Robin Hood

I just listened to the recording(s) or Robin Hood, written by Reginald deKoven (music) and Harry Smith (words).  This production premiered in New York on September 22, 1891 at the Standard Theater.  Yes, you read it right: 1891.  I actually found this music easy to listen to and fairly entertaining.  The CD has recordings of many different productions of the operetta over the first 20 years of its existance.  Members of the original cast sang two numbers (these songs also were on the Music of the New York Stage cd below), songs from the 1919 revival (yes, revival), and a medley of songs the Victor Light Opera Company around 1909.  Best of all, the first half of the cd comes from a 50's radio production of the operetta.  All of the songs have cheesy rhyming dialogue in between them which I didn't mind at all.  I like understanding the setup of a song, and why (or not) it has dramatic importance.  Surprisingly, most of the songs in this piece actually can be derived from some sort of plot.  I sound surprised because most other shows(operettas) of the time did not necessarily follow those rules.  

The plot is that same as the movie.  You know, the one with Kevin Costner and the bad accent.  Robin steals money and gives to the poor.  He loves the girl.  Mean ruler also loves girl.  He steals girl.  Captures Robin.  Robin saves the day in the end and finds true love with the girl.  All sung with catchy Gibert and Sullivan-esque songs that bounce and roll right on by.  The best known love song is "O Promise Me", which according to the liner notes wasn't even in the production in the beginning.  

If only all the songs on the Music from the New York Stage CD had radio versions from the 50's so I could actually make out and understand all the words and music.  Only then can I go back, as I did with this CD, and listen to the originals and be able to fully appreciate their worth.

A Night in Venice

This operetta by Johann Strauss Jr. premiered in Berlin on October 3rd, 1883.  While it might not be up to par with his other hit Die Fledermaus, it certainly has a catchy waltz-y score that is not hard to listen to while while riding the subway(in my case).  This version is a recording of the 1952 Mike Todd extravaganza that opened Jones Beach on Long Island.  It had a cast of Broadway and opera singers.  The tenor, Thomas Tibbett Hayward, has a fine voice along side his soprano Laurel Hurley.  I understood almost all of the words and could follow along with the story pretty well.  I'm curious how much of the story and music has changed from the original Berlin production, but it is great to at least get an idea of early theater music (and I mean theater music in the most operetta-like means possible).   

Music From The New York Stage 1890-1920 Vol. 1 1890-1908

Well, I've started listening to this massive compilation of very, very old school recordings of shows from the turn of the century.  Many of the songs are sung by members of the original cast, although almost all were recorded a couple years after the original productions ran.  While this is definitely not the kind of CD I'd throw on the old CD player while cleaning the apartment, it was fun to listen to theater songs written and sung well over one hundred years ago.  While I couldn't understand the words on over half of the songs, I could make out the music for the most part.  Because these were transferred from old music rolls, cylinders, 78s, and other "ancient" methods of recording, the record producer made no attempt to clean them up for a more "historical completeness".  The material covers operetta, popular songs, comic sketches, and some not so politically correct minstrel songs(I'm thinking that the good ole ditty "The Phrenologist Coon" sung in black face by the already black actor Bert Williams falls under that latter category).  

There are some memorable songs on the recordings, and I'm not just talking about the Irish songs of Chancey Olcott (he wrote and sang "My Wild Irish Rose" and the not included "When Irish Eyes are Smiling").  I can't for the life of me get the tune of "Under the Bamboo Tree" out of my head (partly because I just watched Meet Me In St. Louis, and it is sung by Judy and that little kid in the movie).  "...if I like-a you like you like-a me..."  Very charming that one is, sung here by the Marie Cahill.  I thought the songs of George Cohan very fascinating, particularly "I'm Mighty Glad I'm Living, That's All" and "Life's a Funny Proposition After All".  These almost existential songs question our very existence in a simple, comical way that make you feel not quite alone for wondering such deep questions about life.  All wrapped up in that yankee doodle dandy kind of spirit.  I mentioned Bert Williams earlier, and I'm very glad that the songs from Abyssinia are included.  His version  of the song "Nobody" stayed with him for the rest of his career and sold very well as a record.  

Although I probably won't listen to this again, I'm glad to have an idea of where American musical theater began.  No songs move plot along, or are character driven at all.  That was not a surprise.  What did surprise me was that some had a real human depth to them that I was not expecting.  

