CD Review: Telly Leung, “I’ll Cover You,” Yellow Sound Label

By Mark A. Newman

Full disclosure: I’m already a fan of this young Broadway stalwart and have been since I first saw him in the revival of Stephen Sondheim’s Pacific Overtures in 2004. So I knew his solo album was on the horizon and I was eagerly anticipating it. The problem with some of these recordings by Broadway favorites is simply that they don’t sound like they did when you saw them in that show that time. Sometimes it’s disappointing (Brian Stokes Mitchell). But sometimes it’s a revelation.

Thankfully, Telly Leung’s “I’ll Cover You,” is indeed a revelation. Anybody who saw Leung in the recent revival of Godspell can attest to his ability to rattle the rafters with one lung tied behind his back. However, on this collection he is accompanied by a jazz combo and he tends to – as so many performers say – “bring it down a notch.” But this notch is definitely Leung’s musical sweet spot.

I’m not saying that the belting – one of Leung’s trademarks – is not present, but it’s not overdone. After all, he’s not on stage selling a scene, he’s in your ear buds selling a song. And it’s well worth the price.

The 13 tunes on the disc is an eclectic treasure trove. There are timeworn standards from the second half of the last century (“In My Life,” “Bridge Over Troubled Water,” “I Can See Clearly Now”) as well Broadway covers one of the most effective of which is “I’ll Cover You” from RENT, a show where Leung played the tragic role of Angel. In the show the song is presented as a rollicking duet between Angel and his new love Collins during the first act. However, in the second act the song is a reprise sung by a mourning Collins at Angel’s memorial. [Oops, spoiler alert.] Leung has opted to take a more melancholy approach. However, instead of being mournful (if you had a heart, your eyes were not dry during the second act reprise in RENT), it has the feel of a quiet celebration of a devoted romance that has either lasted through the ages or is just beginning.

The collection starts off with a rollicking rendition of Stevie Wonder’s “Knocks Me Off My Feet” that truly soars and Leung’s vocal acrobatics are perfectly matched to a tune that celebrates being in crazy love. It is an ideal prelude to what’s to come. His take on the Beatles’ “In My Life” is my favorite rendition since Johnny Cash recorded it late in his career. It’s also my favorite Beatles tune of all time and Leung’s thoughtful interpretation is one of the collection’s many aural pleasures.

His take on “Before the Parade Passes By” puts him in the company of several male singers who’ve adopted this song as of late (it’s even Norm Lewis’ favorite audition song). From the gentle rumbling of the snare drum the arrangement has a driving feel and Leung rejoices and makes the most of this song about being determined not to miss any opportunities that may present themselves. The same is true with oft-recorded “Children Will Listen,” a song that feels like it has even more meaning for the singer due to his work with youngsters. Leung really means what he sings here.

A couple of the tunes are far from typical Broadway vocalist fodder – Madonna’s “Papa Don’t Preach” and Katy Perry’s “Firework” – both of which come off remarkably well and devoid of camp. One minor quibble was keeping the lyric in “Papa” in its original context, specifically: “’cause I was always your little girl.” Makes you wonder who he’s singing it to. Then again if he was going for a gender-neutral feel then, well, my hat’s off to him. A less popular song from the pop canon is The Indigo Girls’ “Galileo,” a song I’ve never heard before but was immediately charmed by.

I would be remiss if I did not commend the arrangements by Gary Adler and Mary Ann McSweeney. So many vocalists’ CDs are fairly staid affairs but the use of a small string section as well as a jazz trio (piano, bass, drums) make this a collection that will not gather dust on a collector’s shelf – it begs to be listened to. The instrumentation is ideal accompaniment for Leung’s clean tenor and provides enough variety that no two songs sound alike.   

The collection takes the listener on a jazzy journey through a variety of styles and tunes. Aside from the aforementioned numbers, there are also tracks by James Taylor, Nat King Cole, and Holly Cole. But the disc’s coda is a live track of Whitney Houston’s “I Believe in You and Me.” You can feel the energy of the live audience responding to the panache that Leung brings to a live performance (there’s even a “Whoop!” in there by an enthused audience member). It’s a great finale to an immensely likable disc and a tribute to the late Whitney Houston that she would undoubtedly adore.

