The FAB-ULOUS Broadway Thread
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- Start date
Zeeba Neighba
Staff member
Carousel (Original Cast Recording)
Woke up Saturday and the Broadway lover in me kicked in. Glad Sam revived this thread and has kept it alive. Loved posting in it at the old site
Cast recordings of musicals prior to Oklahoma were often incomplete, sometimes with the main artists but not the supporting players/chorus, sometimes without the orchestra. Unless a well known name was behind them, like, say, Fred Astaire or Ethel Merman, such recordings were not considered potentially successful. Oklahoma! changed that - released in 1943 with the original cast, chorus, and orchestra, the Rodgers and Hammerstein musical's cast recording sold over 1 million copies as a set of 78 rpm. After that success, original cast recordings were here to stay!
Listened to Oklahoma! on Saturday so natural next step was Rodgers and Hammerstein's successful follow-up Carousel from 1945. Compared with Oklahoma! and later musicals like South Pacific, The King and I, and The Sound of Music, Carousel has never gelled with me. True it has the wonderful "You'll Never Walk Alone" as well as some other nice songs like "June is Bustin' Out All Over" (which always makes me smile as a Monty Python episode had it) and the "Carousel Waltz" (heard more recently at the beginning of Dire Straits "Tunnel of Love") but a lot falls flat. Also the story of a girl falling in love with a carnival barker causing them both to lose their jobs putting stains of their marriage is a bit of a downer that includes domestic violence. The musical takes a turn after the barker's death where he gets to return to Earth 15 years later to help his daughter in order to redeem itself. Granted I've never seen this one live unlike the others I've mentioned, and the film version (starring Shirley Jones and Gordon McRae) has not been as timeless as other Broadway film adaptations. Still, good to revisit it today
Woke up Saturday and the Broadway lover in me kicked in. Glad Sam revived this thread and has kept it alive. Loved posting in it at the old site
Cast recordings of musicals prior to Oklahoma were often incomplete, sometimes with the main artists but not the supporting players/chorus, sometimes without the orchestra. Unless a well known name was behind them, like, say, Fred Astaire or Ethel Merman, such recordings were not considered potentially successful. Oklahoma! changed that - released in 1943 with the original cast, chorus, and orchestra, the Rodgers and Hammerstein musical's cast recording sold over 1 million copies as a set of 78 rpm. After that success, original cast recordings were here to stay!
Listened to Oklahoma! on Saturday so natural next step was Rodgers and Hammerstein's successful follow-up Carousel from 1945. Compared with Oklahoma! and later musicals like South Pacific, The King and I, and The Sound of Music, Carousel has never gelled with me. True it has the wonderful "You'll Never Walk Alone" as well as some other nice songs like "June is Bustin' Out All Over" (which always makes me smile as a Monty Python episode had it) and the "Carousel Waltz" (heard more recently at the beginning of Dire Straits "Tunnel of Love") but a lot falls flat. Also the story of a girl falling in love with a carnival barker causing them both to lose their jobs putting stains of their marriage is a bit of a downer that includes domestic violence. The musical takes a turn after the barker's death where he gets to return to Earth 15 years later to help his daughter in order to redeem itself. Granted I've never seen this one live unlike the others I've mentioned, and the film version (starring Shirley Jones and Gordon McRae) has not been as timeless as other Broadway film adaptations. Still, good to revisit it today
Zeeba Neighba
Staff member
Annie Get Your Gun (Original Cast Recording) (1946)
On the old Broadway thread, I lamented (but also celebrated) about the transient nature of live plays/musicals frequently. Unlike more permanent media like film, literature, there's no real way to capture the lightning in a bottle of live theatre (and that includes musical theatre too). Sure I can see Hamilton on stage yet still not appreciate the greatness of the original cast. And once a musical runs its course, you might not catch a revival in 20 years (or ever). I've been fortunate to catch many of my favorite musicals over the years - others, like My Fair Lady, I've never seen live. Some musicals have wonderful films (even with original cast members) but not all do...and there's something different about a film adaptation of a state musical - it tries to be too big, too grand...loses much of the quiet nuance.
I ramble. My point in saying this: there are artists like Ethel Merman (Zero Mostel, Joel Gray, Jerry Orbach also come to mind) that were tremendous forces of nature on the stage - Merman especially loomed larger than life and was at the heart of three huge musicals in Broadway history: Anything Goes, Annie Get Your Gun, and (especially) Gypsy. No revival, no big artist in those roles will ever match Merman's powerful essence. And really no cast album captures it either. One wishes one could go back in time to see her live. Ah well...at least we have these old cast albums.
