The Best Little Whorehouse in Texas Review

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(More customer reviews)Having conquered film, television, and taking her Las Vegas styled show from Las Vegas to the stages around the world from Radio City Music Hall in New York to the China Theatre in Sweden I was curious as to how the Swedish American bombshell would handle the role of Miss Mona, the madam of a notorious whorehouse. All skeptics stand aside! The fiery red head with the sensuous song nails the score beautifully! Her rendition of A Friend To Me will melt your heart and bring tears to your eyes. Not to be missed is her beautiful renditions of The Bus From Amarillo and Girl, You're a Woman.
Having seen Ann-Margret live in concert in Toronto (5 times in the same week) and New York at Radio City Music Hall (her very last performance at RCMH) I have to say she is probably the most underrated singer and entertainer of our time. Ann-Margret's biggest hurdle to overcome in her career is her God given beauty. Behind the beautiful facade lies a multi-talented dynamo who delivers a tour de force performance on this recording. Four decades as a sex symbol and going strong! Who else but Ann-Margret could be touring as a madam of a bordello in the Best Little Whorehouse in Texas and release a gospel album at the same time?

AS for the rest of the recording. All I have to say is EVERYBODY does a great job on it. It is definitely better than the original Broadway cast recording and a definite must have for us die hard Ann-Margret fans! Buy it. You won't be disappointed. I will be first in line to buy a ticket if this production comes to Canada. Ann-Margret singing in Bob Mackie gowns. Now that's a whorehouse this gay man wants to visit! Love you Ann-Margret! God bless you and Roger and good luck!

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South Pacific (1967 Lincoln Center Cast) Review

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(More customer reviews)Even though SOUTH PACIFIC initially ran on Broadway for 1925 performances, won thirteen Tony Awards AND the Pulitzer Prize for Drama in 1950, and became a very successful motion picture (1958), it is the only major Rodgers and Hammerstein show that has never seen a Broadway revival. Go figure. In spite of the fact that I saw the movie version four times, I must confess that the score ranks number four with me, behind CAROUSEL, THE KING AND I, and OKLAHOMA! (I'm probably the only person in the world who doesn't like THE SOUND OF MUSIC!) That doesn't mean that I'm not a SOUTH PACIFIC fan. The final scene always hooks me. And I treasure the 1949 original cast album.
A few weeks ago I was reading John Kendrick's reviews (Musicals101.com) and came across the following: "The 1967 Lincoln Center Cast (Columbia) has not made it to CD, but for many years it was an excellent (and more complete) alternative to the Original Bway Cast. Giorgio Tozzi is a superb Emile, and Florence Henderson perfect as Nellie. Irene Byatt's Bloody Mary and Justin McDonough's Lt. Cable are thoroughly satisfying, as are the ensemble numbers. This production was overseen by Rodgers, so it is small wonder everything turned out so well. A real pleasure if you can find it." When I read that it was to be released (on August 29), I immediately pre-ordered my copy.
This recording is everything Mr. Kendrick says it is. It also benefits from stereo recording, even though it's not as lush and layered as the Lincoln Center recording of THE KING AND I. If Florence Henderson sounds a bit like Mary Martin, well . . . . (I caught Ms. Henderson's outstanding "Maria" in the National Tour of SOUND OF MUSIC. I didn't miss Mary Martin at all.) Georgio Tozzi is every bit as fine as Ezio Pinza, and he had already dubbed Rossano Brazzi's songs for the movie. Justin McDonough is fine, and Irene Byatt could be a vocal twin of Juanita Hall. The big bonus is Eleanor Calbes (Liat) singing a lovely French version of "Bali Ha'i."
My only reservation is that this recording lacks the sparkle of the `49 original cast. At times, the chorus and orchestra are just a little too smooth. But it's a very small complaint, and didn't keep me from thoroughly enjoying this recording. And, yes, I got a little chocked up during the final scene.
Just because I don't want Florence Henderson to remembered primarily for "The Brady Bunch," let me suggest the Sony studio recording of OKLAHOMA! (She was seventeen when she made her Broadway debut in WISH YOU WERE HERE; she was eighteen when she recorded her "Laurey.") If this recording of SOUTH PACIFIC is successful, perhaps Sony/BMG will reissue THE GIRL WHO CAME TO SUPPER (1963) and Harold Rome's marvelous FANNY (1954). In that show Ms. Henderson stars with -- would you believe? -- Ezio Pinza.
Highly Recommended.