Cast Album Round Up

By Mark A. Newman

So far 2012 has seen a wealth of new cast recordings released to keep the iPods of the theater lover full. Here are a few thumbnail reviews of some of the latest offerings.

Bonnie & Clyde: Original Broadway Cast (Broadway Records)

Bonnie & Clyde was a show that definitely did not stay around long enough…while other shows tend to overstay their welcome. The score was rich in melodies that reflect a rural America of yesteryear without sinking to the levels of hokum. This is probably one of Frank Wildhorn’s best scores simply due to its variety of styles and lack of overwrought power ballads (Jekyll & Hyde it ain’t!). As the titular title characters, Jeremy Jordan and Laura Osnes have ample opportunity to shine as do the supporting players especially Melissa van der Schyff who as Blanche comes very close to stealing the show. The show’s score is likable and a nice addition to any theatre fan’s collection whether you like Wildhorn or not.

Bring it On! The Musical: Original Cast EP (Ghostlight Records)

So far the only taste of the new Lin-Manuel Miranda/Tom Kitt/Amanda Green musical is via a three-song sampler available as downloads on iTunes and amazon.com. What a tease these tunes turn out to be. Since I haven’t seen the show I can only hazard to guess that “It’s All Happening” is the show’s opener as it ably sets the tone with an athletic, driving rhythm infused with Miranda’s trademark rhymes and urban beats. The other two tunes—“Ain’t No Thing” and “Enjoy the Trip”—are equally enjoyable but it was the excitement of “It’s All Happening” that hooked me. Broadway is getting another taste of the genius behind In the Heights and I for one cannot wait. (I’ll leave my pom poms at home!)

Evita: New Broadway Cast (Sony Masterworks)

The new recording of the Evita revival will likely cause many arguments among theatre aficionados, some of whom will rally behind Patti and Mandy while others are ready for a new take on a show that is over 30 years old. I fall somewhere in between. Does Ricky Martin sing the songs as well and Mandy Patinkin? Well—to borrow from the show—yes. And no. And yes. Either you like Patinkin’s vocal histrionics or you don’t. Personally I enjoyed Martin’s Latin swagger and if he can’t hit the high notes like yesterday’s Che, I can live with it. I am an admirer of Patinkin’s but it’s nice to hear the role of Che sung without the actor’s often-noted and eloquently parodied overindulgence. Elena Roger’s Evita is an altogether different animal than LuPone’s with a shrewish quality not unlike Elaine Page but, in my mind, probably more in line with the actual Eva Peron (Roger is also Argentinian). The real standout is Michael Cerveris as Juan Peron who brings a depth to this thankless role. You can hear both the ambition and pain as Cerveris ably demonstrates the politico’s many sides. Also, the new orchestrations and arrangements are hands down better than the over-synthesized recordings from the 1970s. What a treat to hear actual musical instruments that don’t need to be plugged in!

Lysistrata Jones: Original Broadway Cast (Broadway Records)

Lysistrata Jones was an adorable little show that I had the opportunity to see twice. Did it belong on Broadway? Probably not. Had it stayed in a cozy off-Broadway house it would likely still be playing to packed houses rather than closing much too soon. The score by Lewis Flynn is one of those tightly knit tapestries that is a blast in the theater, but doesn’t fare as well on the recording. The energy of the hardworking cast is evident but leaves the listener lacking. Some cast albums either get repeated listens or get put on the shelf as a token of a lovely night at the theatre. I’m afraid this recording falls into the latter category. There are some amazing voices, most notably Patti Murin, Liz Mikel, and the underused Jason Tam, but the music had more of a “wow factor” in the theater than it does on my headphones. This would’ve been one of the few cast albums that would have benefited from a live recording.

