Track By Track: Kinky Boots (Original Broadway Cast Recording)

I really did enjoy Kinky Boots. It was spectacular, funny and touching. The performances across the board were excellent. A lot to appreciate and admire. And yet, I wasn't bowled over. Once was enough for me. Why? Well, I wasn't impressed by Harvey Fierstein's book. It felt like La Cage-lite. In retrospect, perhaps my initial impression of his work, after all, La Cage is pretty much perfection in the drag-queens-save-the-day sub-genre of musical theater. There was one aspect of Kinky Boots, though, that I truly was impressed with - Cyndi Lauper's joyous, heartfelt score. Recently, I took the cast recording out of moth balls and gave it a new listen. Here are my thoughts!

 

Track By Track:

Kinky Boots

Original Broadway Cast Recording

Act One

Track 1: Price & Son Theme/The Most Beautiful Thing in the World: ***

So adorable, and so perfectly British sounding. Even the repetition of the words feels natural, a child's memory or a shared experience. And a brilliant transition from the past to the present. Also, our first glimpse at how amazing the ensemble is together. Nice work from Lena Hall Celina Carvajal , too.

Track 2: Take What You Got: ****

A real toe-tapper. And a great duet for two men (love Andy Kelso and Stark Sands).

Track 3: The Land of Lola: ****

Students of musical theater who need an example of how to create a character-driven sound need look no further. To think that this thrilling dance-y tune is the least of Billy Porter's big numbers tells you just how good Lauper is at this. Epiphany, indeed.

Track 4: Charlie's Soliloquy: **** Track 5: Step Up: ***

You know, it isn't difficult to imagine Cyndi singing this song. Both the quiet opening and the urgent rocking of the rest of the number are reminiscent of her biggest hit. The lyrics may not be too deep, but the emotion is there and relatable. 

Track 6: Sex is in the Heel: *****

Has there been an original Broadway song so infectious and so thematically sound before this one? Maybe, but this is so much fun it's hard to think of another. Smiles and tapping feet throughout!

Track 7: The History of Wrong Guys: *****

Annaleigh Ashford is bloody brilliant here. Comic gold and tear-your-heart- apart. Seems I have a lot with poor Lauren. LOVE this song.

Track 8: Not My Father's Son: *****

There were buckets of tears collected after this song over the years, I'm sure. Oh, how I can relate to Lola here. And, Charlie for that matter. Disappointing our parents is universal.

Track 9: Everybody Say Yeah: *****

Infectious and infinitely catchy. Who knew manufacturing a show could bring one of the millennium's best Broadway act one closers? 

Act Two

Track 10: What a Woman Wants: *****

This might just be my favorite number in the show. A tango in counterpart, into a disco/tropical soiree. Delicious. A terrific number that marries character and plot. Like musical theater songs are supposed to do, right?

Track 11: In This Corner: ****

Maybe they should've had Cyndi Lauper write the score for Rocky?

Track 12: Charlie's Soliloquy (Reprise): **** Track 13: Soul of a Man: ***

A perfect mirror of act one, with the crafty way Lauper paired two sounds together to bring us Charlie's inner feelings and utter turmoil.

Track 14: Hold Me in Your Heart: ****

When I saw this, I immediately thought of Whitney Houston. Listening to it again all these years later, I have the same thought. Can't you just hear her belting this one out? The power of the song is such that it is great in the show, too.

Track 15: Raise You Up/Just Be: *****

Can Cyndi Lauper close a show as brilliantly as she closed the first act? You better believe it! Simplicity and emotional depth aren't usually good bedfellows, but here we are. 

Overall Score: **** 1/4

I can't wait for Cyndi Lauper's next Broadway score!

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Track By Track: Zorba (New Broadway Cast Recording)

I was looking through my vinyl collection the other day, and came across my copy of the 1983 "New Broadway Cast recording" of Zorba. I had seen the show during its national tour, which starred the revival's two headliners, Anthony Quinn and Tony-winner Lila Kedrova. Both were utterly charming, with Kedrova stealing the show with her every number. They were a big draw due to their starring in the film version, Zorba the Greek. But for me, the score was the star of the show. Even including their flops, you rarely (if ever) hear talk of this Kander and Ebb score. For me, it is one of their best - a wonderful mix of songs, orchestrated to include traditional Greek instruments that lend to the authentic sound of the show. I highly recommend this one! 

