Off-Broadway Cast Recording Review: Heated Rivalry

 Off-Broadway Cast Recording Review:

Heated Rivalry:

The Unauthorized Musical Parody

I was on the fence about whether or not I should even listen to this cast recording before seeing the show. Could I wait over a month to listen to the whole thing? Would listening to it spoil any of the surprises of the hit off-Broadway musical Heated Rivalry: The Unauthorized Musical Parody? Well, I kinda already spoiled it by listening to the infectious "Gym Song" dozens of times since the music video for it came out. I love it! So, why not listen to the rest of it? After all, I'm sure there are plenty of surprises in the book scenes.

As it turns out, I'm glad I listened to this fun cast recording ahead of seeing the show. Dylan MarcAurele's rapid fire lyrics are laugh out loud funny, so funny that at times I missed some of it because I was laughing. And the infectious tunes also by MarcAurele are serious bops, every one. Like all good parodies, this one skewers its source material while treating it with respect and - in this case - heartfelt love. I suspect anyone who sees this show won't appreciate all of it if they aren't familiar with the TV series. That said, there are enough sports (not just hockey) references and sec jokes to give even novices belly laughs. (I wouldn't necessarily play this where younger ears may hear it...)

Another smart thing about this score - and I'll assume the book is similarly smart - is that it cleverly sets up the conceit of the musical versus the novel versus the series in the opening number, "What We Want," also reprised as the finale. I won't spoil it for those of you haven't seen it yet, but I will say it really shows how aware the whole team is of its impact on culture. I love that the song pays tribute to both its Canadian roots and the woman that started it all, author Rachel Reid.

As far as the recording goes, the sound is impressive, with the music coming across as full-bodied and cleverly orchestrated. Vocally, it is also striking. Often, it struck me as remarkable that all of that was coming from just six voices! Most of the company plays several characters, and the recording has me excited to see how they play the characters as uniquely as their voices do. Ryann Redmond, who I've loved since I first saw her in Bring It On: The Musical, is a riot, and uses her impressive voice to give legitimate bona fides to each song she sings, especially "You're a Gay Guy." That song, like nearly all the others, encapsulates the idea that while it is outrageous fun, and really kinda dirty, it also has a sincerity and warmth that makes it all work so well. Cherry Torres and Ryan Duncan are similarly gifted with comic chops and versatility. Duncan is particularly funny as the counterpoint in "Gym Song."

Like the show and novel, the musical centers around Ilya Rozanov and Shane Hollander, and the recording really shows how great the casting is/was, with star turns by both Jay Armstrong Johnson and Jimin Moon, respectively. (Though Moon is no longer with the show, I'm sure his replacement, Troy Iwata, will be terrific.) 

The score, at least, if not the book, relies heavily on Shane Hollander's story, and as such he carries the heavier burden here. His sincerity and wide-eyed wonder at all of his self-discoveries comes across easily in Moon's interpretations. That's not meant to imply that the character, actor or songs are overwrought, but rather that he makes oblivious observations - dick jokes and double entendre are the point here - and the delivery is priceless. "I Can Host" gives him a terrific 11 o'clock number. 

Johnson does a spot-on Russian accent that is both realistic and the height of parody. His big number, "Big Ass, Cold Heart," manages to be both hysterical and touching. And when he utters the famous line, "I'm coming to the cottage," I have to believe he stops the show cold.

At just about 35-40 minutes, the cast recording proves to be smart enough not to wear out its welcome, but is also easy to listen to multiple times. I'm glad I chose to hear this ahead of seeing it, as I can now watch the show with the ease of not having to concentrate so hard on the words that I miss some of the action and what will surely be equally clever staging.

Here's to the rink, the Marriott gym and the cottage. Give this one a listen!

Grade: A

Review: OBCR: Water For Elephants

Cast Recording Review:

Water For Elephants

When I reviewed Water For Elephants, I had this to say about the score: "As good as the score is on one hearing as it is happening, I can't wait to get my hands on the cast recording and dig deeper." Well, I finally got a copy of the CD of the Original Broadway Cast Recording, and I'm glad I did! I was right. The more I hear it, the richer each experience is.

