Shrek theMusical--OBC album

I am not the target market for this show. I'm not a kid. I don't have a kid. I don't want to be around kids. And I've never seen the movie that is the basis for this show. That said I was actually looking forward to listening to the cast album of Shrek the Musical. I've liked the previous Jeanine Tesori scores I've encountered. I've like the singing voices of both Brian D'Arcy James and Sutton Foster. So how about the latest endeavour from all of them? Uninspiring.

There were many times when I thought "Alright, this song/premise/title seems promising" and an initial musical introduction would perk up my ears, but in every case the song would fizzle for me before it ended. In many cases I felt the lyrics were rather too casual and not poetic enough to inspire a character to sing. Isn't that why a character sings? Because the emotions and message they have to convey is too strong to just put into words? Some songs had poetic titles--like "When Words Fail" or "Who I'd Be" but in each song even the refrain would lack any more poetry than the title.

The performances all seem hampered by something--a heavy costume, having to be on your knees the whole time, a thick speaking accent, actually being off stage while your character is represented by some kind of puppet on stage. I was particularly disappointed in Brian D'Arcy James; granted he has to perform through a put-on accent and a heavy costume, but nothing on this disc led me to feel any compassion for the leading man, um, ogre. Princess Fiona seems rather passive--at least as represented by her songs.

The music is very piece-meal. If you don't like a particular style of music, wait three minutes, it'll change. There will be a couple styles at least in one song alone. I think that is part of the reason the show didn't work for me. The structure of the songs doesn't allow for a build toward a climax. Several songs do involve clever quod-libet sections (where two melodies--or even three--are sung on top of one another), but the initial melodies seem uninspired, so you end up with layers of uninspired.

Never having seen the animated film, I was struck by the similarity in Shrek's plot to The Island of Misfit Toys from the Rankin and Bass television Rudolph special from my youth. I'm all for letting your freak flag wave, but you'd better have something really special to share. None of these freaks did.

Shrek the Musical
Music by Jeanine Tesori
Lyrics and book by David Lindsay-Abaire
Opened December 2008
Cast: Brian D'Arcy James, Sutton Foster, Christopher Sieber, Daniel Breaker

Cabaret--New Broadway Cast album

Days after her tragic death, I found the cast album of the 1998 Broadway (and Roundabout Theater) incarnation of Cabaret with Natasha Richardson. It has taken me until now to listen to it, and I'm not certain why.

I've only ever seen the film version of Cabaret which I talked about months ago. As the film severely streamlines the story (and cuts out all of the romance between the older couple) a lot of this music was new to me. I liked it all--from pastische Viennese waltzes, to ersatz Nazi propaganda songs, to raunchy cabaret acts, to show-stopper belt ballads--I liked it all.

Ms. Richardson made a splash in the role primarily for her acting, I believe. It is hard to make that case in a recording. I found her singing somewhat wanting. I realize that some have criticized Liza Minnelli for being too good--"How would she ever be stuck in this third-rate Berlin nightclub?" But there are times when I want my underdog characters to over reach their abilities. Perhaps Ms. Richardson's performance did that, but her voice was merely adequate and didn't push even an emotional extreme until the very end of the title song at the end of Act II. She underplays the Act I "Maybe This Time" and I felt this was a mistake.

It is difficult to judge Alan Cumming's performance just from the audio recording. He sings everything well and seems to have a strong sense of how to approach each number.

One interesting aspect to this recording--there are audience reactions (applause, laughs, etc.) to the tracks which take place in the cabaret setting. I assume these reactions are electronically added, rather than being from a live studio audience. It helps make the case for which scenes are show-scenes and which are within the storyline.

The very good liner notes outlining the history of the Cabaret from Isherwood stories to re-incarnated Broadway show provide a lot of interest information. I was particularly interested to know that Jane Horracks played Sally Bowles in the 1992 London Donmar Warehouse production that formed the basis for this Broadway version. Jane Horracks is mostly known as "Bubble" the ditsy assistant on "Absolutely Fabulous." I've heard she has a tremendous singing voice, though.

I wonder if that version was recorded?