Track By Track:

Zorba The New Broadway Cast Recording

Act One

Track 1: Life Is *****

"Life is what you do til the moment you die." As usual, Kander and Ebb have created an exhilarating, scene-setting opening. Sage advice spills forth from the enigmatically named The Woman (brilliantly sung throughout by Debbie Shapiro). It also sets the theme for the evening: Death is coming, so live life while you can.

Track 2: The First Time ***

"I sniff at a woman...each time is the first time!" Anthony Quinn, while certainly no great singer, is captivating. Zorba the Greek's philosophy of life? Treat each life experience as a first time, unique, potentially life-changing event. 

Track 3: The Top of the Hill ****

"There's a woman at the door to a room in a house at the top of the hill, and she's waiting for you." The way this song builds and introduces a community reminds me a great deal of Kiss of the Spider Woman's "Over the Wall." Catchy, vibrant and a great way to give a star her entrance!

Track 4: No Boom Boom ****

"Please, Sir, no Boom Boom!" Charming code for a consort is the fun key to this number, a toe-tapper of a story song. But don't be so taken in that you miss the point that even though Hortense (Lila Kedrova) has had her share of men, she was always in control.

Track 5: Mine Song ***

"The sound in your ear is the sound of tomorrow." The business of the village, mining, is the toil and the pride of the community. The vocal arrangement of this song is thrilling.

Track 6: The Butterfly *****

"No too fast. Let it grow. Let it last." One of the most beautiful songs in the entire Kander and Ebb oeuvre, this song is a stunning metaphor for the precarious line between life and death. Robert Westenberg, Nikos, sings with power and gentleness, and acts the song with the same power and gentleness. The final verse, a stunning trio for him, Shapiro and Taro Mayer, the Widow.

Track 7: Goodbye, Carnavaro ***

"Don't forget me!" The verbal game play here between Zorba ("Carnavaro") and Hortense  ("Boombalina") allows the very palpable chemistry between Quinn and Kedrova to flow right through the speakers.

Track 8: Grandpapa ***

"Weak and feeble Grandpapa." When the villagers doubt Zorba's, um, stamina, he proves that he may look like a grandpapa on the outside, but he still has the moves. The star here is the orchestra in a vigorous dance.

Track 9: Only Love/The Bend of the Road/Only Love (reprise) *****

"Give me love. Only love. What else is there?" The Act One closer is a blend of two great numbers - the heartbreaking "Only Love," which shows why Ms. Kedrova won a Tony, and "The Bend of the Road," really a reprise of "The Top of The Hill." This time, The Woman is bringing together the young couple, Nikos and the Widow. Life is, it seems, an endless cycle of love and lovers.

Act Two

Track 10: Yassou ****

"Exchange the rings and drink the wine! Yassou! Amen!" A quick wedding starts the act, but tragedy isn't far behind...

Track 11: Woman ****

"Woman." Zorba offers his philosophy on his favorite topic.

Track 12: Why Can't I Speak/That's a Beginning *****

"Why can't I speak? Why can't I show him?" "And who can say where it may end?" Two songs in counterpoint offering two points of view of one encounter and the beginning of a true love. Mayer and Westenberg are just wonderful here. The last 30 seconds give me goosebumps.

Track 13: The Crow *****

"Soon we will see the crow fall from the sky...What doesn't die never was born." Another fable to offer insight to an impending death. Dramatic and urgent, the recording is as dramatic as the staging. Shapiro is breathtaking.

Track 14: Happy Birthday *****

"You'll dance through life. All through life." As Hortense begins to transition, she hallucinates a joyous memory - her 16th birthday celebrated with her mother. So sorrowful even as the music is jaunty. The final moments of this song bring me to tears.

Track 15: I Am Free/Finale: Life Is (reprise) *****

"I have nothing. I want nothing. I am free." Having been through another tragedy, Zorba offers his final story, and the one philosophy that gets him through life. "I live as if I might die any minute!"

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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

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