Annie Get Your Gun
You would think that once Ethel Merman had recorded a
score the case would be closed, but "tain't so" when you're
discussing Irving Berlin's Annie Get Your Gun. Many leading ladies
recorded this show, and even Merman recorded it once too often – but
that's life in the business there's no business like . . .
- The Original Broadway Cast (MCA) was recorded in 1946 for the 78
rpm format, so some numbers are heavily abridged. Even so, the CD re-mastering
shows Merman and co-star Ray Middleton to excellent advantage, and the original
rendition of "Anything You Can Do" is still hard to beat.
- The Mary Martin and John Raitt recording (Angel)
is a pleasant excuse to hear these two stars, but it is even
less complete than the Broadway version, giving no sense of what the show is like. A
1963 studio cast (Columbia) starring Doris Day and Robert Goulet is horrible,
with both stars turning in homogenized, self-indulgent performances. Both
sound so laid back that I dare you not to yawn. The casting may sound
tempting, but don't go there!
- The MGM Soundtrack has Betty Hutton belting everything at a uniformly brash
level – a boring approach to an exciting score. The harder-to-find alternate takes
featuring Judy Garland are infinitely more enjoyable – what a pity
she was unable to finish the film. Howard Keel does his usual solid (if stolid) job as
Frank in both versions.
- The 1965 Lincoln Center Theatre Cast (RCA)
has long been a personal favorite, with Merman in fine form and a fantastic supporting
cast. Bruce Yarnell's glorious baritone sets him miles above any other Frank Butler
on record, and his duet of "Old Fashioned Wedding" with Merman is a musical
lover's must-have. (The CD includes a brief but hilarious encore.)
- A London Records studio version (London) pits
Ethel Merman against the London Symphony and a chorus. This is pointless, with
"The Merm" reduced to elevator arrangements –
yikes! Sadly, the latest CD re-issue of the 1946 Broadway cast includes
selections from this travesty as an appendix.
- A 1986 West End Revival Cast (First Night Records) starring Suzi Quatro
is the worst on record – neither she nor the supporting cast make a
decent impression.
- The John McGlinn studio cast CD (Angel) was the first complete recorded
version of the score. Kim Criswell, one of the few people alive who can match the great
Merman vocally, gives a sensational performance. However, the recording has a wooden
performance by opera star Thomas Hampson as Frank. Why must opera stars keep mauling
Broadway scores – especially Hampson, who always sounds too self-satisfied for
words? If only he would stick to Rossini and leave showtunes in more qualified
hands! Ms. Criswell deserved a better co-star. McGlinn and the supporting
cast are first-rate.
- The TER two-disk studio cast preserves numbers cut from the original score
plus all the material Berlin added for the Lincoln Center revival. Judy Kaye is a
knockout, the most dramatically satisfying Annie Oakley on CD. When she proves that she
can "hold any note longer than you," even Merman would have to admit defeat.
Barry Bostwick's trademark relaxed masculinity makes him a great Frank
Butler. The supporting cast is solid (you go Teri Ralston!), and John Owen Edwards
does not indulge in the eccentric tempos that mar some of his other TER recordings. If
you are into this show, this set is worth the investment.
- The 1999 Broadway Revival Cast has a
socko performance by the divine Bernadette Peters – "I Got Lost in His
Arms" is one of her best tracks ever. However, the score is heavily edited and
re-wired with tacky new orchestrations. Tom Wopat has lots of macho
appeal, but how many notes in a score can you skip and still claim to be singing a
role? The critics raved about the comic duets, but on the album they come across as
just ok. Disappointing in many ways, this recording is a must for Peters fans.
The final Annie Get Your Gun verdict:
The Lincoln Center Theatre version and TER two-disc are the best – if you have
trouble choosing, treat yourself to both.
The Boys From Syracuse
This is one of Rodgers and Hart's most hit-drenched scores with more genuine wit in some
numbers than you will find in most complete shows today. Although the 1938 original
pre-dated the existence of cast recordings and the film version used little of the score,
several outstanding recordings have kept listeners "Falling in Love With Love."