Cymbeline @LCT

I saw a preview for Cymbeline this weekend.  Broadway is still on strike (I'm out of a job) but thank God Lincoln Center is open for business.  At least I can see some theater on my new found "snow days" off from work (although the novelty wore off after the first day).  Cymbeline.  Who knew Shakespeare wrote such happy endings?  I suppose Shakespeare-ites knew, but I sure didn't.  What a fun little serio-dramatic play.  Lots of drama filled with lots of laughs.  Just when things would get a little too serious and you wonder if you just stepped into a darker play, the old man steps out and hits you with a one liner and things relax again.  I thought the performances were very good.  I had a seat on one of the far sides of the theater in the last row so I wonder if that played any part in my difficulty hearing sometimes, although some actors could project better than others.  I'm so glad I finally got to see Martha Plimpton live on stage.  She really is a force of nature.  Not just her vocal energy carried the back of the theater, but her emotional energy as well.  Every word she spoke made sense as if it were actual everyday dialogue coming from a Mamet play.  Also quite incredible is Jonathan Cake.  Remember that name.  He will be moving onwards and upwards soon.  He has the acting chops, good looks, and physique(not to mention the accent) to make it big.  I've seen Michael Cerveris in many other productions (Sweeney Todd, King Lear, LoveMusik) and this might be my least favorite.  He is a fine actor and has a clear understanding of the work.  I think he is a bit miscast as the leading man lover opposite Plimpton.  Others in the cast perform as expected.  John Collum played John Collum to the tee.  As did Phylicia Rashad.  They both are commanding on stage, if a little cliche as King who doesn't realize the machinations going on around him, and Queen who (like Fastrada in Pippin) tries to get her loaf of a son the throne by ousting the King.  The rest of the cast is wonderful.  Relationships were very clear and specific among everyone.  I think the overall MVP goes to the director Mark Lamos.  I thought everything was clear and concise.  Transition moved along swiftly from scene to scene and the entire production served the overall message in the end.  I love walking out of the theater feeling newly inspired.  

Frankenstein (the off-broadway one)

Oh wow.  I tried people, I really tried.  I wanted to like it.  I listened to the demo...twice.  I tried to go with an open mind, no preconceived judgements of any kind.  Well, maybe a couple.  Did you watch the video clip on Broadway.com?  Regardless, watch it I did.  It was hard.  I know those actors are trying so hard to make the material work.  I wish I could say the same of the director.  The entire piece lacked storytelling, clear transitions, and clear relationships.  There were great technical aspects like crazy cool projections and tons of fancy lighting.  And yet, I thought these weren't utilized enough.  The music had some nice moments, but I just wish the orchestrations were a little more rich, and a little less tinny.  Hunter Foster tried his hardest to make the whole character work, he is on stage virtually the entire time.  I can't help thinking that he was slightly miscast and should be in the other Frankenstein musical playing on Broadway this season (although how awkward would that be playing opposite his sister...).  Blanchard tried to bring a very human, realistic nature to the beast but really just looks like a very 'special' kind of monster instead.  The real bright spot of the piece however is Christiane Noll.  Every time she opened her mouth I was transformed to another show and forgot that I was bored a minute earlier.  She was worth the price of admission (as long as you got tkts price, or tdf.com price).  I'd say stay away from this one.  When will people learn that scary monster/vampire shows just don't work.

I Had A Ball

And I did have a ball.  This is a fun little show.  It is pop and jazzy and fun, very much predicting the direction of show tunes heading into the mid sixties.  It was a flop show, opening in the end of 1964 starring Buddy "I don't sing on pitch" Hackett, Karen "I'll belt my guts out" Morrow, and Richard "there's nothing I don't sound incredible singing" Kiley.  It lasted 199 performances and would have lasted longer if Hacket didn't leave the show, have a fist fight with producer Joseph Kipness, get knocked out cold, and refuse to let anyone take over his part (they wanted Phil Silvers).  The musical ended, but we have the album.   I like the tunes alot.  They are toe tapping, rhythmic, and melodic most of the time.  Of course Richard Kiley makes everything sound amazing, especially "The Other Half of Me" and "Fickle Finger of Fate".  For all the fuss Hacket made during the show, he hardly sings on the album which is not exactly a bad thing.  All his songs are forgettable, but you do get a sense of the crazy comedian he was.  Karen Morrow sings on a couple of the bonus tracks, and she's great.  The whole album is very slick, with great liner notes, and a prefect sound.  Quincy Jones was even the original producer of the album.  Go figure.  

Hot September

Hot September premiered in Boston in September of 1965 but closed less than a month later canceling the New York opening planned for that October.  It was based on William Inge's play "Picnic".  The music, written by Kenneth "what else did he write" Jacobson is actually quite interesting at times.  The lyrics by Rhoda Roberts are not bad at all, I don't think I cringed even once.  Frank Sinatra even recorded one song, Golden Moment, for the charts.  In addition to that ditty, there are plenty of other wonderful tunes worth listening to more than once.  I especially liked "What Do You Do", "I Got It Made", and "Tell Her".  The orchestrations are pretty much nonexistent.  All you really hear is piano and drums.  Bonus tracks on the CD have great arrangements that make you wish the entire scored were recorded in that way.  This recording is a great representative of the transition in musical theater sound of the late 50's/early 60's to the more pop style of the late 60's/early 70's.   Check it out.