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Les Miserables (Highlights from the Complete Symphonic International Cast Recording) Review

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(More customer reviews)I own this recording, plus the full cast 10th anniversary CD, and this one is my favorite by far. Gary Morris as Valjean does a superb job and puts more emotion into his singing than Wilkinson. His range is amazing, and his passion for this role is obvious. I also enjoyed Debbie Byrne as Fantine, and thought she did a great job. Aside from the fact that this is a "highlights" cd, this is my favorite recording of Les Miserables.

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Joseph And The Amazing Technicolor Dreamcoat (1991 London Revival Cast) Review

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(More customer reviews)Of the Joseph recordings I have heard, I feel compelled to say that this version with Jason Donovan in the eponymous title character is the best of all I've heard. The well-balanced cast gives an energetic performance of this Andrew Lloyd Webber score, even though the recording quality in some of the big production numbers is a little muddy that you cannot make out what is being sung. Nevertheless I feel this is an enjoyable and somewhat unbeatable recording of this well-loved score.
Jason Donovan gives a realistic portrayal of the eponymous dreamer-hero. Although his voice may not have the richness of Donny Osmond's portrayal, he acts the part convincingly and gives solid renditions of his songs. He really understands the essence of the character, and he never fails to incorporate this into his glossy polished performance. The fact that he performs the role with a sense of being naive gives him an edge over his contendors. Linzi Hateley as the Narrator is a real treat for the ears. She has the lung-power of the late-lamented Laurie Beechman of the Broadway cast, but she infuses her portrayal with charisma and a keen enjoyment of telling the story. Her intelligent portrayal of the Narrator is one of solid musical values and subtletly, as in the Act Two opener, Pharaoh Story.
Perhaps the most impressive part of this performance is David Easter's portrayal of the Elviessque Pharaoh. Not only does he give an authentic Elvis accent, but he really makes the part his own and includes a few touches of humour into his "Seven Fat Cows" song. Besides delivering a convincing Elvis impersonation, he acts the part and tickles the listener pink with his touches of humour, giving a deliciously ripe 3-D characterisation. The brothers, though they are more human on this recording than others, deliver powerful choral backings and make the most of their songs. Nicolas Colicos's "One More Angel," Philip Cox's "Canaan Days" and Johnny Amobi's "Benjamin Calypso" all resonate for an extremely long time in the memory. It's true that Nicolas Colicos and Philip Cox could be a little bit more authentic with his accent, but they are enjoyable standout potrayals nonetheless. Johnny Amobi's "Calypso,", I should say, is the best rendition of all those I've heard. The supporting chorus contribute superlative quality performances, though you can't hear them on some numbers, resulting from the slightly poor mixing job, that does not affect the high quality of the recorded sound. This doesn't matter as you can make out what they are singing, so keep the libretto booklet in handy. As for Aubrey Woods and his cameo appearances, he makes the parts of Jacob and Potiphar his own, and delivers an extremely fierce and powerful roar towards the end of Potiphar's song. The orchestrations are well done and well-characterised,. This is not as cheesy as some may think, as only two synthesisers were used.
Overall, I can safely say that because of the highest quality performance presented on this recording, if you want to buy just one record of this entertaining musical, you should make it this one. As much as I revere Donny Osmond's solid portrayal of Joseph, I know that nobody can ever go wrong with this solid, handsome and well-balanced interpretation that gives you a certain kind of spirit and atmosphere.

