578 posts
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Post by michalnowicki on May 21, 2017 12:08:43 GMT
This sounds like a great idea, and at the same time I am too lazy to do this  It would be interesting from a discussion point of view - if we went through themes (for example, 'songs from musicals sung by 'best actress in a musical' winners from [insert decade], or 'Early Sondheim', or compiled highlights from [musical] using multiple recordings - e.g. Gypsy) then it wouldn't just be listening to a playlist, but discussing them too. A bit like a book club, but one based on cast recordings. I don't know, just an idea I had earlier, whilst bored at my desk and longing to listen to a bit of 'My Fair Lady' 🙈 Cool idea! I'm too busy right now with work/uni to contribute, but if you start a playlist, share it here so we can add to it! I've been listening to "Come from Away" on repeat this weekend and I wish that one day when I'm flying somewhere, the captain will belt something out in a style of Jenn Colella. "Thank you for flying Ryanaaaaaaaaaaaaaaaaaaaair" |
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Post by Deleted on May 21, 2017 13:26:51 GMT
Bernadette's "Annie Get Your Gun", various Hedwigs (I stumbled across Alan Cumming's "Wig in a Box" and it set me off), various Mandy Patinkin solo records this week. |
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Post by michalnowicki on May 22, 2017 15:51:23 GMT
"Natasha, Pierre & the Great Comet of 1812 OBC" is now available on Spotify... Or maybe it was available earlier, but I couldn't find it |
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Post by Deleted on May 22, 2017 16:32:07 GMT
The 2000 Broadway Rocky Horror Show, with Dick Cavett, Alice Ripley & Raul Esparza. Definitely my favourite Rocky, and possibly the first show I saw on Broadway, at the Circle in the Square (a few months later with Sebastian Bach rather than Raul. As a Skid Row fan, I enjoyed hearing Bach sing, though he remains possibly the poorest actor I've seen on any stage. Cavett was phenomenal)
I've dipped into Great Comet (2013), mainly finding myself playing Natasha Lost.
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Post by Deleted on May 28, 2017 17:05:10 GMT
This afternoon, the original Guys and Dolls (Robert Alda, Vivian Blaine, Stubby Kaye). For my money Guys and Dolls has as close to perfect a score as a musical is ever likely to get. This recording still sounds incredibly vivid, and there's a lot of joy in finding just how little modern interpretations have varied. Tremendous fun in "Sue Me" & "Marry the Man".
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Post by Being Alive on May 28, 2017 18:56:15 GMT
This afternoon I went back to Hamilton for the first time in a while. Was really nice and got me all excited again that in 6 months I'll be in the room where it happens!
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Post by Deleted on May 28, 2017 19:04:25 GMT
Big Fish and Side Show have been on lately for me
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Post by Deleted on May 28, 2017 20:52:13 GMT
Today I'm listening to Gypsy, because I saw Imelda in Virginia Wolf last night Sweeney is by far a better album. The Sweeney Todd 2012 album is great. I have that, (the highlights of) the film soundtrack and the OBC, but the 2012 orchestrations really are different than the other two - almost like it's a new score in the Ballads! However I wish they had made it complete with the songs that didn't make it, especially the Pirelli songs. Also, not a huge thing, but I preferred Epiphany to be in the lower key like Michael Ball sung it at Chichester (before it went higher for the Adelphi run). |
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Post by Mark on May 28, 2017 21:10:05 GMT
War Paint is beautifully recorded.
Also listening a lot to Evan Hansen, Come From Away, Great Comet and Hello Dolly
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Post by michalnowicki on May 29, 2017 9:18:35 GMT
War Paint is beautifully recorded. I'll listen to it today! |
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Post by Deleted on May 29, 2017 9:33:55 GMT
I've been all over both Kinky Boots recordings since I saw it last week. Although I don't normally love a live album I definatly (predicatably) prefer Killian's voice so mainly that one!
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Post by Deleted on May 29, 2017 16:48:33 GMT
Gotten to know Dogfight over the last couple of weeks via this thread. A bit derivative in places - "Pretty Funny" and "Dogfight" seem reminscent of the two movements of "See I'm Smiling" in the Last Five Years, there's a snatch of melody somewhere which is very "Moments in the Woods" - but not so much of a problem for me as I love both L5Y and Into the Woods. Some weaker moments, but a comfortably above average score.
