Track By Track: Carrie: The Musical (Off-Broadway Cast Recording)

Like so many musical theater fans, I was thrilled and excited to see the revised version of Carrie: The Musical back in 2012. For decades, I read everything I could get my hands on about the ill-fated Broadway production of the 80's. And I listened to my share of leaked songs. But, even with all of that, plus staring at the few production photos that are out there, I just knew I had to see it as a full production for myself. I finally did, and I loved it - flaws and all - and marveled at the talent - the stunning performances of the great Marin Mazzie and relative new comer Molly Ranson, backed by a youthful company of unknowns. Of course, now names like Carmen Cusack, Wayne Alan Wilcox, Christy Altommare, Derek Klena, Andy Mientus and Jeanna De Waal are known and beloved by theater fans. I'm a bit disappointed that (so far) it didn't go farther, but with a pedigree like this one, the cast recording is worthy of continued regular play. 

Track By Track:

Carrie: The Musical  Off-Broadway Cast Recording

Track 1: In ****

Puberty and teen angst prove to be a lethal combination in this show, and this opening number gets right to the root of it. The explosive outbursts and building tension not only sets the mood, but also reveals the ultimate irony - they all have the same fears and insecurities. They are all just different versions of Carrie White.

Track 2: Carrie *****

What a roller coaster ride of sadness, anger, self-realization, and dare I say it? Hope. "The sound of distant thunder, the color of flame...someday everyone will know my name." Great title number and performance by Ranson.

Track 3: Open Your Heart ***

"Let Jesus in." This is the closest we will ever see to a genuine mother - daughter love.

Track 4: And Eve Was Weak *****

This song, where Margaret turns the Bible's words against her own daughter is frightening - not only in the context of the show, but in context of today's evangelical Christians. It is also our first glimpse of the power of the late, great Marin Mazzie. They are truly a match made in Hell. And it is glorious.

Track 5: The World According to Chris ****

The pop sound and deceptively simple platitudes are perfect for this diatribe on teen self-centered existence. "Better to burn than get burned." This number also serves to move the plot when an unlikely friend emerges in defense of Carrie. De Waal and Ben Thompson are perfectly evil, soaking up the "everyone else is doing it" vibe. But the last lines are the most revealing about our villainess.

Track 6: Evening Prayers ****

A haunting duet between mother praying openly and reverently, and daughter locked in a closet praying to make sense of what is happening to her. The moment she first discovers her "gift" is a subtle one for Carrie, who still wants nothing more from her mother than love and acceptance. Another gorgeous duet. One wishes for a fuller orchestration here.

Track 7: Dreamer in Disguise ***

Jocks can have a heart and be poetic, even if they use clumsy metaphors. Here Derek Klena sings the heck out of a song that nails the awkwardness of young men and their emotions.

Track 8: Once You See ***

Another tender moment of teenage self-actualization and growth. We realize that Carrie's greatest allies are the kids who became adults. Christy Altomare is lovely here.

Track 9: Unsuspecting Hearts *****

This ballad could have been a top 40 pop hit for sure. Easy on the ears, and a welcome moment of clarity and understanding. When I saw this, I knew Carmen Cusack was going to be a star.

Track 10: Do Me a Favor *****

This dialogue-as-song moves the plot, sure, but it is so catchy you are forced to listen. The juxtaposition between competing Carrie White goals almost gives you hope that poor Carrie will have a happy ending. Almost. The real star here is the vocal arrangement.

Track 11: I Remember How Those Boys Could Dance *****

The act ends with a powerful aria for Margaret, with a duet with Carrie as a preamble. Mazzie's performance here is miraculous in its ability to make us understand why this mother is the way she is. We almost pity her, yet we are thrilled by the unleashing of Carrie's powers: the daughter effectively imprisons her mother the way she has been imprisoned.

Track 12: A Night We'll Never Forget ****

With ominous chords, act two beings in much the same way act one began, with the teens expressing their common fears and unrealistic hopes - this time the Senior Prom. Again, the vocal arrangements are exceptional. "You ain't seen nothing yet.."

Track 13: You Shine *****

Here's a sweet moment of reconciliation between two kids (who are showing a lot of adult selflessness) who have no idea how little time they have left. Klena and Altomare really do shine here. No wonder Anastasia fans love them so much.

Track 14: Why Not Me? *****

Ah, the prom night angst. It is a universal experience. For Carrie the uncertainty is outweighed by simply having the chance to have a night where she's just like everyone else. Her bravery and optimism is heartbreaking. Molly Ranson's best number.

Track 15: Stay Here Instead ***

Desperation can be cruel. Perceived rejection can be even more cruel. The way Mazzie speaks then sings, "Don't go," is both achingly sad and terrifying.

Track 16: When There's No One *****

Marin Mazzie's last big number sounds so beautiful and sad. And then you realize this mother is planning to kill her own daughter to "save" her. A chilling, stunning delivery.