The 19-song score, by Pig Pen Theatre Co., weaves the traditional Broadway style with songs evocative of depression-era folk, jazz and more. And still, it feels very "now." A unique collaborative process (detailed HERE) seems only fitting for an art form that is truly collaborative, about another art form that is gloriously a team effort. I don't think a musical about the circus could have been in better hands in this case. Frankly, I am still baffled as to why it did not earn a Tony Award nomination.

Be that as it may, the score, with its beautiful orchestrations (by Daryl Waters, Benedict Braxton-Smith and August Eriksmoen) and amazing cast of performers, has been lovingly preserved in this album. We are all the better for it.

"Anywhere/Another Train": The recording does not preserve the Overture or Prologue that starts the show in the theater. Instead, the recording starts us off that beginning of young Jacob's perilous, life-changing journey. The urgency of the tempo and the complicated mix of instruments, definitely get the pulse going. What a great introduction to the powerful vocals of Broadway newcomer, Grant Gustin, and an array of characters. Turns out starting here makes perfect sense. A thrill ride of exhilarating harmonies and foreshadowing of what we are about to see/hear.

"The Road Don't Make You Young": I love the gorgeous harmonies and upbeat, down home orchestrations here. Ain't it so that this is a toe-tapping ear worm of the best kind. Just as the previous song introduced us to the hard working rousts and the seedy underbelly of the circus, this number introduces the kinkers and performers of the big top. What an amazing company number!

"Easy": The star of the show, Marlena (Isabelle McCalla) is introduced in this mesmerizing number. By turns exciting and mystical sounding, her easy (no pun intended) delivery does a lot of heavy lifting for a simple song: we know at once of Marlena's star-quality, her horse-whisperer powers, and her ability to captivate an audience (both character and actress).

"The Lion Has Got No Teeth": A showcase for the brilliant performance of Paul Alexander Nolan as the duplicitous August, owner and ringmaster, of the Benzini Brothers' Circus. A truth bomb of a song about the fake nature of the circus, it is genius to put the lies, lies, lies of this business into a show-stopping production, with its jazzy tune, its catchy lyrics, and irresistible dance breaks. As another show tells us, "give 'em the old razzle dazzle." No teeth for sure, but lots of bite.

"I Choose The Ride": Both Gustin and Stan Brown, as the aging worker, get to shine in this rousing ballad. A checkpoint of sorts about where these characters stand, this largely piano driven number, turns into an anthem about life's unpredictable choices.

"Ode To An Elephant": The irony of the lyrics and the fatal outcome is not lost on me here. Tragic.

"Just Our Luck": Another jazzy extravaganza number that serves as a brutal reality check. The vocal arrangements here are stellar.

"I Shouldn't Be Surprised": Here's a song that spans time, with Marlena the past, and the older Mr. Jankowski (Gregg Edelman). Blues-y call and response, the idea here is that rue and regret can happen instantly and upon years of reflection. The song is a reminder that I wish Edelman had more to do, song-wise.

"Silver Stars": The guitar/banjo/strings arrangement here is the perfect accompaniment to such a soul-searching epiphany number captures the simplicity of the character and the exaltation he is feeling at this make or break moment in his life. Gustin really shows what a great singer-actor he can be.

"The Grand Spec": This Act One closer does what all the best of them do - it big, dance-y and visually eye-popping number. Here we are, the crowd in the big top watching the show at last. What a curtain button!

"Funny Angel": Our narrator, Mr. Jankowski, brings us back into the action with a catchy solo jazz number, full of elephant puns. Edelman delivers here - an old school showman.

"Zostań": A song that starts in Polish that only the elephant can understand, is a song that progresses the plot and reveals the sense of optimism and relief that the company is feeling. The woodwinds, percussion and brass really lift this number up. It's as satisfying to listen to as it was to see.

"Squeaky Wheel": A showcase for most experienced circus family, they offer important advice, and a reality check against too much optimism. It is also, in retrospect, an ominous foreshadowing of profound tragedy. What a great musical moment for the great Sara Gettelfinger, Joe De Paul, Brown and Gustin.

"You've Got Nothing (Part 1)": Disguised as a tuneful ballad, this song turns really nasty as August, chief narcissist, groomer and abuser, unleashes his fury on his wife. (Nolan is superb here. I had chills the entire time.) 

"You've Got Nothing (Part 2)": Retribution and violence underscored by an orchestration that recalls the first song on this recording. (Nolan, Brown, and a terrific Wade McCollum are acting their asses off here.) Breathtaking.