Couple of singles I keep coming back to - Bing Crosby & Jane Wyman - Zing a Little Zong (Just For You) is damn infectious -
And Gene Kelly on Skates is of course a very good thing.
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Post by Deleted on May 29, 2017 17:00:00 GMT
And, if anyone could help me, there's an old song that has "Bojangles" in the title, that isn't "Mr. Bojangles" and has some excellent dance - can't for the life of me remember how to find it.
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8,094 posts
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Post by alece10 on May 29, 2017 17:02:33 GMT
Just been listening to Boyband. Short lived musical in the west end. I remember very little about it. Songs were quite catchy though. I do, however, remember my friend following a couple of the boys down the road after. Well it was more like chasing
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Post by ctas on May 29, 2017 21:11:39 GMT
On a bit of a Once kick right now. There's a couple of tracks the London cast recorded for Spotify that I really love.
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578 posts
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Post by michalnowicki on May 30, 2017 9:23:41 GMT
It's nice to hear a reference to your own country when listening to recordings. In "Come from Away" someone mentions being born in Poland. In Natasha and Pierre(...) Poland is being mentioned in song "Preparations", in "War Paint" LuPone pronouces Krakow really well (Cra-cuv, rather than Cra-cow).
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Post by Deleted on May 30, 2017 9:45:30 GMT
It's nice to hear a reference to your own country when listening to recordings. In "Come from Away" someone mentions being born in Poland. In Natasha and Pierre(...) Poland is being mentioned in song "Preparations", in "War Paint" LuPone pronouces Krakow really well (Cra-cuv, rather than Cra-cow). There was a good NY Times article on local references in Hedwig the other day -
What’s Your City’s ‘Newly Annoying’ Neighborhood? Ask Hedwig.
“Hedwig and the Angry Inch” always uses topical and local references written just for the cities where it plays. So it’s natural that when the musical’s national tour finishes in Washington next month, Hedwig, played by Euan Morton, will save her wrath for the most topical local of them all: President Trump.
John Cameron Mitchell, who created the show with Stephen Trask, explains that Hedwig, an East German transgender glam-rocker who escapes Communism, “will be identifying with another Eastern European gold digger.”
The line? “I sit in my mobile home watching the Berlin Wall come down, recalling with envy Mother’s escape to sunny Yugoslavia with the help of her close friend Melania. We are all Melania now.”
Other typical targets include local celebrities, conservative politicians, hipster enclaves and the “rough street in town,” explained Mr. Morton, who along with Mr. Mitchell, wrote most of the material for this part of the tour. They get advice from Michael Rudd, the assistant company manager, who from city to city collects suggestions from residents on references that might click.
Here’s a look at how Hedwig describes her visit to a “newly annoying” neighborhood in several of those cities — a moment that regularly gets a big laugh.
Boston
LINE “It all went down in the newly annoying Seaport District. I had just been barred from entering the gender-neutral bathroom at Legal Harborside when a limo pulled up.”
WHY IT WORKS The Seaport District is not unlike the meatpacking district in New York, which, with its celebrity-hunting partygoers, was the “newly annoying” reference for the Broadway run. Legal Harborside, an upscale spinoff of a classic Boston seafood restaurant, is popular with singles and tourists.
Chicago
LINE “It all went down in the newly annoying Wicker Park. I had just been barred from entering the gender-neutral bathroom at Violet Hour (and it took me 45 minutes just to find the doorknob!) when a limo pulled up.”
WHY IT WORKS Wicker Park is a West Side neighborhood awash in bicycles and blunt-cut hairstyles. Violet Hour is a cocktail bar that serves “pre-Prohibition-style libations.” A rotation of artists design the bar’s speakeasy entrance, often making it difficult to locate the door.
Dallas
LINE “It all went down in the newly annoying Cedar Springs strip. I had just been barred from the Rose Room — Cassie Nova found me in her dressing room trying on her costumes.”
WHY IT WORKS Cedar Springs is a commercial strip in Oak Lawn, the city’s gentrified gayborhood. Rose Room is a high-tech drag-show lounge inside the nightclub Station 4. Cassie Nova is a popular longtime drag queen with a potty mouth and a Texas twang.