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Jesus Christ Superstar (1996 London Cast) Review

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(More customer reviews)Before you consider purchasing this, consider that there have been quite a few recordings of this piece of work. Naturally, one wonders, which of these is the best all around recording? That for one depends on your personal music tastes.
If you like late 60's/early 70's rock operas/concept albums (such as Tommy, Hair etc.) then I strongly suggest The original 1970 concept album. The concept album features Ian Gillan of Deep Purple as Jesus, Murray Head (One Night in Bangkok) as Judas and Yvonne Elliman (Saturday Night Fever Soundtrack) as Mary Magdalene. The musicians are primarily composed of Joe Cocker's Grease Band and Juicy Lucy. This version is true rock - no Broadway "Showtune" atmosphere on it. This version also is by far the most successful, being a number one album on the Billboard charts (in early 1971), and selling over three million copies.
If you're a fan of Motown recording artist Ben Vereen, I highly recommend The Original 1971 Broadway Cast Highlights Album (Available upon import from footlight music). While it features a rather average Jesus, Ben Vereen adds true soul and original interpretation to the role of Judas, such that is unmatched to this day.
The movie soundtrack, which I rank third in JCS recordings, features tremendous voices (a texan drummer with incredible passion and range as Jesus) but sounds as if it was recorded in a tin can (this refers even to the remastered version). Also, Jesus and Judas are played by the Broadway understudies in this version.
In Fourth place, comes this particular recording. A 1996 British studio album with Steve Balsamo, Zubin Varla, and Alice Cooper, it falls short of the aforementioned recordings. Of course, it is still an excellent recording in and of itself. The performances are passionate, deeply felt portrayals... However, I do get the feeling I'm listening to musical theatre actors pretending to be rock singers (Alice Cooper even sounds more showtunesy then you would think). There's also the fact that these particular singers/actors have borrowed a great deal of interpretation from the JCS albums of the past. I do appreciate the fact that they didn't try to "modernize" the music too much, but the slap bass in the Overture seems a little tacky (again, trying too hard to say "See, we showtunes people can do rock music too!") Sonically, this doesn't hold together as well as the above three.

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2005 Digitally Remastered (At Abbey Road Studios) Deluxe Edition of the Critically Acclaimed London 1996 Cast.--This text refers to an alternate Audio CD edition.

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The Phantom of the Opera (Highlights from the 1989 Original Canadian Cast) Review

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(More customer reviews)I'm a Sarah Brightman fan(atic), but I owe it all to the original cast recording. My love for Sarah began with the Phantom of the Opera, which I first listened to as a child. Now an adult more than a decade later, I'm still not tired of those songs.
I'll assume that if you're interested in this recording, you're already familiar with the songs and are interested in knowing how this holds up to the OLC (original London cast) recording and/or the new movie soundtrack.