"What Do You Do?": Here is Marlena's moment of reflection and realization. The guitars and the ebb and flow of the strings are stunning. McCalla has never sounded better.

"Wild": Throbbing with sexual tension, this duet between Jacob and Marlena, feels both inevitable and surprising. The driving beat here, insists that you pay attention. I particularly love when they sing in harmony. One of the best songs of the entire 2023-2024 season.

"Go Home": Haunting from the first notes, the background vocals are like ethereal ghosts, while Gustin's tortured vocals are simple yet powerful. The lyrics are emotional, evocative and so sorrowful. This one's pretty much an aria.

"Finale (I Choose The Ride)": A quiet ending to a powerful show.

I would have loved this to be a more complete recording - the Overture, prologue and several reprises are missing - but I'm so glad this album was made and that it is so damned good!

Grade: A+

Review: OBCR: The Outsiders

Cast Recording Review:

OBCR The Outsiders

The Tony Award-winning Best Musical of 2024, The Outsiders has released its Original Broadway Cast Recording. It features music and lyrics by Jamestown Revival - Jonathan Clay and Zach Chance - and Justin Levine. Levine also has a co-book writing credit (with Adam Rapp), as well as contributing the show's orchestrations and arrangements. They are all well-deserving of their Tony nominations. Here are some thoughts on the cast recording:

The show hews closely to S.E. Hinton's seminal young adult novel, and Rapp and Levine wisely expanded the show to include a deeper understanding of the characters and their relationships. With Levine as the bridge between the book and the score, his contributions are crucial to this being a carefully, skillfully integrated telling of this story where everyone is really an outsider looking to find themselves and their place in a society - wealthy and poor alike - in a world that doesn't really see them. As a result, even in isolation away from the staging, the recording offers and emotional, exhilarating listening experience. Every note, every lyric remains true to these beloved characters and their story. The mixture of 60s country-pop, honky tonk/rockabilly and folk feels so authentic, and just "Broadway" enough. Just like in the show itself, the recording showcases the quality of the ensemble cast, as well as the remarkable principal characters, with each give ample opportunity to show off their talents.

"Tulsa 1967" - The opening number sets up the story perfectly through the lens of its narrator, Ponyboy (Brody Grant), who lays it all out in simple turns of phrase, but with a mature awareness of reality that only comes to a teenager who has faced some tough times. The way it builds and builds to a crescendo is a great way to start the show with unmistakable energy.

"Grease Got a Hold" - Another high energy number that brings Ponyboy into the Greaser fold at the urging of the toughest of the gang, Dally (Joshua Boone). With smooth jazz and rapid fire runs. Here each Greaser gets a moment to shine, and come together with sharp harmonies in the choruses. As exuberant and cocky as the number is, there is an undercurrent of anger and resignation behind the catchy rock beat.

"Runs in the Family" - Here's where the musical takes a deeper look at the Curtis family. Brent Comer as Darrel lets us know where life has lead him - more father than brother. The sense of duty he has is both a source of pride and a constant reminder that this isn't the life he chose.

"Great Expectations" - With this song, Ponyboy realizes through his love of literature, that he has much in common with the Dickens novel he's reading. He and the Greasers all dream of better - again their harmonies are spectacular, and Grant shows that he is a force to be reckoned with as the new generation of Broadway talent emerges.

"Friday at the Drive-In" - Our first look at the Socs is a catchy bop of a song, full of references to all that they have and take for granted. As Cherry, Emma Pittman gives us our first glimpse of the character in the company of her group and all the expectations that come with it. The song is a swinging number that parallels the Greasers' earlier number, with intense keyboards and rock guitar.

"I Could Talk to You All Night" - Pittman and Grant establish a chemistry here that is as palpable on the recording as it is in the theater. You can't help but wonder what might have been with these two if their circumstances were different. They both seem shocked at how they aren't really that different. Simply played, but impactful.

"Runs in the Family (Reprise)" - Darry's fear as anger in this hardcore reprise ends up being the catalyst for all of the events to come. So powerful.

"Far Away From Tulsa" - At an emotional crossroads, Ponyboy at odds with his brothers, Johnny (Sky Lakota-Lynch) virtually ignored by his family, the best friends plan to run away to greener pastures and how they'd be each other's family. A beautiful power ballad duet, that ends with a full company reprise of "Great Expectations."

