Sunset Boulevard - The Musical

Andrew Lloyd Webber. Musical genius or talented has-been? 

How you feel about Lloyd Webber and his musicals probably depends on how long you’ve been a fan.

He came to my notice with Cats. I was lucky enough to have a music teacher who loved musicals and he managed to arrange school trips to London to see them. So, I got to see the original cat of Cats (and later Starlight Express).

Until this point my love of musicals principally came from my Mum’s collection of vinyl. The King and I, The Sound of Music, Camelot, Gigi, Carousel, Oklahoma, South Pacific, My Fair Lady, Mary Poppins, Seven Brides for Seven Brothers, Can-Can to name a few.

But Cats was something new. Something modern. Something a bit on the weird side. I loved it. It was from that moment that my obsession with musical theatre truly began.

So, I have a lot to thank Mr. Lloyd Webber for. As such, I’ve been a true and dedicated fan ever since. But, I am not blinkered.  I don’t automatically think everything he does is a masterpiece (as seems to be the way with some fans).

When ALW gets something right it is perfection: The Phantom of the Opera, Sunset Boulevard, Cats, Jesus Christ Superstar, Evita, Tell Me On a Sunday, Starlight Express. All have great stories and are brimming with memorable, well written, songs.

But, when he balls it up he really does so in style, in my opinion. Shows such as Aspects of Love, The Woman in White, Stephen Ward the Musical, Jeeves, The Beautiful Game. These shows have maybe one or two good songs, but they’re otherwise quite boring.

Then there are a few that sit somewhere in between: Joseph and the Amazing Technicolour Dreamcoat, 

Love Never Dies, The Likes of Us, Whistle Down the Wind. These are the shows with more good than bad, but still don’t quite hit the mark.

So, I now come to the reason for this post: Sunset Boulevard – The Canadian Cast Recording.

The Canadian cast included Diahann Carroll (Dominique Devereaux in Dynasty) starring in the lead role of Norma Desmond.

I’ve always been a huge fan of the musical. Thinking that, in many ways, it’s one of Lloyd Webber’s best written shows. It probably helps that I absolutely LOVE the film with Gloria Swanson.

I bought the World Premiere Recording (aka The Original London Cast) with the indomitable Patti LuPone and thought it was one of the best things I’d ever heard. Patti LuPone’s portrayal of Norma proving to be the template for others to aspire to.

Then came Glenn Close in the Broadway Cast. A totally different interpretation (as I would expect from Ms. Close) but it took some getting used to. The rawness of the delivery, her way of almost speak-singing and the new arrangements on some of the songs meant that I didn’t instantly love the new version.

Then, a few years later, I heard the Canadian cast and just didn’t like it at all. However, it was THAT version which rapidly became more of a collector’s item. By the time I heard it again (with older and much more cultured ears!) I really enjoyed it – but it was a whopping £60 to buy the CD. So, since then it’s been languishing on my wishlist. Until now.

Thanks to the advent of digital music (when will stupid people realise that the convenience of digital doesn’t make up for the inferior quality!?!) CD prices have fallen! Great for someone like me who want a physical item – not a ethereal one.

So, it is with great pleasure I can say I managed to pick up this recording for the grand sum of £6.99! Yay!

It’s probably been 10 or so years since I last heard it; and it’s also been a while since I’ve listened to the other versions too; so coming to this recording with unbiased ears meant I was able to enjoy every note for what it is: brilliance.

Diahann Carroll’s Norma is a joy. Breathy, melodramatic (as she should be), emotional, damaged and full of passion. Her vocals are stunning (despite the fact the songs had to be lowered to fit her vocal range) and her performance comes across beautiful. Also, Rex Smith as Joe is brilliant. His rendition of Joe’s seminal song Sunset Boulevard possibly one of the best interpretations I’ve heard.

The orchestrations and arrangements are pretty much the same as the Broadway version (and subsequent UK versions). The ONLY negative is that this Canadian recording is more of a highlights rather than the full show. All the main songs are here, but the linking music/dialogue sequences are absent. It’s a shame; but not a deal breaker.

If you’re a fan of the show you could do a lot worse than tracking down this recording.

Below, I’ve linked to the 3 English speaking versions, but also to the Dutch and German recordings. Hope you find one you like!

Aladdin - Original Broadway Cast

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Finally the last of my musical pre-orders has arrived; but has it been worth the wait?

Yes and No.

There is a charm and innocence to Disney musicals (both film and stage) that appeals to my inner child. They produce wholesome popcorn entertainment that doesn't challenge the mind or the ears too much.

I've always been a huge fan of Disney and a new stage version is a no-brainer purchase for me.

BUT....