On the old Broadway thread, I lamented (but also celebrated) about the transient nature of live plays/musicals frequently. Unlike more permanent media like film, literature, there's no real way to capture the lightning in a bottle of live theatre (and that includes musical theatre too). Sure I can see Hamilton on stage yet still not appreciate the greatness of the original cast. And once a musical runs its course, you might not catch a revival in 20 years (or ever). I've been fortunate to catch many of my favorite musicals over the years - others, like My Fair Lady, I've never seen live. Some musicals have wonderful films (even with original cast members) but not all do...and there's something different about a film adaptation of a state musical - it tries to be too big, too grand...loses much of the quiet nuance.
I ramble. My point in saying this: there are artists like Ethel Merman (Zero Mostel, Joel Gray, Jerry Orbach also come to mind) that were tremendous forces of nature on the stage - Merman especially loomed larger than life and was at the heart of three huge musicals in Broadway history: Anything Goes, Annie Get Your Gun, and (especially) Gypsy. No revival, no big artist in those roles will ever match Merman's powerful essence. And really no cast album captures it either. One wishes one could go back in time to see her live. Ah well...at least we have these old cast albums.
Zeeba Neighba
Staff member
^
Too much yapping and essentially mainly wanted to say. Great musical with iconic songs: "There's No Business Like Show Business", "Anything You Can Do", "You Can't Get A Man With A Gun"
Merman was in the revival 20 yrs later in 1966 (Jerry Orbach was in that one too). Bernadette Peters led the most important revival in 1999 but folks as varied as Cheryl Ladd, Susan Lucci, and Susie Quatro have played the role of Annie Oakley over the years.
Too much yapping and essentially mainly wanted to say. Great musical with iconic songs: "There's No Business Like Show Business", "Anything You Can Do", "You Can't Get A Man With A Gun"
Merman was in the revival 20 yrs later in 1966 (Jerry Orbach was in that one too). Bernadette Peters led the most important revival in 1999 but folks as varied as Cheryl Ladd, Susan Lucci, and Susie Quatro have played the role of Annie Oakley over the years.
Zeeba Neighba
Staff member
Brigadoon (Original Broadway Cast) (1947)
It's unusual for me to have either not seen or heard a big musical soundtrack from the 40s-60s or have at least seen the film. Brigadoon, the story of a mythical Scottish town that reappears for a day every 100 years, is the exception. Although later revivals (and the film soundtrack) are more inclusive, I don't personally find Lerner and Loewe's musical that captivating musically (I do suspect it comes off better live with the Scottish attire, dance, etc.) - a bit unusual as I do really enjoy their later works My Fair Lady and Camelot.
The show's most famous number "Almost Like Being in Love" is the exception - great number done by Sinatra, Nat King Cole, Judy Garland. Film fans will recall Cole's version over the closing credits of Groundhog Day
It's unusual for me to have either not seen or heard a big musical soundtrack from the 40s-60s or have at least seen the film. Brigadoon, the story of a mythical Scottish town that reappears for a day every 100 years, is the exception. Although later revivals (and the film soundtrack) are more inclusive, I don't personally find Lerner and Loewe's musical that captivating musically (I do suspect it comes off better live with the Scottish attire, dance, etc.) - a bit unusual as I do really enjoy their later works My Fair Lady and Camelot.
The show's most famous number "Almost Like Being in Love" is the exception - great number done by Sinatra, Nat King Cole, Judy Garland. Film fans will recall Cole's version over the closing credits of Groundhog Day
I'm not sure if this thread is intended for only decades-old Broadway musicals, but I thought it would be nice to revive the thread by posting this here.
Ever since seeing The Wiz on Broadway in the 70s with the original cast (featuring Stephanie Mills, who was MAGNIFICENT) I have loved the theatre. Took the girls last night to see Aladdin. I thought it had spirited performances, great (no, really, make that GREAT) sets, and exciting special effects including an actual flying carpet ride, but I felt the tried-and-true storyline was a little tired. The girls loved it and the audience gave it a standing O at the end, so it was probably the grumpy old man in me who refused to be completely satisfied with what was obviously a great show.
My youngest (11) is not a fan of sitting still for 2+ hours, and initially, I bought only two tickets, one for my older daughter and one for me. A few weeks ago, my youngest was not very happy to discover she was not included. Fortunately, a seat next to our seats was available, and I bought it. It turned out that this was the first movie/play that my youngest sat through without complaint or fidget, totally enraptured.
I was a little worried that my elder daughter (13) would be disappointed that this was not as good as her first Broadway (touring) production, Hamilton. Afterwards, I asked her to rate each from 1-10. She gave Hamilton a 9.5, and gave Aladdin a 9.0. Silly me for ever doubting the power of a musical over young minds.