"Run Run Brother" - As things come to a violent turning point, the boys, needing to flee for their lives. A great act closer, this number is simply orchestrated to make the dialog crystal clear, and an urgent, driving beat, it makes everything feel desperate and exciting, especially as the entire company comes in to sing the final choruses, ending with the roar of a passing train out of Tulsa. Grant, Lakota-Lynch and Boone are superb here.

"Justice For Tulsa" - Act Two begins with an ominous tune with a dangerous ticking beat, suggesting an urgency of time running out, and the lyrics revealing a finger-pointing mob and others defensively denying all. As the number progresses, it is interesting how the music and vocal arrangements depict the in-fighting within the Socs. The title, of course, really only means justice for some, not all of Tulsa.

"Death's at My Door" - The largely acoustic nature of the instruments here allow for some stellar vocals and acting by Grant and Lakota-Lynch. Guilt transitions to compassion and togetherness as these friends now depend on each other for survival.

 

"Throwing in the Towel" - A brilliant showcase of the aftermath and consequences of horrible events, here's the best expansion of the original work. The Curtis brothers are hurting and scared, and Comer and Jason Schmidt (as Sodapop) deliver powerful vocals, and when Grant joins in, in three part harmony, it's probably the single best moment of the score and of the Broadway season. Gorgeous and heartfelt.

"Soda's Letter" - With its happy-go-lucky feel and plucky tune, this short bit gives Schmidt a great moment to shine on his own. I love his voice - the perfect blend of professional and character.

"Hoods Turned Heroes" - The relief and pride resonates in this rocking number encapsulates the theme of expectations vs reality - Greaser's can be the good guys. With some great vocals from Two Bit (Daryl Tofa), this is a toe-tapper.

"Hopeless War" - A poignant but brutal reality check, this is a great showcase for Grant and Pittman, both of whom use restraint rather than histrionic vocalizing to bring home the point. 

"Trouble" - The orchestrations - urgent strings, pounding percussion and electric guitars - are the stars of this interlude as the rivals prepare for a rumble. "Do it for Johnny!" is a war cry for the ages.

"Little Brother" - A powerful soul-blues showcase for the brilliance of Boone's performance. The song fits the post-rumble scene perfectly, but it bears the weight of so much more - the poverty cycle continues, taking victim after victim. Loss, regret and an explosive guilt are superbly conveyed here. A self-eulogy is a shocking and thrilling way to convey this profound tragedy.

"Stay Gold" - From beyond the grave, Johnny connects with his best-friend one last time in a moment of clarity and understanding. Simple acoustic guitar with simple, beautifully sung harmonies really makes this so sad, yet uplifting. Keep a tissue close when you listen to this one. 

"Finale (Tulsa '67) - Musically back where we started, but emotionally eons apart. A great coda to a beautiful show.

Grade: A

ReDISCoveries: The Beautiful Game (Original Cast Recording)

ReDISCoveries: The Beautiful Game

(Original Cast Recording)

Jeff has kindly invited me to revisit and review some of the older cast recordings in my collection. Every other week or so, I’ll write about a new CD, offering some general impressions followed by my thoughts about each individual song. This week I’ll take a quick tour through the 2000 Original Cast Recording of Andrew Lloyd Webber and Ben Elton’s The Beautiful Game.

An ambitious show about love, soccer, and terrorism, The Beautiful Game lasted just under a year in its original London production. It closed ten days before the 9/11 attacks on the United States, which destroyed any chance of such a show transferring to Broadway (I don’t think it has ever been performed in this country). A revised version, which has been produced in the United Kingdom and Australia, bears the new title The Boys in the Photograph.

Coming in the wake of shows like Sunset Boulevard and the ill-fated Whistle Down the Wind, this first ALW musical of the 2000s was much smaller in musical scale than any of his earlier, more familiar works. Nothing here comes close to the lushness of “The Music of the Night” or “With One Look,” but there are several charming and effective songs in the score - frankly, more than I had remembered before I revisited the recording. The book and lyrics are by comedian Ben Elton, whose jokes and wordplay mostly work very well. Overall, I think this is one of the better set of lyrics for an ALW show without Tim Rice, but some of them are sure to frustrate true-rhyme purists. 

