Broadway in a Box CD Review: Chicago (OBCR 1975)

Broadway in a Box CD Review:

Chicago (OBCR 1975)

At Christmas a few years ago, Jeff gave me a copy of Broadway in a Box: The Essential Broadway Musicals Collection. He has now given me the opportunity to use his blog to share my impressions of each of the 25 cast recordings contained in the set, in alphabetical order. 

This week’s entry is about the 1975 Original Broadway Cast Recording of Chicago.

Like many people, I first became familiar with Chicago through the 2002 Oscar-winning film and, especially, its soundtrack recording. As I was listening to this Broadway recording, I couldn’t help but compare its content and performances to the newer version more familiar to me. Accordingly, I’m arranging this entry as a comparison between the two recordings, indicating my personal preference for each of the various elements.

   

VELMA KELLY: Broadway

Chita Rivera is one of two performers on this CD that are probably impossible to top. From the first notes of “All That Jazz,” her singing is rich and character-driven, and I hear she danced the part pretty well. I very much enjoyed Catherine Zeta-Jones’ take on this part, but it’s unfair to expect her to live up to a legendary Broadway triple-threat.

ROXIE HART: Soundtrack

Well, maybe I shouldn’t have spoken so soon! Gwen Verdon is an equally legendary Broadway triple-threat, but there’s something about this particular interpretation that, at least on an audio recording, doesn’t measure up to Renée Zellweger’s juicy take. Verdon is surely a better singer, but her fluttery vocals don’t quite do it for me in this performance. Zellwegger also does a better job making you believe that anyone would believe that she’s an innocent bumpkin - note the contrast between her demeanor in “Funny Honey” and “Roxie.”

BILLY FLYNN: Broadway

Jerry Orbach sings the part in a way that is attractive while conveying his essential cynicism. His vocal acting (for lack of a better term) is at least as good as Richard Gere’s in “We Both Reached for the Gun,” but his more legitimate singing is leagues ahead in songs like “All I Care About.” This is another performance that no one is likely to beat anytime soon.

MERRY MURDERESSES: Soundtrack

The actresses in the film have an edge and an anger in “Cell Block Tango” that comes across much more vividly on recording than the more subdued performances here. Even if, as I suspect, some of the takes from the movie are slightly anachronistic, they just make for a more satisfying experience as they tell their stories. 

MATRON: Soundtrack

Basically the same comments apply for Queen Latifah’s soundtrack version versus Mary McCarty’s interpretation on the Broadway recording. I don’t know how they would have compared if I’d seen the stage version, but on CD I much prefer Latifah’s more colorful take on “When You’re Good to Mama.”

AMOS HART: Tie

This one is a classic case of excellent singing (Barney Martin on the Broadway recording) versus vivid vocal acting (John C. Reilly on the soundtrack). Each version of “Mr. Cellophane” works for me in its own way, so I’ll call it a draw.

MARY SUNSHINE: N/A

Christine Baranski only sings a few measures in “We Both Reached for the Gun” on the movie soundtrack, so there’s no point in comparing her to M. O’Haughey’s unique vocal performance on this recording. Instead, I’ll say that I find that the bizarreness of this character, as originally conceived, doesn’t do anything for me; in fact, it takes me out of the moment each time the character is present, both on this recording and when I finally saw the superb Broadway revival.

ORCHESTRA: Tie

I think the soundtrack version has slightly fuller orchestrations that help make the brassy flourishes in “Cell Block Tango” pop a bit more, but I like the often faster tempos on the Broadway recording, so this is another draw.

COMPLETENESS: Broadway

The Broadway version is the clear winner here. The movie soundtrack cuts “A Little Bit of Good” (Mary Sunshine’s song), “My Own Best Friend,” “Me, My Baby,” and “When Velma Takes the Stand,” adding only the new closing credits song, “I Move On.” (“Class” was cut from the movie but is included on the soundtrack recording). 