Newsies: Original Broadway Cast (Ghostlight Records)

Alan Menken and Jack Feldman’s Tony-winning score to Newsies has been an audience favorite since the movie musical first bombed across America in the early ‘90s. The new Broadway cast recording is akin to having your favorite room exquisitely remodeled with improvements you didn’t know you needed. Wisely, the creators have ditched the wobbly tunes sung by Ann Margaret in the film and replaced them with peppier replacements sung by the same character in the persona of Capathia Jenkins. In his second cast recording this year Jeremy Jordan again shines, this time as Jack Kelly, an enigmatic paperboy with dreams of artistic greatness and wanderlust (granted, “Santa Fe” is a great song but set your sights higher, Jack!). With anthems like “Seize the Day,” “King of New York,” “The World Will Know,” “Once and For All,” and the show- and heartstopping opener “Carrying the Banner,” Newsies translates nicely onto CD or into an iPod. While some of the energy that is so prevalent in the theater is not as obvious on the recording, the score won the Tony for a reason: it was the best music and lyrics of the 2011 – 2012 season.

"Now" - Linda Eder

Review by Sherry Shaffer

For her latest album, "Now," Linda Eder reunites with the man who brought her to Broadway in Jekyll and Hyde, Frank Wildhorn.  All the songs on the album are Wildhorn originals, including a cut from his new show, Wonderland.

Eder has dabbled in pop and country music, but she has such a massive voice it’s surprising she ever tried to get away from Broadway-style show tunes.  "Now" features big, lavish arrangements and beltable tunes.  It is clear Wildhorn has found a muse in Eder – it must be a joy to write for someone with such an incredible range.  When listening to this album, comparisons to Barbara Streisand are inevitable – and at this point almost overdone, which I think this does both women a disservice.  Sure, both pack a punch when it comes to being able to convey passion and feeling through song, and I doubt either really need a microphone to fill a room, but they have different voices, different taste, and are from different generations.  That being said, if you like one, you’re probably going to like the other.  Especially since many of the songs on "Now" sound like they are straight out of a Streisand-heyday '60s cabaret show.  I half expected Sammy Davis, Jr. to come in to perform a Burt Bacharach tune.

As much as I enjoyed a number of the songs on this album, I kind of wish Eder had chosen to do more than a Frank Wildhorn songbook.  Some of the tunes are great, the album starts off with a bang with a jazzy rumba, “Not Gonna Fall This Time,” then moves into the sentimental “No Finer Man” and “Ordinary People.”  But when it switched back to a Latin rhythm for “In the Heat of the Night,” I felt like I’d gone back to the beginning of the album.  It’s catchy, but very similar to the first track, and “What’s Never Been Done Before” and “More Than Heaven” seemed uninspiring.  While I think it was a misstep to include “The Mad Hatter” on this album – it just doesn’t fit in with what is otherwise a group of songs about love – at least it’s a fun song and may turn out to be a showstopper on stage.  Perhaps she did it as a courtesy plug for Wildhorn’s newest show. 

That, I suppose, is my only real criticism of this album.  In an attempt to do nothing but Wildhorn songs, Eder sacrificed some continuity of theme and the opportunity to show off her magnificent voice with a better variety of songs.  You are rarely going to find an album that doesn’t have a ho-hum moment or two, but Eder has the voice and charisma to put together a spectacular collection if she would just make careful choices among several composers. 

Bottom line: If you enjoy a big sound from a bigger voice, you’re going to like "Now."  Be sure to listen in a place where you can crank up the stereo and let the flood of sound wash over you. 

Album Review - The Secret Life of Walter Mitty

By Sherry Shaffer

The musical theatre adaptation of James Thurber’s The Secret Life of Walter Mitty with music by Leon Carr, lyrics by Earl Shuman, and book by Joe Manchester, opened at the Player’s Theater in October, 1964. The show ran for 96 performances but nevertheless got good reviews for its short run. The Secret Life of Walter Mitty is set on the 40th birthday of the title character, a constant daydreamer who is unhappy with his lot in life. Those who are familiar with the original short story and the 1947 film with Danny Kaye will see similarities with the theme and the wild fantasies he cooks up, but the storyline differs considerably. In fact, I’d consider it “inspired by” as opposed to adapted. In this version, Mitty decides to give up his boring, harried life and pursue excitement with a faded lounge singer. Like most of his ideas, it never gets past the fantasy stage and in the end he chooses to stay with his family – mainly for love of his daughter, Penninah.

