Cabaret -
Original 1966 Bway Cast (Sony)
The slight echo of the original mastering is happily gone, but the real treats are
several cuts from Kander and Ebb's original demo tape, a glimpse into their
early conception of the score. Show buffs will delight in Ebb's ebullient
performances.
In the cast tracks, its great to hear Jack Gilford and the
legendary Lotte Lenya at their peak. I particularly like the stage numbers left out
of the film – "Perfectly Marvelous" and "Don't Tell
Mama" are great, and (please don't laugh too harshly) I've always had a
soft spot for "The Telephone Song." Best of all, Joel Grey's performance as
the Emcee remains one of the greatest star turns in musical theatre history. If you
have the older CD release, this genuine upgrade is well worth getting.
Cabaret
- 1998 Broadway Revival
The appallingly simple way to escape theatrical ghosts is to let
them alone, do a show your own way and do it damn well. Kander and
Ebb's timeless masterpiece is so powerfully written that it has
plenty of potential for fresh interpretations by fresh talents. The 1998 Broadway
Cast recording is loaded with both, so it is easy to hear what all the fuss was about.
For starters, the songs are performed by seasoned theatrical professionals –
a novel approach taken by far too few productions nowadays. Most of these actors
built their reputations in dramatic roles, which supposedly made it easier for them
to take a character-centered approach to the material.
I don't think the ravishing Michelle Pawk (Crazy For You) is
capable of anything less than a great performance, and she makes the most of her
brief appearances here. John Benjamin Hickey (Love! Valour! Compassion!)
brings real vulnerability to the role of Cliff – it seems a first-rate actor
can make this neglected character register. Mary Louise and Ron Rifkin conquer
the potentially cloying "Pineapple Song" with a warm and gentle sincerity.
In fact, they might have stolen this recording if the leads had not been in such
gifted hands.
Alan Cumming is nothing short of dazzling, making as vivid an
impression on disk as he did on stage. He audibly leers and struts, creating an MC
with a dollop of obscenity and a wisp of evil that grows into a
chilling storm cloud. Recording the "in performance" numbers with an
"audience" gives Cumming an immediacy he might have lacked in a standard
studio format. The 1966 version of "Wilkommen" will always be a joy, but
this one is even more exciting, and the new bisexual take on "Two Ladies"
is brilliantly right. It will be fascinating to see what, if any, musical
roles Cumming attempts in the future. The real surprise is Natasha
Richardson as Sally Bowles. True, she is only an okay singer, but
then Jill Hayworth was no better in the original 1966 cast.
Several friends have reminded me that Sally is supposed to be a mediocre vocalist –
so I suppose I really shouldn't carp. While I can't say I'm itching to hear
Ms. Richardson attempt My Fair Lady, I was impressed by her dramatic efforts
here. For the sheer joy of listening, Liza's soundtrack renditions remain
untouchable – but Ms. Richardson's intense theatrical power is undeniable.
The score revisions all make sense – especially the addition
of "Mein Herr" and "Money" from the film version.
(I'm probably the only person alive who really likes "The Telephone
Song," so I won't bitch about it being missing.) Michael Gibson's
new orchestrations are, as always, perfect, and the sound quality is flawless.
Because of limited seating in the Kit Kat Club (a.k.a. The
Henry Miller Theatre), relatively few people got to see this cast. For those
who missed out, this CD offers a great taste of an acclaimed production.
Company - Original Broadway
Cast (Sony/Columbia)
I remember how excited I was when a friend introduced me to this recording back in high
school - it was love at first hearing. More than two decades later, this wonderful
re-mastering got me going all over again, reveling in a vibrant Stephen Sondheim score
performed by one of the best ensembles ever to grace a Broadway stage.
This recording is full of priceless moments:
-
The infernal busy signal and counterpoint insanity of the opening
"Bobby"
chorus.
-
Elaine Stritch and the ensemble singing of "The Little
Things You Do" that make perfect relationships.
-
The Andrew Sisters-like trio in "You Could Drive A Person
Crazy.
-
The reference to a girl with a weakness for Sazerac
Slings.
-
Pamela Myers' belting gloriously through "Another
Hundred People."
-
Beth Howland's tongue-twisting gymnastics in "Getting
Married Today."
-
The roaring chorus in "Side by Side" and the
painfully comic duet "Barcelona."
-
Stritch reading the beads of "The Ladies Who
Lunch."
-
The lonely call of "Being Alive."
These are the stuff that theatrical legends are made of. Stritch turned
in the finest recorded performance of her career (so far), and the often maligned
Dean Jones handles the killer role of Bobby brilliantly.