The fairly complicated story focuses on the members and associates of a Catholic soccer team in Northern Ireland in the 1970s, particularly John, a star player, and Mary, one of the team’s fans. The two grow closer and eventually marry; John, originally uninterested in politics, is gradually drawn into the IRA underworld by his best friend Thomas. John and Mary have a baby, but John becomes entangled in a tightening web of violence. In the end, Mary no longer recognizes the man she married, and she prays for a better future for her son.

THE SONGS

I use a star (*) to mark the songs I particularly like, and my overall favorite gets two

stars (**). 

Overture: The funky meter, ethereal flute (playing a version of “God’s Own Country”), and urgent chords that begin the show immediately place us in a vaguely Celtic, vividly chaotic world. The energetic dance music that follows solidifies both of these first impressions. 

The Beautiful Game: As might be expected, this catchy song, with verses propelled by an insistent rising rock vamp, celebrates the glories of the titular game (“it isn’t a game, it’s more important, sacred, holy, and divine”). The rousing chorus, right out of an Irish drinking song, certainly gets the listener in the right mood for what’s to come.

Clean the Kit: Not quite as rousing is John’s (David Shannon) first number, which sounds like a lesser song from Rent; the fast-paced lyrics have him contemplating his bright athletic future while he’s stuck cleaning up the team gear. His friend Mary (Josie Walker) is openly dismissive of his prospects. In a mid-song spoken section, we’re also introduced to Protestant-turned-atheist teammate Del (Ben Goddard), who is mixing it up with some Catholic nationalists who want him off the team. 

Don’t Like You: When a boy and a girl sing a song called “Don’t Like You” this early in a show, what do you suppose is going to happen? (Only halfway through the song, Mary already admits: “all right, I vaguely like you.”) This gentle duet features some cute banter that takes John and Mary on a quick journey from low-key contempt to incipient romance, but it gets a bit repetitive by the end.

*God’s Own Country/Protestant March: In this beautiful anthem-like ballad, Mary extols the glories of her homeland (“God is love, and I know he loves this land”). Walker gets to really show off her vocal talents for the first time; I find her voice pure and pleasant, if a little squeaky near her top notes. She’s soon joined (vocally) by a Protestant girl (Dianne Pilkington), who echoes her love for Ireland, but the political fissures between the two camps soon shine through in the lyrics. An immediate reprise establishes the anger of a group of Protestant protesters (“you’ll be buried in the dust, for if not you’ll bury us”).

Let Us Love in Peace: The protesters have trashed the Catholic team’s locker room, as has been witnessed by our more sexually progressive secondary couple, Del and Christine (Hannah Waddingham), who had been making love there. As the title implies, they hope (à la “Somewhere”) for a future space where they can love each other without fear of violence, as they sing this trance-like post-coital duet: “just for fun/think of one/ordinary day.”

The Final: Echoing some of the music from the overture, this song accompanies the team’s final (winning) match of the season. It’s mostly instrumental, with some outbursts from the team, coach, and individual players. Written to accompany some innovative choreography created to simulate the game, the song comes across as a little monotonous on the recording, and I admittedly don’t know soccer well enough to follow the lyrics in detail.

Off to the Party/The Craic: To music reminiscent of “The Lady’s Got Potential” from Evita (the original album and the movie), the soccer boys go out to celebrate (the lyrics emphasize that they’re going to get very drunk). Their coach, Father O’Donnell (Frank Grimes), encourages them to celebrate in the spirit of friendship and tolerance towards their rivals. The boys do indeed party and get drunk with their girlfriends in the trippy, dissonant music that ends the sequence.

Don’t Like You (reprise): Another couple, Ginger (a guy, played by Dale Meeks) and Bernadette (Alex Sharpe), get together at the party. 

**Our Kind of Love: Christine convinces her very Catholic best friend Mary to approve of her relationship with atheist Del in this sweeping number (“our kind of love’s for those who dare”), which gives future theater and TV star Waddingham the opportunity to show off her impressive belt.

The song’s main melody began life as “The Heart Is Slow to Learn,” which was written for an early attempt at a Phantom sequel (and the tune indeed ended up in the Love Never Dies title song). Having first heard this quasi-operatic original version (sung by real-operatic Kiri Te Kanawa), I was disappointed to hear it stripped of its beautiful verses and luxuriant orchestration for “Our Kind of Love.” Despite this disappointment, the melody - and Waddingham’s delivery - is so gorgeous that I still have to consider it the best song of the show.