Not having seen this musical, I needed a full synopsis to follow the songs on the album – and I highly recommend any first-time listener do the same. I do not consider this a flaw, however, as Mitty’s fantasies are just that, fantasies. It stands to reason that they would not follow a linear storyline. They disrupt Mitty’s life, and that comes through on the album. Songs like “Drip, Drop, Tapoketa” – tapoketa being a sound effect from the original story – and “Fan the Flame” would throw you for a complete loop if you didn’t know they were daydreams about performing life-saving surgery and watching the lounge singer, Willa de Wisp, perform in the “Folies de Mitty” as a comic French chanteuse.

The music is light and fun, as fits the general theme of the show. All the featured singers handle the material well – it’s not demanding, but they do need to be both funny and feeling in turns. Most of the songs are enjoyable but fairly standard for the time; I can’t quite put my finger on it, but you can tell it was written in 1964. It has that early mod era feeling that straddles the square fifties and the loose sixties. I won’t call it dated, as I think one can still relate to wanting to escape a hum-drum life, but it isn’t evergreen material either.

However, two songs – “Don’t Forget” and “Two Little Pussycats” – were real standouts that I went back and listed to a couple of times. “Don’t Forget” is a great comic number that showcases the constant nagging and boredom Mitty endures. Marc London as Mitty, Lorraine Serabian, as Agnes, his wife, and Susan Lehman as Mitty’s mother-in-law do a great job of weaving the nagging of the ladies through Mitty’s distraction and sorrow at growing older. Rue McClanahan and Lette Rehnolds are the “little pussycats” – women seduced by a scoundrel friend of Mitty then dropped – whose song is a jazzy lament of broken promises.

The Secret Life of Walter Mitty is a fun album that is great for a retro evening with martinis and hors d’oeuvres. Top it off with a skinny tie or chandelier earrings and enjoy the rich fantasy life of a very average man.

The Secret Life of Walter Mitty
Original Release Date: February 15, 2011
Label: Masterworks Broadway
Copyright: Originally Released 1964 Sony Music Entertainment

Walter Mitty: Marc London
Mother-in-law: Susan Lehman
Agnes: Lorraine Serabian
Peninnah: Christopher Norris
Willa de Wisp: Cathryn Damon
Irving Kornfeld: Charles Rydell
Fred Gorman: Eugene Roche
Harry: Rudy Tronto
Hazel: Rue McClanahan
Ruthie: Lette Rehnolds
Music by Leon Carr
Lyrics by Earl Shuman
Book by Joe Manchester
Musical Direction: Joe Stecko

Album Review - Jennifer Hudson's " I Remember Me"

By Cody Daigle

She's got this.

At least that's what Jennifer Hudson's saying in "I Got This," a smooth groove self-empowerment anthem from her sophomore effort "I Remember Me" : "And if you feel what I'm feeling / don't be scared to say it with me."

It's the attitude that pervades "I Remember Me" and while it might not be the kind of album that rattles critics into apoplexy -- you'll have to check out Adele's "21" for that -- the breezy, soulful 12-track set shows Hudson at her loose, powerful and full-throated best.

This album's fun. And this woman deserves it.

After the tragic loss of her mother and brother in 2008, the 2009 birth of her son, and her recent 80-pound weight loss thanks to Weight Watchers, Hudson's been through a lot. But "I Remember Me" isn't an album weighted down by sturm and drang. Instead, it's a bright soul-flavored R&B album that paints Hudson as a woman who's taken that walk through the dark night of the soul and emerged from it strong, powerful and hopeful.

And of course there's the voice: emotionally transparent in the big moments and achingly vulnerable in the quiet ones. Everything we loved about her devastating turn in "Dreamgirls" is on full display here.