Long ago, when I bought tickets to this, I also bought tickets to Irving Berlin's Christmas. Two tickets. Now the youngest wants to go to that, too, but there are not seats available beside us.
For one of the rare times, I managed to arrive extra early to avoid the panicked sprint to the door. We were so early, we stopped at Bull City Mini, a kid-friendly gaming bar, for a glass of a fantastic Guinness Stout imitator and games of supersized connect4 and Jenga. There was also an indoor/outdoor mini-golf course, but we did not do that.
Ever since seeing The Wiz on Broadway in the 70s with the original cast (featuring Stephanie Mills, who was MAGNIFICENT) I have loved the theatre. Took the girls last night to see Aladdin. I thought it had spirited performances, great (no, really, make that GREAT) sets, and exciting special effects including an actual flying carpet ride, but I felt the tried-and-true storyline was a little tired. The girls loved it and the audience gave it a standing O at the end, so it was probably the grumpy old man in me who refused to be completely satisfied with what was obviously a great show.
My youngest (11) is not a fan of sitting still for 2+ hours, and initially, I bought only two tickets, one for my older daughter and one for me. A few weeks ago, my youngest was not very happy to discover she was not included. Fortunately, a seat next to our seats was available, and I bought it. It turned out that this was the first movie/play that my youngest sat through without complaint or fidget, totally enraptured.
I was a little worried that my elder daughter (13) would be disappointed that this was not as good as her first Broadway (touring) production, Hamilton. Afterwards, I asked her to rate each from 1-10. She gave Hamilton a 9.5, and gave Aladdin a 9.0. Silly me for ever doubting the power of a musical over young minds.
Long ago, when I bought tickets to this, I also bought tickets to Irving Berlin's Christmas. Two tickets. Now the youngest wants to go to that, too, but there are not seats available beside us.
For one of the rare times, I managed to arrive extra early to avoid the panicked sprint to the door. We were so early, we stopped at Bull City Mini, a kid-friendly gaming bar, for a glass of a fantastic Guinness Stout imitator and games of supersized connect4 and Jenga. There was also an indoor/outdoor mini-golf course, but we did not do that.
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axolotl
Nunquam non paratus
...REVIEW!
I'll be interested to see how you navigate those waters.
It is going to be tricky. I've told her there are no seats near us, and she is not willing to sit with her sister in the original seats while I sit in the closest seat available, three rows back and 8 seats over. But while it seems like she has accepted she won't attend Irving Berlin's Christmas, she keeps asking me "have you checked to see if a seat next to us is open again?" She finds the status quo unacceptable, AND she doesn't approve of the only possible solutions.
I think I'm going to need sonar to navigate these treacherous seas.
Ojai Sam
Staff member
Original Broadway Cast - Do I Hear A Waltz? (1965)
In retrospect, this odd and now obscure little musical represented a major generational shift. Its tormented back story would surely make for a fascinating documentary film. Here's the way Wiki tells it:
Do I Hear a Waltz? is a musical with a book by Arthur Laurents, music by Richard Rodgers, and lyrics by Stephen Sondheim. It was adapted from Laurents' 1952 play The Time of the Cuckoo
, which was the basis for the 1955 film Summertime starring Katharine Hepburn.
Background
Laurents originally conceived the production as a small chamber musical with music by Richard Rodgers, lyrics by Oscar Hammerstein, and Mary Martin in the lead role of spinster Leona Samish. By the time the project began to jell, however, Hammerstein had died, and Stephen Sondheim was asked by Laurents and Mary Rodgers, Richard Rodgers' daughter, to write the lyrics. Even so, Rodgers felt that the original play did not lend itself to musicalization; Sondheim agreed. According to Peter Filichia, "Sondheim didn’t want to do the musical in the first place, but given that Laurents sought him – and had recommended him for 'West Side Story' when he was a novice — he accepted. Also a factor was that his now-deceased mentor Oscar Hammerstein had recommended that he succeed him as Rodgers’ lyricist."
Rodgers, who was producing the Broadway production, rejected Martin as too old for Leona.
Franco Zeffirelli was the first choice for director, and he met with Laurents, Sondheim, and Rodgers, who fell asleep during their discussion
. Laurents suspected Rodgers had been drinking, and when he discovered a bottle of vodka secreted in the toilet tank during a later visit to the Rodgers apartment, he realized he had been correct. 
The composer's chronic drinking proved to be a major problem throughout the rehearsal period and pre-Broadway run at the Colonial Theatre in Boston and the Shubert Theatre in New Haven.