Rebecca Caine is a terrific Christine. It took a little getting used to her, but her vocal prowess is commendable. She also comes from a more classical background and her voice sounds much more operatic than either Sarah or Emmy Rossum, so perhaps that is why a lot of reviewers have accused her of sounding 'old.' Sarah Brightman's strength is her tone color. Her voice has a pure, crystalline tone, which was the greatest thing she brought to the role of Christine, because just the sound of her voice could convince you she was Christine. Emmy Rossum, being a teenager, had no problem sounding like one convincingly (not to mention that she did a fine job of acting). What Rebecca Caine brings is fantastic vocal agility and control. Caine's Christine is one who could easily, easily, easily have unseated Carlotta. Whereas Sarah slides into her notes, Rebecca hits them. It's also a delight to hear the emotional 'oomph' she puts behind her performance.
I actually liked Colm Wilkinson. Colm Wilkinson is no Michael Crawford. Heck, he's no Gerard Butler. I would have to agree with other reviewers that at times, he falls behind both Michael and Gerard. Michael's a terrific lyric tenor, Gerard's got a great rock tenor thing going on, and Colm's got a nice enough voice, but. he. tends. to. sing. like. this. and. it. gets. annoying. after. a. while. Unfortunately, he over-pronounces his words, too. So why did I start off this paragraph saying that I liked Colm then proceed to bash him? Well, it's all true, but I still appreciated that he brought something new to the table. Note that I said he falls behind Michael and Gerard "at times." This isn't the case during all the other times. Both Michael Crawford's and Colm Wilkinson's phantoms have a lilting quality to their singing which is both charming and haunting. I'm listening to Colm Wilkinson's 'Music of the Night' right now and it holds its own to other versions. Why? His style of singing fits the song. It may not work for some of the other songs, but it works for Music of the Night. Basically, Colm has the goods, but his performances are hit-and-misses because of his very distinct singing style. When he's good, the man is terrific... perhaps *gasp* better than Michael Crawford! When he's a little off, however, he's still enjoyable, which is much more than I can say for the next one...
Byron Nease. He overacts, and it's downright distracting and annoying. All my criticisms for Colm are overlookable and forgivable, because all his problems are mild. I wish I could say that about Byron Nease's performance. I honestly do not know why he was chosen to play Raoul. First off, his voice is too harsh and a bit boorish. If you've seen Disney's Beauty and the Beast, imagine the character Gaston singing opera. If they had a good Raoul for this recording, I could very well see the Canadian cast being on par with the OLC cast. The two recordings would be toe-to-toe, however, without a decent Raoul, the OLC version still wins out. The biggest problem with Byron's performance is his Raoul is devoid of the earnesty, gentility, and refinement we expect from Raoul. All Byron's Raoul has is enthusiasm, and too much of it! I had to keep from laughing from his exclamations during Think of Me. His sound is also more operatic, but where it works for Rebecca, it's a hit against Byron because he needed to tone down his acting. Add overacting on top of an operatic tenor and you have an overdone character. However, when he does tone it down for All I Ask of You, he does well. Regardless, he can't compare with Steve Barton or Patrick Wilson even when he's 'on.' What you basically have is a miscast actor in the case of Byron Nease. He just wasn't Raoul material to begin with.
I'm glad I purchased this soundtrack. It was delightful to get another taste of POTO from a different perspective with different voices. Colm Wilkinson's "Music of the Night" is spellbinding and Rebecca Caine's operatic soprano and vocal control is breathtaking. I just wish Angel of Music was included on this CD, but this was still fun to listen to. While the OLC recording still ranks as my favorite (everything just came together more successfully), the Canadian cast recording is still an achievement. Though it has its hit-and-miss moments, when it shines, it shines brightly.