Next up is the Original Broadway Cast Recording of A Chorus Line. 

Lots to unpack here, Mike! Thanks for this unique way of looking at a Broadway classic.  Jeff

#2612

 

Fosse/Verdon: Episodes 7 - 8

Sure, it was soapy, but the musical theater nerd and Bob Fosse fanatic in me loved every single minute of the miniseries Fosse/Verdon. And I am sad to see it go. I'll especially going to miss watching the marvel that is Michelle Williams, who better get an Emmy for her efforts. Hers a performance far beyond a mimicry of the beloved Tony winner, but rather a fully realized character. Also - it is time for her to return to Broadway, in a musical, please.

And so, here are a few thoughts on the last two episodes.

EPISODE 7: "Nowadays"
The episode every fan of Chicago has been waiting for! Interesting to watch (however compressed events were for dramatic effect) how Gwen got her way in finally getting the show on, and how Fosse punished her for "forcing" him to do it after years of badgering him about it. That cycle of satisfaction for one/pain for the other - a common theme in their relationship, apparently - is perfectly encapsulated, as he takes away dance steps in "We Both Reached For the Gun," (featuring a terrific Tyler Hanes as Jerry Orbach.  And later how he kicks her when she's down - hiring Liza Minnelli to replace her while she was out of the show. The wordless scene of Williams returning to her dressing room, tearing a note from Liza off her mirror and just staring at herself was beautifully understated.

Best sequence of the episode: Kander, Ebb, Rivera (an exquisite Bianca Marroquin), Fosse and Verdon gathered around the piano in the 46th Street Theatre lobby, with Gwen singing a wonderful solo version of "Nowadays." After an argument, Fosse tells her it will be a duet, and she really lets him have it. You go, Gwen!

Also, I love, love, loved the recreation of the original Chicago sets by Tony Walton and Jules Fisher's lighting design. I never realized how much I missed color in that show!

EPISODE 8: "Providence"
Just as it began, so did it end, with Sweet Charity. This time, it's the '86 revival/'87 national tour, but the roles are the same. Bob is a taskmaster perfectionist, and only Gwen can get it right. But before that, we saw the making of All That Jazz, hurtfully copying a cherished memory for his daughter, and humiliating his ex-lover. As the show guided us toward its inevitable conclusion, we see lives in turmoil and lots of unhappiness. Friends die, lovers leave and start families far away. And a daughter descends into the abyss of addiction, unchecked, it would seem, by either parent.

Best sequences of the final episode: When Nicole joins her dad in choreographing "Mr. Bojangles," and that same sequence played out with a young actress and Roy Scheider  (cameo by Lin-Manuel Miranda, of course...). Then there's the recreation  of the "Bye Bye Love" scene from All That Jazz, where Bob does a take at the urging of his cast.

The final moment, when Bob dies in Gwen's arms is as poignant as it is touching. Michelle Williams and Sam Rockwell do wonderful work here. A great ending to a wonderful miniseries.

#2087

FOSSE/VERDON: Episodes 4 - 6

Bob Fosse, Nicole Fosse and Gwen Verdon

As the FX miniseries Fosse/Verdon continues, I admire the show more and more, and I am completely smitten with the brilliant Michelle Williams. I've always been a big fan of Bob Fosse - I think of him in the same terms as Stephen Sondheim, which is to say I think he was a genius who was way ahead of his time. Challenging expectations, boundaries and decency was his stock in trade. All one needs to do is look at the revival of Chicago to see that he did all that before anyone else did, and his work (and that of his protege, Ann Reinking) is as relevant today as ever, if not more so.

These next three episodes are definitely more Fosse-centric. SPOILERS AHEAD.