Laurents suggested that John Dexter direct the show, but later regretted the choice. Dexter insisted on giving the lead role of Leona to Elizabeth Allen, who Laurents felt could manage the acting and singing but had a cold personality too contrary to that of the character. Rodgers' mistreatment of Sondheim left the lyricist feeling apathetic if not outright sour about the project, but he maintained his professionalism. The first run-through was disastrous, and Dexter immediately lost interest, leaving most of the work to his assistant-cum-choreographer Wakefield Poole. Herbert Ross was called in to work on the dance routines and brought with him his wife Nora Kaye, who served as a mediator among the warring factions. She was faced with an arduous task, given Rodgers' open dismissal of Sondheim's lyrics as "shit,"
as well as his eventual ban of Laurents from rehearsals completely.
Productions
The musical opened on Broadway on March 18, 1965 at the 46th Street Theatre and closed on September 25, 1965 after 220 performances. It starred Elizabeth Allen and Sergio Franchi; other principal cast members included Carol Bruce, Madeleine Sherwood, Julienne Marie, Stuart Damon, Fleury D'Antonakis, and Jack Manning. Choreography was by Herbert Ross, with scenery and costumes by Beni Montresor and lighting by Jules Fisher.
Laurents rued the casting - he felt Allen was too young and colorless and Franchi couldn't act
- and ignored all the ongoing problems in favor of making his dream a reality, but most of all he regretted the break in his friendship with Sondheim after the show.
The musical received three nominations for the Tony Awards: Elizabeth Allen was nominated for the Tony Award for Best Performance by a Leading Actress in a Musical; nominated for Best Original Score; and nominated for Best Scenic Design, but lost in all three categories.
In retrospect, this odd and now obscure little musical represented a major generational shift. Its tormented back story would surely make for a fascinating documentary film. Here's the way Wiki tells it:
Do I Hear a Waltz? is a musical with a book by Arthur Laurents, music by Richard Rodgers, and lyrics by Stephen Sondheim. It was adapted from Laurents' 1952 play The Time of the Cuckoo
, which was the basis for the 1955 film Summertime starring Katharine Hepburn.Background
Laurents originally conceived the production as a small chamber musical with music by Richard Rodgers, lyrics by Oscar Hammerstein, and Mary Martin in the lead role of spinster Leona Samish. By the time the project began to jell, however, Hammerstein had died, and Stephen Sondheim was asked by Laurents and Mary Rodgers, Richard Rodgers' daughter, to write the lyrics. Even so, Rodgers felt that the original play did not lend itself to musicalization; Sondheim agreed.
According to Peter Filichia, "Sondheim didn’t want to do the musical in the first place, but given that Laurents sought him – and had recommended him for 'West Side Story' when he was a novice — he accepted. Also a factor was that his now-deceased mentor Oscar Hammerstein had recommended that he succeed him as Rodgers’ lyricist."Rodgers, who was producing the Broadway production, rejected Martin as too old for Leona.
Franco Zeffirelli was the first choice for director, and he met with Laurents, Sondheim, and Rodgers, who fell asleep during their discussion
. Laurents suspected Rodgers had been drinking, and when he discovered a bottle of vodka secreted in the toilet tank during a later visit to the Rodgers apartment, he realized he had been correct. The composer's chronic drinking proved to be a major problem throughout the rehearsal period and pre-Broadway run at the Colonial Theatre in Boston and the Shubert Theatre in New Haven.Laurents suggested that John Dexter direct the show, but later regretted the choice. Dexter insisted on giving the lead role of Leona to Elizabeth Allen, who Laurents felt could manage the acting and singing but had a cold personality too contrary to that of the character. Rodgers' mistreatment of Sondheim left the lyricist feeling apathetic if not outright sour about the project, but he maintained his professionalism. The first run-through was disastrous, and Dexter immediately lost interest, leaving most of the work to his assistant-cum-choreographer Wakefield Poole. Herbert Ross was called in to work on the dance routines and brought with him his wife Nora Kaye, who served as a mediator among the warring factions. She was faced with an arduous task, given Rodgers' open dismissal of Sondheim's lyrics as "shit,"
as well as his eventual ban of Laurents from rehearsals completely.Productions
The musical opened on Broadway on March 18, 1965 at the 46th Street Theatre and closed on September 25, 1965 after 220 performances. It starred Elizabeth Allen and Sergio Franchi; other principal cast members included Carol Bruce, Madeleine Sherwood, Julienne Marie, Stuart Damon, Fleury D'Antonakis, and Jack Manning. Choreography was by Herbert Ross, with scenery and costumes by Beni Montresor and lighting by Jules Fisher.
Laurents rued the casting - he felt Allen was too young and colorless and Franchi couldn't act
- and ignored all the ongoing problems in favor of making his dream a reality, but most of all he regretted the break in his friendship with Sondheim after the show.The musical received three nominations for the Tony Awards: Elizabeth Allen was nominated for the Tony Award for Best Performance by a Leading Actress in a Musical; nominated for Best Original Score; and nominated for Best Scenic Design, but lost in all three categories.