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1990 Polydor release featuring highlights from Andrew Lloyd Webber's epic musical by the Original Canadian Cast, including Colm Wilkinson and Rebecca Caine. Directed by Harold Prince, it features 17 tracks, including 'Think Of Me', 'Notes/ Prima Donna', 'Masquerade' and 'Wishing You Were Somehow Here Again'.

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Disney's The Little Mermaid (2008 Original Broadway Cast) Review

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(More customer reviews)To everyone considering buying the Original Cast Album of Disney's newest Broadway musical, DO NOT HESITATE. The New York critics have labeled the show as being "too stylized" and "lacking in appeal" and even "more parade than theatre." To be perfectly honest, the critics these days favor small, low budget shows like SPRING AWAKENING and XANADU that are not of the caliber of the classic Broadway musical; true, these shows are very good, but are more in the Off-Broadway vein. So, it is not surprising that when a piece of Broadway magic hits the stage the critics label it as too spectacular or too sachrine. THE LIITLE MERMAID, despite New York critics' uneccessary harpooing of it, has been hailed by TIME as "the most ravishing show (I have) ever seen on a Broadway stage." Well, at least the folks at TIME get it, even if the cynical New York critics don't. The songs from the original film are all here, and in the case of some of them, mainly the serenading "Kiss the Girl," are actually beeter onstage than on film. The new songs, with music by the film's original composer Alan Menken, and new comer lyricist Glenn Slater are far from what the critics have called "syrupy;" the new material is actually very much up to par with the originals. True, they feel different because we aren't used to hearing them and haven't had them etched into onto our ear drums from repeated exposure, but they are wonderful nonetheless. In fact, some of them, such as the lovely "If Only" quartet, the mersisters' delightful ditty "She's in Love", and Ariel's sweet "Beyond My Wildest Dreams" could easily have been in the original film because they add music to moments from the film that made us want to sing with delight and wonder. Ursula's new material, "I Want the Good Times Back" and Eric's "Her Voice", along with the aforementioned "If Only" quartet are more adult in tone and may not completely make sense to very young audience members, but adults will love them, especially Ursula's deliciously sardonic "I Want the Good Times Back" (parents be warned that Ursula swears in this song: "...the whole damn works"). Sherie Rene Scott's Ursula is more Broadway diva than the dumpy, drag queen-esque witch of the original (don't get me wrong-I love Pat Carroll's original! She made the only Diney villaness that ever completely terrified me as a toddler), but Sherie's portrayl is delightful and refreshing, and with a little tongue-in-cheek homage to such fictional divas as SUNSET BOULEVARD's Norma Desmond. Sierra Boggess, to put it simply, IS Ariel. She brings the character that Jodi Benson originally created to delightful life, giving Ariel enough of "Sierra-ness" to make her more than a mere copy of what we saw on the screen. Norm Lewis, Titus Burgess, Sean Palmer, and Eddie Korbich are also wonderful, Titus giving his Sebastian delightful vocals, here high and lilting rather that low and rumbling as in the film, although the original voice, Samuel Wright, is wonderful as well. Also, the conclusion of the show is actually, to me, more logical and intimate than the monster movie-esque larger-than-life demise of Ursula that exists in the film. In the stage version, Ariel dispatches Ursula, which girls will love for it's "girl power" punch, by smashing her magic shell, the rather unstable source of all of her dark, black magic that she inherited from her and Triton's father (yes, Ursula is Ariel's aunt!). Also, Doug Wright has improved on two points only hinted at in the original script: Ursula's motives and the romance between Ariel and Eric. Rather than being a rather superficial and quick romance in the film, Ariel and Eric are given SOME TIME to fall in love here, and it is as Disney-cute as can be. To close, buy this album, go see the show if you are able, and ignore the critics, especially those at the New York Times, who are only lampooning the show because it is "another Disney show" and very modern in its costumes, set design, and lighting. Also, the show is optimistic and has a heart, unlike such musicals as SPRING AWAKENING that are pessimistic and end with warped and unhealthy parent-child relationships and despair - the complete opposite happens here. MERMAID goes against the grain of our pessimistic society and gives us permission to have hope, to have dreams, and to find our own "voices" when it comes to what is important to us.

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Bring home BROADWAY'S NEWEST HIT, LITTLE MERMAID! The Brand-New Cast Recording of Broadway's Sparkling New Musical featuring the beloved hits from the film PLUS 10 ALL-NEW SONGS from the Broadway Show!

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Joseph And The Amazing Technicolor Dreamcoat (1982 Original Broadway Cast) Review

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(More customer reviews)This was my first recording of Joseph. I owned it even before I saw the play on stage for the first time. Before I got the revival recordings, I would listen to this one sometimes as much as three times a day. I thought it was perfect. Now, I don't find it perfect anymore, but I do like it. Bill Hutton has an absolutely beautiful voice.I've never heard anyone do vibrato quite like him. But I don't think that he has quite the right kind of voice for his role. I think Donny Osmond's voice is much better suited for the role of Joseph. Laurie Beechman sounds as if she comanded the stage more than Joseph did. She does such an amazing "Pharaoh Story," that sometimes I just skip to that track on the CD and leave the rest unlistned to. And she gets very in to the songs. I'm sure that if she hadn't been a woman, she probably could have played Joseph. The brothers here are just the opposite of the ones on the revival recordings.While the revival brothers basicly sound good as individuals, but not so good as a group, these sound great as a group, but only so-so as individuals. Napthali sounds so much like a woman that I thought he was the narrator until I read otherwise. I don't know who's idea it was to have Potiphar do his own song, but it is interesting. I don't own the recording that has a male narrator, but with this CD, I get a taste of what it might be like. Tom Carder does an almost perfect Elvis impression, but I just don't like him as much as some others. This recording may not be the best of the bunch, but it was my first. It helped me get hooked on an amazing musical.