EPISODE 4: "Glory"
So far, this is my favorite episode. Both the story's drama and theatrical presentation are exciting, as life parallels art. The art is the making of one of my favorite shows, Pippin, with an emphasis on the creation of the signature "Manson Trio" section of "Glory." It is also our first glimpse of Ann Reinking (a striking Margaret Qualley), and a pretty blunt examination of Bob's womanizing, drinking, drugging and fornicating. All of this is set against the pinnacle of his career - 1973, year of 1 Oscar, 2 Tonys and 3 Emmys. Talk about glory... But, as is often the case, all of the accolades aren't enough, and depression and thoughts of suicide ensue.

The best sequence of the episode is the end, when Pippin's grand finale turns into Fosse's. It is thrilling and chilling. And I'll never look at Pippin the same way again.

EPISODE 5: "Where Am I Going?"
Fresh out of the psych ward and putting up a massive front, Fosse has gathered friends and family to the Hamptons for a getaway weekend. Under the guise of a healing vacation for a mourning Neil Simon (the terrific and underused Nick Corddry), it soon turns into an intervention, with Bob's wife and mistress arguing for him to slow down, and his best friends, Simon and Paddy Chayefsky (a wonderful turn by Norbert Leo Butz) resigned to the fact that Bobby will do what Bobby wants regardless of the consequences.

Best sequence of the episode... there are actually three: Gwen's soliloquy about why making a movie is bad for his health, but doing her project, Chicago, is just what the doctor ordered. Then there's the delicious exchange between Gwen and Ann who make up and join forces to keep an eye on their guy. And finally, when Williams delivers a beautiful "Where Am I Going?' from Sweet Charity. I love how these songs are inserted throughout to inform the story and characters, fitting in pretty perfectly without changing a word.

EPISODE 6: "All I Care About Is Love"
This time around, the story is told through the concept of the film "Lenny." (It also reminds me a lot of All That Jazz, which makes sense.) Several sequences of time-jumping fast film cuts reveal a lot about what makes Fosse the mess of a man that he was. With child sex abuse, a rotten father and ridiculous mother, and many people in his life telling him "no" and that he's not good enough all far outweighing the positives, it is really no wonder. We also get to see the complexity of the Fosse-Verdon-Reinking relationship - confusing for the child caught in the middle, and both women, especially Reinking, who is realizing she's the one offering a get well lay, and still has to sit out in the hallway waiting.

Best sequence of the episode - the saga of Chicago's first rehearsal, including "All That Jazz" choreography and Chita Rivera (Bianca Marroquin), all leading up to Bob's showstopping heart attack. You read about it, but seeing it plated out is something different altogether!

#2078

Fosse/Verdon: The First 3 Episodes

WARNING: THIS ARTICLE CONTAINS SPOILERS FOR THE FIRST THREE EPISODES OF THE SERIES.

I've had a thing for Bob Fosse and Gwen Verdon since almost the beginning of my lifelong love of musical theater. It all started with a framed copy of the original Broadway poster from Sweet Charity, a gift to my high school drama director from the cast of their production of the same show a couple of years before I arrived. I was so taken by the pose of Verdon - hip strut, knee bend, flexed foot...and the look on her face. I was smitten and had the cast recording the first Saturday after I saw it. Then we did Pippin. Immersed in the Fosse frame of mind, practicing our best jazz hands, life was all about The Manson Trio for 4 months.

So, you can imagine my reaction when Fosse/Verdon was announced. "Fan girling" doesn't even come close. So far, I'm happy to say I am thrilled with the result. Where to start?

EPISODE #1: "Life is a Cabaret"
The nonlinear presentation of events heightens the drama and relieves the series of the burden of a documentary feel. Instead, while we see events depicted, Bobby and Gwen (and their host of famous friends and conquests) are treated like characters. In that sense, knowing anything at all about the subject isn't a requirement. That said, I can't imagine people not already interested in musicals, musical films or musical stars would enjoy this. Even so, there is a nice balance between plot and insider/meta moments. Of course, I loved the passing comment from Hal Prince about Company. And seeing them function in real world settings with the likes of Neil Simon and Cy Feuer is a treat for the theater geek in me.