Ojai Sam
Staff member
Original Broadway Cast - The Apple Tree (1966)
This musical is less familiar to modern audiences that it should be given how much fun the songs are. Barbara Harris and Larry Blyden do their usual outstanding jobs as does Alan Alda, who was nominated for a Tony.
Trivia note: Alda beat out Dustin Hoffman for the role due to Hoffman's limited singing ability. His consolation prize proved to be a pretty decent film role the following year.
This musical is less familiar to modern audiences that it should be given how much fun the songs are. Barbara Harris and Larry Blyden do their usual outstanding jobs as does Alan Alda, who was nominated for a Tony.
Trivia note: Alda beat out Dustin Hoffman for the role due to Hoffman's limited singing ability. His consolation prize proved to be a pretty decent film role the following year.
Ojai Sam
Staff member
Various Artists - Carousel (1955)
Vinyl Rip Of The Day.
Carousel hit Broadway in 1945 and closed two years later after notching nearly 900 performances. Its durability is illustrated by the fact that it reappeared in New York City in 1949, 1954 and 1957. The original cast album appeared on Decca so RCA Victor decided to re-record the show in 1955, complete with the orchestral introduction and finale. Taking the place of John Raitt, Jan Clayton (later Jeff's mom on the Lassie TV series) and Jean Darling is a stellar lineup of Robert Merrill, Patrice Munsell and Florence Henderson. I'm usually skeptical of remade-to-order Broadway albums, but this one may surpass the original.
Vinyl Rip Of The Day.
Carousel hit Broadway in 1945 and closed two years later after notching nearly 900 performances. Its durability is illustrated by the fact that it reappeared in New York City in 1949, 1954 and 1957. The original cast album appeared on Decca so RCA Victor decided to re-record the show in 1955, complete with the orchestral introduction and finale. Taking the place of John Raitt, Jan Clayton (later Jeff's mom on the Lassie TV series) and Jean Darling is a stellar lineup of Robert Merrill, Patrice Munsell and Florence Henderson. I'm usually skeptical of remade-to-order Broadway albums, but this one may surpass the original.
Ojai Sam
Staff member
axolotl
Nunquam non paratus
Thanks. I hope so, anyway.As always, your taste is impeccable.
I don't know how I would rehabilitate it if it was fully impeached.
Ojai Sam
Staff member
Various Artists - Lost In Boston (1994)
Bruce Kimmel put together this eye-opening collection of songs from Broadway musicals that for a variety of reasons were left on the cutting room floor. Lack of quality certainly isn't the reason here. Usually it had to do with changes in the plot or structure of the show itself. Kimmel dusted off these tunes and brought in a bunch of talented singers like Liz Larsen, Sally Mayes and Harry Groener to put them across with fresh arrangements by Larry Moore.
Kimmel; himself has enjoyed diverse career success as an actor, writer, director and composer. His work as a record producer alone is staggering. Wiki tells us:
From 1988 to 1993, Kimmel co-owned the specialty label, Bay Cities, releasing over 100 albums that included American classical music, cast albums, and soundtracks. In 1993, Kimmel became a full time record producer with his own division at Varese Sarabande, producing many cast albums (Broadway and off-Broadway), Broadway singers, and musical theater concept albums, first for the Varese Sarabande, and then for a company he founded, Fynsworth Alley. He was nominated for a Grammy for the revival cast album of Hello, Dolly!, and an album he produced with jazz pianist Fred Hersch was also nominated for a Grammy. To date, he has produced well over 180 CDs, including such beloved albums as the Unsung Musicals and Lost in Boston series, Unsung Sondheim, The Stephen Schwartz Album, The Alan Menken Album, The Stephen Sondheim Album, Sondheim at the Movies, a classic series of Sondheim shows in jazz with Terry Trotter, vocal albums with Petula Clark, Helen Reddy, Liz Callaway, Laurie Beechman, Rebecca Luker, Jason Graae, Brent Barrett, Michelle Nicastro, cast albums for The King and I, I Love You, You're Perfect, Now Change, Bells Are Ringing, The Best Little Whorehouse in Texas (with Ann-Margret), Little Me (with Martin Short), and many, many others. His current label Kritzerland has issued close to 400 albums including cast albums, singers, and a series of reissues of limited edition soundtracks.
Bruce Kimmel put together this eye-opening collection of songs from Broadway musicals that for a variety of reasons were left on the cutting room floor. Lack of quality certainly isn't the reason here. Usually it had to do with changes in the plot or structure of the show itself. Kimmel dusted off these tunes and brought in a bunch of talented singers like Liz Larsen, Sally Mayes and Harry Groener to put them across with fresh arrangements by Larry Moore.