Highlights on the album include the moody and lovely "Where You At" -- it's a great showcase for her powerhouse voice -- and the pop-flavored "Gone," which avoids being completely forgettable thanks to Hudson's emotion-rich delivery.

There's also musical playfulness at work here. There's a yummy throwback to '90s dance sounds ("Everybody Needs Love" easily would have been a CeCe Penniston hit), and a funky '70s-flecked groove called "Don't Look Down." And don't forget her fresh take on the classic "Feeling Good."

And for those who are looking for a musical answer to her rough few years, Hudson brings on the tears with 'I'm Still Here," a beautiful tribute to those that are gone but still close to our hearts. It's an emotional peak, and a recognition that tragedy breeds triumph in those who are strong enough to face it with grace.

That's definitely Jennifer Hudson, and "I Remember Me" is worthy of this phenomenal talent.

Album Review - Originals – Musical Comedy 1909-1935 [Masterworks Broadway/Arkivmusic]

By Sherry Shaffer

Originals - Musical Comedy 1909-1935 is a compilation of songs from the early years of musical theatre; a time when vaudeville was still around and musical “comedy” could mean a revue, an operetta, or just a happy ending. So, while some of the songs on the album can be termed “comic” there are several that are safer described as romantic or sentimental. This is a time capsule of songs that are not meant for modern audiences. To really appreciate this album you must first keep in mind that comedy, theatre, and general sensibilities have changed quite a bit in the last 75-100 years.

RCA has done a good job with the restoration; the songs are as sharp and clear as one can hope for century-old recordings. On several of the songs you can still hear the crackle of the original master and that tinny sound so often associated with the era, but since I expected no less, I was inclined to find it quaint rather than annoying.

If you’ve ever taken a class or are interested in theatre history you’ll probably want to listen to this album at least once, if not own it as an integral part of your collection. There are few people still alive from when these songs were performed – let alone anyone who actually witnessed them – and many of the performers and performances were not captured on film, especially in their heyday. The singers on this album are some of the crème de la crème of early Broadway; among the more famous names are Fanny Brice, Eddie Cantor, Al Jolson, and Cole Porter (yes, Porter sings.) But by all means, research anyone you haven’t heard of and you’ll discover some heavy hitters like Beatrice Lillie – more recently known as Mrs. Mears in the 1967 film, "Thoroughly Modern Millie" – or Noble Sissle – African American singer, songwriter and sometime collaborator with Eubie Blake. I looked up every unknown (to me) singer and act on this album and was very glad I did. I would never have known that Elsie Janis was a singer, writer and producer or that Jack Norworth wrote “Take Me Out to the Ball Game.”

As I said before, these songs were not intended for today’s audience, so there might be a few that raise some eyebrows. “Mr. Gallagher and Mr. Shean,” performed by Ed Gallagher and Al Shean, is a vaudeville number from Ziegfeld Follies of 1922 that doesn’t translate well into today’s idea of comedy. The men were huge stars in their time and this song is their signature classic. Be aware of minstrel show-style performances like Elsie Janis’ “Fo’ de Lawd’s Sake, Play a Waltz” (which she penned herself) that are most definitely frowned upon these days. “Manda” by Noble Sissle is a great bit of early jazz, but oh my, the title of the show is Chocolate Dandies – that’ll make anyone cringe. My advice: view the album as a history lesson and take context with a grain of salt. Briefly set aside your modern sensibilities so you can enjoy the songs guilt-free.

On the whole, I thought this was a delightful album with much to be discovered and enjoyed. For those of us who have only seen Barbara Streisand as Fanny Brice, it is a real treat to finally hear the original sing “Second Hand Rose” from Ziegfeld Follies of 1921. And I honestly never thought I’d hear Cole Porter perform one of his songs, let alone “You’re the Top” from Anything Goes – my husband, a big Porter fan, was listening in and exclaimed he’d never heard one of the verses on the recording. Eleanor Powell does a nice job with “What a Wonderful World” from At Home Abroad – though I never like to listen to tap-dancing in the middle of a song; I don’t get the point. “Hungry Women” performed by Eddie Cantor from Whoopee is corny, but actually pretty funny. And Beatrice Lillie was a wonderful surprise with her charming rendition of “Like He Loves Me” from Oh, Please! There are a couple of songs that grate a little, mainly because of style differences that I don’t quite appreciate – “You and the Night and the Music” from Revenge with Music performed by Libby Holman reminds me a little too much of Marlene Dietrich in "Destry Rides Again," or more accurately, as Madeline Kahn in "Blazing Saddles." I laughed, but for the wrong reasons.