- The 1953 Sony/Columbia Studio Cast has Lehman Engel's uneven
conducting and occasionally freaky orchestrations undercutting the efforts of Jack
Cassidy, Portia Nelson and the hilarious Bibi Osterwald. Not bad – but not so
good either.
- The 1963 Off-Broadway Cast (on Capitol/Angel) profited from the guidance of
Richard Rodgers and some gifted performers. Stuart Damon's "Dear Old Syracuse" is
definitive, and there are equally grand performances by Karen Morrow (what a belter!),
Danny Carroll and Julienne Marie. In particular, the female trio "Sing For Your Supper"
scintillates here.
- The 1997 Encores Concert Cast has magic to spare. Davis Gaines and Rebecca Luker
head an excellent line up, with Debbie Gravitte, Sara Uriah Berry and Michael McGrath among
the standouts. Rob Fisher does his usual super job with the glorious 1938 Hans
Spialek orchestrations. Its a safe bet that Rodgers and Hart would have been delighted
with this recording – the most complete version.
The final Boys verdict: The 1963 Off-Broadway Cast has the best individual
performers, but the 1997 Encores Cast is more complete and is the strongest version
overall.
Brigadoon
Lerner and Loewe's first hit has enchanted audiences the world over, and has had some
excellent recordings over the years. However, that does not mean you shouldn't
let one or two
of them disappear into the mist for a hundred years or so . . .
- The Original Broadway Cast on RCA Victor once suffered from poor sound quality,
but the CD remastering worked wonders. It is great to hear David Brooks and Marion Bell in
all their glory, soaring through "Almost Like Being In Love." The time constraints of
recording for 78's forced all sorts of abbreviations, but this recording has great charm.
- The MGM Soundtrack proves that even Gene Kelly could make a mistake. The
recent CD remastering has some previously unreleased tracks and improved the sound
considerably, but this recording is ultimately as disappointing as the
movie itself. (Those who have not seen the show on stage will enjoy seeing
the film – as a recording, it is just not up to par.)
- The RCA Studio Cast has some fine singing from Robert Merrill, Jane Powell and Jan
Peerce, but the dramatic focus is missing. Not available on CD, this LP is certainly worth a
listen – especially if one or more of the leads are personal favorites.
- The Columbia Studio Cast is not on CD yet, but it was for many years the
definitive Brigadoon. Shirley Jones and her then-husband Jack Cassidy are
wonderful in the leads, and Broadway character actress Susan Johnson is a riot as
the bawdy Meg. Lehman Engel conducted many so-so studio recordings in the 1950s
and 60s, but this is exceptional. Hey Sony/Columbia – are you listening? Get
this one on CD soon!
- The ABC TV Soundtrack has a self-indulgent performance by Robert Goulet –
you would think the original Lancelot might have treated these Lerner & Loewe songs
with greater care! Sally Ann Howes gets too few chances to shine, and the score suffers
from some strange abridgements. This recording has not made it to CD – and if it never
does, I sure as heck won't mind.
- The 1988 London Revival Cast certainly means well, but it stumbles rather badly.
Robert Meadmore's smashing good looks got him some prime London roles in the 1980s, but his
lisp makes it impossible to believe him as a heterosexual. The rest of the cast is
passable but unremarkable, with most everyone straining for high notes.
The first digital recording of Brigadoon, this is not one for the ages . . .
- The Angel Studio Cast is superb, with solid musical theatre veterans and
well-chosen opera singers in the mix. Brent Barrett and Rebecca Luker are unquestionably the
finest Tommy and Fiona ever recorded, and Judy Kaye has a field day as Meg. John Mark Ainsley
sets the standard for "Bonnie Jean" and "Come to Me, Bend to Me," and we finally get
every bit of the score – ballets, reprises and the magical finale included. The most
uniformly satisfying of conductor John McGlinn's studio recordings, this deserves a place
of honor in any collection.
The final Brigadoon verdict: the Angel Studio Cast is the CD champ – but
the 1960s Columbia Studio Cast on LP has much to treasure.