Let Us Love in Peace (reprise): The friend group has found out that Ginger has been murdered by a rival gang of thugs, and they gather to mourn and comfort each other as the first act ends.

The Happiest Day: The bells are ringing for John and Mary’s wedding day; both are excited but nervous (“will this be the day I go to prison, or is this the happiest day of my life?”). 

*To Have and to Hold: All doubts have disappeared when it comes time for the vows, which the couple delivers to this poignant song, which I’m sure has been played or sung at at least a few ALW fans’ weddings. The singing, particularly the choral arrangements, are a highlight here. 

*The First Time: I’ve always had a soft spot for this tenderly comic song, which endearingly portrays John and Mary’s respective difficulties navigating their wedding night bliss (“close my eyes/try to rise/to the occasion”). Of course, they figure everything out, but their night will be cut short when John’s best friend Thomas (Michael Schaeffer), an IRA member, asks for John’s help in an urgent situation - a different kind of “first time” for the previously apolitical John.

I’d Rather Die On My Feet Than Live On My Knees: Thomas begins to persuade John of the necessity for fighting in this brief electronica-tinged rock song, reminiscent of Starlight Express. 

God’s Own Country (reprise): Del and Christine give a bittersweet farewell to their friends as they leave for New York to escape the violence. The lyrics are particularly powerful here: “tears have always flowed from God’s own country, a nation’s children scattered far and wide… it’s the story of our race, gone to seek a better place”). Mary agrees that it’s probably time for her and John to move on to a safer place to raise a family.

Dead Zone: In jail after his foray into violence, John sympathizes more and more with the IRA prisoners. The obsessive, repetitive music is not particularly fun to listen to, but appropriate for the song’s setting. 

If This Is What We’re Fighting For: Mary, with her newborn baby, directly witnesses an act of extreme violence. Singing mostly a capella, Mary condemns this violence (“though our cause is just, we’ve betrayed its trust… we’ll be one nation in the grave”).

*All the Love I Have: John has discovered that his friend Thomas betrayed him, and he kills his former friend. As he prepares to flee to England to work for the IRA, he leaves some treasured mementos for his son and says goodbye to Mary, who no longer recognizes him (“and so we all must pay the price/for such a stupid sacrifice”). Frankly, the song is probably too low-key for this weighty moment, but the wistful music is evocative of the couples’ feelings of regret for what’s happened and yearning for something better (though their disagreement on how to achieve it proves irreconcilable).

Finale: Looking at a team photo left by John, Mary memorializes those who have been killed or crippled, fled Ireland, or gone off to fight and kill; her young son goes off to play soccer with his friends. The show ends with a reprise of “Our Kind of Love,” with Mary determined to build a better world for her son and his generation (“no child was ever born to hate”).

 

ReDISCoveries: Assassins (Original Cast Recording)

ReDISCoveries: Assassins (Original Cast Recording)

Jeff has kindly invited me to revisit and review some of the older cast recordings in my collection. Every other week or so, I’ll write about a new CD, offering some general impressions followed by my thoughts about each individual song. This week’s entry is about the 1991 original off-Broadway cast recording of Stephen Sondheim and John Weidman’s Assassins.

Although Assassins is one of Sondheim’s later works, it was one of the very first to seize my attention when I started really exploring his catalog as a college freshman. Among his earlier works, I was really only familiar with (and obsessed with) Sweeney Todd at the time, so when I saw this recording of a brand-new Sondheim show at Tower Records on West 4th Street, I didn’t hesitate to spend some of my meager funds.

I could not have made a better choice. With lots of variety and some catchy tunes, I found the songs very easy to enjoy even on the first listen (which hadn’t been true of Sweeney Todd). Even better, as a young person cultivating my own cynical outlook on history and politics, the show’s exploration of America’s dark side was right up my alley. This combination of accessible music and challenging themes made this CD an immediate and lasting favorite, and it’s one of a few discs that I literally listened to until I wore it out.