The Tin Pan Alley style of singing and outdated humor may not appeal to the casual listener used to the likes of Idina Menzel or Mandy Patinkin, but for those of us who are theatre geeks, it’s a little slice of heaven. I recommend Originals: Musical Comedy 1909-1935 for anyone who wants a fun and pleasurable peek into the rich past of American musical theatre.


Originals - Musical Comedy 1909-1935
Release Date: 01/18/2011
Label: RCA Catalog #: 82405
Composer: Maurice Scott, Nora Bayes, George M. Cohan, Elsie Janis, Harry Tierney,
James Hanley, Ed Gallagher, Eubie Blake, Vincent Youmans,
Milton Ager, Jerome Kern, Cole Porter, Arthur Schwartz

Performer: Blanche Ring, Jack Norworth, Nora Bayes, Al Jolson, Elsie Janis, Edith Day, Howard Rattay, Fanny Brice, Ed Gallagher, Al Shean, Noble Sissle, Eubie Blake, Beatrice Lillie, Vincent Youmans, J. Harold Murray, Louise Groody, Charles King, Frank Banta, Eddie Cantor, Helen Morgan, Cole Porter, Libby Holman, Eleanor Powell

Conductor: Rosario Bourdon, Nathaniel Shilkret, Leonard Joy, Richard Himber, Tommy Dorsey

Orchestra/Ensemble: Orchestra, Chorus, Ritz-Carlton Orchestra, Tommy Dorsey Orchestra

Album Review - Celebrate Broadway Vol. 7: Kids

By Sherry Shaffer

It’s difficult to say what the compilers of "Celebrate Broadway Vol. 7: Kids" were thinking when they decided to put together this album. The synopsis provided says it is “a collection of songs for kids, about kids, and with kids. More than anything else these songs are about fun – so sing and laugh along with them or form your own group…” As far as I can tell, the whole thing was made up to cover for the fact that they had leftover songs in their inventory that they didn’t know what to do with. Either that or a high up boss somewhere wanted it done for their own weird purposes.

The album begins, predictably enough, with “Kids” from Bye Bye Birdie. They use the movie version, perhaps because there wasn’t a Broadway recording available. It isn’t a very clear copy, but at least it makes sense for the theme. In the same vein, the next song is “I Won’t Grow Up” from Peter Pan with Mary Martin in the lead. “Getting to Know You” from The King and I follows Martin, and then the whole thing starts to fall apart.

I can handle a “kiddie” album. It can be a fun bit of nostalgia and you might really want to get the family together and belt out some tunes. But when you follow “Because It’s June” from Carousel with “Hair” from Hair, you’re barking up the wrong tree. The Carousel song is from the 1965 revival cast album, featuring Katherine Hilgenberg in all her old-school musical glory. It’s a pleasant song, but what does it have to do with kids? Granted, it’s about getting randy in the spring, and that often results in kids, but it’s hardly a reasonable tie to the title. Following it with “Hair” is just plain jarring. The style is so different it’s tough to recover enough to listen to the rest of the songs.

This compilation is just filled with bizarre – and bad – decisions. For instance, if you’re going to include “Comedy Tonight” from A Funny Thing Happened on the Way to the Forum – which isn’t remotely a kids’ show – why make it an instrumental on an album that you’re encouraged to sing along to? Worse, it’s an instrumental from the 1992 Carnegie Hall Sondheim Celebration and the amazing Bill Irwin performs with the orchestra. You can hear the laughter from Irwin’s antics, but, of course, you can’t see any of it.

Ethel Merman singing a lullaby? With all due respect to the Broadway great; her voice is not made for soothing, and of all the fun songs from Annie Get Your Gun, why choose this one?