Cabaret
A searing drama masquerading as a musical comedy, this Kander and Ebb
masterpiece has been knocking audiences for a loop ever since its debut in 1966.
There are many fine recordings, but some give you particularly good reasons to
"come hear the music play."
- The Original Broadway Cast (Columbia/Sony) is a must-have
recording. Joel Grey justifiably rode to stardom as the leering MC, and
Lotte Lenya and Jack Gilford are irresistible as the older couple. Bert
Convy sounds almost too good as Cliff, and Jill Hayworth sounds just
tawdry enough as Sally. The latest CD release includes fascinating
and fun composer demos of several cut songs. This one frequently
finds its way onto my listening roster and is always a joy.
- The Original London Cast (CBS Records) boasts no less than Judi
Dench as Sally Bowles, and her musical uncertainty adds to
a dramatically powerful performance.
Zorba's Lila Kedrova is an eccentric Frau Schneider, and Barry
Dennen only an ok MC. Some may enjoy hearing Kevin Colson as Cliff, but the
overall impact does not beat the NY cast. I have not seen this one on CD,
but it will probably make its way there eventually.
- The Soundtrack makes extensive cuts in the score, but adds
"Money" and "Maybe This Time" as delicious
compensation. Grey is flawless as the MC, and Liza Minnelli's breakthrough
performance as Sally brought her a well-deserved Oscar. She's really too
good a singer, but its impossible to resist her definitive renderings of
"Mein Herr" and the title song. An engrossing film, and a
recording most fans will enjoy.
- Other versions: A London cast version with Alan Weeks as the MC
did not impress me. What a pity Joel Grey's Broadway revival was not recorded,
especially the show-stealing performances of Werner Klemperer and Regina
Resnik as Schultz and Schneider.
- The 1987 NY Revival (based on the Donmar Warehouse Production)
took a fresh and satisfying look at Kander and Ebb's score. Alan
Cumming is simply sensational as the MC and Natasha Richardson scores a
knockout as Sally. The presence of an
"audience" for the cabaret numbers is very effective, and the
sound quality remarkable throughout. Intensely theatrical and one of
the best cast CD's of the 1990s, a tremendous personal favorite.
- The London Studio Cast on Jay is the first attempt to preserve
the full score, including material written for the film and various
revivals. Jonathan Pryce is a suitably smarmy (if less than inspired) MC,
and lyricist Fred Ebb is an endearing Herr Schultz. The special feature is
Judi Dench as Frau Schneider – love that lady! With Gregg Edelman And
Maria Friedman turning in solid performances as Cliff and Sally, this is
one of Jay's better efforts.
The final Cabaret verdict: The NY Original and Revival casts win
out, but lots of gems among the "also rans" make this a tough
call.
Camelot
Critics have always carped that this Lerner and Loewe charmer was not another My Fair
Lady – as if any show could be? Camelot's wit and melody have enjoyed lasting
popularity, leading to several successful revivals. However, Lerner continued to revise the
show until his final years, so no two recordings are exactly alike.
- The Original Broadway Cast on Columbia/Sony is splendiferous. How could anyone match
a combination like Richard Burton, Julie Andrews and Robert Goulet? Each gives a definitive
performance in number after number. Roddy MacDowell is perfect as Mordred, and the ensemble
numbers are first rate. Several minor numbers were left out due to time constraints, and
"Before I Gaze at You Again" got a new lyric soon after the recording was made – the
printed score and script (and most later recordings) have the improved version.
President John F. Kennedy often listened to this recording, a fact that led to
his administration being called "Camelot." For most musical theatre
lovers, this is one of the all-time greats.
- The STET Original London Cast has not made it to CD, but it has a lot to offer.
Laurence Harvey is a powerful Arthur, and Elizabeth Larner's lush soprano is a pleasure to
hear. Barry Kent is okay as Lancelot, but no one has ever quite matched Goulet's recording.
The ensemble number "The Jousts" is included here, and the supporting cast is generally
good. If this comes your way, it makes for satisfying listening.