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Principal cast includes: Laurie Beechman (Narrator); Bill Hutton (Joseph); Gordon Stanley (Jacob); Tom Carder (Pharoah). Recorded at The Power Station, New York in February, 1982. Joseph and the Amazing Technicolor Dreamcoat has the distinction of being the only musical that starred Michael Damian, Donny Osmond, and Andy Gibb. Aside from attracting former heartthrobs, the musical stands as being one of the most approachable musicals based on religious materials. A rather straightforward telling of the tale of Joseph, the favorite son of Jacob (also known as "Israel"), Joseph the musical has catchy songs and colorful characters (not to mention their costumes), making it a favorite of parents who want to take their children to a Broadway show. For anyone who`s read the Bible, the story is predictable, although author Tim Rice has taken several liberties with the Good Book. Highlights in the score include "Close Every Door," "Go Go Joseph," "One More Angel in Heaven," and "Any Dream Will Do." For some, Andrew Lloyd Webber`s music might be a bit too saccharine, but on a whole the show is fun, buoyant, and energetic. ~ Sarah ErlewineTrack Listing:# DISC 1 1. You Are What You Feel / Jacob And Sons 2. Joseph`s Coat (The Coat of Many Colors) 3. Joseph`s Dreams 4. Poor Poor Joseph 5. One More Angel 6. Potiphar 7. Close Every Door 8. Go Go Joseph 9. Pharaoh Story 10. Poor, Poor Pharaoh / Song Of The King 11. Pharaoh`s Dream Explained 12. Stone the Crows 13. Those Canaan Days / The Brothers Come To Egypt / Grovel, Grovel 14. Who`s the Thief? 15. Benjamin Calypso / Joseph All The Time 16. Jacob In Egypt / Any Dream Will DoAlbum InformationRelease Date: 01/29/1991Type: PerformerGenre: SoundtracksLabel: Chrysalis RecordsProducer: Tim Rice; Roger WatsonCatalog Number: 21387Original Release Year: 1982# of Discs: 1SPARS Coding: AADStudio/Live: StudioMono/Stereo: Stereo

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Aida (2000 Original Broadway Cast) Review

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(More customer reviews)"What is this Rubbish?!", I thought to myself when I first listened to 'Aida'. I thought that Elton John's music was ordinary, and Tim Rice's lyrics were nothing special. I had heard Adam Pascal in 'Rent', and not being a big fan of 'Rent', I was not thrilled with his voice. I thought Sherie Rene Scott's voice was more like a screech, and, well I didn't mind Heather Headley's voice that much. That was my first listen, and after that I just put it away for a couple of months.
After a few more listens I actually came to enjoy 'Aida' more and more, and now I just cannot stop listening to it. Based on the opera, by Verdi, 'Aida' follows the love-story of Nubian Princess, Aida (Heather Headley), and her nation's enemy, the Captain of the Egyptian Army, Radames (Adam Pascal). Yet, Radames is betrothed to Princess Amneris (Sherie Rene Scott), Pharaoh's daughter. Radames must chose love or power, and his choice of love leads to tragic circumstances.
Husky, yet versatile in range, Pascal's voice grew on me, and I believe that he portrays Radames very well. Listeners are first introduced to Radames in the song, "Fortune Favours the Brave". This fast-paced rock song is sheer brilliance on the part of John and Rice. Pascal's voice fits into this type of song perfectly. But as I listened more I discovered that his voice fitted into most of the songs on this album. He develops his character from a follower of his father's commands, to a man who decides his own fate.
Heather Headley's portrayal of the proud, majestic Aida is brilliant. Headley adds so many dimensions to her character; she is a lover, she is passionate and strong-willed, and she is loyal to her nation and her people. Headley has great range in her voice, especially in "Dance of the Robe", the gospel-like "The Gods Love Nubia", and the sombre "The Past is Another Land". She performs all of these songs with great passion and precision, and one can not help but admire her.
"My Strongest Suit", what a song!!!! Sherie Rene Scott's performs this song with great enthusiasm, and I think she is just brilliant. She plays the part of the superficial Princess Amneris. Listeners observe great contrasts between the princesses; Aida being strong-willed, proud, and magestic, and Amneris being shallow and materialistic. Yet, listeners observe an inner-emotional dimension to Amneris when she sings the song "I Know The Truth", as she realises that Radames loves Aida and not her.
Pascal, Headley and Scott all perform absolutely brilliantly, and I am sorry that I doubted them in my first listening of 'Aida'.
However, the best songs in 'Aida' are when the three leads collaborate together. The duet between Pascal and Headley in "Enchantment Passing Through" creates an inspiring beauty, as with the lovely "Written in the Stars". But listeners are in for an even bigger treat when Pascal, Headley and Scott combine to sing the compelling songs of "Not Me", "Elaborate Lives", and "A Step Too Far". These songs are truly brilliant!!!
I urge potential buyers of 'Aida' to listen to the album more than once if you don't like it the first time, because it contains some fantastic music; Elton John should be commended, as he has created a musical with period as well as contemporary music. All too often lyricists are forgotten, but Tim Rice's lyrics are just as good they have ever been, they can compare to some of his earlier musicals, such as 'Evita' or even 'Chess'. 'Aida' is truly an album to purchase if not for the score, for the incredible vocal talents of Pascal, Headley and Scott. Buy this and be enchanted!