I decided to revisit the original recording for a couple of reasons, aside from the nostalgia factor. One is the orchestra: as per the liner notes, orchestrator Michael Starobin leapt at the opportunity to present the show in a new light by expanding his Playwrights Horizons trio into a 33-piece ensemble, by far the largest orchestra to be heard on any recording of the show. In some cases, as in Sondheim’s tributes to two other great American composers (see below), these expanded textures make a huge difference.

But I also gravitate to this recording for something that’s not on it: “Something Just Broke.” Written for the subsequent London production and included in every version since then, I’ve never loved the song or its placement in the show, for reasons I’ll touch on later in the review.

In Look, I Made a Hat, Sondheim wrote that, of all his musicals, Assassins is the one that most perfectly realized the creators’ original intent in writing the show. As someone who has admired the work - and particularly loved this specific recording - for my entire adult life, I am in no position to disagree.

THE SONGS

I usually assign stars to mark the songs I particularly like, but I don't think that makes much sense here. If you twist my arm, I'd have to say "The Ballad of Booth" is my favorite, but I think all of the songs are worthy of stars. “The Gun Song” and “The Ballad of Czolgosz” are on one CD track, but I separate them here because they’re clearly two different songs.

Everybody’s Got the Right: The score begins, perhaps inevitably, with an iteration of “Hail to the Chief,” which not only hints at the show’s subject matter, but also provides motivic figures for several songs to come. (Think, for example, of the melodies associated with the phrases “bring a nation to its knees” in “The Ballad of Booth” or “Jodie, Jodie” in “Unworthy of Your Love” - these can be matched with little sequences from “Hail to the Chief.”).

The opening song itself is an economical tour de force, with its pithy invocation of the show’s theme of dangerous disillusionment and rapid-fire introduction of most of the show’s characters, culminating of course with their pioneer, John Wilkes Booth (Victor Garber). The tone of the music alternates effectively between gloomy and ill-tempered as the Proprietor (William Parry, below right, center) interacts with the individual assassins, and bright and optimistic as he assures them that “everybody’s got the right to be happy.”

When I first heard the CD I thought it was a little awkward that the show introduces two different narrator-adjacent characters in its first two songs, but I’ve come to appreciate the meaning of this: the Proprietor and the soon-to-be-introduced Balladeer (Patrick Cassidy, below left) are pulling in opposite directions, one towards rebellion and chaos and the other towards more traditional American ideals. I’ve always wished the Proprietor had a little more to do later in the show, perhaps an appearance in the verbal battle between Balladeer and assassins in “Another National Anthem.”

The Ballad of Booth: The first of several complex numbers in the score, this song deftly exploits the juxtaposition of at least three musical styles. The balladeer’s platitudes about American tragedy and recovery that begin and end the song (“someone tell the story…”) are set to something akin to contemporary soft pop. When he turns his attention to Booth specifically, the music becomes twangy and folksy while the words are glib and ironic. Finally, Booth gets some of the tenderest, most conventionally beautiful music Sondheim has ever written, an even deeper layer of irony that cajoles us, for just a moment, into sympathizing with the villain of the piece. Garber and Cassidy are flawless in their respective roles here.

How I Saved Roosevelt: This is one of those numbers where the large orchestra pays dividends: I always thought it was a particularly stirring moment when the thin radio broadcast that introduces the show gives way to the lush, brash statement of Sousa’s El Capitan march. Sondheim may not have had to write as much music for this song, which borrows from some other famous marches as well, but he more than makes up for it with some hilarious, pointed, and amazingly detailed lyrics. Sondheim and Weidman somehow manage to create several vivid characters almost out of thin air, with each bystander boasting in his or her own way about their dubious contributions to history. (I’ve always loved how one of them anxiously blurts out “she means Roosevelt” to make sure we know he wasn’t blowing any kisses.) 

The other side of this, of course, is the bitter ranting of Zangara (Eddie Korbich), whose music is flippant and resigned. It’s a hallmark of this musical that, even as the authorial voice clearly must condemn each of the assassins’ violent choices, most of them are given some sensible-sounding things to say before they die or fade to obscurity.