- The Soundtrack has its fans, but those of us who love the show
consider the movie to be pure bilge. None of the leads had any business singing,
and – silly me! – I think singing matters in a musical. Richard Harris, Vanessa
Redgrave and Franco Nero couldn't find a key in a Medeco factory. It is hard to believe that
Lerner approved of the way the score is mauled here, but he was the film's producer and had
full creative control. The only satisfying cut is a choral version of the title tune.
Redgrave and Nero had a steamy affair during the filming, which added some steam to their
on screen performances – it does nothing for this dreary recording.
- The 1982 London Cast on Varese Sarabande has Richard Harris, still eccentric but
doing a generally better job than in the film – his "Resolution"
speech is quite thrilling. This recording preserves Lerner's final revisions,
resetting most of the story as a flashback passing through Arthur's mind on the morning
before his fateful battle with Mordred. Fiona Fullerton is a so-so Guenevere, and Robert
Meadmore (see Brigadoon above) as Lancelot has a lisp you could drive a truck
through. The main attractions are Michael Howe's dynamic Mordred, the best recorded
performance of "The Joust," and exciting revised versions of "Fie on Goodness" and
"Guenevere." These tracks will delight Camelot addicts – lesser mortals will
probably find this recording's weaknesses more than outweigh its attractions.
The final Camelot verdict: the Original Broadway Cast is the hands-down
winner, with the 1982 London Cast covering some numbers left off the earlier recording.
Candide
Like the Governor says, "Ah, poor Candide!"
It has never been the same show twice! Unable to accept the show's initial failure,
composer Leonard Bernstein continued to fiddle with his gorgeous score for decades. The
result is a remarkably uneven crop of cast recordings.
- The Original Broadway Cast (Sony/Columbia)
is a musical stunner, with Barbara Cook, Max Adrian and Robert Rounseville turning
in sensational performances. This was the first Broadway cast album to become a
cult classic, a favorite with buffs despite the show's brief run. Regretfully,
the limits of 1950s album
length limited them to highlights of the opera-length score. Cook's
"Glitter and Be Gay" is still a musical lover's idea of heaven.
- The 1974 Broadway revival (Masterworks Broadway) Director Hal Prince took a
wacky circus-like approach that stressed the comedy in Candide and turned
a onetime flop into a long-running hit. If the singing is less than
operatic, the comedy thrives, thanks to the charms of such pros as Lewis J. Stadlen as the
narrator and Mark Baker in the title role). The full revised libretto is
heard, adding to the fun. Beautifully remastered, this is a winning 2-CD
set.
- Bernstein and Prince made up for everything with the 1985 New York
City Opera version (New World). The music is given its
full due, resulting in easily the best complete Candide on record.
Erie Mills is a stunning Cunegonde, and her "Glitter and Be Gay" is pure
magic. Bernstein took active part in the production and the recording.
Most of the same cast appeared in a performance taped live for PBS Great
Performances – a delight, if you can find it.
- The Scottish Opera cast (TER) is superb but limited to highlights –
both Nicholas Grace as Pangloss and Mary Hill Smith as Cunegonde
turn in delightful performances in another recording supervised by Bernstein.
- Months before his death, Bernstein conducted a wildly self-indulgent
all-star concert version. Many of the numbers suffer from eccentric tempos
– and who would have had the nerve to tell Bernstein he was ruining his
own score? Aside from some enjoyable star turns (opera star Christa Ludwig is a hoot
as The Old Woman!), this recording is best overlooked.
- The 1997 Broadway revival (Quality) was pretty much a carbon copy of the NYCO
opera house version, right down to the Hal Prince staging and physical production. This
recording benefits from musical comedy trouper Jim Dale, but overall it is a so-so
alternative to the NYCO recording.
The final Candide verdict: The 1985 NYCO cast is the
musical winner here, with the 1974 Broadway revival cast a disarming
alternative. That said, the incomplete but luscious original 1956 recording
is a perennial collector's favorite. One version of Candide is
simply not enough!
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