A mash-up of “Sixteen Tons” and “Chain Gang” from Forever Plaid? (Those aren’t even Broadway tunes!)

A near-offensive song sung with a fake Mexican accent from a 1960 Lucille Ball flop? Need I say more?

What the heck??

There are a couple of good songs on Kids but not enough to justify buying this hot mess of a compilation. You could do much better on your own with a subscription to a music service and the CD burner on your computer.

Celebrate Broadway Vol. 7: Kids
Original Release Date: November 22, 2010
Label: Masterworks Broadway
Copyright: (P) 1995 Sony Music Entertainment
Total Length: 41:51

Album Review - Weird Romance: Two One-Act Musicals of Speculative Fiction [Masterworks Broadway]

By Sherry Shaffer

Weird Romance, which debuted in 1992 at the WPA Theater, is actually two one-act musicals under a main title. The Girl Who Was Plugged In and Her Pilgrim Soul are both science fiction stories that deal with love, reincarnation, and memory. The Girl Who Was Plugged In is about a homeless woman who is convinced by a company who “manufactures” celebrities to allow her mind to be transferred into a new, perfect body. She learns a new life and falls in love with the son of one of the executives. When she tries to confess that she is not what she seems, her soul is taken from the body and replaced with another. Her Pilgrim Soul focuses on a scientist who is developing full, three-dimensional holograms. One day, the hologram of a baby appears in his lab and begins to rapidly grow into a woman. The scientist becomes obsessed with the holographic woman and discovers himself while researching her.

Alan Menken (best known for Little Shop of Horrors and various Disney hits) and David Spencer wrote the music and lyrics, with Alan Brennert as the book writer. Brennert adapted Her Pilgrim Soul from his own short story; The Girl is taken from another writer’s work. Ellen Greene, Jonathan Hadary, Sal Viviano, Danny Burstein, Jessica Molaskey, Valarie Pettiford, and Eric Riley make up the cast of both halves and are featured on the original cast album.

Reviews of the show were tepid, especially for the first act, The Girl, but has since achieved a bit of a cult following. Listening to the album, I could understand why most of the praise went to the second half, Her Pilgrim Soul. The Girl has some good moments and the songs are pleasant enough. (Critics did not like the staging and felt the characters were restrictive, something that isn’t a consideration if all you’re doing is listening to the album.) Ellen Greene gets some nice mileage out of “Feeling No Pain” and “Stop and See Me”, but it’s almost like Menken saved the really good stuff for Brennert’s story. Or maybe the story itself is just more romantic – The Girl comes off more as a cautionary tale – fitting the style of music better. The mix of explanatory, comic, and romantic songs gives you the gist without having to see the show. I listened to this with little background, but was able to get the full reach of the story just through the music – I looked up a complete synopsis later. Danny Burstein’s comic turn as the lab assistant with “Need to Know” is catchy, light and very funny. Ellen Greene as the hologram and Jonathan Hadary as the scientist darn near brought me to tears during the final duet, “Someone is Waiting.”

The cast of Weird Romance is made up of strong voices who sing with emotion and bring out the best in the songs. (Ignore the opening number, “Weird Romance” and you’ll feel much better about the whole show. It’s jarring and doesn’t fit in with the rest of the score at all.) I enjoyed this album. It’s not as funny as Little Shop of Horrors or as jubilantly romantic as Beauty and the Beast, but it’s well-written with a few numbers that will pleasantly stay with you and have you humming the refrain.