Kimmel; himself has enjoyed diverse career success as an actor, writer, director and composer. His work as a record producer alone is staggering. Wiki tells us:
From 1988 to 1993, Kimmel co-owned the specialty label, Bay Cities, releasing over 100 albums that included American classical music, cast albums, and soundtracks. In 1993, Kimmel became a full time record producer with his own division at Varese Sarabande, producing many cast albums (Broadway and off-Broadway), Broadway singers, and musical theater concept albums, first for the Varese Sarabande, and then for a company he founded, Fynsworth Alley. He was nominated for a Grammy for the revival cast album of Hello, Dolly!, and an album he produced with jazz pianist Fred Hersch was also nominated for a Grammy. To date, he has produced well over 180 CDs, including such beloved albums as the Unsung Musicals and Lost in Boston series, Unsung Sondheim, The Stephen Schwartz Album, The Alan Menken Album, The Stephen Sondheim Album, Sondheim at the Movies, a classic series of Sondheim shows in jazz with Terry Trotter, vocal albums with Petula Clark, Helen Reddy, Liz Callaway, Laurie Beechman, Rebecca Luker, Jason Graae, Brent Barrett, Michelle Nicastro, cast albums for The King and I, I Love You, You're Perfect, Now Change, Bells Are Ringing, The Best Little Whorehouse in Texas (with Ann-Margret), Little Me (with Martin Short), and many, many others. His current label Kritzerland has issued close to 400 albums including cast albums, singers, and a series of reissues of limited edition soundtracks.
Zeeba Neighba
Staff member
The pendulum swings and I find myself in a Broadway music phase again, so much so that I spent part of my weekend compiling a list of IMO the 100 Greatest Broadway musicals. Yep, my hope is to go through them and come up with a ranking along the way (another layer of the Zeeba insanity onion peels back).
As for the list, the focus is on the music (especially since I haven't seen several of them) some are all-time classics, some personal faves, and some (ex. Cats) are important, long running musicals that I wouldn't say were tremendous musically (Cats, of course, does have "Memory" and is quite the production). I've in general steered away from jukebox musicals (as fun as Mamma Mia is, listening to Abba's Greatest Hits is a better experience) with some exceptions (ex. 42nd Street).
So starting randomly:
Pippin (1972)
I am a big fan of Bob Fosse's musicals (he directed this) and, even in revivals, Fosse's fingerprint looms large. Pippin is a personal favorite, not everybody's cup of tea, but (especially in the last revival) was fun to watch. It's fourth-wall breaking and existential main character fit the post-60s era well. It's also has a wonderful creepiness about it as the characters are supposed to bend to the will/follow the actions designed by the Leading Player. Would have loved to see the original production with the always wonderful Ben Vereen, Jill Clayburgh (who knew she could sing), and Irene Ryan (Grannie from The Beverly Hillbillies)
Guys and Dolls (1950)
The Frank Loesser songs are just perfect here with focus on Damon Runyon's gamblers and nicknamed-crooks wonderful. Despite Marlon Brando's voice, remains one of my favorite movie musicals which is a testament to the show itself. The original cast album has a similar issue - despite having Vivian Blaine and Stubby Kaye (who would reprise their roles in the film), Sam Levine's (as Nathan Detroit) can't sing and Alan's dad Robert Alda is not much better. The popular 1992 revival with Nathan Lane (and a young J.K. Simmons as Benny Southstreet) is a nice alternative.
Nine (1982)
Everything is fair game regarding a musical's subject so why not Fellini's 8-1/2 (actually Nine is not the only popular Fellini-based musical, Sweet Charity is based on the film Nights of Cabiria). Nine has a lot of humor as it explores the past of director Guido Continui, his writer's block, and the many women from his mother to his current wife and mistress who have impacted him. Not a perfect musical. The New York Times initially said:
Ranking thus far
1) Guys and Dolls
2) Pippin
3) Nine
Next up: Stephen Sondheim's Company
As for the list, the focus is on the music (especially since I haven't seen several of them) some are all-time classics, some personal faves, and some (ex. Cats) are important, long running musicals that I wouldn't say were tremendous musically (Cats, of course, does have "Memory" and is quite the production). I've in general steered away from jukebox musicals (as fun as Mamma Mia is, listening to Abba's Greatest Hits is a better experience) with some exceptions (ex. 42nd Street).