Durham and Charlotte, N.C.
LINE “I had just been barred from the gender-neutral bathroom at Pat McCrory’s house.”
WHY IT WORKS Last year Mr. McCrory, the former Republican governor of North Carolina, signed House Bill 2, which mandated that transgender people use the bathrooms matching the gender listed on their birth certificates.
San Francisco
LINE “It all went down in the newly annoying Mission District. I had just been barred from entering the gender-neutral bathroom on an idling Google bus when an Uber XL pulled up.”
WHY IT WORKS Silicon Valley millionaires have transformed the Mission, historically home to working-class Latinos, into “Williamsburg on steroids,” as one writer put it. Google offers employees private shuttle bus service to and from its campus in nearby Mountain View, Calif., a perk that’s been the object of scorn and protests.
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Post by michalnowicki on May 30, 2017 9:58:30 GMT
^ Hmm, no too keen on the above, if I'm honest. Reminds me of John Partridge references to Primark during "La Cage..". How are all of the local references made by "Hedwig, an East German transgender glam-rocker who escapes Communism" relevant to the story?
In War Paint, the reference makes sense, because Helena Rubenstein was born in Poland.
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Post by Deleted on May 30, 2017 18:08:50 GMT
I've spent today hashing together a presentation to teach some students a (brief) history of musical theatre on Friday. And in hunting youtube clips I've re-discovered some gems I haven't listened to in an age (Hair, West Side Story, Anything Goes) and some choice turkeys (Tarzan, Little Mermaid, Spiderman...) As well as reminding me of some personal favourites I WILL convince them are worthy of scholarship (or at least a listen) including Legally Blonde and Groundhog Day. All rounded off with a LOT of 'Company' as I'm using that as a set text for discussion.
Phew! Some of those will make it back into my playlists.
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Post by michalnowicki on May 31, 2017 14:05:21 GMT
More War Paint today. Patti's accent is horrendous. She sounds like Old Lady from "Candide". I find Christine Ebersole's voice thoroughly enjoyable and I love "Pink". Unfortunately, it's not the best album.
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Post by Mark on May 31, 2017 15:14:07 GMT
More War Paint today. Patti's accent is horrendous. She sounds like Old Lady from "Candide". I find Christine Ebersole's voice thoroughly enjoyable and I love "Pink". Unfortunately, it's not the best album. Pink is a highlight indeed. A very well crafted song expertly delivered. As you say, a shame the rest of the score isn't quite as good. |
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Post by Michael on May 31, 2017 15:27:44 GMT
I'm currently listening to two cast recordings: In Transit (so glad that I saw it in January) and A Bronx Tale. The last one is a master piece, looking forward to seeing it again in mid June.
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Post by theatremadness on May 31, 2017 18:17:30 GMT
Just finished listening to War Paint for the first time and oh my gosh I LOVE IT!!! My 2nd favourite new OBCR next to Groundhog Day. It's just full so so much sass, brass, style, substance and it's just old school musical beltresses giving it some. Lush orchestrations too. Love the music, some lyrics are questionable. But on the whole, this kind of musical is so much more personally up my street rather than something like Dear Evan Hansen, which I still moderately enjoyed, but not as much as some. And Patti LuPone is so unintelligible it's like she's doing her own Forbidden Broadway impression and I CAN'T GET ENOUGH OF IT. Her line reading of her first line on the recording just had me and I was gone. Pink is also a wonderful 5 mins of MT heaven!
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Post by michalnowicki on Jun 1, 2017 9:44:31 GMT
Pink is also a wonderful 5 mins of MT heaven! I think I must've been watching too many of Seth Rudetsky's deconstructions, because I'm obsessed about the little scoop (I think that's the term) Christine Ebersole does around 2 minutes 40 seconds of "Pink" where she sings "In ye-ars to come I wond-er how..." OBSESSED! |
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Post by Deleted on Jun 2, 2017 10:15:47 GMT
I'm currently listening to two cast recordings: In Transit (so glad that I saw it in January) and A Bronx Tale. The last one is a master piece, looking forward to seeing it again in mid June. Personally found A Bronx Tale incredibly boring. One listen was a enough. |
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