Cabaret
Music John Kander
Lyrics by Fred Ebb
Book by Joe Masteroff
Originally produced in 1966
This production played in London in 1992 and then came to New York in 1998
Directed by Sam Mendes
Cast: Natasha Richardson, Alan Cumming, Mary Louise Wilson, Ron Rifkin, John Benjamin Hickey, Denis O'Hare

Broadway Melody of 1940--film on DVD

It's another Hollywood invention today. Broadway Melody of 1940 is the last of the three Broadway Melody films, and perhaps the most successful. It is primarily a dance film, although there are a couple of sung songs in the score, all of which is by Cole Porter, although they get short shrift compared to the wonderful dance offered up by the Queen of Tap, Eleanor Powell, and always-watchable Fred Astaire.

As Hollywood fluff goes, this is good stuff. There is nothing that is either heart-wrenching or remotely downbeat in the production. And the tap dancing is at times spectacular.

George Murphy displays a likable singing voice. The final production number is worth the wait. Filmed on a mirrored floor, it really shows off the crisp black-and-white photography. And of course everything ends happily for our hero and heroine.

Broadway Melody of 1940

Music and lyrics by Cole Porter

Released by MGM 1940

Cast: Eleanor Powell, Fred Astaire, George Murphy

It's Always Fair Weather--film on DVD

It's pure Hollywood invention on film for today--no Broadway antecedent, unless you count On The Town which is sort of a pre-quel to It's Always Fair Weather.

The stories for both Town and Weather come from the pens of Comden and Green, who between their stage and screens credits are leading the race for the most mentions in my Year's entries. The two stories also each feature three WWII GIs; In Town it is sailors on 24-hour leave in Manhattan. In Weather, we have three soldiers who reunite 10 years after they are discharged.

I have only heard of Michael Kidd as a choreographer; I didn't know about his cinematic past. I had never heard of Dan Dailey at all, although his bio says he was a former vaudevillian who was also in the original cast of Babes in Arms on Broadway. Both have a likable screen and musical presence, although they pale a bit in comparison to Gene Kelly's wattage. I'm sure that was part of the point of their being cast.

The story of this film is very down, and the behind-the-scenes extras on the DVD rightly credits that aspect with the film's initial failure. There are some wonderful dance and musical moments, but they didn't add up to enough to draw me into this film.

One bright spot in the show is Dolores Gray who does an hysterical turn as a television talk show host and musical performer--imagine Dinah Shore meets Rachael Ray. No Rachael is too folksy, but I can't think of another female talk show host I find as cloying as Ms. Ray. Anyway, Ms. Gray is a versatile musical performer who portrayed Lalume in in the film version of Kismet, had starred as Annie Oakley in the London production of Annie Get Your Gun, and was nominated for a Tony award for Destry Rides Again on Broadway (directed and choreographed by Michael Kidd).

The late Cyd Charisse is the leading lady opposite Mr. Kelly, and while I find the dancing Ms. Charisse performs in the film to be wonderful, her character and performance left me dry. The music as provided by Andre Previn and the legendary Arthur Freed Unit--ditto.

It's Always Fair Weather
Music by Andre Previn
Book and lyrics by Betty Comden and Adolph Green
Released by MGM in 1955
Cast: Gene Kelly, Michael Kidd, Dan Dailey, Cyd Charisse, Dolores Grey,
Directed by Kelly and Stanley Donen

Young Frankenstein--OBC album

Spoofs are a difficult balance, I would suppose, particularly when a spoof from one medium is adapted into another--as is the case with Young Frankenstein. Fortunately, with the practiced hands of Mel Brooks and Susan Stroman (who previously shepherded The Producers to the stage) that balance is handled deftly in most cases with their new show.

Mel Brooks is the composer and lyricist for these shows--as well as being the screenwriter of the original films that are the source materials for the shows--and I wonder how much of a composer he is. I don't mean that as a slight to the music of Young Frankenstein. Clearly Mr. Brooks has very specific tunes in his head that he hears for each character and situation. Not surprisingly, many of the tunes have a slight Yiddish, Borscht-belt sound to them (as did tunes in The Producers). I'm certain Brooks doesn't orchestrate the songs, but does he harmonize them? Or just write down (or record) the tunes?

I used to joke that Roger Bart stole my career. A poor joke as Mr. Bart has obvious talents that I can only play-act at. I question Mr. Bart in this leading role, though. His light tenor voice is a little thin for my tastes. I could wish for a more robust sound from my leading man. The same for my leading lady. Megan Mullally is deft at delivering the single-entendres of her songs, but the timbre of her voice is a little modern and nasal for me. And I think I need to see the full show to understand why she has such a weird accent in the dialogue on this disk.