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No Description AvailableNo Track Information AvailableMedia Type: CDArtist: AIDATitle: ORIGINAL BROADWAY CASTStreet Release Date: 06/06/2000

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Jekyll & Hyde - The Musical (1997 Original Broadway Cast) Review

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(More customer reviews)To those who want to listen to a VERY captivating interpretation of "Someone Like You," get a copy of Miss Saigon star Lea Salonga's "The Broadway Concert" album. I've never heard anyone sing that song as beautifully as she does!

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Joseph And The Amazing Technicolor Dreamcoat (1992 Canadian Cast) Review

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(More customer reviews)I have to admit, I purchased the CD of this version of "Joseph and the Amazing Technicolor Dreamcoat" mainly out of curiosity over Donny Osmond's performance as Joseph. Well, he is superb. His voice is clear and strong, and he delivers outstanding renditions of the character's songs. The rest of the cast in this, the 1992 Canadian version of this musical play, also does a fine job.
"Joseph," with music by Andrew Lloyd Webber and lyrics by Tim Rice, is a consistently entertaining CD. The lyrics re-tell the story of the biblical patriarch Joseph (found in Genesis 37-45), and Rice sticks remarkably close to the source material. "Joseph" has many inventive and humorous touches (such as making the Pharaoh sing his part a la Elvis Presley, or having Joseph's brothers break out into a calypso song).
"Joseph" works because of its combination of a compelling story, clever lyrics, and superb music. If you have heard other CD versions but have not listened to this one, check it out.

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Les Miserables Complete Symphonic Recording Review

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(More customer reviews)I first became acquainted with this wonderful work before it was known of here in the USA through a copy I had ordered from England. Then, with the US Broadway production, the OBC release was added to my collection. Then, this one, and later, the dream cast version, and then the 10th anniversary edition. So, I have listened to a "few" versions of the work. I love them all. I love this one, perhaps, the most. I am heavily into opera and classical music, so I guess it is sort of natural that I would be drawn to the presentation of this great work with a complete orchestra behind it.
I feel that it is necessary, however, to own three versions of this wonderful musical play. First, the Original, London production. Second, the Original Broadway Edition, and lastly, This, the Symphonic Edition. They all three have their place, and, indeed, are all different, each begging for space on your shelves for very good reason.
If you are a purist, and can only have one, then, it must be the Original London Cast...period, end of discussion. But, if you are like me, and require different interpretations, etc., you will simply fall in love with all three of these recommended recordings.
When I state above that this is the greatest musical piece of theater ever, I certainly do, truly, believe this. Of all the dozens of plays I have seen on Broadway, of the hundreds I have listened to on LP and disc, watched on tape, LaserDics, and DVD, etc., NOTHING has EVER reached the Stratospheric Heights of this work. The only possible exception would be "Man of LaMancha" with Alan Jones, waaaay back, when I was a young man. It was my first Broadway Show, and this may be why I hold it so highly in my heart. (Everything gets held up to it for comparison, and most do not make the cut!)
Again, I urge you to add this recording to your collection...you will love it dearly. ~operabruin

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Les Miserables - The Musical That Swept the World (10th Anniversary Concert at the Royal Albert Hall) Review

