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”).

 

2023 - 2024 Broadway Musical Logos: Harmony

The new musical, Harmony, has been a long time in arriving on Broadway. With each stop in its decades-long journey to the Barrymore Theatre, the show art has been evolving. Here's a look at what they landed on, now that the production is set.

2023 - 2024 Broadway Musical Logos:

Harmony

Based on the true story of the Comedian Harmonists, a group of entertainers, hugely popular in Germany in the 1920s. As they included Jewish group members, their very existence was at odds with the growing power of The Third Reich. 

The font of the logo perfectly captures the glitz and glamour of the high life of the 20s - art deco in style and a rich, almost glowing gold in color. The underlines that surround "A New Musical" further emphasize the time period. Small Stars of David serve as a subtle reminder of subject matter.

The deep red color of the background together with the gold tones of the title and images conveys a few different things. The colors imply a certain majesty, a respect, a reverence befitting the story of a renowned group that impacted history, even if no one remembers. Red also brings to mind danger - and there is no shortage of that in their story. With red as the dominant color, their advertising and marquee are certainly eye-catching.

The imagery of the key art does a lot of work here. The juxtaposition of the Comedian Harmonists in joyful silhouette against the larger, focused images implies that while the group is the subject matter, their lives were impacted by generations of others and that their lives should be remembered as largely happy and full of love. It also says quite a bit that the images are arranged like piano keys. Notice, though, they are not perfectly straight, perhaps askew so as to be out of tune (?), or maybe more comedic in nature. Subliminally mixed-messages suggest that there will be more to this than a song and dance extravaganza.

Notice, upon closer inspection, what the selected images could tell passersby or other potential customers. On both, we see smiling, tuxedo-ed young men singing, a couple staring at each other affectionately, hands clasped, and an older gentleman (Chip Zien) grinning broadly. Also on both, though with different images, we see dancing. What does this tell potential audiences? Singing! Dancing! Romance! A musical. The top image includes a passionate woman (Julie Benko) looking very serious and holding up some sort of document. Is she protesting something? Defending something? There is a serious element here. Interesting that this particular segment is not consistently used in the advertising...  

This final poster version clearly leans into the traditional musical theater expectations. Really, it is the tagline at the top that sells it for me. The larger, bolder, differently colored "TRUE STORY" is instantly compelling. Then,  the build up of the "greatest entertainers the world" matches the song and dance imagery, followed by the last minute twist of "would ever forget" adds a level of mystery, even more compelling.

Finally, I think it is very telling that Barry Manilow's name is just part of the credits, like every other composer would get. Is this to have him be taken seriously as a theater composer, not as a pop musician taking a stab at Broadway? It worked for Cyndi Lauper and Sara Bareilles. Or is it a subtle head's up to Fanilows that they shouldn't come to the show expecting to hear "Mandy" and "Copacabana"? Probably both.

As a musical theater fan, all of this interests me, and it is very striking. Is it enough to sell a show that got mixed reviews with a potentially controversial subject at this particular time in history? Time will tell.

Grade: B+

Broadway Games: Name That Show!

Broadway Games:

Name That Show!

They say a picture is worth a thousand words. Today's game is all about pictures - pictures of original Broadway casts. 

It's pretty simple. Look at the photo, name the show. The first five are very well known shows. The bonus is pretty tough. Good luck!

1.

2.

3.

4.

5.

Bonus

(HINT: It was a Best Musical winner!)

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!”

 

If I Had Spotify...

If I Had Spotify...

If you have been following this site for a fair amount of time, you know I have a love-hate relationship with technology. I'm okay with computers, and I love my cell phone (to a point). But I'm not into all the social media stuff - I have just enough to suit me. And I'm not an earbuds-always-listening-to-music type of guy. Vinyl and CDs is as far as I'll go - physical media forever! 

Still, around this time of year annually, my Twitter and Instagram (see, I do have some social media) is flooded with "Spotify Wrapped" postings. I am, apparently, captivated by the listening habits of complete strangers. Granted, I'm at the age where I don't recognize most of the songs or artists, but I still find it interesting. Naturally, I'm taken with those whose minutes were most spent listening to show tunes. Well, if I had Spotify, here's what my Wrapped would be for 2023:

HONORABLE MENTION:

                6. Shucked                                        11. Independently Owned

                                                                           12. Somebody Will

Looking Forward to Winter: December 2023 - February 2024

Brrr! It sure has been cold lately. But even as the winds topple Christmas trees and snows have already slowed traffic, Broadway remains hot. Well, at least pretty warm. Though only a few new shows will be opening this winter, we have plenty to catch up on.

As usual, before we look ahead, let's review how our show-going fall went. We only made it to four shows, but it was very successful. Talk about variety! A staged concert of a rarely seen Sondheim show, a new musical by LaChiusa, a spectacular immersive staging, and a fun trip down memory lane were what we got to, and we liked them all. In the order we saw them: Back to the Future: The Musical (A-), Here Lies Love (A), The Frogs (A-), and The Gardens of Anuncia (A). That's an average of roughly 93% - an A!

And now, on to the future. (The list below includes only shows that have already opened, or will open during December - February.) Be sure to let us know what you are looking forward to this winter!

Looking Forward to Winter:

December 2023 - February 2024

Holdovers From Autumn:

Gutenberg! The Musical (James Earl Jones Theatre)

I know almost nothing about this one, other than Andrew Rannells and Josh Gad are the stars, Alex Timbers is directing, and it has something to do with the guy who invented the printing press. There are worse ideas out there, right?

Harmony (Ethel Barrymore Theatre)

I'm looking forward to hearing what kind of score Barry Manilow has come up with, and I am very interested in the subject matter, especially given the current climate. Plus, I am excited to see the great Chip Zien, and I am charmed by Sierra Boggess, plus I really need to see what all the fuss is about Julie Benko. 

How to Dance in Ohio (Belasco Theatre)

Despite very mixed early audience reports and an underwhelming parade performance, I'm still hoping to catch this one. I find the whole autism spectrum to be very interesting, and hope to learn a lot about this sensitive subject in researching it and from the show. 

Merrily We Roll Along (Hudson Theatre)

I've said it before, I'll say it again: The Sondheim enigma show. Groff. Radcliffe. Mendez. How could we not? BUT will it live up to the hype?

Here We Are (Off-Broadway at The Shed)

The final Sondheim musical. Ever. Are we interested? Duh. And that cast! Double duh!

New to Broadway This Winter:

Days of Wine and Roses (Roundabout Theater Company at Studio 54)

Intriguing. All indications say that this is a show we need to bring your brain to. I always like challenges. That its score is by Adam Guettel and it stars two of my all-time favorite actors, Kelli O'Hara and Brian d'Arcy James only sweetens the pot.