Track 17: Prom Arrival ***

Tracks 17 - 22 may as well be one long number, such is the epic nature of this operatic Greek tragedy sequence.

Track 18: Unsuspecting Hearts (Reprise) *****

We find out that Carrie and Miss Gardner have a lot in common. A lovely reprise that makes the impending finale all the more poignant.

Track 19: Dreamer in Disguise (Reprise) ****

What a difference context makes! Another lovely reprise. Tommy really is Prince Charming. Another reason the finale is crushing.

Track 20: Prom Climax ****

The crude, simple language set against the driving rock guitar is fitting for the rotten kids who carry out their cruel plot against a sweet outsider. I love how "a night we'll never forget" weaves in and out of it. 

Track 21: Alma Mater ****

The dialogue and the sound effects here are the star, even as the song is the tune of the act one church song.

Track 22: The Destruction ****

As I said about the last song, the sound effects here are thrilling, as is the weaving in and out of musical themes and snippets of songs. I remember feeling the theater tremble as this was happening.

Track 23: Carrie (Reprise) *****

See the picture below.  It perfectly captures the sheer terror of this reprise sung as a lullaby. A quiet end for tortured souls.

Track 24: Epilogue *****

"One day you finally see her." What a beautiful vocal arrangement and song delivered by a cast full of musical aces. "Once you see, you can't unsee."

Overall Score:  4.25/5 Stars

#2484

The Broadway Ladies: Ms. Broadway July 2018: Christy Altomare

If you follow Twitter and/or Instagram, or if you are a young Broadway "stan," you probably know that Anastasia star Christy Altomare is a beloved presence at the stage door.  I don't know how shes does as much as she does without dropping to the pavement in sheer exhaustion! But having had the pleasure of seeing her in several shows, it is satisfying to know that she's as talented as she is nice to her many fans. Now well into her second year with the show (not even including the show's pre-Broadway run), one also has to admire her commitment. Congratulations, Christy! You are Ms. Broadway July 2018!

THE BROADWAY LADIES

Ms. July 2018

Anastasia's Christy Altomare
  

• Birthday: June 23
• Birthplace: Bucks County. Pennsylvania
• Theater Credits: Broadway: Mamma Mia! (Sophie), Anastasia (Anya); Off-Broadway: Carrie (Sue Snell); National Tour: Spring Awakening (Wendla); Regional: Daddy Long Legs, Camelot
• Awards: 2017 Theatre World Award winner

On Stage: 

 

CD REVIEW: Carrie (2012 Off-Broadway Cast)

She came back with a vengeance, that's for sure.  From a blood-drenched and campy oddball to a triumphant and transcendent Prom Queen, Carrie White returned to the New York stage like a pent up storm finally allowed to unleash her full fury and, yes, beauty.  Re-imagined from an overwrought unintentionally funny opera into an intimate examination of the ever treacherous American teenage landscape, Carrie is really about Anywhere, U.S.A., where "fitting in" trumps religion, personal growth and social responsibility.  The effects of bullying are in full view here, and despite the Stephen King-sized plot machinations, the message remains clear: there are only victims when people attack each other.

That Carrie was even revived is a thrill for this (and a lot of others) musical theatre fan, but that the score was finally recorded is the icing on a pretty terrific cake.  (Scroll down for the review!)

Grade: A

Title: Carrie: The Musical 

Artist: Premiere Cast Recording - 2012 Off-Broadway Company

Label: Ghostlight Records

Number: 8-6660

Format: Single CD

Case: Single Jewel Case

Booklet: 44 pages.  Full color, with production photos by Joan Marcus.  Complete lyrics, with a full synopsis.  Liner notes by Lawrence D. Cohen. Album produced by Joel Moss and Michael Gore. Executive Produced by Kurt Deutsch.

THE TOP 5 REASONS WHY YOU NEED THIS CAST RECORDING

5.  We must support the continued preservation of musical theatre.  Long a cult favorite, and one of the most openly "bootlegged" scores in Broadway history, Carrie has fascinated audiences and enthusiasts alike.  Now, the score (and portions of the book that are included) as the authors really intended it to be has been preserved.  We, as a small but loyal group, must support this kind of endeavor every time we have the opportunity.  Not only does the creation of a cast recording of such a non-mainstream work preserve the work for fans, it also aids in creating interest in future productions.  Considering the ethereal nature of live theatre, these kinds of recordings keep alive that which is essential only here in the moment.