The Gun Song: Yet another song that relies on the juxtaposition of musical styles, this song moves quickly between Czolgosz’s (Terrence Mann) morose obsessiveness, Booth’s upbeat appraisal of the utility of violence, Guiteau’s (Jonathan Hadary) unsettling goofiness, and Moore’s (Debra Monk) manic panic. All the while the song gradually builds up towards its intense barbershop-quartet climax before collapsing back to the depths from which it began. As I type all that it sounds impossibly chaotic, but of course the master at the peak of his game makes it seem like an organic whole, the most natural-sounding thing in the world.

The Ballad of Czoglosz: I’ve always loved the undulating, dense, almost mechanical-sounding orchestral texture that begins this song; it’s one of those things that reminds me of something that I’ve never quite been able to place. It somehow evokes a naive faith in progress, appropriate to the song’s setting at the Pan-American Expo. One of the simpler songs in the show, sung entirely by the Balladeer, its catchy melody and “There Was an Old Lady”-style cumulative lyric once again serve as ironic commentary on a now-forgotten low point in American history. There’s an irreconcilable clash between the Czolgosz’s version making one’s way to the head of the line and the Balladeer’s own appeal to that pat turn of phrase.

Unworthy of Your Love: This superficially lovely torch song, a ‘70s-era pop pastiche, belies any claim that Sondheim can’t write pretty melodies; he’s perfectly willing and able to do it when a scene calls for it. Especially if the result is wickedly funny, true to character, and slightly perverse (ok, perhaps more than slightly). I don’t have too much more to say about it, but I’ll admit that it took me a long while to notice a “hidden rhyme” in the lyrics (along the lines of the laugh/caftan pattern in “The Ladies Who Lunch”): in the first verse, Hinckley (Greg Germann) inconspicuously rhymes sky with I, and Fromme (Annie Golden) follows suit in the second verse by rhyming god with the first syllable of body.

The Ballad of Guiteau: Sondheim once again makes use of several familiar musical styles to tell the story of Guiteau’s final moments. The Balladeer, of course, narrates Guiteau’s trial and conviction in a neutral folk-ish style; in his own sections, Guiteau alternates between optimism (sung and danced to a jaunty cakewalk) and penitence (a plodding spiritual). Chaos here is a feature rather than a bug, as Guiteau’s mental state flickers to fear and then determination as he ascends the gallows. Kudos to Hadary for the juiciest interpretation of this song that I’ve heard so far.

Another National Anthem: The ethereal voices of the (mostly) dead assassins, complete with celestial “ahs” from the chorus, finally express their frustration with various unmet expectations: American society (embodied by the Balladeer) failed them in their pursuit of happiness, and their acts of violence (encouraged by the Proprietor) failed to provide relief. This leads to a final showdown between the Balladeer and the assassins, led by Byck (Lee Wilkof); of course, they decisively reject his point of view. The song itself is a metaphor for this rejection, as they vow to replace the traditional national song with their own disruptive one in a desperate attempt to make themselves heard. 

November 22, 1963: This long non-musical scene is wisely included on the recording. Without it, the ending wouldn’t make much sense, and listeners would be left wondering why Lee Harvey Oswald (Jace Alexander) barely appears. The tension comes through on the recording as clearly as it does on stage, and in all my years of listening to the CD I’ve never skipped this track.

You Can Close the New York Stock Exchange/Everybody’s Got the Right: The final track picks up at the end of this book scene, as the assassins’ underscored promises of fame develop into a cacophony of demented voices urging Oswald to kill the president. In the most thrilling moment on the CD, the voices stop, the shot is heard, and we immediately hear the grandest statement yet of “Hail to the Chief.” This is another moment when the huge orchestra pays off, making it radiantly clear that this is a tribute in style and scale to the climactic variation of the “Simple Gifts” theme from Copland’s Appalachian Spring, complete with bitonal touches that would be lost with a smaller orchestra. (My main issue with “Something Just Broke” is that it destroys this moment that has so captivated me for more than three decades. The idea behind the song is obviously sound, and there’s nothing wrong with a low-key meditation to provide variety in an otherwise raucous show, but its placement necessarily dissipates the tension built up in the scene leading to Oswald’s choice to pull the trigger.)

The show ends where it began, with a final statement of “Everybody’s Got the Right” from all the assassins. This time Oswald is included; his line, stating that a free country “means you get to connect,” resonates with Sondheim lyrics going back to West Side Story, where being a Jet meant that “you’re never disconnected,” up to Sunday in the Park with George, where the protagonist urges himself: “connect, George, connect!”