, even if Mr Porter isn’t involved here, we have Beetlejuice (Original Broadway Cast Recording). From its opening minutes, (“Holy crap! A ballad already?”), it is clear that there’s a properly anarchic spirit at play here and Eddie Perfect’s score, led by a highly charismatic Alex Brightman who clearly is having a ball as he repeatedly breaks through the fourth wall (if there is one when you’re listening…?)
‘The Whole “Being Dead” Thing is a genius opening number, prologue aside, and sets the tone for the Perfect’s pop-rock tunes, several of which feel like they have the potential to earworm their way into your brain (the refrain of ‘Fright of Their Lives is currently stuck in mine). Supported by vibrant work from Kerry Butler and Rob McClure and a cleverly sung performance from Sophia Anne Caruso as the Winona-waif Lydia, if Beetlejuice struggles to find a new home on Broadway then I’ll happily welcome it into the West End!