Knowing that Fosse was a highly sexual, meticulous bastard of a genius who cheated on Verdon is one thing. Seeing it played out is another - and I don't mean in that All That Jazz kind of way. Somehow, even knowing this is a fictionalized/autobiographical hybrid, it fills in a lot of the blanks. As portrayed here, he's not really a bad guy - a bastard, sure, but not totally bad; she is not a victim exactly, either - I pity her, sure, but I admire her strength.

My favorite sequence has to be the entirety of the Cabaret filming of "Mein Heir," especially given Kelli Barrett's dynamic performance as Liza Minnelli. I also got a kick out of the canning of a dancer during the "filming" of Sweet Charity's "Big Spender."

EPISODE #2: "Who's Got the Pain?"
Here we see the juxtaposition of their break up with their first meeting over Damn Yankees. This works especially well with the "rehearsal" of the cat and mouse game that is "Whatever Lola Wants" paired with his seduction of her, and again when they get "stuck" and create "Who's Got the Pain?," a rather pointed parallel with their marital struggles. It works beautifully.  It's also a great way to introduce a recurring theme in his work and his life - using his signature style to save that day after a deep dive into self-loathing and paralyzing insecurity.

Of course, the evolution of this number is excellently recreated, and I know I'll never hear or see it the same way again.

EPISODE #3: "Me and My Baby"
There wasn't a lot of "performing" in this episode, but I really loved it. The opening tribute to his work on How to Succeed... to "Wilkommen" is so jarring it is inspired! The episode establishes a lot in the timeline. That new kid, Schwartz (Stephen), wants Fosse to talk him through his ideas for a new show called Pippin; Bob says he doesn't want to do it, but we know his need to save the day and fix "the horrible" show will win out. And we know how this turns out - nearly 2,000 Broadway performances! But can you imagine Gwen as Fastrada? (I can...)

This is a decidedly Verdon-centric episode, and watching her struggle through her straight-play debut is painful to watch, and brilliantly acted. I suspect the problem wasn't Verdon entirely; Children! Children! closed on opening night. But the standout sequence here is when we find out why she freaks out when Nicole is left with Paddy Chayefsky (an amiable, slightly skeezy scene with Norbert Leo Butz). The little known shot gun wedding and son she had with James Henaghan (a cruel turn by Santino Fontana) and the harassment/rape that caused it explains so much about her insecurities and co-dependence.

Will they ever explain why that stop-the-show curtain call out of town during Can-Can was both a high and low point in Gwen's life?

I have plenty to say about Michelle Williams and Sam Rockwell. But that's for another time.

#2064

Broadway Cares Ornament Puzzles #1

Happy Holidays, Theatre Lovers!

Since we are all busy - especially on the weekends - during the holiday season, I thought I'd give you some fun puzzles to do AND a great shopping idea at the same time!  Maybe you've seen these really amazing blown glass ornaments depicting 4 of Broadway's greatest actresses in their signature roles.  Broadway Cares' Online Store sells them HERE.  (Click on "Holiday," then click on "Holiday Ornaments.")  It's a great gift AND a great cause!

This week, my two favorite gals, Angela Lansbury as Mame, and Gwen Verdon as Sweet Charity.  Enjoy!

Angela Lansbury (48 pieces)

Gwen Verdon (90 pieces)

Before you go... (Click the blue links!)
Check out these reviews: 

• The Mystery of Edwin Drood
• A Christmas Story
• Scandalous

Check out these Broadway Babies:

• A Christmas Story's Erin Dilly (Ms. November)
• The Mystery of Edwin Drood's Will Chase (Mr. November) 
• Eric Sciotto (JKTS Chat) 
• Spencer Plachy (Face of the Future)

And DON'T FORGET!  Vote in this week's HOT or NOT: A Christmas Story Edition!  Click the show logo in the upper left corner of this blog, and be sure to complete BOTH parts of the survey!

4.093

Jeff