So starting randomly:
Pippin (1972)
I am a big fan of Bob Fosse's musicals (he directed this) and, even in revivals, Fosse's fingerprint looms large. Pippin is a personal favorite, not everybody's cup of tea, but (especially in the last revival) was fun to watch. It's fourth-wall breaking and existential main character fit the post-60s era well. It's also has a wonderful creepiness about it as the characters are supposed to bend to the will/follow the actions designed by the Leading Player. Would have loved to see the original production with the always wonderful Ben Vereen, Jill Clayburgh (who knew she could sing), and Irene Ryan (Grannie from The Beverly Hillbillies)
Guys and Dolls (1950)
The Frank Loesser songs are just perfect here with focus on Damon Runyon's gamblers and nicknamed-crooks wonderful. Despite Marlon Brando's voice, remains one of my favorite movie musicals which is a testament to the show itself. The original cast album has a similar issue - despite having Vivian Blaine and Stubby Kaye (who would reprise their roles in the film), Sam Levine's (as Nathan Detroit) can't sing and Alan's dad Robert Alda is not much better. The popular 1992 revival with Nathan Lane (and a young J.K. Simmons as Benny Southstreet) is a nice alternative.
Nine (1982)
Everything is fair game regarding a musical's subject so why not Fellini's 8-1/2 (actually Nine is not the only popular Fellini-based musical, Sweet Charity is based on the film Nights of Cabiria). Nine has a lot of humor as it explores the past of director Guido Continui, his writer's block, and the many women from his mother to his current wife and mistress who have impacted him. Not a perfect musical. The New York Times initially said:
But the elaborate Tommy-Tune direction with it's elaborate Venetian sets were hard to ignore; though this doesn't come through on the cast recording, Raul Julia's charisma certainly does. In fact though I've never seen Nine, I'm not sure I'd want to see anyone else in the role of Guido. I can't picture Antonio Banderas who starred in the 2003 Broadway revival, nor have I chosen to watch the musical film with Daniel Day Lewis
Ranking thus far
1) Guys and Dolls
2) Pippin
3) Nine
Next up: Stephen Sondheim's Company
Zeeba Neighba
Staff member
Company (1970)
Babes in Arms (1937 - studio recording 1965)
Company doesn't get as much love as other Sondheim musicals (e.g. Sunday in the Park with George, A Little Night Music) but in 1970 it was a very different musical that concentrated more on individuals/relationships. It also plays with a vague timeline, and, though there are a lot of characters, it helped usher in a more stripped-down personal musical more common in the 1970s (e.g. A Chorus Line). It doesn't hurt that it's hilarious as it explores bachelor Bobby ("Robert...Bobby...Robby....Bobby-baby") and his friendship with 5 married/engaged couples (all the women feel he should find a woman, the husbands OTOH are jealous of his freedom). Anthony Perkins was to be the original lead (interesting but tough to imagine) so Disney-movie stable Dean Jones took over for a month (and a cast album) to be replaced by West Side Story's original Tony Larry Kert.
Babes in Arms' presence here is a bit of a cheat - I've never see it and I doubt (unless your regional theatre company has put it on) that most have as it hasn't been restaged on Broadway (it had an off-Broadway run in the early 1980s). It's better known as the inspiration behind the Mickey Rooney-Judy Garland film which sadly only uses two of the shows songs. Interesting the original story had political overtones, a Communist character, and two African-American characters that are affected by racism. The show was then "sanitized" to make it less controversial
Why is it here? For the music of course - a popular 289-performance show in the 30s, the Rodgers and Hart soundtrack includes such classics as "Where or When", "The Lady is a Tramp", "My Funny Valentine", and "I Wish I Was in Love Again" - all classic vocal/jazz tracks over decades after
This album is a studio recording unfortunately not based on an extant cast - Mary Martin was hot off South Pacific and seemed like a good idea to get her in the studio with other singers and put out an album. A bit blasphemous to say that I'm not a big fan of Mary Martin's voice (even if she did originate roles in South Pacific and West Side Story (not to mention Peter Pan) Still what a bunch of songs
And here from the Tony's, a game crew including Neil Patrick Harris, Patti LaPone, Christina Hendrix, Steven Colbert, Martha Plimpton, and Jon Cryer among others performing the great "Side by Side by Side" from Company
Ranking thus far
1) Guys and Dolls
2) Pippin
3) Company
4) Nine
5) Babes In Arms
Next up: puppet nudity
Babes in Arms (1937 - studio recording 1965)
Company doesn't get as much love as other Sondheim musicals (e.g. Sunday in the Park with George, A Little Night Music) but in 1970 it was a very different musical that concentrated more on individuals/relationships. It also plays with a vague timeline, and, though there are a lot of characters, it helped usher in a more stripped-down personal musical more common in the 1970s (e.g. A Chorus Line). It doesn't hurt that it's hilarious as it explores bachelor Bobby ("Robert...Bobby...Robby....Bobby-baby") and his friendship with 5 married/engaged couples (all the women feel he should find a woman, the husbands OTOH are jealous of his freedom). Anthony Perkins was to be the original lead (interesting but tough to imagine) so Disney-movie stable Dean Jones took over for a month (and a cast album) to be replaced by West Side Story's original Tony Larry Kert.