Marin Mazzie and Molly Ranson

4.  Ghostlight Records has given it a first-class recording and presentation.  Fans of the show, not to mention collectors, will love this recording for the booklet as much as the recording itself.  It includes over a dozen production photos, some seen here for the first time, and the complete lyrics are here as well.  The essay by book writer Lawrence D. Cohen offers a telling, honest and unique first-hand account of the genesis of this troubled show - from the catastrophe in its London debut to the rare opportunity to re-examine and re-work a piece that the author feels so passionately about.  It goes without saying that the sound quality is superb - anything else these days would make headlines - even if it does expose the limits of the somewhat lean off-Broadway orchestrations.  Not that it is ever bad, one wonders how glorious some of the more ambitious sections would sound with actual strings and other instruments instead of synthesizers.  That small quibble aside, I have to share that since I got the CD, it has rarely left the rotation in my car and at work.  The more I listen to it, the more I find.

3.  Carrie has a rich, and at times, deceptively complex score.  The critics have often scoffed at the score, championing its operatic arias and duets in the mother-daughter scenes, while blatantly disregarding the more pop-driven numbers given to Carrie's classmates.  The music, by Michael Gore, and the lyrics by Dean Pitchford continue to have that dichotomy.  After all, Carrie White does live in two worlds at once - at home, under the harsh glare of mother whose love is blinded by a misguided religious fervor, and at school, under the equally unforgiving and even more judgmental stares of her peers at school.  The two contrasting styles of music remain from the original, but the balance between the two is much more complimentary while still striking.  Those amazing exchanges between Margaret and Carrie are as powerful as ever - "And Eve Was Weak," "I Remember How Those Boys Could Dance," and "When There's No One" are emotional powerhouses and epic even in their simplicity.  Now, though, the high school-centered numbers have been given more interesting and meaningful arrangements that place the characters rather than the emotions center stage.  The chilling re-do of the opening number, "In," with the student body as an eerie Chorus in this tragedy, in counterpoint to the individual lines of specific characters serve notice that the authors are taking all aspects of this world they've created seriously.  "Dreamer in Disguise," "You Shine," and the popular "Unsuspecting Hearts" offer not only sharp insights into the kids and their relationships, but all three are smoothly integrated throughout the score, meaningful motifs all.  "The World According to Chris," which does, ultimately, reveal the pain that drives the bad girl who ruins the prom and brings Carrie's wrath to bear, is the one real misstep in the score.  It is too poppy and bouncy for its own good; in this instance, the contrast between sound and content ends up being a campy reminder of what Carrie one was. The rest of the score almost makes you forget the past.

Bad girl meets good girl
(Jeanna de Waal and Christy Altomare)

Plotting to destroy Carrie White
(Jeanna de Waal and Ben Thompson)

Tommy and Carrie at the prom
(Derek Klena and Molly Ranson)

The Supporting Cast of Carrie

2.  The supporting cast is full of up-and-coming musical stars, all of whom add to the intensity of the piece with sharp characterizations and excellent vocals.  This is one of those productions people will talk about if for nothing else than the phenomenal company.  Even in the few months since Carrie closed, several of the cast members have gone on to bigger productions.  Good girl Sue, Christy Altomare, is currently Sophie in Mamma Mia!, good guy Tommy, Derek Klena, went on to star in Dogfight, while bad girl Chris, Jeanna de Waal is touring the country as Glinda in Wicked.  Wayne Alan Wilcox, who played Carrie's English teacher is now playing Sydney Chaplin, Charlie's brother in Chaplin, and ensemble members F. Michael Haynie and Andy Mientus are currently appearing in Broadway's Wicked and TV's Smash, respectively.  Klena and Altomare's duet, "You Shine" is a welcome addition to the score.  Carmen Cusack is a real gem here, both in her short book scenes and the terrific "Unsuspecting Hearts." On this recording, they all, to a person, offer full characterizations and well-sung performances.

Margaret and Carrie White
(Marin Mazzie and Molly Ranson)

1.  The performances by Marin Mazzie and Molly Ranson are reason enough to buy this recording.  As much as I truly love Betty Buckley and enjoyed the work of Linzi Hately in the original, Marin Mazzie and Molly Ranson really deliver the goods here.  Every time they are on, the hair on the back of my neck stands straight up and I am riveted.  Mazzie's powerful performance is as chilling and dramatic here as it was live - "And Eve Was Weak" sets a new standard for theatre arias.  Ranson breaks your heart every time she opens her mouth - her take on the title number is a thrilling tour de force, and her entire performance during the prom sequence is a carefully constructed emotional rollercoaster.  That said, some of the best moments on the entire recording are the moments the two speak and sing together.

Finally, Carrie is what it should have been in the first place: the story of a singular, special and misunderstood girl, and the bigger story of the effects of judging others just because they are different.  It still isn't quite perfect, but this recording should go a long way in helping Carrie take its rightful place in the American musical theater canon.

Before you go...

... DROOD fans!  Check out the running results of the voting!  Scroll over the colors in the pie charts to see the statistics!

... have you checked out the NEW Ms. Broadway, BETSY WOLFE?  CLICK her pic in the right hand column!

... have you voted in the 1st HOT or NOT poll for THE MYSTERY OF EDWIN DROOD? CLICK the show logo in the left column!

Jeff

4.055

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