Sutton Foster and Schuler Hensley are two performers I have liked very much in past shows. Mr. Hensley isn't well-represented on this cast album, so it's hard to determine his performance. I continue to find Ms. Foster delightful. Yes, she also has a modern, slightly nasal singing voice, but somehow it doesn't strike me as much as Ms. Mullally's. Or perhaps it's the 2nd fiddle syndrome, where I want my leading lady to be a legit singer, while the comic duo can be different.

I have the cast album of Shrek with Ms. Foster waiting for my Thinking; perhaps we'll see how I like her in a leading lady position.

The New Mel Brooks Musical Young Frankenstein
Music and lyrics by Mel Brooks
Book by Mel Brooks and Thomas Meehan
Opened November 8, 2007
Cast: Roger Bart, Shuler Hensley, Sutton Foster, Megan Mullally, Andrea Martin, Fred Applegate

Ghost Light Monday--Another personal loss

Another musical mentor of mine slipped away in the last week. No I don't mean Michael Jackson.

Norman Pellegrini was the long-time (43 years) program director for the radio station which broadcasts the weekly classical concerts I produce. I only met Norman after his retirement from the station while he was serving as President of the Board of Directors for the non-profit which oversees the concert series. He also served as the ears that listened to auditions by young performers seeking an invitation to perform on the series. Even into his late 70s, Norman could be driven, determined, and without compromise when it came to issues musical.

The radio station ran a full day of programming related to Mr. Pellegrini last Thursday, including selections from many of his favorite pieces, but more importantly, excerpts from what must be thousands of hours of programming he created. Mr. Pellegrini helped invent the world of syndicated radio programs when he started The Midnight Special. Because of his programming and drive, WFMT radio is one of the premier classical stations in the country, syndicating much of its programming across the globe. Norman served as host for many live broadcasts, including concerts of the Chicago Symphony Orchestra and performances at Lyric Opera of Chicago.

Many more articulate voices than mine have uttered their remembrances of Mr. Pellegrini this week, but I will just say that my personal and professional lives have been improved by having Norman in them over the last five years.

Richard Rodgers: The Sweetest Sounds on DVD

When I took this DVD out of the Netflix envelope, I was afraid it was going to be another special concert offering, but it turns out Richard Rodgers: The Sweetest Sounds was made for PBS's American Masters series, and is more talking heads about the history, importance and substance of Rodgers' music than singing heads. I actually would have like a little less conversation and a little more music-making, but seeing as I've already listened to a Rodgers one-off concert, perhaps this is better--for now.

The documentary goes through the three major phases of Rodgers' career--two decades of work with Lorenz Hart, including some time in Hollywood; nearly two more decades of work with Oscar Hammerstein II; and the post-Hammerstein years when Rodgers is working on his own, and several others.

Among the many knowledgeable and informative talking heads are performers--Shirley Jones, Barbara Cook, Diahann Carroll, Maureen McGovern, and jazz musicians Billy Taylor and Barbara Carroll; Rodgers family members--daughter and composer Mary Rodgers Guettel, daughter Linda Rodgers, and grandson and composer Adam Guettel; music theater historians and producers such as Ted Chapin, president of the Rodgers and Hammerstein Organization, which licenses Rodgers' shows.

There are several interesting historical clips the documentary including the wonderful "Bench Scene" from Carousel with John Raitt recorded for television, and the lovely Diahann Carroll singing the title song from "No Strings". I must make a point of finding more to listen to from this show.

I've had the idea for a while to do a concert called Rodgers Without Hammerstein, focusing on his work with Hart, his work alone and including things that wouldn't have lyrics like "Victory at Sea", "Slaughter on 5th Avenue", and the dance music from R&H shows --like "The Carousel Waltz" which has always been one of my favorite pieces of music.

Any takers?

Richard Rodgers: The Sweetest Sounds
Produced for PBS American Masters in 2001
Music by Richard Rodgers
Lyrics by Lorenz Hart, Oscar Hammerstein II, Richard Rodgers and others
Cast: Shirley Jones, Julie Andrews, Ted Chapin, Mary Rodgers, Adam Guettel, Barbara Cook, John Raitt, Diahann Carroll, Maureen McGovern