Weird Romance: Two One-Act Musicals of Speculative Fiction
Release Date: November 30, 2010
Label: Masterworks Broadway

Performers: Danny Burstein (Daniel, Fan, Technician, Reporters), Ellen Greene (P. Burke, Nola), Jonathan Hadary (Isham, Kevin), Marguerite MacIntyre (Delphi, Fan, Susan), Jessica Molaskey (Carol, Fan, Voice Coach, Technician, Voice), Valarie Pettiford (Shannara, Rebecca, Make-up Specialist, Technician), Eric Riley (Zanth, Movement Coach, Technician, George Lester), Sal Viviano (Paul, Johnny Beaumont), William Youmans (Joe, Chuck, John Ruskin)

Conductor, Keyboard I: Kathy Sommer
Associate Conductor, Keyboard II: Garth Roberts
Bass: Steve Mack
Drums, Percussion: Ray Grappone
Synthesizer Programming: Douglas Besterman
Orchestrations by Douglas Besterman
Musical Direction and Vocal Arrangements by Kathy Somme

Album Review - The Zulu and the Zayda [Masterworks Broadway/Arkivmusic]

By Sherry Shaffer

The Zulu and the Zayda opened at the Cort Theatre on November 10, 1965 and ran for 179 performances. It was billed as a “comedy with music” as opposed to a full-on musical, probably because it lacked any big dance numbers. But as the production boasts eleven songs that were integral to the story, I’d say it’s a musical despite the lack of dance. The story is set in South Africa – modern day for 1965, so apartheid is still very much a way of life. An aging Jewish man is unable to live on his own and so moves in with his sons and grandsons. No one wants to watch after zayda (Yiddish for grandfather) so the butler’s brother (the Zulu) is employed to grandpa-sit. Cultural differences get in the way for a time, but in the end all is resolved. This is a feel-good comedy that got sound reviews for the production as a whole and shining reviews for Menasha Skulnik, who portrayed the zayda. Other notable cast members are Louis Gosset as the Zulu, Ossie Davis as the butler brother, Peter DeAnda as the son, and Christine Spencer as the daughter-in-law.

The Zulu and the Zayda was lyricist and composer Harold Rome’s (of I Can Get it for You Wholesale fame) last show. I’ll give Rome credit for somehow managing to integrate African and Jewish musical styles into a cohesive show. While there are very distinct differences in the styles, they blend together through the use of the same instruments and overall lightness of composition. The result is an even split between “African” and “Jewish” numbers that present a flavor of each culture for the audience pointing out both the similarities and differences .

I wish I could say that I was enchanted by the newly-released original cast album, because I really like the idea of juxtaposing the two cultures during such a turbulent time in South Africa. But I wasn’t that impressed. Partially, I’d say it’s because of the untrained voices in the cast. As this is a comedy with music, not a musical, I’m sure the actors were cast more for their acting and comedy skills than singing ability. Skulnik, as the elderly funnyman, doesn’t really have to have a great signing voice; he just needs to have the heart and the shtick. Gosset and Davis trade off leads on the African-influenced songs and aren’t bad, but I’d love to hear “How Cold, Cold, Cold” performed by someone with a really good voice. By contrast, Christine Spencer as the daughter-in-law sticks out like a sore throat with her highly trained vibrato sound. The music director should have asked her to tone it down a bit and cut the boys some slack.

The songs are nice enough, but without any standout pieces among them. Without context the jokes fall flat and the big-sounding numbers strike me as repetitive. I’m willing to bet that if you saw show in 1965 this would be a nice memory album and therefore more enjoyable. If you have no recollection of The Zulu and the Zayda, you’ll probably only want this album as a novelty or to complete a collection.


The Zulu and the Zayda
Release Date: 12/07/2010
Label: Rca Catalog #: 81366
Composer: Harold Rome
Performer: John Pleshette, Louis Gossett, Ossie Davis, Joe Silver, Sarah Cunningham, Philip Vandervort, Menasha Skulnik
Conductor: Meyer Kupferman
Orchestra/Ensemble: Orchestra

Number of Discs: 1
Recorded in: Stereo

A Little Something for the Fans of Fela!

By Byrne Harrison

While it's not a combination that I would have immediately thought of, DJ Rich Medina has produced an album of Fela Kuti/Michael Jackson mashups which is pretty remarkable. Entitled "The King Meets the President in Africa," the album layers Kuti's Afrobeat rhythms and horns with Jackson's singing to produce an amazing mix. I intended to listen to one song, and ended up listening to all of them in one sitting.

To listen to samples, view the videos, and download the album, click here.