Not all of their stage adaptations have worked as well as others. Tarzan instantly springs to mind. Some of their films simply don't translate to the stage as well as they should. Even The Little Mermaid (one of their most popular films of all time) failed on stage (although I loved the recording).

Still, when I heard that a stage version of Aladdin was being developed I was very excited (even more so when I read that they're also developing The Hunchback of Notre Dame - my favourite Disney film).

Anyway, the CD arrived yesterday and I've now listened to it three times.

It's good. But, it's not great. At least not to someone who has hundreds of musicals and has recently had the pleasure of hearing some brilliant contemporary shows.

So, what exactly is good or bad about this production?

The Good

The expanded opening song - Arabian Nights - does an excellent job of creating an atmosphere, introducing the characters and setting up the story. Loved it.

The cast. Everyone does a very good job. Adam Jacobs makes for a very charming and cheeky Aladdin especially. Also, Robin Williams is an incredibly hard act to follow but the Broadway Genie does a very good job of giving it his own interpretation.

The new songs - some of the new songs were actually written for the film (most notably Proud of Your Boy) and it's great to have them back. Others were written specifically for this production.

The Bad

The tendency to be too self aware. Having the Genie singing excerpts from Beauty and the Beast and The Little Mermaid while amusing does pull the listener out of the show. As does making a joke about the fact that all the characters sing - a way of letting the audience know they're at a musical. It's all unnecessary and distracting.

Also, the rendition of A Whole New World leaves a LOT to be desired. This is the iconic song from this musical. It's a beautiful ballad and high-point of the film, but, for some reason the producers of this production decided that down-playing this song would be a good idea. Yes, it results in some of the new songs standing out to a greater extent, but it's an injustice to the song in my opinion.

There's nothing really original here. While I really enjoyed the new songs, I'm conscious of the fact that some of the melodies were very, very similar to previous Alan Menken (composer) songs. For example, new song Diamond in the Rough is very similar in its construction and format to Mushnik & Son from an earlier Menken show Little Shop of Horrors. This is not always a bad thing - but harsher critics than me will probably rip the show apart for something like that.

None of the above will bother younger listeners or casual theatre goers - who will probably lap up the atmosphere, catchy tunes, exciting story and incredible visuals. I guess I just wanted more from a Disney show.

If you like Disney I would recommend the Australian Cast Recording (aka The Live version) of Mary Poppins, the Broadway Casts of Beauty and the Beast, The Little Mermaid and The Lion King.

Heathers: The Musical

Anyone who's been reading my blog since I started knows that in addition to cross stitch I have other interests. My first love has always been music - especially musicals (thanks Mum for all those hours listening to vinyl recordings of Oklahoma, The King and I and The Sound of Music).

My latest acquisition is Heathers: The Musical

For those who don't know, Heathers started out as a satirical comedy from the 80's starring a very young Winona Ryder and Christian Slater (also an even younger Shannon Doherty).

The story centres around a girl named Veronica who's biggest wish is to get 'in' with the cool girls, the 'Heathers' (so named because they're all named Heather).

There's only one problem - the Heathers are all total bitches.

Veronica gets her wish, but in the course of becoming popular she gets to see just how horrible her new 'friends' are and disillusion starts. Then she meets school bad-boy J.D. - Burnt-out-psycho in the making.

Teen suicide, murder, deception and teen angst abound. Cleverly written, underplayed and surprisingly on the ball. The film is pure genius in my opinion.

So....a musical based on the film. In principal I thought 'Yep, that could work', but then I read the rather mediocre reviews and started to worry.

As always, despite liking to read reviews, I rarely put much stock in them. I always prefer to make up my own mind (something I urge anyone reading this to do!!!).

There was something that made me feel it was worth the risk: composer Laurence O'Keefe.

O'Keefe has written one of my all-time favourite musicals (Bat Boy, the Musical). But I also really enjoy a some of his other shows, most notably Legally Blonde: The Musical, La Cava and Sarah, Plain and Tall. So, I felt I was on pretty safe ground. The reviews basically said the show wasn't as good as Legally Blonde, but, given that I thought that was his weakest show I wasn't too bothered.

I received my copy on Saturday and I'm on my third listen (probably be up to about 6 by the end of the day).

Before the end of the first song (Beautiful) I knew I was in for a treat.

Instantly capturing the feel of the film, and the 80's, the opening song introduces us to the characters, life in high school and the style of the show.

"Why do they hate me?

Why don't I fight back?

Why do I act like such a creep?

Why won't he date me?

Why did I hit him?

Why do I cry myself to sleep?

Somebody hug me!

Somebody fix me!

Somebody save me!"

With track two we hit 'The Heathers' signature song Candy Store which is possibly one of the most catchy contemporary musical songs I've heard in a long time.