Babes in Arms' presence here is a bit of a cheat - I've never see it and I doubt (unless your regional theatre company has put it on) that most have as it hasn't been restaged on Broadway (it had an off-Broadway run in the early 1980s). It's better known as the inspiration behind the Mickey Rooney-Judy Garland film which sadly only uses two of the shows songs. Interesting the original story had political overtones, a Communist character, and two African-American characters that are affected by racism. The show was then "sanitized" to make it less controversial
Why is it here? For the music of course - a popular 289-performance show in the 30s, the Rodgers and Hart soundtrack includes such classics as "Where or When", "The Lady is a Tramp", "My Funny Valentine", and "I Wish I Was in Love Again" - all classic vocal/jazz tracks over decades after
This album is a studio recording unfortunately not based on an extant cast - Mary Martin was hot off South Pacific and seemed like a good idea to get her in the studio with other singers and put out an album. A bit blasphemous to say that I'm not a big fan of Mary Martin's voice (even if she did originate roles in South Pacific and West Side Story (not to mention Peter Pan) Still what a bunch of songs
And here from the Tony's, a game crew including Neil Patrick Harris, Patti LaPone, Christina Hendrix, Steven Colbert, Martha Plimpton, and Jon Cryer among others performing the great "Side by Side by Side" from Company
Ranking thus far
1) Guys and Dolls
2) Pippin
3) Company
4) Nine
5) Babes In Arms
Next up: puppet nudity
Ojai Sam
Staff member
Great project, Zeeb. 
You sure have a gift for choosing a broad range of music. I hate to admit it, but the only ones in your list I've heard recently (say within the last 30 years or so
) are Guys and Dolls and Company. Your ranking seems pretty sound to me based on what I have heard.
You sure have a gift for choosing a broad range of music. I hate to admit it, but the only ones in your list I've heard recently (say within the last 30 years or so
) are Guys and Dolls and Company. Your ranking seems pretty sound to me based on what I have heard.
Zeeba Neighba
Staff member
Avenue Q (2003)
When my daughter (then 15) and I were walking on Broadway one trip up to NYC, we passed a poster for Avenue Q with a label on it stating "Warning: Puppet Nudity". My daughter was so horrified that I have since used that phrase to jokingly annoy her since.
Yes, it's easy to write off EGOT-winner Robert Lopez' musical with satirical Sesame Street-like puppets and adult-themed songs like "The Internet Is For Porn", "Everyone's a Little Bit Racist". "What Do You Do With a B.A. in English", and "My Girlfriend, Who Lives in Canada", but it's a pretty insightful show that probes issues of racism and homophobia....yes with puppets. Still, it's a damn funny show from landlord Gary Coleman (yes, the character represents the actual Diff'rent Strokes character) to the take on Bert and Ernie roommates. As a theatre traditionalist, one can feel guilty on how enjoyable this show is - winner of the 2004 Best Musical Tony
Ranking thus far
1) Guys and Dolls
2) Pippin
3) Company
4) Avenue Q
5) Nine
6) Babes In Arms
When my daughter (then 15) and I were walking on Broadway one trip up to NYC, we passed a poster for Avenue Q with a label on it stating "Warning: Puppet Nudity". My daughter was so horrified that I have since used that phrase to jokingly annoy her since.
Yes, it's easy to write off EGOT-winner Robert Lopez' musical with satirical Sesame Street-like puppets and adult-themed songs like "The Internet Is For Porn", "Everyone's a Little Bit Racist". "What Do You Do With a B.A. in English", and "My Girlfriend, Who Lives in Canada", but it's a pretty insightful show that probes issues of racism and homophobia....yes with puppets. Still, it's a damn funny show from landlord Gary Coleman (yes, the character represents the actual Diff'rent Strokes character) to the take on Bert and Ernie roommates. As a theatre traditionalist, one can feel guilty on how enjoyable this show is - winner of the 2004 Best Musical Tony
Ranking thus far
1) Guys and Dolls
2) Pippin
3) Company
4) Avenue Q
5) Nine
6) Babes In Arms
axolotl
Nunquam non paratus
I hurt my back sitting up suddenly in my chair.
Dim sum good songs.
Annoying Dad jokes will never not be hysterical.
So may it ever be. Forever and amen.
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