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(More customer reviews)If you only buy one Les Mis CD then BUY THIS ONE!! Granted it is not the complete version (ok so you'll have to go buy that one too) but just the raw talent of the performers on this recording is amazing.
Philip Quast has one of the most powerful voices that I have ever heard and it fits perfectly with Javert's character. "Stars" is my favorite song mainly for that reason.
Colm Wilkinson of course is the best Valjean out there. Sometimes his little rips at the end of a sustained note are annoying but his performance of "Bring Him Home" is the best.
And finally Lea Salonga is simply perfect as Eponine. She has a powerful yet very sweet voice that conveys Eponine's sadness without sounding whiny. Her performance of "On My Own" is nothing short of FANTASTIC and is giving Quast's performance of "Stars" a run for its money in my mind. Lea Salonga is quickly becoming one of my favorite singers and this recording is what first got my attention about her.
Overall, this recording is the best Les Mis recording out there. To get the whole story buy the Complete Symphonic Recording but for just pure enjoyment in listening, you MUST get this one!

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Martin Guerre (1999 UK Tour Cast) Review

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(More customer reviews)I've been a fan of Martin Guerre since hearing the 1996 recording last year. That was the recording I fell in love with, and so I was a little sceptical to hear this new version. I knew that the show had gone through a ton of changes and wasn't sure that I would like that. And on first listen of the '99 CD, I didn't. But after a while it started to grow on me. The performers are all much better than the majority of performers on the OLC. Sure, Jérôme Pradon's Guillaume on the OLC was amazing, but Maurice Clarke is almost as great! And Matt Cammelle is 10,000 times better than Iain Glen! I miss some of the old songs like "Welcome Home" with all its exuberance and "Me", which although it is essentially "Who?", is a much better song. But the new show has numbers like "Live With Somebody You Love" that just blow you away. After I got used to the new recording and started, I believe, to like it even more than the old, I still missed the energy of the OLC. It seemed to be missing that vitality that had really made me fall in love with the show. But after having seen Martin Guerre in Minneapolis this past weekend, I've found that the new version really is as full of life as the old - it just wasn't translated quite as well to the recording. The one complaint that I really have about both recordings is that they don't include enough music! There are some great pieces in the show that are not on either recording, and I wish that there was a more complete one. Two bits in particular are "Dear Louison" and "Benoit's Lament", both of which are wonderful songs not included on the '99 CD. Benoit is very much a crowd favorite - it seems strange that they would only include one of his songs("Who?") on the latest recording. Overall, the '99 recording is absolutely amazing - wonderful singers and beautiful music. But the show is 100 times more astounding in person!

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The Fantasticks: The (1993) Japan Tour Cast Recording - The Definitive New American Cast Album Review

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(More customer reviews)This recording of "Fantasticks" is a must for anyone who loves the show - and almost everyone who has seen it does love it. The only criticism that could be made of this recording is that Alfred Lakeman as El Gallo, the narrator who holds the show together, lacks the dash, charisma and soaring voice of Jerry Orbach from the original recording. But then, Mr. Obach is someone that would be impossible to replace in almost any role he has done. Yes, the same Jerry Orbach in "Law and Order" created legendary performances in "Fantasticks"; "Carnival"; the original "Chicago"; "Promises, Promises"; Lumiere in the film of "Beauty and The Beast"; "42nd Street" and others. So replacing a truly magnetic star is a tough assignment for anyone. It's a crime that he does not have the opportunity to display his singing voice more often today.
This recording preserves the wonderful poetic diaglogue that is so much a part of the magic of this show. It is a treat to have the dialogue of the Old Actor and Mortimer in "The Old Actor's Farewell" as well as El Gallo's "You Wonder How Such Things Begin" and the beautiful "Curious Paradox" (yes, the latter two are on the original recording too, but to have them in this context is wonderful).
Then there is the bonus track of "A Perfect Time To Be In Love" written for the 30th Anniversary tour with Robert Goulet that comes just before "Soon It's Going To Rain" in the show. It is a lovely addition to an already legendary score.
Don't abandon the original recording, but get this one to make memories of this wonderful show even better.

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