The songs fit each character perfectly. Beautiful melodies abound, but so does the tension and drama. Clever, funny, witty and a little dark the show really deserves to be heard.

"We're not different

We don't choose who lives or dies,

Let's be normal, see bad movies,

Sneak a beer and watch TV.

We'll bake brownies, 

or go bowling - 

Don't you want a life with me?

Can't we be seventeen?"

Veronica

As with all good teen stories each character has to overcome their own issues to get where they want to do. In the case of Heathers those issues have a fuse lit underneath them. Then everyone just sits back and watches the whole thing blow the hell up! It's genius.

The musical is a joy from start to finish and easily the best show O'Keefe has written since Bat Boy. Every song is great, but some deserve a special mention:

Beautiful

Candy Store

Fight for Me

Blue

Seventeen

Dead Girl Walking

Listen, and enjoy, you won't be disappointed!

Violet - Broadway Cast

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Original Broadway Cast. Composer: Jeanine Tesori.

Back in 1998 I bought the Off-Broadway cast recording of an unknown, but critically acclaimed, musical called Violet.

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I'd never heard of the show, or the composer. If I'm honest, I just bough it to bring an order I was placing up to a certain amount. Poor Violet.

Upon receiving the CD I listened to it a few times over the first few days of owning it. I really enjoyed it; but nothing really stood out. Nothing had me humming, or singing along. It was a nice recording and, as such, one I was happy to keep.

Then, while trawling through the Forthcoming Releases on Amazon.com, I saw that there was to be a new Deluxe 2CD Broadway cast recording, starring the incredible Sutton Foster.

But, given my underwhelming response to the 1998 recording (once again: poor Violet) you're possibly wondering why I would be interested.

That's easy!

First: In the interim composer Jeanine Tesori had risen to much success with excellent shows like Caroline, or Change and the amazing Shrek: The Musical.

Second: Sutton Foster. Sutton's performances in Shrek: The Musical, Little Women, Thoroughly Modern Millie have literally blown me away. She's a marvel.

Third: The reviews for the show were great and apparently the score had received a major revision with new songs and orchestrations.

It was all too tempting. So, I pre-ordered it.

I'm so glad I did.

Violet is the story of a young woman travel across America to visit a faith healer, in the hopes that he will be able to make her beautiful. As a child, Violet, fell into an axe, which split her face open. She's lived with the scar, and the stares of everyone around her, ever since.

On the bus she meets an array of people from all walks of life, including two soldiers. One black, one white - both of whom take a shine to Violet, despite her scar and her attitude.

Eventually, she does get to see the preacher - but, of course, it doesn't work. But, it doesn't really matter as she's fallen in love along the way, and that's all that matters.

It's a simple, beautifully executed story. The songs cover a range of styles from jazz to blues, via bluegrass, swing and broadway. Yet, somehow, the show gels perfectly.

Personally, I think this is in no small part, down to the fact that Sutton Foster is a revelation. This is a career defining performance (not that she needs one). Her rough ways, prickly personality, soft underneath approach to the character of Violet is genius and her voice aches with pain, passion, wit and warmth.

A truly beautiful musical that will probably never see the light of day in the UK. Why? Well, in my opinion, it's because the subject matter is not something us Brits can really associate with. We don't really buy into the whole faith healing preacher deal, so I don't think we'd really be able to suspend disbelief.

I might be unfairly judging my fellow countrymen, it's just my opinion.

For me, Violet, just entered my Top 100 musicals with the swing of an axe and the heart of a true star.

Film & Music Review of the Day

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Before watching August: Osage County ask yourself a question, and, if at all possible, be honest with yourself....

"Do I like films with an excess of talking?"

If you like films full of action or easily accessible humour then this film is definitely NOT for you. A:OC is a densely written, challenging film with some career-defining performances.

Even if you're not a fan of Streep or Roberts there is much here to praise. Both are amazing in their roles and truly deserved the award nominations they received.

So, what's it about? That's a tough one.
On the surface it's about a dysfunctional family coming together over the death of a family member. Old issues resurface and new problems arise. It's a family nightmare compacted into two hours.

But, dig a little deeper and this is primarily a story about cruelty and karma. The old adage "what goes around, comes around" really rings true with this story.

Many of the characters will probably be recognisable. I know Streep's character reminded me of my own mother at times and I could definitely see myself in Julia Roberts' character.

Is it any good? Another tough question.
On the one hand it's a simple YES. The performances are faultless and the writing is clever, witty, disturbing and mesmerising.
BUT, on the other hand, it's uncomfortable to watch sometimes and I'm not sure how much re-watch value there is. None of the characters are particularly likeable; so I'm not sure how much time I would like to spend in their company.

In a nutshell, I think I'd be re-watching to see the performances and NOT for the story.

Watch if you likes films like There Will Be Blood, or The Hurt Locker
Avoid if you like films such as Transformers, Underworld, The Fast and the Furious

The blu-ray has a brilliant picture - almost too good as it shows every wrinkle! The film doesn't really need an impressive soundscape; but the DTS HD Master tracks does a great job. All dialogue is clear and there are no dips or peaks.

 Buy on Amazon.co.uk

If, like me, you're a fan of musical theatre the film Rocky doesn't seem like the first choice to adapt into a musical. When I first heard it was going to happen I thought it was the most awful decision since Carrie: The Musical.

But, as with Carrie, Rocky Broadway (as they decided to all it) is a pleasant surprise.

The story centres on a struggling heavyweight boxer just waiting for his moment. That career defining moment. But, there are some things more important. Such as falling in love.

So, if you've seen the film with Sylvester Stallone you will already know the story. That story is reinvented for the stage and embellished to great effect by the songs. Surprised? I was.

Rocky Balboa singing does not immediately sound like it will work. I'm glad to say my misgivings were unfounded.

I rarely get to see a musical on stage, so, for me, the cast recording is my only experience of the show. Some recordings can completely fail to capture the show's atmosphere (Mamma Mia - MUCH better live), while others make you feel like you're in the theatre. I'm pleased to say that Rocky Broadway falls into the latter category.

This Broadway Cast recording stars Andy Karl as Rocky and Margo Seibert as Adrian. For me, it is the relationship and chemistry between these characters that make or break this show; and I'm very pleased to report that both of them are amazing.

Andy Karl brings a sensitivity to Rocky that was there in the film, but is now laid bare and exposed. Song does that anyway and never more so than in this show. The same can be said of Margo Seibert.

The show is written by long-time Broadway collaborators Stephen Flaherty and Lynn Ahrens - writers of such brilliant shows as Ragtime and Seussical The Musical.

What they've managed to do with this show is create an easily accessible score that still has enough complexity to appeal to more die-hard theatre fans. There are definitely songs in this show that you will be humming after a couple of listens.

There are moments in the score that reminded me of songs from Disney's Hercules (on Patriotic) and also Ghost the Musical  (on In the Ring)- neither of which is a bad thing in my opinion.

Thankfully, the decision to still concentrate on the love story between Rocky and Adrian works.

Adrian's ode to hopes and fears about Rocky, Raining, is a stand-out track but there are many, many songs to admire here, such as: My Nose Ain't Broken, Happiness and Adrian. Also of special note is Training Montage 2 because it incorporates the brilliant Eye of the Tiger to great effect.

While maybe not as rewarding as other shows I've recently listened to such as The Bridges of Madison County or Violet, Rocky Broadway is nonetheless a worthy addition to the Broadway catalogue and to my musicals collection.

Highly recommended! 8 out of 10.

A teaser for things to come...

A teaser for things to come over the coming weeks and months:

 All the musicals will get a post on my thoughts. As for the cross stitch...I'll be posting progress reports as I go.

Once the tigers are done though...I'm doing Indiana Jones!

Bridge of Madison County - Broadway Cast

One of my (many) passions is Musical Theatre. If I could I'd go to the theatre every week. But, I can't, so the next best thing is to buy the CD of a show I like the look of.

I know nothing about musical composition, so I'm not going to be able to give in-depth critiques on individual tracks.
What you'll get from me is an opinion on the show on first listen and then I will usually post later with updates.

First up...is the new Broadway Cast Recording of The Bridges of Madison County.

Composed by Jason Robert Brown (Parade, Songs for a New World, The Last Five Years and 13). Based on the book of the same name.

I'd never seen the film or read the book; but I did remember reading very good reviews of the film when it was released. So, being a fan of the composer, I decided to take a risk.

Boy, am I glad I did.
On first listen I hate this show. Kelli O'Hara's voice sliced through my head like a pickaxe and a couple of others voices seemed nasal.

At the time of listening I was on my PC and not giving the show my attention. Lesson learned! When listening to a new musical it's best to actually listen!

Yes, Kelli O'Hara has a strident soprano voice but the moments of tenderness she portrays are beautiful. Likewise, the 'nasal' voices are nothing of the sort -what they are is tinged with local accent. A mark of authenticity and nothing to criticise.

The story is about a married woman who falls in love with a visiting photographer. She's married. He's not. They have a brief affair before he leaves town. She doesn't go with him. There's more to it, but that's the gist.

Anyone who knows Jason Robert Brown's work will know he writes particularly good ballads. There are many in 'Bridges', but of special note are the following:

Temporarily Lost
Falling Into You
Always Better
Almost Real

If you like your musicals rewarding and beautiful then this may be the show for you.

This wonderful show can be bought here:
Bridges of Madison County - Broadway Cast